This e-text uses UTF-8 (Unicode) file encoding. If the quotation marks in this paragraph appear as garbage, you may have an incompatible browser or unavailable fonts. First, make sure that the browser’s “character set” or “file encoding” is set to Unicode (UTF-8). You may also need to change your browser’s default font. A few typographical errors have been corrected. They have been marked in the text with mouse-hover popups. The two Greek passages are similarly transliterated. All [bracketed words] are in the original, including the Sidenote references in the Appendix. Uniform with this VolumePOPULAR BALLADS OF THE OLDEN TIMEFirst Series. Ballads of Romance and Chivalry.‘It forms an excellent introduction to a sadly neglected source of poetry.... We ... hope that it will receive ample encouragement.’ —AthenÆum. ‘It will certainly, if carried out as it is begun, constitute a boon to the lover of poetry.... We shall look with anxiety for the following volumes of what will surely be the best popular edition in existence.’ —Notes and Queries. ‘There can be nothing but praise for the selection, editing, and notes, which are all excellent and adequate. It is, in fine, a valuable volume of what bids fair to be a very valuable series.’ —Academy. ‘The most serviceable edition of the ballads yet published in England.’ —Manchester Guardian. ‘Gar print me ballants weel, she said, Gar print me ballants many.’ A. H. BULLEN |
PAGE | |
Preface | ix |
Ballads in the Second Series | x |
Additional Note on Ballad Commonplaces | xvi |
THOMAS RYMER | 1 |
THE QUEEN OF ELFAN’S NOURICE | 6 |
ALLISON GROSS | 9 |
THE LAILY WORM AND THE MACHREL OF THE SEA | 12 |
KEMP OWYNE | 16 |
WILLIE’S LADY | 19 |
THE WEE WEE MAN | 24 |
COSPATRICK | 26 |
YOUNG AKIN | 32 |
THE UNQUIET GRAVE | 41 |
CLERK COLVEN | 43 |
TAM LIN | 47 |
THE CLERK’S TWA SONS O’ OWSENFORD | 56 |
The Wife of Usher’s Well | 60 |
THE GREAT SILKIE OF SULE SKERRIE | 63 |
CLERK SANDERS | 66 |
YOUNG HUNTING | 74 |
THE THREE RAVENS | 80 |
The Twa Corbies | 82 |
83 | |
THE LYKE-WAKE DIRGE | 88 |
THE BONNY EARL OF MURRAY | 92 |
BONNIE GEORGE CAMPBELL | 95 |
THE LAMENT OF THE BORDER WIDOW | 97 |
BONNY BEE HO’M | 100 |
The Lowlands of Holland | 102 |
FAIR HELEN OF KIRCONNELL | 104 |
SIR HUGH, OR THE JEW’S DAUGHTER | 107 |
THE DÆMON LOVER | 112 |
THE BROOMFIELD HILL | 115 |
WILLIE’S FATAL VISIT | 119 |
ADAM | 123 |
SAINT STEPHEN AND KING HEROD | 125 |
THE CHERRY-TREE CAROL | 129 |
THE CARNAL AND THE CRANE | 133 |
DIVES AND LAZARUS | 139 |
BROWN ROBYN’S CONFESSION | 143 |
JUDAS | 145 |
THE MAID AND THE PALMER | 152 |
LADY ISABEL AND THE ELF-KNIGHT | 155 |
A NOBLE RIDDLE WISELY EXPOUNDED | 159 |
CAPTAIN WEDDERBURN | 162 |
THE ELPHIN KNIGHT | 170 |
KING JOHN AND THE ABBOT | 173 |
THE FAUSE KNIGHT UPON THE ROAD | 180 |
THE LORD OF LEARNE | 182 |
THE BAILIFF’S DAUGHTER OF ISLINGTON | 202 |
GLENLOGIE | 205 |
KING ORFEO | 208 |
THE BAFFLED KNIGHT | 212 |
215 | |
THE FRIAR IN THE WELL | 221 |
THE KNIGHT AND THE SHEPHERD’S DAUGHTER | 224 |
GET UP AND BAR THE DOOR | 231 |
Appendix | 235 |
The Grey Selchie of Shool Skerry | 235 |
The Lyke-wake Dirge | 238 |
Index of Titles | 245 |
Index of First Lines | 247 |
PREFACE
The issue of this second volume of Popular Ballads of the Olden Time has been delayed chiefly by the care given to the texts, in most instances the whole requiring to be copied by hand.
