The Balladists Part 10

"Awa', awa', ye ill woman, Your vile speech grieveth me; When ye hide sae little for yoursel'

Ye 'll hide far less for me."

"Gude-e'en, gude-e'en, ye heather berries, As ye grow on yon hill; If the auld carline and her bags were here, I wot she would get her fill.

Late, late at night I knit our pokes, Wi' four-and-twenty knots; And in the morn, at breakfast-time I 'll carry the keys o' your locks."

"But if you are a carl's daughter, As I take you to be, Where did you get the gay clothing In greenwood was on thee?"

"My mother she 's a poor woman, But she nursed earl's children three, And I got it from a foster-sister, To beguile such sparks as thee."'

Of the ballads descriptive of old country sports and merry-making that have come down to us, the most famous are _Christ's Kirk on the Green_ and _Peblis to the Play_. They lead us back to times when life in Scotland was not such a 'serious' thing as it afterwards became--when, under the patronage of the Court or of the Church, Miracle-plays or Moralities were played on the open sward in such places of resort for gentle and simple as Falkland and Stirling and Peebles and Cupar; and the strain of the more solemn mumming was relieved for the benefit of the common folks, by rough jests, horse-play, and dancing, in which their betters freely joined. No doubt it was a piece of sage church and state policy to keep the minds of the people off the dangerous questions that began to be stirring in them, by aid of these scenes of 'dancing and derray,' and of almost Rabelaisian fits of mirth and laughter, the savour of which remained long after they had been placed under the ban of a sterner ecclesiastical rule.

Leslie in Fife and Leslie in Aberdeen are compet.i.tors for having given the inspiration to _Christ's Kirk on the Green_, to which Allan Ramsay afterwards added a second part in the same vein. But whether these pa.s.sages of boisterous merriment, in which 'licht-skirt.i.t la.s.ses and girning gossips' play their part happed under the green Lomond or at Dunideer, there can be no question of the national popularity which the piece long enjoyed. Pope declared that a Scot would fight in his day for its superiority over English ballads; and the author of _Tullochgorum_, in a letter to Robert Burns, tells us that at the age of twelve he had it by heart, and had even tried to turn it into Latin verse. In _Peblis to the Play_, the fun is not less nimble although it is a whit more restrained; there is an infectious spirit of spring-time and gaiety in the strain that sings of the festal gathering at Beltane, when burgesses and country folks fared forth 'be firth and forest,' all 'graithed full gay' to take part in the sports. 'All the wenches of the west' were up and stirring by c.o.c.k-crow, selecting, rejecting, or comparing their tippets, hoods, and curches. Not only Peebles, but

'Hop-Kailzie, and Cardronow, Gaderit out thick-fald, With "Hey and how rohumbelow"

The young folk were full bald.

The bag-pipe blew, and they out-threw Out of the townis untald, Lord, what a shout was them amang Quhen thai were ower the wald Their west Of Peblis to the play!'

From a phrase used by John Major, it has been suggested that James I. of Scots was the writer of this poem; and a note on the Bannatyne MS. of _Christ's Kirk_ attributes that companion poem to the same royal authors.h.i.+p. In spite of the adverse judgment p.r.o.nounced by Professors Guest and Skeat, it does not seem an inconceivable thing that the monarch who wrote the _King's Quair_, and whose daughter kissed the lips of Alain Chartier as the reward of France for his sweet singing, should have written these strains descriptive of rural jollity in localities where the court and sovereign are known to have often resorted for hunting and other diversion. The cast and language of the poems appear, however, to belong to a later date; and the quaint stanza, afterwards employed in a modified form with such effect by Fergusson and Burns, is that used by Alexander Scot in _The Justing at the Drum_, and in other burlesque pieces of the early or middle period of the sixteenth century.

A much more taking tradition is that which a.s.signs them to the adventure-loving 'Commons King,' James V. They are thoroughly after the 'humour'--using the word in the Elizabethan as well as in the ordinary sense--of the wandering 'Red Tod'; who has also been held to be the inspirer, if not the author, of those excellent humorous ballads--among the best of their kind to be found in any language--_The Gaberlunzie Man_ and _The Jolly Beggar_.

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 Moliere 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, la.s.s, 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, cla.s.s, and locality to which it belongs. The proverb, 'The more the haste the less the speed,' has never been more humorously ill.u.s.trated 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 c.r.a.p of b.u.t.ter he gat.

Albeit nae b.u.t.ter he could get, Yet he was c.u.mbered wi' the kirn; And syne he het the milk ower het, That sorrow spark o' it wad yearn.'

Of the same racy domestic type are the still popular, _The Barrin' o'

the Door, Hame cam' oor Guidman at e'en_, to which, with needless ingenuity, it has been sought to give a Jacobite significance, and _Allan o' Maut_, an allegorical account of the genesis of 'barley bree.'

