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+The Project Gutenberg EBook of The Romantic Scottish Ballads: Their Epoch
+and Authorship, by Robert Chambers
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Romantic Scottish Ballads: Their Epoch and Authorship
+
+Author: Robert Chambers
+
+Release Date: March 18, 2011 [EBook #35602]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE ROMANTIC SCOTTISH BALLADS ***
+
+
+
+
+Produced by Barbara Tozier, Bill Tozier and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+[Illustration: THE ROMANTIC SCOTTISH BALLADS:
+
+THEIR EPOCH AND AUTHORSHIP.
+
+ROBERT CHAMBERS.
+
+1849]
+
+
+
+
+THE ROMANTIC SCOTTISH BALLADS: THEIR EPOCH AND AUTHORSHIP.
+
+
+Percy's _Reliques of Ancient English Poetry_, 1765; David Herd's
+_Scottish Songs_, 1769; Scott's _Minstrelsy of the Scottish Border_,
+1802; and Jamieson's _Popular Ballads and Songs_, 1806, have been
+chiefly the means of making us acquainted with what is believed to be
+the ancient traditionary ballad literature of Scotland; and this
+literature, from its intrinsic merits, has attained a very great fame.
+I advert particularly to what are usually called the Romantic Ballads,
+a class of compositions felt to contain striking beauties, almost
+peculiar to themselves, and consequently held as implying extraordinary
+poetical attributes in former generations of the people of this
+country. There have been many speculations about the history of these
+poems, all assigning them a considerable antiquity, and generally
+assuming that their recital was once the special business of a set of
+wandering _conteurs_ or minstrels. So lately as 1858, my admired
+friend, Professor Aytoun, in introducing a collection of them, at once
+ample and elegant, to the world, expressed his belief that they date at
+least from before the Reformation, having only been modified by
+successive reciters, so as to modernise the language, and, in some
+instances, bring in the ideas of later ages.
+
+There is, however, a sad want of clear evidence regarding the history
+of our romantic ballads. We have absolutely no certain knowledge of
+them before 1724, when Allan Ramsay printed one called _Sweet William's
+Ghost_, in his _Tea-table Miscellany_. There is also this fact staring
+us in the face, that, while these poems refer to an ancient state of
+society, they bear not the slightest resemblance either to the minstrel
+poems of the middle ages, or to the well-known productions of the
+Henrysons, the Dunbars, the Douglases, the Montgomeries, who flourished
+in the fifteenth and sixteenth centuries. Neither in the poems of
+Drummond, and such other specimens of verse--generally wretched--as
+existed in the seventeenth century, can we trace any feature of the
+composition of these ballads. Can it be that all editors hitherto
+have been too facile in accepting them as ancient, though modified
+compositions? that they are to a much greater extent modern than has
+hitherto been supposed? or wholly so? Though in early life an editor of
+them, not less trusting than any of my predecessors, I must own that a
+suspicion regarding their age and authorship has at length entered my
+mind. In stating it--which I do in a spirit of great deference to
+Professor Aytoun and others--I shall lead the reader through the steps
+by which I arrived at my present views upon the subject.
+
+In 1719, there appeared, in a folio sheet, at Edinburgh, a heroic poem
+styled _Hardyknute_, written in affectedly old spelling, as if it had
+been a contemporary description of events connected with the invasion
+of Scotland by Haco, king of Norway, in 1263. A corrected copy was soon
+after presented in the _Evergreen_ of Allan Ramsay, a collection
+professedly of poems written before 1600, but into which we know the
+editor admitted a piece written by himself. _Hardyknute_ was afterwards
+reprinted in Percy's _Reliques_, still as an ancient composition; yet
+it was soon after declared to be the production of a Lady Wardlaw of
+Pitreavie, who died so lately as 1727. Although, to modern taste, a
+stiff and poor composition, there is a nationality of feeling about it,
+and a touch of chivalric spirit, that has maintained for it a certain
+degree of popularity. Sir Walter Scott tells us it was the first poem
+he ever learned by heart, and he believed it would be the last he
+should forget.
+
+It is necessary to present a few brief extracts from this poem. In the
+opening, the Scottish king, Alexander III., is represented as receiving
+notice of the Norwegian invasion:
+
+    The king of Norse, in summer pride,
+      Puffed up with power and micht,
+    Landed in fair Scotland, the isle,
+      With mony a hardy knicht.
+    The tidings to our gude Scots king
+      Came as he sat at dine,
+    With noble chiefs in brave array,
+      Drinking the blude-red wine.
+    'To horse, to horse, my royal liege;
+      Your faes stand on the strand;
+    Full twenty thousand glittering spears
+      The king of Norse commands.'
+    'Bring me my steed, page, dapple-gray,'
+      Our good king rose and cried;
+    'A trustier beast in a' the land
+      A Scots king never tried.'
+
+Hardyknute, summoned to the king's assistance, leaves his wife and
+daughter, 'Fairly fair,' under the care of his youngest son. As to the
+former lady--
+
+    ... first she wet her comely cheeks,
+      And then her bodice green,
+    Her silken cords of twirtle twist,
+      Well plet with silver sheen;
+    And apron, set with mony a dice
+      Of needle-wark sae rare,
+    Wove by nae hand, as ye may guess,
+      But that of Fairly fair.
+
+In his journey, Hardyknute falls in with a wounded and deserted knight,
+to whom he makes an offer of assistance:
+
+    With smileless look and visage wan,
+      The wounded knight replied:
+    'Kind chieftain, your intent pursue,
+      For here I maun abide.
+
+    'To me nae after day nor nicht
+      Can e'er be sweet or fair;
+    But soon beneath some dropping tree,
+      Cauld death shall end my care.'
+
+A field of battle is thus described:
+
+    In thraws of death, with wallowit cheek,
+      All panting on the plain,
+    The fainting corps[1] of warriors lay,
+      Ne'er to arise again;
+    Ne'er to return to native land,
+      Nae mair, with blithesome sounds,
+    To boast the glories of the day,
+      And shaw their shining wounds.
+
+    On Norway's coast, the widowed dame
+      May wash the rock with tears,
+    May lang look o'er the shipless seas,
+      Before her mate appears.
+    'Cease, Emma, cease to hope in vain;
+      Thy lord lies in the clay;
+    The valiant Scots nae rievers thole[2]
+      To carry life away.'
+
+          [1] A Scotticism, plural of corp, a body.
+
+          [2] Permit no robbers, &c.
+
+I must now summon up, for a comparison with these specimens of the
+modern antique in ballad lore, the famous and admired poem of _Sir
+Patrick Spence_. It has come to us mainly through two copies--one
+comparatively short, published in Percy's _Reliques_, as 'from two
+manuscript copies transmitted from Scotland;' the other, containing
+more details, in Scott's _Minstrelsy of the Scottish Border_, also
+'from two manuscript copies,' but 'collated with several verses recited
+by the editor's friend, Robert Hamilton, Esq., advocate.' It is nowhere
+pretended that any _ancient_ manuscript of this poem has ever been seen
+or heard of. It acknowledgedly has come to us from modern manuscripts,
+as it might be taken down from modern reciters; although Percy prints
+it in the same quasi antique spelling as that in which _Hardyknute_ had
+appeared, where being _quhar_; sea, _se_; come, _cum_; year, _zeir_;
+&c. It will be necessary here to reprint the whole ballad, as given
+originally by Percy, introducing, however, within brackets the
+additional details of Scott's copy:[3]
+
+    The king sits in Dunfermline town,
+      Drinking the blude-red wine:
+    'O whar will I get a gude sailòr,
+      To sail this ship of mine?'
+
+    Up and spak an eldern knight,
+      Sat at the king's right knee:
+    'Sir Patrick Spence is the best sailòr
+      That sails upon the sea.'
+
+    The king has written a braid letter,
+      And signed it with his hand,
+    And sent it to Sir Patrick Spence,
+      Was walking on the sand.
+
+    ['To Noroway, to Noroway,
+      To Noroway o'er the faem;
+    The king's daughter of Noroway,
+      'Tis thou maun bring her hame.']
+
+    The first line that Sir Patrick read,
+      A loud lauch lauched he:
+    The next line that Sir Patrick read,
+      The tear blinded his ee.
+
+    'O wha is this hae done this deed,
+      This ill deed done to me;
+    To send me out this time o' the year,
+      To sail upon the sea?
+
+    ['Be it wind, be it weet, be it hail, be it sleet,
+      Our ship must sail the faem;
+    The king's daughter of Noroway,
+      'Tis we must fetch her hame.'
+
+    They hoysed their sails on Monenday morn,
+      Wi' a' the speed they may;
+    They hae landed in Noroway,
+      Upon a Wodensday.
+
+    They had na been a week, a week,
+      In Noroway, but twae,
+    When that the lords of Noroway
+      Began aloud to say:
+
+    'Ye Scottish men spend a' our king's gowd,
+      And a' our queenis fee.'
+    'Ye lie, ye lie, ye liars loud,
+      Fu' loud I hear ye lie.
+
+    'For I hae broucht as much white monie
+      As gane[4] my men and me,
+    And I broucht a half-fou o' gude red gowd,
+      Out ower the sea wi' me.']
+
+    'Mak haste, mak haste, my merry men a',
+      Our gude ship sails the morn.'
+    'O say na sae, my master dear,[5]
+      For I fear a deadly storm.
+
+    'Late, late yestreen, I saw the new moon
+      Wi' the auld moon in her arm;
+    And I fear, I fear, my master dear,
+      That we will come to harm.'
+
+    [They had na sailed a league, a league,
+      A league but barely three,
+    When the lift grew dark, and the wind blew loud,
+      And gurly grew the sea.
+
+    The ankers brak, and the topmasts lap,
+      It was sic a deadly storm,
+    And the waves cam o'er the broken ship,
+      Till a' her sides were torn.]
+
+    O our Scots nobles were richt laith
+      To weet their cork-heeled shoon;
+    But lang ere a' the play was played,
+      Their hats they swam aboon.[6]
+
+    [And mony was the feather-bed
+      That flattered on the faem;
+    And mony was the gude lord's son
+      That never mair cam hame.
+
+    The ladies wrang their fingers white,
+      The maidens tore their hair,
+    A' for the sake of their true loves,
+      For them they'll see nae mair.]
+
+    O lang, lang may the ladies sit,
+      Wi' their fans into their hand,
+    Or ere they see Sir Patrick Spence
+      Come sailing to the land.
+
+    O lang, lang may the ladies stand,
+      Wi' their gold kames in their hair,
+    Waiting for their ain dear lords,
+      For they'll see them nae mair.
+
+    Half ower, half ower to Aberdour,[7]
+      It's fifty fathom deep;
+    And there lies gude Sir Patrick Spence
+      Wi' the Scots lords at his feet.
+
+          [3] Only omitting the five verses supplied by Mr Hamilton, as
+          they appear redundant.
+
+          [4] Serve.
+
+          [5] Variation in Scott:
+
+                  Now ever alak_e_, my master dear.
+
+          [6] Variation in Scott:
+
+                  They wet their hats aboon.
+
+          [7] Variation in Scott:
+
+                  O forty miles off Aberdeen.
+
+Percy, at the close of his copy of _Sir Patrick Spence_, tells us that
+'an ingenious friend' of his was of opinion that 'the author of
+_Hardyknute_ has borrowed several expressions and sentiments from the
+foregoing [ballad], and other old Scottish songs in this collection.'
