I. The ballads of the Faroe Islands aroused the interest of Ole Worm as early as 1639; but the five ballads which he took down are no longer extant, and we know of them only from a reference by Peder Syv[1] towards the close of the seventeenth century. In 1673 Lucas Debes[2] wrote a description of the islands which contained an account of their dances and songs; but unfortunately he did not transcribe any of the ballads. Indeed the balladry and songs attracted little general attention till the close of the eighteenth century, when Jens Kristjan Svabo devoted himself to a careful study of the language and a collection of the ballads of his native Islands.
In 1781-2, during a visit to the Faroes, Svabo turned his attention especially to Faroese folk-songs and made a ms. collection of fifty-two ballads, which were purchased by the Crown Prince and presented to the Royal Library at Copenhagen. It is interesting to note that Svabo, like his contemporary Bishop Percy[3], thought it necessary to apologise in his preface for making the collection, and humbly claims for it an interest merely antiquarian. It is clear, however from his tone throughout the Preface, that Svabo had a far more scholarly appreciation of the value of his material than had Percy. Indeed it would be difficult to overestimate the debt which all succeeding students of Faroese ballads owe to him. Disappointed in his hopes of public recognition of his work done for the Civil Service, he retired to the Islands, where, in solitude and poverty, he devoted himself, till his death in 1829, to the collection and transcription of ballad material. His personal help and example inspired other Faroe-islanders to make collections for themselves, some of which, notably Klemmentsen's Sandoyjarbók, are among our best authorities for the ballads today. His own ballad collection, still in ms. in the Royal Library at Copenhagen, has never been published; but Schrøter, Lyngbye and Hammershaimb all owed their incentive and inspiration to his work. To study the history of Faroese ballad collections without realising the force of Svabo's personality is to leave Hamlet out of the play.
In 1817 the Danish botanist, Hans Kristjan Lyngbye visited the Faroes, where he became acquainted with "the learned Svabo" as he calls him, and also with Johan Henrik Schrøter, a clergyman on Suderø, himself a keenly interested ballad collector, and, incidentally, the first to make a collection of Faroese folk-tales in prose. Partly from these men, and partly from oral recitations and material supplied by Provost Hentze, Lyngbye was able to gather together a considerable body of Faroese ballads which, with the support and encouragement of Bishop P. E. Müller, he published at Copenhagen in 1822, under the title of Færöiske Kvæder om Sigurd Fofnersbane og hans Æt.
Unfortunately Lyngbye knew no Icelandic and very little Faroese, and his work necessarily suffers in consequence. Still more unfortunate was his unscientific handling of material and lack of literary conscience, which permitted his cutting out, adding and transposing stanzas—and again we are reminded of the Reliques—till the original form of a ballad is sometimes entirely lost. Fortunately, however, most of the material that he had at his command is still preserved. It is to be noted that the qualities which go to make an ideal collector of ballads do not always imply an ideal editor of the material collected. The great collector of Jutland ballads and folk-lore, Evald Tang Kristensen, has started a new and sounder tradition by a reverent in-gathering of all that formed part of the common stock of peasant lore in his day[4]. The sifting of material is wisely left to the trained scholar, and, one hopes, to a later and less intrepid generation[5].
The tradition started by Svabo and Lyngbye was carried on by V. U. Hammershaimb, himself a native of the Islands and a great lover of Faroese folk-lore. During the years 1847-8, and again in 1853, he visited the Faroes expressly to study the dialects, and to collect the native ballads and folklore, which he published under the title of Færöiske Kvæder in the Nordiske Literatur-Samfund, the Antiquarisk Tidsskrift, etc.
Like Svabo, Hammershaimb eventually returned and settled on the Faroes; but unfortunately, owing to the pressure of his administrative duties, he was never able to spare time for a final revision of his collection, though urged repeatedly to the work by his friend Svend Grundtvig. Ultimately, however, when Grundtvig himself undertook to make an exhaustive critical edition of the Faroese ballads in all their variant forms, Hammershaimb placed all his material in his hands.
