A Collection of Ballads by Andrew Lang (win 10 ebook reader txt) 📖

the prime, She was dead herselfe ere evensong time.”

 

Probably the English is the earlier version.

THE BONNIE EARL OF MURRAY

Huntly had a commission to apprehend the Earl, who was in the disgrace of James VI. Huntly, as an ally of Bothwell, asked him to surrender at Donibristle, in Fife; he would not yield to his private enemy, the house was burned, and Murray was slain, Huntly gashing his face. “You have spoiled a better face than your own,” said the dying Earl (1592). James Melville mentions contemporary ballads on the murder. Ramsay published the ballad in his Tea Table Miscellany, and it is often sung to this day.

CLERK SAUNDERS

First known as published in Border Minstrelsy (1802). The apparition of the lover is borrowed from “Sweet Willie’s Ghost.” The evasions practised by the lady, and the austerities vowed by her have many Norse, French, and Spanish parallels in folk-poetry. Scott’s version is “made up” from several sources, but is, in any case, verse most satisfactory as poetry.

 

WALY, WALY

 

From Ramsay’s Tea Table Miscellany, a curiously composite gathering of verses. There is a verse, obviously a variant, in a sixteenth century song, cited by Leyden. St. Anthon’s Well is on a hill slope of Arthur’s Seat, near Holyrood. Here Jeanie Deans trysted with her sister’s seducer, in The Heart of Midlothian. The Cairn of Nichol Mushat, the wife-murderer, is not far off. The ruins of Anthony’s Chapel are still extant.

LOVE GREGOR

There are French and Romaic variants of this ballad. “Lochroyal,” where the ballad is localized, is in Wigtownshire, but the localization varies. The “tokens” are as old as the Return of Odysseus, in the Odyssey: his token is the singular construction of his bridal bed, attached by him to a living tree-trunk. A similar legend occurs in Chinese. See Gerland’s Alt-Giechische Marchen.

 

THE QUEEN’S MARIE—MARY HAMILTON

 

A made-up copy from Scott’s edition of 1833. This ballad has caused a great deal of controversy. Queen Mary had no Mary Hamilton among her Four Maries. No Marie was executed for child-murder. But we know, from Knox, that ballads were recited against the Maries, and that one of the Mary’s chamberwomen was hanged, with her lover, a pottinger, or apothecary, for getting rid of her infant. These last facts were certainly quite basis enough for a ballad, the ballad echoing, not history, but rumour, and rumour adapted to the popular taste. Thus the ballad might have passed unchallenged, as a survival, more or less modified in time, of Queen Mary’s period. But in 1719 a Mary Hamilton, a Maid of Honour, of Scottish descent, was executed in Russia, for infanticide. Charles Kirkpatrick Sharpe conceived that this affair was the origin of the ballad, and is followed by Mr. Child.

We reply (1) The ballad has almost the largest number of variants on record. This is a proof of antiquity. Variants so many, differing in all sorts of points, could not have arisen between 1719, and the age of Burns, who quotes the poem.

(2) This is especially improbable, because, in 1719, the old vein of ballad poetry had run dry, popular song had chosen other forms, and no literary imitator could have written Mary Hamilton in 1719.

(3) There is no example of a popular ballad in which a contemporary event, interesting just because it is contemporary, is thrown back into a remote age.

(4) The name, Mary Hamilton, is often NOT given to the heroine in variants of the ballad. She is of several names and ranks in the variants.

(5) As Mr. Child himself remarked, the “pottinger” of the real story of Queen Mary’s time occurs in one variant. There was no “pottinger” in the Russian affair.

All these arguments, to which others might be added, seem fatal to the late date and modern origin of the ballad, and Mr. Child’s own faith in the hypothesis was shaken, if not overthrown.

KINMONT WILLIE

From The Border Minstrelsy. The account in Satchells has either been based on the ballad, or the ballad is based on Satchells. After a meeting, on the Border of Salkeld of Corby, and Scott of Haining, Kinmont Willie was seized by the English as he rode home from the tryst. Being “wanted,” he was lodged in Carlisle Castle, and this was a breach of the day’s truce. Buccleugh, as warder, tried to obtain Willie’s release by peaceful means. These failing, Buccleugh did what the ballad reports, April 13, 1596. Harden and Goudilands were with Buccleugh, being his neighbours near Branxholme. Dicky of Dryhope, with others, Armstrongs, was also true to the call of duty. A few verses in the ballad are clearly by aut Gualterus aut diabolus, and none the worse for that. Salkeld, of course, was not really slain; and, if the men were “left for dead,” probably they were not long in that debatable condition. In the rising of 1745 Prince Charlie’s men forded Eden as boldly as Buccleuch, the Prince saving a drowning Highlander with his own hand.

JAMIE TELFER

Scott, for once, was wrong in his localities. The Dodhead of the poem is NOT that near Singlee, in Ettrick, but a place of the same name, near Skelfhill, on the southern side of Teviot, within three miles of Stobs, where Telfer vainly seeks help from Elliot. The other Dodhead is at a great distance from Stobs, up Borthwick Water, over the tableland, past Clearburn Loch and Buccleugh, and so down Ettrick, past Tushielaw. The Catslockhill is not that on Yarrow, near Ladhope, but another near Branxholme, whence it is no far cry to Branxholme Hall. Borthwick Water, Goudilands (below Branxholme), Commonside (a little farther up Teviot), Allanhaugh, and the other places of the Scotts, were all easily “warned.” There are traces of a modern hand in this excellent ballad. The topography is here corrected from MS. notes in a first edition of the Minstrelsy, in the library of Mr. Charles Grieve at Branxholme’ Park, a scion of “auld Jock Grieve” of the Coultart Cleugh. Names linger long in pleasant Teviotdale.

