FOOTNOTES:

Robin Hood Rescuing Will Stutly(141): “This is a ballad made for print, with little of the traditional in the matter and nothing in the style. It may be considered as an imitation of the Rescue of the Three Squires.”III, 185.Robin Hood’s Birth, Breeding, etc.(149): “The jocular author of this ballad, who would certainly have been diverted by any one’s supposing him to write under the restraints of tradition....”III, 214.The Lovely Northerne Lasse(217, Appendix): “There is an English ‘ditty’ (not a traditional ballad) ... which was printed in the first half of the seventeenth century. It is here given in an appendix.”IV, 192.

Robin Hood’s Birth, Breeding, etc.(149): “The jocular author of this ballad, who would certainly have been diverted by any one’s supposing him to write under the restraints of tradition....”III, 214.

The Lovely Northerne Lasse(217, Appendix): “There is an English ‘ditty’ (not a traditional ballad) ... which was printed in the first half of the seventeenth century. It is here given in an appendix.”IV, 192.

To these may be added a few examples of less specific condemnation:

The Earl of Mar’s Daughter(270): A Scandinavian ballad and this “are, perhaps, on a par, for barrenness and folly, but the former may claim some age and vogue, the Scottish ballad neither.”V, 39.The Drunkard’s Legacy(267, Appendix): “The modern ballad ... used by Percy was ‘The Drunkard’s Legacy,’ an inexpressibly pitiable ditty.”V, 12.John Thomson and the Turk(266): “This ridiculous ballad.”V, 1.Robin Hood and the Tinker(127): “The fewest words will best befit this contemptible imitation of imitations.”III, 140.Robin Hood and Maid Marian(150): “This foolish ditty.”III, 218.Robin Hood and the Valiant Knight(153): “Written, perhaps, because it was thought that authority should in the end be vindicated against outlaws, which may explain why this piece surpasses in platitude everything that goes before.”III, 225.The Suffolk Miracle(272): “This piece could not be admitted here on its own merits. At the first look, it would be classed with the vulgar prodigies printed for hawkers to sell and for Mopsa and Dorcas to buy. It is not even a good specimen of its kind.”V, 58.

The Drunkard’s Legacy(267, Appendix): “The modern ballad ... used by Percy was ‘The Drunkard’s Legacy,’ an inexpressibly pitiable ditty.”V, 12.

John Thomson and the Turk(266): “This ridiculous ballad.”V, 1.

Robin Hood and the Tinker(127): “The fewest words will best befit this contemptible imitation of imitations.”III, 140.

Robin Hood and Maid Marian(150): “This foolish ditty.”III, 218.

Robin Hood and the Valiant Knight(153): “Written, perhaps, because it was thought that authority should in the end be vindicated against outlaws, which may explain why this piece surpasses in platitude everything that goes before.”III, 225.

The Suffolk Miracle(272): “This piece could not be admitted here on its own merits. At the first look, it would be classed with the vulgar prodigies printed for hawkers to sell and for Mopsa and Dorcas to buy. It is not even a good specimen of its kind.”V, 58.

We may add from theBalladshalf-a-dozen examples of specific praise:

The Lass of Lochroyan[76, D][393]: “This beautiful piece.”Ballads,II, 98.The Queen’s Marie[173, I]: “Jamieson and Kinloch have each published a highly dramatic fragment of this terrible story.”Ballads,III, 107.The Lochmaben Harper[192, A]: “This fine old ballad ... has the genuine ring of the best days of minstrelsy. On account of its excellence, we give two versions.”Ballads,VI, 3.Earl Richard[68, J]: “This gloomy and impressive romance.”Ballads,III, 3.Chevy-Chace[162, A]: “Addison’s papers in theSpectator... evince so true a perception of the merits of this ballad [162, B], shorn as it is of the most striking beauties of the grand original, that we cannot but deeply regret his never having seen the ancient and genuine copy (‘The noble ballad,’ 162, A;Ballads,VII, 27), which was published by Hearne only a few days after Addison died.”Ballads,VII, 43.Sir Andrew Barton[167, A]: “This noble ballad.”Ballads,VII, 56.Sir Patrick Spence[58, A]: “If not ancient, has been always accepted as such by the most skilful judges, and is a solitary instance of a successful imitation, in manner and spirit, of the best specimens of authentic minstrelsy.”Ballads,III, 149.

The Lass of Lochroyan[76, D][393]: “This beautiful piece.”Ballads,II, 98.

The Queen’s Marie[173, I]: “Jamieson and Kinloch have each published a highly dramatic fragment of this terrible story.”Ballads,III, 107.

The Lochmaben Harper[192, A]: “This fine old ballad ... has the genuine ring of the best days of minstrelsy. On account of its excellence, we give two versions.”Ballads,VI, 3.

Earl Richard[68, J]: “This gloomy and impressive romance.”Ballads,III, 3.

Chevy-Chace[162, A]: “Addison’s papers in theSpectator... evince so true a perception of the merits of this ballad [162, B], shorn as it is of the most striking beauties of the grand original, that we cannot but deeply regret his never having seen the ancient and genuine copy (‘The noble ballad,’ 162, A;Ballads,VII, 27), which was published by Hearne only a few days after Addison died.”Ballads,VII, 43.

Sir Andrew Barton[167, A]: “This noble ballad.”Ballads,VII, 56.

Sir Patrick Spence[58, A]: “If not ancient, has been always accepted as such by the most skilful judges, and is a solitary instance of a successful imitation, in manner and spirit, of the best specimens of authentic minstrelsy.”Ballads,III, 149.

We are now in position to attempt a summary of Professor Child’s conception of the popular ballad. He regarded it as a distinct species of poetry, which precedes the poetry of art, as the product of a homogeneous people, the expression of our common human nature, of the mind and heart of the people, never of the personality of an individual man, devoid, therefore, of all subjectivity and self-consciousness.Hence the author counts for nothing; hence, too, the ballad is difficult to imitate and most attempts in this way are ridiculous failures. In transmission the ballad regularly departs from the original form, least in the mouths of unlearned people, more in the hands of professional singers or editors. It is at its best when it has come down by a purely domestic tradition, yet even so it is sometimes influenced by printed literature; and much depends on the experience and selection of the reciters, and on their varying memory, which is, however, ordinarily remarkable for its tenacity. Less fortunate is the ballad when it passes through low mouths or hands, suffering corruption of various kinds,—in the style of the attorney’s clerk, or the housemaid or the serving-man, or ostler, or blind beggar. In the hands of thebänkelsängeror of the minstrel, the ballad departs still further from its original form. Or, rewritten for the broadside press, it is seriously enfeebled, or retrenched and marred, though it may retain some original features, and there are thus degrees of departure from the original matter and manner. The broadside may, in turn, become tradition. It is, so far as it appears in Professor Child’s later collection, always founded on tradition, and this tradition lives after the composition of the broadside, and may influence the later versions of the printed form. Last comes the modern editor, and by him the ballad is sometimes lengthened,—by combination of different versions, by interpolation of new stanzas, always more or less unlike the popular style; or it is sometimes “improved,” or retouched, or emended, or altered,—changed to something in glaring contrast to the groundwork. Some results of the vicissitudes of transmission are, the change of the hero’s nationality, of his name, of his rôle; change of the scene of action; corruption of diction resulting in perversion of sense or in nonsense; introduction of learned words. The ballad thus suffers in transmission, and is at itsbest when it is early caught and fixed in print. It is sometimes counterfeited or imitated, and counterfeits are included in the later collection for contrast, for much the same reason that thieves are photographed, or because they may contain relics of something genuine or better.

Of the Subject-Matter of the ballad, the sources may be, and in the best instances are, purely popular, consisting of material which appears only in popular literature. Professor Child mentions no instance where a prose tale is the source of a ballad, but the ballad, he says, may sometimes be resolved into a prose tale. Popular origin is attested by foreign parallels in folk-literature. Of such literature certain features or themes are characteristic, such as the quibbling oath, the miraculous harvest, the childbirth in the wood, the testament, the riddle, heroic sentiment, etc. The source may, again, be an actual occurrence, in which case the ballad, while not deliberate fiction, is yet not loyal to the fact. Or the source may be a romance, or the source of a romance, in which case oral tradition may be older than written, the ballad older than the romance. Or the source may be earlier ballads, mechanically and deliberately put together in later ones, made over and assimilated in theGest of Robin Hood. In the course of transmission certain features appear which are not characteristic of popular literature; the subject-matter of the true ballad does not deal in extravagance, or exaggeration, or platitude; it is not prosaic, over-refined, cynical, sophisticated, sentimental, unnatural, trite, or moral, though the “pungent buckishness” of the broadside, and the gay cynicism of the minstrel, are foreign to it.