Svend Grundtvig and his colleague J. Bloch, of the Royal Library staff, completed in 1876 their great fifteen vol. ms. collection of Faroese ballads with all their known variants, Føroyja Kvæði—Corpus Carminum Faeroensium—Færøernes Gamle Folkeviser. This was afterwards increased by Bloch to sixteen volumes by the addition of much new material, some of which was collected by Jakobsen in his journey to the Faroes in 1887[6]. Before beginning the work Grundtvig had every available version, whether in public or private hands, at his disposal, so that he had a magnificent apparatus criticus. Unfortunately the work has never been published, so that owing to the difficulties of communication with Denmark (which have proved to be insuperable) it has been impossible for me to consult it. The first three volumes, however, which include all the Faroese ballads translated below, are based on Hammershaimb's collections of 1851-1855. Hammershaimb was himself a genuine scholar with a sensitive literary conscience and a thorough knowledge of all the Faroese dialects, and his work is spoken of in the highest terms by Grundtvig in his article on the Corpus Carminum Faroensium[7]. Moreover Hammershaimb had consulted all the other available versions of these ballads before printing; so that it is improbable that when a comparison of the texts can be made much alteration will be required.
II. The Faroe Islands are probably the only place to be found in Western Europe where ballads are still sung to the accompaniment of the dance. The dance and song, it must be confessed, are gradually losing their original character, while the ballads are often long and unwieldy, sometimes, as in the Ballad of Ívint Herintsson, running to five divisions (Tættir) and over three hundred and fifty verses. The verses are frequently chanted in a solemn recitative, while the ballad tunes tend to be confined chiefly to the refrains. The method of supplying the melody, however, is subject to almost endless variation. Sometimes old native folk tunes are attached to special ballads, e.g. in the case of Vi hugged mid kaarde; sometimes native ballads are sung to Danish folk melodies and refrains as, e.g. Grindevisen, sung to the tune of the Danish Burmand holder i Fjældet ut. Sometimes in the Faroese repertoire, Norse ballads are found complete with their own melodies, e.g. Sømandsviserne, or sung to Danish folk-tunes, e.g. Zinklars Vise. Most curious of all is the method not infrequently resorted to in modern times of singing native ballads, often of modern origin, to the tunes of the Protestant Psalmody—a custom which may have had its origin in the common practice of singing both ballads and psalms on all momentous occasions, such as on the night of a wedding, or before starting on a big fishing expedition. The Islanders have little idea of tone or melody and do not sing well; and eye-witnesses of some of the ballad dances at Thorshaven aver that the tunes sound less like dance music than melancholy dirges. In Folkesangen paa Færøerne (Færøske Kvadmelodier), pp. 85-140, Thuren has published a large number of original ballad tunes. The characteristic motifs of folk tunes are traceable throughout, as well as their elusive qualities. Thus we find, side by side with airs based on the ordinary major and minor scales, others which, like mediaeval church music, are based on a 'modal' or 'gapped' tonal system. Indeed traces of the pentatonic scale are not infrequently met with, especially in the tunes attached to the earlier ballads. The majority of Faroese melodies, however, have only one gap and have more in common with the system of notation found in Gregorian music than with the pentatonic scale of many Hebridean lays. A further characteristic of folk music which appears in most Faroese airs is the curious form of close which rarely occurs on the tonic. Not infrequently the theme ends on the leading note or supertonic which strikes the ear with a perpetual surprise, the cadence leading one to anticipate a repetition rather than a conclusion of the air. The reason is that these tunes, like many folk songs from Somerset, the Appalachians and the Hebrides, were 'circular,' that is, formed for continuous repetition to suit the lengthy nature of the songs and ballads.
The ballad however is not a mere historical relic on the Faroes, but a living literary form. The simplicity of the life, and the absence of class distinction[8], still constitute an atmosphere in some respects not unlike that of Mediaeval Denmark, and the ballad is the favourite form of artistic expression. A whale-hunt, a shipwreck, or the adventures of fishermen in the far north are still made the subject of a new ballad, composed by one or more of the community; and if the result finds general favour it is added to the ballad repertoire along with the ballads of Sir Tristram or Childe Sigurth[9].
In his description of his travels on the Faroes 1847-8, V. U. Hammershaimb[10] says that he took down the greater number of his ballads at Sumbø on Suderø, the most southerly village in the Islands. He describes the ballad dance as follows: