From the moral point of view, these pieces may, perhaps, come under Spenser's condemnation of the rhymers who sing of amatory adventures in which love is no sooner asked than it is granted. But the balladist carries everything before him by the verve and good humour and pawky wit of his song. There are touches worthy of the comedy spirit of Molière in the description, in The Gaberlunzie Man, of the good-wife's alternate blessing and banning as she makes her morning discoveries about the 'silly poor man' whom she has lodged over night:
'She gaed to the bed whair the beggar lay;
The strae was cauld, he was away;
She clapt her hands, cry'd, "Dulefu' day!
For some of our gear will be gane."
Some ran to coffer and some to kist,
But nought was stown that could be mist,
She danced her lane, cry'd, "Praise be blest,
I 've lodg'd a leal poor man.
Since naething awa, as we can learn,
The kirn 's to kirn, and milk to yearn,
Gae but the house, lass, and waken my bairn,
And bid her come quickly ben."
The servant gaed where the dochter lay—
The sheets were cauld, she was away;
And fast to the goodwife did say
"She 's aff wi' the gaberlunzie man."
"O fy gar ride, and fy gar rin,
And haste ye, find these traitors again;
For she 's be burnt, and he 's be slain,
The wearifu' gaberlunzie man."'
The Jolly Beggar is a variation of the same tale from the book of the moonlight rovings of the 'Guidman o' Ballengeich,' with the same vigour and lively humour, and with the bloom of the old ballad minstrelsy upon it besides:
'He took his horn from his side,
And blew baith loud and shrill,
And four-and-twenty belted knights
Came skipping o'er the hill.
And he took out his little knife,
Loot a' his duddies fa';
And he stood the brawest gentleman
That was amang them a'.'
Other excellent specimens of old Scottish humour have come down to us in ballad form, some of them made more familiar to our ears in modernised versions or paraphrases in which, along with the roughnesses, much of the force and quaint drollery of the originals has been smoothed away. Of such is The Wyf of Auchtermuchty, a Fife ballad, full of local colour and character, the production of 'Sir John Moffat,' a sixteenth century priest, who loved a merry jest, and of whom we know barely more than the name. With so many other precious fragments of our national poetry, it is preserved in the collection of George Bannatyne, the namefather of the Bannatyne Club, who beguiled the tedium of his retirement in time of plague by copying down the popular verse of his day. It is the progenitor of John Grumlie, and gives us a lively series of pictures of the housewifery and the husbandry, as well as the average human nature of the time, class, and locality to which it belongs. The proverb, 'The more the haste the less the speed,' has never been more humorously illustrated than in the troubles of the lazy guidman who 'weel could tipple oot a can, and neither lovit hunger nor cauld,' and who fancied that he could more easily play the housewife's part:
'Then to the kirn that he did stour,
And jumbled at it till he swat;
When he had jumblit ane lang hour,
The sorrow crap of butter he gat.
Albeit nae butter he could get,
Yet he was cumbered wi' the kirn;
And syne he het the milk ower het,
That sorrow spark o' it wad yearn.'