{"collection":"myth-cosmogony","full_text_available":true,"graph_url":"https://unchartedknowledge.5gfusion.net/v2/api/page/gutenberg_45277/graph","html_url":"https://unchartedknowledge.5gfusion.net/v2/page/gutenberg_45277","id":"gutenberg_45277","license":"Public Domain (US)","rights_basis":"gutenberg_metadata_copyright_false","source":"gutenberg","source_url":"https://www.gutenberg.org/ebooks/45277","summary":null,"tags":["Category: Mythology, Legends & Folklore","Category: Poetry","Folk songs -- History and criticism"],"text":"STUDIES IN FOLK-SONG AND POPULAR POETRY,\n\nBy Alfred M. Williams.\n\nWith A Prefatory Note By Edward Clodd,\n\nLondon:\n\nElliot Stock, 62, Paternoster Row, E,C.\n\n1895.\n\n\n\n\nPREFACE\n\n|Mr. Williams's essays merit a few words of commendation from\nfolk-lorists on this side of the Atlantic as being calculated to\ninterest readers in a subject which is full of profound significance,\nbut against which they may possibly be prejudiced in the degree that\nscience claims it as material for analysis.\n\nFor within the last few years folk-lore has been promoted to the rank\nof a serious study and the Folk-Lore Society of London, aided by its\nnumerous and lusty offshoots, both American and Continental, is busily\napplying the scientific method to fireside tale, custom, song, and\nballad seeking what old philosophies lie at the heart of these, and what\nthey have to tell about intercourse between peoples in the past.\n\nNevertheless, the folk-lorist treats his subject-matter as tenderly as\nIsaak Walton bade the angler hook his worm, for he remembers what poetry\nthe song and saga hold, and that laughter and tears are ever young.\n\nThese essays range over a wide field, both of space and time. The\nearlier in arrangement deal with subjects which are purely literary and\nmodern, and justify their presence only in the reasons advanced by the\nauthor. But the major number come within the ken of the folk-lorist,\nand appeal not to him only, but to all who are moved by the passion and\nsincerity of primitive poetry, in the skill and sympathy with which the\nvaried note of folk-song in East and West is interpreted. In some of the\nexamples, however, notably those from Roumania, Mr. Williams does not\nsufficiently allow for the modern dress in which the peasant verse is\nclothed.\n\nEdward Clodd.\n\n\n\n\nSTUDIES IN FOLK-SONG AND POPULAR POETRY.\n\n\n\n\nAMERICAN SEA SONGS.\n\n\n|Oh, fare ye well, my pretty, fair maids,\n\n     I'm bound for the Rio Grande!\n\n               Ri-o-Rio I\n\n     I'm bound for the Rio Grande!\n\nNo one who is old enough to remember the glorious spectacle of a\nfull-rigged American clipper ship getting under full sail outside of the\nheadlands of a harbor, after having been cast off by the tug, is likely\nto have forgotten the sight: the white sails dropping from the yards,\nbeing sheeted home, and swelling out to the fresh wind, until a cloud of\ncanvas sparkled in the sun; the strong and graceful life which the ship\ntook on under their power; the foam curling up under the bow with her\nforward rush; the great plain of the ocean, with all its free airs and\nsalt scents, beckoning to life and adventure seaward round the world.\nTo this, to one on board or near enough to hear, will be added the\nindefinable and mysterious charm of the sailors' chants, as they haul\nin the bowline, and tauten up the tacks and sheets by a pull requiring\nunison of effort; and the cadence, at once long-drawn and vigorous,\nfills the air with a magic voice of the wind and the sea. It has the\nmelopoeism, if it may be so called, of the cadence of nature, and takes\nits note from the solitude and melancholy of the world, never more\nimpressive than upon the vast plain of the sea. It has been heard from\nimmemorial time, since the first oarsmen pulled together along the\ncoasts of the Indian Ocean, and possesses the same essence in whatever\nlanguage it is uttered; and, while it has its practical purpose in\nsecuring unison and accentuation of effort, it would be a mistake to\nsuppose it without origin in and appeal to the innate impulse for the\nexpression of sentiment in melody in the heart of man. Every sea captain\nknows, or used to know, how much more quickly the anchor came up, or\nhow much more hearty were the pulls on the bowlines, if there were a\nfull-lunged and melodious leader for the \"shanty;\" and his practical\nminded mate would at times shout, when the chorus was going faintly and\nmechanically, \"Sing out there, can't ye?\" with the same purpose with\nwhich he would exhort the men to take a stronger pull. Conversely, a\npoor leader, or a second who could not or would not keep in proper time,\nwas a decided injury to the effectiveness of the labor; and it sometimes\nhappened that an energetic captain, when his ship was being got under\nway, would step up to a sailor, apparently heaving sturdily at the\nwindlass, and knock him sprawling, for the reason that he had detected\nhim giving the wrong time to the chant, out of mischief, or for the sake\nof testing the sharpness and intelligence of the \"old man.\"\n\nThe words of these windlass and bowline \"shanties\" have, of course,\nlittle of the element of finished poetry about them. They are not songs,\nbut chants, whose purpose is to give accentuation and force to the\nexertion of united strength rather than to the expression of sentiment,\nand of which the rhythmical melody is the essential element. Whether\nthey be new or old, they always have been essentially improvisations,\ncapable of being stopped at any moment or added to indefinitely, and,\nlike the refrains of the old ballads, are dependent upon the sound\nrather than the sense for their effect. Nevertheless, however imperfect\nand indefinite their expression, they took their tone and color\noriginally from the elements in which they were born, and gave out not\nonly the voice of the sea and the wind, the notes of the never silent\n\u00c6olian harp of the cordage and the bellying sails, but the prevailing\nsentiment of the human heart upon the great deep, its underlying\noppression, its longing for home, its craving for relief from monotony;\nand it is a dull ear that would not detect this, under the most absurd\nand uncouth words ever strung together in a sailor's shanty.\n\nAs among the seamen of all races, the chants of the American sailors,\nbefore they were so reduced in quality and number by the combined\ninfluence of steam vessels and a protective tariff, were of ancient\nand indefinite origin, and were constantly being altered or added to\nby circumstance and improvisation. They came, of course, first from the\nEnglish seamen, who were our sailors' ancestors and associates, to whom\nat least the element descended from the songs to which the galleys of\nthe sea kings of Scandinavia were impelled over the foaming brine, or\nthe Celtic coracle was paddled on the lonely lake; and it is impossible,\nin a mass of rude verse, of little definite meaning, of a fluid and\nfluctuating form, and handed down from lip to lip without ever, except\nincidentally, having been put into print and preserved, to fix the\norigin or the date of creation of any of these songs. There are traces\nof old phrases and archaisms, ancient words strangely metamorphosed into\na semblance of modern meaning, and all such settlings and deposits as\nare to be found in the geological strata of spoken language,--references\nto mermaids, sea-serpents, and survival of myths regarding the powers of\nthe sea and air; but they are of no such distinct historic value as are\nthe indications to be found in the more definite folk-lore in prose or\nverse, which have the element of dramatic interest and narrative. It is\nto be remembered that these chants, as we have said, were essentially\nimprovisations, with a purpose different from ordinary song,--that is,\nto give the governing power of melody to united exertion,--and that\nwhatever color and substance they have are extraneous, and not inherent.\nWhat is distinctively American can be determined only by local allusions\nor by definite knowledge of their origin: the first are of very little\nvalue, for an English chant, with its local allusions, might be very\nreadily altered into an American one by the substitution of American\nnames; and in regard to the second, as has been said, the songs were\nborn, and passed from mouth to mouth, and from ship to ship, without\nany one's knowing or caring where they originated. Nevertheless, the\nAmerican sailors, when there were American sailors, had as strong a\nnational and provincial feeling as those of any other country;\nwere capable of making their own chants, if not as much given to\nimprovisation as those of the Latin races; and had a selection of local\nnames as sonorous and as readily adapted to the needs of a rhythmical\nchorus as those of any English-speaking people. The Rio Grande and the\nShenandoah were as mouth-filling and sonorous as the High Barbarie or\nany of the refrains of the English shanties, and the American sailor\nsheeted home his canvas with Virginia Ashore, or Baltimore, or Down to\nMobile Bay in his remembrance as well as on his lips.\n\nPremising that American shanties are not American sea songs in any\ndefinite sense of the term, and fulfill only the conditions to which\nthey are subject as aids to labor and stimulants to exertion, we may\ntake a specimen or two to show what they were like. It is needless to\nsay that neither the words nor a musical notation would give any idea\nof their effect when sung with full-throated chorus to sea and sky, and\nthat their peculiar melodious cadence and inflection can be caught\nonly by hearing them. Like the chants of the negro slaves, which they\nresemble in many respects, musical notes would give only the skeleton\nof the melody, which depends for its execution upon an element which\nit defies the powers of art to symbolize. They have various forms,--a\ncontinued and unbroken melody, as when turning the capstan or pumping,\nor they show an emphatic accentuation at regular intervals, as when\nstretching out a bowline with renewed pulls; and such as they are,\nthey are given precisely as sung, with a dependence upon the reader's\nimagination to supply in some degree the cadence and accentuation. The\nfollowing are good specimens of the bowline chants.\n\n               Solo. I wish I was in Mobile Bay,\n\n               Chorus. Way-hay, knock a man down!\n\n               Solo. A-rolling cotton night and day,\n\n               Chorus. This is the time to knock a man down!\n\nAnd so on _ad infinitum_, until the hoarse \"Belay!\" of the mate or the\n\"bosun\" ends it.\n\nOh, Shenandoah's a rolling river,\n\n     _Hooray_, you rolling river,\n\nOh, Shenandoah's a rolling river,\n\n     _Ah-hah_, I'm bound away to the wild Missouri!\n\nOh, Shenandoah's a packet sailor, etc.\n\n          My Tommy's gone, and I 'll go too,\n\n               Hurrah, you high-low!\n\n     For without Tommy I can't do,\n\n               My Tommy 's gone a high-low!\n\n     My Tommy's gone to the Eastern shore,\n\n               Chorus.\n\n     My Tommy's gone to Baltimore, etc.\n\nA favorite and familiar pulling song is Whiskey for my Johnny:--\n\nWhiskey is the life of man,\n\n     _Whiskey_-Johnny!\n\nWe 'll drink our whiskey while we can,\n\n     _Whiskey_ for my Johnny!\n\nI drink whiskey, and my wife drinks gin,\n\n               Chorus.\n\nThe way she drinks it is a sin,\n\n               Chorus.\n\nI and my wife cannot agree,\"\n\n               Chorus.\n\nFor she drinks whiskey in her tea,\n\n               Chorus.\n\nI had a girl; her name was Lize,\n\n               Chorus.\n\nAnd she put whiskey in her pies,\n\n               Chorus.\n\nWhiskey's gone, and I 'll go too,\n\n               Chorus.\n\nFor without whiskey I can't do, etc.\n\nA very enlivening windlass or pumping chant is I'm Bound for the Rio\nGrande:--\n\nI'm bound away this very day,\n\n     Oh, you Rio!\n\nI'm bound away this very day,\n\n     I'm bound for the Rio Grande!\n\nAnd away, you Rio, oh, you Rio!\n\nI'm bound away this ve-ry day,\n\n     I'm bound for the Rio Grande!\n\nAnother is Homeward Bound with a Roaring Breeze:--\n\nWe 're homeward bound with a roaring breeze,\n\n     Good-by, fare you well!\n\nWe 're homeward bound with a roaring breeze,\n\n     Hurrah, my boys! We 're homeward bound!\n\nI wrote to Kitty, and she was well,\n\n     Good-by, fare you well!\n\nShe rooms at the Astor and dines at the Bell,\n\n     Hurrah, my boys! We 're homeward bound!\n\nThere were many, with slight American variants, which were undoubtedly\nof English origin, and have been heard on English merchant ships from\ntime immemorial; some which relate especially to the operations of\nwhaling; and some which had their origin on the river flatboats and in\nthe choruses of the roustabouts on the Ohio and Mississippi, and have\nbeen only slightly changed for salt-water purposes, the quality being as\nlittle varied as the number is endless. Their essential quality was that\nof an improvised chant, and the dominant feeling was to be found in\nthe intermingling of the words and the cadence, as in the apparently\nmeaningless refrain of the old ballads. They expressed, through all\ntheir rudeness and uncouthness, and more through the melody than the\nwords, the minor chords which distinguish all folk music, the underlying\nelement in the human heart oppressed by the magnitude and solitude of\nnature, as well as the enlivening spirit of strong exertion; and no\nsensitive ear could ever call them really gay, however vigorous\nand lively they might be. The shanties are passing away with the\nsubstitution of iron cranks and pulleys for the muscles of men, and\nthe clank of machinery has taken the place of the melodious chorus from\nhuman throats. It is not probable that they will ever entirely disappear\nso long as men go down to the sea in ships; but whatever life and flavor\nthey had will fade away, and the first-class leading tenor among the\n\"shanty men\" will vanish with the need and appreciation of his skill. As\nfor the old words, they will also be utterly lost, because they have\nno existence except in oral recitation and memory, and do not contain\nenough of the elements of pure poetry to secure their preservation\nin print, as the folk songs and ballads have been preserved. They are\nrelics of custom rather than of literature; and although any poet or\nmusician who deals with the sea will miss a source of very valuable\ninspiration if he does not possess himself of the spirit of their weird\nmelody and the unconscious power of their vigorous rhythm, in themselves\nthey are likely to be lost with the chants of the Phoenician sailors or\nthe rowers of the galley of Ulysses, which they have succeeded, and some\nof whose melody they have perhaps reproduced.\n\nThe genuine sea songs differ from the shanties in that they had a\ndefinite poetical purpose to tell a story or express emotion, and were\nnot merely words strung together to give voice to a rhythm of labor. It\ncannot be said that the genius of the American sailor has turned itself\nespecially to expressing his emotions in song, any more than that of the\nEnglish. His nature is entirely too practical, and the touch of tender\nsentiment which, in the Scotch nature, produced the beautiful fishing\nsongs of the coast and the grand rowing and boat songs of the Western\nIslands, is wanting alike in him and his English associate.\n\nIt would probably astonish most readers to be told that English\nliterature is singularly deficient in sea songs, when they have in\nmemory the noble odes of Campbell, the long list of the Tom Bowlings and\nJack Junks of Dibdin, Cherry's Bay of Biscay and The Minute Gun at Sea,\nand the many good songs about ships and sea fights by Barry Cornwall,\nCunningham, and many others. But these songs were not written by\nsailors. There never has been any English sailor, except the respectable\nWilliam Falconer, the author of The Shipwreck, in several cantos of\ndesiccated decasyllabic verse, who has written of the sea in verse from\nthe standpoint of actual experience, or to do for it in poetry what\nCaptain Marryat, Michael Scott, and W. Clark Russell have done in prose.\nEnglish sea songs have been written by landsmen; even the charming\nWapping Old Stairs is a song of the waterside, and not of the ocean;\nand as for the famous heroes of Dibdin's nautical songs, including Tom\nBowling himself, they are very much, as Thackeray said, \"har-lar\" Mr. T.\nP. Cooke, the actor, who personated the gallant Jack Tar in a very\nblue jacket with very bright buttons, and very white duck trousers, and\nappealed to \"England, Home, and Beauty\" as represented in the cits of\nthe gallery at Sadler's Wells theatre. Dibdin's heroes smell of stage\ngas rather than of tar, and their purpose and effect were very much more\nto persuade susceptible landsmen that the British navy was an elysium,\nin which beating Frenchmen was a glorious episode in an existence\ndevoted mainly to passing the can between decks at sea and basking in\nthe smiles of lovely Nan and faithful Poll on shore, than to tell what\nthe seamen themselves really felt about it. The writers of the ordinary\nEnglish sea songs had their lodgings in the neighborhood of Drury Lane\nrather than in the forecastle, and their inspiration was as strictly\ncommercial as that of Mr. Slum, who supplied the anagrams and acrostics\nannouncing the treasures in Mrs. Jarley's waxworks. Some of them are\ngood in their way, as are a few of those of Dibdin and Andrew Cherry,\nand particularly The Saucy Arethusa, in which there is a real flavor of\nthe sea spirit, and which was written by one Prince Hoare, a comic opera\nlibretto writer of sixty years ago; the author, by the way, of Mrs.\nMicawber's favorite song, Little Tafflin with the Silken Sash. But when\none comes to look for real forecastle songs, written by a sailor, and\nsmelling of pitch and tar, one finds very few. Doubtless some have been\nlost, although there is a strong vitality to anything that is good; but\nexcept Kobert Kidd, Sailing down on the High Barbarie, Captain Glen,\nJacky Tar with his Trousers on,--the immortal song which appealed to the\nfeeling heart of Captain Edward Cuttle,--\n\nI know you would have me wed a farmer,\n\n     And not give me my heart's delight;\n\nGive me the lad whose tarry trousers\n\n     Shine to me like diamonds bright,--\n\nThe Mermaid, and few others, there is nothing which indicates that\nthe British sailor was given to expressing himself in verse beyond the\nsimple exigencies of the shanty. The case was very much the same with\nthe American, and, under ordinary circumstances, it would be as vain to\nlook for poetical feeling in the shrewd, practical-minded, and gritty\nNew England seaman as in his more stolid and coarse-fibred English\nassociate. Nevertheless, so much of the best spirit of the American\npeople was once turned toward the sea for its field of action, its\nnaval history has been so inspiring to national pride, and its record of\nadventure in all parts of the world has been so remarkable that it would\nhave been impossible that it should not have produced some worthy or at\nleast illustrative fruit in poetry.\n\nThe era of the Revolution was not distinguished for its naval exploits,\nexcept the memorable raid of the Scotch adventurer, John Paul Jones,\nupon the English seas, and the fight of the Bonhomme Richard with\nthe Serapis and the Countess of Scarborough, for the reason that the\ncolonies had no warships, and no means of procuring any. There were,\nhowever, a few privateers: the Hyder Ali, commanded by Captain Barney,\nwhich won a victory over the British vessel General Monk, and was\ncelebrated in verse by Philip Freneau, and for which he wrote a\nrecruiting song, with at least one verse of a practical tendency:--\n\n     Here's grog enough; come drink about.\n\n     I know your hearts are firm and stout.\n\n     American blood will never give out,\n\n          As often we have proved it;\n\nthe Fair American, commanded by Captain Daniel\nHawthorne, which fought a British snow, laden with troops, off the\ncoast of Portugal, and whose exploits are recorded in a ballad of very\nconsiderable spirit, and evidently by one of the crew; and some others,\nwho did not happen to have a poet on board or a laureate on shore, and\nare not embalmed in verse. To this period, however, belongs what is,\nperhaps, the very best of American sea songs. We do not know whether its\nauthorship was of that time or not, although it probably was, and from\ninternal evidence would seem to have been composed by one of the very\ncrew of the Ranger, Paul Jones's ship, which escaped from a British\nsquadron in the Irish Channel in 1778. It was first published by\nCommodore Luce, in his collection of Naval Songs, with the statement\nthat it was taken down from the recitation of a sailor. It is one of the\ngems of forecastle song, has the full scent of the brine and the gale,\nand the ship does not manouvre as if she were a wagon on dry land, as\nwas said of Allan Cunningham's account of Paul Jones's cruises. The\ntitle given is\n\n\n\n\nTHE YANKEE MAN-OF-WAR.\n\n\n     'T is of a gallant Yankee ship that flew the stripes and stars,\n\n     And the whistling wind from the west-nor'-west blew through\n\n          the pitch-pine spars.\n\n     With her starboard tacks aboard, my boys, she hung upon the\n\n          gale,\n\n     On an autumn night we raised the light on the old head of\n\n          Kinsale.\n\n     It was a clear and cloudless night, and the wind blew steady\n\n          and strong,\n\n     As gayly over the sparkling deep our good ship bowled\n\n          along;\n\n     With the foaming seas beneath her bow the fiery waves she\n\n          spread,\n\n     And bending low her bosom of snow, she buried her lee cat\n\n          head.\n\n     There was no talk of short'ning sail by him who walked the\n\n          poop,\n\n     And under the press of her pond'ring jib the boom bent like\n\n          a hoop,\n\n     And the groaning water-ways told the strain that held her\n          stout main tack.\n\n     But he only laughed as he glanced abaft at a white and sil\n\n          very track.\n\n     The mid-tide meets in the channel waves that flow from shore\n\n          to shore,\n\n     And the mist hung heavy upon the land from Featherstone\n\n          to Dunmore;\n\n     And that sterling light on Tusker rock, where the old bell\n\n          tolls the hour,\n\n     And the beacon light that shone so bright was quenched on\n\n          Waterford tower.\n\n     The nightly robes our good ship wore were her three topsails\n\n          set,\n\n     The spanker and her standing jib, the spanker being fast.\n\n     \"Now, lay aloft, my heroes bold, let not a moment pass!\"\n\n     And royals and topgallant sails were quickly on each mast.\n\n     What looms upon the starboard bow? What hangs upon\n\n          the breeze?\n\n     'T is time our good ship hauled her wind abreast the old Sal\n\n          tees;\n\n     For by her ponderous press of sail and by her consorts four\n\n     We saw our morning visitor was a British man-of-war.\n\n     Up spoke our noble captain then, as a shot ahead of us\n\n          passed,\n\n     \"Haul snug your flowing courses, lay your topsail to the\n\n          mast!\"\n\n     The Englishmen gave three loud hurrahs from the deck of\n\n          their covered ark,\n\n     And we answered back by a solid broadside from the decks\n\n          of our patriot bark.\n\n     \"Out, booms! Out, booms!\" our skipper cried, \"Out,\n\n          booms, and give her sheet!\"\n\n     And the swiftest keel that ever was launched shot ahead of\n\n          the British fleet.\n\n     And amidst a thundering shower of shot, with stunsails hoist\n\n          ing away,\n\n     Down the North Channel Paul Jones did steer, just at the\n\n          break of day.\n\nThe naval war of 1812 was a glorious epoch in American history. The\nachievements of the troops were very far from creditable, with a few\nexceptions, including, of course, the great one of the repulse of\nBritish regulars at New Orleans; but on the ocean the American sailors\nproved themselves quite the equal, if not more, of the English seamen,\nwho had learned to consider themselves invincible, and despised the\npetty fleet of half a dozen cruisers,--not a single line-of-battle\nship in the number,--which they had force enough to sweep off the seas\nwithout a struggle, and which they finally did blockade into inaction.\nThere was quite an outburst of surprise, incredulity, and indignation in\nEngland, when the news came in that British frigates, one after another,\nthe Guerriere, the Java, and the Macedonian, had been captured in\nsingleship fights by American ships of the same grade, and that in\ncontests between vessels of smaller size, like the Wasp and the Frolic,\nthe Hornet and the Peacock, Yankee pluck and seamanship had been equally\nsuccessful; and British naval historians, then and since, have been\nearnest in showing that the victories were due to superior weight of\nmetal, to the presence of deserters from the British navy on board the\nAmerican ships, and to the accidents of naval warfare. Nevertheless,\nthe facts of the captures remained the same, and privateers ravaged the\nseas, plundering and burning English ships, and causing the most bitter\nannoyance as well as incalculable loss and damage. To the vindictive\ndepreciation and abuse of the English writers the Americans were\nnot slow to respond, with a joyous outburst of national pride and\nexultation, and a mighty flapping of the wings of the American eagle;\nand the poets and song-writers joined in the shrill cock-a-doodle-doo of\nvictory. The country was a great deal more boastful and self-assertive\nthan it has been since it has come to rely on its own strength and has\nknown the achievement of the great and sobering task of the civil war.\nThe spirit of the spread eagle pervaded our national literature; the\npoets burst into songs,--generally, it must be admitted, very bad,--in\nwhich they celebrated the naval victories of the day. They indulged in\nmythological flights of the highest kind, in which Neptune bestowed a\nlaurel crown upon Hull, Amphitrite smiled upon Bainbridge and Decatur,\nand the Tritons and the Nereids joined in a chorus of love and\nadmiration for the American sailor. America, Commerce, and Freedom\nappeared as conjoined goddesses, and everybody was summoned to fill the\nbumper and pledge the flowing bowl, to thank the mighty Jove and invoke\nBacchus, and do all sorts of things entirely unfamiliar to a people\nwhose principal intoxicating beverages were Medford rum and Monongahela\nwhiskey, and who had not the slightest acquaintance with heathen gods\nand goddesses. It is needless to say that none of these songs were\nwritten by sailors, or were ever sung by them, even if they could have\nbeen sung by anybody.\n\nThere was, however, better stuff than this in the naval songs of the war\nof 1812. The American sailor himself sometimes cleared his cheek of\nits quid, and sang in a clear if somewhat nasal voice some of the deeds\nwhich he had seen and done. Thus there is a great deal of rude vigor\nin one of the verses of a song describing the fight between the\nConstitution and the Guerriere, the first of our naval victories, and a\nvery favorite theme:--\n\n     But Jonathan kept cool,\n\n     At the roaring of the Bull.\n\n     His heart filled with anything but fears;\n\n          And squirting out his quid,\n\n          As he saw the captain did,\n\n     He cleaned out his mouth for three cheers.\n\nAnother song on the same engagement, entitled\nHalifax Station, begins thus:--\n\n     From Halifax Station a bully there came,\n\n     To take or be taken, called Dacres by name;\n\n     And who but a Yankee he met on his way;\n\n          Says the Yankee to him, \"Will you stop and take tea?\"\n\nAfter giving Dacres's high and mighty address\nto his crew, and Hull's more modest appeal, it\nsays:--\n\n     Then we off with our hats and gave him a cheer,\n\n     Swore we'd stick by brave Hull, while a seaman could\n\n          steer.\n\n     Then at it we went with a mutual delight,\n\n     For to fight and to conquer is a seaman's free right.\n\nThe poet naturally takes the privilege of presenting the confounded\nBritisher in the most humiliating light, and the manner in which Captain\nDacres signified his surrender is probably more graphic than\nhistorically correct:--\n\n     Then Dacres looked wild, and then sheathed his sword,\n\n     When he found that his masts had all gone by the board.\n\n     And, dropping astern, cries out to his steward,\n\n     \"Come up and be d----d! Fire a gun to leeward!\"\n\nThis battle, fought in the North Atlantic on August 2, 1812, between\nthe American frigate Constitution, Captain Isaac Hull, and the British\nfrigate Guerriere, Captain James R. Dacres, and one of consummate\nseamanship as well as fighting capacity on the part of Hull, was the\ntheme of the best and most spirited song of the whole war; one which\nstill keeps its place in the forecastle, and, it may be hoped, will\nkeep it so long as Uncle Sam has a war-ship afloat. It is set to a very\nlively and emphatic air, called, indifferently, The Landlady of France\nand The Bandy-Legged Officer, from the coarsely comical words which\nGeorge Colman the younger had written to it.\n\n\n\n\nTHE CONSTITUTION AND THE GUERRIERE.\n\n\n          It ofttimes has been told\n\n          That the British sailors bold\n\n     Could flog the tars of France so neat and handy, O.\n\n          And they never found their match\n\n          Till the Yankees did them catch.\n\n     Oh, the Yankee boys for fighting are the dandy, O.\n\n          The Guerriere, a frigate bold,\n\n          On the foaming ocean rolled,\n\n     Commanded by proud Dacres, the grandee, O.\n\n          With choice of British crew,\n\n          As ever rammer drew,\n\n     They could flog the Frenchmen two to one so handy, O.\n\n          When this frigate hove in view,\n\n          Says proud Dacres to his crew,\n\n     \"Come, clear the ship for action, and be handy, O.\n\n          To the weather-gage, boys, get her,\"\n\n          And to make his men fight better\n\n     Gave them to drink gunpowder in their brandy, O.\n\n          Then Dacres loudly cries,\n\n          \"Make this Yankee ship your prize!\n\n     You can in thirty minutes, neat and handy, O.\n\n          Thirty-five's enough, I'm sure;\n\n          And if you 'll do it in a score,\n\n     I'll give you a double dose of brandy, O.\"\n\n          The British shot flew hot,\n\n          Which the Yankee answered not,\n\n     Till they got within the distance they called handy, O.\n\n          Now says Hull unto his crew,\n\n          \"Boys, let's see what we can do.\n\n     If we take this boasting Briton, we 're the dandy, O.\"\n\n          The first broadside we poured\n\n          Carried their mainmast by the board,\n\n     Which made the lofty frigate look abandoned, O.\n\n          Then Dacres shook his head,\n\n          And to his officers he said,\n\n     \"Lord! I did n't think these Yankees were so handy, O.\"\n\n          Our second told so well\n\n          That their fore and mizzen fell,\n\n          Which doused the royal ensign so handy, O.\n\n          \"By George,\" says he, \"we 're done!\"\n\n          And he fired a lee gun,\n\n     While the Yankees struck up Yankee doodle dandy, O.\n\n          Then Dacres came on board\n\n          To deliver up his sword.\n\n     Loath was he to part with it, it was so handy, O.\n\n          \"O, keep your sword,\" says Hull,\n\n          \"For it only makes you dull.\n\n     So cheer up; let us take a little brandy, O.\"\n\n     Come, fill your glasses full,\n\n     And we 'll drink to Captain Hull,\n\n     And so merrily will push about the brandy, O.\n\n          John Bull may toast his fill,\n\n          Let the world say what it will,\n\n     But the Yankee boys for fighting are the dandy, O.\n\nThe English celebrated their one signal victory of the war--the capture\nof the Chesapeake by the Shannon, off Boston Light, a year later--by a\nparody of this song, of a decidedly inferior quality.\n\nOne of the most notable events of the war was the cruise of the Essex,\nCaptain David Porter, in the South Pacific, in 1813 and 1814. She did an\nimmense amount of damage to the British whalemen, and the British ships\nCherub and Phoebe were sent to capture her. After a rencontre in the\nharbor of Valparaiso, in which the captain of the Phoebe, taken at a\ndisadvantage, protested his purpose to respect the neutrality of the\nport, and a challenge from which the British ships ran away, the Essex\nwas caught disabled by a squall, chased into a harbor near Valparaiso,\nand captured after a tremendous engagement, in which the calibre of the\nBritish guns gave them every advantage, and in which the neutrality\nof the port was not taken into account. There was a poet on board the\nEssex, and he produced a long ballad describing the cruise and the\nretreat of the British ships after the challenge; but whether he\nperished in the later fight, or had no heart to add it to his verses,\nis not known. Among the crew of the Essex who did survive the fight was\nMidshipman David G. Farragut, who lived to achieve the greatest naval\nrenown since that of Nelson, and be the theme of The Bay Fight, the\nnoblest sea poem yet written.\n\nThe ballad of the Essex is entitled \"A Pleasant New Song. Chanted by\nNathan Whiting (through his nose) for the amusement of the galley slaves\non board the Phoebe, who are allowed to sing nothing but psalms.\" After\ndescribing the beginning of the trouble caused by \"John Bull's taking\nour ships and kidnaping our true sailors,\" and the capture of British\nvessels in the first year of the war, the ballad takes up the cruise of\nthe Essex.\n\n     The saucy Essex, she sailed out\n\n          To see what she could do.\n\n     Her captain is from Yankee land,\n\n          And so are all her crew.\n\n     Away she sailed, so gay and trim,\n\n          Down to the Galapagos,\n\n     And toted all the terrapins,\n\n          And nabbed the slippery whalers.\n\n     And where d' ye think we next did go?\n\n          Why, down to the Marquesas.\n\n     And there we buried underground\n\n          Some thousand golden pieces.\n\n     Then sailed about the ocean wide,\n\n          Sinking, burning, taking,\n\n     Filling pockets, spilling oil,\n\n          While Johnny's heart was aching.\n\nThe ballad then describes the arrival of the Phoebe and Cherub and the\nrencontre in Valparaiso Bay, the challenge and the flight of the Phoebe,\nin verses which have a great deal of rude vigor.\n\n     At last John Bull quite sulky grew,\n\n          And called us traitors all,\n\n     And swore he'd fight our gallant crew,\n\n          Paddies and Scots and all.\n\n     Then out he went in desperate rage,\n\n          Swearing, as sure as day,\n\n     He'd starve us all or dare us out\n\n          Of Valparaiso Bay.\n\n     Then out he sailed in gallant trim,\n\n          As if he thought to fright us,\n\n     Run up his flag and fired a gun\n\n          To say that he would fight us.\n\n     Our cables cut, we put to sea,\n\n          And ran down on his quarter,\n\n     And Johnny clapped his helm hard up,\n\n          And we went following after.\n\n     In haste to join the Cherub he\n\n          Soon bent his scurvy way,\n\n     While we returned in merry glee\n\n          To Yalaparaiso Bay.\n\n     And let them go. To meet the foe\n\n          We 'll take no farther trouble,\n\n     Since all the world must fairly know\n\n          They 'll only fight us double.\n\n     Ne'er mind, my lads, let's drink and sing,\n\n          \"Free trade and sailors' rights.\"\n\n     May liquor never fail the lad\n\n          Who for his country fights.\n\n     Huzza, my lads, let's drink and sing,\n\n          And toast them as they run:\n\n     \"Here's to the sailors and their king\n\n          Who 'll fight us two to one.\"\n\nThere were other exploits of American ships told in verse, among them\nthe gallant repulse, by the crew of the privateer General Armstrong,\nCaptain Samuel C. Reid, in the Harbor of Fayal, of the boats of three\nBritish men-of-war, which was the subject of a forecastle ballad, but\nnone of this memorial verse reached the level of poetry. The battles of\nLake Erie and Lake Champlain also had their numerous laureates; and the\nraid of Admiral Cockburn and the troops upon Baltimore was the subject\nof a song, the opening lines of which have a vigor and strong rhythm not\nmaintained throughout.\n\n     Old Ross, Cochrane, and Cockburn too,\n\n          And many a bloody villain more,\n\n     Swore with their bloody, savage crew\n\n          That they would plunder Baltimore.\n\nThe naval service during the civil war did not produce any songs that\nachieved popularity in comparison with that won by the songs of land\nservice, like John Brown's Body, The Year of Jubilo, and Marching\nthrough Georgia, and in fact was singularly deficient in poetry,\nwith the remarkable exception of the productions of Mr. Henry Howard\nBrownell. There were few singleship engagements except the fight between\nthe Monitor and the Merrimac, and the Kearsarge and the Alabama, and the\nblockading service was not calculated to inspire the martial muse.\n\nThe two great naval achievements of the war were the capture of New\nOrleans and of the forts in Mobile Bay by the fleets under Farragut;\nand these were celebrated in poetry worthy of them--and no more can be\nsaid--by Henry Howard Brownell, who witnessed the second from the deck\nof Admiral Farragut's flagship. The fire, spirit, and grand fighting\n_elan_ of The Bay Fight have never been surpassed in English poetry, and\nthe accuracy of its pictures is as notable as their vigor. But these\nare poems, and not songs, and there is nothing in the naval songs of\nthe civil war which will compare with those of the war of 1812. It was\nrather past the time for the genuine forecastle ballad, and none of the\nland poets hit the true vein, as Buchanan Read, Stedman, and others did\nwhen commemorating military exploits.\n\nThere was one other field of American seamanship, full of romance and\nexcitement, which should have produced some worthy poetry and song, and\nthat was the whaling service before the days of iron steamers and bomb\nlances. The chase of the gigantic cetacean in the lonely solitude of the\nArctic and Indian oceans, the fights in frail boats with the maddened\nmonster and all the perils of sea and storm, the visits to the palmy\nislands in the Southern Sea and the frozen solitude of the Arctic, were\nfull of the materials of poetry. The long watches of the monotonous\ncruising during the four years' voyage gave plenty of time for any\noccupation, whether it was carving whales' teeth or making verses; and\nthere were many bright spirits, attracted by the adventure of whaling,\nwho could have made a literary use of their opportunity. The novels\nof Herman Melville, some of the strongest and most original in our\nliterature, have given the romance of the South Sea islands as they\nappeared to the adventurer of that day; and in Moby Dick, or The White\nWhale, he has shown both the prose and the poetry of a whaling cruise\nwith singular power, although with some touch of extravagance at the\nend. The whaling songs are, however, not very abundant, nor, it must\nbe confessed, of a high standard of quality. To this there is one\nremarkable exception, which appears to be wholly unknown in American\nliterature, although it has been in print. It is entitled a \"Brand Fire\nNew Whaling Song Right from the Pacific Ocean. Tune, Maggy Lander. By a\nForemast Hand,\" and was printed in a little five-cent pamphlet, by E. B.\nMiller, in New Bedford, in 1831. It does not seem to have come under the\neye of any critic who could appreciate its spirit and faithfulness, and\nno mention is made of it in any of the collections of American poetry.\nIt is extremely doubtful if the author received enough from its sale to\nrepay him for the investment of a portion of his \"lay\" in printing it,\nand his name is utterly lost in his modest pseudonym of \"Foremast Hand;\"\nso that he obtained neither fame nor fortune from his epic. The poem,\nwhich is too long for entire quotation, was unquestionably the work of a\nsailor on a whaling ship, and probably, as he says, of a foremast hand.\nIt lacks some of the finish of professional literature, as shown in the\nruggedness of some of its rhymes, and the vigorous compulsion of the\nrules of grammar and syntax, when necessary, although the author was\nevidently of higher education than would belong to one in his position,\nand its jigging measure becomes tiresome; but it is of very great spirit\nand vigor, as well as fidelity to its theme, and by no means deserves\nto have fallen so entirely into oblivion. Indeed, it seems to me to\nbe quite as good as, and a great deal more original than, any American\npoetry which had appeared up to that time. The song has for its subject\nthe chase and capture of a whale in the North Pacific, and relates the\ncourse of events from the time of the first sighting of \"white water\" on\nthe horizon by the lookouts to that when the monster, stabbed to death\nby the keen lances, rolls \"fins out\" in the bloody water, amid the\nhurrahs of the excited boats' crews. All the details of this _grande\nchasse_ are given with wonderful vigor, as well as faithfulness, and the\nhistorian of the whale fishery will find it as accurate as a log-book.\nPerhaps the account of the chase by the boats and the harpooning will\ngive as good an idea of the force and spirit of the poem as any part\nof it; and, in reference to the emphasis of the language, it may\nbe remembered that mates of whaling ships in pursuit of an\neight-hundred-barrel whale had a good deal of energy and excitement\nto relieve. The boats have been lowered, and are darting toward the\nunsuspecting whale with all the speed of ashen oars and vigorous muscle,\nwhile their commanders objurgate and stimulate the crews, as the poet\nsays, \"judiciously.\"\n\n     \"Pull, men, for, lo, see there they blow!\n\n          They 're going slow as night, too.\n\n     Pull, pull, you dogs! they lie like logs,--\n\n          Thank Heaven they 're headed right, too.\"\n\n     \"The chance is ours!\" the mate now roars.\n\n          \"Spring, spring, nor have it said, men,\n\n     That we could miss a chance like this\n\n          To take them head and head, men.\n\n     There's that old sog, he's like a log.\n\n          Spring, lads, and show your mettle;\n\n     Strain every oar; let's strike before\n\n          He's- gallied, mill-, or-settle-.\"\n\n     And so it is, the chance is his.\n\n          The others peak their oars now.\n\n     From his strained eyes the lightning flies,\n\n          And lion-like he roars now.\n\n     \"Pull, pull, my lads! why don't you pull?\n\n          For God's sake, pull away, men!\n\n     Hell's blazes! pull but three strokes more,\n\n          And we have won the day, men!\n\n     \"Stand up there, forward--pull the rest--\n\n          Hold water--give it to her!\n\n     Stern all, stern all--God damn it, heave\n\n          Your other iron through her!\n\n     We 're fast, we 're fast--stern out her way!\n\n          Here, let me come ahead, men.\n\n     There, peak your oars--wet--line--wet--line--\n\n          Why, bloody zounds, you 're dead, men!\"\n\nThe rush of the whale towing the boat, his sounding to the uttermost\nlength of the line, his reappearance, the lancing, the mad dash at the\nboats, and the death flurry are all described with great vividness, but\nthere is room only for the verses in which the monster comes up from his\nlong dive, and obliges the poet to appeal to the enemy of sea songs, the\nsteam boiler:--\n\n     Till from the deep, with mighty leap,\n\n          Full length the monster breaches,--\n\n     So strongly sped, his scarred gray head\n\n          High as our topmast reaches;\n\n     And, like a rock, with startling shock,\n\n          From mountain height descending,\n\n     Down thunders he upon the sea,\n\n          Ocean with ether blending.\n\n     And, hark! once more that lengthened roar,\n\n          As from his spout-hole gushing,\n\n     His breath, long spent, now finds a vent,\n\n          Like steam from boiler rushing.\n\nIt does not seem that a poet who could write so vividly and forcefully\nas this ought to be without a place in American literature, even if\nthere were no other interest in his work.