+It does not seem to have ever occurred to the learned editor, or any
+friend of his, however 'ingenious,' that perhaps _Sir Patrick Spence_
+had no superior antiquity over _Hardyknute_, and that the parity he
+remarked in the expressions was simply owing to the two ballads being
+the production of one mind. Neither did any such suspicion occur to
+Scott. He fully accepted _Sir Patrick Spence_ as a historical
+narration, judging it to refer most probably to an otherwise unrecorded
+embassy to bring home the Maid of Norway, daughter of King Eric, on the
+succession to the Scottish crown opening to her in 1286, by the death
+of her grandfather, King Alexander III., although the names of the
+ambassadors who did go for that purpose are known to have been
+different.[8] The want of any ancient manuscript, the absence of the
+least trait of an ancient style of composition, the palpable modernness
+of the diction--for example, 'Our ship must sail the faem,' a glaring
+specimen of the poetical language of the reign of Queen Anne--and,
+still more palpably, of several of the things alluded to, as
+cork-heeled shoon, hats, fans, and feather-beds, together with the
+inapplicableness of the story to any known event of actual history,
+never struck any editor of Scottish poetry, till, at a recent date, Mr
+David Laing intimated his suspicions that _Sir Patrick Spence_ and
+_Hardyknute_ were the production of the same author.[9] To me it
+appears that there could not well be more remarkable traits of an
+identity of authorship than what are presented in the extracts given
+from _Hardyknute_ and the entire poem of _Sir Patrick_--granting only
+that the one poem is a considerable improvement upon the other. Each
+poem opens with absolutely the same set of particulars--a Scottish king
+sitting--drinking the blude-red wine--and sending off a message to a
+subject on a business of importance. Norway is brought into connection
+with Scotland in both cases. Sir Patrick's exclamation, 'To Noroway, to
+Noroway,' meets with an exact counterpart in the 'To horse, to horse,'
+of the courtier in _Hardyknute_. The words of the ill-boding sailor in
+_Sir Patrick_, 'Late, late yestreen, I saw the new moon'--a very
+peculiar expression, be it remarked--are repeated in _Hardyknute_:
+
+    'Late, late the yestreen I weened in peace,
+    To end my lengthened life.'
+
+          [8] There is one insuperable objection to Sir Walter's
+          theory, which I am surprised should not have occurred to
+          himself, or to some of those who have followed him. In his
+          version of the ballad, the design to bring home the daughter
+          of the king of Norway is expressed by the king of Scotland
+          himself. Now, there was no occasion for Alexander III.
+          sending for his infant granddaughter; nor is it conceivable
+          that, in his lifetime, such a notion should have occurred or
+          been entertained on either his side or that of the child's
+          father. It was not till after the death of Alexander had made
+          the infant Norwegian princess queen of Scotland--four years
+          after that event, indeed--that the _guardians of the
+          kingdom_, in concert with Edward I. of England, sent for her
+          by Sir David Wemyss of Wemyss and Sir Michael Scott of
+          Balwearie, who actually brought her home, but in a dying
+          state. For these reasons, on the theory of the ballad
+          referring to a real occurrence, it must have been to the
+          bringing home of some Norwegian princess to be wedded to a
+          king of Scotland that it referred. _But there is no such
+          event in Scottish history._
+
+          Professor Aytoun alters a verse of the ballad as follows:
+
+              To Noroway, to Noroway,
+              To Noroway o'er the faem;
+              The king's daughter _to_ Noroway,
+              It's thou maun tak her hame.
+
+          And he omits the verse in which Sir Patrick says:
+
+              The king's daughter of Noroway,
+              'Tis we must fetch her hame.
+
+          Thus making the ballad referrible to the expedition in 1281
+          for taking Alexander's daughter to be married to the king of
+          Norway. But I apprehend such liberties with an old ballad are
+          wholly unwarrantable.
+
+          [9] Notes to Johnson's _Scots Musical Museum_, 1839.
+
+The grief of the ladies at the catastrophe in _Sir Patrick Spence_, is
+equally the counterpart of that of the typical Norse lady with regard
+to the fate of her male friend at Largs. I am inclined, likewise, to
+lay some stress on the localities mentioned in _Sir Patrick
+Spence_--namely, Dunfermline and Aberdour--these being places in the
+immediate neighbourhood of the mansions where Lady Wardlaw spent her
+maiden and her matron days. A poet, indeed, often writes about places
+which he never saw; but it is natural for him to be most disposed to
+write about those with which he is familiar; and some are first
+inspired by the historical associations connected with their native
+scenes. True, as has been remarked, there is a great improvement upon
+_Hardyknute_ in the 'grand old ballad of _Sir Patrick Spence_,'
+as Coleridge calls it, yet not more than what is often seen in
+compositions of a particular author at different periods of life.
+It seems as if the hand which was stiff and somewhat puerile in
+_Hardyknute_, had acquired freedom and breadth of style in _Sir Patrick
+Spence_. For all of these reasons, I feel assured that _Sir Patrick_ is
+a modern ballad, and suspect, or more than suspect, that the author is
+Lady Wardlaw.[10]
+
+          [10] Professor Aytoun says: 'It is true that the name [of Sir
+          Patrick Spence] ... is not mentioned in history: but I am
+          able to state that tradition has preserved it. In the little
+          island of Papa Stronsay, one of the Orcadian group, lying
+          over against Norway, there is a large grave or tumulus, which
+          has been known to the inhabitants from time immemorial as
+          "The grave of Sir Patrick Spence." The Scottish ballads were
+          not early current in Orkney, a Scandinavian country; to it is
+          very unlikely that the poem could have originated the name.'
+          I demur to this unlikelihood, and would require some proof to
+          convince me that the grave of Sir Patrick Spence in Papa
+          Stronsay is not a parallel geographical phenomenon to the
+          island of Ellen Douglas in Loch Katrine.
+
+Probably, by this time, the reader will desire to know what is now to
+be known regarding Lady Wardlaw. Unfortunately, this is little, for, as
+she shrank from the honours of authorship in her lifetime, no one
+thought of chronicling anything about her. We learn that she was born
+Elizabeth Halket, being the second daughter of Sir Charles Halket of
+Pitfirran, Baronet, who was raised to that honour by Charles II., and
+took an active part, as a member of the Convention of 1689, in settling
+the crown upon William and Mary. Her eldest sister, Janet, marrying Sir
+Peter Wedderburn of Gosford, was the progenitress of the subsequent
+Halkets, baronets of Pitfirran, her son being Sir Peter Halket, colonel
+of the 44th regiment of foot, who died in General Braddock's
+unfortunate conflict at Monongahela in 1755. A younger sister married
+Sir John Hope Bruce of Kinross, baronet, who died, one of the oldest
+lieutenant-generals in the British service, in 1766. Elizabeth, the
+authoress of _Hardyknute_, born on the 15th of April 1677, became, in
+June 1696, the wife of Sir Henry Wardlaw of Pitreavie (third baronet of
+the title), to whom she bore a son, subsequently fourth baronet, and
+three daughters.[11]
+
+          [11] Playfair's _Brit. Fam. Antiquity_, viii., 170, lxviii.
+
+The ballad of _Hardyknute_, though printed in a separate brochure by
+James Watson in 1719, had been previously talked of or quoted, for the
+curiosity of Lord Binning was excited about it, apparently in a
+conversation with Sir John Hope Bruce, the brother-in-law of Lady
+Wardlaw. Pinkerton received from Lord Hailes, and printed, an extract
+from a letter of Sir John to Lord Binning, as follows: 'To perform my
+promise, I send you a true copy of the manuscript I found a few weeks
+ago in a vault at Dunfermline. It is written on vellum, in a fair
+Gothic character, but so much defaced by time as you'll find the tenth
+part not legible.' Sir John, we are told by Pinkerton, transcribed in
+this letter 'the whole fragment first published, save one or two
+stanzas, marking several passages as having perished, from being
+illegible in the old manuscript.'[12]
+
+          [12] _Ancient Scottish Poems_, 2 vols. (1786), i. p. cxxvii.
+
+Here is documentary evidence that _Hardyknute_ came out through the
+hands of Lady Wardlaw's brother-in-law, with a story about its
+discovery as an old manuscript, so transparently fictitious, that one
+wonders at people of sense having ever attempted to obtain credence for
+it--which consequently forms in itself a presumption as to an
+authorship being concealed. Pinkerton rashly assumed that Sir John
+Bruce was the author of the poem, and on the strength of that
+assumption, introduced his name among the Scottish poets.
+
+The first hint at the real author came out through Percy, who, in his
+second edition of the _Reliques_ (1767), gives the following statement:
+
+'There is more than reason to suspect that it [_Hardyknute_] owes most
+of its beauties (if not its whole existence) to the pen of a lady
+within the present century. The following particulars may be depended
+on. Mrs [mistake for Lady] Wardlaw, whose maiden name was Halket ...
+pretended she had found this poem, written on shreds of paper, employed
+for what is called the bottoms of clues. A suspicion arose that it was
+her own composition. Some able judges asserted it to be modern. The
+lady did in a manner acknowledge it to be so. Being desired to show an
+additional stanza, as a proof of this, she produced the two last,
+beginning with "There's nae light, &c.," which were not in the copy
+that was first printed. The late Lord President Forbes and Sir Gilbert
+Elliot of Minto (late Lord Justice-clerk for Scotland), who had
+believed it ancient, contributed to the expense of publishing the first
+edition, in folio, 1719. This account was transmitted from Scotland by
+Sir David Dalrymple (Lord Hailes),[13] who yet was of opinion that part
+of the ballad may be ancient, but retouched and much enlarged by the
+lady above mentioned. Indeed, he had been informed that the late
+William Thomson, the Scottish musician, who published the _Orpheus
+Caledonius_, 1733, declared he had heard fragments of it repeated in
+his infancy before Mrs Wardlaw's copy was heard of.'
+
+          [13] It is rather remarkable that Percy was not informed of
+          these particulars in 1765; but in 1767--_Sir John Hope Bruce
+          having died in the interval_ (June 1766)--they were
+          communicated to him. It looks as if the secret had hung on
+          the life of this venerable gentleman.
+
+The question as to the authorship of _Hardyknute_ was once more raised
+in 1794, when Sir Charles Halket, grandson of Mary, third daughter of
+Lady Wardlaw, wrote a letter to Dr Stenhouse of Dunfermline, containing
+the following passage: 'The late Mr Hepburn of Keith often declared he
+was in the house with Lady Wardlaw when she wrote _Hardyknute_.' He
+also gave the following particulars in a manuscript account of his
+family, as reported by George Chalmers (_Life of Allan Ramsay_, 1800):
+'Miss Elizabeth Menzies, daughter of James Menzies, Esq., of Woodend,
+in Perthshire, by Elizabeth, the daughter of Sir Henry Wardlaw [second
+baronet], wrote to Sir Charles Halket that her mother, who was
+sister-in-law to Lady Wardlaw, told her that Lady Wardlaw was the real
+authoress of _Hardyknute_; that Mary, the wife of Charles Wedderburn,
+Esq., of Gosford, told Miss Menzies that her mother, Lady Wardlaw,
+wrote _Hardyknute_. Sir Charles Halket and Miss Elizabeth Menzies
+concur in saying that Lady Wardlaw was a woman of elegant
+accomplishments, _who wrote other poems_, and practised drawing, and
+cutting paper with her scissors, and _who had much wit and humour_,
+with great sweetness of temper.'