I consider myself fortunate to be enabled, by the kind service of my friend Mr. A. Francis Steuart, to print for the first time in a collection of ballads the version of the Grey Selchie of Shool Skerry given in the Appendix. It is a feather in the cap of any ballad-editor after Professor Child to discover a ballad that escaped his eye.
My thanks are also due to the Rev. Professor W. W. Skeat for assistance generously given in connection with the ballad of Judas; and, as before, to Mr. A. H. Bullen.
F. S.
BALLADS IN THE SECOND SERIES
The ballads in the present volume have been classified roughly so as to fall under the heads (i) Ballads of Superstition and of the Supernatural, including Dirges (pp. 1-122); (ii) Ballads of Sacred Origin (pp. 123-154); (iii) Ballads of Riddle and Repartee (pp. 155-181); and (iv) a few ballads, otherwise almost unclassifiable, collected under the title of ‘Fyttes of Mirth,’ or Merry Ballads (pp. 182 to end).
I
That the majority of the ballads in the first section are Scottish can hardly cause surprise. Superstition lurks amongst the mountains and in the corners of the earth. And, with one remarkable exception, all the best lyrical work in these ballads of the supernatural is to be found in the Scots. Thomas Rymer, Tam Lin, The Wife of Usher’s Well, Clerk Sanders, and The DÆmon Lover, are perhaps the most notable examples amongst the ballads proper, and Fair Helen of Kirconnell, The Twa Corbies, and Bonnie George
‘For dulness, the creeping Saxons;
For beauty and amorousness, the Gaedhills.’
But the exception referred to above, The Unquiet Grave, is true English, and yet lyrical, singing itself, like a genuine ballad, to a tune as one reads.
The complete superstition hinted at in this ballad should perhaps be stated more fully. It is obvious that excessive mourning is fatal to the peace of the dead; but it is also to be noticed that it is almost equally fatal to the mourner. The mourner in The Unquiet Grave is refused the kiss demanded, as it will be fatal. Clerk Sanders, on the other hand, has lost—if ever it possessed—any trace of this doctrine. For Margret does not die; though she would have died had she kissed him, we notice, and the kiss was demanded by her and refused by him: and Clerk Sanders is only disturbed in his grave because he has not got back his troth-plight. The method of giving this back—the stroking of a wand—we have had before in The Brown Girl (First Series, pp. 60-62, st. 14).
In the Helgi cycle of Early Western epics (Corpus Poeticum Boreale, vol. i. pp. 128 ff.), Helgi the hero is slain, and returns as a ghost to
The subject of the Lyke-wake would easily bear a monograph to itself, and at present I know of none. I have therefore ventured, in choosing Aubrey’s version in place of the better known one printed—and doubtless written over—by Sir Walter Scott, to give rather fuller information concerning the Dirge, its folklore, and its bibliography. A short study of the ramifications of the various superstitions incorporated therein leads to a sort of surprise that there is no popular ballad treating of the subject of St. Patrick’s Purgatory, which has attracted more than one English poet. Thomas Wright’s volume on the subject, however, is delightful and instructive reading.
II
The short section of Ballads of Sacred Origin contains all that we possess in England—notice that only two have Scottish variants, even fragmentary—and somewhat more than can be classified as ballads with strictness. Yet I would fain have added other of our ‘masterless’ carols, which to-day seem to survive chiefly in the West of England. One of their best lovers, Mr. Quiller-Couch, has complained that, after promising
The Maid and the Palmer would appear to be the only ballad of Christ’s wanderings on the earth that we possess, just as Brown Robyn’s Confession is the only one of the miracles of the Virgin. One may guess, however, that others have descended rapidly into nursery rhymes, as in the case of one, noted in J. O. Halliwell’s collection, which, in its absence, may be called The Owl, or the Baker’s Daughter. For Ophelia knew that they said the owl was the baker’s daughter. And the story of her metamorphosis is exactly paralleled by the Norse story of Gertrude’s Bird, translated by Dasent.