\n\nThere is another whaling song, entitled The Coast of Peru, and\nundoubtedly the work of a forecastle poet, which is worth preserving,\ndespite its homeliness, for its genuine flavor, and as a relic of\nthe old days before steam whalers and bomb lances took so much of the\nromance out of the fishery.\n\n\n\n\nTHE COAST OF PERU.\n\n\n     Come, all ye bold sailors,\n\n          Who sail 'round Cape Horn,\n\n     Come, all the bold whalers,\n\n          Who cruise 'round for sperm.\n\n     The Captain has told us,\n\n          And I hope't will prove true\n\n     That there's plenty of sperm whales\n\n          Off the coast of Peru.\n\n     The first whale we saw\n\n          Near the close of the day.\n\n     Our Captain came on deck,\n\n          And thus he did say:\n\n     \"Now all my bold sailors,\n\n          Pray be of good glee,\n\n     For we 'll see him in the morning,\n\n          P'raps mider our lee.\"\n\n     It was early next morning,\n\n          Just as the sun rose,\n\n     The man at the mast-head\n\n          Called out, \"There she blows!\"\n\n     \"Whereaway?\" cried our Captain,\n\n          As he sprang up aloft.\n\n     \"Three points on our lee bow,\n\n          And scarce two miles off.\"\n\n     \"Now trace up your yards, boys,\n\n          We 'll fasten anear.\n\n     Get your lines in your boats,\n\n          See your box lines all clear;\n\n     Haul back the main yard, boys,\n\n          Stand by, each boat's crew,\n\n     Lower away, lower away,\n\n          My brave fellows, do.\"\n\n     \"Now, bend to your oars, boys,\n\n          Just make the boat fly,\n\n     But whatever you do, boys,\n\n          Keep clear from his eye.\"\n\n     The first mate soon struck,\n\n          And the whale he went down,\n\n     While the old man pulled up,\n\n          And stood by to bend on.\n\n     But the whale soon arose;\n\n          To the windward he lay.\n\n     We hauled up 'longside,\n\n          And he showed us fair play.\n\n     We caused him to vomit,\n\n          Thick blood for to spout,\n\n     And in less than ten minutes\n\n          We rolled him \"fin out.\"\n\n     We towed him alongside\n\n          With many a shout,\n\n     That day cut him in,\n\n          And began to boil out.\n\n     Oh, now he's all boiled out\n\n          And stowed down below,\n\n     We 're waiting to hear 'em,\n\n          Sing out, \"There she blows!\"\n\nIt is extremely doubtful if the Dago sailors and foreign 'longshoremen,\nwho now make such a large portion of the crews of the Arctic steam\nwhalers, are capable of even such rude verse as this, and the poetry of\nthe whale fishery is now as extinct as the glory of Nantucket and the\nsea flavor of New Bedford. Like some greater things it may be regretted,\nbut cannot be recovered.\n\n\n\n\nFOLK-SONGS OF THE CIVIL WAR.\n\n\nOf collections and criticisms of the songs and poetry of the civil war\nin this country there is no lack. Newspaper files and popular song-books\nhave been ransacked, as well as more pretentious volumes, and whatever\npossessed a modicum of what is termed \"poetic merit\" has been gathered\nwith pious care. The standard in most cases has, naturally enough, been\nthat of \"polite literature,\" that of which the writers were persons\nof education, and who endeavored to express with more or less force a\ndominant sentiment in logical as well as grammatical form, and to embody\ntheir meaning in intelligent words. If popular songs, which did not\nfulfil these conditions, have been included, it has usually been with\nan apology for their uncouthness, or a contemptuous reference to their\nbanality, and an intimation that they were forced into the pages of the\ncollection, or upon the attention of the critic, because they could not\nbe ignored in any representative collection of the poetry of the war.\nNevertheless, it may be doubted if these uncouth rhymes, without sense\nor consecutive meaning, like Dixie's Land and John Brown's Body, or the\ncheap sentimentality of Just before the Battle, Mother, and When this\nCruel War is over, do not have something of the indefinable fascination\non the printed page which they had to the ears of the men who sung them,\nand do not take a stronger hold upon the mind than the much more elegant\nand refined verses by which they are surrounded. Something of this may\nbe due to the memory of those who heard them, and in whose minds they\nwere the voice of the war, as the flags, the arms, and the uniforms\nwere its visible insignia, but this does not entirely account for their\nfascination and permanence. There was something about them which endowed\nthem with vital life, which gave them a hold upon every tongue and upon\nevery heart, a quality distinct from obvious meaning, to say nothing\nof literary excellence, and which can only be described as the singing\nelement. It was to accomplish this purpose, to relieve the heart through\nthe lungs, without reference to the mind, to emphasize and lighten the\nbuoyant or weary march, and give voice to the pervading impulse, which\nkept these songs alive and made them a practical part of the war, as the\nsailor's \"shanties\" were a part of the life of the sea, and the negro\nchoruses of the life of the plantation. This fascination may fade when\nthe civil war becomes a matter of distant history, and John\nBrown's Body be no more than a set of unmeaning jingles to future\ngenerations, as Lillibullero, which \"sung King James out of three\nkingdoms,\" is to our own; but with their death will come a loss of\na vital element of the war, as representing its living and human\nsentiment, and history will miss its function if it exclude them. How\nvital they were at the time may be seen from the fact that the attempts\nto supersede the unmeaning rhymes by words of substance and definite\npoetry had no effect, so far as their popular use was concerned, even\nwhen this was done with such magnificent success as in Mrs. Julia Ward\nHowe's Battle Hymn of the Republic, or General Albert Pike's powerful\nlines to Dixie. The people and the soldiers clung to the old choruses,\nand passed by with cold respect or indifference the deliberate and\npurely literary appeals to their feelings. There is, perhaps, a reason\nfor this, which may be accounted for under the canons of literary\ncriticism. A song is something different from a poem, and includes a\ndominant appeal to the ear, which may be even obstructed by elaborate\nmeaning, and the simple and taking air is the essential thing. It is not\nalways the case that a popular or national song is meaningless, as is\nshown in the Marseillaise and Der Wacht am Rhein; and, in our own war,\nMr. James R. Randall's My Maryland was as popular in the Southern army\nas a song as it is vigorous and spirited as a piece of pure literature.\nBut as a whole, songs which have been sung by large bodies of men, under\nstress of high excitement, have depended more upon their sound than\ntheir meaning for their vogue, and this would doubtless apply to the\nchants of the Crusaders as to the choruses of the Northern and Southern\nsoldiers during the civil war. God save the King does not compare with\nYe Mariners of England in any element of poetry, yet the one is always\nsung and the latter never; and Marching through Georgia depends upon\nits air rather than its commonplace words for its hold upon the martial\nheart. There was some good poetry written during the late civil war,\nalthough not much; and in the collections, as I have said, it is\ndoubtful if the respectable verses, in which the incidents and feelings\nof the war were expressed with deliberate art, have the vitality,\nas they have not now the effect, of the rude rhymes and commonplace\nsentimentality of those songs which took hold of the hearts of the\npeople, and were the living voices of the war. Too often they had\nthe contortions of patriotism without its inspiration, and were\nforcible-feeble in appeal, or, when they attempted to interpret the\nspirit of battle, rang false to the real feeling and knowledge of the\nsoldier. To this there were brilliant exceptions, like Mr. Gibbons's We\nare coming, Father Abraham, Mr. Henry Howard Brownell's naval poems,\nand Read's Sheridan's Ride, but as a whole it must be confessed that the\npolite poetry of the civil war is rather dreary reading.\n\nThere was an immense amount of song-writing as well as of song-singing\nduring the war, and under the stress of excitement and the gathering\ntogether of immense bodies of young and exuberant spirits the enthusiasm\ninevitably found a vent through the lungs. The illiterate poets were\nas busy as those of higher education; and those who did not seek their\npublic through the pages of the fashionable magazine, or even the poet's\ncorner of the country newspaper, but through the badly printed sheet\nof the penny street ballad, or through the mouth of the negro minstrel,\ncontributed almost as largely to the poetry of the war as their\nbrothers. Dime song-books containing a curious admixture of the common\nand the polite, the appropriate and the incongruous, were innumerable,\nand the poetry which is below literary criticism was equal in bulk\nto that which is within its scope. Actual soldiers and sailors also\nsometimes wrote of their battles and experiences, or expressed their\nfeelings in more or less finished verse, and these found their way into\nprint either in the ballad sheet or the newspaper. Most of those which\nwere good in themselves, from their native force and vigor or from their\npower as songs, have been preserved, but there is an immense amount\nof this uncollected and unedited verse which has a very great value as\nillustrating the sentiments and condition of the people, the waves of\npopular feeling during various phases of the war, the impressions of\nnotable incidents and the estimates of prominent personages, and which\ntell, oftentimes more than the leading articles in the newspapers, how\nthe common people were affected by the tremendous struggle. They have\nthe interest, if no other, of the relics of arms and uniforms, and the\ntokens of the familiar life of a bygone age, and will one day be as\nvaluable to the historian as the ballads of the civil war in England,\nwhich have been collected with so much care. In modern times and in\ncivilized societies, the newspaper has taken the place of the street\nballad as the record of historical events and the expression of\npolitical feeling, and Ireland is almost the only country where it now\nlingers in any quantity and force; but during such times of popular\nexcitement, and the occurrence of great events involving the most\nintimate interests of the people, as during the civil war, the popular\nballads resumed something of their former value as the expressions of\npopular feeling. It would be a mistake to omit from consideration even\nthose which were provided as a matter of professional business by the\nminstrels of the popular stage, who reflected the pervading sentiments\nof the time, and colored their rude comedy and cheap pathos with the\nthoughts and feelings aroused by the war.\n\nThousands of these street songs were issued, to have their temporary\nvogue and disappear. The principal publisher of the penny sheets was\nH. de Marsan, 34 Chatham Street, New York, and he appears to have had\nalmost a monopoly of the trade. They were printed on coarse paper, with\nan emblematic border in colors representing the American flag, and with\na soldier and sailor under arms. Some of the more successful songs were\ncopyrighted and published with their music, but this appears to have\nmade little difference to the enterprising Chatham Street publisher,\nfor he included almost everything that was singable, old Revolutionary\nballads, English naval songs, and some of the more finished American\npoems of the war, as well as Ethiopian melodies, and ballads obviously\nof original contribution. It would be interesting to know whether he\nkept a staff of poets, like Jemmy Catnach of Seven Dials, or whether, as\nis most probable, he simply took what he could find, and conferred the\nhonors of print, without remuneration, upon voluntary contributors. The\nmost numerous contributors who bear the stamp of originality naturally\ncame from the Irish element in New York, who were familiar with the\nstreet ballad at home, and reproduced its form and sentiment for a\nsimilar audience. There are dozens of ballads relating to the exploits\nof the Sixty-Ninth Regiment, an Irish organization in the New York\nState Guard, of which Michael Corcoran, an ex-member of the Irish\nconstabulary, was colonel, and Thomas Francis Meagher, the Irish\nrevolutionist, and afterward a brigadier-general of volunteers, a\ncaptain. The regiment took part in the battle of Bull Run, during which\nColonel Corcoran was taken prisoner and carried South. The bards\nwere instantly inspired to sing the praises of the regiment and its\ncommander, and ballads were written exactly reproducing the style and\nlanguage of the Irish \"Come, all yez,\" as thus:--\n\n     Come, all ye Gallant Heroes, along with me combine;\n\n     I 'll sing to you a ditty about the Glorious Sixty-Ninth.\n\n     They are a band of Brothers, from Ireland they came;\n\n     They had a bold Commander, Michael Corcoran was his\n\n          name.\n\nIn one or two of them there is an improvement on this very primitive\nverse, gleams of humor and ebullitions of vigorous spirit. A song\nentitled The Jolly Sixty-Ninth has a rollicking rhythm and rude humor,\nof which the following is a specimen:--\n\n          It happened one fine day,\n\n          Down by the rajin say,\n\n     Quite convenient to the boilin' Gulf of Mexico,\n\n          That some chaps hauled down our flag,\n\n          And it through the dust did drag,\n\n     Swearin' it should never float on Fort Sumpter, O.\n\nThe author of a song entitled Freedom's Guide had a force and vigor\nwhich, with a little more polish and form, would have entitled him to\na place in polite literature, and the real singable quality, which was,\nperhaps, of more importance:--\n\n\n\n\nFREEDOM'S GUIDE.\n\n\n     Our country now is great and free,\n\n     And this forever it shall be.\n\n          We know the way--we know the way.\n\n     Though Southern foes may gather here,\n\n     We will protect what we hold dear.\n\n          We know the way.\n\n     Chorus. We know the way--we know the way.\n\n          Through Baltimore, hooray.\n\n     For our guide is Freedom's banner.\n\n          Hooray, hooray.\n\n     The way is through Baltimore.\n\n     The South shall see that we are true,\n\n     And that we know a thing or two.\n\n          We know the way--we know the way.\n\n     As Yankee boys we are at hand,\n\nOur countless throngs shall fill the land.\n\n          We know the way.\n\n     From east to west, from south to north,\n\n     We 'll send our mighty legions forth.\n\n          We know the way--we know the way.\n\n     The freedom that our fathers won\n\n     Shall be defended by each son.\n\n          We know the way.\n\n     Then shout, then shout o'er hill and plain,\n\n     We will our country's rights maintain.\n\nWe know the way--we know the way.\n\n     We will always guard it with our might,\n\n     And keep steadfast in the right.\n\n          We know the way.\n\n     Old Jeff has now begun to lag,\n\n     He knows that we 'll stand by the flag.\n\n          We know the way--we know the way.\n\n     With Scott to guide us in the right,\n\n     We 'll show them how the Sixty-Ninth can fight.\n\n          We know the way.\n\nAn organization almost equally popular with the New York ballad singers,\nin the early days of the war, was the \"Fire Zouaves,\" recruited among\nthe firemen of the metropolis, and which was expected to perform\nwonderful feats of daring and energy, from the character of its\nmaterial. Its leader, Colonel Elmer E. Ellsworth, was killed by the\nlandlord of a hotel in Alexandria, Va., while hauling down the rebel\nflag from the roof, and his death created a deep sensation from its\ndramatic character, and from the fact that it was among the earliest in\nthe war. The elegies upon his death were numerous, as well as those in\npraise of the regiment itself. One of the latter, by Archibald Scott,\nwhose name, contrary to the usual custom, was prefixed to the ballad,\nhad a good deal of rude vigor, of which the following is a specimen:--\n\n     Shall ugly plugs of Baltimore,\n\n     Who come out with stones and staves,\n\n     Get leave our patriots' blood to pour,\n\n     And drive our soldiers from their shore?\n\n     No, no! by Hell, in flames shall roar\n\n     Their city first by York Zouaves!\n\nAnother phase of life in the cities, from that of the enthusiasm of the\nyoung men in marching to the war and the fervent appeals for enlistment,\nwas that of the feelings of the women whose sons and husbands left their\nworkshops to join the army. The grief was as bitter and the patriotism\nas sincere among the inmates of the crowded tenement houses and the\nnarrow and barren homes of the families of the workingmen of New York as\namong their sisters in the farmhouses in the country, whose surroundings\nbetter lent themselves to the illumination of poetry, and it cost as\nmuch to put down the tin pail of the city laborer as for the farmer to\n\n     Lay down the axe, fling by the spade,\n\nand even more in pinching poverty and lack of resource. But the griefs\nand sacrifices of these women of the city tenement and noisome alley\nhave found no place in the genteel poetry of the war, and have only been\nexpressed in the rude verse of the street ballad. Says one of them:--\n\n     It was in the month of April,\n\n          As I walked out one day,\n\n     I met a woman weeping\n\n          As I walked down Broadway.\n\n     She was weeping for her Johnny,\n\n          Her dear and only son,\n\n     Who joined the Northern army\n\n          To fight in Washington.\n\n     O Johnny! I gave you a schoolin',\n\n          I gave you a trade likewise,\n\n     And when you joined the Volunteers,\n\n          You know't was my advice.\"\n\nThe New York ballad writers were not entirely confined to the English\nlanguage, the large foreign population furnishing recruits of all\nnations. There is not, so far as I have seen, any original German song\ndevoted to the Union cause, but The Red, White, and Blue, and other\npatriotic songs, were published in German text; and of Germanized English\nsongs, most if not all the product of variety theatre performers, there\nwere a great many, including the extremely popular I'm going to fight\nmit Siegel.\n\n     Ven I comes from de Deutsche Countree,\n\n          I vorks somedimes at baking.\n\n     Den I keeps a lager bier saloon,\n\n          And den I goes shoemaking.\n\n     But now I vas a sojer man\n\n          To save the Yankee eagle,\n\n     To Schlauch dem dam Southern folks,\n\n          I'm going to fight mit Siegel.\n\nBut this was no more representative of German sentiments than the\n\"Whack-row-de-dow\" Pats of the stage were of the Irish; and the German\nsoldiers, when they sang in the vernacular, enlivened their foreign\npatriotism with the songs of the Fatherland. There was at least one\nFrench poet who appealed to his countrymen in their own language to\nrally to the cause of the Union. His production was as follows:--\n\n\n\n\nVENGEONS LA PATRIE.\n\n\n     Hymne Patriotique, Pah Gustave Dime, Ouvrier-Estam\n\n     Peur: Air, \"Gloire Aux Martyrs Victoriaux.\"\n\n     Appel Aux Armes.\n\n     Debout fils de l'Union\n\n          Pour venges l'infamie\n\n     Faite \u00e0 la nation,\n\n          Pour venger la Patrie,\n\n          La Constitution!\n\n          A bas R\u00e9bellion!\n\n     Debout, debout Am\u00e9ricains,\n\n     Debout les armes \u00e0 main.\n\nl'outrage.\n\n     De Baltimore \u00e0 Charleston,\n\n          De Richmont \u00e0 Montgomery,\n\n     Le grand drapeau de Washington\n\n          Partout il fut souillie, fl\u00e9tri,\n\n     Du Fort Sumpter vengeons l'outrage\n\n          Et en la sol de Virginie\n\n     Sachions montrer notre courage\n\n          En digne fils de la Patrie.\n\nl'assassinat.\n\n     Le Sud in horrible furie\n\n          Du Poignard de la Trahison\n\n     Per\u00e7ant le cour de la Patrie,\n\n          Proclame \u00e0 la Secession.\n\n     Mais le President h\u00e9ro\u00efque\n\n          Et l'Autorit\u00e9, le S\u00e9nat,\n\n     Sauront sauver la R\u00e9publique\n\n          Et cet inf\u00e2me Assassinat.\n\nle triomphe.\n\n     Gloire \u00e0 ton nom, libre Am\u00e9rique,\n\n          Gloire \u00e0 tes vaillant d\u00e9fenseurs\n\n     Ils sauveront la R\u00e9publique,\n\n          Terrasseront tes oppresseurs.\n\n     Ils volent tous \u00e0 la victoire,\n\n          Pour l'Union des Etats Unis.\n\n     Ils reviendront couverts de gloire\n\n          Et les tra\u00eetres Seront Punis.\n\nThe \"ouvrier-estampeur\" was sufficiently energetic, but his song never\nbecame the Franco-American Marseillaise.\n\nAs the war dragged its slow length along, demanding greater and greater\nsacrifices, and with its days of repulse and defeat for the Union\narmies, the feeling of universal enthusiasm gave way to discouragement,\nand there were not wanting in New York, among its heterogeneous\npopulation, elements of bitterness which culminated in the deadly and\nshameful outbreak of the draft riots. This feeling manifested itself in\nthe street ballads, not so conspicuously as the previous enthusiasm, but\nenough to have attracted the attention of those who were watching the\nsigns of popular feeling. \"Copperheadism\" had its bards as well as\nloyalty, although they were much fewer in number, and they cannot be\nomitted in an account of the folksongs of the civil war. A rude jingle\nentitled Johnny, fill up the Bowl, gave the popular expression to this\nfeeling:--\n\n     Abram Lincoln, what yer 'bout?\n\n          Hurrah, hurrah.\n\n     Stop this war, for it's played out,\n\n          Hurrah, hurrah.\n\n     Abram Lincoln, what yer 'bout?\n\n     Stop this war, for it's played out.\n\n     We 'll all drink stone-blind,\n\n     Johnny fill up the bowl.\n\nThe pages of the dime song-books at this time contained a number of\nsongs in opposition to the draft, expressing hatred to the negro, and\na demand for the stoppage of the war, of which the following is an\nexample:--\n\n\n\n\nTHE BEAUTIES OF CONSCRIPTION.\n\n\n     And this the \"people's sovereignty,\n\n          Before a despot humbled,\n\n     Lies in the dust 'neath power unjust,\n\n          With crown and sceptre crumbled.\n\n     Their brows distained--like felons chained\n\n          To negroes called \"their betters,\"\n\n     Their whinings drowned in \"Old John Brown,\"\n\n          Poor sovereigns wearing fetters.\n\n               Hurrah for the Conscription,\n\n                    American Conscription!\n\n               Well have they cashed old Lincoln's drafts,\n\n                    Hurrah for the Conscription!\n\nSome think the hideous spectacle\n\n          Should move the heart to sadness,\n\n     That fetters ought--oh silly thought!--\n\n          Sting freemen's hearts to madness.\n\n     When has the stock of Plymouth rock\n\n          Been melted to compunction?\n\n     As for Provos, the wide world knows\n\n          That chaining is their function.\n\n          Hurrah for the Conscription,\n\n                    American Conscription,\n\n               And for the stock of Plymouth rock,\n\n                    Whence sprung this new Conscription!\n\n     What matter if you 're _sandwiched_ in\n\n          A host of sable fellows,\n\n     Well flavored men, your kith and kin,\n\n          As Abe and Sumner tell us?\n\n     Is not the war--this _murder_--for\n\n     The negro, _nolens volens?_\n\n     For every three now killed of ye\n\n          There's just a negro stolen.\n\n          And then ye have Conscription,\n\n               American Conscription,\n\n          Your blood must flow for this, you know.\n\n               Hurrah for the Conscription!\n\nThe songs written by the soldiers and sailors themselves, descriptive of\ntheir engagements, or incidents of camp and march, or expressing their\nfeelings, were not many, either in folk-ballads or finished poetry.\nMajor J. W. De Forrest's powerful verses, In Louisiana, are almost the\nonly specimen of the latter, and there are but few of the ruder\nballads. It may have been because the soldiers and sailors were too much\noccupied, and that the life in camp and on shipboard was not favorable\nto poetical reverie, although there were many hours on picket or watch\nwhich might have been thus employed; but the fact remains that there was\nmore carving of bone rings than of verses, and more singing than writing\nin the army and navy. There was not an absolute dearth, however, and the\nsoldiers and sailors sometimes told their own stories or expressed their\nown feelings in verse. One of the best of these was written during\nthe early days of the war by H. Millard, a member of Company A,\nSeventy-first Regiment, concerning the march from Annapolis to the\nJunction, and has the genuine flavor of soldiership as well as a fine\nspirit of _camaraderie_.\n\nIt is entitled Only Nine Miles to the Junction:--\n\n     The Rhode Island boys were posted along\n\n          On the road from Annapolis station,\n\n     As the Seventy-first Regiment, one thousand strong,\n\n          Went on in defense of the nation.\n\n     We'd been marching all day in the sun's scorching ray,\n\n          With two biscuits each as a ration,\n\n     When we asked Gov. Sprague to show us the way,\n\n          And \"How many miles to the Junction?\"\n\n               How many miles--how many miles,\n\n                    And how many miles to the Junction;\n\n               When we asked Gov. Sprague to show us the way,\n\n                    And \"How many miles to the Junction?\"\n\n     The Rhode Island boys cheered us on out of sight,\n\n          After giving the following injunction:\n\n     \"Just keep up your courage, you 'll come out all right,\n\n          For it's only nine miles to the Junction.\"\n\n     They gave us hot coffee, a grasp of the hand,\n\n          Which cheered and refreshed our exhaustion;\n\n     We reached in six hours the long-promised land,\n\n          For't was only nine miles to the Junction.\n\nThere were not many attempts to describe the battles in which the\nsoldiers took part, and they were left to the poets, who did not see\nthem, and had to depend, not very successfully, upon their imagination.\nThere was, however, a ballad of the Seven Days' Fight before Richmond,\nevidently written by a soldier, and of some force and vigor. It begins:\n--\n\n     Away down in old Yirginny many months ago,\n\n     McClellan made a movement and made it very slow.\n\n     The Rebel Generals found it out and pitched into our rear;\n\n     They caught the very devil, for they found old Kearney\n\n                    there.\n\n          In the old Yirginny low-lands, low-lands,\n\n               The old Yirginny low-lands, low.\n\nThe bard details the fights as though they were a succession of Union\nvictories, and concludes with a defense of General McClellan:--\n\n     Now all you politicians, a word I have for you,\n\n     Just let our little Mac alone, for he is tried and true;\n\n     For you have found out lately that he is our only hope,\n\n     For twice he saved the Capitol, likewise McDowell and\n\n          Pope.\n\nThe enthusiasm aroused by General McClellan among the rank and file\nof the Army of the Potomac had no counterpart in regard to any other\ncommander, was proof against failure and defeat, and lingered, to a\ncertain extent, even to the close of the war. His removal caused a great\ndeal of indignation, and called out a good many protests and appeals for\nhis restoration. A song, Give us back our old Commander, was a good deal\nsung at the time:--\n\n     Give us back our old Commander,\n\n          Little Mac, the people's pride;\n\n     Let the army and the nation\n\n          In their choice be satisfied.\n\n     With McClellan as our leader,\n\n          Let us strike the blow anew;\n\n     Give us back our old Commander,\n\n          He will see the battle through.\n\n               Give us back our old Commander,\n\n                    Let him manage, let him plan;\n\n               With McClellan as our leader,\n\n                    We can wish no better man.\n\nThe very rollicking and nonsensical chorus of Bummers, come and meet Us,\nbelongs to this period, and was almost as popular as John Brown's Body,\nfulfilling amply and simply the conditions for relieving the lungs. Like\nthe sailors' \"shanties\" and the plantation choruses, it was capable of\nindefinite extension and improvisation. The following is a specimen of\nits construction:--\n\n     McClellan is our leader, we've had our last retreat,\n\n     McClellan is our leader, we've had our last retreat,\n\n     McClellan is our leader, we 've had our last retreat,\n\n               We 'll now go marching on.\n\n          Say, brothers, will you meet us,\n\n          Say, brothers, will you meet us,\n\n          Say, brothers, will you meet us,\n\n               As we go marching on?\n\n*****\n\n     The girls we left behind us, boys, our sweethearts in the\n\n               North,\n\n     The girls we left behind us, boys, our sweethearts in the\n\n               North,\n\n     The girls we left behind us, boys, our sweethearts in the\n\n               North,\n\n                    Smile on us as we march.\n\n               Oh sweethearts, don't forget us,\n\n               Oh sweethearts, don't forget us,\n\n               Oh sweethearts, don't forget us,\n\n                    We 'll soon come marching home.\n\nA seaman on board the Vandalia, one of the ships engaged in the\ncapture of Port Royal, wrote a description of the engagement, which has\nconsiderable of the light of battle in it. It is entitled:--\n\n\n\n\nTHE PORT ROYAL DANCE.\n\n\n     Behold our glorious banner floats gayly in the air,\n\n     But four hours hence base traitors swore we could not plant\n\n               it there;\n\n     But brave Dupont he led us on to fight the vaunting foe,\n\n     And soon the rebel standard was in the dust laid low.\n\n               Whack row de dow,\n\n                    How are you, old Port Royal?\n\n     Whack row de dow,\n\n                    How are you, Secesh?\n\n     When we were seen advancing they laughed with foolish pride,\n\n     And said that soon our Northern fleet they'd sink beneath\n\n               the tide;\n\n     And with their guns trained carefully they waited our advance,\n\n     And the gallant Wabash soon struck up the music of the\n\n               dance.\n\n     The Susquehanna next in line delivered her broadside,\n\n     With deadly aim each shot was sent and well each gun was\n\n               plied;\n\n     And still our gallant ships advanced, and each one, as she\n\n          passed,\n\n     Poured in her deadly messengers, and the foe fell thick and\n\n               fast.\n\n     Each ship advanced in order, each captain wore a smile,\n\n     Until the famed Vandalia brought up the rear in style,\n\n     And as our guns were shortest we balanced to the right,\n\n     And brought us to the enemy the closest in the fight.\n\n     Then round the room (Port Royal bay) we took a Highland\n\n               Fling,\n\n     And showed them in Fort Walker what loud music we could\n\n               sing.\n\n     And then we poured in our broadsides that brought their\n\n               courage low,\n\n     And o'er the rebel batteries soon our Union flag did flow.\n\n     Three cheers for gallant Haggerty, he led us safely through;\n\n     And three for our loved Whiting, he is the real true blue.\n\n     Success to every officer who fought with us that day;\n\n     Together may we pass unscathed through many a gallant\n\n               fray.\n\n     A health to every gallant tar who did his duty well,\n\n     Peace to the ashes of the dead who nobly fighting fell.\n\n     'T was in a glorious cause they died, the Union to maintain.\n\n     We who are left, when called upon, will try it o'er again.\n\nSome of the disagreeable features of a soldier's duty and camp life were\ndealt with by the soldiers in the spirit of humorous exaggeration, which\nwas as much an evidence of high spirits as the enthusiastic choruses.\nA camp poet thus relieves his feelings in regard to the exercise of\n\"double quick:\"--\n\n     Since I became a volunteer things have went rather queer;\n\n     Some say I'm a three months' man, and others a three years'\n\n               volunteer.\n\n     With plenty of likes and dislikes to all I have to stick;\n\n     There's plenty of pork, salt horse, and plenty of Double\n\n          Quick.\n\n               Oh, I'm miserable, I'm miserable,\n\n                    To all I 'll have to stick.\n\n               The old salt horse is passable,\n\n                    But d-n the Double-Quick.\n\n     If a friend should call to see you the men have a pretty game.\n\n     They call him paymaster, obstacle, or some such kind of a\n\n          name.\n\n     They chase him around the camp; it's enough to make him\n\n          sick\n\n     To try and teach him discipline by giving him Double-Quick.\n\n     You may feel rather hungry, almost in a starving state,\n\n     And you wish to get your dinner first, all ready with your\n\n          plate;\n\n     There's always others just the same, waiting for the lick;\n\n     To be the twentieth one, you must travel Double-:Quick.\n\n     Once upon every Sunday to church you must always go,\n\n     Your bayonet by your side in case you should meet the foe;\n\n     And when the service was ended it was called the moral trick\n\n     To drive you back to your camp at a pleasant Double-Quick.\n\n     Each day there are just twelve roll-calls to keep you in the\n\n          camp;\n\n     If off three rods the bugle sounds, back you will have to tramp,\n\n     And, if you chance to miss, why, you are a poor, gone chick,--\n\n     Fourteen bricks in your knapsack, and four hours Double\n\n          Quick.\n\n     Now, all you chaps who would enlist, don't leap before you\n\n          look,\n\n     And, if you wish to fight for the Union, go on your own hook,\n\n     For, if a soldier you become, it will be your last kick,\n\n     To the devil you will surely be drove headlong Double-Quick.\n\nThe Southern poetry of the civil war was even more rhetorical\nand stilted than that of the North. Its literary culture was more\nprovincial, and its style a great deal more inflated and artificial. It\nwas the \"foemen\" that they were to meet instead of the enemy, and \"gore\"\ninstead of blood that was to be shed; and there was a great deal about\nthe \"clank of the tyrant's chain,\" and the \"bloodstained sword,\" and\nsuch other fuliginous figures of speech. Sometimes there was a good deal\nof force behind this sounding rhetoric, as in Henry Timrod's A Call to\nArms and in James R. Randall's There's Life in the Old Land yet, but for\nthe most part it had an air of bombast and turgidity, which would have\ngiven a false impression in regard to the real spirit of determination\namong the Southern people, if one had only judged by its inflated\nexpression. The pages of the Southern Amaranth, and other collections of\nrebel poetry, give the impression of having been written by school-boys,\nand contain little but sophomoric rhetoric of the most sounding and\ninflated description. That it had a fiery energy and an invincible\ndetermination behind it was abundantly shown, but the voice of the South\nin its polite literature was one of inflated extravagance. Nevertheless\nit produced the most manly and vigorous song of the whole war in Dr.\nJ. W. Palmer's Stonewall Jackson's Way; and some verses appeared in a\nRichmond paper in 1861, entitled Call All, which have a fiery energy and\ndirectness unsurpassed, and were in the genuine language of the people:\n\n\n\n\nCALL ALL.\n\n\n     Whoop! the Doodles have broken loose,\n\n     Roaring around like the very deuce.\n\n     Lice of Egypt, a hungry pack;\n\n     After 'em, boys, and drive 'em back,\n\n     Bull-dog, terrier, cur, and fice,\n\n     Back to the beggarly land of ice.\n\n     Worry 'em, bite 'em, scratch and tear\n\n     Everybody and everywhere.\n\n     Old Kentucky is caved from under;\n\n     Tennessee is split asunder,\n\n     Alabama awaits attack,\n\n     And Georgia bristles up her back.\n\n     Old John Brown is dead and gone,\n\n     Still his spirit is marching on,--\n\n     Lantern-jawed, and legs, my boys,\n\n     Long as an ape's from Illinois.\n\n     Want a weapon? Gather a brick,\n\n     A club or cudgel, a stone or stick,\n\n     Anything with a blade or butt,\n\n     Anything that can cleave or cut;\n\n     Anything heavy, or hard, or keen;\n\n     Any sort of slaying machine;\n\n     Anything with a willing mind\n\n     And the steady arm of a man behind.\n\n     Want a weapon? Why, capture one;\n\n     Every Doodle has got a gun,\n\n     Belt and bayonet, bright and new.\n\n     Kill a Doodle and capture two!\n\n     Shoulder to shoulder, son and sire,\n\n     All, call all! to the feast of fire,\n\n     Mother and maiden, child and slave,\n\n     A common triumph or a single grave.\n\nThe street ballad did not exist in the South, so far as I can discover,\nand the popular song-books were very few in comparison with those of the\nNorth. There were some, however, printed on discolored paper and with\nworn-out type. Among them were The New Confederate Flag Songster, S. C.\nGriggs, Mobile; The General Lee Songster, John C. Schreiner & Son, Macon\nand Savannah; The Jack Morgan Songster, compiled by a captain in General\nLee's army; and Songs of Love and Liberty, compiled by a North Carolina\nlady, Raleigh, 1864. Like the Northern song-books, they contained an\nadmixture of the popular negro melodies with the songs of the war, and\nthere are but few instances of any genuine and native expression. The\nsong which gave the title to The Jack Morgan Songster, however, has\na good deal of force and vigor, and was evidently written by the camp\nfire. It is entitled Three Cheers for our Jack Morgan:--\n\n          The snow is in the cloud,\n\n               And night is gathering o'er us,\n\n          The winds are piping loud,\n\n               And fan the flame before us.\n\n          Then join the jovial band,\n\n               And tune the vocal organ,\n\n          And with a will we 'll all join in\n\n               Three cheers for our Jack Morgan.\n\n     Chorus. Gather round the camp fire,\n\n               Our duty has been done,\n\n          Let's gather round the camp fire\n\n               And have a little fun.\n\n          Let's gather round the camp fire,\n\n               Our duty has been done,\n\n          'T was done upon the battle field,\n\n               Three cheers for our Jack Morgan.\n\n          Jack Morgan is his name,\n\n               The peerless and the lucky;\n\n          No dastard foe can tame\n\n               The son of old Kentucky.\n\n          His heart is with his State,\n\n               He fights for Southern freedom;\n\n          His men their General's word await,\n\n               They 'll follow where he 'll lead 'em.\n\n          He swore to free his home,\n\n               To burst her chains asunder,\n\n          With sound of trump and drum\n\n               And loud Confederate thunder.\n\n          And in the darksome night,\n\n               By light of homesteads burning,\n\n          He puts the skulking foe to flight,\n\n               Their hearts to wailings turning.\n\n          The dungeon, dark and cold,\n\n               Could not his body prison,\n\n          Nor tame a spirit bold\n\n               That o'er reverse had risen.\n\n          Then sing the song of joy,\n\n               Our toast is lovely woman,\n\n          And Morgan he's the gallant boy\n\n               To plague the hated foeman.\n\nThe tone of the Southern songs was not only a good deal more ferocious\nand savage than that of those of the North, but there were fewer\nindications of that spirit of humor which pervaded the Northern camps,\nand found expression in the soldiers' songs. There is, however, one\nSouthern piece of verse, descriptive of the emotions of the newly\ndrafted conscript, which has an original flavor of comicality, although\nevidently inspired by the spirit of Yankee Doodle:--\n\n\n\n\nTHE VALIANT CONSCRIPT.\n\n\n     How are you, boys? I'm just from camp,\n\n          And feel as brave as C\u00e6sar;\n\n     The sound of bugle, drum, and fife\n\n          Has raised my Ebenezer.\n\n     I'm full of fight, odds shot and shell,\n\n          I 'll leap into the saddle,\n\n     And when the Yankees see me come,\n\n          Lord, how they will skedaddle!\n\n     Hold up your head, up, Shanghai, Shanks,\n\n          Don't shake your knees and blink so,\n\n     It is no time to dodge the act;\n\n          Brave comrades, don't you think so?\n\n     I was a ploughboy in the field,\n\n          A gawky, lazy dodger,\n\n     When came the conscript officer\n\n          And took me for a sodger.\n\n     He put a musket in my hand,\n\n          And showed me how to fire it;\n\n     I marched and countermarched all day;\n\n          Lord, how I did admire it!\n\n     With corn and hog fat for my food,\n\n          And digging, guarding, drilling,\n\n     I got as thin as twice-skimmed milk,\n\n          And was scarcely worth the killing.\n\n     And now I'm used to homely fare,\n\n          My skin as tough as leather,\n\n     I do guard duty cheerfully\n\n          In every kind of weather.\n\n     I'm brimful of fight, my boys,\n\n          I would not give a \"thank ye\"\n\n     For all the smiles the girls can give\n\n          Until I've killed a Yankee.\n\n     High private is a glorious rank,\n\n          There's wide room for promotion;\n\n     I 'll get a corporal's stripes some day,\n\n          When fortune's in the notion.\n\n     'T is true I have not seen a fight,\n\n          Nor have I smelt gunpowder,\n\n     But then the way I 'll pepper 'em\n\n          Will be a sin to chowder.\n\n     A sergeant's stripes I now will sport,\n\n          Perhaps be color-bearer,\n\n     And then a captain--good for me--\n\n          I 'll be a regular tearer.\n\n     I'll then begin to wear the stars,\n\n          And then the wreaths of glory,\n\n     Until the army I command,\n\n          And poets sing my story.\n\n     Our Congress will pass votes of thanks\n\n          To him who rose from zero,\n\n     The people in a mass will shout,\n\n          Hurrah, behold the hero!\n\n               (Fires his gun by accident.)\n\n     What's that? oh dear! a boiler's burst,\n\n          A gaspipe has exploded,\n\n     Maybe the Yankees are hard by\n\n          With muskets ready loaded.\n\n     On, gallant soldiers, beat'em back,\n\n          I 'll join you in the frolic,\n\n     But I 've a chill from head to foot,\n\n          And symptoms of the colic.\n\nThe spirit of the Southern women is well known to have been as vigorous\nand determined as that of their brothers, and the sacrifices which they\nwere compelled to make were much more severe and general than at the\nNorth. They had been dependent upon the North and foreign countries for\nclothing and the luxuries of the household, and when these sources of\nsupply were cut off by the war and the blockade, they had to make and\nsew their own homespun dresses, and forego all the delights of fashion\nand adornment. The sacrifices and devotion of the daughters of the South\nwere sung in turgid rhetoric, like the threats and appeals of the men,\nbut here is a genuine voice, evidently a woman's own, which speaks\nfor her sisters in their homelier trials, as well as in their deeper\nemotions:--\n\n\n\n\nTHE SOUTHERN GIRL'S SONG.\n\n\n     Oh yes, I am a Southern girl,\n\n          And glory in the name,\n\n     And boast it with far greater pride\n\n          Than glittering wealth or fame.\n\n     We envy not the Northern girl\n\n          With robes of beauty rare,\n\n     Though diamonds grace her snowy neck\n\n          And p\u00e9arls bedeck her hair.\n\n     Hurrah, hurrah,\n\n          For the sunny South so dear.\n\n     Three cheers for the homespun dress\n\n          That Southern ladies wear!\n\n     The homespun dress is plain, I know,\n\n          My hat's palmetto, too,\n\n     But then it shows what Southern girls\n\n          For Southern rights will do.\n\n     We have sent the bravest of our land\n\n          To battle with the foe,\n\n     And we will lend a helping hand;\n\n          We love the South, you know.