Story-Telling Ballads

THE FOREWORD — TEACHERS, STORY-TELLERS, AND BALLADS — YOUTH IN THE BALLADS — HOW THE BALLADS GREW — MAKING A COLLECTION FOR CHILDREN

Here are 77 story-telling ballads and narrative poems, that will make the heart beat faster and the pulse bound, of any boy or girl from twelve to fifteen years of age.

They offer a feast of good things—romances, hero-tales, Faërie legends, and adventures of Knights and lovely Damsels. They sing of proud and wicked folk, of gentle and loyal ones, of Laidley Worms, Witches, Mermaids with golden combs, sad maidens, glad ones and fearless lovers, moss-troopers, border-rievers, and Kings in disguise. All their doings are related in the stirring, leaping, joyous—or at times martial and mournful-ballad measure.

The ancient ballads are here presented exactly as when in days of old they were sung by minstrels and recited by gaffers and gammers. No alterations are made in the texts of the ballad-collectors and collators, except the changing of a few objectionable words. Two or three of the less well-known ballads are done into modern spelling. A number, not hitherto found in children’s collections, will be delightfully new to young people. Some popular ballads, like “King John and the Abbot of Canterbury,” and “The King and the Miller of Mansfield,” are omitted because they are in Story-Telling Poems.

A goodly number of famous modern ballads are included; and at the end of the volume are 10 short narrative poems of “Pilgrimage and Souls so Strong.”

At the end of the book are a Glossary and Indexes of subjects, authors, titles, and first lines.

Since great care has been taken to choose authoritative texts (see Acknowledgments, page xv and Suggestions for Teachers, page 363), the teacher will find this collection helpful when instructing classes in early English literature or in ballad structure and measure.

The Glossary for classroom use is placed at the back of the book, not in footnotes, because children who are reading for enjoyment easily learn new words from the context.

The collection may be used for story-hours; or, as older boys and girls prefer being read aloud to, in it may be found an abundance of material for weekly poetry hours and for memorizing.

Ballads are the natural heritage of every boy and girl. Ballads are tuned to the very pulse of Youth. They are red-blooded: joyous with the freshness of Springtime, and robust with the early Summer of Life. They appeal with peculiar delight to growing boys and girls, satisfying, as do no other poems, their craving for emotional expression in quick, rhythmic form.

Ballads not only feed the romantic spirit of young people, but teach them much homely wisdom. They are essentially democratic and human. In them Kings and tinkers, Knights and shepherds, meet, talk, and feast together like comrades.

And because the vigour of Youth so animates the old ballads, young folk read them eagerly, learn them almost without effort, and recite them with gusto. The wild, free life in the good greenwood, the chivalry, mystery, pathos, heroic deeds, and thrilling experiences—in fact, Life itself running the whole gamut of human emotions—enthrall the ever eager, questioning, shifting moods of boys and girls.

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.

Then there are many versions of individual ballads to choose from. Of “Hynd Horn” there are eight or more; of “Young Beichan and Susie Pye,” fourteen or more; and of other ballads many versions. Next, authoritative texts must be found, for some transcribers have made mistakes or have altered the originals. So it may be seen what a painstaking task it is to compile a collection of ballads for educational purposes as well as for the boys’ and girls’ own reading.

As for this volume, it covers so wide a range of fascinating subjects that it will surely entrance any lad or lass who, opening its pages for pleasure-reading, steps with Valentine and Ursine, Robin Hood and Clorinda, and the brave outlaw Murray, into

The gude green-wood amang the lily flower.