+
+In the middle of the last century appeared two editions of a brochure
+containing the now well-known ballad of _Gil Morrice_; the date of the
+second was 1755. Prefixed to both was an advertisement setting forth
+that the preservation of this poem was owing 'to a lady, who favoured
+the printers with a copy, as it was carefully collected from the mouths
+of old women and nurses;' and 'any reader that can render it more
+correct or complete,' was desired to oblige the public with such
+improvements. Percy adopted the poem into his collection, with four
+additional verses, which meanwhile had been 'produced and handed about
+in manuscript,' but which were in a florid style, glaringly incongruous
+with the rest of the piece. He at the same time mentioned that there
+existed, in his folio manuscript, (supposed) of Elizabeth's time, an
+imperfect copy of the same ballad, under the title of _Child Maurice_.
+
+This early ballad of _Child Maurice_, which Mr Jamieson afterwards
+printed from Percy's manuscript, gives the same story of a gentleman
+killing, under jealousy, a young man, who proved to be a son of his
+wife by a former connection. But it is a poor, bald, imperfect
+composition, in comparison with _Gil Morrice_. It was evident to Percy
+that there had been a '_revisal_' of the earlier poem, attended by
+'_considerable improvements_.'
+
+Now, by whom had this improving revisal been effected? Who was the
+'lady' that favoured the printers with the copy? I strongly suspect
+that the reviser was Lady Wardlaw, and that the poem was communicated
+to the printers either by her or by some of her near relations. The
+style of many of the verses, and even some of the particular
+expressions, remind us strongly of _Sir Patrick Spence_; while
+other verses, again, are more in the stiff manner of _Hardyknute_.
+The poem opens thus:
+
+    Gil Morrice was an earl's son,
+      His name it waxed wide;
+    It was na for his great riches,
+      Nor yet his mickle pride;
+    But it was for a lady gay,
+      That lived on Carron side.
+
+    'Whar sall I get a bonny boy,
+      That will win hose and shoon;
+    That will gae to Lord Barnard's ha',
+      And bid his lady come?
+
+    'And ye maun rin my errand, Willie,
+      And ye may rin wi' pride,
+    When other boys gae on their foot,
+      On horseback ye sall ride.'
+
+    'O no! O no! my master dear,
+      I dare nae for my life;
+    I'll ne gae to the bauld baron's,
+      For to tryst forth his wife.'
+
+    'O say na sae, my master dear,
+      For I fear a deadly storm.'
+
+What next follows is like _Hardyknute_:
+
+    'But, O my master dear,' he cried,
+      In green wood ye're your lane;
+    Gie ower sic thoughts, I wad ye reid,
+      For fear ye should be tane.'
+    'Haste, haste! I say, gae to the ha';
+      Bid her come here wi' speed:
+    If ye refuse my heigh command,
+      I'll gar your body bleed.'
+
+When the boy goes in and pronounces the fatal message before Lord
+Barnard:
+
+    Then up and spak the wily nurse,
+      The bairn upon her knee:
+    'If it be come frae Gil Morrice,
+      It's dear welcome to me.'
+
+Compare this with the second verse of _Sir Patrick Spence_:
+
+    O up and spak an eldern knight,
+      Sat at the king's right knee, &c.
+
+The messenger replies to the nurse:
+
+    'Ye lied, ye lied, ye filthy nurse,
+      Sae loud I heard ye lie,' &c.
+
+Identical with Sir Patrick's answer to the taunt of the Norwegian
+lords:
+
+    'Ye lie, ye lie, ye liars loud,
+      Fu' loud I hear ye lie.'
+
+When the youth has been slain by Lord Barnard, the lady explains that
+he was her son, and exclaims:
+
+    'To me nae after days nor nichts
+      Will e'er be saft or kind;
+    I'll fill the air wi' heavy sighs,
+      And greet till I am blind.'
+
+How nearly is this the same with the doleful complaint of the wounded
+knight in _Hardyknute_!
+
+    'To me nae after day nor night
+      Can e'er be sweet or fair,' &c.
+
+Lord Barnard pours out his contrition to his wife:
+
+    'With waefu' wae I hear your plaint,
+      Sair, sair I rue the deed,
+    That e'er this cursed hand of mine
+      Had garred his body bleed.'
+
+'Garred his body bleed' is a quaint and singular expression: it occurs
+in _Hardyknute_, and nowhere else:
+
+    'To lay thee low as horse's hoof,
+      My word I mean to keep:'
+    Syne with the first stroke e'er he strake,
+      He garred his body bleed.
+
+Passages and phrases of one poem appear in another from various
+causes--plagiarism and imitation; and in traditionary lore, it is easy
+to understand how a number of phrases might be in general use, as part
+of a common stock. But the parallel passages above noted are confined
+to a particular group of ballads--they are not to such an extent
+_beauties_ as to have been produced by either plagiarism or imitation;
+it is submitted that they thus appear by an overwhelmingly superior
+likelihood as the result of a common authorship in the various pieces.
+
+Having so traced a probable common authorship, and that modern, from
+_Hardyknute_ to _Sir Patrick Spence_, and from these two to the revised
+and improved edition of _Gil Morrice_, I was tempted to inquire if
+there be not others of the Scottish ballads liable to similar suspicion
+as to the antiquity of their origin? May not the conjectured author of
+these three have written several of the remainder of that group of
+compositions, so remarkable as they likewise are for their high
+literary qualities? Now, there is in Percy a number of Scottish ballads
+equally noteworthy for their beauty, and for the way in which they came
+to the hands of the editor. There is _Edward, Edward_, 'from a
+manuscript copy transmitted from Scotland;' the _Jew's Daughter_, 'from
+a manuscript copy sent from Scotland;' _Gilderoy_, 'from a written copy
+that appears to have received some modern corrections;' likewise,
+_Young Waters_, 'from a copy printed not long since at Glasgow, in one
+sheet octavo,' for the publication of which the world was 'indebted to
+Lady Jean Home, sister to the Earl of Home;' and _Edom o' Gordon_,
+which had been put by Sir David Dalrymple to Foulis's press in 1755,
+'as it was preserved in the memory of a lady that is now dead'--Percy,
+however, having in this case improved the ballad by the addition of a
+few stanzas from a fragment in his folio manuscript. Regarding the
+_Bonny Earl of Murray_, the editor tells us nothing beyond calling it
+'a Scottish song.' Of not one of these seven ballads, as published by
+Percy, has it ever been pretended that any ancient manuscript exists,
+or that there is any proof of their having had a being before the
+eighteenth century, beyond the rude and dissimilar prototypes (shall we
+call them?) which, _in two instances_, are found in the folio
+manuscript of Percy. No person was cited at first as having been
+accustomed to recite or sing them; and they have not been found
+familiar to the common people since. Their style is elegant, and free
+from coarsenesses, while yet exhibiting a large measure of the ballad
+simplicity. In all literary grace, they are as superior to the
+generality of the homely traditionary ballads of the rustic population,
+as the romances of Scott are superior to a set of chap-books. Indeed,
+it might not be very unreasonable to say that these ballads have done
+more to create a popularity for Percy's _Reliques_ than all the other
+contents of the book. There is a community of character throughout all
+these poems, both as to forms of expression and style of thought and
+feeling--jealousy in husbands of high rank, maternal tenderness, tragic
+despair, are prominent in them, though not in them all. In several,
+there is the same kind of obscure and confused reference to known
+events in Scottish history, which editors have thought they saw in _Sir
+Patrick Spence_.
+
+Let us take a cursory glance at these poems.
+
+_Young Waters_ is a tale of royal jealousy. It is here given entire.
+
+    About Yule, when the wind blew cool,
+      And the round tables began,
+    A! there is come to our king's court
+      Mony a well-favoured man.
+
+    The queen looked ower the castle-wa',
+      Beheld baith dale and down,
+    And then she saw Young Waters
+      Come riding to the town.
+
+    His footmen they did rin before,
+      His horsemen rade behind,
+    Ane mantel o' the burning gowd
+      Did keep him frae the wind.
+
+    Gowden graithed his horse before,
+      And siller shod behind;
+    The horse Young Waters rade upon
+      Was fleeter than the wind.
+
+    But then spak a wily lord,
+      Unto the queen said he:
+    'O tell me wha's the fairest face
+      Rides in the company?'
+
+    'I've seen lord, and I've seen laird,
+      And knights of high degree;
+    But a fairer face than Young Waters
+      Mine een did never see.'
+
+    Out then spak the jealous king,
+      And an angry man was he:
+    'O if he had been twice as fair,
+      You might have excepted me.'
+
+    'You're neither lord nor laird,' she says,
+      'But the king that wears the crown;
+    There's not a knight in fair Scotland,
+      But to thee maun bow down.'
+
+    For a' that she could do or say,
+      Appeased he wadna be,
+    But for the words which she had said,
+      Young Waters he maun dee.
+
+    They hae tane Young Waters, and
+      Put fetters to his feet;
+    They hae tane Young Waters, and
+      Thrown him in dungeon deep.
+
+    Aft hae I ridden through Stirling town,
+      In the wind but and the weet,
+    But I ne'er rade through Stirling town
+      Wi' fetters at my feet.
+
+    Aft hae I ridden through Stirling town,
+      In the wind both and the rain,
+    But I ne'er rade through Stirling town
+      Ne'er to return again.
+
+    They hae tane to the heading-hill
+      His young son in his cradle;
+    They hae tane to the heading-hill
+      His horse both and his saddle.
+
+    They hae tane to the heading-hill
+      His lady fair to see;
+    And for the words the queen had spoke,
+      Young Waters he did dee.
+
+Now, let the parallel passages be here observed. In verse second, the
+lady does exactly like the mother of Gil Morrice, of whom it is said:
+
+    The lady sat on the castle-wa',
+      Beheld baith dale and down,
+    And there she saw Gil Morrice' head
+      Come trailing to the town.
+
+Dale and down, let it be observed in passing, are words never used in
+Scotland; they are exotic English terms. The mantle of the hero in
+verse third recalls that of Gil Morrice, which was 'a' gowd but the
+hem'--a specialty, we may say, not likely to have occurred to a male
+mind. What the wily lord does in verse fifth is the exact counterpart
+of the account of the eldern knight in _Sir Patrick Spence_:
+
+    Up and spak an eldern knight,
+      Sat at the king's right knee.
+
+Observe the description of the king's jealous rage in _Young Waters_;
+how perfectly the same is that of the baron in _Gil Morrice_:
+
+    Then up and spak the bauld baron,
+      An angry man was he * *
+
+    'Nae wonder, nae wonder, Gil Morrice,
+      My lady lo'es thee weel,
+    The fairest part of my bodie
+      Is blacker than thy heel.'
+
+Even in so small a matter as the choice of rhymes, especially where
+there is any irregularity, it may be allowable to point out a
+parallelism. Is there not such between those in the verse descriptive
+of Young Waters's fettering, and those in the closing stanza of _Sir
+Patrick Spence_? It belongs to the idiosyncrasy of an author to make
+_feet_ rhyme twice over to _deep_. Finally, let us observe how like the
+tone as well as words of the last lines of _Young Waters_ to a certain
+verse in _Hardyknute_:
+
+    The fainting corps of warriors lay,
+      Ne'er to rise again.