So far as Technique is concerned, the ballad must have plot. The story may not be completely told; conclusion, transitions, and preliminaries may be omitted; but the result is not nonsense, the ballad is not incoherent. At its bestit is, however, brief. It is careless of geography, and, except in some,—and some of the best,—of the Robin Hood ballads, it touches Setting lightly. In dealing with the Supernatural it does not attempt to explain the action or to describe supernatural figures; ghosts, however, do not walk without reason.

In Style the ballad is artless and homely, and in it the conceit, and literary or learned words and phrases, are out of place. Yet it has certain conventions of its own, such as the “commonplace,” the repetition of a message by a messenger, the verbally similar treatment of similar incidents as they occur in different ballads. Emotionally, the ghost ballad is impressive and affecting; and, in general, the ballad may be infectious, or spirited and life-like, or pathetic, or tender, or humorous, or vigorous and not lacking in color or flavor. It is essentially lyrical, and its lyrical quality is not less essential than plot. Often it absolutely requires the support of a melody and the comment of a burden. This burden sometimes foreshadows the calamity, sometimes enhances by contrast the gloom of the conclusion. It is usually less than the stanza with which it was sung; and, unlike the refrain, it was sung, not after the stanza, but with it. It is sometimes of different metre, sometimes not. The absence of the burden is in no case proof that it never existed. never existed.

Walter Morris Hart.

