Story-Telling Ballads
Selected and Arranged for Story-Telling and Reading Aloud and for the Boys' and Girls' Own Reading
Frances Jenkins Olcott
9781465652850
330 pages
Library of Alexandria
Overview
The human and universal in the ancient ballads, their eternal youthful appeal, are rooted deepset in the daily life of the People. Their very meter and airs are natural growths like the sheath of a wildflower. For in those good old ballad-making days, minstrels, the welcome guests of rich and poor, wandered from castle to cot and inn, from eyrie-like retreats of Highland chiefs to fortified border-towers of the Lowland or “North Contraye.” And as the minstrels rested their harps or bagpipes on the earthen floors of cottages, or while they sat feasting with nobles in baronial halls, they heard peasants, working-folk, servitors, squires, ladies, and returned Crusaders, telling of their adventures on land and sea, in fights, battles, border-raids, in abductions of lovely maidens, in combats with Saracens and with Laidley monsters, in meetings with Faërie Knights and Elfin Queens all under the greenwood-shade. They heard, also, tales of changelings and visits to Fairyland; stories of Ghosts, Ghouls, and Witches; legends of the sea; and traditions of national heroes. This material, so varied, so freshly spontaneous and imaginative, the minstrels shaped into ballads, setting them to music now wild and weird, now tragic and mournful, now sweet and debonair. So they played and sang the ballads in cottage, bower, and hall, moulding them to the delight and humours of their hearers, changing them to suit time and place. Thus there grew up many versions of a single ballad. The old folk, too, the gaffers and gammers by the fireside, learned the ballads and recited or sung them to the children; who in their turn, when they became old, told them to other children. Thus the old songs were passed along by word of mouth from generation to generation, from countryside to countryside, and even from one land to another. As was natural in those coarse old times, much that was unsuitable for children was woven into the ballads; which to-day makes it a difficult task to compile a representative juvenile collection. For, as Spenser so aptly put it when writing of Irish bards, they “seldom use to choose unto themselves the doings of good men for the arguments of their poems, but whomsoever they find to be ... most bold and lawless in his doings, most dangerous and desperate in all parts of disobedience and rebellious disposition, him they set up and glorify in their rhymes, him they praise to the people, and to young men make an example to follow.” But Spenser’s criticism of the Irish bards is far too violent a stricture on all Scottish and English ballad literature. For there are Scottish and English ones, clean, merry, and nobly heroic; fine and wholesome reading for our boys and girls. For Sir Walter Scott’s romantic tastes and his interest in Highland and Border life were awakened and fired, when he was a boy, by reading ballads. And Sir Philip Sydney wrote in his Defence of Poetry, “Certainly, I must confess mine own barbarousness; I never heard the old song of Percy and Douglas, that I found not my heart moved more than with a trumpet; and yet it is sung but by some blind crowder, with no rougher voice than rude style ... In Hungary I have seen it the manner at all feasts, and all other such-like meetings, to have songs of their ancestors’ valour, which that right soldier-like nation think one of the chiefest kindlers of brave courage.” But in making a collection of ballads for modern boys and girls, it is not enough to choose those that will arouse only the higher emotions. The interests of young people have to be consulted; while nothing in extremely difficult Scottish dialect may be included, nor in very old English.