Gertrude was an old woman with a red mutch on her head, who was kneading dough, when Christ came wandering by, and asked for a small
III
The Ballads of Riddle and Repartee do not amount to very many in our tongue. But they contain riddles which may be found in one form or another in nearly every folklore on the earth. Even Samson had a riddle. Always popular, they seem to have been especial favourites in early Oriental literature, in the mediÆval Latin races, and, in slightly more modern times, amongst the Teutonic and Scandinavian peoples. Perhaps King John and the Abbot is the best English specimen, for it is to-day as pleasing to an audience as it can ever have been. But Lady Isabel and the Elf Knight, better known as May
IV
The ‘Fyttes of Mirth’ conclude the present volume. It may be as well to say here that I have placed under this head any ballad that tells of a successful issue and has a happy ending or mirthful climax.
The version I have given of that famous ballad The Lord of Learne (or, more commonly, Lorne) is most enchanting in its naÏvetÉ, and, when read aloud or recited, is exceedingly effective. The curious remark that the affectionate parting between the young Lord and his father and mother would have changed even a Jew’s heart; the picturesque description of the siege of the castle, so close that ‘a swallow could not have flown away’; the sudden descent from romance to a judicial trial; the remarkable assumption by the foreman of the jury of the privileges of a judge; and the thoroughly satisfactory description of the false steward’s execution—
‘I-wis they did him curstly cumber!’
—all these help to form the ever-popular Lord of Learne.
The remaining ‘Fyttes of Mirth’ are mostly well known, and require no further comment.
ADDITION TO GLOSSARY OF
BALLAD COMMONPLACES
(See First Series, pp. xlvi-li)
The late Professor York Powell explained to me, since the note on ‘gare’ (First Series, p. 1) was written, that the word means exactly what is meant by ‘gore’ in modern dressmaking. The antique skirt was made of four pieces: two cut square, to form the front and the back; and two of a triangular shape, to fill the space between, the apex of the triangle, of course, being at the waist. Thus a knife that ‘hangs low down’ by a person’s ‘gare,’ simply means that the knife hung at the side and not in front.
THOMAS RYMER
The Text.—The best-known text of this famous ballad is that given by Scott in the Minstrelsy of the Scottish Border, derived ‘from a copy obtained from a lady residing not far from Erceldoune, corrected and enlarged by one in Mrs. Brown’s MS.’ Scott’s ballad is compounded, therefore, of a traditional version, and the one here given, from the Tytler-Brown MS., which was printed by Jamieson with a few changes. It does not mention Huntlie bank or the Eildon tree. Scott’s text may be seen printed parallel with Jamieson’s in Professor J. A. H. Murray’s book referred to below.
The Story .—As early as the fourteenth century there lived a Thomas of Erceldoune, or Thomas the Rhymer, who had a reputation as a seer and prophet. His fame was not extinct in the nineteenth century, and a collection of prophecies by him and Merlin and others, first issued in 1603, could be found at the beginning of that century ‘in most farmhouses in Scotland’ (Murray, The Romance and Prophecies of Thomas of Erceldoune, E.E.T.S., 1875). The existence of a Thomas de Ercildoun, son and heir of Thomas Rymour de Ercildoun, both living during the thirteenth century, is recorded in contemporary documents.
A poem, extant in five manuscripts (all printed by Murray as above), of which the earliest was written about the middle of the fifteenth century, relates that
The poem contains references to a still earlier story, which probably narrated only the episode of Thomas’s adventure in Elfland, and to which the prophecies of Thomas Rymour of Ercildoun were added at a later date. The story of Thomas and the Queen of Elfland is only another version of a legend of Ogier le Danois and Morgan the Fay.
Our ballad is almost certainly derived directly from the poem, and the version here given is not marred by the repugnant ending of Scott’s ballad, where Thomas objects to the gift of a tongue that can never lie. But Scott’s version retains Huntlie bank and the Eildon tree, both mentioned in the old poem, and both exactly located during last century at the foot of the Eildon Hills, above Melrose (see an interesting account in Murray, op. cit., Introduction, pp. l-lii and footnotes).
