“‘Let him beware of forgery,’ cried Leyden with great force and energy, and in, I suppose, what Mr. Scott used afterwards to call the saw tones of his voice.”
This proves that Leyden had no personal knowledge of “this Hogg,” and did not supply the shepherd with the traditions about Auld Maitland.
Mr. W. J. Kennedy, of Hawick, pointed out to me this passage in Laidlaw’s Recollections, edited from the MS. by Mr. James Sinton, as reprinted from the Transactions of the Hawick Archæological Society, 1905.
CONTENTS
| PAGE | |
| Scott and the Ballads | [1] |
| Auld Maitland | [18] |
| The Ballad of Otterburne | [53] |
| Scott’s Traditional Copy and how he edited it | [67] |
| The Mystery of the Ballad of Jamie Telfer | [87] |
| Kinmont Willie | [126] |
| Conclusions | [148] |
SCOTT AND THE BALLADS
It was through his collecting and editing of The Border Minstrelsy that Sir Walter Scott glided from law into literature. The history of the conception and completion of his task, “a labour of love truly, if ever such there was,” says Lockhart, is well known, but the tale must be briefly told if we are to understand the following essays in defence of Scott’s literary morality.
Late in 1799 Scott wrote to James Ballantyne, then a printer in Kelso, “I have been for years collecting Border ballads,” and he thought that he could put together “such a selection as might make a neat little volume, to sell for four or five shillings.” In December 1799 Scott received the office of Sheriff of Selkirkshire, or, as he preferred to say, of Ettrick Forest. In the Forest, as was natural, he found much of his materials. The people at the head of Ettrick were still, says Hogg, [1a] like many of the Highlanders even now, in that they cheered the long winter nights with the telling of old tales; and some aged people still remembered, no doubt in a defective and corrupted state, many old ballads. Some of these, especially the ballads of Border raids and rescues, may never even have been written down by the original authors. The Borderers, says Lesley, Bishop of Ross, writing in 1578, “take much pleasure in their old music and chanted songs, which they themselves compose, whether about the deeds of their ancestors, or about ingenious raiding tricks and stratagems.” [2a]
The historical ballads about the deeds of their ancestors would be far more romantic than scientifically accurate. The verses, as they passed from mouth to mouth and from generation to generation, would be in a constant state of flux and change. When a man forgot a verse, he would make something to take its place. A more or less appropriate stanza from another ballad would slip in; or the reciter would tell in prose the matter of which he forgot the versified form.
Again, in the towns, street ballads on remarkable events, as early at least as the age of Henry VIII., were written or printed. Knox speaks of ballads on Queen Mary’s four Maries. Of these ballads only one is left, and it is a libel. The hanging of a French apothecary of the Queen, and a French waiting-maid, for child murder, has been transferred to one of the Maries, or rather to an apocryphal Mary Hamilton, with Darnley for her lover. Of this ballad twenty-eight variants—and extremely various they are—were collected by Professor Child in his English and Scottish Popular Ballads (ten parts, 1882–1898). In one mangled form or another such ballads would drift at last even to Ettrick Forest.