FOOTNOTES:[134]Modern Philology,I, 377 f.[135]Professor Gummere inModern Philology,I, 378.[136]III, 303.[137]II, 136.[138]I, vii.[139]II, 296.[140]II, 263. An old woman (the reciter of E) knewChield Moriceas a child, but later learnedGil Moricewhich began to be more fashionable.II, 264.[141]II, 464, n.[142]V, 178.[143]I, 119.[144]IV, 231.[145]I, 89. See also the comment on Apollodorus and the Cretan fairy-tale,I, 337, quoted, p. 774, below.[146]II, 346.[147]I, 435.[148]Quoted,III, 254.[149]I, 360.[150]II, 173.[151]II, 170.[152]II, 368.[153]IV, 255, n.[154]IV, 255.[155]IV, 256. Cf. B 10, D 10, E 19; F 11; E 10, F 6.[156]II, 441.[157]IV, 144.[158]I, 391.[159]I, 34.[160]I, 257.[161]II, 478.[162]Cf.I, 444 f.[163]III, 403.[164]III, 410.[165]II, 441.[166]III, 305.[167]III, 334.[168]III, 334, n.[169]V, 21.[170]I, 404.[171]I, 455.[172]I, 391.[173]II, 180.[174]II, 424.[175]II, 480.[176]The comparison of broadsides with traditional versions is instructive. SeeI, A, a, b, c; 10, A, a; 45, B; 53, L, M; 73, D; 104, B, 112, E (andII, 491); 110, A; 145, C; 151; 152; 153; 162, B; 167, B; 268. Much of the later Robin Hood poetry looks like “char-work done for the petty press” (III, 42).Robin Hood Rescuing Will Stutly(141) “is a ballad made for print, with little of the traditional in the matter and nothing in the style” (III, 185).[177]II, 480.[178]I, 335.[179]“Jamieson was not always precise in the account he gave of the changes he made in his texts” (IV, 255). Cf. alsoI, 138.[180]Stanzas 20, 21, 27, etc.I, 119. Cf.II, 83.[181]I, 297.[182]II, 63 f.[183]I, 335.[184]II, 302.[185]I, 112.[186]IV, 5.[187]I, 138.[188]III, 472.[189]II, 428.[190]IV, 39. Cf.II, 317.[191]II, 226.[192]III, 276.[193]V, 2.[194]II, 19.[195]III, 96.[196]IV, 156.[197]IV, 178.[198]V, 309.[199]III, 42.[200]III, 103.[201]III, 159.[202]I, 320.[203]III, 206.[204]V, 168.[205]III, 305.[206]I, 455.[207]V, 1.[208]IV, 437.[209]I, 335.[210]II, 302.[211]III, 486.[212]V, 12. Cf. alsoI, 35,IV, 10, 142, 401, for passages condemned as “modern.”[213]III, 140.[214]II, 342.[215]V, 182.[216]Communicated by the Rev. Mr Lamb to Hutchinson “with this harmless preamble: ‘a song 500 years old, made by the old Mountain Bard, Duncan Frasier, living on Cheviot,A. D.1270.’”[217]I, 308.[218]III, 42.[219]I, 46; examples follow.[220]II, 170, n.[221]I, 336.[222]I, 337.[223]V, 59.[224]V, 48.[225]II, 7.[226]II, 416.[227]I, 142.[228]Examples,I, 143.[229]I, 1.[230]II, 478.[231]III, 159.[232]III, 235.[233]I, 121.[234]II, 19.[235]III, 366.[236]IV, 51.[237]III, 317.[238]III, 304.[239]III, 417.[240]III, 410.[241]IV, 359.[242]III, 265 f.[243]I, 320.[244]I, 193.[245]II, 67.[246]I, 67.[247]III,[248]IV, 401.[249]V, 182.[250]III, 49 f.[251]III, 51.[252]III, 293.[253]III, 220.[254]V, 166.[255]IV, 391.[256]IV, 393.[257]IV, 401.[258]IV, 415.[259]IV, 423.[260]IV, 434.[261]III, 49.[262]III, 40.[263]IV, 10.[264]Cf.III, 225.[265]III, 381.[266]III, 165.[267]III, 197.[268]II, 296.[269]IV, 161.[270]I, 253. Cf. alsoIII, 258.[271]II, 263.[272]III, 381.[273]II, 83.[274]I, 34.[275]II, 302.[276]V, 156 f.[277]Universal Cyclopædia, “Ballad Poetry.” The lyrical element is of equal importance; see p. 790, below.[278]IV, 126.[279]V, 165.[280]IV, 192. [The Broom of Cowdenknows (217)].[281]IV, 63. [The Gypsie Laddie (200)].[282]I, 82.[283]II, 260.[284]Surely betteras ballad. Cf. p. 796, below.[285]II, 18.[286]II, 7.[287]V, 178.[288]IV, 435.[289]IV, 145.[290]III, 317.[291]II, 373.[292]II, 342.[293]II, 355.[294]II, 302.[295]III, 51.[296]III, 486.[297]III, 95.[298]IV, 362.[299]II, 378.[300]V, 59.[301]IV, 301, n.[302]IV, 301, n.[303]IV, 434.[304]I, 320, n.[305]IV, 186.[306]I, 167.[307]I, 88.[308]I, 112[309][The true ballad has little to say of mental states.][310]IV, 5. The stanza reads:But he’s taen aff his gude steel cap,And thrice he’s waved it in the air;The Dinlay snaw was neer mair whiteNor the lyart locks of Harden’s hair.[311]IV, 10.[312]II, 430.[313]II, 428.[314]IV, 145.[315]I, 297.[316]Cf.II, 83, 317;IV, 39.[317]See theIndex of Matters and Literature,V, 474 f.[318]II, 309, n.[319]III, 96.[320]IV, 426.[321]IV, 391.[322]IV, 435.[323]II, 227.[324]II, 238.[325]V, 59.[326]IV, 145.[327]V, 168.[328]I, 329.[329]IV, 301.[330]I, 253.[331]III, 53.[332]III, 258.[333]II, 296.[334]V, 59.[335]III, 305.[336]II, 67.[337]II, 260.[338]I, 358.[339]III, 129.[340]V, 201.[341]IV, 75.[342]II, 204, n.[343]I, 7. See the foot-note for Professor Child’s longest discussion of the burden.[344]Sheath and Knife(16), also, was accessible but omitted.[345]Ballads,I, xi, n. “Certain short romances which formerly stood in the First Book, have been dropped from this second Edition [1860], in order to give the collection a homogeneous character.”Ballads[1860],I, xii.[346]“A song,”II, 317. (Where merely volume and page are given the reference is still to the later collection; references to the earlier are preceded by the wordBallads.)[347]II, 16.[348]II, 429.[349]V, 34, n.[350]Ballads,III, 360.[351]Ballads,VI, 263.[352]Ballads,III, 61.[353]IV, 142.[354]Ballads,I, 341.[355]I, 218, n.[356]Ballads,III, 293.[357]Ballads,VI, 220. Cf. Mr Andrew Lang’s plea forAuld Maitland,Folk-Lore,XIII, 191 ff.[358]See also the comments on the Rev. Mr Lamb’sLaidley Worm of Spindleston Heugh,Ballads,I, 386, and cf. p. 772, above.[359]Ballads,III, 128.[360]Ballads,IV, 161.[361]Ballads,IV, 143 f.[362]Cf. p. 757, above.[363]Ballads,V, iv.[364]Ballads,III, 148-149.[365]Cf. p. 767, above.[366]Ballads,III, 225.[367]I, 88.[368]Ballads,III, 173.[369]II, 56.[370]Ballads,II, 30.[371]II, 275.[372]Ballads,I, ix, n.[373]Cf. p. 762, above.[374]Ballads,I, 306 n.[375]Ballads,II, 220.[376]Ballads,I, 270.[377]SeeI, 62, and, for the omitted couplets,I, 80-81.[378]Ballads,I, 265.[379]Ballads,II, 22.[380]II, 260. See, also, the comments on Jamieson’sChild Rowland and Burd Ellen,Ballads,I, 416, andEnglish and Scottish Popular Ballads,V, 201, n.[381]Cf. p. 769, above.[382]Ballads,I, 256.[383]Ballads,II, 115.[384]Ballads,II, 64.[385]Ballads,II, 45.[386]Ballads,VII, 194.[387]Cf. the comment onThe Hunting of the Cheviot,Ballads,VII, 25.[388]Ballads,IV, 17. For the later comment, see p. 777, above.[389]Ballads,VI, 22.[390]Ballads,III, 148-149.[391]“Excepting the two satirical stanzas with which Scott’s version (C) concludes.”[392]See also the comment in theBallads, quoted p. 804, below.[393]The numbers in brackets are those affixed to the ballads in the later collection.