\n\n     Now, Northern goods are out of date,\n\n          And since old Abe's blockade,\n\n     We Southern girls can be content\n\n          With goods that's Southern made.\n\n     We sent our sweethearts to the war,\n\n          But, dear girls, never mind,\n\n     Your soldier love will ne'er forget\n\n          The girl he left behind.\n\n     The soldier is the lad for me,\n\n          A brave heart I adore;\n\n     And when the sunny South is free,\n\n          And when the fight is no more,\n\n     I 'll choose me then a lover brave\n\n          From out the gallant band;\n\n     The soldier lad I love the best\n\n          Shall have my heart and hand.\n\n     The Southern land's a glorious land,\n\n          And has a glorious cause;\n\n     Then cheer, three cheers for Southern rights\n\n          And for the Southern boys.\n\n     We 'll scorn to wear a bit of silk,\n\n          A bit of Northern lace;\n\n     And make our homespun dresses up,\n\n          And wear them with such grace.\n\n     And now, young men, a word to you:\n\n          If you would win the fair,\n\n     Go to the field where honor calls\n\n          And win your lady there.\n\n     Remember that our brightest smiles\n\n          Are for the true and brave,\n\n     And that our tears are all for those\n\n          Who fill a soldier's grave.\n\nThe folk-songs of the civil war, in which millions were engaged and\nwhich lasted for four years, do not compare in quality with those which\nmuch lighter struggles have produced, notably the Jacobite rebellion in\nScotland. The Americans were not a singing people in the bent of their\ngenius, and the conditions of life and civilization were not favorable\nto this form of expression. The newspaper had taken the place of the\nballad as a means of influencing the public mind, and poetry had passed\nfrom the people to the literary artists. So when the great crisis of\nthe civil war came, affecting all minds and all hearts, the people were\nunfamiliar with this mode of expression, and the literary artists had\nnot the power to interpret their feelings except in their own artificial\nforms without touching the heart or giving vital meaning to the voice.\nThe accident of the combination of genius with this sincerity, which\nproduced La Marseillaise and Der Wacht am Rhein, did not occur, so\nthat the great struggle is without an equally great song embodying and\ninterpreting the spirit of the nation, and whatever fine poems and songs\nthere were distinctly fall below this ideal. But in such a struggle the\nvoice of the people could not fail to find expression by the means which\nthe history of mankind has shown to be the most natural expression of\nemotion and enthusiasm, and their songs, however imperfect, either as\nliterature or popular poetry, are the most genuine expression of the\nfeelings and thoughts which filled their hearts and minds, and have a\ngenuineness which informs the rude or inadequate words, and are a most\nimportant illustration of the history of that tremendous conflict.\n\n\n\n\nENGLISH AND SCOTTISH POPULAR BALLADS.\n\n\n|Professor Francis James Child's edition of\nthe English and Scottish Popular Ballads, monumental in size, is still\nmore monumental in the labor which it represents. It embodies not only\ndiligent research for the most authentic and original versions of the\nancient ballads in all the known sources in print or in manuscript, and\nthe recovery of many from still living traditions in Great Britain and\nthe United States, but a careful study and comparison of the folk-song\nof kindred European nations and of the world for resemblances in subject\nand story; thus making a most interesting and valuable addition to the\nknowledge of the common development of the human intellect in primitive\nthought and form of expression in diverse countries. How much study this\nhas involved can only be appreciated by those who have seen its results\nin the concise introductions to each ballad, citing comparisons in every\nknown literature, and yet further work in this direction will be left\nfor later scholars, as the study and collection of folk-song is being\npursued with more and more zeal and success in every quarter of\nthe world, under the appreciation of its great literary as well as\nhistorical value. Professor Child has been governed by the strictest\nconscientiousness in giving his version of the popular ballads, not\nonly going to the original sources like the Percy folio, the manuscript\nmaterials for The Minstrelsy of the Scottish Border preserved at\nAbbotsford, Motherwell's note books, and other manuscripts and stall\ncopies, but reprinting them with all their omissions and defects,\nnot supplying the most obvious missing word or even letter without\nindicating it. He has not followed the example of the strictly faithful\neditors of the ancient ballads like Motherwell in presenting alone the\nmost complete and perfect specimen, nor allowed himself like others,\nsubstantially faithful, like Scott and Jamieson, to collate a number of\ncopies derived from different sources into a harmonious whole,-but gives\neach version distinct in itself, even to a solitary variant verse. It\nis one of the commonplaces of the history of English and Scottish\nballad poetry that most of its collectors and editors from Bishop\nPercy downward have felt themselves entitled to amend and correct the\nimperfect fragments to a greater or less degree, supplying missing lines\nor stanzas to connect or complete the story, and that this has resulted\nsometimes in the most incongruous patchwork in which the sentiments\nand poetical fashions of one generation have been foisted upon those of\nanother to the utter destruction of all verisimilitude, to say nothing\nof strength and genuineness of expression. Bishop Percy, with all his\nfine taste and genuine poetic power, was a conspicuous sinner in this\nrespect, and patched the rough and strong frieze of the ancient ballads\nwith pieces of the thin and sleazy silk of eighteenth century sentiment\nand diction. Even Scott, with all his sense of honesty and appreciation\nof the value of the integrity of the ancient ballads, could not always\nrefrain from his possessing temptation \"to give a hat and stick\" to the\nstories which he heard, and, as Professor Child points out, there are\nsome stanzas in the Border Minstrelsy which bear suspiciously his\nmark, and of which the originals have not been found in his manuscript\nmaterials. It is true enough that Scott's additions and emendations,\nas well as those of Allan Cunningham, who was wholly indifferent to the\ngenuineness and integrity of his originals, were likely to be in the\nvery spirit and turn of expression of the ancient ballads, and that the\nlover of poetry for its own sake will not be likely to find fault with\nthem, but the real student of folk-song must repudiate them, and can\nbe content only with the genuine expressions of the people, as they\nlived in tradition, however inchoate and imperfect they may he. The\nhistorical and ethnological value of the ancient ballads consists\nin their absolute genuineness, and even the imperfection of their\nutterances illustrates the condition of the popular mind and the\ncharacteristics of the individual intelligence which produced them, and\nare important geological evidences of the growth and development of the\nhuman intellect. At the same time this very imperfection of speech,\nand the struggle of primitive thought to express itself in language\nsometimes creates, as it were by accident, the very flower of strength\nand vividness in picturesque description, and the interpretation of\nemotion as the most skillful art has been unable to do. How strong these\nballads were, and what a hold they had upon the minds and imaginations\nof the people, as the interpretation of their innate poetic spirit, is\nshown in the tenacity with which they have lived, and been reproduced in\nvarying forms through generations down to the present day. Ballads like\nThe Cruel Sister and Lord Thomas and Fair Annet, the production probably\nof the sixteenth or seventeenth century, have been recovered, with the\nessential burden of their verse and the subject of their story, from the\nmouths of English peasants and Irish servant girls, and in the folk-lore\nof the American nursery, to which they had been transmitted simply by\nthe force of oral tradition, and without any assistance from print; and\nit is not likely that they will entirely disappear for generations to\ncome, any more than the perennial nursery tales which were created by\nand appeal to the primitive and childish imagination. These traditional\nversions have been altered to suit the localities, and weakened in\ntheir coherence and vigor of expression from the time when they were the\nliterature of the main body of the people instead of the lowest class,\nas the stall copies of the ballads of the ancient minstrels, when they\nwere the attendants of kings and nobles and shared the inspiration of\nchivalry, have been degraded to the level of the intelligence of the\naudience of the street singers or the gatherings in the taprooms of\nthe village alehouses; but they retain the essential characteristics of\nsimple emotion, inherent melody, and primitive language, and have still\nsomething of the fine and penetrating flavor of popular romance.\n\nIt is almost needless to say to the student of literature that the\nart of popular ballad writing is extinct, or is successful only in the\nrarest instances. Poets of genuine power and inspiration, imbued and\nsaturated with the spirit of the ancient ballads, have attempted to\nre-create them in the telling of an ancient or modern story, but,\nwhatever their original power or imitative skill, they have failed to\nreproduce that native strength and peculiar flavor of expression which\ngives the ancient ballads such a hold upon the mind. The modern ballads\nare admired by the intellect rather than felt by the heart, and are\nrecognized as the product of skillful art rather than as the expression\nof original emotion. Even Scott, whose literary genius was so saturated\nwith their spirit, and Wordsworth, who sought his inspiration in the\nsimple emotions of the peasant heart and interpreted them so perfectly\nin a literary form of glowing simplicity, could not produce a popular\nballad, and even Coleridge's Ancient Mariner, with all its powerful and\nnaked mystery and natural archaism of thought and language, appeals\nto the literary rather than to the popular imagination. All the more\nabsolute imitations of ancient literature, like those of Rossetti\nand Morris, have still more the air of unreality, in spite of what is\noftentimes their very great power and skill, and Sir Samuel Ferguson's\nLays of the Western Gael, perfect as they are in the reproduction of the\nCeltic spirit and expression, are for the admiration of scholars rather\nthan the feeling of the people. It is hardly too much to say that in\nmodern English literature there are but two poems which fulfill the\nconditions of the ancient ballads in their simplicity, directness, and\noriginality of language, their power upon the mind and heart through\nthe ear, and the indefinable flavor of primitive emotion, and those very\ndifferent in style, subject, and form of expression. These are Cowper's\nLoss of the Royal George, and Rudyard Kipling's Danny Deever. Every one\nwho has heard it or read it can repeat,--\n\n     Toll for the brave,\n\n          The brave that are no more,\n\n     Sunk beneath the wave\n\n          Fast by their native shore;\n\nand the burden and the measure, the simplicity and strength of diction,\nof Danny Deever are equally calculated to take a possessing hold upon\nthe ear. These ballads are not imitations derived from study of the\nancient popular ballads, but obtaining their inspiration from the same\noriginal source in strong and primitive emotion interpreted in the\nsimplest language possible, and speaking through the ear by the chanted\nrather than through the eye by the printed line. It is this appeal to\nthe ear which is the strongest characteristic of the form of the ancient\nballads. They were made to be sung or chanted rather than read, and\ntherefore they have a felicity of sound as an interpreter of meaning\nwhich is often perfect in its expression; and when imperfect, that is,\nwhen the meaning is not clear, but is only vaguely and dimly attached\nto the sound, as in the refrains and burdens, there is a flavor or an\natmosphere of meaning which pervades it and adds to the effect.\n\nThere is a touch of the plaintiveness of natural sounds which no\nliterary art could give in the opening of The Queen of Elphan's\nNourrice:--\n\n     I heard a cow low, a bonnie cow low,\n\n          An' a cow low down in yon fauld.\n\n     Long, long will my young son greet\n\n          Or his mother take him from cauld.\n\nEven when the burden is still more arbitrary, and without any direct\nreflection of the meaning whatever, it is never felt to be incongruous\nor artificial, and has a mystic and intensifying effect, as in the\npainful ballad of The Sheath and Knife:--\n\n     He has made a grave that was long and deep,\n\n          The broom blooms bonnie, and says it is fair,\n\n     And he's buried his sister, with her babe at her feet,\n\n          And they 'll never gang down to the broom any mair.\n\nAnd even when the refrain might be called simply a meaningless chant, it\nmakes a part of the ballad which could not be taken away without a loss\nof the quality which gives it a living voice, as in the chorus, which\nsings of itself to The Elfin Knight:\n\n     My plaid awa, my plaid awa,\n\n          And o'er the hills and far awa,\n\n     And far awa to Norowa.\n\n          My plaid shall not be blawn awa.\n\nAs to these stanzas and lines, which give a perfect marriage of sound\nand meaning either in the interpretation of emotion or description,\nand in which the ear is the interpreter of the eye and the heart with\na skill which no art could give, they are numberless, and of the very\nsubstance of the genius of the old ballad singers. There is nothing\nin the cultivated skill of trochee and spondee to equal such untaught\nperfections of the human voice as these:--\n\n     O, we were sisters, sisters seven;\n\n     We were the fairest under heaven.\n\n                    (Gil Brenton.)\n\n     And a lightsome bugle then heard he blowe,\n\n          Over the bents sae browne.\n\n                    (Sir Cawline.)\n\n     It was a sad and rainy night,\n\n          As ever rained from town to town.\n\n                    (Clerk Saunders.)\n\n     But't was wind and weet and fire and sleet\n\n          When we came to the castle wa.\n\n                    (Kinmont Willie.)\n\n     O, he has ridden o'er field and fell\n\n          Through ruins and moss and many a mire,\n\n     He spurs a steed that was sair to ride,\n\n          And frae her forefeet flew the fire.\n\n                    (Annan Water.)\n\n\nAnd this, in which the very gallop of the horse's feet runs along the\nlines:--\n\n     It's twenty lang miles to Sillerton toun,\n\n          The langest that ever were gane,\n\n     But the steed it was wight and the lady was light,\n\n          And she rade linkin in.\n\n                    (Prince Robert.)\n\nThe element of poetry of the highest kind in these ballads is the\nstrength as well as the simplicity of passion interpreted in language of\nnaked directness and dramatic power. Their stories are mainly those of\nthe bloody tragedies and the violent events and emotions in the lives\nof a people to whom strife and adventure were an integral part of\nexistence, and whose passions were strong and vigorous, although a\nproportion of the ballads have an element of rustic humor, and the cycle\nof those relating to Robin Hood is mainly of this kind. There is an\nelement of the supernatural in the English and Scottish ballads, more\nparticularly in the latter, which, if not so marked and pervading as in\nthose of the Celtic nations, shows that the mysterious terrors of nature\nwere still embodied in the visible forms of the imagination, and that\nthe woods were still haunted by elfin knights, the green braes by\nfairies, while human beings were still liable to be transformed into\nlaidly worms and foul toads by the enchantment of witches, in at least\na pervading shadow of popular belief. But for the most part they were\nsingularly free from the tincture of the marvelous, and mainly the\nsimple chronicles of stirring events or the tragedies of passion.\nThis gives them an element of strength, which is wanting to the\nphantasmagorial figures of more imaginative nations, whatever glow of\nmisty glory shines about them as in the creations of the early\nCeltic bards. The impression of the soul of nature is strong but not\noverpowering as in these latter, and the influence of the landscape and\nthe sky in storm or calm illuminates but does not interfere with the\ndramatic action. As has been said, strength of thought and strength\nof language are their prevailing characteristics. Their strength of\nlanguage is that which belongs to the speech of a people when it is\nfresh and new, and before it has been overlaid with words created for\nliterary purposes and by the introduction of foreign words to give\nniceties of meaning, and no cultivated language has the same power and\ndirectness as that which is the simple expression of the thoughts of\nthe people. Goethe, with his sound critical insight, noted this when he\nsaid, \"The unsophisticated man is the more master of direct, effective\nexpression than he who has had a regular training,\" and a language may\noften lose in strength what it gains in ornament and flexibility.\nThis strength of expression is written large over all the English and\nScottish ballads, and specimens are merely arbitrary and may be taken\nalmost at random:--\n\n     Aye she waukened at the dead man,\n\n          And aye she waukened him to and fro.\n\n                    (Clerk Saunders.)\n\n     And when she came out of the Kirk,\n\n          She shimmered like the sun.\n\n                    (Lord Thomas and Fair Annet.)\n\n     The Lindsays flew like fire about,\n\n          Till all the fray was done.\n\n                    (The Battle of Otterbourne.)\n\n     One spak slow, and another whispered out,\n\n          She's gone wi' Gipsy Davy.\n\n                    (The Gipsy Laddy.)\n\n     Twice it lifted its bonnie blue ee,\n\n     Thae looks gae through the saul o' me.\n\n                    (The Cruel Mother.)\n\n     There was no maen made for that lady,\n\n          In bower where she lay dead,\n\n     But a' was for the bonnie babe,\n\n          That lay blabbering in her bleed.\n\n                    (Lord Ingram and Child Wyett.)\n\n     O, then she stood and better she stood,\n\n          And never did shed a tear,\n\n     Till once she saw lier seven brethren slain,\n\n          And her father she loved sae dear.\n\n                    (The Douglas Tragedy.)\n\n     And when he came to her bower she was pale and wan,\n\n     But she grew red and ruddy, when Glenlogie came in.\n\n                    (Glenlogie.)\n\nThe dramatic power of expression, that which illumines it with a touch\nof action, is not less remarkable than that of direct phraseology:--\n\n     \"Hold up, hold up, Lord William,\" she says,\n\n          \"I fear that you are slain.\"\n\n     \"It's nothing but the shadow of my scarlet cloak,\n\n          That shines in the water sae plain.\"\n\n                    (Earl Brand.)\n\n     And aye she served the lang table,\n\n          With white bread and with brown,\n\n     And aye she turned her round about,\n\n          Sae fast the tears fell down.\n\n                    (Fair Annie.)\n\n     She turned her head ou her left shoulder,\n\n          Saw her girdle hang on a tree,\n\n     O, God bless those that gave me that,\n\n          They 'll never give more to me.\n\n                    (Lary Maissy.)\n\n     When I rose up in the morn,\n\n          My goodly palace for to lea,\n\n     I knocked at my lord's chamber door,\n\n          But never a word wad he speak to me.\n\n                    (Jamie Douglass.)\n\n     The King looked over his left shoulder,\n\n          And a grim look looked he,\n\n     Earl Martial an' 't were na for my oath\n\n          Or hanged thou shouldst be.\n\n                    (Queen Elinor's Confession.)\n\nThe look cast over the shoulder is a very fa-miliar action in the\nballads, as is also that where an angry man strikes the table with his\nhand and \"keps\" it with his knee. Every one who receives the letter is\ndescribed as first smiling and then having his eyes filled with tears,\nas in Sir Patrick Spence, and almost in an exact repetition of the\nlanguage, and there are numerous actions and phases which are the common\nstock of the ballad poets. The idea of the exclusive rights to poetical\nproperty and of the sin of plagiarism does not seem to have occurred\nto them, and they took a striking image or an effective phrase wherever\nthey found it as a part of the common stock of poetry. These familiar\nand striking phrases doubt-less added to the effect, being recognized\nas old friends by the audience, and, like the repetitions of words and\naction by a number of persons in the same ballad, such as by the\nmembers of a family in succession denying the prayer of an unfortunate,\nemphasizing and deepening the impression. Certain adjectives also became\nattached to words as a part of their property, such as red to gold and\nwan to water, and are essential parts of the ballad language, which add\nto its effect by constant repetition.\n\nOne of the charms of these ancient ballads is the appreciation of the\neffects of nature, given sometimes with a magical effect of suddenness\nand originality. What can be more effective, for instance, than the\ntouch of beauty and charm in the tragedy of Babylon:--\n\n     He's killed the maid and he's laid her by\n\n     To bear the red rose company.\n\nAnd can we not feel the magic of the note of elfin horn, touching the\nheart with irresistible call through the summer air, in the opening to\nHind Etin?--\n\n     Lady Margaret sits at her bower door,\n\n          Sewing her silken seam;\n\n     She heard a note in Elmond wood,\n\n          And wished she there had been.\n\nThe voice of the unseen sea gives a note of deep solemnity and terror\nto the supernatural landscape through which Thomas, the Rhymer, journeys\nwith the elfin queen:--\n\n     And they rode on and farther on,\n\n          And they waded the river above the knee,\n\n     And they saw neither sun nor moon,\n\n          But they heard the roaring of the sea.\n\nHow the strength of a lover's thought is illuminated by the touch of\nnature itself in Willie and Alison:--\n\n     When he was in his saddle set,\n\n          And slowly ridin' on his way,\n\n     He had more mind o' Alison\n\n          Than he had o' the light o' day.\n\nThese touches of the power of nature upon human action, and revealing\nhuman thought, are scattered throughout the ballads, and have the effect\nof perfect naturalness and simplicity, as though the heart and not the\nmind spoke in them.\n\nA specimen of the ancient ballad in its most perfect strength, absolute\nand concise in its construction, without wandering into irrelevancies\nand incongruities, as many of them do, and in which the appalling\ntragedy strikes with a sudden blow upon the heart at its close, is\nEdward. It has all the characteristic features of the ballads, in\nthe vivid colors of nature illuminating and intensifying his dramatic\ndialogue, while it has the mist of blood in the witchlike questions of\nits opening, and the passion of hatred and despair in its close.\n\nBallads of similar form and subject are to be found in Scandinavian\nliterature, and counterparts to its methods of revelation in various\nEnglish and Scottish ballads, but none have so pure a construction and\nso perfect an effect as this:--\n\n     \"Why does your brand sae drap wi' bluid,\n\n               Edward, Edward?\n\n     Why does your brand sae drap wi' bluid,\n\n               And why sae sad gang yee, O?\"\n\n     \"O, I hae killed my hauke sae guid,\n\n               Mither, mither.\n\n     O, I hae killed my hauke sae guid,\n\n               And I had nae mair but hee, O.\"\n\n     \"Your hauke's bluid was nevir sae reid,\n\n               Edward, Edward.\n\n     Your hauke's bluid was nevir sae reid,\n\n               My deir son, I tell thee, O.\"\n\n      O, I hae killed my red roan steed,\n\n               Mither, mither.\n\n     O, I hae killed my red roan steed\n\n               That was sae fair and free, O.\"\n\n     \"Your steed was auld and ye hae gat mair,\n\n               Edward, Edward.\n\n     Your steed was auld and ye hae got mair.\n\n               Sum other dule ye drie, O.\"\n\n     \"O, I hae killed my fadir deir,\n\n               Mither, mither.\n\n     O, I hae killed my fadir deir.\n\n               Alas! and wae is mee, O.\"\n\n     \"And whatten penance will ye drie for that,\n\n               Edward, Edward?\n\n     And whatten penance will ye drie for that,\n\n          My deir son? Now tell mee, O.\"\n\n     \"I 'll set my feit in yonder boat,\n\n               Mither, mither.\n\n     I 'll set my feit in yonder boat,\n\n          And I 'll fare ovir the sea, O.\"\n\n     \"And what will you doe wi' your towirs and your ha',\n\n               Edward, Edward?\n\n     And what will you doe wi' your towirs and your ha',\n\n          That were sae fair and free, O?\"\n\n     \"I 'll let them stand tul they down fa',\n\n               Mither, mither.\n\n     I 'll let them stand tul they down fa',\n\n          For here nevir mair maun I bee, O.\"\n\n     \"And what wul ye leave to your bairns and your wife,\n\n               Edward, Edward?\n\n     And what wul ye leave to your bairns and your wife,\n\n          When ye gang ovir the sea, O?\"\n\n     \"The warlde's room, late them beg thrae life,\n\n               Mither, mither.\n\n     The warlde's room, late them bag thrae life,\n\n          For them nevir mair wul I see, O.\"\n\n     \"And what wul ye leave to your ain mither, deir,\n\n               Edward, Edward?\n\n     And what wul ye leave to your ain mither, deir,\n\n          My deir son? Now tell mee, O.\"\n\n     \"The curse of hell frae me sail ye beir,\n\n               Mither, mither.\n\n     The curse of hell frae me sail ye beir,\n\n          Sic counseils ye gave to me, O.\"\n\nEdward was communicated to Bishop Percy from Scotland by Lord Hailes,\nand there is some affectation in the ancient spelling, but it is\nundoubtedly genuine, and, as Professor Child remarks, \"as spelling will\nnot make an old ballad, so it will not unmake one.\"\n\nOne of the most famous and best known of the ancient Scottish ballads\nis that entitled Waly, Waly, gin Love be Bony, or, as it is sometimes\ncalled, Lady Anne Bothwell's Lament, which was first published in\nRamsay's Tea Table Miscellany. It has numerous variants embodying the\nlanguage of the lament in stories of a more dramatic character, founded\non a tradition of the Douglas family, but this has the strength and\nsimplicity of an original:--\n\n     O, waly, waly, up the bank,\n\n          And waly, waly, down the brae;\n\n     And waly, waly, yon burn-side,\n\n          Where I and my love wont to gae.\n\n     I leaned my back unto an aik,\n\n          I thought it was a trusty tree;\n\n     But first it bowed, and syne it brak,\n\n          Sae my true love did lightly me.\n\n     O, waly, waly, but love be bony,\n\n          A little time, while it is new;\n\n     But when it's auld it waxeth cauld,\n\n          And fades away like morning dew.\n\n     O, wherefore should I brush my head?\n\n          O, wherefore should I kaim my hair,\n\n     For my true love has me forsook,\n\n          And says he 'll never love me mair.\n\n     Now, Arthur's seat shall be my bed,\n\n          The sheets shall ne'er be fyld by me;\n\n     Saint Anton's well shall be my drink\n\n          Since my true love's forsaken me.\n\n     Martinmas wind, when wilt thou blow,\n\n          And shake the green leaves off the tree\n\n     O, gentle death, when wilt thou come,\n\n          For of my life I am weary.\n\n     'T is not the frost that freezes fell,\n\n          Nor blawing snaw's inclemency;\n\n     'T is not the cauld as makes me cry,\n\n          But my love's heart grown cauld to me.\n\n     When we came in by Glasgow town,\n\n          We were a comelie sight to see;\n\n     My love was clad in black velvet,\n\n          And I myself in cramoisie.\n\n     But had I wist before I kist\n\n          That love had been sae ill to win;\n\n     I'd locked my heart in a case of gold,\n\n          And pinned it with a silver pin.\n\n     Oh, oh, if my young babe was born,\n\n          And set upon the nurse's knee;\n\n     And I mysell were dead and gone,\n\n          For a maid again I 'll never be.\n\nThe burden of this lament, its simple passion appealing to the popular\nheart and its melody holding the ear, has been perpetuated through the\ngenerations since it was first sung. It has been printed in all forms\nand variations in the broadsides and penny song books, as well as in the\ncritical collections of poetry, solaced the sentimental feeling of\nthe dairy maid as well as haunted the vision of Charles Lamb, and\nits refrain may be heard to-day in the burlesque choruses of the negro\nminstrel stage. A very interesting example is given by Professor Child\nof the way in which an old ballad of perfect form and construction may\nbe made incoherent and shapeless in a broadside copy, mere matter of\n\"silly sooth\" for old age or primitive ignorance, without losing the\nfine flower of pathos and feeling, or the grace of expression, in its\ndisconnected and ejaculatory stanzas. It is also interesting as an\nexample, of which many others could be given, of the effect of oral\ntradition passing from minds of native strength, if without education,\ndown to and through those of a lower order of intelligence, from whom\nnow only the debris of the ancient songs and ballads can be obtained.\n\nIt is from a broadside printed in Edinburgh, without date, but of\nconsiderable antiquity, and entitled Arthur's Seat shall be My Bed,\netc., or Love in Despair.\n\n     Come lay me soft and draw me near,\n\n          And lay thy white hand over me;\n\n     For I am starving in the cold,\n\n          And thou art bound to cover me.\n\n     O, cover me in my distress,\n\n          And help me in my miserie;\n\n     For I do wake, when I should sleep,\n\n          All for the love of my dearie.\n\n     My rents they are but very small,\n\n     For to maintain my love withall;\n\n     But with my labour and my pain,\n\n     I will maintain my love with them.\n\n     O, Arthur's seat shall be my bed,\n\n          And the sheets shall never be filed by me,\n\n     St. Anthony's well shall be my drink,\n\n          Since my true love's forsaken me.\n\n     Should I be bound, that may go free?\n\n          Should I love them that love not me?\n\n     I 'll rather travel into Spain,\n\n     Where I 'll get love for love again.\n\n     And I 'll cast off my robes of black,\n\n          And will put on the robes of blue;\n\n     And I will come to some other land\n\n          To see if my love will on me rue.\n\n     It is not the cold that makes me cry,\n\n     It is not the weet that wearies me;\n\n     Nor is it the frost that freezes fell,\n\n     But I love a lad, and I dare not tell.\n\n     Oh, faith is gone, and truth is past,\n\n          And my true love's forsaken me;\n\n     If all be true that I hear say,\n\n          I 'll mourn until the day I die.\n\n     Oh, if I had nere been born,\n\n          That to have died, when I was young;\n\n     Then I had never wet my cheeks\n\n          For the love of any woman's son.\n\n     Oh, oh, if my young babe was born,\n\n          And set upon the nurse's knee;\n\n     And I myself were dead and gone,\n\n          For a maid again I shall never be.\n\n     Martinmas wind, when wilt thou blow,\n\n          And blow the green leefs off the tree;\n\n     O gentle Death, when wilt thou come,\n\n          For of my life I am wearie.\n\nAs in all single hearts and primitive natures, the visible features of\ndeath, the white shroud and the grave, \"hap'd with the sods sae green,\"\nmake a deep impression, and the imagination concerning the loved one\nlost is not lifted to spiritual forms, but dwells upon the painful\nfigures of the charnel house. The ghosts that visit the living have the\nfatal breath of decaying mortality, and are summoned back by the cock to\nthe winding sheet and the worm. The ballads that deal with this subject\nare all in the same strain, and repeat the same phrases. The lady asks\nher dead lover if there is any room at his head or any room at his feet\nin his new bed, and he answers that there is none, it is made so narrow,\nand that the worms are his only bedfellows; and warns her that he cannot\ngive the kiss she craves, for his breath would be fatal. Sometimes the\nimages of mortality are extremely powerful as well as grotesque, as in\nthe ballad of Sweet William's Ghost:--\n\n     My meikle toe is my gavil post,\n\n          My nose is my roof tree,\n\n     My ribs are kebars to my house;\n\n          There is no room for thee.\n\nSometimes they have a touch of homely pathos, which relieves them from\nthe conventional note of sorrow, as when the three sons of The Wife of\nUsher's Well are called back to the grave by the crowing cock, and the\nyoungest says:--\n\n     Fare ye weel, my mother, dear;\n\n          Farewell to barn and byre,\n\n     And fare ye weel, the bonny lass,\n\n          That kindles my mother's fire.\n\nOne of the most interesting specimens of the ballads of this kind, as\nthey exist to-day, borrowed in a modified form from the ancient, but\nembodying a still popular superstition, is The Unquiet Grave, recently\ntaken down from the lips of a young girl in Sussex. It is founded on\nthe belief, common to many primitive peoples, that excessive weeping\ndisturbs the repose of the departed, and has a touch of that natural\noriginality of description and that abruptness which presupposes a\nquickness of appreciation, which does not require an elaborate story to\nmake the connection intelligible, characteristic of popular poetry,\nand which shows that the elements of mind to which it is addressed are\nalways the same:--\n\n     The wind doth blow to-day, my love,\n\n          And a few small drops of rain.\n\n     I never had but one true love--\n\n          In the cold grave she was lain.\n\n     I 'll do as much for my true love\n\n          As any young man may,\n\n     I 'll sit and mourn all at her grave\n\n          For a twelvemonth and a day.\n\n     The twelvemonth and a day being up,\n\n          The dead began to speak:\n\n     \"O, who sits weeping on my grave\n\n          And will not let me sleep?\"\n\n     \"'T is I, my love, sits on your grave\n\n          And will not let you sleep;\n\n     For I crave one kiss of your clay-cold lips,\n\n          And that is all I seek.\"\n\n     \"You crave one kiss of my clay-cold lips,\n\n          But your breath smells earthly strong;\n\n     If you have one kiss of my clay-cold lips\n\n          Your time will not be long.\"\n\n     'T is down in yonder garden green,\n\n          Love, where we used to walk:\n\n     The finest flower that e'er was seen\n\n          Is withered on the stalk.\n\n     The stalk is withered dry, my love,\n\n          So will our hearts decay:\n\n     So make yourself content, my love,\n\n          Till God calls you away.\n\nBy far the larger number of the popular ballads had their origin in\nScotland, and they are also of much finer quality than those of England.\nEven if the question of the origin of the ballad of Chevy Chace should\nbe decided in favor of the latter, it would simply be localized upon the\nBorder within the limit of Scottish influence. The English ballads are\nmostly heavy and dull, imperfect in form and expression, in comparison\nwith the Scottish, and show few signs of the depth and glow of feeling\nin the burning words of the latter. The English ballads relating to\nKing Arthur are greatly inferior in strength and spirit to the\nprose chronicles, and their dealing with the marvelous is coarse and\ncommonplace in comparison with the spiritual and majestic mystery of the\nWelsh cycle of Arthurian romance. And the English ballads continued\nto degenerate, rather than improve, from the rude vigor of some of the\nArthurian ballads, and took on the element of coarse humor which is\ncharacteristic of the Robin Hood cycle, from which nearly every gleam of\npoetry is eliminated. It may be said that the degeneracy of the English\npopular ballad was due to the spread of education among the people, and\nthe development of their genius in more strictly literary forms under\nthe influence of Chaucer and his associates. But the spread of education\nand the increase of literary production among the English people was by\nno means so general as to affect the quality of the popular ballad at\nthis period, and certainly less than that which prevailed in Scotland at\na later time, when the production of popular poetry was in its fullest\nflower. The adventures of the English outlaws, of whom Robin Hood,\nhowever mythical his actual existence, was the type, were not less\nstirring and full of the natural elements of poetry than those of the\nreivers and cattle thieves of the Scottish Border, but the ballads of\nthe former cycle are only full of a vulgar peasant humor, while the\nlatter are illuminated with the light of battle, and have the quarter\nstaff and broken pate in place of the spear and the bleeding breast. Of\nRobin Hood it is said:--\n\n     Then Robin took them both by the hand,\n\n          And danced about the oke tree;\n\n     For three merry men and three merry men\n\n          And three merry men are we.\n\nWhile the Lord of Branxholm cries:\n\n     Gae warn the water broad and wide,\n\n          Gae warn it sune and hastilie;\n\n     He that winna ride for Telfer's Kyle\n\n          Let him neer look in the face o' me.\n\nand the difference in the spirit is reflected in the quality of\nthe verse, the one dull and commonplace, suited to an audience of\nheavy-faced rustics in an alehouse, and the other full of fire and\nvigor, fit to be chanted in the dining hall of a Border chief. It is\nimpossible to analyze ethnologically the causes of the great superiority\nof the Scottish popular poetry, or to define how much of the elevation\nof feeling and appreciation of the magic of nature came from the greater\nadmixture of the Celtic element, which in its turn was given force and\nvigor, directness of expression and coherence of construction by the\nstronger nature of the invading element, which, for the want of a more\ndefinite term, is called Saxon. The effect of these influences is merely\nconjectural, as is also that of the country itself, its natural scenery,\nthe disturbed life of the people, and the ferment of the popular mind.\nIt can only be said that there was something in the national genius of\nthe Lowland Scotch different from that of their more stolid neighbors\nat the south and their more mystical neighbors at the north, and which\nfitted them for the production of popular poetry in song and ballad at\nonce elevated and impassioned, and which has resulted in a quantity and\nquality which no other province of the world has rivaled. It is known\nover the world, and has been translated into almost every literary\nlanguage of Europe. To the English reader it is only necessary to give\nthe titles to recall the verses that cling to the memory, and express\nthe deepest glow of passion and pathos in words whose magic melody is\nbeyond the reach of art, and which are winged with a force above the\npowers of uninspired speech. The Border Widow tells how she buried her\nslain husband:--\n\n     I took his body on my back,\n\n          And whiles I gaed and whiles I sat,\n\n     I digged a grave and laid him in,\n\n          And happd him with sod sae green.\n\nLord Randal comes home to his mother from his false love's poisoned\nbanquet:--\n\n     O, where hae ye been, Lord Randal, my son,\n\n          O, where hae ye been, my handsome young man;\n\n     I have been to the greenwood; mither, mak my bed soon,\n\n          For I'm wearie wi hunting and fain wald lie down.\"\n\nThe lady of the House of Airlie cries out from the burning reek to the\ncruel Edom o' Gordon:--\n\n     \"Were my good lord but here this day,\n\n          As he's awa wi Charlie;\n\n     The dearest blood o' a' thy men\n\n          Wad sloken the lowe o' Airlie.\"\n\nJohnnie Armstrong gives his last \"Good Night\" in defiance:--\n\n     O, how John looked over his left shoulder,\n\n          And to his merry men thus spoke he;\n\n     \"I have asked grace of a graceless face,\n\n          No pardon here for you and me.\"\n\nMary Hamilton cries from the gallows-tree in a burst of anguish:--\n\n     O, little did my mother ken,\n\n          The day she cradled me,\n\n     The land I was to travel in,\n\n          The death I was to dee.\n\nThese verses, and many like them, cling to the tongues and have sunk\ndeep into the hearts of men, and will live until the speech in which\nthey were created has passed away. The Flower of Yarrow will always\nutter her melodious lament so long as there is English poetry, and the\nBorder moss-troopers will ride with spear in hand and \"splent on spauld\"\nuntil the valleys of the Tweed and the Tyne are inhabited by an alien\nrace, and the songs in which they are sung have perished like those of\nthe Assyrian shepherds.\n\nThe collection and study of folk-song is being pursued with a vigor and\na scholarly diligence which promises to leave no corner of the world\nunransacked, and no people, however simple and savage, neglected, and\nvery valuable treasures of poetry have been and are being collected,\nwhich speak to the heart with the native eloquence of unsophisticated\nfeeling and thought, and which give a more accurate knowledge of\nnational temperament and of the stages of the development of the human\nintellect than any material remains or any historical records. But none\nhave as yet been discovered, or are likely to be, which have a stronger\npower of original poetry, passion, and pathos, or which reveal a more\nvigorous and noble native genius than the ballads and songs which were\nproduced within the limits of the little province between the Grampians\nand the Border.\n\n\n\n\nLADY NAIRNE AND HER SONGS.\n\n\nThe supreme felicity of lyric song is extremely rare even in the\ngreatest masters of the art, and seems to come from something outside\nof themselves, some accident of the moment, some almost fortuitous\nintermingling of sound with meaning, which could have been attained by\nno ordinary inspiration and no deliberate skill, however accomplished\nand sure and strong the poetical organ which produced it. It is this\nsupreme felicity, when it occurs, by which the lyric song of man, with\nonly the elements of harsh and prosaic speech and common words to frame\nit, rivals the magic of the bird's note in joyous ecstasy or sorrow, and\nfloods the heart, as it captivates the ear, with emotions sweeter and\ndeeper, more ethereal and more mysterious, than life had seemed able\nto give. It is well known that singers, whose skill in the use of their\nvocal organs is the result of highly trained art, giving certainty and\nassurance to a great natural gift, and able at all times to command what\nseems the full extent of their power, sometimes have moments when they\nsurpass themselves and exceed the limits of any art, when the voice\ntouches a note of magic melody, which they can reach by no conscious\neffort even in the highest moments of inspiration, and which seems to\ncome from some power not at their conscious command. It seems to be the\nsame in lyric poetry, and when the power does come, then we have the\ntouch which makes it song, as the thrill of the lark, and the ecstasy\nof the mocking-bird in the tropic night, are songs. The magic may not\nbe prolonged through an entire lyric. It seldom is. It may be only in a\nsingle line or in a single verse. It may not be even the highest strain\nof feeling or nobility of sentiment, and may even carry with it little\ndefinite meaning upon analysis. It derives its power from the magic\nmelody as much as from the feeling or the intelligible sense of the\nwords, and its effect is indefinable by any law of the understanding.