THE DOUGLAS TRAGEDY

The ballad has Norse analogues, but is here localized on the Douglas Burn, a tributary of Yarrow on the left bank. The St. Mary’s Kirk would be that now ruinous, on St. Mary’s Loch, the chapel burned by the Lady of Branxholme when she

 

“gathered a band Of the best that would ride at her command,”

 

in the Lay of the Last Minstrel. The ancient keep of Blackhouse on Douglas Burn may have been the home of the heroine, if we are to localize.

THE BONNY HIND

Herd got this tragic ballad from a milkmaid, in 1771. Mr. Child quotes a verse parallel, preserved in Faroe, and in the Icelandic. There is a similar incident in the cycle of Kullervo, in the Finnish Kalevala. Scott says that similar tragedies are common in Scotch popular poetry; such cases are “Lizzie Wan,” and “The King’s Dochter, Lady Jean.” A sorrow nearly as bitter occurs in the French “Milk White Dove”: a brother kills his sister, metamorphosed into a white deer. “The Bridge of Death” (French) seems to hint at something of the same kind; or rather the Editor finds that he has arbitrarily read “The Bonny Hind” into “Le Pont des Morts,” in Puymaigre’s Chants Populaires du Pays Messin, p. 60. (Ballads and Lyrics of Old France, p. 63)

 

YOUNG BEICHAN, OR YOUNG BICHAM

 

This is the original of the Cockney Loving Ballad of Lord Bateman, illustrated by Cruikshank, and by Thackeray. There is a vast number of variants, evidence to the antiquity of the story. The earliest known trace is in the familiar legend of the Saracen lady, who sought and found her lover, Gilbert Becket, father of Thomas a Becket, in London (see preface to Life of Becket, or Beket), Percy Society, 1845. The date may be circ. 1300. The kind of story, the loving daughter of the cruel captor, is as old as Medea and Jason, and her search for her lover comes in such Marchen as “The Black Bull o’ Norraway.” No story is more widely diffused (see A Far Travelled Tale, in the Editor’s Custom and Myth). The appearance of the “True Love,” just at her lover’s wedding, is common in the Marchen of the world, and occurs in a Romaic ballad, as well as in many from Northern Europe. The “local colour”—the Moor or Saracen—is derived from Crusading times, perhaps. Motherwell found the ballad recited with intervals of prose narrative, as in Aucassin and Nicolette. The notes to Cruikshank’s Loving Ballad are, obviously, by Thackeray.

 

THE BONNY HOUSE O’ AIRLY

 

Lord Airly’s houses were destroyed by Argyll, representing the Covenanters, and also in pursuance of a private feud, in 1639, or 1640. There are erroneous versions of this ballad, in which Lochiel appears, and the date is, apparently, transferred to 1745. Montrose, in his early Covenanting days, was not actually concerned in the burning of the Bonnie House, which he, when a Royalist, revenged on the possessions of “gleyed Argyll.” The reference to “Charlie” is out of keeping; no one, perhaps, ever called Charles I. by that affectionate name. Lady Ogilvie had not the large family attributed to her: her son, Lord Ogilvie, escaped from prison in the Castle of St. Andrews, after Philiphaugh. A Lord Ogilvie was out in 1745; and, later, had a regiment in the French Service. Few families have a record so consistently loyal.

ROB ROY

The abductors of the widowed young heiress of Edenhelly were Rob’s sons, Robin Oig, who went through a form of marriage with the girl, and James Mohr, a good soldier, but a double-dyed spy and scoundrel. Robin Oig was hanged in 1753. James Mohr, a detected traitor to Prince Charles, died miserably in Paris, in 1754. Readers of Mr. Stevenson’s Catriona know James well; information as to his villanies is extant in Additional MSS. (British Museum). This is probably the latest ballad in the collection. It occurs in several variants, some of which, copied out by Burns, derive thence a certain accidental interest. In Mr. Stevenson’s Catriona, the heroine of that name takes a thoroughly Highland view of the abduction. Robin Oig, in any case, was “nane the waur o’ a hanging,” for he shot a Maclaren at the plough-tail, before the Forty-Five. The trial of these sons of Alpen was published shortly after Scott’s Rob Roy.

KILLIECRANKIE

Fought on July 27, 1689. NOT on the haugh near the modern road by the railway, but higher up the hill, in the grounds of Urrard House. Two shelter trenches, whence Dundee’s men charged, are still visible, high on the hillside above Urrand. There is said, by Mr. Child, to have been a contemporary broadside of the ballad, which is an example of the evolution of popular ballads from the old traditional model. There is another song, by, or attributed to, Burns, and of remarkable spirit and vigour.

ANNAN WATER

From The Border Minstrelsy Scott says that these are the original words of the tune of “Allan Water,” and that he has added two verses from a variant with a fortunate conclusion. “Allan Water” is a common river name; the stream so called joins Teviot above Branxholme. Annan is the large stream that flows into the Solway Frith. The Gate-slack, in Annandale, fixes the locality.

THE ELPHIN NOURRICE

This curious poem is taken from the reprint of Charles Kirkpatrick Sharpe’s tiny Ballad Book, itself now almost introuvable. It does not, to the Editor’s knowledge, occur elsewhere, but is probably authentic. The view of the Faery Queen is more pleasing and sympathetic than usual. Why mortal women were desired as nurses (except to attend on stolen mortal children, kept to “pay the Kane to hell”) is not obvious. Irish beliefs are precisely similar; in England they are of frequent occurrence.

JOHNNIE ARMSTRANG