THOMAS RYMER
1.
True Thomas lay o’er yond grassy bank,
And he beheld a ladie gay,
A ladie that was brisk and bold,
Come riding o’er the fernie brae.
2.
2.3 ‘tett,’ lock or bunch of hair.
Her skirt was of the grass-green silk,
Her mantel of the velvet fine,
At ilka tett of her horse’s mane
Hung fifty silver bells and nine.
3.
True Thomas he took off his hat,
And bowed him low down till his knee:
‘All hail, thou mighty Queen of Heaven!
For your peer on earth I never did see.’
4.
‘O no, O no, True Thomas,’ she says,
‘That name does not belong to me;
I am but the queen of fair Elfland,
And I’m come here for to visit thee.
5.
‘But ye maun go wi’ me now, Thomas,
True Thomas, ye maun go wi’ me,
For ye maun serve me seven years,
Thro’ weel or wae, as may chance to be.’
6.
She turned about her milk-white steed,
And took True Thomas up behind,
And aye whene’er her bridle rang,
The steed flew swifter than the wind.
7.
7 is 15 in the MS.
For forty days and forty nights
He wade thro’ red blude to the knee,
And he saw neither sun nor moon,
But heard the roaring of the sea.
8.
8.2 ‘garden’: ‘golden green, if my copy is right.’ —Child.
O they rade on, and further on,
Until they came to a garden green:
‘Light down, light down, ye ladie free,
Some of that fruit let me pull to thee.’
9.
‘O no, O no, True Thomas,’ she says,
‘That fruit maun not be touched by thee,
For a’ the plagues that are in hell
Light on the fruit of this countrie.
10.
‘But I have a loaf here in my lap,
Likewise a bottle of claret wine,
And now ere we go farther on,
We’ll rest a while, and ye may dine.’
11.
11.4 ‘fairlies,’ marvels.
When he had eaten and drunk his fill;
‘Lay down your head upon my knee,’
The lady sayd, ‘ere we climb yon hill,
And I will show you fairlies three.
12.
‘O see not ye yon narrow road,
So thick beset wi’ thorns and briers?
That is the path of righteousness,
Tho’ after it but few enquires.
13.
13.2 ‘lillie leven,’ smooth lawn set with lilies.
‘And see not ye that braid braid road,
That lies across yon lillie leven?
That is the path of wickedness,
Tho’ some call it the road to heaven.
14.
‘And see not ye that bonny road,
Which winds about the fernie brae?
That is the road to fair Elfland,
Where you and I this night maun gae.
15.
‘But, Thomas, ye maun hold your tongue,
Whatever you may hear or see,
For gin ae word you should chance to speak,
You will ne’er get back to your ain countrie.’
16.
16.1 ‘even cloth,’ cloth with the nap worn off.
He has gotten a coat of the even cloth,
And a pair of shoes of velvet green,
And till seven years were past and gone
True Thomas on earth was never seen.
THE QUEEN OF ELFAN’S NOURICE
The Text.—As printed in Sharpe’s Ballad Book, from the Skene MS. (No. 8). It is fragmentary—regrettably so, especially as stanzas 10-12 belong to Thomas Rymer.
The Story is the well-known one of the abduction of a young mother to be the Queen of Elfland’s nurse. Fairies, elves, water-sprites, and nisses or brownies, have constantly required mortal assistance in the nursing of fairy children. Gervase of Tilbury himself saw a woman stolen away for this purpose, as she was washing clothes in the Rhone.
The genuineness of this ballad, deficient as it is, is best proved by its lyrical nature, which, as Child says, ‘forces you to chant, and will not be read.’
‘Elfan,’ of course, is Elfland; ‘nourice,’ a nurse.
THE QUEEN OF ELFAN’S NOURICE
1.
1.4 ‘ben,’ within.
‘I heard a cow low, a bonnie cow low,
An’ a cow low down in yon glen;
Lang, lang, will my young son greet
Or his mother bid him come ben.
2.
‘I heard a cow low, a bonnie cow low,
An’ a cow low down in yon fauld;
Lang, lang will my young son greet
Or his mither take him frae cauld.
*****
3.
‘.....
.....
