_Hybrias (ap. Athenaeum)_.]

This brings us to the more immediate subject of the present publication.

Lesley, who dedicates to the description of border manners a chapter, which we have already often quoted, notices particularly the taste of the marchmen for music and ballad poetry. "_Placent admodum sibi sua musica, et rythmicis suis cantionibus, quas de majorum suorum gestis, aut ingeniosis predandi precandive stratagematis ipsi confingunt_.

"--Leslaeus, _in capitulo de moribus eorum, qui Scotiae limites Angliam versus incolunt_. The more rude and wild the state of society, the more general and violent is the impulse received from poetry and music. The muse, whose effusions are the amus.e.m.e.nt of a very small part of a polished nation, records, in the lays of inspiration, the history the laws, the very religion, of savages.--Where the pen and the press are wanting, the low of numbers impresses upon the memory of posterity, the deeds and sentiments of their forefathers. Verse is naturally connected with music; and, among a rude people, the union is seldom broken. By this natural alliance, the lays, "steeped in the stream of harmony," are more easily retained by the reciter, and produce upon his audience a more impressive effect. Hence, there has hardly been found to exist a nation so brutishly rude, as not to listen with enthusiasm to the songs of their bards, recounting the exploits of their forefathers, recording their laws and moral precepts, or hymning the praises of their deities. But, where the feelings are frequently stretched to the highest pitch, by the vicissitudes of a life of danger and military adventure, this predisposition of a savage people, to admire their own rude poetry and music, is heightened, and its tone becomes peculiarly determined. It is not the peaceful Hindu at his loom, it is not the timid Esquimaux in his canoe, whom we must expect to glow at the war song of Tyrtaeus.

The music and the poetry of each country must keep pace with their usual tone of mind, as well as with the state of society.

The morality of their compositions is determined by the same circ.u.mstances. Those themes are necessarily chosen by the bard, which regard the favourite exploits of the hearers; and he celebrates only those virtues, which from infancy he has been taught to admire. Hence, as remarked by Lesley, the music and songs of the borders were of a military nature, and celebrated the valour and success of their predatory expeditions. Razing, like Shakespeare's pirate, the eighth commandment from the decalogue, the minstrels praised their chieftains for the very exploits, against which the laws of the country denounced a capital doom.--An outlawed freebooter was to them a more interesting person, than the King of Scotland exerting his power to punish his depredations; and, when the characters are contrasted, the latter is always represented as a ruthless and sanguinary tyrant.--Spenser's description of the bards of Ireland applies in some degree, to our ancient border poets. "There is, among the Irish, a certain kinde of people, called bardes, which are to them instead of poets; whose profession is to set forth the praises or dispraises of men, in their poems or rhymes; the which are had in such high regard or esteem amongst them, that none dare displease them, for fear of running into reproach through their offence, and to be made infamous in the mouths of all men; for their verses are taken up with a general applause, and usually sung at all feasts and meetings, by certain other persons, whose proper function that is, who also receive, for the same, great rewardes and reputation amongst them." Spenser, having bestowed due praise upon the poets, who sung the praises of the good and virtuous, informs us, that the bards, on the contrary, "seldom use to chuse unto themselves the doings of good men for the arguments of their poems; but whomsoever they finde to be most licentious of life, most bold and lawless in his doings, most dangerous and desperate in all parts of disobedience, and rebellious disposition, him they set up and glorify in their rhythmes; him they praise to the people, and to young men make an example to follow."--_Eudoxus_--"I marvail what kind of speeches they can find, or what faces they can put on, to praise such bad persons, as live so lawlessly and licentiously upon stealths and spoyles, as most of them do; or how they can think, that any good mind will applaud or approve the same." In answer to this question, _Irenaeus_, after remarking the giddy and restless disposition of the ill educated youth of Ireland, which made them prompt to receive evil counsel, adds, that such a person, "if he shall find any to praise him, and to give him any encouragement, as those bards and rhythmers do, for little reward, or a share of a stolen cow[60], then waxeth he most insolent, and half-mad, with the love of himself and his own lewd deeds. And as for words to set forth such lewdness, it is not hard for them to give a goodly and painted show thereunto, borrowed even from the praises which are proper to virtue itself. As of a most notorious thief, and wicked outlaw, which had lived all his life-time of spoils and robberies, one of their bardes, in his praise, will say, 'that he was none of the idle milk-sops that was brought up by the fire-side, but that most of his days he spent in arms and valiant enterprizes; that he never did eat his meat, before he had won it with his sword; that he lay not all night slugging in his cabin under his mantle, but used commonly to keep others waking to defend their lives, and did light his candle at the flames of their houses to lead him in the darkness; that the day was his night, and the night his day; that he loved not to be long wooing of wenches to yield to him; but, where he came, he took by force the spoil of other men's love, and left but lamentations to their lovers; that his music was not the harp, nor lays of love, but the cries of people, and clashing of armour; and, finally, that he died, not bewailed of many, but made many wail when he died, that dearly bought his death.' Do not you think, Eudoxus, that many of these praises might be applied to men of best deserts?