[134]Modern Philology,I, 377 f.

[135]Professor Gummere inModern Philology,I, 378.

[136]III, 303.

[137]II, 136.

[138]I, vii.

[139]II, 296.

[140]II, 263. An old woman (the reciter of E) knewChield Moriceas a child, but later learnedGil Moricewhich began to be more fashionable.II, 264.

[141]II, 464, n.

[142]V, 178.

[143]I, 119.

[144]IV, 231.

[145]I, 89. See also the comment on Apollodorus and the Cretan fairy-tale,I, 337, quoted, p. 774, below.

[146]II, 346.

[147]I, 435.

[148]Quoted,III, 254.

[149]I, 360.

[150]II, 173.

[151]II, 170.

[152]II, 368.

[153]IV, 255, n.

[154]IV, 255.

[155]IV, 256. Cf. B 10, D 10, E 19; F 11; E 10, F 6.

[156]II, 441.

[157]IV, 144.

[158]I, 391.

[159]I, 34.

[160]I, 257.

[161]II, 478.

[162]Cf.I, 444 f.

[163]III, 403.

[164]III, 410.

[165]II, 441.

[166]III, 305.

[167]III, 334.

[168]III, 334, n.

[169]V, 21.

[170]I, 404.

[171]I, 455.

[172]I, 391.

[173]II, 180.

[174]II, 424.

[175]II, 480.

[176]The comparison of broadsides with traditional versions is instructive. SeeI, A, a, b, c; 10, A, a; 45, B; 53, L, M; 73, D; 104, B, 112, E (andII, 491); 110, A; 145, C; 151; 152; 153; 162, B; 167, B; 268. Much of the later Robin Hood poetry looks like “char-work done for the petty press” (III, 42).Robin Hood Rescuing Will Stutly(141) “is a ballad made for print, with little of the traditional in the matter and nothing in the style” (III, 185).

