"The Coronach's cried on Bennachie,And down the Don and a',And Hieland and Lawland may mournfu' be,For the sair field of Harlaw.They saddled a hundred milk-white steeds,They hae saddled a hundred black,With a chafron of steel on each horse's head,And a good knight upon his back.They hadna ridden a mile, a mile,A mile, but barely ten,When Donald came branking down the brae,Wi' twenty thousand men.Their tartans they were waving wide,Their glaives were glancing clear,The pibrochs rung frae side to side,Would deafen you to hear.The great Earl in his stirrups stood,That Highland host to see;'Now here a knight that's stout and good,May prove a jeopardie.'What would ye do, my squire so gay,That rides beside my rein,Were ye Glenallan's Earl this day,And I were Roland Cheyne?'To turn the rein were sin and shame,To fright were wondrous peril:What would ye do now, Roland Cheyne,Were ye Glenallan's Earl?''Were I Glenallan's Earl this tide,And ye were Roland Cheyne,The spear should be in my horse's side,The bridle upon his mane.'If they hae twenty thousand blades,And we twice ten times ten,Yet they hae but their tartan plaids,And we are mail-clad men.'My horse shall ride through ranks sae rude,As through the moorland fern,Then ne'er let gentle Norman bludeGrow cauld for Hieland kerne!'"
"The Coronach's cried on Bennachie,And down the Don and a',And Hieland and Lawland may mournfu' be,For the sair field of Harlaw.
They saddled a hundred milk-white steeds,They hae saddled a hundred black,With a chafron of steel on each horse's head,And a good knight upon his back.
They hadna ridden a mile, a mile,A mile, but barely ten,When Donald came branking down the brae,Wi' twenty thousand men.
Their tartans they were waving wide,Their glaives were glancing clear,The pibrochs rung frae side to side,Would deafen you to hear.
The great Earl in his stirrups stood,That Highland host to see;'Now here a knight that's stout and good,May prove a jeopardie.
'What would ye do, my squire so gay,That rides beside my rein,Were ye Glenallan's Earl this day,And I were Roland Cheyne?
'To turn the rein were sin and shame,To fright were wondrous peril:What would ye do now, Roland Cheyne,Were ye Glenallan's Earl?'
'Were I Glenallan's Earl this tide,And ye were Roland Cheyne,The spear should be in my horse's side,The bridle upon his mane.
'If they hae twenty thousand blades,And we twice ten times ten,Yet they hae but their tartan plaids,And we are mail-clad men.
'My horse shall ride through ranks sae rude,As through the moorland fern,Then ne'er let gentle Norman bludeGrow cauld for Hieland kerne!'"
Scott was no declaimer. Although bred a barrister, he estimated the faculty of speech at its proper value, and never thought of making his heroes, on the eve of battle, address their soldiery in a harangue which would do credit to a President of the Speculative Society. In certain positions, eloquence is not only thrown away, but is felt to be rank impertinence. No need of rhetorical artifice to persuade the mob to the pumping of a pickpocket, or, in case of a general row, to the assault of an intoxicated policeman. Such things come quite naturally to their hands without exhortation, and it is dangerous to interfere with instinct. The Homeric heroes are, of any thing, a little too much given to talking. You observe two hulking fellows, in all their panoply of shield and armour, drawing nigh to one another at the fords of the Scamander, each with a spear about the size of a moderate ash-tree across his shoulder. The well-greaved Greek, you already know, is deep in the confidences of Minerva; the hairy Trojan, on the contrary, is protected by the Lady Venus. You expect an immediate onslaught; when, to your astonishment, the Greek politely craves some information touching a genealogical point in the history of his antagonist's family; whereat the other, nothing loath, indulges him with a yarn about Assaracus. Tros being out of breath, the Argive can do nothing less than proffer a bouncer about Hercules; so that, for at least half an hour, they stand lying like a brace of Sinbads—whilst Ajax, on the right, is spearing his proportion of the Dardans, and Sarpedon doing equal execution among the unfortunate Achivi on the left. Nor, until either warrior has exhausted his patriarchal reminiscences, do they heave up the boss and the bull-hide, or make play for a thrust at the midriff. Now, unless the genealogy of their opponents was a point of honour with the ancients—which it does not appear to have been—these colloquies seem a little out of place. In the middle ages, a knight would not enter the lists against an opponent of lesser rank; and in such a case, explanation is intelligible. But in battle there was no distinction of ranks, and no man cared a stiver about the birth and parentage of another. Genealogies, in fact, are awkward things, and should be eschewed by gentlemen in familiar discourse, as tending much less towards edification than offence. Many people are absurdly jealous on the subject of their coffined sires; nor is it wise in convivial moments to strike up an ancestral ditty to the tune of—
"Green grows the grass o'er the graves of my governors."
"Green grows the grass o'er the graves of my governors."
It was an unfortunate accident of this kind which led to the battle of the Reidswire.
"Carmichael bade him speak out plainly,And cloke no cause for ill nor gude;The other, answering him as vainly,Began to reckon kin and blude.He rase, and raxed him, where he stude,And bade him match him with his marrows:Then Tynedale heard them reason rude,And they loot off a flight of arrows."