+
+Percy surmised that _Young Waters_ related to the fate of the Earl of
+Moray, slain by the Earl of Huntly in 1592, not without the concurrence,
+as was suspected, of the king, whose jealousy, it has been surmised,
+was excited against the young noble by indiscreet expressions of the
+queen. To the same subject obviously referred the ballad of the _Bonny
+Earl of Murray_, which consists, however, of but six stanzas, the last
+of which is very like the second of _Young Waters_:
+
+    O lang will his lady
+      Look ower the Castle Downe,
+    Ere she see the Earl of Murray
+      Come sounding through the town.
+
+_Edom o' Gordon_ is only a modern and improved version of an old ballad
+which Percy found in his folio manuscript under the name of _Captain
+Adam Carre_. It clearly relates to a frightful act of Adam Gordon of
+Auchindown, when he maintained Queen Mary's interest in the north in
+1571--the burning of the house of Towie, with the lady and her family
+within it. All that can be surmised here is that the revision was the
+work of the same pen with the pieces here cited--as witness, for
+example, the opening stanzas:
+
+    It fell about the Martinmas,
+      When the wind blew shrill and cauld,[14]
+    Said Edom o' Gordon to his men:
+      'We maun draw till a hauld.
+
+    'And what a hauld shall we draw till,
+      My merry men and me?
+    We will gae to the house o' Rodes,
+      To see that fair ladye.'
+
+    The lady stood on her castle-wa',
+      Beheld baith dale and down;
+    There she was 'ware of a host of men
+      Come riding towards the town.[15]
+
+    'O see ye not, my merry men a',[16]
+      O see ye not what I see?' &c.
+
+In the _Jew's Daughter_ there is much in the general style to remind us
+of others of this group of ballads; but there are scarcely any parallel
+expressions. One may be cited:
+
+    She rowed him in a cake of lead,
+      Bade him lie still and sleep,
+    She cast him in a deep draw-well,
+      Was fifty fadom deep.
+
+          [14] _Young Waters_ opens in the same manner:
+
+                About Yule, when the wind blew cool.
+
+          [15] We have seen the same description in both _Young Waters_
+          and the _Bonny Earl of Murray_.
+
+          [16] Compare this with _Sir Patrick Spence_:
+
+                'Mak haste, mak haste, my merry men a'.'
+
+This must remind the reader of _Sir Patrick Spence_:
+
+    Half ower, half ower to Aberdour,
+      It's fifty fathom deep.
+
+_Gilderoy_, in the version printed by Percy, is a ballad somewhat
+peculiar, in a rich dulcet style, and of very smooth versification, but
+is only an improved version of a rude popular ballad in the same
+measure, which was printed in several collections long before,[17] and
+was probably a street-ditty called forth by the hanging of the real
+robber, Patrick Macgregor, commonly called Gilderoy,[18] in 1636. The
+concluding verses of the refined version recall the peculiar manner of
+the rest of these poems:
+
+          [17] In a _Collection of Old Ballads_, printed for J.
+          Roberts, London, 1723; also in Thomson's _Orpheus
+          Caledonius_, 1733.
+
+          [18] The appellative, Gilderoy, means the ruddy-complexioned
+          lad.
+
+    Gif Gilderoy had done amiss,
+      He might hae banished been;
+    Ah what sair cruelty is this,
+      To hang sic handsome men:
+    To hang the flower o' Scottish land,
+      Sae sweet and fair a boy;
+    Nae lady had sae white a hand
+      As thee, my Gilderoy.
+
+    Of Gilderoy sae 'fraid they were,
+      They bound him mickle strong;
+    Till Edinburgh they led him there,
+      And on a gallows hung:
+    They hung him high aboon the rest,
+      He was sae trim a boy;
+    There died the youth whom I lo'ed best,
+      My handsome Gilderoy.
+
+    Thus having yielded up his breath,
+      I bare his corpse away;
+    With tears that trickled for his death,
+      I washed his comely clay.
+    And sicker in a grave sae deep,
+      I laid the dear-lo'ed boy;
+    And now for ever maun I weep
+      My winsome Gilderoy.
+
+If any one will compare the Percy version of this ballad with the
+homely and indecorous ones printed before, he will not be the more
+disposed to go back to antiquity and a humble grade of authorship for
+what is best in the Scottish ballads.[19]
+
+          [19] Professor Aytoun says of this ballad, that 'it was
+          adapted from the original by Sir Alexander Halket--at least,
+          such was the general understanding until lately, when it
+          became a mania with some literary antiquaries [a glance at
+          the opinions of the present writer] to attribute the
+          authorship of the great bulk of the Scottish ballads to Sir
+          Alexander's sister, Lady Wardlaw, on the single ground that
+          she was the composer of _Hardyknute_.' My learned friend is
+          here very unlucky, for Lady Wardlaw had no brother, nor does
+          any Sir Alexander Halket appear in her family history. This,
+          however, is not all. It was a song to the _tune of Gilderoy_
+          which was attributed to Sir Alexander Halket (Johnson's
+          _Scots Musical Museum_)--namely, the well-known _Ah,
+          Chloris_, which turns out to be a composition of Sir Charles
+          Sedley, inserted by him in a play entitled the _Mulberry
+          Garden_, which was acted in 1668.
+
+_Edward, Edward_, which Percy received from Sir David Dalrymple, and
+placed among his oldest pieces, in affectedly old spelling, is a
+striking melodramatic composition:
+
+    'Why does your brand sae drap wi' bluid,
+                    Edward, Edward?
+    Why does your brand sae drap wi' bluid,
+        And why sae sad gang ye, O?'
+    'O, I hae killed my hawk sae guid,
+                    Mother, mother:
+    O, I hae killed my hawk sae guid,
+        And I had nae mair but he, O.'
+
+    'Your hawk's bluid was never sae reid,
+                    Edward, Edward;
+    Your hawk's bluid was never sae reid,
+        My dear son, I tell ye, O.'
+    'O, I hae killed my reid-roan steed,
+                    Mother, mother;
+    O, I hae killed my reid-roan steed,
+        That erst was sae fair and free, O.'
+
+    'Your steed was auld, and ye hae gat mair,
+                    Edward, Edward;
+    Your steed was auld, and ye hae gat mair,
+        Some other dool ye drie, O.'
+    'O, I hae killed my father dear,
+                    Mother, mother;
+    O, I hae killed my father dear,
+        Alas, and wae is me, O.'
+
+    'And whaten penance will ye drie for that,
+                    Edward, Edward?
+    And whaten penance will ye drie for that,
+        My dear son, now tell me, O?'
+    'I'll set my feet in yonder boat,
+                    Mother, mother;
+    I'll set my feet in yonder boat,
+        And I'll fare over the sea, O.'
+
+            *      *      *
+
+    'And what will ye leave to your bairns and your wife,
+                    Edward, Edward?
+    And what will ye leave to your bairns and your wife,
+        When ye gang over the sea, O?'
+    'The warld's room, let them beg through life,
+                    Mother, mother;
+    The warld's room, let them beg through life,
+        For them never mair will I see, O.'
+
+    'And what will ye leave to your ain mother dear,
+                    Edward, Edward;
+    And what will ye leave to your ain mother dear,
+        My dear son, now tell me, O?'
+    'The curse of hell frae me sall ye bear,
+                    Mother, mother;
+    The curse of hell frae me sall ye bear,
+        Sic counsels ye gave me, O.'
+
+It seems unaccountable how any editor of Percy's discernment could ever
+have accepted this as old poetry. There is certainly none prior to 1700
+which exhibits this kind of diction. Neither did any such poetry at any
+time proceed from a rustic uneducated mind.
+
+When we continue our search beyond the bounds of Percy's _Reliques_, we
+readily find ballads passing as old, which are not unlike the above,
+either in regard to their general beauty, or special strains of thought
+and expression. There are five which seem peculiarly liable to
+suspicion on both grounds--namely, _Johnie of Bradislee_, _Mary
+Hamilton_, the _Gay Gos-hawk_, _Fause Foodrage_, and the _Lass o'
+Lochryan_.
+
+In _Johnie o' Bradislee_, the hero is a young unlicensed huntsman, who
+goes out to the deer-forest against his mother's advice, and has a
+fatal encounter with seven foresters. Observe the description of the
+youth:
+
+    His cheeks were like the roses red,
+      His neck was like the snaw;
+    He was the bonniest gentleman
+      My eyes they ever saw.
+
+    His coat was o' the scarlet red,
+      His vest was o' the same;
+    His stockings were o' the worset lace,
+      And buckles tied to the same.
+
+    The shirt that was upon his back
+      Was o' the Holland fine;
+    The doublet that was over that
+      Was o' the Lincoln twine.
+
+    The buttons that were upon his sleeve
+      Were o' the gowd sae guid, &c.
+
+This is mercery of the eighteenth, and no earlier century. Both
+Gilderoy and Gil Morrice are decked out in a similar fashion; and we
+may fairly surmise that it was no man's mind which revelled so
+luxuriously in the description of these three specimens of masculine
+beauty, or which invested them in such elegant attire. Johnie kills the
+seven foresters, but receives a deadly hurt. He then speaks in the
+following strain:
+
+    'O is there a bird in a' this bush
+      Would sing as I would say,
+    Go home and tell my auld mother
+      That I hae won the day?
+
+    'Is there ever a bird in a' this bush
+      Would sing as I would say,
+    Go home and tell my ain true love
+      To come and fetch Johnie away?
+
+    'Is there a bird in this hale forest
+      Would do as mickle for me,
+    As dip its wing in the wan water,
+      And straik it ower my ee-bree?'
+
+    The starling flew to his mother's bower-stane,
+      It whistled and it sang;
+    And aye the owerword o' its tune
+      Was, 'Johnie tarries lang.'
+
+The mother says in conclusion:
+
+    'Aft hae I brought to Bradislee
+      The less gear and the mair;
+    But I ne'er brought to Bradislee
+      What grieved my heart sae sair.'
+
+Now, first, is not the literary beauty of the above expressions of the
+young huntsman calculated to excite suspicion? It may be asked, is
+there anything in the older Scottish poets comparable to them? Second,
+how like is the verse regarding the starling to one in _Gil
+Morrice_!
+
+    Gil Morrice sat in guid green wood,
+      He whistled and he sang;
+    'O what mean a' the folk coming?
+      My mother tarries lang.'
+
+Then, as to the last verse, how like to one in _Young Waters_!
+
+    Aft hae I ridden through Stirling town,
+      In the wind both and the rain,
+    But I ne'er rade through Stirling town
+      Ne'er to return again.
+
+_Mary Hamilton_ describes the tragic fate of an attendant on Queen
+Mary, brought to the gallows for destroying her own infant. The
+reflections of the heroine at the last sad moment are expressed in the
+same rich strain of sentiment as some of the passages of other ballads
+already quoted, and with remarkable parallelisms in terms:
+
+    'O aften hae I dressed my queen,
+      And put gowd in her hair;
+    But now I've gotten for my reward
+      The gallows tree to share.
+
+          *      *      *
+
+    'I charge ye all, ye mariners,
+      When ye sail ower the faem,
+    Let neither my father nor mother get wit
+      But that I 'm coming hame.
+
+          *      *      *
+
+    'O little did my mother think
+      That day she cradled me,
+    What lands I was to travel ower,
+      What death I was to die!'