[177]II, 480.

[178]I, 335.

[179]“Jamieson was not always precise in the account he gave of the changes he made in his texts” (IV, 255). Cf. alsoI, 138.

[180]Stanzas 20, 21, 27, etc.I, 119. Cf.II, 83.

[181]I, 297.

[182]II, 63 f.

[183]I, 335.

[184]II, 302.

[185]I, 112.

[186]IV, 5.

[187]I, 138.

[188]III, 472.

[189]II, 428.

[190]IV, 39. Cf.II, 317.

[191]II, 226.

[192]III, 276.

[193]V, 2.

[194]II, 19.

[195]III, 96.

[196]IV, 156.

[197]IV, 178.

[198]V, 309.

[199]III, 42.

[200]III, 103.

[201]III, 159.

[202]I, 320.

[203]III, 206.

[204]V, 168.

[205]III, 305.

[206]I, 455.

[207]V, 1.

[208]IV, 437.

[209]I, 335.

[210]II, 302.

[211]III, 486.

[212]V, 12. Cf. alsoI, 35,IV, 10, 142, 401, for passages condemned as “modern.”

[213]III, 140.

[214]II, 342.

[215]V, 182.

[216]Communicated by the Rev. Mr Lamb to Hutchinson “with this harmless preamble: ‘a song 500 years old, made by the old Mountain Bard, Duncan Frasier, living on Cheviot,A. D.1270.’”

[217]I, 308.

[218]III, 42.

[219]I, 46; examples follow.

[220]II, 170, n.

[221]I, 336.

[222]I, 337.

[223]V, 59.

[224]V, 48.

[225]II, 7.

[226]II, 416.

[227]I, 142.

[228]Examples,I, 143.

[229]I, 1.

[230]II, 478.

[231]III, 159.

[232]III, 235.

[233]I, 121.

[234]II, 19.

[235]III, 366.

[236]IV, 51.

[237]III, 317.

[238]III, 304.

[239]III, 417.

[240]III, 410.

[241]IV, 359.

[242]III, 265 f.

[243]I, 320.

[244]I, 193.

[245]II, 67.

[246]I, 67.

[247]III,

[248]IV, 401.

[249]V, 182.

[250]III, 49 f.

[251]III, 51.

[252]III, 293.

[253]III, 220.

[254]V, 166.

[255]IV, 391.

[256]IV, 393.

[257]IV, 401.

[258]IV, 415.

[259]IV, 423.

[260]IV, 434.

[261]III, 49.

[262]III, 40.

[263]IV, 10.

[264]Cf.III, 225.

[265]III, 381.

[266]III, 165.

[267]III, 197.

[268]II, 296.

[269]IV, 161.

[270]I, 253. Cf. alsoIII, 258.

[271]II, 263.

[272]III, 381.

[273]II, 83.

[274]I, 34.

[275]II, 302.

[276]V, 156 f.

[277]Universal Cyclopædia, “Ballad Poetry.” The lyrical element is of equal importance; see p. 790, below.

[278]IV, 126.

[279]V, 165.

[280]IV, 192. [The Broom of Cowdenknows (217)].

[281]IV, 63. [The Gypsie Laddie (200)].

[282]I, 82.

[283]II, 260.

[284]Surely betteras ballad. Cf. p. 796, below.

[285]II, 18.

[286]II, 7.

[287]V, 178.

[288]IV, 435.

[289]IV, 145.

[290]III, 317.

[291]II, 373.

[292]II, 342.

[293]II, 355.

[294]II, 302.

[295]III, 51.

[296]III, 486.

[297]III, 95.

[298]IV, 362.

[299]II, 378.

[300]V, 59.

[301]IV, 301, n.

[302]IV, 301, n.

[303]IV, 434.

[304]I, 320, n.

[305]IV, 186.

[306]I, 167.

[307]I, 88.

[308]I, 112

[309][The true ballad has little to say of mental states.]