"Carmichael bade him speak out plainly,And cloke no cause for ill nor gude;The other, answering him as vainly,Began to reckon kin and blude.He rase, and raxed him, where he stude,And bade him match him with his marrows:Then Tynedale heard them reason rude,And they loot off a flight of arrows."
Scott's heroes are unusually terse and taciturn. They know their business better than to talk when they should be up and doing; and accordingly, with them, it is just a word and a blow.
"But no whit weary did he seem,When, dancing in the sunny beam,He marked the crane on the Baron's crest;For his ready spear was in its rest.Few were the words, and stern and high,That marked the foemen's feudal hate;For question fierce and proud reply,Gave signal soon of dire debate.Their very coursers seem'd to know,That each was other's mortal foe,And snorted fire, when wheel'd around,To give each knight his vantage ground.In rapid round the Baron bent;He sighed a sigh, and pray'd a prayer;The prayer was to his patron saint—The sigh was to his ladye fair.Stout Deloraine nor sigh'd nor pray'd,Nor saint nor ladye called to aid;But he stoop'd his head, and couch'd his spear,And spurr'd his stead to full career.The meeting of these champions proudSeem'd like the bursting thunder-cloud."
"But no whit weary did he seem,When, dancing in the sunny beam,He marked the crane on the Baron's crest;For his ready spear was in its rest.Few were the words, and stern and high,That marked the foemen's feudal hate;For question fierce and proud reply,Gave signal soon of dire debate.Their very coursers seem'd to know,That each was other's mortal foe,And snorted fire, when wheel'd around,To give each knight his vantage ground.
In rapid round the Baron bent;He sighed a sigh, and pray'd a prayer;The prayer was to his patron saint—The sigh was to his ladye fair.Stout Deloraine nor sigh'd nor pray'd,Nor saint nor ladye called to aid;But he stoop'd his head, and couch'd his spear,And spurr'd his stead to full career.The meeting of these champions proudSeem'd like the bursting thunder-cloud."
This, you observe, is practical eloquence,—the perfect pantomime of rhetoric; and, when your eyes have recovered the dazzling shock of the encounter, you shall see William of Deloraine lying on the green sward, with the Baron's spear-head sunk a foot within his bosom. Nothing, in short, can be more conclusive or satisfactory.
Let us now take an instance to the contrary. Few men have written with more fire and energy than Mr Macaulay; and, in the heart of a battle, he handles his falchion like a Legionary. Still, every now and then, the rhetorician peeps out in spite of himself, and he goes through the catalogue of the topics. Nothing can be better or more ballad-like than the blunt declaration by Horatius of his readiness to keep the bridge:—
"Then out spoke bold Horatius,The captain of the gate:'To every man upon this earthDeath cometh soon or late;And how can man die betterThan facing fearful odds,For the ashes of his fathers,And the temples of his gods?'"
"Then out spoke bold Horatius,The captain of the gate:'To every man upon this earthDeath cometh soon or late;And how can man die betterThan facing fearful odds,For the ashes of his fathers,And the temples of his gods?'"
Not one other word should stout old Cocles have uttered, of apology for claiming to himself the post of danger and of death. No higher motive need he have assigned than those contained in the last two lines, which must have gone home at once to the heart of every Roman. But the poet will not leave him there. He interpolates another stanza, which has the effect of diluting the strength of the passage.
"'And for the tender motherWho dandled him to rest,And for the wife who nursesHer baby at her breast;And for the holy maidensWho feed the eternal flame,To save them from false SextusThat wrought the deed of shame?'"
"'And for the tender motherWho dandled him to rest,And for the wife who nursesHer baby at her breast;And for the holy maidensWho feed the eternal flame,To save them from false SextusThat wrought the deed of shame?'"
The whole of this stanza is bad;—the last four lines of it simply and purely execrable. Mr Macaulay is far too judicious a critic not to be fully aware of the danger of any weak passage in a short poem of incident; and we trust, in the next edition, to see this palpable eye-sore removed. But it is in the ballad of Virginia that his besetting tendency towards declamation becomes most thoroughly apparent. You are to suppose yourself in the market-place of Rome;—the lictors of Claudius have seized upon the daughter of the centurion; the people have risen in wrath at the outrage; and, for a moment, there is hope of deliverance. But the name of the decemvir still carries terror with it, and the commons waver at the sound. In this crisis, Icilius, the betrothed of the virgin, appears, and delivers a long essay of some fifty double lines, upon the spirit and tendency of the Roman constitution. This is a great error. Speeches, when delivered in the midst of a popular tumult, must be pithy in order to be effective: nor was Appius such an ass as to have lost the opportunity afforded him by this dialectic display, of effectually securing his captive.