Of this last, also, Bannatyne has noted a version which was probably in vogue in the first half of the sixteenth century. Even the hand of Burns, who has produced, in _John Barleycorn_, the final form of the ballad, could not give us more vigorous and trenchant Scots than is contained in the verses of this venerable rhyme in Jamieson's collection:

'He first grew green, syne grew he white, Syne a' men thocht that he was ripe; And wi' crookit gullies and hafts o' tree, They 've hew'd him down, right dochtilie.

The hollin souples, that were sae snell, His back they loundert, mell for mell, Mell for mell, and baff for baff, Till his hide flew round his lugs like chaff.'

Three (if not four) generations of the Semples of Beltrees carried the tradition of this homely type of native poetry, with its strong gust and relish of life, and the Dutch-like breadth and fidelity of its pictures of the character and humours of common folk, over the period from the Scottish Reformation to the Revolution; and are remembered by such pieces as _The Packman's Paternoster_, _The Piper o' Kilbarchan_, _The Blithesome Bridal_, and, best and most characteristic of all, _Maggie Lauder_.

The 'business of the Reformation of Religion' did not go well with ballad-making or with the roystering fun of the fair and the play. In the stern temper to which the nation was wrought in the struggle to cast out abuses in the faith and practice of the Church and to a.s.sert liberty of judgment, the feigned adventures of knights and the sorrows of love-crossed maids seemed to cease for a time to exercise their spell over the fancy of the people. The open-air gatherings and junketings on feast and saints' days, with their attendant mirth and music, were too closely a.s.sociated with the old ecclesiastical rule, and had too many scandals and excesses connected with them, to escape censure from the new Mentors and conscience-keepers of the nation. When, a little later, the spirit of Puritanism came in, mirth and music, and more particularly the dance, became themselves suspect. They savoured of the follies of this world, and were among the wiles most in use by the Wicked One in snaring souls. The flowers were cut down along with the weeds by those root-and-branch men--only to spring up again, both of them, in due season, more luxuriantly than ever.

There were other and cogent reasons why the exploits of 'Jock o' the Side' and his confreres should be frowned upon and listened to with impatience. The time for Border feud and skirmish was already well-nigh past. Industry and knowledge and the pacific arts of life were making progress. The moss-trooper was already becoming an anachronism and a pestilent nuisance, to be put down by the relentless arm of the law, before the Union of the Crowns. Half a century or more before that event, this opinion had been formed of the reiving clans by their quieter and more thoughtful neighbours, as is manifest from the biting allusions of Sir David Lyndsay and Sir Richard Maitland. But after King James's going to England, even the balladists were chary of lifting up a voice in praise of the freebooters of the former Marches. Men were busy finding and fitting themselves to new ideals of patriotism and duty. The gift and the taste for ballad poetry disappeared, or rather went into retirement for a time, to reappear in other forms at a later call of loyalty and romanticism.

The _Gude and G.o.dlie Ballates_ of the Wedderburns had been deliberately produced and circulated by the Reformers, with the avowed intention, as Sheriff Mackay says, of 'driving the old amatory and romantic ballads out of the field, and subst.i.tuting spiritual songs, set to the same tunes--much as revivalists of the present day have adopted older secular melodies.' But nothing enduring is to be done, in the field of poetry, by mere dint of determination and good intent. If the older songs succ.u.mbed for a time to the new spiritual melodies, we may feel sure that it was not without a struggle. On the Borders and in the Highlands, the Original Adam a.s.serted himself, in deed and in song, long after the more sober mind of Fife, Lanark, and the West Country had given itself up to the solution of the new theological and ecclesiastical problems which time and change had brought to the nation. The Reformers complained that the fighting clans of the Western Marches could only with difficulty be induced to turn their thoughts from the hereditary business of the quarrel of the Kingdoms to take up instead the quarrel of the Kirk. Even so late as the Covenanting period, Richard Cameron found it hard work 'to set the fire of h.e.l.l to the tails' of the Annandale men. They came to the field meetings 'out of mere curiosity, to see a minister preach in a tent, and people sit on the ground'--in a spirit not unlike that in which the people used to gather at _Peblis to the Play_ or _Christ's Kirk on the Green_, to mingle a pinch of piety and priestly Moralities with a bellyful of carnal delights. It was not until the preacher had denounced them as 'offspring of thieves and robbers,' that some of them began to 'get a merciful cast.'

This, too, changed in the course of time, and having once caught fire, the religious enthusiasm of the marchmen kindled into a brilliant glow, or smouldered with a fervent heat. They flung themselves into the front of Kirk controversy, as they did also into more peaceable pursuits, such as sheep-farming and tweed manufacture, with the same hearty energy which aforetime was expended upon raids into c.u.mberland and Northumberland.

