I have now reached, not indeed the end of my subject, which I have scarcely begun, but the limits inexorably set by the circumstances under which it is treated. Yet I am unwilling to conclude without meeting an objection to my method of dealing with it, which has I am sure been present to the minds of not a few who have been good enough to listen to me with patience. It will be said that I have ignored the higher functions of literature; that I have degraded it from its rightful place, by discussing only certain ways in which it may minister to the entertainment of an idle hour, leaving wholly out of sight its contributions to what Mr. Harrison calls our "spiritual sustenance." Now, this is partly because the first of these topics and not the second was the avowed subject of my address; but it is partly because I am deliberately of opinion that it is the pleasures and not the profits, spiritual or temporal, of literature which most require to be preached in the ear of the ordinary reader. I hold indeed the faith that all such pleasures minister to the development of much that is best in man--mental and moral; but the charm is broken and the object lost if the remote consequence is consciously pursued to the exclusion of the immediate end. It will not, I suppose, be denied that the beauties of nature are at least as well qualified to minister to our higher needs as are the beauties of literature. Yet we do not say we are going to walk to the top of such and such a hill in order to drink in "spiritual sustenance." We say we are going to look at the view. And I am convinced that this, which is the natural and simple way of considering literature as well as nature, is also the true way. The habit of always requiring some reward for knowledge beyond the knowledge itself, be that reward some material prize or be it what is vaguely called self-improvement, is one with which I confess I have little sympathy, fostered though it is by the whole scheme of our modern education. Do not suppose that I desire the impossible. I would not if I could destroy the examination system. But there are times, I confess, when I feel tempted somewhat to vary the prayer of the poet, and to ask whether Heaven has not reserved, in pity to this much-educating generation, some peaceful desert of literature as yet unclaimed by the crammer or the coach; where it might be possible for the student to wander, even perhaps to stray, at his own pleasure without finding every beauty labeled, every difficulty engineered, every nook surveyed, and a professional cicerone standing at every corner to guide each succeeding traveler along the same well-worn round. If such a wish were granted, I would further ask that the domain of knowledge thus "neutralized" should be the literature of our own country. I grant to the full that the systematic study of some literature must be a principal element in the education of youth. But why should that literature be our own? Why should we brush off the bloom and freshness from the works to which Englishmen and Scotchmen most naturally turn for refreshment,--namely, those written in their own language? Why should we associate them with the memory of hours spent in weary study; in the effort to remember for purposes of examination what no human being would wish to remember for any other; in the struggle to learn something, not because the learner desires to know it, because he desires some one else to know that he knows it? This is the dark side of the examination system; a system necessary and therefore excellent, but one which does, through the very efficiency and thoroughness of the drill by which it imparts knowledge, to some extent impair the most delicate pleasures by which the acquisition of knowledge should be attended.
How great those pleasures may be, I trust there are many here who can testify. When I compare the position of the reader of to-day with that of his predecessor of the sixteenth century. I am amazed at the ingratitude of those who are tempted even for a moment to regret the invention of printing and the multiplication of books. There is now no mood of mind to which a man may not administer the appropriate nutriment or medicine at the cost of reaching down a volume from his bookshelf. In every department of knowledge infinitely more is known, and what is known is incomparably more accessible, than it was to our ancestors. The lighter forms of literature, good, bad, and indifferent, which have added so vastly to the happiness of mankind, have increased beyond powers of computation; nor do I believe that there is any reason to think that they have elbowed out their more serious and important brethren. It is perfectly possible for a man, not a professed student, and who only gives to reading the leisure hours of a business life, to acquire such a general knowledge of the laws of nature and the facts of history that every great advance made in either department shall be to him both intelligible and interesting; and he may besides have among his familiar friends many a departed worthy whose memory is embalmed in the pages of memoir or biography. All this is ours for the asking. All this we shall ask for, if only it be our happy fortune to love for its own sake the beauty and the knowledge to be gathered from books. And if this be our fortune, the world may be kind or unkind, it may seem to us to be hastening on the wings of enlightenment and progress to an imminent millennium, or it may weigh us down with the sense of insoluble difficulty and irremediable wrong; but whatever else it be, so long as we have good health and a good library, it can hardly be dull.
THE BALLAD
(Popular or Communal)
BY F.B. GUMMERE
he popular ballad, as it is understood for the purpose of these selections, is a narrative in lyric form, with no traces of individual authorship, and is preserved mainly by oral tradition. In its earliest stages it was meant to be sung by a crowd, and got its name from the dance to which it furnished the sole musical accompaniment. In these primitive communities the ballad was doubtless chanted by the entire folk, in festivals mainly of a religious character. Explorers still meet something of the sort in savage tribes: and children's games preserve among us some relics of this protoplasmic form of verse-making, in which the single poet or artist was practically unknown, and spontaneous, improvised verses arose out of the occasion itself; in which the whole community took part; and in which the beat of foot--along with the gesture which expressed narrative elements of the song--was inseparable from the words and the melody. This native growth of song, in which the chorus or refrain, the dance of a festal multitude, and the spontaneous nature of the words, were vital conditions, gradually faded away before the advance of cultivated verse and the vigor of production in what one may call poetry of the schools. Very early in the history of the ballad, a demand for more art must have called out or at least emphasized the artist, the poet, who chanted new verses while the throng kept up the refrain or burden. Moreover, as interest was concentrated upon the words or story, people began to feel that both dance and melody were separable if not alien features; and thus they demanded the composed and recited ballad, to the harm and ultimate ruin of that spontaneous song for the festal, dancing crowd. Still, even when artistry had found a footing in ballad verse, it long remained mere agent and mouthpiece for the folk; the communal character of the ballad was maintained in form and matter. Events of interest were sung in almost contemporary and entirely improvised verse; and the resulting ballads, carried over the borders of their community and passed down from generation to generation, served as newspaper to their own times and as chronicle to posterity. It is the kind of song to which Tacitus bears witness as the sole form of history among the early Germans; and it is evident that such a stock of ballads must have furnished considerable raw material to the epic. Ballads, in whatever original shape, went to the making of the English 'Béowulf,' of the German 'Nibelungenlied.' Moreover, a study of dramatic poetry leads one back to similar communal origins. What is loosely called a "chorus,"--originally, as the name implies, a dance--out of which older forms of the drama were developed, could be traced back to identity with primitive forms of the ballad. The purely lyrical ballad, even, the chanson of the people, so rare in English but so abundant among other races, is evidently a growth from the same root.