There is no literary legacy the people of Scotland ought to be so thankful as for their rich inheritance of national ballads. In this respect they stand quite unrivalled in Europe; for, although the Scandinavian peninsula has a glorious garland of its own, and Spain and England are both rich in traditionary story, our northern ballad poetry is wider in its compass, and far more varied in the composition of its material. The high and heroic war-chant, the deeds of chivalrous emprise, the tale of unhappy love, the mystic songs of fairy-land,—all have been handed down to us, for centuries, unmutilated and unchanged, in a profusion which is almost marvellous, when we reflect upon the great historic changes and revolutions which have agitated the country. For such changes, though tending essentially towards the production of the ballad, especially in the historical department, cannot possibly be favourable to its preservation; and no stronger proof of the intense nationality of the people of Scotland can be found than this—that the songs commemorative of our earlier heroes have outlived the Reformation, the union of the two crowns, the civil and religious wars of the revolution, and the subsequent union of the kingdoms; and, at a comparatively late period, were collected from the oral traditions of the peasantry. Time had it not in its power to chill the memories which lay warm at the nation's heart, or to efface the noble annals of its long and eventful history. There is a spell of potency still in the names of the Bruce and the Douglas.
By whom those ballads were written, is a question beyond solution. A large portion of them were, we know, composed long before the Press was in existence—some, probably, may date so far back as the reign of Alexander the Third—and to their own intrinsic merit are they indebted for preservation. But we are in ignorance of the authorship even of those which are much nearer to our own immediate period. Much of the Jacobite minstrelsy, and of the songs commemorative, of the Fifteen and the Forty-five, is anonymous; and we cannot tell whether those ditties, which have still the power to thrill our hearts so strangely, were written by gentle or by simple, in the hall or by the cottage fire. After all, it matters not. The poet of Otterbourne will be greater without a name, than fifty modern versifiers whom it would be odious to particularise, notwithstanding the blazon of their Christian and patronymic prefix. Better to live for ever innominate in a song, than tobe quoted for a life-time by one's friends, as a self-marked and immolated driveller.
"Give me," said Fletcher of Saltoun, "the making of a nation's ballads, and I will let you make its laws." This was, in our opinion, a speech of considerable boldness; and if Fletcher really made it, he must have had a high estimate of his own poetical powers. Why then, in the name of Orpheus, did he not set about it incontinently? We presume that there was nothing whatever to have prevented him from concocting as many ballads as he chose; or from engaging, as engines of popular promulgation, the ancestors of those unshaven and raucous gentlemen, to whose canorous mercies we are wont, in times of political excitement, to intrust our own personal and patriotic ditties. Seldom, indeed, have we experienced a keener sense of our true greatness as a poet, than when we encountered, on one occasion, a peripatetic minstrel, deafening the Canongate with the notes of our particular music, and surrounded by an eager crowd demanding the halfpenny broadsheet. "This is fame!" we exclaimed to a legal friend who was beside us; and, with a glow of triumph on our countenance, we descended the North Bridge, to indite another of the same. Notwithstanding this, we cannot aver from experience that our ballads have wrought any marked effect in modifying the laws of the country. We cannot even go the length of asserting that they have once turned an election; and therefore it is not unnatural that we should regard the dogma of Fletcher with distrust. The truth is, that a nation is the maker of its own ballads. You cannot by any possibility contrive to sway people from their purpose by a song; but songs—ballads especially—are the imperishable records of their purpose. And therefore it is that they survive, because they are real and not ideal. It is no feigned passion which they convey, but the actual reflex of that which has arisen, and wrought, and expended itself; and each historical ballad is, in fact, a memorial of a national impulse; and wo be to the man who would attempt to illustrate the past, if he cannot again create within himself the sympathies and the motives which led to the deeds he must celebrate. Wo be to him, we say—for as sure as there is truth in the retributive justice of posterity, he will attain an eminent position, not in the roll of beatified bards, but in that of the British blockheads, and be elected by unanimous consent as a proper Laureate for the Fogie Club.
It is now a good many years since Sir Walter Scott compiled hisMinstrelsy of the Scottish Border. Previous to the publication of that work, several excellent collections of the older Scottish ballads had been made, and industrious gleaners have since gathered up every stray traditionary ear of corn which still lay unnoticed in the furrow. Our excellent friend Robert Chambers, availing himself of all these labours, has given, in a popular form, the essence and spirit of the whole; nor does there, we believe, exist a single fragment of the least merit which has escaped so rigorous a search. We understood that the English ballads had long ago been collected. These were neither so numerous nor so romantic as ours; but they had fallen at a much earlier date into the hands of the antiquaries, and we hardly expected in our day to be told of a considerable addition. Therefore it was with no little astonishment, and some curiosity, that we perused the announcement of a new work entitled, "The Minstrelsy of the English Border; being a collection of ballads, ancient, remodelled, and original—founded on well-known Border legends. With illustrative notes by Frederick Sheldon."
Predisposed though we certainly were to do every justice to the original strains of Mr Sheldon, he will forgive us when we own that the ancient ballads were the primary objects of our quest. We were eager to discover what kind of materials—what snatches of antique song, he had rescued from oblivion among the wild moors of Northumberland; and his preface gave us ample hope of the choice nature of his budget.