+
+The Scottish ladies sit bewailing the loss of Sir Patrick Spence's
+companions, 'wi' the gowd kaims in their hair.' Sir Patrick tells his
+friends before starting on his voyage, 'Our ship must sail the faem;'
+and in the description of the consequences of his shipwreck, we find
+'Mony was the feather-bed that flattered on the faem.' No old poet
+would use foam as an equivalent for the sea; but it was just such a
+phrase as a poet of the era of Pope would love to use in that sense.
+The first of the above verses is evidently a cast from the same mould
+of thought as Bradislee's mother's concluding lament, and Young
+Waters's last words just quoted. The resemblance is not of that kind
+which arises from the use of literary commonplaces or stock phrases:
+the expressions have that identity which betrays their common source in
+one mind, a mind having a great command of rich and simple pathos.
+
+In the _Gay Gos-hawk_, a gentleman commissions the bird to go on a
+mission to his mistress, who is secluded from him among her relations,
+and tell her how he dies by long waiting for her; whereupon she returns
+an answer by the same messenger, to the effect that she will presently
+meet him at Mary's Kirk for the effecting of their nuptials. The
+opening of the poem is just a variation of Bradislee's apostrophe to
+_his_ bird-messenger:
+
+    'O waly, waly, my gay gos-hawk,
+      Gin your feathering be sheen!'
+    'And waly, waly, my master dear,
+      Gin ye look pale and lean!
+
+    'Oh, have ye tint at tournament
+      Your sword, or yet your spear?
+    Or mourn ye for the southern lass,
+      Whom ye may not win near?'
+
+    'I have not tint at tournament
+      My sword, nor yet my spear;
+    But sair I mourn for my true love,
+      Wi' mony a bitter tear.
+
+    'But weel's me on you, my gay gos-hawk,
+      Ye can both speak and flie;
+    Ye sall carry a letter to my love,
+      Bring an answer back to me.'
+
+_Hardyknute_, _Sir Patrick Spence_, and _Gil Morrice_, all open, it
+will be recollected, with the sending away of a message. Here is a
+fourth instance, very like one artist's work, truly.
+
+The lover describes his mistress in terms recalling _Bradislee_:
+
+    'The red that is on my true love's cheek
+      Is like blood-draps on the snaw;
+    The white that is on her breast bare,
+      Like the down o' the white sea-maw.'
+
+The bird arrives at the lady's abode:
+
+    And first he sang a low, low note,
+      And syne he sang a clear;
+    And aye the owerword o' the sang
+      Was, 'Your love can no win here.'
+
+_Gil Morrice_ has:
+
+    Aye the owerword o' his sang
+      Was, 'My mother tarries lang.'
+
+The lady feigns death, after the device of Juliet:
+
+    Then up and rose her seven brethren,
+      And hewed to her a bier;
+    They hewed frae the solid aik,
+      Laid it ower wi' silver clear.
+
+    Then up and gat her seven sisters,
+      And sewed to her a kell;
+    And every steek that they put in
+      Sewed to a silver bell.
+
+Here we have the same style of luxurious description of which we have
+already seen so many examples--so different from the usually bald style
+of the real homely ballads of the people. It is, further, very
+remarkable that in _Clerk Saunders_ it is seven brothers of the heroine
+who come in and detect her lover; and in the _Douglas Tragedy_, when
+the pair are eloping, Lord William spies his mistress's
+
+    ... seven brethren bold
+      Come riding o'er the lee.
+
+Both of these ballads, indeed, shew a structure and a strain of
+description and sentiment justifying the strongest suspicions of their
+alleged antiquity, and pointing to the same source as the other pieces
+already noticed.
+
+The ballad of _Fause Foodrage_, which Sir Walter Scott printed for the
+first time, describes a successful conspiracy by Foodrage and others
+against King Honour and his queen. The king being murdered, the queen
+is told, that if she brings forth a son, it will be put to death
+likewise; so she escapes, and, bringing a male child into the world,
+induces the lady of Wise William to take charge of it as her own, while
+she herself takes charge of the lady's daughter. The unfortunate queen
+then arranges a future conduct for both parties, in language violently
+figurative:
+
+    'And ye maun learn my gay gos-hawk,
+      Right weel to breast a steed;
+    And I sall learn your turtle-dow
+      As weel to write and read.
+
+    'And ye maun learn my gay gos-hawk,
+      To wield both bow and brand;
+    And I sall learn your turtle-dow
+      To lay gowd wi' her hand.
+
+    'At kirk and market, when we meet,
+      We'll dare make nae avowe,
+    But--Dame, how does my gay gos-hawk?
+      Madam, how does my dow?'
+
+When the royal youth grows up, Wise William reveals to him his history,
+and how his mother is still in confinement in Foodrage's hands. 'The
+boy stared wild like a gray gos-hawk' at hearing the strange
+intelligence, but soon resolves on a course of action:
+
+    He has set his bent bow to his breast,
+      And leapt the castle-wa',
+    And soon he has seized on Fause Foodrage,
+      Wha loud for help 'gan ca'.
+
+The slaying of Foodrage and marriage of the turtle-dow wind up the
+ballad. Now, is not the adoption of the term, 'gay gos-hawk' in this
+ballad, calculated to excite a very strong suspicion as to a community
+of authorship with the other, in which a gay gos-hawk figures so
+prominently? But this is not all. 'The boy stared wild like a gray
+gos-hawk,' is nearly identical with a line of _Hardyknute_:
+
+    Norse e'en like gray gos-hawk stared wild.
+
+Scott was roused by this parallelism into suspicion of the authenticity
+of the ballad, and only tranquillised by finding a lady of rank who
+remembered hearing in her infancy the verses which have here been
+quoted. He felt compelled, he tells us, 'to believe that the author of
+_Hardyknute_ copied from the old ballad, if the coincidence be not
+altogether accidental.' Finally, the young prince's procedure in
+storming the castle, is precisely that of Gil Morrice in gaining access
+to that of Lord Barnard:
+
+    And when he cam to Barnard's yett,
+      He would neither chap nor ca',
+    But set his bent bow to his breast,
+      And lightly lap the wa'.
+
+It may fairly be said that, in ordinary literature, coincidences like
+this are never 'accidental.' It may be observed, much of the narration
+in _Fause Foodrage_ is in a stiff and somewhat hard style, recalling
+_Hardyknute_. It was probably one of the earlier compositions of its
+author.
+
+The _Lass o' Lochryan_ describes the hapless voyage of a maiden mother
+in search of her love Gregory. In the particulars of sea-faring and the
+description of the vessel, _Sir Patrick Spence_ is strongly recalled.
+
+    She has garred build a bonny ship;
+      It's a' covered o'er wi' pearl;
+    And at every needle-tack was in't
+      There hung a siller bell.
+
+Let the reader revert to the description of the bier prepared for the
+seeming dead lady in the _Gay Gos-hawk_.
+
+    She had na sailed a league but twa,
+      Or scantly had she three,
+    Till she met wi' a rude rover,
+      Was sailing on the sea.
+
+The reader will remark in _Sir Patrick_:
+
+    They had na sailed a league, a league,
+      A league but barely three, &c.
+
+The rover asks:
+
+    'Now, whether are ye the queen hersel,
+      Or ane o' her Maries three,
+    Or are ye the Lass o' Lochryan,
+      Seeking love Gregory?'[20]
+
+          [20] The above three verses are in the version printed in
+          Lawrie and Symington's collection, 1791.
+
+The queen's Maries are also introduced in _Mary Hamilton_, who, indeed,
+is represented as one of them:
+
+    Yestreen the queen she had four Maries;
+      The night, she has but three;
+    There was Mary Seton and Mary Beaton,
+      And Mary Carmichael and me.
+
+On arriving at love Gregory's castle, beside the sea, the lady calls:
+
+    'Oh, open the door, love Gregory;
+      Oh, open and let me in;
+    For the wind blaws through my yellow hair,
+      And the rain draps o'er my chin.'
+
+He being in a dead sleep, his mother answers for him, and turns from
+the door the forlorn applicant, who then exclaims:
+
+    'Tak down, tak down the mast o' gowd;
+      Set up a mast o' tree;
+    It disna become a forsaken lady
+      To sail sae royallie.
+
+    'Tak down, tak down the sails o' silk;
+      Set up the sails o' skin;
+    Ill sets the outside to be gay,
+      When there's sic grief within.'
+
+Gregory then awakes:
+
+    O quickly, quickly raise he up,
+      And fast ran to the strand,
+    And there he saw her, fair Annie,
+      Was sailing frae the land.
+
+          *      *      *
+
+    The wind blew loud, the sea grew rough,
+      And dashed the boat on shore;
+    Fair Annie floated on the faem,
+      But the babie raise no more.
+
+          *      *      *
+
+    And first he kissed her cherry cheek,
+      And syne he kissed her chin;
+    And syne he kissed her rosy lips--
+      There was nae breath within.
+
+The resemblance of these verses to several of the preceding
+ballads,[21] and particularly to _Sir Patrick Spence_, and their
+superiority in delicacy of feeling and in diction to all ordinary
+ballad poetry, is very striking. It chances that there is here, as in
+_Sir Patrick_, one word peculiarly _detective_--namely, strand, as
+meaning the shore. In the Scottish language, strand means a rivulet, or
+a street-gutter--never the margin of the sea.
+
+          [21] A passage in _Hardyknute_ maybe quoted as bearing a
+          marked resemblance to one of the above verses:
+
+              Take aff, take aff his costly jupe,
+              Of gold well was it twined, &c.
+
+There is a considerable number of other ballads which are scarcely less
+liable to suspicion as modern compositions, and which are all marked
+more or less by the peculiarities seen in the above group. Several of
+them are based, like the one just noticed, on irregular love, which
+they commonly treat with little reproach, and usually with a romantic
+tenderness. _Willie and May Margaret_[22] describes a young lover
+crossing the Clyde in a flood to see his mistress, and as denied access
+by her mother in a feigned voice, after which he is drowned in
+recrossing the river; the ballad being thus a kind of counterpart of
+the _Lass of Lochryan_. In _Young Huntin_, otherwise called _Earl
+Richard_, the hero is killed in his mistress's bower through jealousy,
+and we have then a verse of wonderful power--such as no rustic and
+unlettered bard ever wrote, or ever will write:
+
+          [22] Called, in Professor Aytoun's collection, _The Mother's
+          Malison_; and in Mr Buchan's, _The Drowned Lovers_.
+
+    'O slowly, slowly wanes the night,
+      And slowly daws the day:
+    There is a dead man in my bower,
+      I wish he were away.'
+
+One called _Fair Annie_ relates how a mistress won upon her lover, and
+finally gained him as a husband, by patience, under the trial of seeing
+a new bride brought home.[23] In the latter, the behaviour of the
+patient mistress is thus described:
+
+          [23] A ballad named _Burd Ellen_, resembling _Fair Annie_ in
+          the general cast of the story, is a Scottish modification of
+          the ballad of _Child Waters_, published by Percy, from his
+          folio manuscript, 'with some corrections.' It probably came
+          through the same mill as _Gil Morrice_, though with less
+          change--a conjecture rendered the more probable, for reasons
+          to be seen afterwards, from its having been obtained by Mr
+          Jamieson from Mrs Brown of Falkland.
+
+    O she has served the lang tables
+      Wi' the white bread and the wine;
+    And aye she drank the wan water,
+      To keep her colour fine.