Waken, Queen of Elfan,
An’ hear your nourice moan.’
4.
‘O moan ye for your meat,
Or moan ye for your fee,
Or moan ye for the ither bounties
That ladies are wont to gie?’
5.
‘I moan na for my meat,
Nor moan I for my fee,
Nor moan I for the ither bounties
That ladies are wont to gie.
6.
‘.....
.....
But I moan for my young son
I left in four nights auld.
7.
‘I moan na for my meat,
Nor yet for my fee,
But I mourn for Christen land,
It’s there I fain would be.’
8.
‘O nurse my bairn, nourice,’ she says,
‘Till he stan’ at your knee,
An’ ye’s win hame to Christen land,
Whar fain it’s ye wad be.
9.
9.2 i.e. till he can walk by holding on to things.
‘O keep my bairn, nourice,
Till he gang by the hauld,
An’ ye’s win hame to your young son
Ye left in four nights auld.’
*****
10.
‘O nourice lay your head
Upo’ my knee:
See ye na that narrow road
Up by yon tree?
11.
.....
.....
That’s the road the righteous goes,
And that’s the road to heaven.
12.
‘An’ see na ye that braid road,
Down by yon sunny fell?
Yon’s the road the wicked gae,
An’ that’s the road to hell.’
*****
ALLISON GROSS
The Text is that of the Jamieson-Brown MS.
The Story is one of the countless variations of the French ‘Beauty and the Beast.’ A modern Greek tale narrates that a nereid, enamoured of a youth, and by him scorned, turned him into a snake till he should find another love as fair as she.
The feature of this ballad is that the queen of the fairies should have power to undo the evil done by a witch.
ALLISON GROSS
1.
O Allison Gross, that lives in yon tow’r,
The ugliest witch i’ the north country,
Has trysted me ae day up till her bow’r,
An’ monny fair speech she made to me.
2.
She stroaked my head, an’ she kembed my hair,
An’ she set me down saftly on her knee;
Says, ‘Gin ye will be my lemman so true,
Sae monny braw things as I woud you gi’.’
3.
She show’d me a mantle o’ red scarlet,
Wi’ gouden flow’rs an’ fringes fine;
Says, ‘Gin ye will be my lemman sae true,
This goodly gift it sal be thine.’
4.
‘Awa’, awa’, ye ugly witch,
Haud far awa’, an’ lat me be;
I never will be your lemman sae true,
An’ I wish I were out o’ your company.’
5.
5.1 ‘sark,’ shirt.
She neist brought a sark o’ the saftest silk,
Well wrought wi’ pearles about the ban’;
Says, ‘Gin ye will be my ain true love,
This goodly gift you sal comman’.’
6.
She show’d me a cup o’ the good red gold,
Well set wi’ jewls sae fair to see;
Says, ‘Gin you will be my lemman sae true,
This goodly gift I will you gi’.’
7.
‘Awa’, awa’, ye ugly witch,
Had far awa’, and lat me be!
For I woudna ance kiss your ugly mouth
For a’ the gifts that you coud gi’.’
8.
She’s turn’d her right and roun’ about,
An’ thrice she blaw on a grass-green horn;
An’ she sware by the meen and the stars abeen,
That she’d gar me rue the day I was born.
9.
Then out has she ta’en a silver wand,
An’ she’s turn’d her three times roun’ and roun’;
She’s mutter’d sich words till my strength it fail’d,
An’ I fell down senceless upon the groun’.
10.
She’s turn’d me into an ugly worm,
And gard me toddle about the tree;
An’ ay, on ilka Saturday’s night,
My sister Maisry came to me;
11.
Wi’ silver bason and silver kemb,
To kemb my heady upon her knee;
But or I had kiss’d her ugly mouth,
I’d rather ’a’ toddled about the tree.
12.
12.2 ‘the seely court,’ i.e. the fairies’ court.
12.3 ‘gowany,’ daisied.
But as it fell out on last Hallow-even,
When the seely court was ridin’ by,
The queen lighted down on a gowany bank,
Nae far frae the tree where I wont to lye.
13.
She took me up in her milk-white han’,
An’ she’s stroak’d me three times o’er her knee;
She chang’d me again to my ain proper shape,
And I nae mair maun toddle about the tree.