"No doubt," says Mr Sheldon, alluding to Sir Walter's literary researches upon the Border—"no doubt many balladsdidescape, and still remain scattered up and down the country side, existing, probably, in therecollection of many a sun-browned shepherd, or the weather-beaten brains of ancient hinds, or 'eldern' women; or in the well-thumbed and nearly illegible leaves of some old book or pamphlet of songs, snugly resting on the 'pot-head,' or sharing their rest with the 'great ha' bible,' 'Scott's Worthies,' or 'Blind Harry's' lines. The parish dominie, or pastor of some obscure village amid the many nooks and corners of the Borders, possesses, no doubt, treasures in the ballad ware, that would have gladdened the heart of a Ritson, a Percy, or a Surtees; in the libraries, too, of many an ancient descendant of a Border family, some black-lettered volume of ballads doubtlessly slumbers in hallowed and unbroken dust. From such sources I have obtained many of the ballads in the present collection. Those to which I have stood godfather, and so baptised and remodelled, I have mostly met with in the 'broadside' ballads, as they are called; but notwithstanding their fire and pathos, I found so much obscenity and libertinism mingled with their beauties, that I was compelled with a rash hand to pluck the nettles away that choked the healthy growth of the young, fresh, and budding flowers; preserving, as nearly as I could, their ancient simplicity and diction. Others, by local and nameless poets, I have given as I found them. Those ballads, virtually my own, are stated to be so in the notes, and these, with great fear and tribulation, I hang as a votive wreath on the altar of the Muses." This is explicit and satisfactory, and we shall now proceed to see how our author has redeemed his promise.
We have read every one of the thirty-seven ballads contained in this volume, and the following is our synoptical view. Of "original" ballads—by which Mr Sheldon means those which must be attributed to his own inspired pen, and which constitute, as aforesaid, his votive wreath—there are no less than thirteen; four ballads are taken from the works of Messrs Mackay, Wilson, Telfer, and Hall—bards who have flourished during the last twenty years upon the Border; four are "remodelled" by Mr Sheldon; andsixteen, having no other distinguishing mark upon them, must be set down as "ancient" compositions. The man who can bestow upon us at the present time sixteen authentic and hitherto unknown ballads, is indeed a public benefactor!
Out of courtesy to Mr Sheldon, we shall, in the first instance, dispose of his own particular garland; and as it would be a pity to dismember such a posy, we shall merely lay before our readers the followingmorceaufrom the ballad of "Seton's Sons."
"Seton he gaspit and he girn'd,And showed his teeth sae whyte,His een were glaikit like a man'sThat's strycken wi' affryghte.Quo' he, 'Lorde Percy, dinna thinkI speak your lugs to blaw;But let him spare my twa brave sonnesAnd at his feet I'll fa!'And wat them wi' these happing tearsThat wash my auld, auld een,—That channel down these wrynkelets,Gin he will list bedeen.''My bairnies,' quo' the mother then,'That I have kist sae aft,Canna we save them frae their death,But sic a pryce we coft?'Thare pretty necks I've slibbered saeAh! Percy, gentil lord,To hae them raxed upon a tree,And strangled wi' a cord!'"
"Seton he gaspit and he girn'd,And showed his teeth sae whyte,His een were glaikit like a man'sThat's strycken wi' affryghte.
Quo' he, 'Lorde Percy, dinna thinkI speak your lugs to blaw;But let him spare my twa brave sonnesAnd at his feet I'll fa!
'And wat them wi' these happing tearsThat wash my auld, auld een,—That channel down these wrynkelets,Gin he will list bedeen.'
'My bairnies,' quo' the mother then,'That I have kist sae aft,Canna we save them frae their death,But sic a pryce we coft?
'Thare pretty necks I've slibbered saeAh! Percy, gentil lord,To hae them raxed upon a tree,And strangled wi' a cord!'"
Admirers of the ancient ballad—what do you say to that? There is the fine old Scots dialect in all its purity with a vengeance! In what part of the island such a jargon is spoken, we are fortunately at present unaware. Certain we are that our fathers never heard it; and as for ourselves, though reasonably cognizant of the varieties of speech which are current in Gilmerton, Aberdeen, the Crosscauseway and the Gorbals, we protest that we never yet met with any thing so cacophonous as this. It is impossible, however, to deny Mr Sheldon the merit of pure originality. Nobody but himself could have written the first glorious stanza, which embodies so perfect a picture of despair, or the second, in which the old familiar phrase of "blawing intill his lug" is so appositely adapted to verse, and put into the mouth of a knightly Scottish commander. Lady Seton, too, is exquisite in her way. The "slibbering" reminiscence—which, we presume, is equivalent to slobbering—is one of those natural touches which, once uttered, can never be forgotten.
It will, we opine, be sufficient to quench the curiosity of our readers, when we state that the above is a fair average specimen of Mr Sheldon's original productions. We presume that few will thirst for another draught from this pitcherful of the Border Helicon; and—as time presses—we shall now push forward to the consideration of the remodelled poetry. The first of these is called "Halidon Hill," and, as we are informed in the notes, it dates back to the respectable antiquity of 1827. The following magnificent stanzas will convey some idea of the spirit and style of that production.