\nIn its highest estate it combines the most penetrating feeling with not\nonly perfect but magic melody, but it sometimes comes in a wild refrain,\nin which the meaning merely floats in the words, and the rhythm, the\naccent, the song itself, so to speak, is predominant. For the first\ninstance there is the perfect example of Burns, the rapture caught once\nfor a single strain in a song, which does not rise above the level of\nhis accomplished skill otherwise, and which has the keenest and most\npenetrating feeling, joined to, and permeated by, the perfect and magic\nmelody:--\n\n     Had we never loved sae blindly,\n\n     Had we never loved sae kindly,\n\n     Never met and never parted,\n\n     We had ne'er been broken-hearted.  1\n\nFor the second instance, where the melody is predominant over the\nmeaning, and where the poet seemed only to be affected by the desire to\nframe words that would sing themselves and merely symbolize his thought,\nthere are very many examples in the peasant poetry and folk-song of\nScotland,--refrains that have no direct connection with the song, but,\nlike the note of a second flute in a concerto, intensify the effect of\nthe first strain by a kindred, yet diverse accentuation, as\n\n     The broom blooms bonnie and says it is fair;\n\nand as the most perfect specimen that occurs, the refrain to the ballad\nof Lord Barnard in Jamieson's collection:--\n\n     O, wow for day!\n\n     And dear gin it were day!\n\n     Gin it were day and I were away,\n\n     For I haena long time to stay.\n\nIt is only the uneducated poets who have the courage to use language\narbitrarily with a purpose\n\n     1 It is needless to say that the supreme felicity of these\n     lines has been pointed out by other and more distinguished\n     critics.\n\nmore for melody than for meaning, and when an attempt is made to\nreproduce its effect deliberately, as has been done by Dante Gabriel\nRossetti and William Morris, the result is simply artificial and\nbizarre, in spite of the skill, the intensity, and the poetical power of\nSister Helen, and the melody of the most perfect example of the modern\nimitation of the refrain in Morris's The Wind.\n\n     Wind, Wind, thou art sad, art thou kind?\n\n     Wind, Wind, unhappy; thou art blind,\n\n     Yet still thou wanderest the lily seed to find.\n\nPerhaps the most perfect example of the lyric song, in which the melody\nis mingled with and sustains and elevates the feeling, and both are\nconjoined in an effect which melts the heart and possesses the ear,\nalthough the strain is not of so high a rapture of love or sorrow as\nparts of Burns's Ae Fond Kiss or Lady Anne Bothwell's Balow, and is of\na peaceful sweetness and resignation rather than passion, is The Land of\nthe Leal, by Carolina, Lady Nairne. In its original and simplest form,\nbefore she had interpolated a verse to express some of her theological\nideas, it is the perfect interpretation of a sweet, solemn, and simple\nthought, the tenderest and purest emotion, breathed in an equally\nsimple, but absolutely perfect melody, that is like the flowing of\nlimpid water, crystal clear and unbroken to the end. The heart of the\nworld has responded, and it has a place like none other in the tongue of\nsong.\n\n     I'm wearin' awa, John,\n\n     Like snaw-wreaths in thaw, John,\n\n     I 'm wearin awa'\n\n          To the land o' the leal.\n\n     There's nae sorrow there, John,\n\n     There's neither cauld nor care, John,\n\n     The day is aye fair\n\n          In the land o' the leal.\n\n     Our bonnie bairn's there, John,\n\n     She was baith gude and fair, John,\n\n     And, oh, we grudged her sair\n\n          To the land o' the leal.\n\n     But sorrow's sel' wears past, John,\n\n     And joy's a-comin' fast, John,\n\n     The joy that's aye to last,\n\n          In the land o' the leal.\n\n     Oh, dry your glist'ning ee, John,\n\n     My saul langs to be free, John,\n\n     And angels beckon me\n\n          To the land o' the leal.\n\n     O, haud ye leal and true, John,\n\n     Your day it's wearin' through, John,\n\n     And I 'll welcome you\n\n          To the land o' the leal.\n\n     Now fare-ye-weel, my ain John,\n\n     The world's cares are vain, John,\n\n     We 'll meet and will be fain\n\n          In the land o' the leal.\n\nThe fame of the authoress, so far as she can be said to have any of\nher own individual personality, rests upon this song, and sufficiently,\nwhile the English language shall last, but it was not the solitary\nexample of her genius, and her poetical work, although not great in\nhulk, contains other lyrics of a very high quality, with a wide range\nfrom high martial spirit and homely pathos to gay and frolicsome humor,\nand instinct with the vital and living element of song. Lady Nairne was\nalmost morbidly anxious to retain her incognito as a writer during her\nlife, so that her own husband and nearest relatives were not in the\nsecret, and those who surmised or guessed it hardly dared to allude to\nit in her presence, and the veil has rested over her personality to a\ngreat degree in comparison with the flood of light poured over the\nwords and actions of her great contemporaries, Scott and Burns, and many\nlesser figures in Scotch provincial literature like Professor Wilson and\nHogg. Nevertheless, since her death at a very advanced age in 1846, her\nsongs have been collected and published under her own name, and enough\nhas been made known concerning her life and character to give to her\npoetry an individuality, and reveal a very gracious, noble and engaging\nfigure.\n\nCarolina Oliphant was born in \"the auld house of Gask,\" in Perthshire,\non the 16th of August, 1766, six years later than Robert Burns. She came\nof stanch Jacobite stock on both sides, her father, Laurence Oliphant,\na name since made familiar by the singular and notable career of the\naccomplished writer, traveler, and scholar, who puzzled the world not\nless by his na\u00efve religious aberrations than by his accomplishments,\ntook up arms for the Stuarts in \"the Forty-five,\" and suffered attainder\nand temporary banishment in company with his father, who had also been\n\"out\" in the Earl of Mar's rebellion in \"the Fifteen.\" Young Laurence\nOliphant, while in exile at Versailles, married his cousin, Margaret\nRobertson, daughter of Duncan Robertson of Strowan, chief of the clan\nDorrochy. The Robertsons had also been ardent Jacobites, and suffered in\npurse and person for their loyalty. The grandfather, Duncan Robertson,\nwas notable in character and personality as well in adventure and\nmisfortune, and had his portrait painted in immortal colors by Scott as\nthe Baron of Bradwardine. Carolina, baptized after the exiled prince,\nspent her infancy and early childhood on the Continent in France and\nBelgium, under the care of her grandmother, her parents being in feeble\nhealth, and then returned with them to the old home at Gask, where she\nspent her happy, healthy, and gay youth and young womanhood. From a\nfeeble and delicate child she had grown into a strong, vigorous, and\nbeautiful young woman, the beauty of the country-side, called \"the\nFlower of Strathearn\" and \"the lovely Car,\" and her life was of a kind\nto strengthen her ardent patriotism and cultivate her fondness for the\nnative music, poetry, and song of which Scotland was full, but whose\ntranscendent merits were unknown and unappreciated by the literary world\nuntil they were illuminated by the light of the genius of Burns a few\nyears later. The anecdotes of her life give a very charming picture\nof innocent gayety, family affection, and friendship. She played the\nJacobite airs for her aged grandfather, as she afterward wrote Jacobite\nsongs for his pleasure, and with a skill and feeling which won the\ndifficult approval of the famous Neil Gow, the wandering fiddler, whose\nskill on his instrument was like that of Scott's \"Wandering Willie,\" and\nwhose presence at a laird's house would draw all the young people\nfor miles around to dance to the winged notes of his strathspeys and\nhornpipes. She was foremost in all scenes of gayety, and is said to have\ntaken a carriage at midnight and driven several miles to bring one\nof her young lady friends out of bed for a party where partners were\nscarce. In the simple social pleasures of the local aristocracy, the\ncounty balls and meetings, and the gatherings of the tenantry, \"the\nFlower of Strathearn\" was a conspicuous figure, while her keen eyes\nwere taking in the queer figures that appeared later in all the glow of\nbright humor in The Laird of Cockpen, The County Meeting, and Jamie, the\nLaird. Her first verses, The Ploughman, were written for a harvest home\ndinner, and were read by her brother as a contribution by an unknown\nauthor. About this time the first poems of Burns made their appearance,\nand stirred the heart of Scotland not less by their original genius than\nby the revivification of the old airs and scraps of songs, finished and\ncleansed of their coarseness, and made to speak to the hearts of the\npeople in the drawing-room as well as in the peasant's cottage and the\ntaproom of the country alehouse. It was the first acknowledgment, if not\nthe beginning, of that appreciation of the wealth of pathos and humor in\nthe peasant poetry of Scotland, among the cultivated classes, and drew\nthat attention and emulation to which all there is of value in modern\nScotch poetry is due. It was the inspiration of the genius of Carolina\nOliphant, and from this time she began to write the new verses to the\nold airs, and to replace the imperfect, unworthy, and sometimes coarse\nand vulgar scraps of songs with the beautiful ones of her own, equally\nScotch and racy of the soil, and full of the thoughts and sentiments\nas well as the dialect of the people. The old grandfather, worn with\ndisease and living in the past light of fervid days, heard his favorite\nairs of welcome, gathering, and victory, for the Young Chevalier sung to\nnew and glowing words, and the young ladies laughed at the funny lilts\nin which were drawn the queer figures of the dullards and provincial\nfops, without knowing to whose keen pen they were indebted. The Land\no' the Leal was written for Mrs. Archibald Campbell Colquhoun, a dear\nfriend of Miss Oliphant, upon the death of an infant daughter, and\nto one other only was the secret of its authorship ever definitely\ndisclosed, although its aurora, more or less mysteriously, finally\nsettled around the head of Lady Nairne. Mrs. Colquhoun was born Mary\nAnne Erskine, and was the sister of that William Erskine afterward Lord\nKinedder who was the dearest friend and associate of Walter Scott in his\nearly Edinburgh days, and the sister, who kept the house for her brother\nuntil her marriage with Mr. Colquhoun, was the earliest and deepest love\nof Scott.\n\nSomewhat late in life Carolina Oliphant married her cousin, Major\nWilliam Nairne, the heir to the forfeited Barony of Nairne, Assistant\nInspector General of Barracks in Scotland, and with him removed to\nEdinburgh, where she occupied for a time a cottage at Portobello and\nafterward official quarters in Holyrood place. The impulse given by\nBurns to the cultivation of native Scotch poetry still continued, and\nwas being strengthened by his contributions of songs for the music of\nthe old airs in Johnson's Museum, and a coterie of the literary ladies\nof Edinburgh established the Scotch Minstrel for the same purpose.\nTo this Mrs. Nairne became a contributor, with a single friend for\na confidant, under the name of \"Mrs. Bogan of Bogan,\" with other\npseudonyms, a disguised handwriting and other elaborate precautions\nfor concealment. There was, of course, a keen curiosity to discover the\nauthor of these beautiful songs, but the secret was well guarded, and\nnot even the husband was aware of it. \"I dare not even tell William\"--\nMrs. Nairne wrote to her friend--\"lest he blab.\" She and her friend at\none time cherished the purpose of \"cleansing and moralizing\" the songs\nof Burns, as he had done those of his unknown predecessors, but a wiser\nsecond thought restrained them. Miss Oliphant had been \"converted,\" as\nthe phrase goes, when a young woman on a visit to England, and her\npiety and religious feeling deepened with her years, until it took\non completely the rigid, depressing, and dismal forms of Scotch\ndenominationalism, and her genius for poetry shriveled under it. During\nthe visit of George the Fourth to Edinburgh he signalized his theatrical\nclemency by a restoration of the forfeited titles of the Jacobite\nnobility, and Major Nairne became Baron Nairne. Lord Nairne survived his\nrestoration but a few years, and died in 1829, leaving his widow with an\nonly son. To his education she devoted herself, residing for a time\nin Bath, afterward in Ireland, and traveling on the Continent for the\nhealth of the young lord, who was of feeble constitution, and who died\nat Brussels in 1837. It is painful to read of the narrow bigotry and\ntheological gloom which enveloped the joyous and healthy spirit of Lady\nNairne. She would not allow her son to be taught to dance, and regarded\nher poetry as the somewhat flagitious exercise of a worldly spirit, and\nspent her days in the doubt and self-affliction of a harsh creed and in\nthe petty interests of a narrow church. She was deeply interested in the\nhopeless task of \"converting\" the Catholics of Ireland and the Jews to\nScotch Presbyterianism, and was the mentor of her relatives after the\nfashion of Mrs. Hannah More, the patroness of bazaars, and at one time\nwith her sister was expelled from an Italian town for distributing\nProtestant Bibles to the people. But her native nobleness of character\nshone through the theological clouds. She was regarded with affection\nas well as reverence by her younger relatives and her servants, and\nimpressed all who came in contact with her by the cordial grace of her\nmanners, and the aristocratic and highly marked contour of her features,\nwhich in the bloom of youth had made her \"the Flower of Strathearn.\"\nHer benevolence was unceasing and self-sacrificing, if not always wisely\ndirected, and at one time she had all her family plate sold and the\nproceeds sent to Dr. Chalmers for the support of an industrial school\nfor the poor. She lived during her later years at the old house of Gask,\nthe honored guest of her nephew and his wife, and died in 1845 at the\nadvanced age of seventy-one, in peace and tranquillity, and with only\nthe gentle decay of her mental faculties and bodily forces. The year\nafter her death her poems were collected and published under her own\nname, and the world for the first time knew to whom it was indebted\nfor the songs which had impressed themselves upon the popular heart and\nbecome a distinct and notable part of the lyric poetry of Scotland.\n\nAs has been said, The Land o' the Leal reaches the highest note in its\ninspiration, perfection, and completeness, within the limits of its\npurpose, not only of Lady Nairne's work, but of all the lyric poetry of\nScotland, but it was not the solitary example of a genius which had\nmuch of the versatility, if not the fecundity and strength, of Burns, in\ninterpreting the emotions and the thoughts, the passions and the humors,\nof the Scotch people. Lady Nairne's poetical genius was entirely lyric.\nThere was no Cotter's Saturday Night, much less any scene from\nPoosey Nancy's alehouse, or witch's gathering at Kirk Alloway, in her\ninterpretation of Scotch life, and her voice was only the pure lilt of\nScotch song, grave or gay. Without determined literary ambition and\nthe responsibility of a known name, the stimulus of production was\nnot absorbing and lasting, and a good deal of her work was simply\noccasional, careless, and imperfect. The best, that which will live as\nlong as Scotch song, could be comprised within the limits of a dozen\npages. But its quality is of the very highest in inspiration and\nexecution, the pure voice of the lark lilting beneath the blue cloud,\nthe mourning of the croodlin' doo, and the gay warble of the cheery\nthrush.\n\nAlmost as famous in its own and very different way as The Land o' the\nLeal, and almost as perfect in its execution, the limitation of the\ntrue lyric to the simplest and most absolute words, and the complete\ninterpretation of its spirit in the melody, is The Laird of Cockpen. It\nwas written, it is said, to supply proper words to the gay old air of\nWhen She cam ben, She bobbit, which being interpreted, means that when\nshe came into the front of the house, she curtsied, and of which the\nfirst verse of the imperfect and rather vulgar old song is--\n\n     When she cam' ben, she bobbit,\n\n     When she cam' ben, she bobbit,\n\n     When she cam' ben she kissed Cockpen\n\n     And syne denied that she did it.\n\nBut no one can doubt that it was the true picture of a character and\nincident which had given laughter to Carolina Oliphant and her young\nfriends, and had been the joke of the country-side, ere it lilted itself\nto the rollicking jig. The commonly printed version of The Laird of\nCockpen is injured by the fact that it has two additional verses,\ncontributed by Miss Ferrier, the novelist, which destroy its absolute\ncompleteness and perfection of humor as it was written by Lady Nairne.\n\n\n\n\nTHE LAIRD OF COCKPEN.\n\n\n     The laird of Cockpen, he's proud an' he's great;\n\n     His mind is taen up wi' things o' the State.\n\n     He wanted a wife his braw house to keep,\n\n     But favour wi' wooin' was fasheous to seek.\n\n     Down by the dyke-side a lady did dwell,\n\n     At his table-head he thought she'd look well,\n\n     M'Clish's ae daughter o' Claverse-ha'-Lee,\n\n     A penniless lass wi' a long pedigree.\n\n     His wig was well pouthered, as gude as when new,\n\n     His waistcoat was white, his coat it was blue;\n\n     He put on a ring, a sword and cock'd hat,\n\n     And wha could resist a laird wi' a that.\n\n     He took the grey mare and rode cannily,\n\n     An' rapped at the yett o' Claverse-ha'-Lee.\n\n     \"Gae tell Mistress Jean to come speedily ben--\n\n     She's wanted to speak wi' the Laird o' Cockpen.\"\n\n     Mistress Jean was makin' the elder-flower wine;\n\n     \"O, what brings the laird at sic' a like time.\"\n\n     She put off her apron and on her silk gown,\n\n     Her mutch wi' red ribbons, and gaed awa' down.\n\n     An' when she cam' ben he bowed fu low,\n\n     An' what was his errand he soon let her know;\n\n     Amazed was the laird when the lady said \"Na,\"\n\n     And wi' a laigh curtsie she turned awa'.\n\n     Dumfoundered was he, nae sigh did he gie.\n\n     He mounted his mare--he rade cannily.\n\n     An' often he thought as he gaed thro' the glen,\n\n     She's daft to refuse the laird o' Cockpen.\n\nOnly a little less humorous and perfect is Jamie, the Laird, whose\ndoting mother may have persecuted Carolina Oliphant herself, or some of\nher friends, with the story of his mental and physical perfections until\nthere was this burst of mocking vexation, to the tune of The Rock and\nthe Wee Pickle Tow:--\n\n\n\n\nJAMIE, THE LAIRD.\n\n\n     Send a horse to the water, ye 'll no mak' him drink\n\n     Send a fule to the college, ye 'll no mak' him think;\n\n     Send a craw to the surgin, an' still he will craw;\n\n     An' the wee laird had nae rummelgumpshion ava;\n\n     Yet he is the pride o' his fond mother's e'e;\n\n     In body or mind nae faut can she see;\n\n     \"He's a fell clever lad an' a bonnie wee man,\"\n\n     Is aye the beginnin' an' end o' her sang.\n\n     An' oh, she's a haverin' Lucky, I trow,\n\n     An' oh, she's a haverin' Lucky, I trow.\n\n     \"He's a fell clever lad, an' a bonnie wee man,\"\nIs aye the beginnin' an' end o' her sang.\n\n     His legs they are bow'd, his e'es they do glee,\n\n     His wig, whiles its off, an' when on, its ajee.\n\n     He's braird as he's long--an' ill-faur'd is he,\n\n     A dafter like body I never did see.\n\n     An' yet for this cretur she says I am deein';\n\n     When that I deny--she's fear'd at my leein'.\n\n     Obliged to pit up wi' the sair defamation,\n\n     I'm liken to dee wi' shame and vexation.\n\n          An' oh, she's a haverin' Lucky, etc.\n\n          An' her clish-ma-clavers gang a' thro' the town,\n\n     An' the wee lairdie trows I 'll hang or I 'll drown;\n\n     Wi' his gawkie like face yestreen he did say,\n\n     \"I 'll maybe tak' you, for Bess I 'll no hae,\n\n     Nor Mollie, nor Effie, nor long-legged Jeanie,\n\n     Nor Nellie, nor Katie, nor skirlin' wee Beenie.\"\n\n     I stoppet my ears, ran off in a fury--\n\n     I'm thinkin' to bring them before Judge and Jury.\n\n          For oh, what a randy old Lucky is she, etc.\n\n     Frien's, gie yere advice--I 'll follow yere counsel.\n\n     Maun I speak to the Provost or honest Town Council?\n\n     Or the writers, or lawyers, or doctors? now say,\n\n     For the law o' the Lucky I shall and will hae.\n\n     The hale town at me are jibbin' an' jeerin',\n\n     For a leddy like me it's really past hearin';\n\n     The Lucky now maun hae done wi' her claverin',\n\n     For I 'll no pit up wi' her an' her haverin'.\n\n          For oh, she 's a randy, I trow, I trow,\n\n          For oh, she's a randy, I trow, I trow.\n\n          \"He's a fell clever lad an' a bonnie wee man,\"\n\n          Is aye the beginuin' an' end o' her sang.\n\n\n\nThe finest efflorescence of Scotch lyric poetry,\nwhich is the richest and finest in the English language, if not in the\nworld, was that of the Jacobite era, and the influence which followed\nit and inspired the renaissance of Scotch song is the genius of Burns,\nHogg, Cunningham, Lady Nairne, and many more of less distinction, who\nmade a galaxy of singers hardly less remarkable in their way, as marking\nan era in literature, than the dramatists of the Elizabethan age.\nThe genius of folk-song and ballad poetry had always been remarkably\ndeveloped in Scotland, in comparison, at least, with England, and, in\nspite of many characteristics among the Lowlanders, worldly thrift,\nbitter and barren bigotry, and a sort of dourness and hardheadedness,\nnot calculated to encourage sentiment and emotion; and the student of\nracial distinctions may be inclined to attribute it to the influence\nof Celtic blood and tradition, creating a vein of sensitiveness,\ntenderness, and susceptibility to the magic of song and music in the\nstrong and hard fabric of the Saxon character. But from whatever\ncause the tendency of the native genius was created, its existence\nwas obvious, and from the very earliest time, since song began to\nbe preserved in written words, the quality and quantity of Scotch\nfolk-poetry and folk-music have been remarkable. The native faculty\nand the inherited tendency were all present when the spark of an\ninspiration, involving all the elements of patriotism, daring adventure,\npersonal devotion, despair, and lamentation, gave fire to the genius\nof national poetry. All the incidents and events of the Rebellion of\nForty-five, the landing of the young Prince Charles at Moidart with\nonly seven followers, the blaze of fiery loyalty that swept through\nthe Highlands at his call, the extraordinary victories won by the\nsheer impetus and hand-to-hand onslaughts of the Highland clans, the\npicturesque entry into Edinburgh and the gallant court of Holyrood, the\nswift march into England, which seemed at one time to promise to carry\nthe Chevalier into St. James's Palace by its rush, the retreat and\ndisorganization, and finally the woeful slaughter of Culloden, followed\nby the attainders and executions and the romantic adventures of the\nPrince in hiding from his hunters among the mountains and islands, all\ncontrived to create themes for song and poetry which have never been\nsurpassed in modern history. The enterprise was as foolish as it was\ndaring, an episode of knight-errantry after the age when success was\npossible, but it had all the elements of chivalry in its impulse and\nconduct, and no modern war has been less selfish and sordid, not even\nthe insurrections of Poland or the uprising of the Spanish and German\npeople against Napoleon. The young Chevalier himself, only twenty-four\nyears of age, tall, handsome, and martial, with his flowing yellow hair\nand Tartan dress, and with the fascination of his race in his manner,\nhis courage, clemency, and misfortune, gave it the personal element so\nnecessary to the highest poetry, and altogether the circumstances and\nthe conditions combined to create an effervescence of popular poetry\nwhich has never been surpassed. Its quantity was as remarkable as its\nquality. The two large volumes of Hogg's Jacobite Relics by no means\nexhausted the collection of songs in the Lowland dialect, and to\nthis day those in Gaelic are still being discovered by the labors of\nProfessor Blackie and others, as they are yet preserved in the bothies\nof the Highlands and the islands. The inspiration of the later poets,\nBurns, Hogg, Cunningham, and\n\nLady Nairne, was hardly less strong, fed as it was upon the vivid\ntraditions and by the stories and histories of the men living about\nthem, or of their own families, full of all the elements of poetry, and\ntheir purpose to vivify and recreate the native song of Scotland must\nhave had its most fertile impulse and material in the Jacobite songs,\nof which the country is full. In Lady Nairne the ancestral and personal\nimpulse must have been especially strong. Her father and mother had\nbeen married in exile; her grandfather had been distinguished for his\nservices as well as for his misfortunes, and upon both sides her family\nhad been notable for more than one generation for its loyalty and its\nimportance in the Scotch struggle for the restoration of the Stuarts. An\nold ballad says:--\n\n          Gask and Strowan were nae slack,\n\nand letters of thanks and tokens of gratitude from\nthe royal hands were heirlooms of the houses. It was a keen pleasure to\nthe grandfather in his old age to hear the songs and the music which\nhad illumined the unhappy cause, and it is no wonder that the earliest\ninspiration of the young poetess was from such themes, and her keenest\nreward to see the blood warming more freely the old man's worn cheeks as\nshe sang the new and stirring words to the old airs, and found the token\nof her success in his appreciation. The greater portion of her Jacobite\nsongs were composed under this inspiration, and so long as she wrote at\nall they were her favorite themes. They are among the finest in what may\nbe termed the modern Jacobite songs, unsurpassed by anything of the kind\nby Burns, Hogg, or Cunningham, and only so by that consummate flower of\nall Scotch Jacobite poetry by William Glen:--\n\n          A wee bird cam' to our ha' door,\n\nwhile in the pure singing quality, the lilt and the\nverse, there is nothing to exceed the power of--\n\n          The news from Moidart cam' yestreen.\n\nThe story of The Hundred Pipers an' A' is historically correct in that\nthere were so many musicians of the class attached to the little army of\nthe Prince, and that the Highland lads did dance themselves dry to the\npibroch's sound after fording the Esk, but it was not on the advance to\nCarlisle, but on the retreat from England, and the scene had doubtless\nbeen often described by the old laird of Strowan.\n\n\n\n\nTHE HUNDRED PIPERS.\n\n\n     Wi' a hundred pipers an' a', an' a',\n\n     Wi' a hundred pipers an' a', an' a';\n\n     We 'll up an' gie them a blaw, a blaw,\n\n     Wi' a hundred pipers an' a', an' a',\n\n     Oh, it's owre the Border awa', awa';\n\n     It's owre the Border awa', awa';\n\n     We 'll on and we 'll march to Carlisle ha;\n\n     Wi' its yetts, its castle an' a', an' a',\n\n          Wi' a hundred pipers an' a', etc.\n\n     Our young sodger lads looked braw, looked braw,\n\n     With their tartans, kilts an' a', an' a',\n\n     With their bonnets and feathers and glittering gear,\n\n     An' pibrochs sounding sweet an' clear.\n\n     Will they a' return to their ain dear glen?\n\n     Will they a' return, our Hieland men?\n\n     Second-sighted Sandy looked fu wae,\n\n     An' mothers grat, when they marched away,\n\n          Wi' a hundred pipers, etc.\n\n     O, wha' is foremost o' a', o' a';\n\n     O, wha' does follow the blaw, the blaw,\n\n     Bonnie Charlie, the King o' us a', hurra!\n\n     Wi' his hundred pipers an' a', an' a';\n\n     His bonnet an' feather he's wavin' high,\n\n     His prancin' steed maist seems to fly,\n\n     The nor' wind plays wi' his curlin' hair,\n\n     While the pipers blew up an' unco flare,\n\n          Wi' a hundred pipers, etc.\n\n     The Esk was swollen sae red and sae deep,\n\n     But shouther to shouther the brave lads keep,\n\n     Two thousand swam o'er to fell English ground,\n\n     An' danced themselves dry to the pibroch's sound.\n\n     Dumfoundered the English saw--they saw,\n\n     Dumfoundered they heard the blaw, the blaw;\n\n     Dumfoundered they a' ran awa', awa',\n\n     From the hundred pipers an' a', an' a',\n\n          Wi' a hundred pipers an' a', an' a',\n\n          Wi' a hundred pipers an' a', an' a'.\n\n          We 'll up an gie them a blaw, a blaw,\n\n          Wi' a hundred pipers an' a', an' a'.\n\nBurns, Hogg, and Lady Nairne all wrote songs to the beautiful air of\nCharlie is my Darling, embodying in each case the first verse of the\nunknown poet who originated the song. They are all beautiful, but the\nwords of Lady Nairne have conquered in the popular ear, and taken final\npossession of the air.\n\n\n\n\nCHARLIE IS MY DARLING.\n\n\n     'T was on a Monday morning,\n\n          Right early in the year,\n\n     When Charlie cam' to our town,\n\n          The young Chevalier.\n\n               Oh, Charlie is my darling,\n\n                    My darling, my darling,\n\n          Oh, Charlie is my darling,\n\n               The young Chevalier.\n\n     As he cam' marching up the street\n\n          The pipes played loud an' clear,\n\n          An' a' the folks cam' running out\n\n          To meet the Chevalier.\n\n     Wi' Hieland bonnets on their heads,\n\n          An' claymores bright an' clear,\n\n     They cam' to fight for Scotland's right\n\n          An' the young Chevalier.\n\n     They 'ye left their bonnie Highland hills,\n\n          Their wives and bairnies dear,\n\n     To draw the sword for Scotland's lord,\n\n          The young Chevalier.\n\n     Oh, there were mony beating hearts\n\n          An' mony a hope an' fear,\n\n     An' mony were the prayers sent up\n\n          For the young Chevalier.\n\n               Oh, Charlie is my darling,\n\n                    My darling, my darling,\n\n     Oh, Charlie is my darling,\n\n          The young Chevalier.\n\nThere is one of Lady Nairne's songs not quite perfect, for one forced\nand faulty line in the refrain, which has a higher touch of the\nimagination than any of the others. The influence of the magic of nature\nin the interpretation of human sorrow or gladness, and the wild mystery\nof the birds' melody upon the heart, which is characteristic of the\nhighest order of the folk-song, and which, in its irregularity and\nsimplicity, not less than the melody, which is nature's own voice,\nrather than the rhythm of art, is beyond the reach of any deliberate\nskill. It would be hard to find anything more perfect at once in its\npicture and its interpretation of the voice of nature in human words\nthan--\n\n     And then the burnie's like the sea,\n\n          Roarin' an' reamin';\n\n     Nae wee bit sangster's on the tree,\n\n          But wild birds screamin'.\n\nWhile the sadness of human despair that follows and emphasizes the\npassion of the flood strikes the ear like a veritable wail in the\nloneliness and darkness.\n\n     Bonnie ran the burnie down,\n\n          Wandrin' an' windin'.\n\n     Sweetly sang the birds above,\n\n          Care never mindin'.\n\n     The gentle summer wind\n\n          Was their music saft an' kind,\n\n     And it rockit them an' rockit them\n\n          All in their bowers sae hie.\n\n               Bonnie ran, etc.\n\n     The mossy rock was there,\n\n          An' the water lily fair,\n\n     An' the little trout would sport about\n\n          All in the sunny beam.\n\n               Bonnie ran, etc.\n\n     Tho' summer days be lang,\n\n          An' sweet the birdies sang,\n\n     The wintry night and chilly light\n\n          Keep aye their eerie roun'.\n\n               Bonnie ran, etc.\n\n     An' then the burnie's like a sea,\n\n          Roarin' an' reamin';\n\n     Nae wee bit sangster's on the tree,\n\n     But wild birds screamin'.\n\n     Oh, that the past I might forget,\n\n          Wandrin' an' weepin';\n\n     Oh, that aneath the hillock green\n\n          Sound I were sleepin'.\n\nIn one other famous song, heard wherever Scotch music is sung, Lady\nNairne interpreted the pathos, hardship, and suffering behind the\nstrong, clear voices of the Newhaven fishwives, which may still be heard\nin the wynds and closes of Edinburgh as they march on their sturdy limbs\nwith the heavy creels laden with the silvery fishes on their backs, and\nfill the air with their deep, melodious cry.\n\n\n\n\nCALLER HERRIN'.\n\n\n     Wha 'll buy my caller herrin'?\n\n     They 're bonnie fish and halesome farin',\n\n     Wha 'll buy my caller herrin',\n\n          New drawn frae the Forth.\n\n     When ye were sleepin' on your pillows,\n\n     Dream'd ye aught o' our fine fellows,\n\n     Darkling as they faced the billows\n\n     A' to fill the woven willows.\n\n          Buy my caller herrin',\n\n          New drawn frae the Forth.\n\n     Wha 'll buy my caller herrin'?\n\n     They 're no bought without brave darin';\n\n     Buy my caller herrin',\n\n     Haled thro' wind and rain.\n\n          Wha 'll buy my caller herrin'? etc.\n\n     Wha 'll buy my caller herrin'?\n\n     Oh, ye may call them vulgar farm';\n\n     Wives and mithers maist despairin'\n\n     Ca' them the lives o' men.\n\n          Wha 'll buy my caller herrin'?\n\n          They 're bonnie fish and halesome farin',\n\n          Wha 'll buy my caller herrin',\n\n          New drawn frae the Forth.\n\nThere are other verses to Caller Herrin', but they were merely\noccasional, intended to serve as a benefit to Nathaniel Gow, the son of\nthe famous fiddler, Niel Gow, the composer of the air, who was seeking\npatronage in Edinburgh, and they only injure the effect of the first and\nperfect stanzas.\n\nThe poetical work of Lady Nairne was smaller in bulk than that of\nher chief contemporaries, even than that of Allan Cunningham. She was\nwithout any personal literary ambition whatever, and her inspiration was\nsmothered by domestic grief and an absorbing and narrow piety. A portion\nof what there is is also imperfect, ephemeral, and careless, but she has\nwritten one of the most perfect lyrics in the English language, and a\nnumber of others, which, in their melody, their interpretation of simple\nemotion, their vividness and strength, and their power upon the heart\nas well as the ear, have a place which few have equaled and none have\nsurpassed in the lyric treasures of a land more rich than all others in\nthe voice of poetry speaking to the heart in song.\n\n\n\n\nSIR SAMUEL FERGUSON AND CELTIC POETRY.\n\n\n|The great controversy over the genuineness of\nthe Ossianic poems of James Macpherson, which existed during his\nlifetime and was carried on for a considerable period after his death,\nhas died away without being settled. Opinions of eminent Celtic scholars\nstill differ as to whether the so-called Gaelic originals of his poems,\npublished after his death, were genuine transcripts from ancient\npoems, or were translations into the Gaelic from Macpherson's English\ncomposition made by his friends to conceal the fraud and maintain\nprovincial pride. He himself never produced the originals of his poems,\nand took refuge in a silence which went far to confirm the impression of\nfraud and forgery. But whether he had any direct originals or not,\nand the weight of probability is that he had not, his poems were\nunquestionably founded on the vast mass of Celtic poetry and legend\nexisting in Ireland and Scotland in tradition and manuscript. The names\nof his heroes, their characters and their exploits, are to be found in\nthis poetry, and many of his most admired episodes and descriptions,\nlike that of Ossian's address to the sun, and the description of\nCuchullin's chariot, were taken directly from it. Whatever the amount\nof transformation and interpolation, and whatever the change in the\nliterary style, from the plain and simple expressions of primitive\npoetry to the vague and rhetorical imagery of inflated artifice, were\nmade by Macpherson, he unquestionably preserved the pervading spirit of\nCeltic poetry, its melancholy, its sensitiveness to the impressions of\nnature, and its lofty and humane spirit, and was the first to make it\nknown to the world. Critics like Hazlitt and Matthew Arnold, who were\nimpressed simply by its spirit of pure poetry, and the most accomplished\nCeltic scholars of a later day, have alike agreed upon internal and\nexternal evidence as to the faithfulness of the reproduction of the\nspirit of Celtic poetry by Macpherson, and have regarded the faults of\nhis literary style as those of the age, and his interpretation of the\npoems of Ossian by the spirit of the eighteenth century as not more\nfaulty or less natural than Chapman's transfusion of Homer into the\nstyle of the Elizabethan era, or Pope's into that of Queen Anne. His\ngreat drawback was the suspicion of absolute fraud and forgery which\nattached to him, and which he was unable to dispel, from his mistake\nin not acknowledging in the beginning that his poems were derived from\ngeneral tradition instead of being absolute translations from originals.\nBut in spite of this discredit, which was more of a personal literary\nquarrel than a critical attack upon the quality of the poetry itself,\nits value was at once instinctively recognized as a new and original\nrevelation, as an appeal to sensibilities in human nature which had\nbeen stifled by the narrow and dry reasoning of English and Continental\npoetry at the time, and as a breath from the wide air of nature itself.\nIt touched the European spirit, then struggling to emancipate itself\nfrom the swaddling bands of authority and artificial society, with\nelectric power, and was a powerful influence in the emancipation both of\nliterature and human action. Ossian profoundly affected the intellectual\nawakening of Goethe and was a favorite with Napoleon, and throughout\nthe whole of Europe its spirit was an inspiring and governing force.\nIn English literature its effect was not less powerful, although less\nopenly acknowledged owing to the discredit created by the charges of\nforgery, and both Byron's melancholy and Wordsworth's appreciation of\nthe soul of nature were derived from this pervading spirit of ancient\nCeltic poetry.\n\nSo far as the direct study of Celtic poetry was concerned the Ossianic\ncontroversy was unquestionably a misfortune. It threw a cloud of\nsuspicion and discredit upon the genuine fragments which remained, and\ndiscouraged the study which might otherwise have been given to them, so\nthat, unquestionably, some traditional Celtic poetry has been lost by\nthe decay of the language as a living speech, and it is only in later\nyears that enlightened scholarship and patriotic feeling have led to\nthe careful and appreciative study of the manuscript volumes which have\nsurvived time and neglect, for their inherent literary and historical\nvalue, and to a consideration of the influence of the Celtic spirit\nupon English literature. They have been found to be of great value and\ninterest, to possess elements of pure poetry of marked and original\nquality, and a spirit which has had a strong effect upon English\nliterature. Nevertheless there has not been found in the remains of\nCeltic literature any single poem which in itself would compare with\nthe Nibelungen Lied or with the Song of Roland, in epic form and\nconstructiveness, in clearness of diction and dramatic strength; nor\neven any prose legend or narrative history, which would compare with\nthe clear and vigorous character drawing and lucid narration of the\nIcelandic and Scandinavian Sagas. What would have been the case had the\noriginal poems and histories of the sixth century been preserved can\nonly be conjectured. Those which now exist are only in the transcripts\nof the eleventh, twelfth, and thirteenth centuries, greatly transformed,\naltered, and confused in dates and characters, and bearing the marks of\na great deterioration in style, like the degradation of Latin prose\nin its later era. The passages which competent Celtic scholars have\npronounced from philological evidence to be of an earlier construction,\nare a good deal stronger as well as simpler in expression than those by\nwhich they are surrounded, and indicate that, if the earlier poetry had\nbeen preserved in its purity without being amplified and weakened by\nscholastic and artificial phraseology, it might have rivaled the early\nTeutonic poetry in force, directness and simplicity, and strength of\nconstruction. As it is, the Celtic poems and histories are not only\nconfused and prolix with interminable genealogies and proverbial\nreflections, but are written in a style, with a redundance and\ncomplication of epithets, at once weakening and tiresome. Thus in\nan Irish history of the Triumphs of Turlogh O'Brien, written in the\nthirteenth century, there is the following description of the dress and\narms of a hero:--\"His noble garment was first brought to him, viz.,\na strong, well-formed, close-ridged, defensively-furrowed, terrific,\nneat-bordered, new-made, and scarlet-red cassock of fidelity; he\nexpertly put on that gold-bordered garment, which covered him as far as\nfrom the lower part of his soft, fine, redwhite neck, to the upper part\nof his expert, snowwhite, round-knotted knee. Over that mantle he put on\na full, strong, white-topped, wide-round, gold-bordered, straight,\nand parti-colored coat of mail, well-fitted, and ornamented with many\ncurious devices of exquisite workmanship. He put on a beautiful, thick,\nand saffron-colored belt of war, embellished with clasps and buckles\nset with precious stones, and hung with golden tassels; to this belt was\nhung his active and trusty lance, regularly cased in a tubic sheath, but\nthat it was somewhat greater in height than the height of the sheath;\nhe squeezed the brilliant, gilt, and starry belt about the coat of\nmail; and a long, blue-edged, bright-steeled, sharp-pointed, broad-sided,\nactive, whitebacked, half-polished, monstrous, smooth-bladed,\nsmall-thick, and well-fashioned dagger was fixed to the tie of that\nembroidered and parti-colored belt; a white, embroidered, full-wide,\nstrong, and well-wove hood was put on him over his golden mail;\nhe himself laid on his head a strong-cased, spherical, towering,\npolished-shining, branch-engraved, long-enduring helmet; he took\nhis edged, smooth-bladed, letter-graved, destructive, sharp-pointed,\nfight-taming, sheathed, gold-guarded, and girded sword, which he tied\nfast in haste to his side.\"\n\nThe confusion which exists in the transcripts of the ancient\npoems between the pagan mythology and the Christian faith, and the\nsuperposition of\n\nLatin learning and mediaeval thought, is also a great injury to the\nconsecutiveness and vraisemblance of the story, and the effect is as if\nthe tale of the Nibelungen Lied had been told by a monkish chronicler\nwith all the embellishments of a later faith and the ornaments of an\nartificial style. The poetry has not all perished from the earlier\noriginals, and in many instances there is a vigor of narrative, a\npoetical power of description, and an elevation of sentiment, which\nshines through the amplification and verbiage, and redeems the prolixity\nand tediousness of the story; but, as has been said, the prevailing\nimpression is one of a corrupted and weakened, instead of a strong and\noriginal primitive poetry, and a literal translation of an Irish or\nScotch Celtic poem or history is not likely to attract the general\nreader from its purely literary quality. The poetry lies in a heap of\ndross, and must be painfully smelted out.\n\nThe only way in which ancient Celtic poetry can be known and appreciated\nby the English reader, and have its effect in English literature, is by\nthe presentation of its spirit and atmosphere, its essential elements in\nlocal form and color, its characteristic phraseology and tone of thought\nin English poetry of original power as well as essential faithfulness.