Yet, are they all yielded to a most notable traitor, and amongst some of the Irish not smally accounted of."--_State of Ireland_. The same concurrence of circ.u.mstances, so well pointed out by Spenser, as dictating the topics of the Irish bards, tuned the border harps to the praise of an outlawed Armstrong, or Murray.

[Footnote 60: The reward of the Welch bards, and perhaps of those upon the border, was very similar. It was enacted by Howel Dha, that if the king's bard played before a body of warriors, upon a predatory excursion, be should receive, in recompence, the best cow which the party carried off.--_Leges Walliae_, I. 1. cap. 19.]

For similar reasons, flowing from the state of society, the reader must not expect to find, in the border ballads, refined sentiment, and, far less, elegant expression; although the stile of such compositions has, in modern hands, been found highly susceptible of both. But pa.s.sages might be pointed out, in which the rude minstrel has melted in natural pathos, or risen into rude energy. Even where these graces are totally wanting, the interest of the stories themselves, and the curious picture of manners, which they frequently present, authorise them to claim some respect from the public. But it is not the editor's present intention to enter upon a history of border poetry; a subject of great difficulty, and which the extent of his information does not as yet permit him to engage in. He will, therefore, now lay before the reader the plan of the present publication; pointing out the authorities from which his materials are derived and slightly noticing the nature of the different cla.s.ses into which he has arranged them.

The MINSTRELSY of the SCOTTISH BORDER contains Three Cla.s.ses of Poems:

I. HISTORICAL BALLADS. II. ROMANTIC. III. IMITATIONS OF THESE COMPOSITIONS BY MODERN AUTHORS.

The Historical Ballad relates events, which we either know actually to have taken place, or which, at least, making due allowance for the exaggerations of poetical tradition, we may readily conceive to have had some foundation in history. For reasons already mentioned, such ballads were early current upon the border. Barbour informs us, that he thinks it unnecessary to rehea.r.s.e the account of a victory, gained in Eskdale over the English, because

--Whasa liks, thai may her Young women, when thai will play, Syng it among thaim ilk day.--

_The Bruce_, Book XVI.

G.o.dscroft also, in his History of the House of Douglas, written in the reign of James VI., alludes more than once to the ballads current upon the border, in which the exploits of those heroes were celebrated.

Such is the pa.s.sage, relating to the death of William Douglas, Lord of Liddesdale, slain by the Earl of Douglas, his kinsman, his G.o.dson, and his chief[61]. Similar strains of lamentation were poured by the border poets over the tomb of the Hero of Otterbourne; and over the unfortunate youths, who were dragged to an ignominious death, from the very table at which they partook of the hospitality of their sovereign. The only stanza, preserved of this last ballad, is uncommonly animated--

Edinburgh castle, towne and toure, G.o.d grant thou sink for sinne!

And that even for the black dinoure, Erl Douglas gat therein.

Who will not regret, with the editor, that compositions of such interest and antiquity should be now irrecoverable? But it is the nature of popular poetry, as of popular applause, perpetually to shift with the objects of the time; and it is the frail chance of recovering some old ma.n.u.script, which can alone gratify our curiosity regarding the earlier efforts of the border muse. Some of her later strains, composed during the sixteenth century, have survived even to the present day; but the recollection of them has, of late years, become like that of "a tale which was told." In the sixteenth century, these northern tales appear to have been popular even in London; for the learned Mr. Ritson has obligingly pointed out to me the following pa.s.sages, respecting the noted ballad of _d.i.c.k o' the Cow_ (p. 157); "d.i.c.k o' the Cow, that mad demi-lance northern borderer, who plaid his prizes with the lord Jockey so bravely."--Nashe's _Have with you to Saffren-Walden, or Gabriell Harvey's Hunt is up_.--1596, 4to. _Epistle Dedicatorie_, _sig._ A. 2. 6. And in a list of books, printed for, and sold by, P. Brocksby (1688), occurs "d.i.c.k-a-the-Cow, containing north country songs[62]." Could this collection have been found, it would probably have thrown much light on the present publication: but the editor has been obliged to draw his materials chiefly from oral tradition.