Glower'd the Scot down on his foe:'Ye coof, I cam not here to ride;But syne it is so, give me a horse,I'll curry thee thine English hide.'Quod Benhal, 'I cam to fight a manAnd not a blude mastyff,—Were ye a man and no a pup,Saint Bride I had as lief.''Foam not, or fret, thou baby knicht,Put some food in thy wame,For thou art but the championOf some fond Norfolk dame.'My dog shall shake thy silken hide,Thy brainis prove his fee,Gif in that bagie skull of thineThere any brainis be.''Thou art a bragging piece of clay,Sae fyrst wise prove thy threat;'Loud geckit Trummall as he cried,'I'll mak' thee haggish meat!!'"
Glower'd the Scot down on his foe:'Ye coof, I cam not here to ride;But syne it is so, give me a horse,I'll curry thee thine English hide.'
Quod Benhal, 'I cam to fight a manAnd not a blude mastyff,—Were ye a man and no a pup,Saint Bride I had as lief.'
'Foam not, or fret, thou baby knicht,Put some food in thy wame,For thou art but the championOf some fond Norfolk dame.
'My dog shall shake thy silken hide,Thy brainis prove his fee,Gif in that bagie skull of thineThere any brainis be.'
'Thou art a bragging piece of clay,Sae fyrst wise prove thy threat;'Loud geckit Trummall as he cried,'I'll mak' thee haggish meat!!'"
Yes, reader—you may well stare! but such is absolutely the rubbish which has been shot from the Chiswick Press. Next—hear it, ye powers of impudence!—Allan Cunningham's beautiful ballad of Lady Anne, makes its appearance as "Lady Nell." We need scarcely add that in such hands the virgin degenerates into a drab. The other remodelments are trash. The "Merchant's Garland" is a new version by Sheldon of a street ditty called the "Factor's Garland," of which we happen to have a copy in a collection of penny histories. It is as much an ancient ballad as the Murder of William Weare—is dear at the ransom of a brass farthing—and commences thus:
Behold, here's a ditty that's new, and no jest,Concerning a young gentleman in the East,Who, by his great gaming came to poverty,And afterwards went many voyages to sea.Being well educated, and one of great wit,Three merchants of London, they all thought it fit,To make him their captain, and factor also,And for them to Turkey a voyage he did go."
Behold, here's a ditty that's new, and no jest,Concerning a young gentleman in the East,Who, by his great gaming came to poverty,And afterwards went many voyages to sea.
Being well educated, and one of great wit,Three merchants of London, they all thought it fit,To make him their captain, and factor also,And for them to Turkey a voyage he did go."
This is sorry enough doggrel, as every one who has the capacity of reckoning feet upon his fingers must allow; but Sheldon fairly trumps it. In a fit of enthusiasm, he has enlisted the name of a friend in the service, and that gentleman must doubtless feel infinitely obliged for the honour of such immortalisation.
"Syr Carnegie's gane owre the sea,And's plowing thro' the main,And now must make a lang voyage,The red gold for to gain.Now woe befall the cogging die,And weary the painted beuks,A Christian curse go with all naigs,And eke all hounds and cocks.Three merchants of great London town,To save the youth were bent,And they sent him as factor to Turkish ground,For the gaming has hym shent."
"Syr Carnegie's gane owre the sea,And's plowing thro' the main,And now must make a lang voyage,The red gold for to gain.
Now woe befall the cogging die,And weary the painted beuks,A Christian curse go with all naigs,And eke all hounds and cocks.
Three merchants of great London town,To save the youth were bent,And they sent him as factor to Turkish ground,For the gaming has hym shent."
Poets of the Isle of Muck, did ye ever listen to such a strain? Now let us take a look at the works of the ancients. The first in point of order is the "Laidley Worm of Spindleston Heugh," touching which Mr Sheldon gives us the following information. "This ballad was made by the old mountain bard, Duncan Fraser of Cheviot, who liveda.d.1320, and, was first printed some years ago, from an ancient MS., by Robert Lambe, vicar of Norham." We do not know what exact time maybe meant by the phrase "some years ago," but the fact is that the "Laidley Worm,"—which is neither more nor less than a very poor version of the old Scots Ballad, "Kempion"—was, according to Sir Walter Scott, "either entirely composed, or rewritten, by the Rev. Mr Lamb of Norham," and had been so often published, that it was not thought worth while to insert it in the Minstrelsy of the Scottish Border. For the same reason, and for its inferior quality, it was kept out of Mr S. C. Hall's "Book of British Ballads." Intrinsically it is so bad, that Mr Sheldon himself might have written it in a moment of extraordinary inspiration; indeed the following three verses, are in every way worthy of his pen;—
"He sprinkled her with three drops o' the well,In her palace where she stood;When she grovelled down upon her belly,A foul and loathsome toad.And on the lands, near Ida's towers,A loathsome toad she crawls,And venom spits on every thing,Which cometh to the walls.The virgins all of Bamborough town,Will swear that they have seenThis spiteful toad of monstrous size,Whilst walking in the green."
"He sprinkled her with three drops o' the well,In her palace where she stood;When she grovelled down upon her belly,A foul and loathsome toad.
And on the lands, near Ida's towers,A loathsome toad she crawls,And venom spits on every thing,Which cometh to the walls.
The virgins all of Bamborough town,Will swear that they have seenThis spiteful toad of monstrous size,Whilst walking in the green."