\nThe poet who is to do this successfully must have, what Macpherson had\nnot, a thorough knowledge of the language and an appreciation of its\nmethod as the expression of thought, be completely saturated with the\nknowledge of the time, and possess the literary conscience and taste\nto be completely faithful to the original spirit. The most conspicuous\nexample in our time of an attempt to reproduce the spirit of legendary\nromance in original poetry is, of course, The Idylls of the King, and\nthe impress of a very thorough study and saturation of the spirit of the\nancient chronicles is as visible as the exquisite substance of original\npoetry. But the stories of The Idylls of the King are based upon, rather\nthan' closely reproduce, the legends of Arthurian romance, and the\nspirit has been elevated and refined by that of modern poetry and the\nnature of Tennyson's own genius to essential unreality. They are like\nthe pictures of Madonnas and mediaeval saints done by a modern painter\nof genius with all the skill and technique of art, but without the sense\nof devotion which shows through the ruder sketches of the earlier and\ngreatly inferior painters, who were inspired by something more than\nmerely artistic enthusiasm. It is needless to say that for a poet to\npossess the self-restraint to be entirely faithful to his originals, and\naim mainly at reproducing their form as well as spirit, is more rare,\nand may be said to have less power, than one who creates an original\nstructure of poetry upon the basis of ancient romance; but he has his\nfunction also, and may be something more than a mere translator, as he\ngives his material shape in modern form and with the embellishments of\nhis own genius, while he yet preserves the ancient characteristics.\nHe is like the skillful architect who restores a ruined castle to a\nhabitable dwelling, clearing away the rubbish which has choked its\nportals and surrounded its walls, while preserving its ancient shape and\nstructure, and blending his new materials with the old so that it seems\na harmonious building. This is the work to which Sir Samuel Ferguson has\ndevoted himself in his reproduction of Irish Celtic poetry, both ballad\nand epic, and particularly in his poem of Congal, which is a recreation\nof the bardic romance of the Battle of Moyra, and its introductory\nPre-Tale of the Banquet of Dunangay, prose versions which have been\ngiven by the eminent Celtic scholar, Dr. John O'Donovan, in the\npublications of the Irish Archaeological Society.\n\nThe battle of Moyra was an authentic historic event, and took place\nA. D. 637 between the forces of Domnal, king of Ireland, and those\nof Congal, sub-king of Ulster, and his allies, from Scotland, Wales,\nEngland, Brittany, and Scandinavia. It is regarded by Celtic historians\nas the last struggle of the bardic and pagan party in Ireland against\nthe newly established power of Christianity, for which a pretext rather\nthan a cause was found in an alleged slight of Domnal to Congal. The\nhistory, which is in prose interspersed with speeches and exhortations\nin verse in the usual manner of the bardic chronicles, was apparently\nwritten in its present form in the latter part of the eleventh century,\nand from earlier traditionary chronicles, which are now lost. Its style\nhas a good deal of vigor and force, but is marked with the faults of\nconfusion, and the redundance of 'descriptive epithets characteristic of\nthe writers of the time. Its story is that Congal, having been invited\nby Domnal to a banquet at the royal house at Dunangay, was served with\na hen's egg upon a wooden platter, instead of with a goose egg upon a\nsilver dish, as were the remainder of the company, and, denouncing it as\nan unforgivable insult, departed to seek assistance from his relatives\nand 'allies in Great Britain and the Continent. Returning with these\na great battle was fought on the plains of Moyra, which lasted for\nsix days, and in which the foreign invaders were routed and Congal\nwas killed. The principal heroes of the chronicle were historical\npersonages, but there were others of which there is no definite\nknowledge, and who probably owed their origin to the imagination of the\nbards, as in the Iliad and the Nibelungen Lied. Sir Samuel Ferguson's\npoem of Congal follows the main narrative of events in the original\nchronicle, but with an addition in the shape of a love episode\nbetween Lafinda, a sister of Sweeny, an Irish prince, and Congal,\nthe introduction of several new characters, and of some supernatural\nepisodes derived from the pagan mythology of Ireland. The narrative is\nmade intelligible where it is obscure in the original, and incredible\nevents, such as the chaining together of the warriors lest they should\nrun away from each other, are omitted, while the tautology and verbiage\nof the language is eliminated. Its faithfulness as the reproduction\nof an ancient Celtic poem consists in the skill with which the\ncharacteristic style of language, its multiplied and doubled epithets,\nis renewed in English without the effect of archaism, and the\nreproduction of its heroic and primitive tone and spirit. Its original\nmerits are the force and vigor of the narrative, the vivid descriptions\nof scenery, the strength and impressiveness of the supernatural figures,\nthe genuine inspiration of battle in the combats, and the easy mastery\nof the \"long, resounding line\" in the verse. There is no modern poem\nwhich so thoroughly reproduces the ancient form and spirit of a bygone\nage, and in which so complete and accurate an idea can be obtained of\nthe element of a vanished poetry as in Congal, and, as has been said,\nit is like a restoration in shape and substance of a ruined castle. The\nopening lines give a specimen of the style of the verse and the vigorous\nspirit of the measure:--\n\n     The Hosting here of Congal Claen. 'T was loud lark-car\n\n               oling May\n\n     When Congal, as the lark elate and radiant as the day,\n\n     Rode forth from steep Rath-Keltar gate.\n\nOf the felicity with which these double descriptive epithets are used\nthere are a thousand specimens, such as\n\n          The white-maned, proud-neck-arching tide;\n\nand they give the dominant characteristic of the\nstyle as in the original, with a grace and appropriateness which make\nthem a natural part of the English language. In order to show how the\nCeltic narrative has been transformed into English poetry without losing\nits characteristic features, the two accounts of the episode in\nthe battle in which Sweeny becomes smitten with a frenzy of fear by\nsupernatural visitation may be compared. This is the original:--\n\n\"Fits of giddiness came over him at _the sight_ of\nthe horrors, grimness, and rapidity of the Gaels; at the looks,\nbrilliance, and irksomeness of the foreigners; at the rebounding,\nfurious shouts and bellowings of the various embattled tribes on both\nsides, rushing against and coming into collision with one another. Huge,\nflickering, horrible, aerial phantoms rose up, so that they were in\ncurved, commingled crowds tormenting him; and in dense, rustling,\nclamorous, life-tormenting hordes, without ceasing; and in dismal,\nregular, aerial, storm-shrieking, hovering, fiend-like hosts, constantly\nin motion, shrieking and howling as they hovered about them in every\ndirection, to cow and dismay cowards and soft youths, but to invigorate\nand mightily rouse champions and warriors; so that from the uproar of\nthe battle, the frantic pranks of the demons, and the clashing of arms,\nthe sound of heavy blows reverberating on the points of heroic spears,\nand keen edges of swords, and the war-like borders of broad shields, the\nnoble hero Suibne was filled and intoxicated with tremor, horror, panic,\ndismay, fickleness, unsteadiness, fear, flightiness, giddiness, terror,\nand imbecility; so that there was not a joint or member of him from foot\nto head which was not converted into a confused, shaking mass, from\nthe effect of fear and the panic of dismay. His feet trembled as if\nincessantly shaken by the force of a stream; his arms and various-edged\nweapons fell from him, the power of his hands having been enfeebled and\nrelaxed around them, and rendered incapable of holding them. The inlets\nof hearing were quickened and expanded by the horrors of lunacy; the\nvigor of his brain in the cavities of his head was destroyed by the\nclamors of the conflict; his heart shrunk within him with the panic of\ndismay; his speech became faltering from the giddiness of imbecility;\nhis very soul fluttered with hallucination, and with many and various\nphantoms, for that was the root and true basis of fear itself. He might\nbe compared on this occasion to a salmon in a weir, or to a bird after\nbeing caught in the strait prison of a crib.\"\n\nThe following is the way in which this is rendered in Congal, Sweeny's\noffense having consisted in drowning the hermit Ere in the Boyne:--\n\n     To Sweeny as the hosts drew near, ere yet the fight should\n\n               join,\n\n     Seemed still, as if between them rolled the foam-strewed,\n\n               tawny Boyne.\n\n     And as the swiftly nearing hosts consumed the narrowing\n\n               space,\n\n     And arrow flights and javelin casts, and sword strokes came\n\n               in place,\n\n     Through all the rout of high-raised hands, and wrathful,\n\n               glaring eyes,\n\n     Erc's look of wrath, and lifted hand before him seemed to\n\n               rise,\n\n     Through all the hard-rebounding din from breasts of Gaels\n\n               and Gauls,\n\n     That jarred against the vault of heaven, when clashed the\n\n               brazen walls,\n\n     Through all the clangorous battle-calls, and death shouts\n\n               hoarse and high,\n\n     Erc's shriller curse he seemed to hear and Erc's despairing\n\n               cry.\n\n     Much did the hapless warrior strive to shake from breast\n\n               and brain\n\n     The illusion and the shameful wish fast-rising; but in vain;\n\n     The wish to fly seized all his limbs; the stronger dread of\n\n               shame,\n\n     Contending with the wish to fly, made spoil of all his frame.\n\n     His knees beneath him wavered as if shaken by the stress\n\n     Of a rapid running river; his heart, in fear's excess,\n\n     Sprang to and fro within him, as a wild bird newly caged,\n\n     Or a stream-ascending salmon in a strong weir's trap en\n\n               gaged.\n\nSome of the single combats of the heroes, following the details of the\nnarrative, are described with Homeric vigor, and the address of the King\nof Lochlan to the invading army, disheartened by apparitions, has the\nfire and spirit, as well as the form, of the Scandinavian runic verse:\n--\n\n          This is my sentence:\n\n          Fairy nor Fire-Drake\n\n          Keep back the Kemper\n\n          At home, in the burg,\n\n          Leaves he the maiden\n\n          Boon for the bridal;\n\n          Abroad, on the holme,\n\n          Leaves he the harvest,\n\n          Ripe for the reaper;\n\n          The bowl, on the board,\n\n          In the hall of the banquets,\n\n          Leaves he untasted,\n\n          When lances uplift\n\n          The foe in the field.\n\n          Noting the Norsemen\n\n          Out on the water-throng,\n\n          Hark! how the Eagle\n\n          Vaunts to the Vulture.\n\n          Spread thy wing, Scald-Neck,\n\n          Says she, and screams she;\n\n          Seest thou the Sea-Kings\n\n          Borne on the gannet-bath,\n\n          Going to garner\n\n          Every bird's eyrie?\n\n          Fell from her fishy-perch\n\n          Answers the Bald-Beak,\n\n          Scream no more, little cfne,\n\n          Feeders are coming.\n\n          Hearkening their colloquy,\n\n          Grins the grey beast,\n\n          The wolf on the wold.\n\n          This is my sentence:\n\n          These are the Norseman's\n\n          Pandect and canon.\n\n          Thyrfing is thirsty;\n\n          Quern-biter hungers;\n\n          Shield-walker wearieth\n\n          Shut in the scabbard.\n\n          This is my sentence:\n\n          Bring us to battle.\n\nPerhaps, however, the greatest strength in Congal will be found in the\ndealing with the apparitions, the gigantic and malign demons, who haunt\nthe hill and the stream, and represent the primitive imaginings of a\nrace not yet emancipated from the terrors of the supernatural in the\nforces and forms of nature. These figures of ancient Irish poetry, the\nHerdsman Borcha, who swept down Finn's fortress with his staff, and\ncounts the kine in the unconquered lands, the Giant Walker, who strides\nangrily around the hostile camp at night, and the Washer at the Ford,\nwho dabbles with slain men's heads, live again in Ferguson's verse\nwith their original reality and terror, and amid the setting of natural\nscenery from which their phantoms were created. This is the picture of\nthe Giant Walker, whose apparition presaged doom to Cougal at his first\nnight's camp:--\n\n                    Around the Mound of Sighs\n\n     They filled the woody-sided vale; but no sweet sleep their\n\n               eyes\n\n     Refreshed that night; for all the night, around their echo\n\n               ing camp,\n\n     Was heard continuous from the hills a sound as of a tramp\n\n     Of giant footsteps; but so thick the white mist lay around\n\n     None saw the Walker save the King. He, starting at the\n\n               sound,.\n\n     Called to his foot his fierce red hound; athwart his shoulders\n\n               cast\n\n     A shaggy mantle, grasped his spear, and through the moon\n\n               light passed\n\n     Alone up dark Ben-Boli's heights, towards which, above the\n\n               woods,\n\n     With sound as when at close of eve the noise of falling floods\n\n     Is borne to shepherd's ear remote on stilly upland lawn,\n\n     The steps along the mountain-side with hollow sound came on.\n\n     Fast beat the hero's heart; and close, down-crouching by his\n\n               knee\n\n     Trembled the hound, while through the haze, huge as through\n\n               mists at sea,\n\n     The week-long sleepless mariner descries some mountain\n\n               cape,\n\n     Wreck-infamous, rise on his lee, appeared a monstrous shape\n\n     Striding impatient, like a man much grieved, who walks\n\n               alone\n\n     Considering of a grievous wrong; down from his shoulders\n\n               thrown\n\n     A mantle skirted stiff with soil, splashed from the miry\n\n               ground,\n\n     At every stride against his calves struck with as loud rebound\n\n     As makes the mainsail of a ship brought up along the blast,\n\n     When with the coil of all its ropes it beats the sounding\n\n               mast.\n\n     So, striding vast, the giant passed; the King held fast his\n\n               breath;\n\n     Motionless save his throbbing heart; and still and chill as\n\n               death\n\n     Stood listening while a second time the giant took his round\n\n     Of all the camp; but when, at length, the third time the\n\n               sound\n\n     Came up, and through the haze a third time huge and dim\n\n     Rose out the Shape, the valiant hound sprang forth and\n\n               challenged him.\n\n     And forth, disdaining that a dog should put him so to shame,\n\n     Sprang Congal and essayed to speak.\n\n                    \"Dread shadow, stand! Proclaim\n\n     What wouldst thou that thou thus around my camp shouldst\n\n               keep\n\n     Thy troublous vigil, banishing the wholesome gift of sleep\n\n     From all our eyes, who, though inured to dreadful sounds\n\n               and sights\n\n     By land and sea, have never yet in all our perilous nights\n\n     Lain the ward of such a guard.\"\n\n                    The Shape made answer none,\n\n     But with stern wafture of his hand went angrier striding on,\n\n     Shaking the earth with heavier steps. Then Congal on his\n\n               track\n\n     Sprang fearless.\n\n          \"Answer me, thou Churl,\"he cried, \"I bid thee back.\"\n\n     But, while he spoke, the giant's cloak around his shoulders\n\n               grew\n\n     Like a black-bulged thunder-cloud; and sudden out there\n\n               flew.\n\n     From all its angry, swelling folds, with uproar unconfined,\n\n     Direct against the King's pursuit a mighty blast of wind:\n\n     Loud flapped the mantle, tempest-lined, while fluttering\n\n               down the gale,\n\n     As leaves in Autumn, man and hound were swept into the vale,\n\n     And heard through all the huge uproar, through startled\n\n               Dalaray,.\n\n     The giant went with stamp and clash, departing south away.\n\nA conspicuous feature of the excellence of Congal as an original poem is\nthe vividness and faithfulness with which the natural scenery of Ireland\nis painted. The dark and barren hills, the tawny and foam-flecked\nstreams, the misty seas, the vast and lonely raths and burial places of\nheroes, the emerald fields bathed with dew and glittering with sunshine,\nall the characteristics of Irish scenery, with their soul of meaning,\nwhich appeals to the heart as well as the outward form to the eye, are\ndepicted with remarkable power, and make a living element in which the\nfigures move. Almost every page has a touch of this skill, and every\naspect of field and sea and sky is enlivened. As fine a specimen as any\nis this picture of an autumn champaign from a hilltop in Leinster:--\n\n                    Such as one\n\n     Beholds, and thankful-hearted he, who casts abroad his gaze\n\n     O'er some rich tillage country-side, when mellow autumn\n\n               days\n\n     Gild all the sheaf y food-full stooks, and, broad before him\n\n               spread,--\n\n     He looking landward from the prow of some great sea-cape's\n\n               head\n\n     Bray or Ben-Edar--sees beneath in silent pageant grand\n\n     Slow fields of sunshine spread o'er fields of rich, corn-bearing\n\n               land;\n\n     Red glebe and meadow-margin green commingling to the\n\n               view,\n\n     With yellow stubble, browning woods, and upland tracts of\n\n               blue;--\n\n     Then, sated with the pomp of fields, turns seaward to the\n\n               verge\n\n     Where, mingling with the murmuring wash made by the\n\n               far-down surge,\n\n     Comes up the clangorous song of birds unseen, that, low be\n\n               neath\n\n     Poised off the rock, fly underfoot, and, mid the blossoming\n\n               heath,\n\n     And mint-sweet herb that loves the ledge rare-aired, at ease\n\n               reclined,\n\n     Surveys the wide, pale-heaving floor crisped by a curling\n\n               wind;\n\n     With all its shifty shadowing belts, and chasing scopes of\n\n               green,\n\n     Sun strewn, foam-freckled, sail-embossed, and blackening\n\n               squalls between,\n\n     And slant, cerulean-skirted showers, that with a drowsy\n\n               sound,\n\n     Heard inward, of ebullient waves, stalk all the horizon round.\n\nWith its faithfulness to tone and character, its skillful reproduction\nof style and language, its force and vigor of narrative, its forms of\nmythologie mysticism and its appreciation of the magic of nature, Congal\nis the most perfect reproduction of the form and spirit of ancient\nCeltic poetry in existence, and from it the English reader, who is not a\nCeltic student, can obtain the best knowledge of its pervading elements.\n\nCongal is not the only contribution made by Sir Samuel Ferguson to\nCeltic poetry. The Lays of the Western Gael are a series of ballads\nfounded on events in Celtic history and derived from the early\nchronicles and poems. They are original in form and substance, the\nballad form and measure being unknown to the early Celtic poets of\nIreland, but they preserve in a wonderful degree the ancient spirit,\nand give a picture of the ancient times with all the art of truth and\nverity. As I have said elsewhere 1:--\n\n\"To have done this clearly and completely, so\nthat the past lives again and is felt by the instinct of nature to be\ntrue and real, free from confusion and extravagance, the imperfections\nof utterance in a people just learning to express themselves, the\nalien and antique methods of thought, through the inevitably imperfect\nknowledge of a language half faded and changed, while preserving not\nonly the terms of expression but the characteristics of thought and\nfeeling, seems a no less difficult task than to trace and interpret\nthe worn letters and half-effaced inscriptions on the Ogham stones, and\ncould only have been done by the genius of the great poet vivifying the\nlabor of the profound scholar. Finally, the impress of the past as it is\nvisible to the present, the effect of the gray cairn and grassy burial\nmound, and almost the last fading of the tokens of the aboriginal race\ninto the bosom of nature, and the perception of its spirit amid the\nlight and bustle of the day,\n\n               The loneliness and awe secure of the forgotten dead,\n\nis the task of the modern poet speaking in his own time and to his own\ngeneration of the past.\"\n\n     1 Introduction to popular edition of  _Lays of the Western\n     Gael_ Dublin, 1888.\n\nThese ballads have a solemnity of measure like the voice of one of the\nancient bards chanting of\n\n          Old, forgotten, far-off things\n\n               And battles long ago,\n\nand they are clothed with the mists of a melancholy age. They include\nsuch subjects as The Tain Quest, the search of the bard for the lost lay\nof the great cattle raid of Queen Maev of Connaught, and its recovery by\ninvocation from the voice of its dead author arising in misty form above\nhis grave; The Healing of Conall Carnach, a story of violated sanctuary\nand its punishment; The Welshmen of Tyrawly, one of the most spirited\nand original, and which has been pronounced by Mr. Swinburne as among\nthe finest of modern ballads, telling of a cruel mulct inflicted upon\nthe members of a Welsh colony in Ireland and its vengeance, and other\nincidents in early Irish history. The verses on Aideen's Grave are a\ncharacteristic specimen of the tone and spirit of these ballads. The\nauthor's introductory note says:--\n\n\"Aideen, daughter of Angus of Ben Edar (now the Hill of Howth), died of\ngrief for the loss of her husband Oscar, son of Ossian, who was slain at\nthe battle of Gavra (Gowra near Tara in Meath) A. D. 284. Oscar was\nentombed in the rath, or earthen fortress, that occupied part of the\nfield of battle, the rest of the slain being cast in a pit outside.\nAideen is said to have been buried on Howth, near the mansion of her\nfather, and poetical tradition represents the Fenian heroes as present\nat her obsequies. The cromlech in Howth Park is supposed to have been\nher sepulchre.\"\n\n\n\n\nAIDEEN'S GRAVE.\n\n\n     They heaved the stones; they heaped the cairn.\n\n          Said Ossian, \"In a queenly grave\n\n     We leave her, 'mong her fields of fern\n\n          Between the cliff and wave.\"\n\n     The cliff behind stands clear and bare,\n\n          And bare, above, the heathery steep\n\n     Scales the clear heaven's expanse, to where\n\n          The Danaan Druids sleep.\n\n     And all the sands that, left and right,\n\n          The grassy isthmus-ridge confine,\n\n     In yellow bars lie bare and bright\n\n          Among the sparkling brine.\n\n     A clear pure air pervades the scene,\n\n          In loneliness and awe secure,\n\n     Meet spot to sepulchre a Queen,\n\n          Who in her life was pure.\n\n     Here far from camp and chase removed,\n\n          Apart in Nature's quiet room,\n\n     The music that alive she loved\n\n          Shall cheer her in the tomb.\n\n     The humming of the noontide bees,\n\n          The lark's loud carol all day long,\n\n     And, borne on evening's salted breeze,\n\n          The clanking sea-birds' song\n\n     Shall round her airy chamber float,\n\n          And with the whispering winds and streams,\n\n     Attune to Nature's tenderest note\n\n          The tenor of her dreams.\n\n     And oft at tranquil eve's decline,\n\n          When full tides lap the Old Green Plain,\n\n     The lowing Moynalty's kine\n\n          Shall round her breathe again.\n\n     In sweet remembrance of the days\n\n          When, duteous in the lowly vale,\n\n     Unconscious of my Oscar's gaze,\n\n          She filled the fragrant pail.\n\n     And, duteous, from the running brook,\n\n          Drew water for the bath; nor deem'd\n\n     A king did on her labor look,\n\n          And she a fairy seemed.\n\n     But when the wintry frosts begin,\n\n          And in their long-drawn, lofty flight\n\n     The wild geese with their airy din.\n\n          Distend the ear of night.\n\n     And when the fierce De Danaan ghosts,\n\n          At midnight from their peak come down.\n\n     When all around the enchanted coasts\n\n          Despairing strangers drown;\n\n     When mingling with the wreckful wail\n\n          From low Clontarf's wave-trampled floor,\n\n     Comes booming up the burthened gale\n\n          The angry Sand Bull's roar;\n\n     Or, angrier than the sea, the shout\n\n          Of Erin's hosts in wrath combined\n\n     When Terror heads Oppression's rout\n\n          And Freedom cheers behind:--\n\n     Then o'er our lady's placid dream,\n\n          When safe from storms she sleeps, may steal\n\n     Such joy as may not misbeseem\n\n          A queen of men to feel.\n\n     Such thrill of free, defiant pride,\n\n          As rapt her in her battle car\n\n     At Gavra, when by Oscar's side\n\n          She rode the ridge of war.\n\n     Exulting, down the shouting troops,\n\n          And through the thick confronting kings,\n\n     With hands on all their javelin loops\n\n          And shafts on all their strings;\n\n     E'er closed the inseparable crowds\n\n          No more to part for me, and show,\n\n     As bursts the sun through scattering clouds\n\n          My Oscar issuing so.\n\n     No more, dispelling battle's gloom,\n\n          Shall son to me from fight return;\n\n     The great green rath's ten-acred tomb\n\n          Lies heavy on his urn.\n\n     A cup of bodkin-pencilled clay\n\n          Holds Oscar; mighty heart and limb\n\n     One handful now of ashes grey:\n\n          And she has died for him.\n\n     And here, hard by her natal bower\n\n          On lone Ben-Edar's side we strive\n\n     With lifted rock and sign of power\n\n          To keep her name alive.\n\n     That, while from circling year to year,\n\n          Her Ogham-lettered stone is seen,\n\n     The Gael shall say, \"Our Fenians here\n\n          Entombed their loved Aideen.\n\n     The Ogham from her pillar stone\n\n          In tract of time will wear away;\n\n     Her name at last be only known\n\n          In Ossian's echoed lay.\n\n     The long-forgotten lay I sing\n\n     May only ages hence revive,\n\n     (As eagle with a wounded wing\n\n          To soar again might strive.)\n\n     Imperfect, in an alien speech,\n\n          When, wandering here, some child of chance\n\n     Through pangs of keen delight shall reach\n\n          The gift of utterance,--\n\n     To speak the air, the sky to speak,\n\n          The freshness of the hill to tell,\n\n     When, roaming bare Ben-Edar's peak\n\n          And Aide en's briary dell,\n\n     And gazing on the Cromlech vast,\n\n          And on the mountain and the sea,\n\n     Shall catch communion with the past\n\n          And mix himself with me.\n\n     Child of the Future's doubtful night,\n\n          Whate'er your speech, whoe'er your sires,\n\n     Sing while you may with frank delight\n\n          The song your hour inspires.\n\n     Sing while you may, nor grieve to know\n\n          The song you sing shall also die;\n\n     Atharna's lay has perished so,\n\n          Though once it thrilled the sky.\n\n     Above us, from his rocky chair\n\n          There, where Ben-Edar's landward crest\n\n     O'er eastern Bregia bends, to where\n\n          Dun-Almon crowns the west:\n\n     And all that felt the fretted air,\n\n          Throughout the song-distempered clime,\n\n     Did droop, till Leinster's suppliant prayer\n\n          Appeased the vengeful rhyme.\n\n     Ah, me, or e'er the hour arrive\n\n          Shall bid my long-forgotten tones,\n\n     Unknown One, on your lips revive,\n\n          Here, by these moss-grown stones,\n\n     What change shall o'er the scene have cross'd\n\n          What conquering lords anew have come;\n\n     What lore-armed, mightier Druid host\n\n          From Gaul or distant Rome!\n\n     What arts of death, what ways of life,\n\n          What creeds unknown to bard or seer,\n\n     Shall round your careless steps be rife,\n\n          Who pause and ponder here:\n\n     And, haply, where yon curlew calls\n\n          Athwart the marsh, 'mid groves and bowers\n\n     See rise some mighty chieftain's halls\n\n          With unimagined towers:\n\n     And baying hounds and coursers bright,\n\n          And burnish't cars of dazzling sheen,\n\n     With courtly train of dame and knight,\n\n          Where now the fern is green.\n\n     Or by yon prostrate altar stone\n\n          May kneel, perchance, and free from blame,\n\n     Hear holy men with rites unknown\n\n          New names of God proclaim.\n\n     Let change as.may the name of Awe,\n\n          Let right surcease and altar fall,\n\n     The same one God remains, a law\n\n          Forever and for all.\n\n     Let change as may the face of earth,\n\n          Let alter all the social frame,\n\n     For mortal men the ways of birth\n\n          And death are still the same.\n\n     And still, as life and time wear on,\n\n          The children of the waning days\n\n     (Though strength be from their shoulders gone\n\n          To lift the loads we raise)\n\n     Shall weep to do the burial rites\n\n          Of lost ones loved; and fondly found\n\n     In shadow of the gathering nights\n\n          The monumental mound.\n\n     Farewell, the strength of men is worn;\n\n          The night approaches dark and chill;\n\n     Sleep till, perchance, an endless morn\n\n          Descend the glittering hill\"--\n\n     Of Oscar and Aideen bereft\n\n          So Ossian sang. The Fenians sped\n\n     Three mighty shouts to heaven; and left\n\n          Ben-Edar to the dead.\n\nThe spirit of Ossian, the woe and desolation of a mortal world, and the\nresigned but not bitter sense of the vanity of all things, lives in this\nsolemn elegy.\n\nThe charming lyrics of the later Irish Celtic poetry, which succeeded\nthat of the bards, and were the voices of the peasant people themselves\nand of the professional descendants of the bards, the itinerant poets\nand musicians, who wandered from house to house with their harps,\nsinging the praises of their entertainers, and were not extinct until\nthe end of the last century, have found an adequate interpreter in Sir\nSamuel Ferguson. As in his reproductions of the bardic poetry, he has\nbeen able to seize the very spirit of these songs, their intoxication\nof love, their breath of hopeless longing and misfortune, the\ncharacteristics of the race and the results of their cruel fate at the\nhands of alien conquerors, and to interpret it in measures as melodious\nas the sad and sweet old airs, which are the most valuable gift which\nthe intellectual life of Celtic Ireland has bestowed upon posterity. The\ngenuine Irish melodies are to be found in these lyrics, which interpret\nthe spirit as well as the language of the Celtic poets, and not in the\nrococo songs of Moore, in which artificial sentiment is tricked out in a\nmechanical melody, and in which the atmosphere of the drawing-room takes\nthe place of the free air of the hillside. Of these Celtic lyrics the\ngreater number have been lost, the airs alone surviving, but those which\nremain show how strong, sensitive, and impassioned was the poetic spirit\nof the Irish Celtic people, and which, but for the misfortunes of the\nnation, might have left as rich a treasury of lyric song as the Scotch.\nThe following is a specimen of the impassioned spirit of these songs,\nalmost an improvisation, the very cry of the heart finding vent at the\nlips. It is entitled Cean Dubh Deelish--The Dear Black Head.\n\n     Put your head, darling, darling, darling,\n\n          Your darling black head my heart above;\n\n     Oh, mouth of honey, with the thyme for fragrance,\n\n          Who with heart in breast could deny you love?\n\n     Oh, many and many a young girl for me is pining,\n\n          Letting her locks of gold to the cold wind free,\n\n     For me the foremost of our gay young fellows;\n\n          But I'd leave a hundred, pure love, for thee:\n\n     Then put your head, darling, darling, darling,\n\n          Your darling black head my heart above;\n\n     Oh, mouth of honey, with the thyme for fragrance,\n\n          Who, with heart in breast, could deny you love?\n\nThe verses entitled The Fair Hair'd Girl express with great sweetness\nthe sense of woe and sorrow which forms the burden of so much of the\nCeltic poetry, and which is only relieved by occasional flashes of\nintoxicated merriment with the glass of whiskey for its stimulus and\ninspiration.\n\n\n\n\nTHE FAIR HAIR'D GIRL.\n\n\n     The sun has set, the stars are still,\n\n     The red moon hides behind the hill;\n\n     The tide has left the brown beach bare,\n\n     The birds have fled the upper air;\n\n     Upon her branch the lone cuckoo\n\n     Is chanting still her sad adieu;\n\n     And you, my fair hair'd girl, must go\n\n     Across the salt sea under woe.\n\n     I through love have learned three things,\n\n     Sorrow, sin, and death it brings,\n\n     Yet day by day my heart within\n\n     Dares shame and sorrow, death and sin;\n\n     Maiden, you have aim'd the dart\n\n     Rankling in my ruin'd heart;\n\n     Maiden, may the God above\n\n     Grant you grace to grant me love.\n\n     Sweeter than the viol's string,\n\n     And the notes that blackbirds sing;\n\n     Brighter than the dewdrops rare\n\n     Is the maiden, wondrous fair;\n\n     Like the silver swans at play\n\n     Is her neck, as bright as day;\n\n     Woe is me, that e'er my sight\n\n     Dwelt on charms so deadly bright.\n\nAmong the sweetest and most famous of the old Irish airs is that\nentitled The Coolun or Head of Clustering Tresses, one of the charming\npersonifications of female beauty of which Irish poetry is full. Several\nsets of words remain to this air of which Ferguson has translated the\nfollowing:--\n\n\n\n\nTHE COOLUN.\n\n\n     Oh, had you seen the Coolun,\n\n          Walking down by the cuckoo's street,\n\n     With the dew of the meadow shining\n\n          On her milk-white twinkling feet,\n\n     My love she is and my _cooleen oge_,\n\n          And she dwells at Bal'nagar;\n\n     And she bears the palm of beauty bright\n\n          From the fairest that in Erin are.\n\n     In Bal'nagar is the Coolun,\n\n          Like the berry on the bough her cheek;\n\n     Bright beauty dwells forever\n\n          On her fair neck and ringlets sleek;\n\n     Oh, sweeter is her mouth's soft music\n\n          Than the lark or thrush at dawn,\n\n     Or the blackbird in the greenwood singing\n\n          Farewell to the setting sun.\n\n     Rise up, my boy, make ready\n\n          My horse, for I forth would ride,\n\n     To follow the modest damsel,\n\n          Where she walks on the green hillside.\n\n     For, ever since our youth were we plighted,\n\n          In faith, troth, and wedlock true--\n\n     She is sweeter to me nine times over\n\n          Than organ or cuckoo!\n\n     For, ever since my childhood\n\n          I loved the fair and darling child;\n\n     But our people came between us,\n\n          And with lucre our pure love defiled;\n\n     Oh, my woe it is, and my bitter pain,\n\n          And I weep it night and day,\n\n     That the _cooleen bawn_ of my early love\n\n          Is torn from my heart away.\n\n     Sweetheart and faithful treasure,\n\n          Be constant still, and true,\n\n     Nor for want of herds and houses\n\n          Leave one who would ne'er leave you;\n\n     I pledge you the blessed Bible,\n\n          Without and eke within,\n\n     That the faithful God will provide for us,\n\n          Without thanks to kith or kin.\n\n     Oh, love, do you remember,\n\n          When we lay all night alone,\n\n     Beneath the ash in the winter-storm,\n\n          When the oak-wood round did groan?\n\n     No shelter then from the blast had we,\n\n          The bitter blast or sleet,\n\n     But your gown to wrap about our heads,\n\n          And my coat round our feet.\n\nThe main literary work of Sir Samuel Ferguson was devoted to this\nrevivification of the spirit of ancient Celtic poetry, in spite of a\nhighly successful d\u00e9but as an English poet in The Forging of the Anchor,\nwhich at once took its place among those poems that are the familiar\ntreasures of the people, and in this he was doubtless governed by\nsomething of patriotic spirit as well as by natural predilection. His\nwork is not great in quantity, and he treasured his inspiration and\nperfected his workmanship with careful pains. Its result is to give a\nreproduction of the pervading elements of Irish Celtic poetry in English\nform with almost absolute perfection, and imbued with a spirit of\noriginal genius. In his poems, rather than in Macpherson's Ossian or in\nthe literal translations, will the modern reader find the voice of the\nancient Celtic bards speaking to the intelligence of to-day in their own\ntones without false change and dilution, or the confusion and dimness\nof an ancient language. The value of this work has not yet been fully\nappreciated by literary critics, but there is no doubt in my mind but\nthat it eventually will be,\n\n\n\n\nWILLIAM THOM, THE WEAVER POET.\n\n\n|One of the most extraordinary and painful lives in literary history was\nthat of William Thom of Inverury,\n\nScotland. There have been Scottish poets before and since Burns who have\nbeen bred in poverty and distress, and in whose lives the flowers\nof poetry have bloomed amid the most depressing and uncongenial\ncircumstances. There have been crofters, shepherds, farm laborers,\ntailors, weavers, and shoemakers, servant lassies and old wives, who\nhave given expression to their feelings in verse and song, with more or\nless skill and success, and testified to the strength of the national\ngenius which has made Scotland so peculiarly the land of song, and\nfilled the lower bed of bracken and furze in which the higher and rarer\nflowers of Scottish minstrelsy have stood preeminent. And the history\nof the minor Scottish poets is full of the homely pathos of unrequited\ntoil, of pinching poverty, and of hopeless struggles with life, redeemed\nby honest virtue, patience, and thrift, or clouded with still deeper\nmisfortune, and absolutely and irredeemably wrecked by dissipation and\nimprovidence. But upon none, in whom the divine spark of genius existed,\ndid the burdens of life fall more heavily than upon William Thom, or the\ntragedies of existence reach a blacker depth of misery. The story has\nbeen told by himself in The Rhymes and Recollections of a Handloom\nWeaver, his only volume, in nervous and vigorous prose, bearing traits\nof the declamatory style of Ebenezer Elliot and the radical writers of\nhis school, but marked by native originality and strength. It has more\nthan a personal value, as illustrating the condition of the life of\nfactory hands in Scotland, when machines had multiplied to the complete\ndegradation of labor, and when it was simply a question with the mill\nowners of extracting the largest amount of work for the smallest\nwages from the operatives, and before the government had interfered to\nregulate the hours of labor within endurable limits, and secure some of\nthe conditions of health to the mill hands. A more appalling picture of\nhopeless poverty and starvation, and physical and moral degradation, has\nnever been given in the annals of the civilized world, and of its truth\nthere is abundant evidence in the writings of contemporary workingmen in\nEngland and Scotland, and in the testimony which led to the passage of\nthe Factory Regulation acts by the English Parliament.\n\nWilliam Thom was born in 1798 of parents steeped in poverty, in a\ntenement in one of the narrow closes of Aberdeen, and at the age of\nten began his apprenticeship to life in a cotton factory. At the age\nof fifteen or sixteen he entered the \"School Hill Factory,\"--a building\nsince swept away,--as a weaver hand, and remained there for seventeen\nyears. The wages of the best operatives averaged through good and bad\ntimes from six to nine shillings weekly, and of the second-class from\nthree to five shillings. The daily hours of labor were fourteen. What\nthat meant, not in poverty, but in absolute want of food, warmth, and\nthe means for the sustenance of life, the degradation of rags, the\nshutting out of all glimpses of heaven and earth, leaving the only\nalleviation to the hours of toil at the rattling machines, and the\nsqualid suffering in the reeking tenements, in the cheap and fiery\nstimulants of the taprooms, can be only faintly imagined. An inheritance\nof bad habits had also descended to the weaving class. When the\nfactories were first established in 1770, after the invention of the\nspinning jenny, the wages of skillful workmen were forty shillings a\nweek, and the operatives usually remained drunk from Saturday night\nuntil Wednesday morning, wore frilled shirts and powdered hair, sported\ncanes, and quoted Volney in their discussions on the rights of man in\nthe taprooms. The overplus of labor gradually reduced the wages to\nthe starvation point, while the habits of dissipation and recklessness\nremained as characteristic of the craft. Thom gives a most affecting\npicture of the lives and thoughts of these men, many of them, strong\nwith native intellect and passion, condemned to a life of unending\nservitude and degradation, too ragged to dare to enter a church, even if\nthey wished, and getting their only glimpse of nature in the garden\nof Gordon's Hospital, which was open on the Sunday holiday, while the\nwhiskey shop gave them their only taste of joy and exhilaration; and yet\nwho had a native feeling for poetry, repeating the verses of Burns and\nparticularly of Tannahill, their brother weaver, as they tended their\nlooms, and applauding the poets and singers in their own ranks, whose\nrude verses expressed their feelings or appealed to their sympathies\nin the gatherings in the taprooms. The moral influences of such a life,\nwhere three or four hundred men and women were herded together in common\nworkrooms was also very bad, and many a young girl dated her ruin in\nlife, bringing additional desolateness to the miserable home, from the\npromiscuous association, and being barred out into the streets with a\nheavy fine for failing to be at the factory door at its opening in\nthe early morning. How virtue, morality, or any of the decency and\nself-respect of humanity could exist at all in such a life may be\nconsidered a marvel, and it is a proof of the inherent strength of the\nScottish character and its inherited virtues that these factories were\nnot greater plague spots than they actually were, and that honest lives\nand Tinman affections flourished at all. In a poem, entitled Whisperings\nto the Unwashed, in the fiercely declamatory style of the Corn Law\nRhymer, Thom draws a grim picture of the awakening of the weavers at the\ncall of the town drum, used for that purpose in the smaller burghs, at\nsix o'clock in the bleak and dark Northern mornings.\n\n     Rubadub, rnbadub, row-dow-dow!\n\n     Hark how he waukens the Weavers now;\n\n     Who lie belaired in a dreamy steep--\n\n     A mental swither, 'tween death and sleep,\n\n     Wi' hungry wame and hopeless heart,\n\n     Their food no feeding, their sleep no rest;\n\n     Arouse ye, ye sunken, unravel your rags,\n\n     No coin in your coffers, no meal in your bags.\n\n     Yet cart, barge, and wagon, with load after load,\n\n     Creak, mockfully passing your breadless abode.\n\n     The stately stalk of Ceres bears,\n\n     But not for you the bursting ears.\n\n     In vain to you the lark's lov'd note,\n\n     For you no summer breezes float,\n\n     Grim winter through your hovel pours--\n\n     Dull, dim, and breathless vapour yours.