THE LAILY WORM AND THE MACHREL OF THE SEA
The Text of this mutilated ballad is taken from the Skene MS., where it was written down from recitation in the North of Scotland about 1802.
The Story is of a double transformation of a sister and brother by a stepmother. Compare the story of The Marriage of Sir Gawaine (First Series, p. 108). Allison Gross should be compared closely with this ballad. The combing of hair seems to be a favourite method of expressing affection, not only in these ballads, but also in Scandinavian folklore. It is needless to take exception to the attribution either of hair to a worm, or of knees to a machrel: though we may note that in one version of Dives and Lazarus Dives ‘has a place prepared in hell to sit on a serpent’s knee.’ However, it is probable that a part of the ballad, now lost, stated that the machrel (whatever it may be) reassumed human shape ‘every Saturday at noon.’
THE LAILY WORM AND THE MACHREL OF THE SEA
1.
‘I was but seven year auld
When my mither she did die;
My father married the ae warst woman
The warld did ever see.
2.
2.1 etc. ‘laily’ = laidly, loathly.
‘For she has made me the laily worm,
That lies at the fit o’ the tree,
An’ my sister Masery she’s made
The machrel of the sea.
3.
‘An’ every Saturday at noon
The machrel comes to me,
An’ she takes my laily head
An’ lays it on her knee,
She kaims it wi’ a siller kaim,
An’ washes ’t in the sea.
4.
‘Seven knights hae I slain,
Sin I lay at the fit of the tree,
An’ ye war na my ain father,
The eight ane ye should be.’
5.
‘Sing on your song, ye laily worm,
That ye did sing to me:’
‘I never sung that song but what
I would sing it to thee.
6.
‘I was but seven year auld,
When my mither she did die;
My father married the ae warst woman
The warld did ever see.
7.
‘For she changed me to the laily worm,
That lies at the fit o’ the tree,
And my sister Masery
To the machrel of the sea.
8.
‘And every Saturday at noon
The machrel comes to me,
An’ she takes my laily head
An’ lays it on her knee,
An’ kames it wi’ a siller kame,
An’ washes it i’ the sea.
9.
‘Seven knights hae I slain
Sin I lay at the fit o’ the tree;
An’ ye war na my ain father,
The eighth ane ye shoud be.’
10.
He sent for his lady,
As fast as send could he:
‘Whar is my son that ye sent frae me,
And my daughter, Lady Masery?’
11.
‘Your son is at our king’s court,
Serving for meat an’ fee,
An’ your daughter’s at our queen’s court,
.....’
12.
‘Ye lie, ye ill woman,
Sae loud as I hear ye lie;
My son’s the laily worm,
That lies at the fit o’ the tree,
And my daughter, Lady Masery,
Is the machrel of the sea!’
13.
She has tane a siller wan’,
An’ gi’en him strokes three,
And he has started up the bravest knight
That ever your eyes did see.
14.
She has ta’en a small horn,
An’ loud an’ shrill blew she,
An’ a’ the fish came her untill
But the proud machrel of the sea:
‘Ye shapeit me ance an unseemly shape,
An’ ye’s never mare shape me.’
15.
He has sent to the wood
For whins and for hawthorn,
An’ he has ta’en that gay lady,
An’ there he did her burn.
KEMP OWYNE
The Text is that given (nearly literatim) by Buchan and Motherwell, and also in the MSS. of the latter.
The Story .—This adventure of Owyne (Owain, ‘the King’s son Urien,’ Ywaine, etc.), with the subsequent transformation, has a parallel in an Icelandic saga. Rehabilitation in human shape by means of a kiss is a common tale in the Scandinavian area; occasionally three kisses are necessary.
A similar ballad, now lost, but re-written by the contributor, from scraps of recitation by an old woman in Berwickshire, localises the story of the fire-drake (‘the laidly worm’) near Bamborough in Northumberland; and Kinloch said that the term ‘Childe o’ Wane’ was still applied by disconsolate damsels of Bamborough to any youth who champions them. However, Mr. R. W. Clark of Bamborough, who has kindly made inquiries for me, could find no survival of this use.
The ballad is also called ‘Kempion.’