[Footnote 61: "The Lord of Liddisdale being at his pastime, hunting in Ettrick forest, is beset by William, Earl of Douglas, and such as he had ordained for the purpose, and there asailed, wounded, and slain, beside Galsewood, in the year 1353, upon a jealousy that the earl had conceived of him with his lady, as the report goeth; for so sayeth the old song,

"The countess of Douglas out of her bower she came, And loudly there that she did call-- It is for the Lord of Liddisdale, That I let all these tears down fall."

"The song also declareth, how she did write her love-letters to Liddisdale, to dissuade him from that hunting. It tells likewise the manner of the taking of his men, and his own killing at Galsewood; and how he was carried the first night to Linden kirk, a mile from Selkirk, and was buried in the abbey of Melrose."--_G.o.dscroft_, Vol.

I. p. 144, Ed. 1743.

Some fragments of this ballad are still current, and will be found in the ensuing work.]

[Footnote 62: The Selkirkshire ballad of _Tamlane_ seems also to have been well known in England. Among the popular heroes of romance, enumerated in the introduction to the history of "_Tom Thumbe_,"

(London, 1621, bl. letter), occurs "Tom a Lin, the devil's supposed b.a.s.t.a.r.d." There is a parody upon the same ballad in the "_Pinder of Wakefield_" (London, 1621).]

Something may be still found in the border cottages resembling the scene described by Pennycuik.

On a winter's night, my grannam spinning, To mak a web of good Scots linnen; Her stool being placed next to the chimley, (For she was auld, and saw right dimly,) My lucky dad, an honest whig, Was telling tales of Bothwell-brigg; He could not miss to mind the attempt, For he was sitting pu'ing hemp; My aunt, whom' nane dare say has no grace, Was reading on the Pilgrim's Progress; The meikle tasker, Davie Dallas, Was telling blads of William Wallace; My mither bade her second son say, What he'd by heart of Davie Lindsay; Our herd, whom all folks hate that knows him, Was busy hunting in his bosom;

The bairns, and oyes, were all within doors;} The youngest of us chewing cinders,} And all the auld anes telling wonders.}

_Pennycuik's Poems_, p. 7.

The causes of the preservation of these songs have either entirely ceased, or are gradually decaying Whether they were originally the composition of minstrels, professing the joint arts of poetry and music; or whether they were the occasional effusions of some self-taught bard; is a question into which I do not here mean to enquire. But it is certain, that, till a very late period, the pipers, of whom there was one attached to each border town of note, and whose office was often hereditary, were the great depositaries of oral, and particularly of poetical, tradition. About spring time, and after harvest, it was the custom of these musicians to make a progress through a particular district of the country. The music and the tale repaid their lodging, and they were usually gratified with a donation of seed corn[63]. This order of minstrels is alluded to in the comic song of _Maggy Lauder_, who thus addresses a piper--

"Live ye upo' the border?"

By means of these men, much traditional poetry was preserved, which must otherwise have perished. Other itinerants, not professed musicians, found their welcome to their night's quarters readily insured by their knowledge in legendary lore. John Graeme, of Sowport, in c.u.mberland, commonly called _The Long Quaker_[64], a person of this latter description, was very lately alive; and several of the songs, now published, have been taken down from his recitation. The shepherds also, and aged persons, in the recesses of the border mountains, frequently remember and repeat the warlike songs of their fathers.

This is more especially the case in what are called the South Highlands, where, in many instances, the same families have occupied the same possessions for centuries.

[Footnote 63: These town pipers, an inst.i.tution of great antiquity upon the borders, were certainly the last remains of the minstrel race. Robin Hastie, town-piper of Jedburgh, perhaps the last of the order, died nine or ten years ago: his family was supposed to have held the office for about three centuries. Old age had rendered Robin a wretched performer; but he knew several old songs and tunes, which have probably died along with him. The town-pipers received a livery and salary from the community to which they belonged; and, in some burghs, they had a small allotment of land, called the Piper's Croft.