\n\n     The nobler Spider weaves alone,\n\n     And feels the little web his own,\n\n     His home, his fortress, foul or fair,\n\n     No factory whipper swaggers there.\n\n     Should ruffian wasp or taunting fly\n\n     Touch his lov'd lair, 't is touch and die!\n\n     Supreme in rags, ye weave, in tears,\n\n     The shining robe your murderer wears,\n\n     Till worn at last to the very \"waste,\"\n\n     A hole to die in at the best;\n\n     And, dead, the session saints begrudge ye\n\n     The two-three deals in death to lodge ye,\n\n     And grudge the grave, wherein to drop ye.\n\n     And grudge the very muck to hap ye.\n\nAll this bitterness had reason and fact to excuse it, and it is a wonder\nthat such feelings, fermenting in strong minds, did not lead to more\nserious consequences than taproom talk and the formation of Chartist\nclubs.\n\nIn such surroundings, what was the character and career of Thom himself?\nAn active mind led him to the perusal of such books as came in his way,\nand a poetical temperament made him deeply sensitive to the suffering\nand degradation of his condition, while it gave him a stimulus toward\nthe fleeting pleasures of dissipation and the glow of sociability and\npopularity among his fellows. He was without the determined energy to\nrise above his condition, which might have succeeded had an exceptional\nstrength been allied with his mental gifts, in spite of the forlorn\ncircumstances; and he appears to have been, if not content, at least to\nhave submitted to be only the popular genius among the workmen of his\nfactory, and the leader in the taproom gatherings with his social and\nmusical gifts. He wrote songs in imitation of those which he heard,\none of which, to his great delight, appeared in the poet's corner of\nan Aberdeen newspaper. The story which he tells is that on the morning\nafter the poem had been dropped into the mail box, he and a companion\nwaited around the door of the publication office, endeavoring in vain to\ninduce some charitable purchaser to let them have a peep at the contents\nof the paper, only succeeding at last by crowding the holder of a copy\ninto an entry way and examining the columns by force, being absolutely\nwithout the penny with which to buy one. But this success did not\nstimulate him with any hope of advantage by literature, and he regarded\nhis gift of song writing, like his skill with the flute, as simply the\nmeans for his own enjoyment and the amusement of his associates, his\nambition shut in within his own little world of squalor and destitution.\nIn appearance he was below the middle stature, and with a club foot,\nso that physical deformity weighed upon him, as well as the miserable\nconditions of his life, and made him more sensitive as well as hopeless.\nFor seventeen years he bent over the looms in the School Hill factory,\nand then removed to the small hamlet of Newtyle, near Dundee, where a\ncotton factory had been recently established. He now had a family of a\nwife and four children. In the commercial crash of 1836, after he had\nbeen there but a short time, the factory was suspended, only sufficient\nwork being found for the operatives with families to allow them five\nshillings a week. Five shillings a week for six persons meant starvation\nand creeping death, \"an empty armry and a cold hearthstone.\" Thom and\nhis family waited week after week, \"hoping that times would mend,\"\nand with no prospect before them, if they abandoned their miserable\npittance, but roadside beggary. He gives the picture of the scene that\ndrove them to the latter alternative.\n\n\"Imagine a cold spring forenoon. It is eleven o'clock, but our little\ndwelling shows none of the signs of that time of day. The four children\nwere still asleep. There is a bed cover hung before the window to keep\nall within as much like night as possible; and the mother sits beside\nthe beds of her children to lull them back to sleep whenever any one\nshows an inclination to awake. For this there is a cause, for our weekly\nfive shillings have not come as expected, and the only food in the house\nconsists of a handful of oatmeal saved from the supper of last night.\nOur fuel is also exhausted.\n\n\"My wife and I were conversing in sunken whispers about making an attempt\nto cook the handful of meal, when the youngest child awoke beyond its\nmother's power to hush it again to sleep, and then fell a-whimpering,\nand finally broke out in a steady scream, rendering it impossible any\nlonger to keep the rest in a state of unconsciousness. Face after face\nsprang up, each with one consent exclaiming, 'Oh, mither, mither, gie me\na piece.'\"\n\nThe family took to the road, leaving the key of the miserable tenement\nwith the landlord, in the hope of being eventually able to return to a\nhome like that. By the sale to a pawnbroker in Dundee of \"some relics of\nbetter days,\"--one can hardly imagine what relics or what days,--a\nsmall pack of cheap hawker's goods was procured for the wife, and four\nshillings' worth of books for the husband, to try to sell, but they can\nonly have been the flimsiest disguise for the necessity of depending\nupon charity. The tramp began, the mother carrying the youngest child on\nher breast, and often bearing the next youngest also, who was unable to\nfollow the weary road the whole distance. Sunset was followed by cold,\nsour east winds and rains. At nine o'clock they arrived at a comfortable\nfarmhouse, where they were refused shelter, in the absence of the\nproprietor. All beseeching of the housekeeper was in vain, and the\nhusband returned to the family, who had crept closer together, and were\nall asleep except the mother.\n\n\"Oh, Willie, Willie, what keepit ye. I'm dootfu'o' Jeanie; is na she\nwaesome like? Let's in frae the cauld.\"\n\n\"We 've nae wae to gang, lass, whate'er come o' us. Yon folk winnae hae\nus.\"\n\nAfter cowering under a wet mantle in despair for a time, another effort\nwas made. The husband wrote a note by the fast fading light, asking for\nshelter, and endeavored to have it taken in at a gentleman's mansion\nnear by. It was refused, but a farm laborer was touched by the spectacle\nof the forlorn family, crouching shelterless in the cold and rain, and\ntook them to a neighboring farmhouse, where they were warmed and fed in\nthe servants' quarters, and put to rest in beds of straw and bagging in\nan outhouse. Between three and four o'clock the father was wakened by\nthe deadly scream of the mother, who had wakened to find her infant dead\nby her side, its little life having been worn out by the cold, hunger,\nand fatigue of the previous day. Amid the wailing of the children, and\nin the benumbing anguish of the blow, the most vivid remembrance of that\nmoment to the father was the watching of the wheeling and fluttering of\na colony of swallows, their fellow-lodgers, who had been awakened by the\noutcries.\n\n     From perfect grief there need not be\n\n     Wisdom or even memory;\n\n     One thing alone remains to me,\n\n     The woodspurge has a cup of three.\n\nKind hands assisted in burying the child in the country graveyard, and\nthe tramp was renewed. The poor goods and books would not sell, and no\nwork was to be found, if, indeed, it was more than hopelessly looked\nfor. The people, mostly the poor, \"gave bits of bread for the poor\nbairnies,\" and shelter was found after nightfall in the outhouses of\nfarms, experience having taught them that it was useless to apply for\nlodgings during daylight. They met and shared the fortunes of many\n\"gangrel-bodies,\" some poor and respectable like themselves, and others\nprofessional mendicants and wandering ne'er-do-wells to whom beggary\nwas the accustomed mode of livelihood, and many tragedies of life in its\nlast extremity like their own passed under their eyes. One evening, in\na gathering of people in the street of the village of Errol, he heard\na man of grave countenance and respectable appearance singing, and\nwith that note of despair in his voice which touched his heart with the\nsympathy like that which made Goldsmith rush from the lighted room to\nrelieve the poor beggarwoman singing under the window. That night in\ntheir lodging there was a young woman rocking a corpse-like infant,\nwhose wailing would not be stilled. Then the man who had been singing\nentered, and bent over the dying child:--\n\n\"I have wearied sadly for your coming, James,\" said the woman.\n\n\"It 's so dark out by the nicht,\" replied the man, \"I only found out\nthis door by our wean greetin'.\"\n\nThe child died during the night.\n\nAt length in the town of Methven, without even the necessary sixpence,\npreliminary to untieing the shoes in a tramp lodging house, an idea\nstruck Thom that he might make use of his flute to avoid absolute\nmendicancy. Telling his wife to take the flute from their budget, and to\naccompany him, he went out into the streets. The story can be told only\nin his own words.\n\n\"We found ourselves in a beautiful green lane, fairly out of town, and\nopposite a genteel-looking house, at the windows of which sat several\nwell-dressed people. I think that it might be our bewilderment that\nattracted their notice--perhaps not favorably.\n\n\"'A quarter of an hour longer,' said I, 4 and it will be darker. Let us\nwalk out a bit.'\n\n\"The sun had been down a good while and the\ngloamin' was lovely. In spite of everything I felt a momentary reprieve.\nI dipped my dry flute in a little brook and began to play. It rang\nsweetly amongst the trees. I moved on and on, still playing, and still\nfacing the town. The Flowers of the Forest brought me before the house,\nlately mentioned. My music raised one window after another, and in less\nthan ten minutes put me in possession of three shillings ninepence\nof good British money. I sent the mother home with this treasure, and\ndirected her to send the little girl to me. It was by this time nearly\ndark. Every one says, 'Things just need a beginning.' I have had a\nbeginning and a very good one, too. I had also a turn for strathspeys,\nand there appeared to be a run on them. By this time I was nearing\nthe middle of the town. When I finally made my way, and retired to my\nlodging, it was with five shillings and some pence in addition to what\nwas given us. My little girl got a beautiful shawl and some articles of\nwearing apparel.\"\n\nHe followed up his playing by writing an ode to his flute, which he got\nprinted on slips, and sent in to the houses before which he appeared,\nwith satisfactory results in donations, in one instance receiving\nthe magnificent reward of half a guinea. But, as he says, it was but\n\"beggar's wark,\" and he was glad to return to his weaving when times got\na little better.\n\nAfter a year at the loom in Aberdeen, he had an opportunity to work as a\njourneyman for a weaver, who took in custom work, in the little town\nof Inverury in the district bordering on Mar. Here, after nine months'\nresidence, his wife, his \"faithful Jeanie,\" died in child-bed, leaving\nhim with three children, the daughter a herd lassie at a lonely farm\nat some distance. In January, 1841, being then more than forty years of\nage, and never before having attempted to find a market for his verse,\nthe notion occurred to him, in despair at the dullness of work, to send\na poem, entitled The Blind Boy's Pranks, to the Aberdeen Journal. It was\nprefaced by a note, signed \"A Serf,\" and declaring that the writer was\ncompelled to weave fourteen hours out of the four and twenty. After some\ntime, and while he was engaged in packing the few clothes of himself and\nchildren in order to seek shelter at the Aberdeen House of Refuge,\nhe received a letter, with encouraging words, from the editor, and\ninclosing half a guinea. The poem was widely copied into the Scottish\nnewspapers, and attracted very favorable attention. Among its admirers\nwas a Mr. Gordon of Knockespock, an Aberdeenshire laird, who made\ninquiries about the author and interested himself in his welfare. It is\ndifficult to understand the sudden and extraordinary popularity of this\npoem, which is by no means of commanding merit, but the story of\n\nThom's life became known and he was treated as a literary phenomenon. He\nwas taken on a holiday trip to London by Mr. Gordon, and introduced to\nthe leaders of the Scottish colony there, who made much of him, and on\nhis return he was given a public dinner in Aberdeen. Demands for his\nverses came upon him from various periodicals, and he was enabled to\nestablish a custom weaving shop in Inverury for himself. The next\nthree years, while he was thus engaged, were the happiest and the only\ncomfortable ones of his life. He refused other offers of employment, and\nasked no patronage except the purchase of his home-made clothes. He was\nthe head of a little circle of local bards, who looked up to him, and\nsought his critical approval and patronage for their verses. His fame\nwas increasing and reached a national knowledge in the publication of\nthe volume of his poems, in 1844, by a leading London firm. In an evil\nhour he was persuaded to give up his business of weaving and establish\nhimself in London as an agent for the sale of weaver's cloth. He was\nwithout business knowledge or business habits, lived recklessly\nand extravagantly, keeping an open house for Chartist agitators and\nwandering Scottish poets. His inspiration failed him; he wrote little\nor nothing, and lost his head completely in the whirl of excitement\nand social dissipation. After three years of this, what he called his\n\"Hospital\" was closed by a sheriff's sale of his furniture, and he\nreturned to Scotland by the aid of a subscription from his friends and\na grant from the Literary Fund. He settled at Hawkhill, near Dundee,\nbut his health was broken, and his habits of industry destroyed, and he\nlived recklessly and wretchedly, until death relieved him soon after, in\nFebruary, 1848. With one fitful gleam of prosperity William Thom's life\nof half a century had been passed in such want and abject misery as\nfalls to the lot of few mortals, and amid a squalor and degradation of\nsurroundings to which the country poverty of Burns and Hogg, in healthy\nair and in touch with the sweetness and majesty of nature, was rich and\nfortunate. One is as surprised and almost shocked to find the flowers\nof genuine poetry blooming in such a life, as to see a pot of violets\ngrowing amid the whirling dust and rattling noise of a weaving factory\nor in the window of a dingy whiskey shop. That his life was not\nworse than it was under the influences which affected it, is no less\nwonderful. \"To us,\" he says, \"virtues were known only by their shadows,\"\nand that sentence tells all the hopeless misery of an existence in which\nsqualor and unremitting toil were relieved only by the fitful gleams\nof stupefying indulgence, and in which an ever-pressing want meant the\ndeprivation not only of the comforts, but of the necessities of life.\nThat such a page of human history should be possible and common in the\nrecord of a civilized society is more appalling than the devastation\nof war, or the crimes of natural malignity, and we must wonder how any\nspark of virtue or genius survived it.\n\nThe interest in the life of a man who has written poetry does not make\nits value. It may add an element of curiosity to biographical history,\nbut it is upon its own inherent quality that it must depend for\nconsideration and remembrance. Extraordinary circumstances in the life\nand character of the writer may lend an additional interest to his\npoetry, and cause it to be studied more attentively from a psychological\npoint of view, but it must first be genuine poetry, and the questions\nof the personality and circumstances of its author are subordinate ones.\nOther thieves and blackguards like Francis Villon have doubtless written\nverses in the intervals of their debauches, and other ploughmen like\nBurns and other weavers like Thom have unquestionably done so under\nequally difficult and depressing conditions, but that fact has not\nkept their poetry alive or their names in remembrance. There were\ncontemporaries of Thom, fishermen, turf-cutters, handicraftsmen, and\npublicans, whose names are preserved in local history and who even\npublished forgotten volumes, who wrote verses under circumstances no\nless extraordinary than his own, but the world has taken no note of\nthem, and is not called upon to do so. The question in regard to William\nThom, as to all other poets, is as to what contribution, small or great,\nhe made to the stock of genuine poetry in form, expression, and essence,\nfitting it to stand alone and to speak with a living voice to the\nemotions of the world, aside from any pathos or interest connected with\nits production. Poetry of this kind in the work of William Thom is very\nsmall in quantity. He published but a single volume, in which the verse\ncomprises scarcely more than a hundred pages, and much the greater\nportion of this is artificial in conception and imperfect in form and\nexpression. Like many uneducated authors, he endeavored to imitate the\nwriters of polite literature, who seemed to him models of taste and\nfancy, although he had the native good judgment and national feeling to\nconfine himself to the Scottish dialect, and the greater proportion\nof his verses have this weakness of imitation, or were called forth by\nspecial occasions and for a local audience. The poems entitled The Blind\nBoy's Pranks, which first attracted attention, are fanciful descriptions\nof the doings of Cupid, who is not more at home on the cold streams and\nheathery hills of the north of Scotland than on the head of an Italian\nimage seller in the smoke and grime of London, and has no acquaintance\nwith the sturdy Scotch lassies with whom he is supposed to play tricks.\nThe native fairies with which Hogg peopled the raths and mounds of\nEttrick do not appear in Thom's verses..When he wrote of what must\nhave appealed most strongly to his heart and knowledge, the wrongs and\nsufferings of his fellow operatives, he was, as has been said, greatly\ninfluenced by the perfervid and declamatory style of Ebenezer Elliot,\nand weakened the force of his descriptions by exaggeration and savage\ninvective. His songs were for the most part in the vein of the current\nScottish lyric poetry, and, although not without grace and felicity of\nexpression, rarely above the limits of conventionality and imitation.\nThe song by which he is most widely known, and which appears in all the\ncollections of Scottish poetry, The Mitherless Bairn, owes its vogue to\nits simple pathos, appealing to the popular emotions rather than to its\nquality as poetry. There are forcible and felicitous lines scattered\nthrough Thom's poetry, in which the language and melody combine to\nrender the thought or sentiment with original power, and touches of\ndescription which show the sensitive eye illumined by the feeling heart,\nas this of the winter-beaten birds:--\n\n     Like beildless birdies, when they ca'\n\n     Frae wet, wee wing the batted snaw,-\n\nand the pervading genuineness of a deep feeling, even if imperfectly\nexpressed. There was the gloaming of a \"waesome light\" about his spirit,\nwhich shone through his uncertain gifts of utterance, although its power\nwould not have been enough to have preserved his poetry in remembrance,\nexcept for two lyrics which reach the very highest level of Scottish\nsong in their completeness and finish of construction, as well as in\ntheir simplicity and power. It may be believed from the crudity and\nimperfection of Thom's other verses that this supreme felicity was\naccidental, the perfect rapture of some occasional song of a thrush\nbreaking out by its own inspiration after many careless warblings,\nrather than the deliberate effort of trained skill, and perhaps with\nlittle appreciation of their success. Every poet has his moments\nof supreme success when he reaches beyond his ordinary powers, and\nexecution attains to the level of inspiration, but in most it is seen\nto be the culmination of trained skill reached by long labor and\npainstaking effort. There is little, however, in Thom's verse to lead to\nthe expectation of such a flowering of perfect form and expression,\nand the impression is strong that they are accidental felicities. But,\nhowever produced, they give him an indisputable title to a place beside\nthe highest of the Scottish song writers, and will live by their innate\ngrace and power and feeling, when the rest of his work is forgotten, and\nthe record of his strange and unfortunate life swallowed up in oblivion.\nThis is the first one of them, grown from the banks of the Ythan, a\nlittle stream near Inverury, where Thom wandered some evening after the\nday's benumbing labor at the loom:--\n\n\n\n\nYTHANSIDE.\n\n\n     I had ae nicht, and only ane,\n\n     On flo'ry Ythanside;\n\n     An' kith or kindred I hae nane\n\n          That dwall by Ythanside;\n\n     Yet midnicht dream and morning vow,\n\n          At hame they winna bide,\n\n     But pu' and pu' my willing heart\n\n          Awa' to Ythanside.\n\n     What gars its restless wand'ring wish\n\n          Seek aye to Ythanside,\n\n     An' hover round yon fairy bush\n\n          That spreads o'er Ythanside?\n\n     I think I see its pawkie boughs,\n\n          Where lovers weel might hide;\n\n     An', oh, what heart could safely sit\n\n          Yon nicht on Ythanside.\n\n     Could I return and own the scaith\n\n          I thole frae Ythanside,\n\n     Would her mild eye bend lythe on me\n\n          Ance mair on Ythanside?\n\n     Or would she crush my lowly love\n\n     Beneath a brow o' pride?\n\n     I daurna claim and maurna blame\n\n          Her heart on Ythanside.\n\n     I 'll rue yon high and heathy seat\n\n          That hangs o'er Ythanside;\n\n     I 'll rue the mill where bumies meet;\n\n          I 'll rue ye, Ythanside.\n\n     And you, ye moon, wi' luckless licht,\n\n          Pour'd a' your gowden tide\n\n     O'er sic a brow! sic e'en yon nicht!\n\n          Oh, weary Ythanside.\n\nThis is the other one in a somewhat different vein, but with equal magic\nin its melody and tender sweetness of expression:--\n\n\n\n\nWHISPER LOW.\n\n\n     Slowly, slowly the cauld moon creeps\n\n          Wi' a licht unloesome to see;\n\n     It dwalls on the window whaur my love sleeps,\n\n          An 'she winna wauken to me.\n\n               Wearie, wearie, the hours, and slow,\n\n               Wauken, my lovie, and whisper low.\n\n     There's nae ae sang in heaven's licht,\n\n          Nor on the green earth doun,\n\n     Like soun's which kind love kens at nicht,\n\n          When whispers hap the soun';\n\n               Hearin', fearin', sichin' so--\n\n               Whisper, my bonnie love, whisper low!\n\n     They lack nae licht wha weel can speak\n\n          In love's ain wordless wile;\n\n     Her ee-bree creepin' on my cheek\n\n          Betrays her pawkie smile.\n\n               Happy, happy, silent so--\n\n               Breathin' bonnie love, whisper low!\n\n     Was yon a waft o' her wee white han'\n\n          Wi' a warnin' \"wheest\" to me?\n\n     Or was it a gleam o' that fause moon fa'in\n\n          On my poor misguided ee?\n\n               Wearie, wearie, wearie O--\n\n               Wauken, my lovie, an' whisper low!\nThe poor hand-loom weaver, struggling with the day's darg from the cold\ndawn to the cheerless night, and with but fitful gleams of light and\nhap-piness in the squalid misery of existence, and half unconsciously it\nmay be, has interpreted the sad-ness and sweetness of love's despair and\nlove's long-ing, with a melody and a rapture of utterance which touch\nthe immortal sympathies of the heart through the magic of poetry,\nand will live in the emanations of his spirit to the eyes that for\ngenerations to come shall light upon these modest violets of song.\nMuch greater and more fortunate men have failed to join the \"choir\ninvisible,\" and the poetry of loftier and stronger minds has perished,\nwhile these songs will remain in the immortal life of simple thought and\ndeep feeling.\n\n\n\n\nFOLK-SONGS OF LOWER BRITTANY.\n\n\n|The publication in 1859 of Count Hersart de Villemarqu\u00e9's Barzaz Breiz,\nor collection of ancient Breton ballads and folk-songs, excited almost\nas much interest in the literary world as Bishop Percy's Reliques of\nAncient English Poetry a century earlier, if not reaching to the point\nof that evoked by Macpherson's Ossian. The interest was historical and\nethnological as well as literary. Here were historical ballads, full of\nfire and passion and pathos, dealing not alone with such comparatively\nrecent and recognized historic figures as Bernard du Guesclin and Jean\nde Montfort, but dating back to the sixth century and earlier, having\nfor definite characters Merlin and King Arthur, and containing distinct\ntraces of Druidic and bardic influence, which had been preserved, not in\nmanuscript, as were the remains of Celtic poetry in Wales and Ireland,\nbut by oral tradition and as a part of the still living folk-poetry\nof the people. It was no wonder that great interest was excited by\nthe apparent evidence that a people living in the midst of European\ncivilization had preserved an unbroken tradition of popular poetry for\nthirteen centuries, with strong traces of heathen influence extending\nback much farther, in almost absolute purity of language and definite\nhistoric characterization, and it was regarded from an ethnologic point\nof view as of hardly less importance than the discoveries of the remains\nof the Lake dwellers and other tokens of the existence of prehistoric\nman. Apparent credibility was given to the authenticity of the\ncollection by the fact that the Breton people had preserved their\nlanguage in its native condition and form, and by their customs, dress,\nand manner of life were marked off from the rest of the French people by\na distinct line, which showed the strength, originality, and\npersistence of the race. It was known that they retained the original\ncharacteristics of the Celtic race, its fervency of religious faith, its\nmelancholy, its sensitiveness to the mysterious influences of nature,\nits passion and its loyalty, and that many of its customs and habits of\nlife were distinct survivals of medi\u00e6valism, and utterly anomalous\nto the spirit of modern civilization. It was therefore not thought\nimpossible, if extraordinary, that the ancient ballads should have been\npreserved in their original purity, and the compositions of the ancient\nbards and minstrels still remain to be collected from the lips of the\nwandering mendicant singers, who gathered audiences about them at Fairs\nand Pardons, or lightened the gloom of the winter evenings in the\nfarm kitchens with song and legend. The character of the ballads in\nVillemarque's collection was singularly well adapted to produce\nthis belief. They were simple in construction, impregnated with the\ncharacteristics of the people, their faith, their loyalty, their\npurity and gravity of thought, their subjection to the influence of\nthe supernatural, and their devoted patriotism, and, aside from their\ngenuine strength and elevation as poetry, were a faithful reflection of\nthe thoughts and habits of their people, and of the authentic facts of\ntheir history. There were no signs of such incongruous piecing of the\nthoughts of a later civilization and the style of a later literature\nupon an ancient substance, as were visible in Bishop Percy's emendations\nand completions of the English and Scottish ballads, but they were\ncomplete and homogeneous in the very spirit and language of ancient\npoetry. As a consequence, they were not only accepted as genuine and\nauthentic, but there was an immense interest created in the study and\nrevival of the Breton language and literature, and an appreciation of\nthe characteristics and influence of the Celtic race in France, which\nhas continued and deepened to the present time. An academy was founded,\nwith M. de Villemarqu\u00e9 for its president, and assemblies of bards and\nscholars were held like the Welsh Eistedfodds, and there was a temporary\nBreton rage like that for the Highland Scotch under the influence of the\nWaverley novels, although no ruler of France went so far as to appear in\nthe Breton hat and waistcoat, as George the Fourth did in the Highland\nkilt during his visit to Edinburgh. Several translations of the ballads\nof the Barzaz Breiz appeared in German, and Mr. Tom Taylor rendered them\ninto English, in a version singularly compounded of archaic phraseology\nand stage rhetoric. But the later investigation of careful and\nconscientious collectors of Breton folkpoetry, like M. F. M. Luzel and\nothers, has destroyed the faith in the authenticity of M. Yillemarqu\u00e9's\nballads almost as completely as in that of Macpherson's Ossian. They are\nnot to be found in existence among the present singers or the survivors\nof the generation from whom M. Villemarqu\u00e9 professed to have gathered\nthem, except in a very mutilated form, and with most of their flowers of\npoetry ruthlessly swept away. Experiments have been tried at gatherings\nof the most famous depositories of folk-poetry and the most accomplished\nsingers, by repeating the ballads of the Barzaz Breiz to them, but they\nhave in all cases either professed total ignorance, or insisted upon\nsuch amendments as deprived them of all but the faintest resemblance;\nwhile the only occasions in which they have been heard sung by the\npeasantry have been traced to the scattered leaves of the book itself.\nA hot literary controversy has been waged over the authenticity of M.\nVillemarqu\u00e9's ballads, but the best opinion has settled into the belief\nthat they are fabrications and reconstructions from fragments not more\nauthentic and genuine than those which were the basis of Macpherson's\nOssian or Chatterton's poems of Rowley, although M. Villemarqu\u00e9 was as\nthoroughly possessed with the spirit of Breton poetry, and as saturated\nwith the knowledge of Breton history, as Sir Walter Scott was with\nScottish poetry and Scottish history, and in one sense they were as\ngenuine as the ballads of The Baron of Smalholme and Thomas the Rhymer.\nBut the idea that the contemporary poems relating to Merlin and King\nArthur, and even those of the exploits of Du Guesclin and The Combat of\nthe Thirty, had been preserved in faithful and uncorrupted condition by\noral tradition, and were still a portion of the folk-songs of the\nBreton peasantry, to say nothing of the survival of Druidic poetry\nand tradition in a distinct form, attractive as it is to the historic\nimagination, must be given up, like the belief in the survival of the\nepic of Fingal.\n\nIt does not do to expect too much from folkpoetry in the way of the\nperpetuation of history.\n\nLike the remains of prehistoric people buried in geologic strata, it has\nbeen subject to the inevitable destruction of natural forces and to the\nattrition of time, and only remains like the fragments of implements and\nthe piles of kitchen middens, from which careful study can extract the\nevidences of former existence and habits. It is only when ancient\npoetry has been committed to writing, like the poems of Homer and the\nScandinavian sagas, that it can be preserved in anything like a complete\nstate; and while there is a singular tenacity in popular poetry, it\ncannot endure for centuries by oral tradition alone, however secluded\nthe people or however strong their national and poetic spirit. Sir\nWalter Scott was only just in time to save the Border ballads of the\nprevious two centuries, and the usual duration of popular ballads in\nanything but an indistinct and fragmentary condition is even less.\nBut, although the authenticity of the ballads of the Barzaz Breiz is\ndiscredited, it cannot be said that there is no genuine and valuable\nBreton folk-song. On the contrary, it exists in very great quantity and\nof a high quality, not only as poetry, but as illustrating the character\nand history of the people. The Breton race is not only a profoundly\npoetical one, by its pensive, mystic, and deeply religious character,\nbut by its secluded condition apart from the currents of modern\neducation, and its occupations in the gloomy, wind-swept, and\nrain-beaten fields and on the mysterious and terrifying seas, is\nparticularly subject to the influences which make folk-song a part of\nits life and the natural expression of its thoughts and emotions. Nor is\nits folk-poetry entirely without value in the strictly historical sense,\nalthough anything like absolute accuracy or the definite remains of\ncontemporary historic verse are not to be expected. As in the extant\nfolk-lore of other nations, the roots run far back, and evidences of\nthe traditions and customs of former ages survive in a fragmentary and\naltered state, in which may be traced the tokens of the existence of the\nrace in the earliest dawn of history and even before any known records.\nThus, if there are no authentic poems of the time of Merlin and King\nArthur in the Breton folk-songs of the present day, their names and\ntraditions survive; and, if the school culture of the Druids does not\nsurvive in the poems of numeral questions on the characters and events\nof the Bible, as imagined or invented by M. Villemarqu\u00e9, no less\nfragments of their customs and worship remain in the habits and\ntraditions of the people in and outside of their religious ritual,\nand are perpetuated in their folk-songs, if with as little definite\nknowledge as of the rites once performed at the feet of the dolmens or\nin the temple of Karnac. The fairies, and the dwarfs, and the spirits\nof the sea and air still survive, and are dreaded or invoked in the same\nspirit, if with less fervency than the saints and powers of the Church.\nThus M. Paul Sebillot, in his Contes des Marins, gathered in Upper\nBrittany, tells that the sailors shake their fists at and threaten with\ntheir knives an unfavorable wind, and there are numerous actual\ncustoms as well as traditions among the Breton people which are evident\nsurvivals from heathen ages, while the rites of the Church itself have\nmany traces of the adoption of forms of nature worship. This element of\nthe supernatural, like the traditions of actual history, is fading away\nin Brittany as in all other countries, but enough remains to throw\na strong light on the ancient customs, as well as the fundamental\ncharacter of the race, and to inform its folk-poetry with this element\nto a degree which that of few modern nations possesses.\n\nThe interest of modern folk-poetry is, however, mainly in quality as\npoetry, its expression with eloquence and feeling of the emotions of the\nhuman heart, and the representation which it gives of the quality of the\nmind, the temperament, the degree of intelligence, and the habits and\ncustoms of the people who produced it. In this view the two latest\nvolumes of the collection of Breton folksongs by F. M. Luzel, Sonniou\nBreiz-Izel (Paris.\n\nEmile Bouillon, 1890), are particularly interesting. His two\nprevious volumes, Gwerzion Breiz-Izel, were devoted to the fantastic,\nsupernatural, and tragic ballads which held a place by the side of the\nfabulous tales in the minds of the people, were derived from the\nremote past, and had little connection with the life of to-day. On\nthe contrary, the Sonniou, for which songs is the somewhat imperfect\nequivalent in English, are the immediate interpretation of their\nthoughts and emotions, the transcripts of their present life, and its\nevents, sung and told by living poets, or those who have lived within a\ntime to make them a part of the present people. They include the songs\nwhich are sung by the cradles to drowsing infants, the hopes and sorrows\nof love, the joyous welcomes to weddings, the homely pains of married\nlife, and the sorrows for the common lot of death, the chants\nof religious faith and worship, the charms against diseases, the\naccompaniments of labor and the peculiarities of trade and occupation,\nthe homely reflections on the conduct of life, and the rustic humor and\nsatire, and, in short, all the thoughts and events, which mark the\ndaily life of the people. Of their absolute genuineness there can be no\nquestion. They have all the internal evidence in their construction and\nlanguage, the simplicity and abruptness of thought, the imperfection of\nutterance combined with untaught eloquence and strength, the occasional\nvulgarity by the side of an equally great delicacy, the simple and\npowerful melody, and all the characteristics of popular poetry, which\nare as unmistakable as the perfumes of the flowers of the field. Their\ncollection has been the work of forty-five years, in which M. Luzel has\nindefatigably traversed the provinces of Lower Brittany, visiting the\nsolitary huts of the sabot makers and hemp-weavers, colloquing with\nwandering beggars, listening to the songs and stories at the kitchen\nfiresides of lonely farms in winter, gathering the singers at the Fair\naround him in the tap-rooms, taking down the songs of nursing mothers,\nthe sailors on shipboard and the soldiers in the barracks, the shepherds\non the plains and the laborers in the fields, and, in short, gathering\nevery form of verse which is the expression of the popular thoughts\nand emotions. They are naturally of less purely literary merit than the\nballads of the Barzaz Breiz, which are carefully arranged, trimmed, and\ndecorated for poetical effect. It is always a sign for suspicion\nwhen folk-poetry is too good. The picturesque garments of the Breton\npeasantry must show the signs of actual wear and even the stains of\ngrease and dirt, if they are to have the genuine effect, and when\nthey are of too fine material, too carefully arranged, and shining and\nspotless, the impression is that they are simply stage costumes\ndrawn from the theatrical wardrobe. Even the beggar with his rags too\nartistically draped suggests the painter's model. So there must be\nthe element of reality in their defects before the folk-songs can be\naccepted as really genuine, and it adds a power and even a literary\neffect to them, which in its peculiar flavor the most accomplished\nliterary art cannot produce. We seem to hear the speech of living men,\nto feel the thoughts of simple hearts through the imperfect utterance,\nand to experience all the flavor of actual and homely life. The pieces\nin the Sonniou collected by M. Luzel have all this quality. They have\nthe coarse material and the patches of garments actually worn, and their\ncharm is due to their native picturesqueness and originality. There is\nno false sentiment, however deep the feeling, and the homely thoughts\nare expressed in homely phrases, with natural imagery drawn from the\naspect of nature about them and their avocations in life. Their standard\nof conventionality in speech differs from that of polite society, and\nthere are words and phrases which smack of a coarse and natural life,\nbut they are, nevertheless, singularly pure in thought, and show the\nsoundness and honesty of the Breton character, as well as its tenderness\nand warmth of affection. If not great refinement, there is great depth\nof feeling, and actual vulgarity of thought is as rare as immoral\nsuggestion, even in the rude satires and humorous narratives.\n\nThe beginning of all folk-song is in the cooing melodies which the\nmothers chant by the inspiration of nature by the cradles of their\ndrowsing infants, and in which the affections of their hearts take an\narticulate form as naturally as the songs of birds. The _berceuses_,\nor cradle songs, of the Breton peasantry have all the elements of deep\nfeeling and childish simplicity of expression which characterize the\nvoice of motherhood in every clime and every station in life, and unite\nthe queen and the peasant in a common bond. The same lovely and touching\nimages suggest themselves, and the same simple and soothing melody flows\nnaturally from the lips. This Breton cradle song might find its parallel\nin thought and language in many nations:--\n\n\n\n\nCRADLE SONG.\n\n\n     Toutouie la, la, my little child,\n\n     Toutouie la, la.\n\n     Your mother is here, my little child,\n\n     To rock you softly, little dear.\n\n     Your mother is here, my little lamb,\n\n     She will sing you a little song.\n\n     The other day she wept sorely;\n\n     Now she smiles, the little mother.\n\n     Toutouie la, la, my little bird,\n\n     In the sweet breast of thy rose tree.\n\n     To fly to heaven, my little angel,\n\n     Do not spread your little wing.\n\nThere is also the element of infantile humor, as in all nursery songs,\nto bring smiles to the rosy cheeks, with food for the simple imagination\nopen-ing its eyes on the birds and beasts around it, and endowing them\nwith human life. One can feel how a child would appreciate the little\nstory of The Fox Gallant with a sense at once of reality and hu-mor:--\n\n\n\n\nTHE FOX GALLANT.\n\n     I had a pullet and I had but one,\n\n     A fox carried her off, and now I have none.\n\n     The fox has carried her off from the sill of my door,\n\n     And more than that, I think, he has done me disgrace.\n\n     But I perceive Jean le Ri and also Herod,\n\n     And I ask them, have you not seen my pullet.\n\n     And I pass my head out of the front room window.\n\n     I see my pullet, who on the village green is dancing,\n\n     And the fox by her side with a Flanders basket;\n\n     With pears and with apples he is treating my pullet.\n\nNext to cradle songs, the creations of motherly affection, come the\nsongs of youthful passion, when the instinct of love wakes in the hearts\nof the young man and the maid; and they sing, also, as naturally\nand simply as birds do in pairing time. There is often a touching\ninconsequence in these simple strains, a transcript of nature as it\nspeaks to the heart, and finds almost inarticulate utterance in emotions\nof joy and sorrow, which is like the warbling of a bird, often ending\nits trill of gladness with a plaintive note. And the verses entitled The\nSong of the Nightingale, with its inconsequent but natural imageries\nat the close, which has an effect beyond the reach of art, has this\npenetrating and realistic effect:--\n\n\n\n\nTHE SONG OF THE NIGHTINGALE.\n\n\n     Sing, sing, nightingale, it is early you are singing.\n\n     Not earlier than you, young man. Hunting are you going?\n\n     Good luck to you, little comrade. I am not going a-hunt\n\n               ing.\n\n     I am on my way to Kerlosquet, where my love is dwelling.\n\n     The nightingale then asked him, being a curious gossip,\n\n     There are many houses at Kerlosquet, to which one are you\n\n               going?\n\n     The young man answered her in a tone of humor,\n\n     Good luck to you, little comrade, I am not at confession.\n\n     In a moment after he saw his mistress coming;\n\n     By her color and her looks he saw that she was ailing.\n\n     Anxiously he asked her, feeling for her sadness,\n\n     Are you sick at heart, or sick in your spirit?\n\n     And she answered, with a little smile so gracious,\n\n     I am not subject to sickness, no, by the mercy of Jesus.\n\n     --The spider does well to spin his web,\n\n     To spin and to spread it and to dry it on the meadow.\n\n     A breath of wind will come and bear it away.\n\n     The hearts of young men are like it.\n\nThe most numerous producers of love songs in the Breton folk-poetry are\nthe _cloer_, or young theological students, to whose title the English\nword clerk, as it was understood in the time of Chaucer, is the nearest\nequivalent. These young men, mostly the sons of peasants or persons in\nhumble circumstances, are destined for the priesthood, for which they\nhave manifested a vocation by their special intellectual brightness or\ndevotional temperament. They are naturally the pride and hope of\ntheir families, to whom the office of priest is a position of worldly\nadvancement and religious reverence, and the ballads tell touching tales\nof sacrifices by poor parents to enable their son to pursue his studies.