LITMIR.BIZ

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was the region most remote and isolated from the Highlands and the Highlanders during the ballad-making era. This is the basin of the Tweed – the howms of Yarrow; Leader haughs and Ettrick shaws; the clear streams that flow past ruined abbey and peel-tower, through green folds of the Cheviots and the Lammermuirs, that for hundreds of years were the chosen homes of Border war and romance. Next after these come the banks of Clyde and Forth; Annan Water and the streams of Ayr and Galloway; and ballads and ballad localities, differing somewhat, in theme and structure, in mood and metre, from those of the South, as Aberdonian differs from Borderer, and the Men of the Mearns from the Men of the Merse, are found scattered thinly or sprinkled thickly over the whole North, by Tay, and Dee, and Spey.

      These latter streams are partly without and partly within the Highland Line, across which, as unacquainted with a language that has its own rich and peculiar store of legend and ballad poetry, we do not propose to penetrate; sufficient field for exploration is provided by the Scots ballads in Scots. But when these were in the making, the Highland Line must have run down much lower into the Lowlands than it does to-day; the retreating Gaelic had still outposts in Buchan, and even in Fife, and Ayr, and Galloway. In the ballads of the North-eastern Counties, the feuds of Highland chiefs and the raids of Highland caterans make themselves seen and felt, too visibly and not too sympathetically, in the ditties of their Lowland neighbours. 'The Hielandmen' play the part that the English clans from Bewcastle and Redesdale play in the Border ballads. The 'Red Harlaw' in those boreal provinces was a landmark and turning-point in history and poetry, as Bannockburn or Flodden was in the South. By Hangingshaws or Hermitage Castle they knew little of the Highlander, being too much absorbed in their own quarrels; on Donside and in the Lennox they knew him better than they liked him; and it was not until a comparatively recent period of literary history that the kilted warrior began to take his place as a heroic and imposing figure in the poetry and prose of the Scottish vernacular.

      Making all allowance for borrowings and influences drawn from without, may we not still say that the Scottish ballad owes nearly all that is best in it – the sweetness not less than the strength of this draught of old poetry and passion – to the land and to the folk that gave it birth? A land thrust further into the gloom and cold of stormy seas than the Southern Kingdom; a land whose spare gifts are but the more esteemed by its children because they are given so grudgingly, whose high and bleak and stern features make the valleys they shelter the more lovely and loved from the contrast; a race whose blood has been blended of many strains, and tempered by long centuries of struggle with nature and with outside enemies; perfervid of spirit and dour of will; holding with strong grip to the things of this world, but never losing consciousness of the nearness and mystery of the world of things invisible; with a border-line on either side of them that for hundreds of years had to be kept with the strong hand and the stout heart, and behind them a background of history more charged with trouble and romance than that of almost any other nation in Europe – where should the ballad draw pith and sap and colour if not on such a soil and among such a people? If Mr. Buckle was able to trace the complexion and form of Scottish religion in the climate and configuration of Scotland, much more easily should we be able to find the atmosphere and scenery of Scotland reflected in her ballads.

      CHAPTER II

      BALLAD GROWTH AND BALLAD HISTORY

      Clown– What hast here? ballads?

      Mopsa– Pray now, buy some: I love a ballad in print, a' life; for then we are sure they are true. —

Winter's Tale.

      There is probably not a verse, there is scarcely a line, in the existing body of Scottish ballad poetry that can be traced with certainty further back than the sixteenth century. Many of them chronicle events that took place in the seventeenth century, and there are a few that deal with even later history. It may seem a bold thing, therefore, to claim for these traditional tales in verse the much more venerable antiquity implied in what has been said in the previous chapter. If we were to be guided by the accessible literary and historical data, or even by the language of the ballads themselves, we should be disposed to believe that the productive period of ballad-making was confined within two or at most three hundred years.

      It would be more than rash, however, to imagine that ballads did not live and grow and spread in the obscure but fertile ground of the popular fancy and the popular memory, because they did not crop up in the contemporary printed literature, and were overlooked by the dry-as-dust chroniclers of the time. Nor is it a paradox to say that a ballad may be older, by ages, than the hero and the deeds that it seems to celebrate. Like thistledown it has the property of floating from place to place, and even from kingdom to kingdom and from epoch to epoch, changing names and circumstances to suit the locality, and attaching itself to outstanding figures and fresh events without changing its essential spirit and character. The more formal Muses despised these rude and unlettered rhymes – when they noticed them at all it was in a disdainful or patronising spirit – and this holds true of the eighteenth century almost as much as of the sixteenth. It is not that ballad poetry was dumb, but that history was deaf and blind to its beauties.

      Nor is any adverse judgment as to the antiquity of the Scottish ballad to be drawn from the comparative modernity of the style and language. The presence of archaisms in a ballad that claims to have been handed down by oral repetition from a remote period is, on the contrary, a thing to raise suspicion as to its genuineness. The ballad, as has been said, is a living and growing organism; or at least it is this until it has been committed to print. However deep into the mould of the past its roots run down, its language and idioms should not be much older than the popular speech of the time when it has been gathered into the collector's budget. It is like a plant that, while remaining the same at the heart and root, is constantly casting the old, and putting out fresh, leaves.

      Thus the very words and phrases that were intended to give an antique air to Hardyknut stamped it as an imitation; these clumsy and artificial patches were not the true mosses of age. The ballad of true lineage, partly from its simplicity of thought and structure, partly from being kept in immediate contact with the lips and the hearts of the people, is as readily 'understanded of the general' to-day as when it was first sung.

      It has been noted, for instance, that our ballads preserve fewer reminiscences of the time when alliteration shared importance with rhyme or took its place in the metrical system. The bulk of them are supposed to come hither from the early sixteenth century, from the reigns of James IV. and James V.; and in that period of Scottish literature alliteration not only blossomed but often overran and smothered the court poetry of the day. Alliterative lines and verses appear frequently in the ballads, but always with good taste, often with exquisite effect. What phrases are more familiar, more infused with the magic of the ballad-spirit, than the 'wan water,' the 'bent sae brown,' the 'lee licht o' the mune'? When the knight rides forth to see his true love, he mounts on his 'berry brown steed,' and 'fares o'er dale and down,' until he comes to the castle wa', where the lady sits 'sewing her silken seam.' He kisses her 'cheek and chin,' and she 'kilts her green kirtle,' and follows him; but not so fast as to outrun fate. In the oldest set of The Battle of Otterburn, alliteration asserts itself:

      'The rae full reckless there sche runnes

      To make the game and glee.'

      It is but seldom that the balladist avails himself so freely of the 'artful aid' of this device as in Johnie o' Braidislee, the vigorous hunting lay that was a favourite with Carlyle's mother:

      'Won up, won up, my good grey dogs,

      Won up and be unboun';

      For we maun awa' to Bride's braid wood,

      To ding the dun deer doun, doun,

      To ding the dun deer doun.'

      The words that have had the best chance of coming down to us intact on the stream of ballad-verse, or with only such marks of attrition and wear as might be caused by time and a rough channel, are those to which the popular mind of a later day has been unable to attach any definite meaning; for instance, certain names of places and houses, titles and functions, snatches of refrains, phrases reminiscent of otherwise forgotten primæval or mediæval customs and the like. These remain bedded like fossils in the more recent deposits, and

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