If, now, we assume for this root the name of communal poem, and if we bear in mind the dominant importance of the individual, the artist, in advancing stages of poetry, it is easy to understand why for civilized and lettered communities the ballad has ceased to have any vitality whatever. Under modern conditions the making of ballads is a closed account. For our times poetry means something written by a poet, and not something sung more or less spontaneously by a dancing throng. Indeed, paper and ink, the agents of preservation in the case of ordinary verse, are for ballads the agents of destruction. The broadside press of three centuries ago, while it rescued here and there a genuine ballad, poured out a mass of vulgar imitations which not only displaced and destroyed the ballad of oral tradition, but brought contempt upon good and bad alike. Poetry of the people, to which our ballad belongs, is a thing of the past. Even rude and distant communities, like those of Afghanistan, cannot give us the primitive conditions. The communal ballad is rescued, when rescued at all, by the fragile chances of a written copy or of oral tradition; and we are obliged to study it under terms of artistic poetry,--that is, we are forced to take through the eye and the judgment what was meant for the ear and immediate sensation. Poetry for the people, however, "popular poetry" in the modern phrase, is a very different affair. Street songs, vulgar rhymes, or even improvisations of the concert-halls, tawdry and sentimental stuff,--these things are sundered by the world's width from poetry of the people, from the folk in verse, whether it echo in a great epos which chants the clash of empires or linger in a ballad of the countryside sung under the village linden. For this ballad is a part of the poetry which comes from the people as a whole, from a homogeneous folk, large or small; while the song of street or concert-hall is deliberately composed for a class, a section, of the community. It would therefore be better to use some other term than "popular" when we wish to specify the ballad of tradition, and so avoid all taint of vulgarity and the trivial. Nor must we go to the other extreme. Those high-born people who figure in traditional ballads--Childe Waters, Lady Maisry, and the rest--do not require us to assume composition in aristocratic circles; for the lower classes of the people in ballad days had no separate literature, and a ballad of the folk belonged to the community as a whole. The same habit of thought, the same standard of action, ruled alike the noble and his meanest retainer. Oral transmission, the test of the ballad, is of course nowhere possible save in such an unlettered community. Since all critics are at one in regard to this homogeneous character of the folk with whom and out of whom these songs had their birth, one is justified in removing all doubt from the phrase by speaking not of the popular ballad but of the communal ballad, the ballad of a community.
With regard to the making of a ballad, one must repeat a caution, hinted already, and made doubly important by a vicious tendency in the study of all phases of culture. It is a vital mistake to explain primitive conditions by exact analogy with conditions of modern savagery and barbarism. Certain conclusions, always guarded and cautious to a degree, may indeed be drawn; but it is folly to insist that what now goes on among shunted races, belated detachments in the great march of culture, must have gone on among the dominant and mounting peoples who had reached the same external conditions of life. The homogeneous and unlettered state of the ballad-makers is not to be put on a level with the ignorance of barbarism, nor explained by the analogy of songs among modern savage tribes. Fortunately we have better material. The making of a ballad by a community can be illustrated from a case recorded by Pastor Lyngbye in his invaluable account of life on the Faroe Islands a century ago. Not only had the islanders used from most ancient times their traditional and narrative songs as music for the dance, but they had also maintained the old fashion of making a ballad. In the winter, says Lyngbye, dancing is their chief amusement and is an affair of the entire community. At such a dance, one or more persons begin to sing; then all who are present join in the ballad, or at least in the refrain. As they dance, they show by their gestures and expression that they follow with eagerness the course of the story which they are singing. More than this, the ballad is often a spontaneous product of the occasion. A fisherman, who has had some recent mishap with his boat, is pushed by stalwart comrades into the middle of the throng, while the dancers sing verses about him and his lack of skill,--verses improvised on the spot and with a catching and clamorous refrain. If these verses win favor, says Lyngbye, they are repeated from year to year, with slight additions or corrections, and become a permanent ballad. Bearing in mind the extraordinary readiness to improvise shown even in these days by peasants in every part of Europe, we thus gain some definite notion about the spontaneous and communal elements which went to the making of the best type of primitive verse; for these Faroe islanders were no savages, but simply a homeogeneous and isolated folk which still held to the old ways of communal song.