We are now coolly asked to believe that this stuff was written in the fourteenth century, and reprinted, seven years ago, from an ancient manuscript. But we must not be surprised at any thing from a gentleman who seems impressed with the idea that the Chronicles of RogerHoveden are written in the English language.
We next come to a ballad entitled "The Outlandish Knight," whereof Mr Sheldon gives us the following history. "This ballad I have copied from a broadsheet, in the possession of a gentleman of Newcastle; it has also been published in 'Richardson's Table Book.'The verses with inverted commas, I added at the suggestion of a friend, as it was thought that the Knight was not rendered sufficiently odious, without this new trait of his dishonour."
So far well; but Mr Sheldon ought, at the same time, to have had the candour to tell us the source from which he pilfered those verses. His belief in the ignorance and gullibility of the public must indeed be unbounded, if he expected to pass off without discovery a vamped version of "May Collean." That fine ballad is to be found in the collections of Herd, Sharpe, Motherwell, and Chambers; and seldom, indeed, have we met with a case of more palpable cribbage, as the following specimen will demonstrate:—
MAY COLLEAN.OUTLANDISH KNIGHT."'Loup off your steed,' says fause Sir John,"'Alight thee, from thy milk-white steed,'Your bridal bed you see—And deliver it unto me;Here have I drowned eight ladies fair,Six maids have I drowned where the billows sound,The ninth one you shall be.And the seventh one thou shalt be.'Cast off,' says he, 'thy jewels fine,'But first pull off thy kirtle fine,Sae costly and sae brave;And deliver it unto me;They are ower gude, and ower costly,Thy kirtle of green is too rich I weenTo throw in the sea-wave.To rot in the salt, salt sea.'Cast off, cast off, your Holland smock,'Pull off, pull off thy bonny green plaid,And lay it on this stone;That floats in the breeze so free,It is ower fine and ower costly,It is woven fine with the silver twine,To rot in the saut sea-foam.'And comely it is to see.''Oh! Turn ye then about, Sir John,'If I must pull off my bonny silk plaid,And look to the leaf of the tree,—Oh turn thy back to me,It is not comely for a manAnd gaze on the sun which has just begunA naked woman to see.'To peer owre the salt, salt sea.'He turned himself straight round about,He turned his back on the fair damselle,To look to the leaf o' the tree;And looked upon the beam,—She has twined her arms about his waist,She grasped him tight with her arms so whiteAnd thrown him into the sea."And plunged him in the stream."
This, it must be acknowledged, is, to use the mildest phrase, an instance of remarkable coincidence.
Notwithstanding the glibness of his preface, and the scraps of antique information which he is constantly parading, Mr Sheldon absolutely knows less about ballad poetry than any writer who has yet approached the subject. As an editor, he was in duty bound to have looked over former collections, and to have ascertained the originality of the wares which he now proffers for our acceptance. He does not seem, however, to have read through any one compilation of the Scottish ballads, and is perpetually betraying his ignorance. For example, he gives us a ballad called "The Laird of Roslin's daughter," and speaks thus of it in his preface:-"This is a fragment of an apparently ancient ballad, related to me by a lady of Berwick-on-Tweed, who used to sing it in her childhood. I have given all that she was able to furnish me with. The same lady assures me that she never remembers having seen it in print, and that she had learnt it from her nurse, together with the ballad of Sir Patrick Spens, and several Irish legends, since forgotten."
This is a beautiful instance of the discovery of a mare's nest! Mr Sheldon's fragment is merely an imperfect version of "Captain Wedderburn's Courtship"—one of the raciest and wittiest of the Scottish ballads, which has been printed over and over again, and is familiar to almost every child in the country. It is given at full length by Robert Chambers, in his collection, with this note appendedto it:—"This very ingenious and amusing poem, which has been long popular all over Scotland, first appeared in the 'New British Songster,' a collection published at Falkirk in 1785. The present copy is taken directly from Jamieson's 'Popular Ballads,' with the advantage of being collated with one taken from recitation by Mr Kinloch." Such are the consequences of relying upon the traditions of "eldern women!"
We, have, moreover, a version of "Johnny Faa," of which ballad Mr Sheldon seems to consider himself the sole discoverer—at least he does not say one word of its notable existence elsewhere. And we are the more disposed to give him credit for this ignorance, as he hazards an opinion that "the incidents recorded in this ballad must have occurred in the reign of James the Fifth of Scotland, or possibly in that of his father James the Fourth, the King of the Commons;" whereas the story is an historical one, and took place in the times of the Covenant. Be that as it may, Sheldon's version is certainly the worst that we have seen; and the new stanzas which he has introduced are utterly loathsome and vulgar. Only think of the beautiful Lady Cassilis who eloped with a belted knight, being reduced to the level of a hedge-tramper, and interchanging caresses with a caird!
"The Countess went down to the ha'To hae a crack at them, fairly, O;'And och,' she cried, 'I wad follow theeTo the end o' the world or nearly, O.'He kist the Countess' lips sae red,And her jimp white waist he cuddled, O;She smoothed his beard wi' her lovely hand,And a' for her Gipsy laddie, O."