For further particulars regarding them, see _Introduction to Complaynt of Scotland_, Edinburgh, 1801, p. 142.]

[Footnote 64: This person, perhaps the last of our professed ballad reciters, died since the publication of the first edition of this work. He was by profession an itinerant cleaner of clocks and watches; but, a stentorian voice, and tenacious memory, qualified him eminently for remembering accurately, and reciting with energy, the border gathering songs and tales of war. His memory was latterly much impaired; yet, the number of verses which he could pour forth, and the animation of his tone and gestures, formed a most extraordinary contrast to his extreme feebleness of person, and dotage of mind.]

It is chiefly from this latter source that the editor has drawn his materials, most of which were collected, many years ago, during his early youth. But he has been enabled, in many instances, to supply and correct the deficiencies of his own copies, from a collection of border songs, frequently referred to in the work, under the t.i.tle of _Glenriddell's MS_. This was compiled, from various sources, by the late Mr. Riddell, of Glenriddel, a sedulous border antiquary, and, since his death, has become the property of Mr. Jollie, bookseller at Carlisle; to whose liberality the editor owes the use of it, while preparing this work for the press. No liberties have been taken, either with the recited or written copies of these ballads, farther than that, where they disagreed, which is by no means unusual, the editor, in justice to the author, has uniformly preserved what seemed to him the best, or most poetical, reading of the pa.s.sage. Such discrepancies must very frequently occur, wherever poetry is preserved by oral tradition; for the reciter, making it a uniform principle to proceed at all hazards, is very often, when his memory fails him, apt to subst.i.tute large portions from some other tale, altogether distinct from that which he has commenced. Besides, the prejudices of clans and of districts have occasioned variations in the mode of telling the same story. Some arrangement was also occasionally necessary, to recover the rhyme, which was often, by the ignorance of the reciters, transposed, or thrown into the middle of the line. With these freedoms, which were essentially necessary to remove obvious corruptions, and fit the ballads for the press, the editor presents them to the public, under the complete a.s.surance, that they carry with them the most indisputable marks of their authenticity.

The same observations apply to the Second Cla.s.s, here termed ROMANTIC BALLADS; intended to comprehend such legends as are current upon the border, relating to fict.i.tious and marvellous adventures Such were the tales, with which the friends of Spenser strove to beguile his indisposition:

"Some told of ladies, and their paramours; Some of brave knights, and their renowned squires; Some of the fairies, and their strange attires, And some of giants, hard to be believed."

These, carrying with them a general, and not merely a local, interest, are much more extensively known among the peasantry of Scotland than the border-raid ballads, the fame of which is in general confined to the mountains where they were originally composed. Hence, it has been easy to collect these tales of romance, to a number much greater than the editor has chosen to insert in this publication[65]. With this cla.s.s are now intermingled some lyric pieces, and some ballads, which, though narrating real events, have no direct reference to border history or manners. To the politeness and liberality of Mr. Herd, of Edinburgh, the editor of the first cla.s.sical collection of Scottish songs and ballads (Edinburgh, 1774, 2 vols.), the editor is indebted for the use of his MSS., containing songs and ballads, published and unpublished, to the number of ninety and upwards. To this collection frequent references are made, in the course of the following pages.

Two books of ballads, in MS., have also been communicated to me, by my learned and respected friend, Alexander Fraser Tytler, Esq[66]. I take the liberty of transcribing Mr. Tytler's memorandum respecting the manner in which they came into his hands. "My father[67] got the following songs from an old friend, Mr. Thomas Gordon, professor of philosophy, King's College, Aberdeen. The following extract of a letter of the professor to me, explains how he came by them:--"An aunt of my children, Mrs Farquhar, now dead, who was married to the proprietor of a small estate, near the sources of the Dee, in Braemar, a good old woman, who spent the best part of her life among flocks and herds, resided in her latter days in the town of Aberdeen. She was possest of a most tenacious memory, which retained all the songs she had heard from nurses and country-women in that sequestered part of the country. Being maternally fond of my children, when young, she had them much about her, and delighted them with her songs, and tales of chivalry. My youngest daughter, Mrs Brown, at Falkland, is blest with a memory as good as her aunt, and has almost the whole of her songs by heart. In conversation I mentioned them to your father, at whose request, my grandson, Mr Scott, wrote down a parcel of them, as his aunt sung them. Being then but a mere novice in music, he added, in the copy, such musical notes, as, he supposed, might give your father some notion of the airs, or rather lilts, to which they were sung."

