CHAPTER II
BALLAD GROWTH AND BALLAD HISTORY
Clown—What hast here? ballads?
Mopsa—Pray now, buy some: I love a ballad in print, a' life; for then we are sure they are true.—Winter's Tale.
There is probably not a verse, there is scarcely a line, in the existing body of Scottish ballad poetry that can be traced with certainty further back than the sixteenth century. Many of them chronicle events that took place in the seventeenth century, and there are a few that deal with even later history. It may seem a bold thing, therefore, to claim for these traditional tales in verse the much more venerable antiquity implied in what has been said in the previous chapter. If we were to be guided by the accessible literary and historical data, or even by the language of the ballads themselves, we should be disposed to believe that the productive period of ballad-making was confined within two or at most three hundred years.
It would be more than rash, however, to imagine that ballads did not live and grow and spread in the obscure but fertile ground of the popular fancy and the popular memory, because they did not crop up in the contemporary printed literature, and were overlooked by the dry-as-dust chroniclers of the time. Nor is it a paradox to say that a ballad may be older, by ages, than the hero and the deeds that it seems to celebrate. Like thistledown it has the property of floating from place to place, and even from kingdom to kingdom and from epoch to epoch, changing names and circumstances to suit the locality, and attaching itself to outstanding figures and fresh events without changing its essential spirit and character. The more formal Muses despised these rude and unlettered rhymes—when they noticed them at all it was in a disdainful or patronising spirit—and this holds true of the eighteenth century almost as much as of the sixteenth. It is not that ballad poetry was dumb, but that history was deaf and blind to its beauties.
Nor is any adverse judgment as to the antiquity of the Scottish ballad to be drawn from the comparative modernity of the style and language. The presence of archaisms in a ballad that claims to have been handed down by oral repetition from a remote period is, on the contrary, a thing to raise suspicion as to its genuineness. The ballad, as has been said, is a living and growing organism; or at least it is this until it has been committed to print. However deep into the mould of the past its roots run down, its language and idioms should not be much older than the popular speech of the time when it has been gathered into the collector's budget. It is like a plant that, while remaining the same at the heart and root, is constantly casting the old, and putting out fresh, leaves.
Thus the very words and phrases that were intended to give an antique air to Hardyknut stamped it as an imitation; these clumsy and artificial patches were not the true mosses of age. The ballad of true lineage, partly from its simplicity of thought and structure, partly from being kept in immediate contact with the lips and the hearts of the people, is as readily 'understanded of the general' to-day as when it was first sung.
It has been noted, for instance, that our ballads preserve fewer reminiscences of the time when alliteration shared importance with rhyme or took its place in the metrical system. The bulk of them are supposed to come hither from the early sixteenth century, from the reigns of James IV. and James V.; and in that period of Scottish literature alliteration not only blossomed but often overran and smothered the court poetry of the day. Alliterative lines and verses appear frequently in the ballads, but always with good taste, often with exquisite effect. What phrases are more familiar, more infused with the magic of the ballad-spirit, than the 'wan water,' the 'bent sae brown,' the 'lee licht o' the mune'? When the knight rides forth to see his true love, he mounts on his 'berry brown steed,' and 'fares o'er dale and down,' until he comes to the castle wa', where the lady sits 'sewing her silken seam.' He kisses her 'cheek and chin,' and she 'kilts her green kirtle,' and follows him; but not so fast as to outrun fate. In the oldest set of The Battle of Otterburn, alliteration asserts itself:
'The rae full reckless there sche runnes
To make the game and glee.'