But through all the changes and distractions of the three centuries since the Warden's men met with merriment and parted with blows at the Reidswire, the old ballad music--the voice of the blood; the very speech and message of the hills and streams--has sounded like a softly-played accompaniment to the strenuous labour of the race with hand and head--a reminder of the men and the thoughts of 'the days of other years.' At times, in the strife of Church or State, or in the chase of gain, the magic notes of this 'Harp of the North' may have sunk low, may have become nigh inaudible. But in the pauses when the nation could listen to the rhythmic beat of its own heart, the sound has made itself heard and felt like the noise of many waters or the sough of the wind in the tree-tops; it is music that can never die out of the land. Its echo has never been wholly missed by Dee and Earn and Girvan; certainly never by Yarrow and Teviot and Tweed. The 'Spiritual Songs'--the 'Gude and G.o.dlie Ballates'--are lost, or are remembered only by the antiquary; not indeed because they were spiritual, or because they were written by worthy men with good intent--for the Scottish Psalms, sung to their traditional melodies, touch a still deeper chord in the natural breast than the ballads--but because they lacked the sap of life, the beauty and the pa.s.sion of nature's own teaching, which only can give immortality to song. There is a 'Harp of the Covenant', and in it there are piercing wails wrung from a people almost driven frantic with suffering and oppression. But the popular lays of the civil wars and commotions of the seventeenth century are few in number, and singularly wanting in those touches of grace and tenderness and kindly humour that somehow accompany the very roughest and most trenchant of the earlier ballads, like the bloom and fragrance that adorn the bristling thickets of the native whin on the slopes of the Eildons or Arthur Seat. The times were harsh and crabbed, and the song they yielded was like unto themselves.

There are ballads of the _Battle of Pentland_, of _Bothwell Brig_, of _Killiecrankie_, and, to make a leap into another century, of _Sheriffmuir_. But they are memorable for the pa.s.sion of hatred and scorn that is in them, rather than for their merits as poetry--for girdings, from one side or the other, at 'cruel Claver'se' and the red-shanked Highlandmen that slew the hope of the Covenant, or at the

'Riven hose and ragged hools, Sour milk and girnin' gools, Psalm beuks and cutty stools'

of Whiggery.

After a time of dearth, however, Scottish poetry began to revive; and one of the earliest signs was the attention that began to be paid to the anonymous ballads of the country. It is curious that the first printed collection of them should have been almost contemporary with that merging of the Parliaments of the two kingdoms, which, according to the fears and beliefs of the time, was to have made an end of the nationality and ident.i.ty of the smaller and poorer of the countries. It was in 1706--the year before the Union--that James Watson's _Serious and Comic Scots Poems_ made their appearance, prompted, conceivably, by the impulse to grasp at what seemed to be in danger of being lost.

Of infinitely greater importance in the history of our ballad literature was the appearance, some eighteen years later, of Allan Ramsay's _Evergreen_ and _Tea-Table Miscellany_. It was a fresh dawning of Scottish poetry. Warmth, light, and freedom seemed to come again into the frozen world. The blithe and genial spirit of the black-avised little barber-poet was itself the greatest imaginable contrast to the soured Puritanism and prim formalism that for half a century and more had infested the national letters. But the author of _The Gentle Shepherd_ himself--and small blame to him--did not fully comprehend the nature and extent of his mission. He did not wholly rid himself from the prevalent idea that the simple natural turn of the old verse was naked rudeness which it was but decent and charitable to deck with the ornaments of the time before it could be made presentable in polite society; indeed he himself, in later editions especially, tried his hand boldly at emendation, imitation, and continuation.

For a generation or two longer, the ballad suffered from these attentions of the modish muse. Yet the original spark of inspiration was not extinct; in the Border valleys especially--its native country, as we have called it--there were strains that 'bespoke the harp of ancient days.' Of Lady Grizel Baillie's lilts, composed at 'Polwarth on the Green' or at Mellerstain--cla.s.sic scenes of song and of legend, both of them--mention has been made; they have on them the very dew of homely shepherd life, closed about by the hills, of 'forest charms decayed and pastoral melancholy.' The Wandering Violer, also, 'Minstrel Burne,' from whom Scott may have taken the hint of the 'last of all the bards who sang of Border chivalry'--caught an echo, in _Leader Haughs_, of the grief and changes 'which fleeting Time procureth.'

'For many a place stands in hard case Where blyth folks ken'd nae sorrow, With Humes that dwelt on Leaderside, And Scotts that wonned in Yarrow.'

His song, with its notes of native sweetness and its artificial garnis.h.i.+ng of cla.s.sic allusions, marks the pa.s.sing of the old ballad style into the new.

