THE BOOK OF OLD ENGLISH BALLADS ***
Produced by John B. Hare
A BOOK OF OLD ENGLISH BALLADS
with an
Accompaniment of Decorative Drawings
by
George Wharton Edwards
And an Introduction by
Hamilton W. Mabie
[1896]
CONTENTS
Introduction
Chevy Chace
King Cophetua and the Beggar-Maid
King Leir and his Three Daughters
Fair Rosamond
Phillida and Corydon
Fair Margaret and Sweet William
Annan Water
The Bailiff's Daughter of Islington
Barbara Allen's Cruelty
The Douglas Tragedy
Young Waters
Flodden Field
Helen of Kirkconnell
Robin Hood and Allen-a-Dale
Robin Hood and Guy of Gisborne
Robin Hood's Death and Burial
The Twa Corbies
Waly, Waly, Love be Bonny
The Nut-brown Maid
The Fause Lover
The Mermaid
The Battle of Otterburn
The Lament of the Border Widow
The Banks o' Yarrow
Hugh of Lincoln
Sir Patrick Spens
Introduction
Goethe, who saw so many things with such clearness of vision, brought out the charm of the popular ballad for readers of a later day in his remark that the value of these songs of the people is to be found in the fact that their motives are drawn directly from nature; and he added, that in the art of saying things compactly, uneducated men have greater skill than those who are educated. It is certainly true that no kind of verse is so completely out of the atmosphere of modern writing as the popular ballad. No other form of verse has, therefore, in so great a degree, the charm of freshness. In material, treatment, and spirit, these bat lads are set in sharp contrast with the poetry of the hour. They deal with historical events or incidents, with local traditions, with personal adventure or achievement. They are, almost without exception, entirely objective. Contemporary poetry is, on the other hand, very largely subjective; and even when it deals with events or incidents it invests them to such a degree with personal emotion and imagination, it so modifies and colours them with temperamental effects, that the resulting poem is much more a study of subjective conditions than a picture or drama of objective realities. This projection of the inward upon the outward world, in such a degree that the dividing line between the two is lost, is strikingly illustrated in Maeterlinck's plays. Nothing could be in sharper contrast, for instance, than the famous ballad of "The Hunting of the Cheviot" and Maeterlinck's "Princess Maleine." There is no atmosphere, in a strict use of the word, in the spirited and compact account of the famous contention between the Percies and the Douglases, of which Sir Philip Sidney said "that I found not my heart moved more than with a Trumpet." It is a breathless, rushing narrative of a swift succession of events, told with the most straight-forward simplicity. In the "Princess Maleine," on the other hand, the narrative is so charged with subjective feeling, the world in which the action takes place is so deeply tinged with lights that never rested on any actual landscape, that all sense of reality is lost. The play depends for its effect mainly upon atmosphere. Certain very definite impressions are produced with singular power, but there is no clear, clean stamping of occurrences on the mind. The imagination is skilfully awakened and made to do the work of observation.