+
+The expression, the wan water, occurs in several of this group of
+ballads. Thus, in _Johnie of Bradislee_:
+
+    Is there ever a bird in this hale forest
+      Will do as mickle for me,
+    As dip its wing in the wan water,
+      And straik it o'er my ee-bree?
+
+And in the _Douglas Tragedy_:
+
+    O they rade on, and on they rade,
+      And a' by the light o' the moon,
+    Until they cam to yon wan water,
+      And there they lighted down.
+
+See further in _Young Huntin_:
+
+    And they hae ridden along, along,
+      All the long summer's tide,
+    Until they came to the wan water,
+      The deepest place in Clyde.
+
+The circumstance is very suspicious, for we find this phrase in no
+other ballads.
+
+In _Clerk Saunders_, the hero is slain in his mistress's bower, by the
+rage of one of her seven brothers, whose act is described in precisely
+the same terms as the slaughter of _Gil Morrice_ by the bold baron:
+
+    He's ta'en out his trusty brand,
+      And straikt it on the strae,
+    And through and through Clerk Saunders' side
+      He's gart it come and gae.[24]
+
+_Sweet William's Ghost_, a fine superstitious ballad, first published
+in Ramsay's _Tea-table Miscellany_, 1724, is important as the earliest
+printed of all the Scottish ballads after the admittedly modern
+_Hardyknute_:
+
+    There came a ghost to Margaret's door,
+      With many a grievous groan;
+    And aye he tirled at the pin,
+      But answer made she none.
+
+          *      *      *
+
+    'O sweet Margaret! O dear Margaret!
+      I pray thee, speak to me;
+    Give me my faith and troth, Margaret,
+      As I gave it to thee.'
+
+    'Thy faith and troth thou 's never get,
+      Nor yet will I thee lend,
+    Till that thou come within my bower,
+      And kiss my cheek and chin.'[25]
+
+    'If I should come within thy bower,
+      I am no earthly man;
+    And should I kiss thy rosy lips,
+      Thy days will not be lang.
+
+          *      *      *
+
+    'My bones are buried in yon kirk-yard,
+      Afar beyond the sea;
+    And it is but my spirit, Margaret,
+      That's now speaking to thee.'
+
+    She stretched out her lily hand,
+      And for to do her best,
+    'Ha'e there's your faith and troth, Willie;
+      God send your soul good rest.'
+
+    Now she has kilted her robes of green
+      A piece below her knee,
+    And a' the live-lang winter night,
+      The dead corp followed she.
+
+    'Is there any room at your head, Willie,
+      Or any room at your feet?
+    Or any room at your side, Willie,
+      Wherein that I may creep?'
+
+    'There's no room at my head, Margaret;
+      There's no room at my feet;
+    There's no room at my side, Margaret;
+      My coffin's made so meet.'[26]
+
+    Then up and crew the red, red cock,
+      And up then crew the gray,
+    ''Tis time, 'tis time, my dear Margaret,
+      That you were going away.'
+
+          *      *      *
+
+          [24]
+
+                Now he has ta'en his trusty brand,
+                  And slait it on the strae,
+                And through Gil Morrice's fair bodie
+                  He garred cauld iron gae.--_Gil Morrice._
+
+          [25]
+
+                And first he kissed her cherry cheek,
+                  And syne he kissed her chin;
+                And syne he kissed her rosy lips--
+                There was nae breath within.--_Lass o' Lochryan._
+
+          To kiss cheek and chin in succession is very peculiar; and it
+          is by such peculiar ideas that identity of authorship is
+          indicated.
+
+          [26] That is, so exactly measured.
+
+So far, the ballad appears as composed in the style of those already
+noticed--a style at once simple and poetical--neither shewing the
+rudeness of the common peasant's ballad, nor the formal refinement of
+the modern English poet. But next follow two stanzas, which manifestly
+have been patched on by some contemporary of Ramsay:
+
+    No more the ghost to Margaret said,
+      But with a grievous groan
+    Evanished in a cloud of mist,
+      And left her all alone, &c.
+
+No such conclusion, perhaps, was needed, for it may be suspected that
+the verse here printed _sixth_ is the true _finale_ of the story,
+accidentally transferred from its proper place.
+
+There is a slight affinity between the above and a ballad entitled _Tam
+Lane_, to which Scott drew special attention in his _Border Minstrelsy_,
+by making it a peg for eighty pages of prose dissertation _On the
+Fairies of Popular Superstition_. It describes a lover as lost to his
+mistress, by being reft away into fairy-land, and as recovered by an
+effort of courage and presence of mind on her part. It opens thus:
+
+    O I forbid ye maidens a',
+      That wear gowd in your hair,
+    To come or gae by Carterhaugh,
+      For the young Tam Lane is there.
+
+It may be remarked how often before we have seen maidens described as
+wearing gold in their hair. One maiden defies the prohibition:
+
+    Janet has kilted her green kirtle
+      A little aboon her knee,
+    And she has braided her yellow hair
+      A little aboon her bree.
+
+This, it will be observed, is all but the very same description applied
+to Margaret in the preceding ballad. The narrative goes on:
+
+    She had na pu'd a red, red rose,
+      A rose but barely three,
+    Till up and starts a wee, wee man
+      At Lady Janet's knee.
+
+Remember Sir Patrick's voyage:
+
+    They had na sailed a league, a league,
+      A league but barely three.
+
+Let it also here be noted that the eldern knight in that ballad sits
+'at the king's knee,' and the nurse in _Gil Morrice_ is not very
+necessarily described as having 'the bairn upon her knee.' Why the knee
+on these occasions, if not a habitual idea of one poet?[27]
+
+          [27] In _Childe Maurice_, in Percy's folio manuscript, the
+          hero says:
+
+              '... come hither, thou little foot-page,
+              That runneth lowly by my knee.'
+
+          The author of _Sir Patrick Spence_, and the other ballads in
+          question, might have known this version, and from it caught
+          this expression.
+
+The consequences of the visit having been fatal to Lady Janet's health
+and peace, she goes back to see her elfin lover, Tam Lane, who
+instructs her how to recover him from his bondage to the queen of
+fairy-land.
+
+    'The night it is good Halloween,
+      When fairy folk will ride;
+    And they that wad their true love win,
+      At Miles Cross they maun bide.'
+
+    'But how shall I thee ken, Tam Lane,
+      Or how shall I thee knaw,
+    Amang so many unearthly knights,
+      The like I never saw?'
+
+    'The first company that passes by,
+      Say na, and let them gae;
+    The next company that passes by,
+      Say na, and do right sae;
+    The third company that passes by,
+      Then I'll be ane o' thae.
+
+    'First let pass the black, Janet,
+      And syne let pass the brown;
+    But grip ye to the milk-white steed,
+      And pu' the rider down.'
+
+Compare the first two of these stanzas with the queries put by the gay
+gos-hawk to his master:
+
+    'But how shall I your true love find,
+      Or how suld I her know?
+    I bear a tongue ne'er wi' her spoke,
+      An eye that ne'er her saw.'
+
+    'O weel sall ye my true love ken,
+      Sae sore as ye her see,' &c.
+
+As to the latter three stanzas, they exhibit a formula of description,
+which appears in several of the suspected ballads, consisting of a
+series of nearly identical statements, apparently for the sake of
+amplitude. For example, the progress of the seeming funeral of the lady
+in the _Gay Gos-hawk_:
+
+    At the first kirk of fair Scotland,
+      They gart the bells be rung;
+    At the second kirk of fair Scotland,
+      They gart the mass be sung.
+
+    At the third kirk of fair Scotland,
+      They dealt gold for her sake;
+    And the fourth kirk of fair Scotland,
+      Her true love met them at.
+
+Or the following, in _Sweet Willie and Fair Annie_, which is almost the
+same incident and relation of circumstances as the said seeming
+funeral; only the lady in this case is dead:
+
+    The firsten bower that he cam till,
+      There was right dowie wark;
+    Her mother and her sisters three
+      Were making to Annie a sark.
+
+    The next bower that he cam till,
+      There was right dowie cheer;
+    Her father and her seven brethren
+      Were making to Annie a bier.
+
+    The lasten bower that he cam till,
+      O heavy was his care;
+    The waxen lights were burning bright,
+      And fair Annie streekit there.
+
+In Scott's version of _Tam Lane_ there are some stanzas of so modern a
+cast as to prove that this poem has been at least tampered with. For
+example, the account of fairy life:
+
+    'And all our wants are well supplied
+      From every rich man's store,
+    Who thankless sins the gifts he gets,
+      And vainly grasps for more.'
+
+Without regard, however, to such manifest patches, the general
+structure and style of expression must be admitted to strongly recall
+the other ballads which have been already commented on.
+
+Only a wish to keep this dissertation within moderate bounds forbids me
+to analyse a few other ballads, as the _Douglas Tragedy_, _Sweet Willie
+and Fair Annie_, _Lady Maiery_, the _Clerk's Two Sons of Owsenford_,
+and a Scotch _Heir of Linne_ lately recovered by Mr J. H. Dixon, all of
+which, besides others which must rest unnamed, bear traces of the same
+authorship with the ballads already brought under notice.
+
+It is now to be remarked of the ballads published by the successors of
+Percy, as of those which he published, that there is not a particle of
+positive evidence for their having existed before the eighteenth
+century. Overlooking the one given by Ramsay in his _Tea-table
+Miscellany_, we have neither print nor manuscript of them before the
+reign of George III. They are not in the style of old literature. They
+contain no references to old literature. As little does old literature
+contain any references to them. They wholly escaped the collecting
+diligence of Bannatyne. James Watson, who published a collection of
+Scottish poetry in 1706-1711, wholly overlooks them. Ramsay, as we see,
+caught up only one. Even Herd, in 1769, only gathered a few fragments
+of some of these poems. It was reserved for Sir Walter Scott and Robert
+Jamieson, at the beginning of the nineteenth century, to obtain copies
+of the great bulk of these poems--that is, the ballads over and above
+the few published by Percy--from A LADY--a certain 'Mrs Brown of
+Falkland,' who seems to have been the wife of the Rev. Andrew Brown,
+minister of that parish in Fife--is known to have been the daughter of
+Professor Thomas Gordon, of King's College, Aberdeen--and is stated to
+have derived her stores of legendary lore from the memory of her aunt,
+a Mrs Farquhar, the wife of a small proprietor in Braemar, who had
+spent the best part of her life among flocks and herds, but lived
+latterly in Aberdeen. At the suggestion of Mr William Tytler, a son of
+Mrs Brown wrote down a parcel of the ballads which her aunt had heard
+in her youth from the recitation of nurses and old women.[28] Such were
+the external circumstances, none of them giving the least support to
+the assumed antiquity of the pieces, but rather exciting some suspicion
+to the contrary effect.
+
+          [28] _Minstrelsy Scot. Border_, I. cxxvi.
