This brings us to the more immediate subject of the present publication.
Lesley, who dedicates to the description of border manners a chapter, which we have already often quoted, notices particularly the taste of the marchmen for music and ballad poetry. "Placent admodum sibi sua musica, et rythmicis suis cantionibus, quas de majorum suorum gestis, aut ingeniosis predandi precandive stratagematis ipsi confingunt. "—Leslaeus, in capitulo de moribus eorum, qui Scotiae limites Angliam versus incolunt. The more rude and wild the state of society, the more general and violent is the impulse received from poetry and music. The muse, whose effusions are the amusement of a very small part of a polished nation, records, in the lays of inspiration, the history the laws, the very religion, of [cxvii] savages.—Where the pen and the press are wanting, the low of numbers impresses upon the memory of posterity, the deeds and sentiments of their forefathers. Verse is naturally connected with music; and, among a rude people, the union is seldom broken. By this natural alliance, the lays, "steeped in the stream of harmony," are more easily retained by the reciter, and produce upon his audience a more impressive effect. Hence, there has hardly been found to exist a nation so brutishly rude, as not to listen with enthusiasm to the songs of their bards, recounting the exploits of their forefathers, recording their laws and moral precepts, or hymning the praises of their deities. But, where the feelings are frequently stretched to the highest pitch, by the vicissitudes of a life of danger and military adventure, this predisposition of a savage people, to admire their own rude poetry and music, is heightened, and its tone becomes peculiarly determined. It is not the peaceful Hindu at his loom, it is not the timid Esquimaux in his canoe, whom we must expect to glow at the war song of Tyrtaeus. [cxviii] The music and the poetry of each country must keep pace with their usual tone of mind, as well as with the state of society.
The morality of their compositions is determined by the same circumstances. Those themes are necessarily chosen by the bard, which regard the favourite exploits of the hearers; and he celebrates only those virtues, which from infancy he has been taught to admire. Hence, as remarked by Lesley, the music and songs of the borders were of a military nature, and celebrated the valour and success of their predatory expeditions. Razing, like Shakespeare's pirate, the eighth commandment from the decalogue, the minstrels praised their chieftains for the very exploits, against which the laws of the country denounced a capital doom.—An outlawed freebooter was to them a more interesting person, than the King of Scotland exerting his power to punish his depredations; and, when the characters are contrasted, the latter is always represented as a ruthless and sanguinary tyrant.—Spenser's description of the bards of Ireland applies in some degree, to our ancient border poets. "There is, among the Irish, a certain kinde of people, called bardes, which are to them instead of poets; whose [cxix] profession is to set forth the praises or dispraises of men, in their poems or rhymes; the which are had in such high regard or esteem amongst them, that none dare displease them, for fear of running into reproach through their offence, and to be made infamous in the mouths of all men; for their verses are taken up with a general applause, and usually sung at all feasts and meetings, by certain other persons, whose proper function that is, who also receive, for the same, great rewardes and reputation amongst them." Spenser, having bestowed due praise upon the poets, who sung the praises of the good and virtuous, informs us, that the bards, on the contrary, "seldom use to chuse unto themselves the doings of good men for the arguments of their poems; but whomsoever they finde to be most licentious of life, most bold and lawless in his doings, most dangerous and desperate in all parts of disobedience, and rebellious disposition, him they set up and glorify in their rhythmes; him they praise to the people, and to young men make an example to follow."—Eudoxus—"I marvail what kind of [cxx] speeches they can find, or what faces they can put on, to praise such bad persons, as live so lawlessly and licentiously upon stealths and spoyles, as most of them do; or how they can think, that any good mind will applaud or approve the same." In answer to this question, Irenaeus, after remarking the giddy and restless disposition of the ill educated youth of Ireland, which made them prompt to receive evil counsel, adds, that such a person, "if he shall find any to praise him, and to give him any encouragement, as those bards and rhythmers do, for little reward, or a share of a stolen cow[[60]], then waxeth he most insolent, and half-mad, with the love of himself and his own lewd deeds. And as for words to set forth such lewdness, it is not hard for them to give a goodly and painted show thereunto, borrowed even from the praises which are proper to virtue itself. As [cxxi] of a most notorious thief, and wicked outlaw, which had lived all his life-time of spoils and robberies, one of their bardes, in his praise, will say, 'that he was none of the idle milk-sops that was brought up by the fire-side, but that most of his days he spent in arms and valiant enterprizes; that he never did eat his meat, before he had won it with his sword; that he lay not all night slugging in his cabin under his mantle, but used commonly to keep others waking to defend their lives, and did light his candle at the flames of their houses to lead him in the darkness; that the day was his night, and the night his day; that he loved not to be long wooing of wenches to yield to him; but, where he came, he took by force the spoil of other men's love, and left but lamentations to their lovers; that his music was not the harp, nor lays of love, but the cries of people, and clashing of armour; and, finally, that he died, not bewailed of many, but made many wail when he died, that dearly bought his death.' Do not you think, Eudoxus, that many of these praises might be applied to men of [cxxii] best deserts? Yet, are they all yielded to a most notable traitor, and amongst some of the Irish not smally accounted of."—State of Ireland. The same concurrence of circumstances, so well pointed out by Spenser, as dictating the topics of the Irish bards, tuned the border harps to the praise of an outlawed Armstrong, or Murray.
For similar reasons, flowing from the state of society, the reader must not expect to find, in the border ballads, refined sentiment, and, far less, elegant expression; although the stile of such compositions has, in modern hands, been found highly susceptible of both. But passages might be pointed out, in which the rude minstrel has melted in natural pathos, or risen into rude energy. Even where these graces are totally wanting, the interest of the stories themselves, and the curious picture of manners, which they frequently present, authorise them to claim some respect from the public. But it is not the editor's present intention to enter upon a history of border poetry; a subject of great difficulty, and which the extent of his information does not as yet permit him to engage in. He will, therefore, now lay before the reader the plan of the present [cxxiii] publication; pointing out the authorities from which his materials are derived and slightly noticing the nature of the different classes into which he has arranged them.
The MINSTRELSY of the SCOTTISH BORDER contains Three Classes of Poems:
I. HISTORICAL BALLADS.
II. ROMANTIC.
III. IMITATIONS OF THESE COMPOSITIONS BY MODERN AUTHORS.
The Historical Ballad relates events, which we either know actually to have taken place, or which, at least, making due allowance for the exaggerations of poetical tradition, we may readily conceive to have had some foundation in history. For reasons already mentioned, such ballads were early current upon the border. Barbour informs us, that he thinks it unnecessary to rehearse the account of a victory, gained in Eskdale over the English, because