\nThey are sent to the seminaries attached to the abbeys in the various\ncathedral towns, from which they return in the vacation to mingle\nwith the life of the people. Although destined for the priesthood, the\ninstinct of youthful passion breaks out, as they meet the young\nmaidens of the neighborhood in the fields or at the village f\u00eates and\ngatherings, and there are struggles of love and longing, which sometimes\nend peacefully in the surrender of the affection to the demands of the\npriestly vow, sometimes in the tragedy of broken hearts and a double\ndevotion to religious celibacy, and sometimes, under the influence of\na stronger passion, in the renunciation of the priesthood and marriage\nwith the object of affection. These young clerks are, naturally, objects\nof great attraction to the young maidens by the contrast of their\nsuperior manners and education to the duller and coarser young men of\nthe peasant class, and this attraction results in many dramas of love,\nnot to mention the deeper tragedies of blighted passions and ruined\nlives. From their superior intellectual activity and education the young\nclerks are the most fertile and eloquent of the folk-poets, and by\nfar the greater number of the love songs in the Sonniou are their\nproduction, and relate to the condition in which their affections\nare bound and limited. Their songs are genuine folk-poetry in their\nsimplicity and strength of expression, except in the few instances where\nsophomoric pedantry overloads them with mythologie terms and academic\nphrases, and they often express a deep feeling with simple and natural\neloquence. In The Ditty of Love the young girl appeals to the clerk to\nabandon the priesthood, since there are enough priests in the country,\nand expect the blessing of God in marrying the one who loves him, and\nthen resigns herself to the consolation they will have in hearing the\nbells of each other's convents and their voices raised in psalm:--\n\n\n\n\nTHE DITTY OF LOVE.\n\n\n     When from my books I turn to the sight of the world,\n\n     I am touched by a prick, which troubles my spirit.\n\n     I fancy I hear the sweet voice of my mistress\n\n     Speak with a tone that is melting with sadness.\n\n     Whenever my mistress raises her voice in song,\n\n     The fairies of the mountain re\u00ebcho the air.\n\n     The fishes in the sea dart about rejoicing,\n\n     And the sailors on the deck dance gaily as they hear it.\n\n     The rocks upon the mountain split themselves asunder\n\n     In hearing her voice and seeing her beauty.\n\n          When I cast a glance, which rests upon my mistress,\n\n     It seems to me I see the queen of all the maidens.\n\n     Her dainty hands are mingled with red and with white,\n\n     And her eyes are brilliant as the stars in the sky.\n\n     Her two cheeks are roses of a natural color,\n\n     And her lips are as sweet as the pure honeycomb.\n\n     --     Good morning, my fair maiden, on my knees I fall\n\n     To ask your benediction to become a Capuchin.\n\n     To ask your benediction to become a Recollet,\n\n     In St. Francis convent, in the village of Morlaix.\n\n     --Oh, enough of Recollets has St. Francis's convent,\n\n     And enough of priests has the village of Morlaix.\n\n     There are enough of priests everywhere in the country,\n\n     Marry the one you love, and God will also love you.\n\n     If you become a Recollet at St. Francis convent,\n\n     I will go to the Calvary and there become a nun.\n\n     There we will hear together the bells of our two convents,\n\n     And there we will be singing the praises of our Lord.\n\n     There we will be singing, with our lifted voices,\n\n     The _Gloria in Excelsis_ and the _Salve Regina._\n\nThe hero of the piece entitled I will be neither Priest nor Monk is made\nof more determined stuff, and demands that his books shall be thrown\ninto the fire, and liberty given him to marry the object of his love, or\nelse he will die:--\n\n\n\n\nI WILL BE NEITHER PRIEST NOR MONK.\n\n\n     Between the prairie and the grassy hill,\n\n     There is a bridge, I know it to my will.\n\n     No one can pass at eve along its planks,\n\n     Because of scholars rude, who play their pranks.\n\n     When at prayers I should be at grand mass,\n\n     No pater nor ave from my lips does pass.\n\n     Across my shoulder I only fix my glance\n\n     On the young girl, who causes my mischance.\n\n     I see my sweet beneath the shadowed nave,\n\n     As the lily fair, and as the red gold brave.\n\n     A cambric cap upon her head sets well,\n\n     Which cost, at least, six ecus for an ell.\n\n     And underneath a fine coiffure of lace,\n\n     That like a lily's margin frames her face.\n\n     Her petticoat, so rounded and so gay,\n\n     Shines with a double silver cord's display.\n\n     A robe she wears as red as any coal,\n\n     And, oh, I love her in my inmost soul.\n\n     --Put money in your pocket, little fool,\n\n     And to Treguier take your way to school.\n\n     Go to Treguier, and there study well,\n\n     Become a priest and follow the church bell.\n\n     --Keep your money in your own purse for me,\n\n     For, by my faith, no priest nor monk I 'll be.\n\n     My books throw in the fire, and let them burn,\n\n     Or give them to my brother in his turn.\n\n     No priest or monk I ever shall be made,\n\n     My heart demands the love of a fair maid.\n\n     A lovely maid of Cornouaille, I ween,\n\n     With eyes of blue and locks of amber sheen.\n\n     And if I cannot have that golden head,\n\n     Prepare the mass, for soon I shall be dead.\n\nIn The Secrets of the Clerk there is a more delicate fancy, and the\ngracious avowal has all the charm of a natural and touching imagery:--\n\n\n\n\nTHE SECRETS OF THE CLERK.\n\n\n     Each night, each night, as on my bed I lie,\n\n     I do not sleep, but turn myself and cry.\n\n     I do not sleep, but turn myself and weep,\n\n     When I think of her I love so deep.\n\n     Each day I seek the Wood of Love so dear,\n\n     In hopes to see you at its streamlet clear.\n\n     When I see you come through the forest grove,\n\n     On its leaves I write the secrets of my love.\n\n     --But a fragile trust are the forest leaves,\n\n     To hold the secrets close which their page receives.\n\n     When comes the storm of rain, and gusty air,\n\n     Your secrets close are scattered everywhere.\n\n     'T were safer far, young clerk, on my heart to write.\n\n     Graven deep they'd rest, and never take their flight.\n\nThe amatory folk-songs of Brittany have their peculiar images and\nphrases, like those of all other countries, and which are repeated\nwithout variation as almost essential characteristics. The reader of\nScottish ballads knows how invariably the recipient of a letter first\nsmiles and then has his eyes blinded by tears, and recalls the constant\nrepetition of familiar images and descriptions. So in the Breton\nfolk-songs the lover constantly declares that he has worn out three\npairs of sabots in coming to see her without being able to find out her\nthought, and that he has watched in the wind and rain through the night\nwith no consolation but the sound of her soft breathing through the\nkey-hole of the door; to which the cruel or coquettish damsel replies\nthat she has no objection to tell him her thought, which is that he\nshould buy a new pair of shoes, or that he should take himself home as\nsoon as possible. The piece entitled In the White Cabin at the Foot of\nthe Mountain is a characteristic specimen of these songs, whose effect\nof simplicity can only be retained by an absolutely literal translation:\n--\n\n     In the white cabin at the foot of the mountain\n\n     Is my sweet, my love.\n\n     Is my love, is my desire,\n\n     And all my happiness.\n\n     Before the night I must see her\n\n     Or my little heart will break.\n\n     My little heart will not break\n\n     For my lovely dear I have seen.\n\n     Fifty night I have been\n\n     At the threshold of her door; she did not know it.\n\n     The rain and the wind whipped me,\n\n     Until my garments dripped.\n\n     Nothing came to console me\n\n     Except the sound of breathing from her bed.\n\n     Except the sound of breathing from her bed,\n\n     Which came through the little hole for the key.\n\n     Three pairs of shoes I have worn out,\n\n     Her thought I do not know.\n\n     The fourth pair I have begun to wear,\n\n     Her thought I do not know.\n\n     Five pairs, alas, in good count,\n\n     Her thought I do not know.\n\n     --If it is my thought you wish to know,\n\n     It is not I, who will make a mystery of it.\n\n     There are three roads on each side of my house,\n\n     Choose one among them.\n\n     Choose whichever you like among them,\n\n     Provided it will take you far from here.\n\n     --More is worth love, since it pleases me,\n\n     Than wealth with which I do not know what to do.\n\n     Wealth comes, and wealth it goes away,\n\n     Wealth serves for nothing.\n\n     Wealth passes like the yellow pears:\n\n     Love endures for ever.\n\n     More is worth a handful of love\n\n     Than an oven full of gold and silver.\n\nAnother form of the love song than the melancholy apostrophe to the\nmistress, and the simple moralizing which accompanies it, is the gay\nchant, which was composed to the dance measures played by the _biniou_\nand the _bombarde_ at the village f\u00eates, and which was sung in accord\nwith them. On these occasions, which were chiefly the Pardons, or\ngatherings to celebrate the days of the Patron Saints, when the\nreligious exercises are concluded, the young men engage in athletic\ncompetition, wrestling and jumping for prizes under the eyes of their\nsweethearts, and the festivities wind up with dancing on the green,\nand the scene is as gay as if it had no connection with religion.\nEvery Breton story teller, and every writer on the life and customs of\nBrittany, has delighted to depict these scenes, which are the rendezvous\nof youthful lovers and the embodiment of vigorous and healthy gayety,\nwith all the picturesqueness of country life and color. The element\nof these dance songs is their lively and strongly accented melody\nto accompany the dancing air and illustrate the movements, as in the\nfollowing specimen:--\n\n     Sunday I have seen,\n\n     Sunday I will see,\n\n     Three of my young lovers,\n\n          Who 'll come and dance with me.\n\n     Dance between the two,\n\n          And pass before them gay,\n\n     Dance between the three,\n\n          And wave them all away.\n\n     Press the foot of that;\n\n          And wink the eye at this;\n\n     Mock the other's pride;\n\n          There is no greater bliss.\n\n     When you come to call,\n\n          Pray let me know the hour;\n\n     I will grease my cakes\n\n          And put eggs in the flour.\n\n     I will oil the door;\n\n          The hinges will not creak;\n\n     In the closet bed\n\n     I 'll lie, and will not speak.\n\n     Come not through the yard,\n\n          My flowers you will tread,\n\n     My onions, and my cress,\n\n          My peas and berries red.\n\n     Throw straw upon the fire\n\n          To show your darling head.\n\nIt might be expected that in a country so much under the influence\nof the sea, and in which so large a proportion of the inhabitants are\nsailors, fishers on the stormy and dangerous coast or in the distant\nwaters of Newfoundland and Iceland, there would be a large number of\nsea songs. The folk-lore of Brittany is particularly rich in stories\nand legends of the sea, composed by the fishermen to while away the long\nhours of the passage to Newfoundland or the nightwatches in the misty\nseas of Iceland; or embodying the mysterious and superstitious terrors\nof the fishermen of the coast in the face of storms and foaming reefs;\nand the impress of supernatural power in the ocean and the storm is\nvery strong upon the imaginations of the Breton people. But the sailors\nthemselves, like the laborers in the fields, do not seem to have the\ninspiration and poetical gift to put their thoughts into song. M. Luzel\nhas been able to collect but a comparatively few of genuine sailor\nsongs, and these are mostly tavern choruses or rude and commonplace\nchants, with but very little of the salt of the seas and the voice of\nthe breeze in them. The women sometimes chant at the spinning-wheel\nsongs of warning against the dangers and perils of becoming a sailor's\nwife, of which the following is an example:--\n\n\n\n\nDO NOT MARRY A SAILOR.\n\n\n     Maidens young, who wish to wed,\n\n     Take advice from an old head.\n\n     If you marry, as you say,\n\n     Do not take a sailor gay.\n\n     If you take a sailor gay,\n\n     You will sorrow night and day.\n\nWhen the farmer's wife's in bed\nThe sailor's wife the floor must tread.\n\nWhen the wind arises shrill,\n\nHer heart will beat, her eyes will fill.\n\n     Her heart will beat, her eyes will fill,\n\n     And in her veins the blood run chill.\n\n     Every moment she seeks the door,\n\n     --Mercy, how the torrents pour!\n\n     If I had store of money red,\n\n     I know the husband I would wed.\n\n     I'd wed the heir of a good house,\n\n     Who can reap the fields he ploughs.\n\n     Who can reap the fields he ploughs,\n\n     And in his stable has good cows.\n\n     Both night and day whom I can see,\n\n     And who will sleep by the side of me.\n\n     While the poor sailor, day and night,\n\n     Lives in peril and affright.\n\n     Day and night must work and wake,\n\n     And of a plank his cradle make.\n\nThe Breton women, who spend hours at the spinning-wheel, as in all other\ncountries, accompany the monotonous and musical drone with long chants,\nthat hypnotize the sense of labor, which are often merely improvisations\nwith as little sense and meaning as the lullabies for infants. But here\nis one into which the old spinner puts the thoughts of her willingness\nto make sacrifice of her all in order that her son might be educated as\na priest, and her hopes of reward from his filial piety. The soothing\nand monotonous melody is necessarily lost in the translation.\n\n\n\n\nTHE SONG OF THE OLD SPINNER.\n\n\n     My wheel and my bonnet of straw\n\n     And my waist of white linen\n\n     Shall be all yours, my young clerk,\n\n     That you may make yourself a priest.\n\n     And my porringers and my spoons,\n\n     He shall have them all at one time.\n\n     And my old warp, and my brake,\n\n     And my old carder besides.\n\n     And when he is a priest\n\n     I shall have a broidered robe.\n\n     And my shoes will have ribbons,\n\n          And my collar will be fluted.\n\nAnd a cap upon my head,\n\n     Like that of a damsel of quality.\n\nOne of the most notable and singular features in Breton folk-poetry is\nthe feeling displayed toward animals. Almost human attributes of wisdom\nand affection are bestowed upon them, and, unlike many primitive races,\nthe Breton peasantry have a great tenderness toward the dumb companions\nof their labors. When they kill them it is from necessity, and with a\ngenuine sensibility for their sufferings, which may have its ancient\nroot in a tradition of animal worship, such as led the North American\nIndian to apologize to the bear, whom he was killing with his arrows.\nAt any rate it is a very creditable feeling, and adds to the respect and\nliking which the Breton character inspires, that there should be this\ntenderness for the old horse, who has ploughed the fields and borne\nburdens until his strength is spent; for the old goat, who has given\nmilk for the children; and even for the pig, who has inhabited the pen\nby the cabin. In the folk-songs this feeling is represented by various\npieces of verse, giving the last wills and testaments of old animals,\nwho bequeath, sometimes in a spirit of humor, and sometimes with\naffectionate tenderness, portions of their bodies and qualities of\ntheir spirits to their human friends and companions. There is thus\nthe testament of the goat, the old sow, and the old mare. The latter\ndisplays a touching feeling, and the impression of quaint absurdity\ngives way to a more tender emotion and that touch of pathos which is\nevoked by all animal affection and animal suffering.\n\n\n\n\nTHE WILL OF THE OLD MARE.\n\n\n     Between Pontrieaux and Kerlouet\n\n     Is dead an old mare.\n\n     She cried, the old mare,\n\n     To have he\u00a3 shoes pulled off.\n\n     She cried loud enough to split her voice,\n\n     --Pull the nails from my sabots.\n\n     It is eighteen months, without falsehood,\n\n     Since I have been in a stable.\n\n     If it is not in the great barnyard of Kerlouet,\n\n     There I have often lodged.\n\n     I bequeath my patience\n\n     To him, Oliver le Judic.\n\n     Which he has cruelly proved this year,\n\n     In that he has lost his wife.\n\n     In that this year his wife is dead.\n\n     To live without one's half is not a pleasant thing.\n\n     I pray to give the hairs of my tail,\n\n     To him, Pierre Perrot.\n\n     That he may make a light fly-flap\n\n     To keep the flies from the horses in summer.\n\n     And when the other horses fling and kick,\n\n     He will remember the blind mare.\n\n     Carry my head to the ferry of Frinaoudour,\n\n     To serve as a little boat upon the water.\n\n     To pass from one bank to the other\n\n     Those who go to hunt at Plourivo.\n\n     Those who go to hunt at Plourivo,\n\n     The rabbit, the fox and the wild duck.\n\nAs has been said, the chief value of folk-song is in its genuineness,\nin the accuracy with which it reflects not only the emotions, but the\nhabits and customs of the people, so that their peculiar life becomes\nvisible before our eyes. There is an indefinable charm, not only in the\nimpression of reality, but in the very rudeness and imperfection of the\nspeech, which gives an effect beyond literary art, when deep emotion or\ndomestic pathos are seen through it. We seem to get nearer the primitive\nheart of mankind than under the effect of the most accomplished literary\nskill, and there are awakened the homely and tender feelings which lie\ndeep within our nature. The genuine fairy tale created by the vivid\nand credulous imagination of the uncultivated mind, and the genuine\nfolk-song, the outburst of simple and natural emotion, take a hold upon\neven the most cultivated intellects as the highest literary art fails\nto do. The folk-songs of Brittany have this charm as well as their own\npeculiar provincial flavor; and the very crudeness and imperfection\nof the Sonniou in M. Luzel's collection have more power than all\nthe elaborate poetry and picturesqueness of M. Yillemarque's Celtic\nfabrications.\n\n\n\n\nTHE FOLK-SONGS OF POITOU.\n\n\n|While there is much that is common in the folk-songs of all the\nprovinces of France, the same stories and the same turns of expression,\nshowing, if not a common origin, a very wide and thorough\nintercommunication,--as, for instance, in the beautiful and pathetic\nballad of Jean Renaud, which is found almost everywhere in slightly\ndiffering variants,--each section has its own local peculiarities\nillustrating the temperament and the origin of the people.\n\nIt is needless to say that there is a strongly marked note of difference\nbetween the melancholy and finely sensitive songs of the people of\nBrittany and the gay and joyous chants and ballads of those of Gascony\nand Provence. It would be inevitable from the widely different natures\nof the two people, and their origin from distinct and strongly divergent\nnative stocks. But this distinction goes further, and marked shades of\ndifference in feeling and sentiment may be found in the character and\ntemperament of the folk-songs and music of the inhabitants of the same\nprovince, who are of common origin and consanguinity, with the same\nnative language, and the same habits and customs. This is due in a great\nmeasure to a difference in their surroundings, and the influence of\nexternal nature, whether gay or morose, fertile or barren, upon the\nminds and characters of the people. Thus in his splendid collection of\nthe Chants and Chansons Populaires des Provinces de l'Ouest, M.\nJerome Burgeaud tells us that the plaintive and melancholy airs of the\ninhabitants of the deep woods and heavy marshes of La Vendee become gay\nand cheerful in Poitou, and sparkle with brilliant mirth in Saintonge\nand the Angumois, without changing their notes or form, simply from\nthe difference in the scenery and its influence upon the spirits of the\npeople. The ancient Poitou, comprising the upper portion of the region\nbetween the Loire and Garonne, is full of smiling and rich fields, where\nthe grapes burgeon in deep black clusters, and the yellow wheat-ears\nhang heavy and full, and the warm sun and the savory air fill the blood\nof the people with lightness and gayety. They are not so ebullient\nand joyous, it may be, as the inhabitants of the still warmer and more\nsmiling regions of Gascony and Languedoc, but the contrast is very\nmarked between them and their northern neighbors, whose very mirth has\na melancholy tinge, and in whom even drunkenness is a protest against\nsorrow rather than the natural extravagance of light-heartedness.\n\nThe Poitevin peasant is naturally gay, and his light-heartedness\nis manifested in the great number, as well as in the good humor and\ncheerfulness, of his folk-songs. Of course the common sorrows of\nmankind weigh upon him; he feels the stings of poverty and the pains and\nsordidness of labor; the conscription tears him from his home and his\nbeloved; and he experiences the tragedies of love and death. These\nthings stir his mind and find a place in his folk-songs, but the\nprevailing spirit which governs his expression in music and song is not\nof melancholy brooding and sorrow, like that of his Celtic neighbors,\nbut gayety and joyousness. He finds the smiling world a pleasant place\nto live in; his love is the natural and happy ebullition of his warm\ntemperament; and his experiences of life are cheerful.\n\nThe gayety of the Poitevin temperament finds its expression in the\nimmense number of \"rounds\" as they are called in English, which give the\nvocal measure and accompaniment to the vigorous and joyous dances. The\nyouths and the maidens, when they meet at the rustic gatherings, or\neven in the intervals of labor in the fields, join hands by a natural\ninstinct, and improvise a dance to the rhythm of their own voices, and\nthe \"rounds\" which they sing, although often mere nonsense, or at least\nwithout a consecutive meaning, have a note of gayety and an ebullition\nof joyousness, which is inimitable, as thus:--\n\n     Vous, qui menez la ronde,\n\n     Menez la rondement.\n\n     Son cotillon en branle, en branle,\n\n     Son cotillon en branle au vent.\n\n     Foule, foule, foulons l'herbe,\n\n     L'herbe foule reviendra.\n\n     Brnnette, allons, gai, gai, gai,\n\n     Brunette, allons, gai, gaiment.\n\n--words which interpret the air and accent the steps with an absolute\nperfection, which a translation cannot render, although it may give an\nidea of the vivacity and _entrain_.\n\n     You, who lead the round,\n\n     Lead it roundily.\n\n     Her petticoat in motion, in motion,\n\n     Her petticoat in motion to the wind.\n\n     Tread, tread, come tread the grass,\n\n     The trodden grass will spring again\n\n     Brunette, come, gay, gay, gay,\n\n     Brunette, come, gay, gaily.\n\nAll these, like the ancient choruses with which the Greek maidens\naccompanied their dances of \"woven paces and waving hands,\" with\nor without the note of a primitive reed to accent the melody, are\nreproduced in the grosser spirit of the laboring peasant, but equally\ninstinctive with life and gayety, and the natural expression of youthful\nexistence in the open air and under balmy skies.\n\nOne of the most characteristic features of the Poitevin peasant is his\ncunning, his fondness for rustic ruses, and the sharp repartee or trick,\nwhich puts to shame the person of a station above his own. The heroines\nof many of his favorite ballads and songs are endowed with this quality,\nand he chuckles with a hearty zest at the simple wit with which the\nshrewd shepherdess puts down the amorous gallant learned in the schools,\nor escapes the dangerous importunity of a gentleman on the highway or\na seignorial hunter in the fields. The folksongs of Poitou are full of\nsuch examples, and M. Bugeaud, and M. Leon Pineau, who has followed him\nin gleaning in the same field (Le Folk-Lore du Poitou), have given a\nnumber of specimens. The following shows what simple repartee appeals to\nthe rustic sense of humor:--\n\n\n\n\nNANON.\n\n\n     What is there, Nanon,\n\n          In these valleys green?\n\n     There is a fool, kind sir,\n\n          When you are therein.\n\n     Pray tell me, Nanon,\n\n          Where does this road go?\n\n     When you have found out,\n\n          Then you will know.\n\n     Come, my dear Nanon,\n\n          Under the green shade.\n\n     Would you have me think\n\n          Of heat you 're afraid?\n\n     Is he then happy,\n\n          The shepherd you know?\n\n     If he is unhappy,\n\n          He does n't seem so.\n\n     You love him, Nanon,\n\n          As I adore you?\n\n     Yes, indeed, kind sir,\n\n          And much better too.\n\n     Pray tell me, Nanon,\n\n          Who made you so smart?\n\n     You, too, have studied,\n\n          And learned things by heart.\n\n     In my father's house,\n\n          I have studied deep.--\n\n     I got my learning\n\n          In watching my sheep.\n\nOne of the favorite ruses is that by which the shepherd maid induces the\ngallant to let her go, on some frivolous excuse and a promise to return,\nand then mocks him for his credulity. A similar jest, with the proverb\nthat when you hold a quail in hand you should pluck it, is very common\nin French folk-song, as, indeed, in that of all nations. This is one of\nthe Poitevin versions:--\n\n\n\n\nTHE SHEPHERDESS AND THE GENTLEMAN.\n\n\n     It was a gentleman returning from the army,\n\n          Upon the road he met a shepherd maid;\n\n     He dismounted quickly, and went to sit beside her.\n\n          Cunning was the maid, and wept as if afraid.\n\n     \"Have mercy, gentleman, you 'll spoil my fine, white cap,\n\n          I 'll go and put it off, and come back quite soon.\"\n\n     The gallant gentleman found the time quite tedious,\n\n          The maiden did not come; he whistled a blank tune.\n\n     \"John, my little John, go and tell the maiden\n\n          To come back at once, for she must be asleep.\"\n\n     \"Good fortune it is to me that I have got away,\n\n          By the grace of God I have no shame to weep.\"\n\n     \"Little John returned to where his master waited,\n\n          Whistling a blank tune beneath the willow tree,\n\n     \"Alas, my master, the maid is very cunning;\n\n          She is safe at home, and sends you mockery.\"\n\n     The gallant ceased his tune, and swore in bitter anger,\n\n          \"If again that maid I meet by any hap,\n\n     Either in the highroad, or on the flowery meadow,\n\n          I will have no mercy on her fine, white cap.\"\n\nThen the love songs of Poitou have a light and humorous turn, a jest\nat the fickleness of the runaway lover, and the easy consolation of the\nyoung maiden, whose desire is more to have a lover than that he should\nbe any particular person. La Belle Rosalie illustrates this gay mockery\nof youthful love.\n\n\n\n\nTHE FAIR ROSALIE.\n\n\n     The fair Rosalie\n\n          Has lost her lover bold,\n\n     Is n't she unhappy,\n\n          Only fifteen years old!\n\n     He promised to return,--\n\n          The deep woods were to blame,--\n\n     But she has waited vainly;\n\n          The traitor never came.\n\n     \"Nightingale that sings,\n\n          Nightingale that flies,\n\n     Tell me, tell me truly,\n\n          Where my lover lies.\"\n\n     \"Your lover, maiden fair,\n\n          Has gone across the Rhine.\n\n     Captains three are with him,\n\n          And he is brave and fine.\n\n     \"Exchange your woman's dress\n\n          For a soldier's coat of blue:\n\n     In thirty days you 'll find him,\n\n          If you his route pursue.\"\n\n     When she arrived at Bruges,\n\n          She found her lover there,\n\n     Training with the soldiers,\n\n          With banners floating fair.\n\n     \"If I had known, my dear,\n\n          You would have followed me,\n\n     You would not have found me,\n\n          For I'd have crossed the sea.\"\n\n     \"Am I not unhappy,\n\n          To march so far to find\n\n     The traitor, whom I love,\n\n          And who is so unkind?\n\n     \"Nightingale that sings,\n\n          And who hast flown so far,\n\n     Tell me, tell me truly,\n\n          Where other lovers are.\"\n\n     But all the other lads\n\n          Have sought for other brides,\n\n     And taken for their spouses\n\n          The sabres at their sides.\n\nThe Veille des Noces gayly mocks the impatience of the young maiden for\nthe dawn of her wedding day, which will not allow her to rest quiet in\nbed, or endure without reply the rebuke of her more contented mother:--\n\n\n\n\nTHE NIGHT BEFORE MY WEDDING.\n\n\n     The night before my wedding,\n\n          Guess what happened me.\n\n     I rose up to the window,\n\n          If daybreak I could see--\n\n               The dawn of day,\n\n               The lovely dawn of day,\n\n               Of light and love so gay.\n\n     I rose up to my window,\n\n          If daybreak I could see,\n\n     The lovely moon still shining\n\n          Was all that greeted me.\n\n     The lovely moon still shining,\n\n          Was all the sign of light.\n\nI      thought it must be four o'clock,\n\n     But 't was not yet midnight.\n\n     I thought it must be four o'clock,\n\n          But midnight had not sped.\n\n     My mother, who was listening,\n\n          Heard the cross words I said.\n\n     My mother, who was listening,\n\n          Heard the sad sighs I drew.\n\n     \"Be silent, little fool,\" she said,\n\n          \"Or God will punish you!\n\n     \"Be silent, little fool,\" she said,\n\n          Or God will bring you loss.\"\n\n     \"O, mother dear, do you not know\n\n          What't is that makes me cross?\n\n     \"O, mother dear, do you not know,\n\n          What't is that gives me pain,\n\n     You lie at ease, but I do not;\n\n          I must get up again.\"\n\nThere is also a flavor of mockery in the na\u00efve dialogue between the\nshepherd, Joseph, and his mistress, whom he has come to waken in the\nmorning, and to invite to spend the day with him on the mountain. The\nshepherdess wants to be assured of something more substantial than mere\naffection before she yields to the temptation.\n\n\n\n\nJOSEPH.\n\n\n     Joseph, your faithful shepherd,\n\n          Has come to waken you,\n\n     Arise, my lovely maiden,\n\n          My lovely maiden, rise--\n\n     The sun shines bright and new.\n\n     Alas, my faithful shepherd,\n\n          Whither shall we go?\n\n     Above, upon the mountains\n\n          Where shining streamlets flow,\n\n     Where we will gather violets,\n\n          And rosemary also.\n\n     Alas, my faithful shepherd,\n\n          What shall be our food?\n\n     A pie of tender larks,\n\n          And cakes so sweet and good,\n\n     And see, beneath my mantle\n\n          A flask of grapes' rich blood.\n\n     Alas, my faithful shepherd,\n\n          In what place shall we sleep?\n\n     Above, in my thatched cottage,\n\n          Within the wood so deep.\n\n     I have a place of shelter\n\n          Wherein no cold can creep.\n\n     Alas, my faithful shepherd,\n\n          What if my father knew?\n\n     Tell him, my beloved,\n\n          That your shepherd true\n\n     Came upon the mountain\n\n          To keep the wolf from you.\n\nIn Le Berger qui me fait le Cour, the shepherdess displays more grace\nand sentiment in refusing to point out the identity of her lover, while\navowing her charming and spontaneous affection.\n\n\n\n\nTHE SHEPHERD WHO MAKES LOVE TO ME.\n\n\n     The shepherd who makes love to me,\n\n     The shepherd who makes love to me,\n\n     Is the bravest you can see.\n\n     Ask me not to tell you more.\n\n     I lead my sheep upon the plain,\n\n     I lead my sheep upon the plain,\n\n     And my cows to browse again.\n\n     Ask me not to tell you more.\n\n     My lambkins feed along the glade,\n\n     My lambkins feed along the glade,\n\n     And I am seated in the shade.\n\n     Ask me not to tell you more.\n\n     My shepherd comes to see me there,\n\n     My shepherd comes to see me there,\n\n     And tells me I am sweet and fair.\n\n     Ask me not to tell you more.\n\n     In listening to his love words deep,\n\n     In listening to his love words deep,\n\n     My eyelids close; I'm charmed to sleep.\n\n     Ask me not to tell you more.\n\n     I dream my shepherd is a dove,\n\n     I dream my shepherd is a dove,\n\n     And my fond heart his cage of love,\n\n     Ask me not to tell you more.\n\nThe maiden surprised by her lover as she lies asleep beneath the shade\nis a favorite subject in all folk-poetry, but it is seldom that it has\nbeen treated with a greater grace and charm than in La Belle Endormie.\nThe sentiment has all the simplicity and purity of spontaneous love, and\nthe language the sweet na\u00efvet\u00e9 of folk-song, however much of its charm\nmay have vanished in the translation.\n\n\n\n\nTHE FAIR ONE ASLEEP.\n\n\n     In walking in the garden,\n\n          To shun the burning light,\n\n     I saw beneath the leafage\n\n          A maid of beauty bright.\n\n     With noiseless feet I crept\n\n     To where the damsel slept.\n\n     With noiseless feet I tip-toed\n\n          To give her no alarm,\n\n     Her head had for a pillow\n\n          Her round and rosy arm,\n\n     As softly as the air\n\n     I kissed her dreaming there.\n\n     And while she lay in slumber,\n\n          I sought a garden bed,\n\n     And on her snowy bosom\n\n          I placed a rosebud red.\n\n     The flower's breath of balm\n\n     Dispelled her slumber's charm.\n\n     When slumber's charm had vanished,\n\n          She woke with laughing eyes;\n\n     Oh, magic love, how charming\n\n          To catch hearts by surprise!\n\n     To wake them like the dawn,\n\n     When spring-time is new-born.\n\n     In the bosquet of Pouzange\n\n          I meet my faithful loves.\n\n     They murmur in the leafage,\n\n          Sweet tender-throated doves.\n\n     They sing the whole day long,\n\n          And love is all their song.\n\nBut there is a sadder note which makes itself heard in these songs of\nlove in Poitou, as elsewhere,--the lamentation of the maiden who has\nlistened too fondly to the words of her shepherd lover, and experienced\nhis faithlessness. She must hide at home with her shame, and sadly find\nthat only her dog is faithful.\n\n\n\n\nIT WAS THE SPRING SIX MONTHS AGO.\n\n\n     It was the spring six months ago,\n\n     And in the fresh, green fields below,\n\n          My bleating flock around me fed,\n\n          While watching them I spun my thread,\n\n     And naught of sin or shame did know.\n\n     But Colin came one evening fair,\n\n     With tender words beguiled me there;\n\n          \"Dear shepherdess, come take my arm,\n\n          Lest lonely roads should bring you harm,\n\n     And ghosts or wolves in darkness scare.\"\n\n     In his my trusting hand I place,\n\n     While love invades me with its grace;\n\n          I could not check his passion's strength,\n\n          And wished the road of greater length,\n\n     While listening with a blushing face.\n\n     But Colin has a faithless mind,\n\n     Inconstant as the changing wind.\n\n          While I shamefaced must hide at home,\n\n          Vainly asking when my love will come,\n\n     But my dog alone is true and kind.\n\nThe conscription, which compels the peasant, who has drawn the fatal\nnumber, to leave his native fields and his mistress, is an important and\ndisturbing influence in the rural life of France, and finds a frequent\nplace in its folk-song. Sometimes it is taken gayly, and the lover\ndeparts in high spirits, singing along the road to the garrison with his\ncompanions, and promising fidelity to his mistress to whom he hopes soon\nto return. It is thus in the gay song Voici l'Hiver Pass\u00e9.\n\n\n\n\nTHE WINTER IT IS PAST.\n\n\n     The winter it is past,\n\n          The freezing frost and snow,\n\n     The springtime it has come,\n\n          And to the fields we go.\n\n     Above, upon the hilltop,\n\n          The flowers bright and blue,\n\n     The little singing birds\n\n          Their joyful songs renew.\n\n     They say in tender tones,\n\n          In language sweet and clear,\n\n     That every pretty maiden\n\n          Should have a lover dear.\n\n     But mine has gone away,\n\n          A soldier's trade to learn\n\n     In service at Bordeaux,\n\n          But he will soon return.\n\n     We go, my comrades brave,\n\n          Let's bid our girls good-by,\n\n     Give them a parting kiss,\n\n          And tell them not to cry.\n\n     With knapsack on the back,\n\n          We make a brave convoy.\n\n     We march along the road\n\n          With gallant songs of joy.\n\n     At Bordeaux, when you come,\n\n          And other girls you see,\n\n     You 'll make another choice,\n\n          And think no more of me.\n\n     When I am at Bordeaux,\n\n          Fond letters I will write,\n\n     And give them to the clouds,\n\n          That pass with bosoms white.\n\n     There will be within them,\n\n          In letters deep and clear,\n\n     That I will always be\n\n          Your lover true and dear.\n\nBut the circumstances are not always so cheerful nor the songs so\ngay. There is a tragedy, when, moved by an irresistible longing, the\nunfortunate conscript has deserted the ranks, been captured by his\ncomrades, and condemned to suffer the penalty of his weakness in a\nshameful death. The old songs have many subjects of that kind, whose\nmemory lingers, although the penalty for desertion is now less severe.\nOne of them is Le Deserteur, whose deeply plaintive air, and the\nmelopoeism of its verse, as well as its simple tragedy, have kept it\nalive.\n\n\n\n\nTHE DESERTER.\n\n\n     \"For eight long years within the troop I served,\n\n          Without a furlough to relieve my pain.\n\n     The longing took me to desert the ranks,\n\n          To my fair land to turn my steps again.\n\n     \" I had a luckless meeting on my way,\n\n          Three grenadiers before me made a halt.\n\n     With handcuffs hard and cold they bound my hands,\n\n          And led me to Bordeaux to a prison vault.\n\n     \"Ah, is it then for love of a brown maid,\n\n          That in a cell I lie in dismal mood;\n\n     My only couch the hard planks of the floor,\n\n          Water and black bread my only drink and food.\"\n\n     But when the maiden heard these words of grief,\n\n          Both night and day she walked her love to see.\n\n     \" Courage, my dear love,\" through the grate she said,\n\n          \"I will find out a way to rescue thee.\n\n     \"I will run out, and seek your captain kind,\n\n          Your captain kind, and your brave colonel too.\n\n     I will beseech them, and implore a pardon,\n\n          I will give them gold to free my lover true!\"\n\n     \"I am deeply grieved, my little shepherdess,\n\n          That for this grenadier you should moan and cry.\n\n     Before the court of war he must soon appear,\n\n          And at the drum will be condemned to die!\"\n\n     When the maiden heard the cruel words he said,\n\n          Her cheeks grew white that were so rosy red.\n\n     The captain threw his arm around her waist,\n\n          And kindly bade her lift her drooping head.\n\n     \"Fair shepherdess, take me for your lover,\n\n          I will love you well, and free your heart from pain.\"\n\n     Tears within her eyes, and kerchief to her face,\n\n          \"No, no,\" she said, \"I cannot love again.\"\n\nBut the soldier or the sailor after long years of\nservice gets leave to return to his home on a furlough or a discharge.\nSometimes he is welcomed by his aged parents or his faithful wife, who\nrecognize him with joyful surprise, in spite of his rags and wounds; and\nsometimes he finds that his long absence has wrought fatal changes, that\nhis parents are dead, or his wife, deceived by false news of his\ndeath, has married again. Incidents of this latter kind are familiar\nin folk-song, but there is none where the story is more simply and\ndramatically told, or where the conduct of the unfortunate husband shows\nsuch pathetic refinement of feeling, than in La Femme du Marin, which is\none of the best-known and popular of the old songs of Poitou. The air is\ncharmingly soft and melancholy, and the words display a skill in melody\nwhich the most accomplished poet might envy. A more felicitous verse can\nhardly be found in the whole annals of folk-song than this:--\n\n     Quand le marin revient de guerre,\n\n               Tout doux.\n\n     Quand le marin revient de guerre,\n\n               Tout doux.\n\n     Tout mal chauss\u00e9, tout mal vetu,\n\n     Pauvre marin du reviens tu?\n\n               Tout doux.\n\nIt is hardly necessary to apologize for the imperfection of an attempt\nto render such a flower of poetry into another language.\n\n\n\n\nTHE WIFE OF THE MARINE. 1\n\n\n     When the marine came from the war,\n\n               Good and kind.\n\n     When the marine came from the war,\n\n               Good and kind.\n\n     With ragged coat and battered shoe.\n\n     1 I have translated marin as ''marine\" instead of sailor, as\n     in the last verse it is said that he goes back to his\n     \"regiment.\"\n\n     Poor marine, from whence come you?\n\n               Good and kind.\n\n     Madame, I come from the war,\n\n               Good and kind.\n\n     Madame, I come from the war,\n\n               Good and kind.\n\n     Bring me now a brimming glass,\n\n     That I may drink it as I pass,\n\n               Good and kind.\n\n     The brave marine begins to drink,\n\n               Good and kind.\n\n     The brave marine begins to drink,\n\n               Good and kind.\n\n     Drinks and sings a ballad gay,\n\nWhile madame wipes the tears away,\n\n               Good and kind.\n\n     What troubles you, my fair hostess?\n\n               Good and kind.\n\n     What troubles you, my fair hostess?\n\n               Good and kind.\n\n     Do you regret the kindly glass,\n\n     That you give me as I pass?\n\n               Good and kind.\n\n     I don't regret my good white wine,\n\n               Good and kind.\n\n     I don't regret my good white wine,\n\n               Good and kind.\n\n     A husband's loss bedims my eyes,\n\n     For in your looks his image lies,\n\n               Good and kind.\n\n     Ah, tell me now, my fair hostess,\n\n               Good and kind.\n\n     Ah, tell me now, my fair hostess,\n\n               Good and kind.\n\n     Children three he left behind,\n\n     But now three more with you I find,\n\n               Good and kind.\n\n     I had a letter from the war,\n\n               Good and kind.\n\n     I had a letter from the war,\n\n               Good and kind.\n\n     Which said my brave marine was dead,\n\n     I thought it true; again I wed,\n\n               Good and kind.\n\n     The brave marine drank out his glass,\n\n               Good and kind.\n\n     The brave marine drank out his glass,\n\n               Good and kind.\n\n     Without a word, while soft tears flowed,\n\n     To his corps went back his road,\n\n               Good and kind.\n\n\n\n\nSOME ANCIENT PORTUGUESE BALLADS.\n\n\n|The larger and more important literature of\nSpain has naturally drawn a wider attention than that of its smaller\nneighbor in the Iberian peninsula. The great achievements of Spanish\ngenius in the era of its intellectual efflorescence have compelled the\nintellectual world to study its language and familiarize itself with its\nliterature. And not only have the great works of Cervantes and Calderon\nand Lope de Yega been studied and criticised, and reproduced in all the\ncultivated languages of Europe, but the treasures of popular Spanish\npoetry, with their rich elements of chivalry and romantic passion, have\nbeen carefully studied and exemplified by foreign scholars, and been\nthe inspiration of foreign poets and translators. Hardly any country in\nEurope has a more valuable collection of popular poetry in the times\nof its military and intellectual greatness, or which more thoroughly\nillustrates its history or the characteristics of its national\ntemperament. The long chronicles of the Cid, and the ballad narratives\nof the exploits of the heroes of the great struggles for the expulsion\nof the Moors, form in themselves a rich body of national poetry,\nbut they are supplemented by an immense number of episodical ballads\nrelating to events in national history, and lyrical poems and songs\nexpressing the strong feeling and intellectual energy of the people.