+
+When we come to consider the internal evidence, what do we find? We
+find that these poems, in common with those published by Percy, are
+composed in a style of romantic beauty and elevation distinguishing
+them from all other remains of Scottish traditionary poetry. They are
+quite unlike the palpably old historical ballads, such as the _Battle
+of Otterbourne_ and the _Raid of the Reidswire_. They are unlike the
+Border ballads, such as _Dick o' the Cow_, and _Jock o' the Syde_,
+commemorating domestic events of the latter part of the sixteenth
+century. They are strikingly unlike the _Burning of Frendraught_, the
+_Bonny House o' Airly_, and the _Battle of Bothwell Bridge_,
+contemporaneous metrical chronicles of events of the seventeenth
+century. Not less different are they from a large mass of ballads,
+which have latterly been published by Mr Peter Buchan and others,
+involving romantic incidents, it is true, or eccentricities in private
+life, but in such rude and homely strains as speak strongly of a
+plebeian origin. In the ballads here brought under question, the
+characters are usually persons of condition, generally richly dressed,
+often well mounted, and of a dignified bearing towards all inferior
+people. The page, the nurse, the waiting-woman, the hound, the hawk,
+and other animals connected with the pageantry of high life, are
+prominently introduced. Yet the characters and incidents are alike
+relieved from all clear connection with any particular age: they may be
+said to form a world of their own, of no particular era, wherein the
+imagination of the reader may revel, as that of the author has done. It
+may be allowably said, there is a tone of _breeding_ throughout these
+ballads, such as is never found in the productions of rustic genius.
+One marked feature--the pathos of deep female affections--the sacrifice
+and the suffering which these so often involve--runs through nearly the
+whole. References to religion and religious ceremonies and fanes are of
+the slightest kind. We hear of bells being rung and mass sung, but only
+to indicate a time of day. Had they been old ballads continually
+changing in diction and in thought, as passed down from one reciter to
+another, they could not have failed to involve some considerable trace
+of the intensely earnest religious life of the seventeenth century; but
+not the slightest tincture of this enthusiastic feeling appears in
+them, a defect the more marked, as they contain abundant allusion to
+the superstitions which survived into the succeeding time of religious
+indifference, and indeed some of their best _effects_ rest in a
+dexterous treatment of these weird ideas. There is but one exception to
+what has been observed on the obscurity of the epoch pointed to for the
+incidents--the dresses, properties, and decorations, are sometimes of a
+modern cast. The writer--if we may be allowed to speculate on a single
+writer--seems to have been unable to resist an inclination to indulge
+in description of the external furnishings of the heroes and heroines,
+or rather, perhaps, has been desirous of making out _effect_ from these
+particulars; but the finery of the court of Charles II. is the furthest
+point reached in the retrospect--although, I must admit, this is in
+general treated with a vagueness that helps much to conceal the want of
+learning.
+
+Another point of great importance in the matter of internal evidence,
+is the isolatedness of these ballads in respect of English traditionary
+literature. The Scottish muse has not always gone hand in hand with the
+English in point of time, but she has done so in all other respects.
+Any literature we had from the beginning of the seventeenth century
+downwards, was always sensibly tinged by what had immediately before
+been in vogue in the south. Nor is it easy to see how a people
+occupying part of the same island, and speaking essentially the same
+language, should have avoided this communion of literary taste; but the
+ballads in question are wholly unlike any English ballads. Look over
+Percy, Evans, or Mr Collier's suite of _Roxburghe Ballads_, giving
+those which were popular in London during the seventeenth century, and
+you find not a trace of the style and manner of these Scottish romantic
+ballads. Neither, it would appear, had one of them found its way into
+popularity in England before the time of Percy; for, had it been
+otherwise, he would have found them either in print or in the mouths of
+the people.[29]
+
+          [29] Robert Jamieson found in the _Koempe Viser_, a Danish
+          collection of ballads published in 1695, one resembling the
+          Scottish ballad of _Fair Annie_ (otherwise called _Lady
+          Jane_), and on this ground he became convinced that many of
+          our traditionary ballads were of prodigious antiquity, though
+          they had been intermediately subjected to many alterations.
+          Mr Jamieson's belief seems remarkably ill supported, and as
+          it has never obtained any adherents among Scottish ballad
+          editors, I feel entitled to pass it over with but this slight
+          notice.
+
+Upon all of these considerations, I have arrived at the conclusion,
+that the high-class romantic ballads of Scotland are not ancient
+compositions--are not older than the early part of the eighteenth
+century--and are mainly, if not wholly, the production of one mind.
+
+Whose was this mind, is a different question, on which no such
+confident decision may for the present be arrived at; but I have no
+hesitation in saying that, from the internal resemblances traced on
+from _Hardyknute_ through _Sir Patrick Spence_ and _Gil Morrice_ to the
+others, there seems to me a great _likelihood_ that the whole were the
+composition of the authoress of that poem--namely, Elizabeth Lady
+Wardlaw of Pitreavie.
+
+It may be demanded that something should be done to verify, or at least
+support, the allegation here made as to the peculiar literary character
+of the suspected ballads. This is, of course, a point to be best made
+out by a perusal of the entire body of this class of compositions, and
+scarcely by any other means. Still, it is a difference so striking,
+that even to present one typical ballad of true rustic origin, could
+not fail to make a considerable impression on the reader, after he has
+read specimens of those which are here attributed to a higher source.
+Be it observed, when an uneducated person speaks of knights, lords, and
+kings, or of dames and damosels, he reduces all to one homely level. He
+indulges in no diplomatic periphrases. It is simply, the king said
+this, and the lord said that--this thing was done, and that thing was
+done--the catastrophe or _dénouement_ comes by a single stroke. This we
+find in the true stall-ballads. A vulgar, prosaic, and drawling
+character pervades the whole class, with few exceptions--a fact which
+ought to give no surprise, for does not all experience shew, that
+literature of any kind, to have effect, requires for its production a
+mind of some cultivation, and really good verse flowing from an
+uninstructed source is what never was, is not now, and never will be?
+With these remarks, I usher in a typical ballad of the common
+class--one taken down many years ago from the singing of an old man in
+the south of Scotland:
+
+    JAMES HATELIE.
+
+    It fell upon a certain day,
+    When the king from home he chanced to be,
+    The king's jewels they were stolen all,
+    And they laid the blame on James Hatelie.
+
+    And he is into prison cast,
+    And I wat he is condemned to _dee_;
+    For there was not a man in all the court
+    To speak a word for James Hatelie.
+
+    But the king's eldest daughter she loved him well,
+    But known her love it might not be;
+    And she has stolen the prison keys,
+    And gane in and discoursed wi' James Hatelie.
+
+    'Oh, did you steal them, James?' she said;
+    'Oh, did not you steal them, come tell to me?
+    For I'll make a vow, and I'll keep it true,
+    You's never be the worse of me.'
+
+    'I did not steal them,' James he said;
+    'And neither was it intended by me,
+    For the English they stole them themselves,
+    And I wat they've laid the blame on me.'
+
+    Now she has hame to her father gane,
+    And bowed her low down on her knee,
+    'I ask--I ask--I ask, father,' she said,
+    'I ask--I ask a boon of thee;
+    I never asked one in my life,
+    And one of them you must grant to me.'
+
+    'Ask on, ask on, daughter,' he said;
+    'And aye weel answered ye shall be;
+    For if it were my whole estate,
+    Naysaid, naysaid you shall not be.'
+
+    'I ask none of your gold, father,
+    As little of your white monie;
+    But all the asken that I do ask,
+    It is the life of James Hatelie.'
+
+    'Ask on, ask on, daughter,' he said;
+    'And aye weel answered ye shall be;
+    For I'll mak a vow, and keep it true--
+    James Hatelie shall not hanged be.'
+
+    'Another asken I ask, father;
+    Another asken I ask of thee--
+    Let Fenwick and Hatelie go to the sword,
+    And let them try their veritie.'
+
+    'Ask on, ask on, daughter,' he said;
+    'And aye weel answered you shall be;
+    For before the morn at twelve o'clock,
+    They both at the point of the sword shall be.'
+
+    James Hatelie was eighteen years of age,
+    False Fenwick was thirty years and three;
+    He lap about, and he strack about,
+    And he gave false Fenwick wounds three.
+
+    'Oh, hold your hand, James Hatelie,' he said;
+    'And let my breath go out and in;
+    Were it not for the spilling of my noble blood
+    And the shaming of my noble kin.
+
+    'Oh, hold your hand, James Hatelie,' he said;
+    Oh, hold your hand, and let me be;
+    For I'm the man that stole the jewels,
+    And a shame and disgrace it was to me.'
+
+    Then up bespoke an English lord,
+    I wat but he spoke haughtilie:
+    'I would rather have lost all my lands,
+    Before they had not hanged James Hatelie.'
+
+    Then up bespoke a good Scotch lord,
+    I wat a good Scotch lord was he:
+    'I would rather have foughten to the knees in blood,
+    Than they had hanged James Hatelie.'
+
+    Then up bespoke the king's eldest son:
+    'Come in, James Hatelie, and dine with me;
+    For I'll make a vow, and I'll keep it true--
+    You'se be my captain by land and sea.'
+
+    Then up bespoke the king's eldest daughter:
+    'Come in, James Hatelie, and dine with me;
+    For I'll make a vow, and I'll keep it true--
+    I'll never marrie a man but thee.'
+
+Here is love, and here is innocence in difficulties--two things of high
+moral interest; yet how homely is the whole narration; how unlike the
+strains of the ballads which have been passed before the reader's view!
+And be it observed, the theory as to our ballads is, that they have
+been transmitted from old time, undergoing modifications from the
+minds of nurses, and other humble reciters, as they came along. If so,
+they ought to have presented the same plebeian strain of ideas and
+phraseology as _James Hatelie_; but we see they do not: they are, on
+the contrary, remarkably poetical, pure, and dignified.
+
+Here I may, once for all, in opposition to Professor Aytoun and others,
+express my belief that the ballads in question are for the most part
+printed nearly, and, in some instances, entirely, in the condition in
+which they were left by the author. In _Edward_, I question if a line
+has been corrupted or a word altered. _Sir Patrick Spence_ and
+_Gilderoy_ are both so rounded and complete, so free, moreover,
+from all vulgar terms, that I feel nearly equally confident about them.
+All those which Percy obtained in manuscripts from Scotland, are neat
+finished compositions, as much so as any ballad of Tickell or
+Shenstone. Those from Mrs Brown's manuscript have also an author's
+finish clearly impressed on them. It is a mere assumption that they
+have been sent down, with large modifications, from old times. Had it
+been true, the ballads would have been full of vulgarisms, as we find
+to be the condition of certain of them which Peter Buchan picked up
+among the common people, after (shall we say) seventy or eighty years
+of traditionary handling. Now, no such depravation appears in the
+versions printed by Percy, Scott, and Jamieson.
+
+It may be objected to the arguments founded on the great number of
+parallel passages, that these are but the stock phraseology of all
+ballad-mongers, and form no just proof of unity of authorship. If this
+were true, it might be an objection of some force; but it is not true.
+The _formulæ_ in question are to be found hardly at all in any of the
+rustic or homely ballads. They are not to be found in any ballads which
+there is good reason to believe so old as the early part of the
+seventeenth century. They are to be found in no ballads which may even
+doubtfully be affiliated to England. All this, of course, can only be
+fully ascertained by a careful perusal of some large collection of
+ballads. Yet, even in such a case, a few examples may be viewed with
+interest, and not unprofitably. Of the plebeian ballads, a specimen has
+just been adduced. Let us proceed, then, to exemplify the ballads of
+the seventeenth century. First, take _Fair Margaret and Sweet William_,
+which Percy brought forward from a stall copy as, apparently, the
+ballad quoted in Fletcher's _Knight of the Burning Pestle_; though
+subjected to some alteration during the intermediate century and a
+half. It is as follows:
+
+    As it fell out on a long summer day,
+      Two lovers they sat on a hill;
+    They sat together that long summer day,
+      And could not take their fill.