[Footnote 65: Mr. Jamieson of Macclesfield, a gentleman of literary and poetical accomplishment, has for some years been employed in a compilation of Scottish ballad poetry, which is now in the press, and will probably be soon given to the public. I have, therefore, as far as the nature of my work permitted, sedulously avoided antic.i.p.ating any of his materials; as I am very certain he himself will do our common cause the most ample justice.]

[Footnote 66: Now a senator of the College of Justice, by the t.i.tle of Lord Woodhouselee.]

[Footnote 67: William Tytler, Esq. the ingenious defender of Queen Mary, and author of a _Dissertation upon Scotish Music_, which does honour to his memory.]

From this curious and valuable collection, the editor has procured very material a.s.sistance. At the same time, it contains many beautiful legendary poems, of which he could not avail himself, as they seemed to be the exclusive property of the bards of Angus and Aberdeenshire.

But the copies of such, as were known on the borders, have furnished him with various readings, and with supplementary stanzas, which he has frequent opportunities to acknowledge. The MSS. are cited under the name of Mrs. Brown of Falkland, the ingenious lady, to whose taste and memory the world is indebted for the preservation of the tales which they contain. The other authorities, which occur during the work, are particularly referred to. Much information has been communicated to the editor, from various quarters, since the work was first published of which he has availed himself, to correct and enlarge the present edition.

In publishing both cla.s.ses of ancient ballads, the editor has excluded those which are to be found in the common collections of this nature, unless in one or two instances, where he conceived it possible to give some novelty, by historical or critical ill.u.s.tration.

It would have been easy for the editor to have given these songs an appearance of more indisputable antiquity, by adopting the rude orthography of the period, to which he is inclined to refer them. But this (unless when MSS. of antiquity can be referred to) seemed too arbitrary an exertion of the privileges of a publisher, and must, besides, have unnecessarily increased the difficulties of many readers. On the other hand, the utmost care has been taken, never to reject a word or phrase, used by a reciter, however uncouth or antiquated. Such barbarisms, which stamp upon the tales their age and their nation, should be respected by an editor, as the hardy emblem of his country was venerated by the Poet of Scotland:

The rough bur-thistle spreading wide Amang the bearded bear, I turn'd the weeder-clips aside, And spared the symbol dear.

BURNS.

The meaning of such obsolete words is usually given at the bottom of the page. For explanation of the more common peculiarities of the Scottish dialect, the English reader is referred to the excellent glossary annexed to the last edition of Burns' works.

The Third Cla.s.s of Ballads are announced to the public, as MODERN IMITATIONS of the Ancient Style of composition, in that department of poetry; and they are founded upon such traditions as we may suppose in the elder times would have employed the harps of the minstrels. This kind of poetry has been supposed capable of uniting the vigorous numbers and wild fiction, which occasionally charm us in the ancient ballad, with a greater equality of versification, and elegance of sentiment, than we can expect to find in the works of a rude age. But, upon my ideas of the nature and difficulty of such imitations, I ought in prudence to be silent; lest I resemble the dwarf, who brought with him a standard to measure his own stature. I may, however, hint at the difference, not always attended to, betwixt legendary poems and real imitations of the old ballad; the reader will find specimens of both in the modern part of this collection. The legendary poem, called _Glenfinlas_, and the ballad, ent.i.tuled the _Eve of St. John_, were designed as examples of the difference betwixt these two kinds of composition.

It would have the appearance of personal vanity, were the editor to detail the a.s.sistance and encouragement which he has received, during his undertaking, from some of the first literary characters of our age. The names of Stuart, Mackenzie, Ellis, Currie, and Ritson, with many others, are talismans too powerful to be used, for bespeaking the world's favour to a collection of old songs; even although a veteran bard has remarked, "that both the great poet of Italian rhyme, Petrarch, and our Chaucer, and other of the upper house of the muses, have thought their canzons honoured in the t.i.tle of a ballad." To my ingenious friend, Dr. John Leyden, my readers will at once perceive that I lie under extensive obligations, for the poetical pieces, with which he has permitted me to decorate my compilation; but I am yet farther indebted to him for his uniform a.s.sistance, in collecting and arranging materials for the work.