Jane Elliot, too, a descendant of that Gibbie Elliot--'the laird of Stobs, I mean the same'--who refused to come to the succour of Telfer's kye, listened to the murmuring of the 'mining Rule' and looked up towards the dark skirt and threatening top of Ruberslaw, as she crooned the old fragment which her fancy shaped into that lilting before daybreak of the la.s.ses at the ewe-milking, turned ere night into wailing for the lost Flowers of the Forest. Her contemporary, Mrs. c.o.c.kburn, who wrote the more hackneyed set of the same Border lament, was of the ancient race of Rutherford of Wauchope in the same romantic Border district,--a district wherein James Thomson, of _The Seasons_, spent his childhood from almost his earliest infancy, and where the prototype of Scott's Dandie Dinmont, James Davidson of 'Note o' the Gate,' sleeps sound under a green heap of turf. To trace the Teviotdale dynasty of song further in the female line, Mrs. c.o.c.kburn's niece, Mrs. Scott, was that 'guidwife o' Wauchope-house,' who addressed an ode to her 'canty, witty, rhyming ploughman,' Robert Burns, with an invitation to visit her on the Border--an invitation which the poet accepted, and on the way thither, as he relates, chanced upon 'Esther (Easton), a very remarkable woman for reciting poetry of all kinds, and sometimes making Scots doggerel of her own.'

Meanwhile, in other parts of the country, the search for and the study of the remains of the old and popular poetry was making progress. With this had come a truer appreciation of its beauty and its spirit, and the return of a measure of the earlier gift of spontaneous song. The fancy of Scotland was kindled by the tale of the '45. Her poetic heart beat in sympathy with the 'Lost Cause'--after it was finally lost; even while her reason and judgment remained, on the whole, true to the side and to the principles that were victorious. Men who were almost Jacobin in their opinion--Robert Burns is a prime example--became Jacobite when they donned their singing robes. The faults and misdeeds of the Stewarts were forgotten in their misfortunes. In the gallant but ruinous 'cast for the crown' of the native dynasty, the national lyre found once more a theme for song and ballad. 'Drummossie moor, Drummossie day' drew laments as for another Flodden; and 'Johnnie Cope,' in his flight from the field of Prestonpans, was pursued more relentlessly by mocking rhymes than by Highland claymores.

A rush of Jacobite song, which had the great good fortune to be wedded to music not less witching than itself, followed rather than attended the Rebellion; and has become among the most precious and permanent of the nation's possessions in the sphere of poetry. Whichever side had the better in the sword-play, there can be no doubt which has won the triumph in the piping. Song and music have given the Stewart cause its revenge against fortune; and Prince Charlie, and not c.u.mberland, will remain for all time the hero of the cycle of song that commemorates the last romantic episode in our domestic annals. Jacobite poetry has been lyrical for the most part. But the ballad--narrative in form and dramatic in spirit--has not been neglected.

In a host of singers, Caroline Oliphant, Baroness Nairne, wears the laurel crown of the Jacobite Muse, and Strathearn is the chief centre of inspiration. But the auth.o.r.ess of _The Auld Hoose_, and _The Land o' the Leal_, also wrote ballads of cheery and pawky, yet 'genty' humour that have caught and held the popular ear, as witness the immortal _Laird of c.o.c.kpen_. Hamilton of Bangour, who was 'out' in the '45, had struck anew the lyre of Yarrow in _Busk ye, busk ye!_ Fife could already 'c.o.c.k her crest' over Elizabeth Halkett, Lady Wardlaw, a balladist whose verse, acknowledged and unacknowledged, had many genuine touches 'of the antique manner;' and Lady Anne Barnard, a granddaughter of Colin, Earl of Balcarres, whose career was one of the romances of the '15 and of the House of Lindsay, was able to tell Sir Walter Scott, so late as 1823, the story of the conception and birth of her _Auld Robin Gray_, which also, on its first anonymous appearance, was taken by some as 'a very, very ancient ballad, composed perhaps by David Rizzio.' As with so many other ballads--perhaps as with most of them--the inspiration of the words was caught from a beautiful and still older air--'an ancient Scotch melody,' says Lady Anne, 'of which I was pa.s.sionately fond; Sophy Johnstone used to sing it to us at Balcarres.' The date of this, perhaps the sweetest of our modern ballads, is fixed approximately by the gifted writer 'as soon after the close of the year 1771'--perhaps the first approach that can be made to the timing a ballad's birth.

Walter Scott, also, was born in the latter half of 1771. Burns was then fifteen years of age, 'beardless, young, and blate,' but already, as he wrote to the 'guidwife of Wauchope-house,' with

'The elements o' sang In formless jumble right an' wrang Wild floating in his brain.'

Already the wish was 'strongly heaving the breast' of that young Ayrs.h.i.+re ploughman,