"The Countess went down to the ha'To hae a crack at them, fairly, O;'And och,' she cried, 'I wad follow theeTo the end o' the world or nearly, O.'
He kist the Countess' lips sae red,And her jimp white waist he cuddled, O;She smoothed his beard wi' her lovely hand,And a' for her Gipsy laddie, O."
Really we do not think that we ever read any thing in print so intensely abominable as this.
We have no intention of wading through much more of Sheldon's lucubrations—nor is it necessary, as, after a close examination, we cannot discover one single ancient ballad which is new to us in the whole collection. One or two, as we have already shown, are old friends in filthy garments, whose acquaintance we accordingly repudiate. Two or three, such as "Sir John le Sprynge," are mere reprints, and the remainder may be shortly characterised as unmitigated trash. It is rather too much that ditties still redolent of ardent spirits, and distinctly traceable in their authorship to a drunken horse-couper in Hawick, should be presented to the public as genuine Border ballads. For example, we are favoured with an effusion called "Loudon Jock's Courtship," which Mr Sheldon avers to be "a very old ballad, now for the first time published," and states that he took it down "from the recital of an old drover, called A. Pringle, who attended Kelso market." We do not for a moment doubt that this valuable lay was actually pronounced by the baked lips of Sandy, over half-a-mutchkin of aqua-vitæ in a toll-house; but we decline to register it as ancient upon the authority of such a Pisistratus. On the contrary, the beast who composed it was manifestly free of the Vennel, acquainted with every nauseous close in the old town of Edinburgh, and frequently found at full length upon the Bridge, in a state of brutal intoxication. The localities are quite unequivocal, and mark the date of its composition. The "brig," unfortunately for Mr Sheldon, is by no means an ancient structure. No doubt the ditty is graphic in its way, and full-flavoured enough to turn the stomach of a Gilmerton carter, as the following specimen will testify:
"Jock lifted and fought, gat in mony a scrape,But it was all the same thing to that rattling chiel,He wad aye spoil the horn, or else mak' a spoon,The crown o' the causey, a kirk or a mill.He rade into Embro' wi' gowd in his pouch,To look at the ferlies and houses sae grand;The Castle and Holyrood, the lang walk o' Leith,Great joy for his coming soon Loudon Jock fand.'Twas first hae this gill, and then aye anither,Syne bottles o' sma' yill, and baups for his kite;And then cam' the feyther o't, sister and brither,And Jock stoited awa' at the heel o' the night.Jock met wi' a hizzy upon the high brig,That looks o'er the yard as he stoited away;Jock aye lo'ed a blink o' a bonnie girl's eye,And she speer'd at the reiver his fortune to spae.But Jock cam' to questions, and being a fallowStout, buirdly and sonsy, he soon pleased her taste,And awa' went the twasome, haup-jaup in their daffin',Thro' wynds and blind alleys no time for to waste."
"Jock lifted and fought, gat in mony a scrape,But it was all the same thing to that rattling chiel,He wad aye spoil the horn, or else mak' a spoon,The crown o' the causey, a kirk or a mill.
He rade into Embro' wi' gowd in his pouch,To look at the ferlies and houses sae grand;The Castle and Holyrood, the lang walk o' Leith,Great joy for his coming soon Loudon Jock fand.
'Twas first hae this gill, and then aye anither,Syne bottles o' sma' yill, and baups for his kite;And then cam' the feyther o't, sister and brither,And Jock stoited awa' at the heel o' the night.
Jock met wi' a hizzy upon the high brig,That looks o'er the yard as he stoited away;Jock aye lo'ed a blink o' a bonnie girl's eye,And she speer'd at the reiver his fortune to spae.
But Jock cam' to questions, and being a fallowStout, buirdly and sonsy, he soon pleased her taste,And awa' went the twasome, haup-jaup in their daffin',Thro' wynds and blind alleys no time for to waste."
Ancient ballad indeed! the minstrel who would venture to chant such a ditty in the Cowgate, would be cheaply let off with a month's solitary imprisonment on a diet of bread and water.
We pass with pleasure from this medley of balderdash and drivel to the more sober tome of Mr Collier, because we know that whatever he gives us will at least have the merit of being genuine. Out of the thousand black-letter broadsides which constitute the Roxburghe collection, the editor has selected upwards of fifty, and thus states the object of their publication:—"The main purpose of the ensuing collection is to show, in their most genuine state, the character and quality of productions written expressly for the amusement of the lower orders, in the reign of Elizabeth, James, and Charles. Our volume consists of such ordinary materials as formed the stock of the English ballad-singer, during a period not far short of a century. Many traces will be found in them of the modes in which they were rendered acceptable to the crowd, when sung in our most frequented thoroughfares." We need hardly say that the volume is got up with great care; and it will doubtless be an acceptable addition to the libraries of our literary epicures: nevertheless, we are free to confess that we were somewhat disappointed with its contents. We did not, it is true, expect to find, in this quarto, any new historical, or even romantic ballads of the first or highest class. The literature of Elizabeth and James is remarkably sterile in productions of this nature; and the few which are intrinsically excellent have long since become familiar and have lost the gloss of novelty. But the didactic ballad and the canzonet were then extensively practised, and, with the fugitive poetry of Peele, Marlowe, Greene, and Lodge in our recollection, we had hoped to recover some valuable specimens of their more obscure contemporaries. In the voluminous records of the Elizabethan era, we find mention of many poets who enjoyed a reasonable celebrity at the time, but whose works, devoid of buoyancy, have since settled into oblivion. We find the names of some of these persons, such as Thomas Churchyard, who is spoken of in "The Return from Parnassus," attached to poems in Mr Collier's collection; but we are compelled on perusal to acknowledge that there is much justice in the critical decrees of time, and that very little which is at all worthy of preservation has been silently permitted to perish. In an æsthetical point of view, therefore, we cannot expect to derive much advantage from this reprint of the Roxburghe broadsides. But the antiquary, who has a natural taste for the cast-off raiment of the world, will doubtless fasten upon the volume; and the critical commentator may glean from it some scraps of obsolete information. To them accordingly we leave it, and pass into the glades of Sherwood.