+
+    'I see no harm by you, Margaret,
+      And you see none by me;
+    Before to-morrow at eight o'clock,
+      A rich wedding you shall see.'
+
+    Fair Margaret sat in her bouir window,
+      Combing her yellow hair;
+    There she spied sweit William and his bride,
+      As they were a-riding near.
+
+    Then doun she layed her ivorie combe,
+      And braided her hair in twain:
+    She went alive out of her bouir,
+      But never cam alive in't again.
+
+    When day was gone, and nicht was come,
+      And all men fast asleip,
+    Then came the spirit of fair Margaret,
+      And stood at William's feet.
+
+    'Are you awake, sweit William?' she said;
+      'Or, sweit William, are you asleip?
+    God give you joy of your gay bride-bed,
+      And me of my winding-sheet!'
+
+    When day was come, and nicht was gone,
+      And all men waked from sleip,
+    Sweit William to his lady said:
+      'My deir, I have cause to weep.
+
+    'I dreimt a dreim, my dear ladye;
+      Such dreims are never good:
+    I dreimt my bouir was full of red swine,
+      And my bride-bed full of blood.'
+
+    'Such dreims, such dreims, my honoured sir,
+      They never do prove good;
+    To dreim thy bouir was full of red swine,
+      And thy bride-bed full of blood.'
+
+    He called up his merry-men all,
+      By one, by two, and by three;
+    Saying: 'I'll away to fair Margaret's bouir,
+      By the leave of my ladye.'
+
+    And when he came to fair Margaret's bouir,
+      He knockit at the ring;
+    And who so ready as her seven brethren
+      To let sweit William in.
+
+    Then he turned up the covering sheet:
+      'Pray, let me see the deid;
+    Methinks, she looks all pale and wan;
+      She hath lost her cherry red.
+
+    'I'll do more for thee, Margaret,
+      Than any of thy kin,
+    For I will kiss thy pale wan lips,
+      Though a smile I cannot win.'
+
+    With that bespake the seven brethren,
+      Making most piteous moan:
+    'You may go kiss your jolly brown bride,
+      And let our sister alone.'
+
+    'If I do kiss my jolly brown bride,
+      I do but what is right;
+    I ne'er made a vow to yonder poor corpse,
+      By day nor yet by night.
+
+    'Deal on, deal on, my merry-men all;
+      Deal on your cake and your wine:
+    For whatever is dealt at her funeral to-day,
+      Shall be dealt to-morrow at mine.'
+
+    Fair Margaret died to-day, to-day,
+      Sweit William died to-morrow;
+    Fair Margaret died for pure true love,
+      Sweit William died for sorrow.
+
+    Margaret was buried in the lower chancel,
+      And William in the higher;
+    Out of her breast there sprang a rose,
+      And out of his a brier.
+
+    They grew till they grew unto the church-top,
+      And then they could grow no higher;
+    And there they tied in a true lovers' knot,
+      Which made all the people admire.
+
+    Then came the clerk of the parish,
+      As you the truth shall hear,
+    And by misfortune cut them down,
+      Or they had now been there.
+
+Here, it will be observed, beyond the expression, 'my merry-men all,'
+there is no trace of the phraseology so marked in the group of ballads
+under our notice. Take, also, a ballad which, from the occurrences
+referred to, may be considered as antecedent to the epoch of
+_Hardyknute_, and we shall observe an equal, if not more complete,
+absence of the phraseology and manner of this class of ballads. It
+relates to a tragic love-story of 1631, as ascertained from the
+grave-stone of the heroine in the kirk-yard of Fyvie, Aberdeenshire:
+
+    Lord Fyvie had a trumpeter,
+      His name was Andrew Lammie;
+    He had the art to gain the heart
+      Of Mill-o'-Tifty's Annie.
+
+          *      *      *
+
+    She sighed sore, but said no more,
+      Alas, for bonny Annie!
+    She durst not own her heart was won
+      By the trumpeter of Fyvie.
+
+    At night when they went to their beds,
+      All slept full sound but Annie;
+    Love so opprest her tender breast,
+      Thinking on Andrew Lammie.
+
+    'Love comes in at my bed-side,
+      And love lies down beyond me,
+    Love has possessed my tender breast,
+      And wastes away my body.
+
+    'At Fyvie yetts there grows a flower,
+      It grows baith braid and bonny;
+    There is a daisy in the midst o' it.
+      And it's ca'd by Andrew Lammie.
+
+    'O gin that flower were in my breast,
+      For the love I bear the laddie,
+    I wad kiss it, and I wad clap it,
+      And daut it for Andrew Lammie.
+
+    'The first time I and my love met
+      Was in the woods of Fyvie;
+    His lovely form and speech so sweet
+      Soon gained the heart of Annie.
+
+    'Oh, up and down, in Tifty's den,
+      Where the burns run clear and bonny,
+    I've often gone to meet my love,
+      My bonny Andrew Lammie.
+
+    'He kissed my lips five thousand times,
+      And aye he ca'd me bonny;
+    And a' the answer he gat frae me,
+      Was, "My bonny Andrew Lammie!"'
+
+    But now, alas! her father heard
+      That the trumpeter of Fyvie
+    Had had the art to gain the heart
+      Of Tifty's bonny Annie.
+
+    And he has syne a letter wrote,
+      And sent it on to Fyvie,
+    To tell his daughter was bewitched
+      By his servant, Andrew Lammie.
+
+    When Lord Fyvie this letter read,
+      O dear, but he was sorry;
+    'The bonniest lass in Fyvie's land
+      Is bewitched by Andrew Lammie.'
+
+    Then up the stair his trumpeter
+      He called soon and shortly;
+    'Pray tell me soon what's this you've done
+      To Tifty's bonny Annie?'
+
+    'In wicked art I had no part,
+      Nor therein am I canny;
+    True love alone the heart has won
+      Of Tifty's bonny Annie.
+
+    'Woe betide Mill-o'-Tifty's pride,
+      For it has ruined many;
+    He'll no hae't said that she should wed
+      The trumpeter of Fyvie.'
+
+          *      *      *
+
+    'Love, I maun gang to Edinburgh;
+      Love, I maun gang and leave thee.'
+    She sighed sore, and said no more,
+      But, 'Oh, gin I were wi' ye!'
+
+    'I'll buy to thee a bridal goun;
+      My love, I'll buy it bonny!'
+    'But I'll be dead, ere ye come back
+      To see your bonny Annie.'
+
+    'If you'll be true, and constant too,
+      As my name's Andrew Lammie,
+    I shall thee wed when I come back,
+      Within the kirk of Fyvie.'
+
+    'I will be true, and constant too,
+      To thee, my Andrew Lammie;
+    But my bridal-bed will ere then be made
+      In the green kirk-yard of Fyvie.'
+
+    He hied him hame, and having spieled
+      To the house-top of Fyvie,
+    He blew his trumpet loud and shrill,
+      'Twas heard at Mill-o'-Tifty.
+
+    Her father locked the door at night,
+      Laid by the keys fu' canny;
+    And when he heard the trumpet sound,
+      Said: 'Your cow is lowing, Annie.'
+
+    'My father, dear, I pray forbear,
+      And reproach no more your Annie;
+    For I'd rather hear that cow to low
+      Than hae a' the kine in Fyvie.
+
+    'I would not for your braw new gown,
+      And a' your gifts sae many,
+    That it were told in Fyvie's land
+      How cruel you are to me.'
+
+    Her father struck her wondrous sore,
+      As also did her mother;
+    Her sisters always did her scorn,
+      As also did her brother.
+
+    Her brother struck her wondrous sore,
+      With cruel strokes and many;
+    He brak her back in the hall-door,
+      For loving Andrew Lammie.
+
+    'Alas, my father and mother dear,
+      Why are you so cruel to Annie?
+    My heart was broken first by love,
+      Now you have broken my bodie.
+
+    'Oh, mother dear, make ye my bed,
+      And lay my face to Fyvie;
+    There will I lie, and thus will die,
+      For my love, Andrew Lammie.'
+
+    Her mother she has made her bed,
+      And laid her face to Fyvie;
+    Her tender heart it soon did break,
+      And she ne'er saw Andrew Lammie.
+
+    When Andrew home from Edinburgh came,
+      With mickle grief and sorrow:
+    'My love has died for me to-day,
+      I'll die for her to-morrow.'
+
+    He has gone on to Tifty's den,
+      Where the burn runs clear and bonny;
+    With tears he viewed the Bridge of Heugh,
+      Where he parted last with Annie.
+
+    Then he has sped to the church-yard,
+      To the green church-yard of Fyvie;
+    With tears he watered his true love's grave,
+      And died for Tifty's Annie.
+
+Let me repeat my acknowledgment that, while these extracts occupy more
+space than can well be spared, they form an imperfect means of
+establishing the negative evidence required in the case. But let the
+reader peruse the ballads of Buchan's collection known to relate to
+incidents of the seventeenth century, and he will find that they are
+all alike free from the favourite expressions of the unknown, or dimly
+known ballad-writer in question.
+
+Let it never be objected that, if any one person living in the reigns
+of Queen Anne and George I. had composed so many fine poems, he or she
+could not have remained till now all but unknown. In the first half of
+the present century, there appeared in Scotland a series of fugitive
+pieces--songs--which attained a great popularity, without their being
+traced to any author. Every reader will remember _The Land of the
+Leal_, _Caller Herring_, _The Laird o' Cockpen_, _The Auld House_, and
+_He's ower the Hills that I lo'e weel_. It was not till after many
+years of fame that these pieces were found to be the production of a
+lady of rank, Carolina Baroness Nairn, who had passed through a life of
+seventy-nine years without being known as a song-writer to more than
+one person. It was the fate of this songstress to live in days when
+there was an interest felt in such authorships, insuring that she
+should sooner or later become known; but, had she lived a hundred years
+earlier, she might have died and left no sign, as I conjecture to have
+been the case with the author of this fine group of ballads; and future
+Burnses might have pondered over her productions, with endless regret
+that the names of their _authors_ were 'buried among the wreck of
+things that were.'
+
+If there be any truth or force in this speculation, I shall be
+permitted to indulge in the idea that a person lived a hundred years
+before Scott, who, with his feeling for Scottish history, and the
+features of the past generally, constructed out of these materials a
+similar romantic literature. In short, Scotland appears to have had a
+Scott a hundred years before the actual person so named. And we may
+well believe that if we had not had the first, we either should not
+have had the second, or he would have been something considerably
+different, for, beyond question, Sir Walter's genius was fed and
+nurtured on the ballad literature of his native country. From his _Old
+Mortality_ and _Waverley_, back to his _Lady_ _of the Lake and
+Marmion_; from these to his _Lay of the Last Minstrel_; from that to
+his _Eve of St John_ and _Glenfinlas_; and from these, again, to the
+ballads which he collected, mainly the produce (as I surmise) of an
+individual precursor, is a series of steps easily traced, and which no
+one will dispute. Much significance there is, indeed, in his own
+statement, that _Hardyknute_ was the first poem he ever learned, and
+the last he should forget. Its author--if my suspicion be correct--was
+his literary foster-mother, and we probably owe the direction of his
+genius, and all its fascinating results, primarily to her.
+
+
+
+
+
+
+End of the Project Gutenberg EBook of The Romantic Scottish Ballads: Their
+Epoch and Authorship, by Robert Chambers
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