[310]IV, 5. The stanza reads:But he’s taen aff his gude steel cap,And thrice he’s waved it in the air;The Dinlay snaw was neer mair whiteNor the lyart locks of Harden’s hair.

[310]IV, 5. The stanza reads:

But he’s taen aff his gude steel cap,And thrice he’s waved it in the air;The Dinlay snaw was neer mair whiteNor the lyart locks of Harden’s hair.

But he’s taen aff his gude steel cap,

And thrice he’s waved it in the air;

The Dinlay snaw was neer mair white

Nor the lyart locks of Harden’s hair.

[311]IV, 10.

[312]II, 430.

[313]II, 428.

[314]IV, 145.

[315]I, 297.

[316]Cf.II, 83, 317;IV, 39.

[317]See theIndex of Matters and Literature,V, 474 f.

[318]II, 309, n.

[319]III, 96.

[320]IV, 426.

[321]IV, 391.

[322]IV, 435.

[323]II, 227.

[324]II, 238.

[325]V, 59.

[326]IV, 145.

[327]V, 168.

[328]I, 329.

[329]IV, 301.

[330]I, 253.

[331]III, 53.

[332]III, 258.

[333]II, 296.

[334]V, 59.

[335]III, 305.

[336]II, 67.

[337]II, 260.

[338]I, 358.

[339]III, 129.

[340]V, 201.

[341]IV, 75.

[342]II, 204, n.

[343]I, 7. See the foot-note for Professor Child’s longest discussion of the burden.

[344]Sheath and Knife(16), also, was accessible but omitted.

[345]Ballads,I, xi, n. “Certain short romances which formerly stood in the First Book, have been dropped from this second Edition [1860], in order to give the collection a homogeneous character.”Ballads[1860],I, xii.

[346]“A song,”II, 317. (Where merely volume and page are given the reference is still to the later collection; references to the earlier are preceded by the wordBallads.)

[347]II, 16.

[348]II, 429.

[349]V, 34, n.

[350]Ballads,III, 360.

[351]Ballads,VI, 263.

[352]Ballads,III, 61.

[353]IV, 142.

[354]Ballads,I, 341.

[355]I, 218, n.

[356]Ballads,III, 293.

[357]Ballads,VI, 220. Cf. Mr Andrew Lang’s plea forAuld Maitland,Folk-Lore,XIII, 191 ff.

[358]See also the comments on the Rev. Mr Lamb’sLaidley Worm of Spindleston Heugh,Ballads,I, 386, and cf. p. 772, above.

[359]Ballads,III, 128.

[360]Ballads,IV, 161.

[361]Ballads,IV, 143 f.

[362]Cf. p. 757, above.

[363]Ballads,V, iv.

[364]Ballads,III, 148-149.

[365]Cf. p. 767, above.

[366]Ballads,III, 225.

[367]I, 88.

[368]Ballads,III, 173.

[369]II, 56.

[370]Ballads,II, 30.

[371]II, 275.

[372]Ballads,I, ix, n.

[373]Cf. p. 762, above.

[374]Ballads,I, 306 n.

[375]Ballads,II, 220.

[376]Ballads,I, 270.

[377]SeeI, 62, and, for the omitted couplets,I, 80-81.

[378]Ballads,I, 265.

[379]Ballads,II, 22.

[380]II, 260. See, also, the comments on Jamieson’sChild Rowland and Burd Ellen,Ballads,I, 416, andEnglish and Scottish Popular Ballads,V, 201, n.

[381]Cf. p. 769, above.

[382]Ballads,I, 256.

[383]Ballads,II, 115.

[384]Ballads,II, 64.

[385]Ballads,II, 45.

[386]Ballads,VII, 194.

[387]Cf. the comment onThe Hunting of the Cheviot,Ballads,VII, 25.

[388]Ballads,IV, 17. For the later comment, see p. 777, above.

[389]Ballads,VI, 22.

[390]Ballads,III, 148-149.

[391]“Excepting the two satirical stanzas with which Scott’s version (C) concludes.”

[392]See also the comment in theBallads, quoted p. 804, below.

[393]The numbers in brackets are those affixed to the ballads in the later collection.

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