We wonder whether "Robin Hood, that archer good," is as great a favourite in the nursery now as he was in our younger days? We areafraid not. Our Robin was a mysterious sort of personage, something between an outlaw and an earl,—a kind of Judge Lynch, who distributed arbitrary justice beneath the shade of an enormous oak-tree, and who was perpetually confiscating the moveables of abbots for the exclusive benefit of the poor. Maid Marian we could never distinctly realise. Sometimes she appeared to us as a soft flaxen-haired beauty, not unlike a lay-figure, once the property of Mr Giannetti, which we loved in our youth, and to whose memory we still are constant. Green as emerald was the garb she wore, and the sun loved to shine upon her as she glided from the shadow of the trysting-tree. But then this fairy personage did not tally well with the other figures of the group. We could not conceive her associating familiarly with the gaunt but good-natured Scathelock, and Mutch the miller's son. Summer, too, must pass away from Sherwood as it does from every sublunary scene. The leaves fall—the birds are mute—the grass has withered down—and there is snow lying two feet deep in the forest,—and then, wo is me for poor Marian, shivering in her slight silken kirtle in the midst of a faded bower! So that we were sometimes compelled per-force to change our fancy, metamorphose Marian into a formidable Girzy, and provide her with a suit of linsey-woolsey against the weather, and a pair of pattens big enough to have frightened all the fallow-deer of the forest with their clatter.
Ivanhoe, however, has played the deuce with our ideal creations, and Robin Hood is now fixed to us for ever in the guise of the yeoman Locksley. We do not like him half so well as we did before. He has, in some degree, compromised his character as an outlaw, by entering into an arrangement with him of the Lion-heart, and he now shoots deer under cover of the kingly license. The old warfare between Little John and the Sheriff of Nottingham is over, and the amicable diacylon conceals the last vestige of their feud. Allan-a-Dale has become a gentleman, and Friar Tuck laid down the quarter-staff, if he has not taken up the breviary.
But if any one wants to know bold Robin as he really was, let him straightway possess himself of those two delightful volumes for which we are indebted to Mr Gutch. We have here not only the consecutive series of ballads known as "The Lytell Geste of Robin Hode," but every ballad, tale, and song, relating to the famous outlaw; and the whole are beautifully illustrated. Mr Gutch thoroughly understands the duty of an editor, and has applied himself heart and soul to the task: in consequence, he has given us by far the best collection of English ballads which for years has issued from the press.
We have said that the English ballads, as a whole, are decidedly inferior to the Scottish. They are neither, in their individual kinds, so stirring, so earnest, so plaintive, nor so imaginative, and Chevy Chase is a tame concern when weighed against the Battle of Otterbourne. But many of them are of great merit, and amongst the very best are those which relate to Robin Hood, and the three stout bowmen of the North, Adam Bell, Clym of the Clough, and William of Cloudeslee. Robin has a fair right to be considered the yeoman hero of England, and the representative of what must have been a tolerably large class of persons throughout the wars of the Roses. In his history, we can trace a kind of tacit protest against absolute despotism and feudal oppression. He is the daring freeman of the soil, who will not live under arbitrary law, and who, in consequence, ends by setting all laws whatever at defiance. He is not a thief, but a free-booter, and is entitled to receive from posterity whatever credit may be attachable to such a character. His is, in many respects, a parallel case to that of Rob Roy Macgregor, though there is far more of deep tragedy as well as of patriotism, interwoven with the history of the Highland outlaw. Robin asserts no tangible principles beyond active opposition to the church, and determined hostility to the game-laws. For the first of these tenets Baines would have fallen down and worshipped him: for the second, John Bright would have clothed his whole company gratuitously in drab. He is fond of fighting, and ready to take up the cudgels with any chancecustomer; but, somehow or other, he has invariably the worst of the encounter. Tinker, beggar-man, tanner, shepherd, and curtail friar, in succession, bring him to his knees, and his life would have been many times a forfeit, but for the timely assistance of his horn, which brought Little John and the rest to the rescue. Guy of Gisborne was, we believe, the only champion whom he slew unaided, and even in that meeting he was placed in sore jeopardy.