\nMany scholars and poets of eminence in European countries have devoted\nthemselves to the reproduction of these Spanish national poems in their\nown languages, and in England during the early part of the present\ncentury there was a strong bent of scholarship in that direction,\ninduced to a considerable extent, probably, by the national interest\nin the Peninsular war. Southey, Scott, and John Hookham Frere gave\nadmirable translations of Spanish national poems, and the spirited\nversions of ancient Spanish ballads by Lockhart have been justly\nconsidered a permanent addition to English poetry.\n\nBut no such degree of attention has been paid to Portuguese literature,\nalthough it possesses the same national characteristics as the Spanish,\nand is not inferior, except in volume, as regards the product of popular\npoetry and folk-song. This was natural enough. Except the great poem of\nCamoens, Portuguese literature possesses no masterpiece to compel the\nattention of the civilized world, and the product of its national\ngenius is not of the bulk and importance of that of Spain. Its national\ncharacteristics were similar, so that independent study was not incited\nby original features, while the difference in language was sufficient\nto be a barrier to all except special scholars. The country was in\na measure overwhelmed and overshadowed by Spain, although possessing\nindependent and interesting features of its own, and has been regarded\nas a province rather than as an original country. Very little attention\nhas been paid in foreign countries to Portuguese popular literature,\nalthough some French and German scholars have included it in their\nstudies, and there is no volume in English, so far as I am aware,\nwhich deals with it. At the same time it is well worth attention in\nits richness and value in all the qualities which make a high order of\npopular poetry, and in those elements of chivalric feeling, dramatic\nincident, and intensity of passion which characterize Spanish poetry\nof the same period. Fortunately Portugal itself has shared in that\ninterest, which has spread through all the civilized countries of Europe\nin ancient popular literature and folk-song, and its national scholars\nhave devoted a painstaking care and interest to collecting and\nelucidating its ancient ballads. The pioneer in this work was Almeida\nGarrett, himself a distinguished poet, who, being compelled to take\nrefuge in England by the political disturbances of 1820, came under the\ninfluence of Sir Walter Scott as regards the work which he had done\nfor the national literature of Scotland. Like Scott he at first wrote\nimitations of the old ballads with their literary style and phrases.\nThese, like all other imitations of ancient ballads, although full\nof strength and poetical power, had not the genuine naturalness of\nantiquity and the inimitable flavor of primitive art. Later, on his\nreturn to Portugal, Almeida Garrett set himself to work to collect the\nancient Portuguese ballads, as Scott had done those of the Scottish\nborder, and was almost equally successful. The backwardness of the\nPortuguese peasantry in education, and their comparative seclusion from\nthe influences of modern civilization in their mountains and valleys,\ncontributed very much to the preservation of their ancient ballads, and\neven to-day they are a part of the oral literature of the country. There\nwere of course many ancient ballads, in written and printed forms, which\nwere preserved in libraries and in the papers of old families, but\nthe great bulk of Almeida Garrett's collection was derived from oral\ntradition. He followed the example of Scott in uniting the best forms of\nvarying versions into a complete and harmonious whole, and it is hardly\ndoubtful that he also supplied an occasional wanting or imperfect line.\nBut his general faithfulness and respect for the originals have been\nabundantly proved by the work of later collectors. The popular poetry of\nPortugal owes no less to Almeida Garrett than that of Scotland does\nto Scott, and he inculcated a pride in national history and national\nliterature by his genius, as well as rescued the remains of ancient\npopular poetry by his painstaking care. Since his time he has been\nfollowed by other Portuguese scholars, who have worked under the\nrestrictions of more absolute faithfulness and historic research imposed\nby the modern study of folk-lore. Notably Signor Braga has published two\nvery valuable volumes, Komanceiro Geral, relating to the popular poetry\nof Portugal, and the Cantos Populares do Archipelago A\u00e7oriario, the\nsongs of the Azore islands, whose seclusion from the world has been\nvery favorable to the preservation of the ancient popular poetry and\nfolk-lore. There are others who have made national collections, and the\nfolk-songs of the various provinces, so that now the popular poetry of\nPortugal has been as carefully gathered and preserved as that of any\nother nation of Europe.\n\nThe popular poetry of Portugal had its period of efflorescence\ncontemporaneous with that of Spain, and covered the period of its\nnational energy and enterprise. The oldest specimens now extant are not\nconsidered to date beyond the fifteenth century, although, of course,\nthey may have derived their origin from still more ancient ballads. The\ngreater part is included within the two centuries following, when\nthe national mind still preserved the spring and energy which had\naccomplished such great achievements in navigation and enterprise,\nand before its spirit had been crushed into the narrow bounds of a\nrestricted and decaying province. Contrary, however, to the condition\nof the national poetry in Spain, the allusions to the actual events of\nrecorded history are somewhat rare, and, although the actions of kings\nand national heroes make some figure, for the most part they relate\nto popular traditions, which have but a vague connection with national\nhistory. In style and manner, however, they bear a close resemblance\nto the Spanish popular poems, and in many instances they appear but as\nslightly differing variants, although it is doubtful which may have been\nthe original, the Spanish or the Portuguese. The ballad of Dom Yanno,\nwhich is a specimen of the longer popular romances, is similar, except\nin its termination, to the Castilian romance known under the title of\nthe Count Alarcos, and which has been translated by Lockhart under the\ntitle of Count Alarcos and the Infanta Solisa. In the Spanish romance\nthe count actually fulfills the commands of the king by murdering his\nspouse, but before her death she cites the king and the infanta to\nappear within thirty days before the judgment seat of God, and it is\naccomplished by their deaths in that time. There are numerous variants\nto the ballad in Spanish popular literature, and it has been made the\nsubject of dramas by Lope de Vega and others. Its connection with actual\nhistory is unknown.\n\n\n\n\nDOM YANNO.\n\n\n     The princess wept and wept again; the reason for her tears\n\n     And that her life had little joy within her royal house,\n\n     Was that her father had forgot for slowly passing years\n\n     To dower her in marriage with some rich and noble spouse.\n\n     Her mourning was so deep one night, the king woke in his\n\n               bed.\n\n     \"What, troubles you, my daughter dear, why do you weep\n\n               and mourn?\"\n\n     \"Of your three daughters, royal sire, alone I am not wed.\n\n     Therefore my days are dark and dull; therefore I am for\n\n               lorn.\"\n\n     \"What remedy is there for that? I'm not the one to blame;\n\n     Ambassadors from Aquitaine and lords from Normandy,\n\n     When with noble marriage proffers in suppliance they came,\n\n     You would not hearken to at all, nor treat with courtesy.\"\n\n     \"Of all the nobles of my court not one is there I see,\n\n     Except Count Yanno, who in wealth and lineage of pride\n\n     Can for a single instant seem a worthy spouse for thee,\n\n     And he has taken to his house a fair and noble bride.''\n\n     \"O noble father of my soul, you 've named the very one.\n\n     If he already has a wife, and even children too,\n\n     He owes another pledge to me, for my weak heart he won.\n\n     He gave to me his solemn word, and I believed it true.\"\n\n     The king sent summons to the count to come where he awaits.\n\n     He had not thought what he should do, or e'en what he\n\n               should say.\n\n     \"'T is but a single moment since I left the palace gates,\n\n     And now the king demands me back; what does it mean, I\n\n               pray?\"\n\n     Count Yanno enters in the hall; the king straight to him goes.\n\n     \"My lord, I humbly kiss your hands; what is your royal\n\n               will?\"\n\n     \"You may kiss them for the honor the king on thee bestows,\n\n     In wedlock take my daughter's hand, and your sworn troth\n\n               fulfill.\"\n\n     Count Yanno, when he heard these words, was struck with\n\n               mortal dread.\n\n     \"My royal master, I 've a wife with whom I live in bliss.\"\n\n     \"Go kill your wife without delay, and then my daughter wed.\"\n\n     \"What! kill my wife, so innocent! What black command is\n\n               this!\"\n\n     \"Be silent, Count, your insolence I will not suffer now.\n\n     One cannot trick a royal maid like any simple slave.\"\n\n     \"My lord, before your righteous rage in penitence I bow,\n\n     That I may pay the debt alone is all I humbly crave.\"\n\n     \"That I should kill an innocent, who's never done a wrong,\n\n     Such deadly treason would o'erwhelm my soul with shame\n\n               and sin.\n\n     The life of earth in punishment to justice would belong,\n\n     And in the life beyond the grave no pardon could I win.\"\n\n     \"The Countess is a burden here, and therefore must she die;\n\n     In that gilt basin bring her head, all dripping with its gore.\"\n\n     Count Yanno left the cruel king, his soul in agony,\n\n     And followed the dark page, whose arms the fatal basin bore.\n\n     The page was clad in mourning garb, the Count in sad array,\n\n     As if in pain of parting breath his heart with anguish\n\n               swelled,\n\n     The Countess ran to meet him, as she saw him far away;\n\n     Her husband and her little child in one embrace she held.\n\n     \"Well come--well come, Count, for my joy;\" but not a\n\n               word he said,\n\n     He mounted slowly up the steps, and locked and barred the\n\n               door;\n\n     Then bade the wondering servants the supper table spread:\n\n     The household marveled at a mien they 'd never seen before,\n\n     They did not touch the food or wine, but sat in sad unrest.\n\n     The tears welled from Count Yanno's eyes; he bent to kiss\n\n               the child,\n\n     That to his mother's warm, soft breast his rosy lips had prest:\n\n     The infant turned to meet the kiss, and like an angel smiled.\n\n     To see that mingled smile and kiss, her heart in sobs broke\n\n               out,\n\n     The echoes of her bursting grief filled all the lofty room:\n\n     \"What troubles you, my best beloved; resolve this dreadful\ndoubt,\n\n     What is the order of the king that fills you so with gloom?\"\n\n     The Count choked down his sudden sobs, he could no answer\n\n               make.\n\n          She clasped his neck and on his mouth she pressed a frantic\n\n               kiss.\n\n     \"Take from my heart this agony I suffer for your sake,\n\n     Let me partake your sorrow, dear, and you shall share my\n\n               bliss.\"\n\n     The woeful pair from table rose, and sought in bed to rest,\n\n     But slumber came not to their eyes, to give their pains\n\n               relief.\n\n     \"By the good God in heaven above, and Virgin Mary blest,\n\n     My very life I'd sooner give than see you in such grief.\"\n\n     \"May death revenge such black command; perish his tyr\n\n               anny!\n\n     My Count, I do not understand what't is he bids thee do;\n\n     Upon my life and soul, my love, reveal it now to me,\n\n     This dreadful shadow of ill fate that comes between us\n\n               two.\"\n\n     \"The fate of an ill-fated one, and no help can there be,\n\n     The king commands that I kill thee, and the Infanta wed.\"\n\n     Scarce had these dreadful words been spoke in stifled agony\n\n     When the unhappy Countess fell, as if her life had fled.\n\n     God did not give her death's relief, tho' better she had\n\n               died\n\n     For anguish deeper far than death recalled life to her heart,\n\n     \"Wait, wait, Count Yanno, kill me not, but let me go and hide\n\n     In my dear father's distant house, where I can dwell apart.\n\n     \"There I will live a maid again, and keep my true troth\n\n               plight;\n\n     There I will rear this infant, and guard him from all sin;\n\n     Though sorrow lies between us two, he 'll be my dear delight,\n\n     And I'll be faithful to my love as I have always been.\"\n\n     \"How can that be, my best beloved, it is the king's black will\n\n     Within that gilded basin there to see your severed head.\"\n\n     \"Wait, wait, Count Yanno, kill me not, I have a refuge still;\n\n     The cloistered nuns will guard me, when to their cells I've\n\n               fled.\n\n     \"My bread be measured by the ounce, my drink quench not\n\n               my thirst,\n\n     Then speedily my death will come, nor will the princess\n\n               know.\"\n\n     \"How can that be, my best beloved, since in that basin curst\n\n     I must thy severed head before the king and princess show.\"\n\n     \"Enclose me in a dungeon dark, where neither sun nor moon\n\n     Shall light the hours I count by sighs until my life has fled.\"\n\n     \"How can that be, my best beloved? the hour will come full\n\n               soon\n\n     When in that gilded basin there the king must see your\n\n               head.\"\n\n     The king knocked harshly at the door as these last words\n\n               were said:\n\n     \"If the Countess still is living, quick, quick, make haste to\n\n               slay.\"\n\n     \"The Countess says her orisons, but soon she will be dead,\n\n     And in a single moment's space her soul will pass away.\"\n\n     \"Oh, let me say a final prayer to bid the world good-night.\"\n\n     \"Make haste to say it, my beloved, for daybreak I can see.\"\n\n     \"Oh, God and Virgin Mary blest, I cannot pray aright;\n\n     It is not death afflicts me so, but shameful treachery.\n\n     \"I pity you more than myself, for your base cowardice;\n\n     With your own hand you take my life, though reason there\n\n               is none\n\n     Except the wicked princess' hand will pay the shameful price.\n\n     May God forgive you at the hour you stand before his\n\n               throne!\n\n     \"Oh, let me say my last farewell to all I've loved so dear,\n\n     The flower of Alexandria, the roses red and white,\n\n     The little tender violets, the fountain waters clear,\n\n     I've tended you with love and care; the princess' hand will\n\n               blight.\n\n     \"Give me my child, fruit of my womb, in my weak arms to\n\n               hold,\n\n     That he may feed upon the breast that swells with its last\n\n               breath.\n\n     It is my blood that he will drink, that runs so faint and cold.\n\n     Drink, little infant, drink the milk that's tinged with bitter\n\n               death.\n\n     To-day you have a mother dear, who loves you tenderly,\n\n     To-morrow a step-mother harsh, of loftiest degree.\"\n\n     The great church bell tolls heavily. Ah, Jesus, who is dead?\n\n     The infant's lips by miracle this wondrous answer made:\n\n     \"The princess, choked with wickedness; her soul in sin has\n\n               fled;\n\n     To part such dear and faithful loves God's holy might for\n\n          bade!\"\n\nThe ballad of The Ship Catharine is one of the best known and most\npopular among the folk-songs of Portugal. Various attempts have\nbeen made by Almeida Garrett, Braga, and others to attach it to some\nhistorical event, but without satisfactory success, and, indeed, its\ncharacter is such that it is apparent that it belongs rather to the\norder of indefinite romance. The incidents in regard to the drawing of\nthe lots to see who shall be eaten, and the ascent of the sailor to look\nfor land, are to be found in the folk-songs of various maritime nations.\nOne of them has been found in Brittany and has been preserved by M.\nLuzel in the Gwerzion Breiz-Izel. It relates that a vessel, which had\nbeen voyaging for twenty-seven years upon the high seas, naturally fell\nshort of provisions, and the crew were compelled to think of eating each\nother:\n\n\"And when they had drawn for the short straw, it was the master of the\nvessel to whom it fell--Great God, is it possible that my sailors will\neat me?\"\n\n\"Little page, little page, you who are quick and nimble--go to the top\nof the main mast to find out where we are.\"\n\n\"And he mounted singing, and descended weeping--I have been to the top\nof the main mast and have not seen any land.\"\n\n\"Go again to the top of the main mast to find out where we are--It will\nbe for the last time.\"\n\n\"He mounted weeping, and he descended singing --I believe that we are\nrestored to land--I have seen the tower of Babylon,\" etc.\n\nA ballad, The Little Midshipman, in the popular songs of Provence, is\nvery similar in incident and language to The Ship Catharine, with a\nchange in the localities, the midshipman seeing Toulon and Marseilles\ninstead of the coasts of Portugal and Spain. In later French folk-song\nthe ballad has become a burlesque after the fashion of Malbrook, and is\nknown as Il \u00e9tait un Petit Navire. This in its turn was developed in\nthe after-dinner song of Thackeray, \"There were three sailors of Bristol\ncity,\" and is an instance of the persistence of folk-song, even though\nchanged in form and purpose. The supernatural element in The Ship\nCatharine is rare in Portuguese popular poetry.\n\n\n\n\nTHE SHIP CATHARINE.\n\n\n     The Catharine was a gallant ship,\n\n          On which a wonder did befall\n\n     I'll tell the story as it happ'd,\n\n          If you will listen one and all.\n\n     The ship had ploughed the long, salt seas,\n\n          Until a year and day had gone.\n\n     Their stores of food were eaten out,\n\n          And beef and biscuit they had none.\n\n     They tried to soak a shoe to eat,\n\n          Its skin so hard they could not gnaw.\n\n     For who should serve his mates for food,\n\n          In turns the deadly lot they draw.\n\n     The shortest straw the captain drew.\n\n          I wot it caused him bitter pain:\n\n     \"Little sailor, climb the top-mast,\n\n          And look for Portugal or Spain.\"\n\n     \"The coast of Portugal or Spain\n\n          On either side I cannot see;\n\n     But seven swords drawn from their sheaths\n\n          Shine bright and bare to slaughter thee.\"\n\n     \"Higher, higher, my little sailor,\n\n     On the top-gallant take your stand,\n\n     Try and see the coast of Portugal,\n\n          Or of Spain the shining strand.\"\n\n     \"What reward, my gallant captain!\n\n          Both Spain and Portugal I see,\n\n     I also see three lovely maidens\n\n          Seated beneath an orange tree.\n\n     \" The eldest of them sews a seam,\n\n          Another spins a shining thread,\n\n     The fairest sits between the two,\n\n          And hangs in tears her lovely head.\"\n\n     \"My darling daughters are all the three,\n\n          I love them dearer than my life.\n\n     For your reward, my little sailor,\n\n          The loveliest shall be your wife.\"\n\n     \"I do not wish your darling daughter;\n\n          The cost of love would be my bane.\"\n\n     \"I 'll give you gold beyond your count.\"\n\n          \"It cost you too much strife to gain.\"\n\n     \"I 'll give to you my courier white,\n\n          A nobler never felt the rein.\"\n\n     \"I do not want your courier white,\n\n          It cost you too much toil to train.\"\n\n     \"I 'll give to you my gallant ship,\n\n          Upon the seas to sail at will.\"\n\n     \"I do not want your gallant ship,\n\n          To navigate I have no skill.\"\n\n     \"What reward then, little sailor,\n\n          Do you demand that I should pay?\"\n\n     \"I want your soul, my gallant captain,\n\n          Your soul with me to take away.\"\n\n     \"Demon, your claim I do deny.\n\n          I will not yield my soul to thee.\n\n     My soul belongs to God above,\n\n          My body I 'll give to the sea.\"\n\n     An angel caught him in her arms,\n\n          And drew him from the boiling spray.\n\n     The demon flew; at eve the ship\n\n          Was anchored safe within the bay.\n\nIt is somewhat singular that with all the enterprise of the Portuguese\nupon the sea during their period of national glory, their perilous and\nadventurous navigations, and their many successful engagements in marine\nwarfare, there should be so few ballads relating to the sea-faring\nexploits. There is one, however, Don Juan d'Armada, which seems to\nrelate to some definite victory over the Turks, but the occasion and\neven the name of the hero are not recorded in authentic history. It has\nmany features, however, which would indicate that it was the account of\nan actual event.\n\n\n\n\nDON JUAN D'ARMADA.\n\n\n     His Majesty, God guard him, gave order for the fleet\n\n     To sail at early daybreak the Turkish foe to meet.\n\n     The admiral's ship at midnight fires the signal gun,\n\n     And to the quay distracted the maids and matrons run.\n\n     Sons and lovers they embrace; they weep with bitter tears;\n\n     Their voices break with sorrow; their hearts are swelled with\n\n               fears.\n\n     On board the busy vessels the noises grow more loud,\n\n     The masters and the boatswains rush eager in the crowd,\n\n     The captain of each frigate his silver whistle blows,\n\n     And on the lofty yard-arms the sailors stand in rows.\n\n     The white sails drop and belly out before the swelling breeze;\n\n     The white foam curls along the prow; the brave fleet seeks\n\n               the seas.\n\n     Don Juan held his course before the favoring gale,\n\n     At midday to the watchman he gave a roaring hail.\n\n     \"Get higher to the mast-head!\" he shouted strong and loud.\n\n     The sailor quickly mounted the thin and shaking shroud.\n\n     \"Sail ho, sail ho,\" he shouted, \"a mighty fleet's ahead,\n\n     Across the whole horizon the line of ships is spread.\"\n\n     A Spanish renegade commanded that proud fleet\n\n     Who by his beard had sworn Don Juan to defeat.\n\n     Don Juan trusted Christ and made a solemn vow,\n\n     The cross within his arms, and standing on the prow.\n\n     Oh, Son of Virgin Mary, give us the heart to fight\n\n     Those dogs of heathen pride, and scatter them in flight.\n\n     The midday sun was bright, when the two fleets grappled\n\n               close,\n\n     And from the roaring cannon a blinding smoke arose,\n\n     The bullets crashed in splinters and shattered plank and\n\n               beam.\n\n     To the sea the scuppers poured a hot and crimson stream.\n\n     The bleeding corpses lay in heaps upon the reeking decks,\n\n     With tattered sails and rudderless the ships were drifting\n\n               wrecks.\n\n     The Turkish captain's galley swung helpless on the sea.\n\n     Of its three hundred sailors were left but forty-three,\n\n     Along its shattered gunwales the masts and hamper drag,\n\n     And weltering in the wake trails its dishonored flag.\n\n     The Turkish fleet was beaten, and fled with sail and oar,\n\n     Until it reached the harbor and anchored by the shore.\n\n     Said the Sultan, \"How came this? Who struck this deadly\n\n               blow?\"\n\n     \"'T was Don Juan d' Armada, who brought our pennons low.\"\n\n     \"I do not mourn the galleys, for I can build me more,\n\n     But I regret my sailors that never will see shore.\n\n     For Don Juan d'Armada give him the honor due;\n\n     He is the king of captains, since he has conquered you.\"\n\nAs in the Spanish romances, there are numerous allusions in the\nPortuguese ballads to the constant warfare waged with the Barbary\ncorsairs, and the adventures of the unhappy captives who fell into their\nhands and were reduced to cruel servitude. A favorite theme with the\nballad-writers was the rescue of the captive through the means of the\nMoorish damsel, who had fallen in love with him as she saw him laboring\nat his tasks. No doubt some such adventures actually happened, and at\nany rate the theme was one which appealed strongly to the imagination of\nthe popular poets. This one ends with a touch of sentiment which might\nseem a modern addition, if the authenticity of the whole ballad was not\nvouched for by so careful a collector as Braga.\n\n\n\n\nTHE CAPTIVE.\n\n\n     I sailed from Hamburg port one mom\n\n          Upon a bonny caravel.\n\n     'T was neither war nor peace at sea,\n\n          When pirate Moors upon us fell.\n\n     They took me as a slave to sell,\n\n          Unto their country of Salee,\n\n     But neither Moor nor Mussulman\n\n          Would give a silver groat for me.\n\n     'T was only a false Jewish dog,\n\n          Who wished to have me for his slave,\n\n     He made my life a bitter pain,\n\n          And beat me like a scurvy knave.\n\n     All day I wove esparto grass,\n\n          At night I turned the hard corn mill,\n\n     A wooden gag between my jaws\n\n          Lest of the meal I'd steal my fill.\n\n     But fortune brought me a kind dame,\n\n          Who pitied the sad life I led,\n\n     She sent me from her table rich\n\n          Fresh meat and wine and good white bread.\n\n     She gave me all things that I asked,\n\n          And something I asked not, as well,\n\n     Within Jewessa's arms I wept,\n\n          But not for her the salt tears fell.\n\n     \"Christian, you need not weep,\" she said,\n\n          \"I know your grief ere it is told.\"\n\n     \"But how can I my home regain\n\n          Without a single piece of gold?\"\n\n     \"H't is to buy a horse you need,\n\n          I 'll give to you my pretty mare,\n\n     You need not wait to find a ship,\n\n          But take the shallop anchored there.\"\n\n     \"Fair dame, 't is not a horse will serve,\n\n          For far is Ceuta and Castille,\n\n     To take a ship and run away,\n\n          Would be your father's slave to steal.\"\n\n     \"Oh, take this purse of yellow silk,\n\n          My mother dying gave to me,\n\n     The golden pieces it contains\n\n          Will richly pay your ransom fee.\n\n     \"And when at home returned again,\n\n          To Christian maidens you can say\n\n     How Jewish hearts can sacrifice\n\n          And show a deeper love than they.\"\n\n     As thus she spoke, the master came.\n\n          \"Oh, master,\" said I, \"God be praised,\n\n     Good news has come across the sea,\n\n          My friends the ransom price have raised.\"\n\n     \"Ah, Christian, what is that you say,\n\n          Many cruzadoes it will need.\n\n     Who gives you enough of gold\n\n          To pay the heavy ransom's meed?\"\n\n     \"My sisters twain have sent me part,\n\n     The other I had kept in store.\n\n          An angel has brought me the gold,\n\n     An angel bright from heaven's door.\"\n\n     \"Hearken, Christian, change your faith, '\n\n          And you shall wed my daughter dear,\n\n     My goods and wealth shall all be thine,\n\n          And joy and peace surround you here.\"\n\n     \"I will not be a cursed Jew,\n\n          Nor heathen Turk of grace denied,\n\n     Nor will I change for all your wealth\n\n          The faith of Jesus crucified.\"\n\n     \"Why are you pale, Rachael, my girl,\n\n          Beloved child, tell me the truth;\n\n     Have you been brought to shameful harm\n\n          By this accursed Christian youth?\"\n\n     \"Oh, let the Christian youth go free,\n\n          For his amend I have no claim,\n\n     If my flower of love he's had,\n\n          I gave it, and he 's not to blame.\"\n\n     He shut her in a dungeon tower,\n\n          Which he with heavy stone blocks made,\n\n     That the base Moors might never know\n\n          That shame had touched a Jewish maid.\n\n     Oh, mandolin, my mandolin,\n\n          Rest silent hung upon the wall,\n\n     My longing love across the sea\n\n          Is borne away beyond recall.\n\nThe Faithful Paladin has a more tragical ending for the captive. The\nballad had its origin in the province of Algarve, but there are several\nvariants in Portuguese as well as similar ballads in Spanish. Calderon\nhas made the theme the subject of a drama under the title of The\nConstant Prince, relating to the captivity and sufferings of Don\nFernando, heir to the throne of Portugal, who was captured by the Moors\nin 1438,\n\n\n\n\nTHE FAITHFUL PALADIN.\n\n\n     Adventured in a Moorish land,\n\n          A paladin, heartstrong and brave,\n\n     Fell into Miramolin's hands,\n\n          To serve him as a captive slave.\n\n     The Moorish king a daughter had,\n\n          More white and fair than jasmine flower.\n\n     Her eyes with sparkling light were glad,\n\n          And youth and bloom her beauty's dower.\n\n     To Safim as she looked one day\n\n          Celima saw the captive knight,\n\n     With pensive gaze turned far away,\n\n          And sadness in his empty sight.\n\n     The touch she felt within her heart\n\n          She sought with shamefaced care to hide,\n\n     None guessed the wound that gave the smart,\n\n          Or heard her weeping when she cried.\n\n     Since then her pastimes had no zest,\n\n          Nor could she even peace regain,\n\n     The longing love that filled her breast\n\n          Grew every day a deeper pain.\n\n     Upon the terrace hours and hours\n\n          She sat and watched the slave below\n\n     Dig at his task among the flowers,\n\n          In summer sunshine's burning glow.\n\n     At last her longing broke her pride,\n\n          She told her passion on her knees.\n\n     He silent stood, and only sighed\n\n          For her he loved beyond the seas.\n\n     Faithful and true to his fond love,\n\n          It fenced his heart with triple shield,\n\n     Not all Celima's charms could move\n\n          A more than pitying grace to yield.\n\n     \"My gold and jewels shall be thine,\n\n          If only you but wish it so,\n\n     And with your freedom give me mine;\n\n          Tell me, Christian, yes or no.\"\n\n     \"I wish no jewels from your hand,\n\n          Or aught that may belong to thee,\n\n     Some one will come from my far land,\n\n          And for my ransom pay the fee.\"\n\n     \"Then let me be your humble slave\n\n          To serve you wheresoe'er you go.\n\n     No better fortune can I crave,\n\n          Tell me, Christian, yes or no.\"\n\n     \"My humble slave you must not be,\n\n     A better fortune is your due;\n\n          How came your love to fix on me,\n\n     Who have no heart to give to you?\"\n\n     \"My God and father I 'll forswear,\n\n          And only yours will seek to know;\n\n     Every curse of heaven I 'll dare,\n\n          Tell me, Christian, yes or no.\"\n\n     \"Your love and riches tempt me not.\n\n          Both love and riches wait for me.\n\n     Accursed be the fatal lot\n\n          That brought me o'er the sad, salt sea.\n\n     ''I spurn a soul that turns to God,\n\n          A heart for me that suffers pain.\n\n     Be happy in the paths you've trod,\n\n          And love a youth who loves again.\"\n\n     When these sad words the captive said,\n\n          With sudden wrath she turned away.\n\n     In seven days the knight was dead.\n\n          Was it her deed? No one can say.\n\nThe epoch of the Crusades is beyond the limit of the popular ballads\nwhich have been preserved, although it is probable that they may have\nhad their foundation in originals of that date. The story of the return\nof the spouse from the Holy Land, and his making himself known after\nvarious trials of his wife's fidelity, is a common one in the ballads\nof all European nations, and is of a character to appeal to the dramatic\ninstincts of the popular poets. Close resemblances to the ballad of\nThe Fair Princess can be found in German, French, and Spanish popular\npoetry, and the theme itself of course dates back to the return of\nUlysses, and to the ballads which were the origin of the Odyssey.\n\n\n\n\nTHE FAIR PRINCESS.\n\n\n     The princess sat in her garden fair;\n\n          With a golden comb she combed her hair.\n\n     She raised her eyes to the azure bay.\n\n          A brave fleet bore in with pennons gay.\n\n     \"Good captain, say, in the Holy Land\n\n          Have you seen my spouse with his brave band?\n\n     \"In Holy Land is many a knight.\n\n          With what point device was he bedight?\"\n\n     \"His steed bore saddle of silver gilt\n\n          The cross of Christ was his gold sword hilt.\"\n\n\"      A knight with these I saw bravely fall\n\n          In fierce assault on a city's wall.\"\n\n     \"A wretched widow I have become\n\n          To mourn and weep in a ruined home,\n\n     I have three daughters, lovely and sage,\n\n          But spouseless and weak in orphanage.\"\n\n     \"What gift to him who returns your spouse?\"\n\n     \"All the gold and silver in the house.\"\n\n     \"Of gold and silver I have no need,\n\n     Some other guerdon must be my meed.\"\n\n     \"I have three great mills; all shall be thine.\n\n     They grind white wheat and benzoin fine,\n\n     The delicate flour, so finely wrought,\n\n     The royal stewards have always sought.\"\n\n     \"For your three mills I have no desire,\n\n     Some other reward must pay my hire.\"\n\n     \"My roof tile of gold and ivory.\"\n\n     \"Your gold and iv'ry tiles are not for me.\"\n\n     \"My daughters fair, you shall have them all;\n\n     Two to serve you in your banquet hall;\n\n     The third and fairest shall be your bride,\n\n     In love's nest to slumber by your side.\"\n\n     \"Princess, your fair daughters count for nought,\n\n     A costlier gift is in my thought.\"\n\n     \"I have nothing more to offer thee;\n\n     No other gift can you ask of me.\"\n\n     \"But I only ask, and you can spare\n\n     The simple gift of your body fair.\"\n\n     \"A fouler insult knight ne'er gave.\n\n     Haste, vassals, and scourge this loathly knave.\"\n\n     \"The wedding ring with diamonds bright,\n\n     We broke in twain on our bridal night.\n\n     Where is the half you have kept so dear?\n\n     The other half you can see it here.\"\n\n     \"How many tears you have made me shed!\n\n     How slow the lingering years have fled!\n\n     What pains and griefs lie in your debt!\n\n     When bliss like this cannot forget.\"\n\nThe ballad of Dom Duardos and Flerida has an antique flavor in its\nsimplicity and indefiniteness, as in its element of imaginative poetry,\nwhich would lead to a belief in its ancient origin, dating beyond the\nacquirement of more accomplished art in the popular poets. A similar\nballad is to be found in the Castilian.\n\n\n\n\nDOM DUARDOS AND FLERIDA.\n\n\n     'T was in the month of April,\n\n          The day before May day,\n\n     When roses red, and lilies white,\n\n          Are blooming bright and gay.\n\n     The night was calm and cloudless,\n\n          With golden stars arrayed,\n\n     The Infanta, fair Flerida,\n\n          In her wide garden strayed.\n\n     \"God guard you, tender flowers,\n\n          Great joy you've given me;\n\n     I go to a strange land;\n\n          Such is my fate's decree.\n\n     \"If my father seeks me,\n\n          He who loves me well;\n\n     Tell him that love has drawn me\n\n          Within its fatal spell.\n\n     \"Tell him that fateful love\n\n          Has seized me in its hold;\n\n     I know not where I go,\n\n          And none to me has told.\"\n\n     Then Dom Duardos spoke:\n\n          \"Oh, weep not so, my dear,\n\n     In the great realm of England\n\n          Are fairer things than here.\n\n     \"There are more limpid streams,\n\n          And gardens yet more fair.\n\n     A thousand flowers blooming,\n\n          And scenting all the air.\n\n     \"Three hundred maids shall serve,\n\n          And all of noble strain,\n\n     And palaces of silver,\n\n          Where you shall nobly reign.\n\n     \"With emeralds of green,\n\n          And finest Turkish gold,\n\n     Upon the shining walls\n\n          The story shall be told\n\n     \"How, to do you honor,\n\n          I fought Primaleon.\n\n     I did not fear his strength,\n\n          When your bright glances shone.\"\n\n     When fair Flerida heard,\n\n          She wiped her tears away.\n\n     And hand in hand they went\n\n          To where his galleys lay.\n\n     The fifty galleys brave\n\n          Moved out upon the deep,\n\n     And to their chiming oars\n\n          Flerida fell asleep,\n\n     In Dom Duardos' arms,\n\n          Whose heart with joy did leap.\n\n     Know all men that are born,\n\n          How sure is fate's decree,\n\n     From neither love nor death\n\n          Can mortal man be free.\n\nBallads on the subject of the slaying a would-be ravisher with his own\narms are common in popular poetry, and striking examples are found in\nScotch, French, and Spanish. There are several variants in Portuguese of\nThe Pilgrim Maid, but the best is that furnished by Almeida Garrett.\n\n\n\n\nTHE PILGRIM MAID.\n\n\n     Adown the lofty mountain green\n\n          The pilgrim maid descends:\n\n     No fairer and no purer maid\n\n          To sacred station wends.\n\n     Her long robe catches in the thorns,\n\n          That strew the grassy mat,\n\n     Her lovely eyes are downward cast,\n\n          And hidden by her hat.\n\n     A knight pursues her footsteps fast,\n\n          With evil in his eyes,\n\n     But he can hardly reach her side,\n\n          Though his best speed he tries.\n\n     At last he's caught her, as she stops\n\n          Beside the olive tree,\n\n     That at the holy hermit's door\n\n          Stands fair and tall to see.\n\n     She leans against the sacred wood,--\n\n          \"By God and Saint Marie,\n\n     This holy place should be my guard,\n\n          Oh, do no wrong to me.\"\n\n     The false knight was too base of heart\n\n          To feel God's sacred grace.\n\n     He throws his arms around her form\n\n          In strong and fierce embrace.\n\n     In mad and furious wrestle,\n\n          Their struggling arms are wound;\n\n     The maiden's strength is crushed by his:\n\n          She's cast upon the ground.\n\n     But as she falls she pulls the dirk,\n\n     That in his belt she spies;\n\n     She strikes it deep to his false heart,\n\n          And out the black blood flies.\n\n     \"Oh, pilgrim maid, I beg and pray\n\n          By God and Saint Marie,\n\n     Tell not of my dishonored death,\n\n          Or how you've punished me.\"\n\n     \"I 'll tell the tale in your own land,\n\n          And in mine vaunt it too,\n\n     How such a villain, false and base,\n\n          With his own blade I slew.\"\n\n     She pulls the cord that swings the bell;\n\n          It makes a solemn din.\n\n     \"Oh, hermit, pray that God may save\n\n          This soul that dies in sin,\n\n     And grant a grave in holy ground\nHis body to lie in.\"\n\nThe Portuguese ballads, which relate to domestic tragedies, without\nreference to historic events, are numerous, and very frequently of a\nhigh order of merit. They have the characteristics of folkpoetry in\ntheir dramatic interjections and irregularities, but often have a\nconsistency and strength not found in the more romantic ballads. The\nDeath-Bed Marriage is a specimen of this class.\n\n\n\n\nTHE DEATH-BED MARRIAGE.\n\n\n     From the frontier of Castille the bitter news has flown,\n\n     The brave Dom Juan is dying; how his dear love will moan;\n\n     Three doctors grave were summoned, the most renowned for\n\n               skill,\n\n     If they to life restore him gold will their purses fill.\n\n     The youngest two declared that the malady was slight;\n\n     But when the elder entered he saw with clearer light.\n\n     To the dying man he said, \"You've but three hours to live,\n\n     To solemn thoughts and duties that short time you should\n\n               give.\n\n     \"One will serve to make your will, and purge your burdened\n\n               soul,\n\n     One is for the sacrament, the church's sacred dole;\n\n     The third and last shall serve you, while tolls the passing bell\n\n     To see your best beloved, and say a last farewell.\"\n\n     While these sad words gave warning, fair Isabel stood by.\n\n     He turned to look upon her, with death mist in his eye.\n\n     \"You have done well, my treasure, my death to look upon;\n\n     I 'll pray the Virgin Mary to heal the wrong I've done.\"\n\n     While thus he spoke in anguish, there came his mother dear,\n\n     \"My darling son, what ails you, why is your soul in fear?\"\n\n     \"Oh, mother, I am dying; I have not long to last;\n\n     Three hours to live they gave me, and one's already past.\"\n\n     \"Son of my womb, consider, with death's hand on you laid,\n\n     Have you no debt of honor to pay some noble maid?\"\n\n     \"Yes, mother, to my anguish I owe such debt of shame;\n\n     That God may not in judgment condemn my soul to flame!\"\n\n     \"It is to Dona Isabel I owe that shameful debt;\n\n     But a thousand cruzadoes a spouse for her will get.\"\n\n     \"No gold nor silver money will pay for honor lost;\n\n     Thy cruzadoes are worthless as leaves the wind has tost.\"\n\n     \"I 'll leave her to the doctors that they no skill may spare,\n\n     And you, my darling mother, will have her in your care,\n\n     A city for her dowry the day that she shall wed--\n\n     If any man refuse her, the axe shall have his head.\"\n\n     \"The honor of a maid is not paid or bought with land,\n\n     Wed her, well-beloved, with your cold and dying hand,\n\n     That she may be your widow, and bear an honored name,\n\n     And though she weeps with sorrow it will not be for shame.\"\n\nThe ballad of Dom Aleixio, of which there are several versions, has a\nlightness of touch in the description of the masquerading maid, which\nis not often found in the popular ballads, although the conclusion is\nsufficiently tragic.\n\n\n\n\nDOM ALEIXIO.\n\n\n     We are three sisters, young and gay,\n\n          Our cheeks and eyes the likeness show;\n\n     In broidering we spend the day,\n\n          Or teach each other how to sew.\n\n     The youngest, in her youth elate,\n\n          The fancy took, one summer night,\n\n     To pass the orange garden gate,\n\n          With two flambeaux to give her light.\n\n     She wore a pretty page's suit,\n\n          That showed her shape so trim and neat;\n\n     In light, fair hands she held a lute,\n\n          And colored shoes adorned her feet.\n\n     She strutted up and down the road,\n\n          With mimic of a martial stride.\n\n     \"Fair maidens here have their abode;\n\n          Which of the three shall be my bride?\"\n\n     Upon the balcony we leant,\n\n          And laughed to see her gallant guise;\n\n     At length the torches' flame was spent;\n\n          The moon had risen in the skies.\n\n     As to the gate her way she took\n\n          When all her sportive tricks were done,\n\n     She saw with sudden startled look\n\n          A hermit on a bench of stone.\n\n     \"Father, what do you here?\" she cries.\n\n          He answered not, but stood upright;\n\n     So tall his stature seemed to rise,\n\n          The stoutest heart would feel affright.\n\n     \"If you 're a demon, as you seem,\n\n          This sacred cross bids you avaunt.\n\n     If your lost soul you would redeem,\n\n          The holy priest shall masses chant.\"\n\n     \"I'm not an imp from hell's domain;\n\n          The holy cross I do not fear;\n\n     I'm not a soul that waits in pain,\n\n          For a redeeming mass to hear.\n\n     \"But Dom Aleixio's ghost am I\n\n          To save you from a deadly strife;\n\n     There seven men in ambush lie,\n\n          With naked swords to take your life.\"\n\n     \"Indeed! then by the living God,\n\n          And by the Virgin Mary's grace,\n\n     Were they twice seven, on the sod\n\n          I would not yield a foot of space.\n\n     \"Come on, come on, you sneaking band,\n\n          And show your valiance in the light;\n\n     With good sword in each valiant hand,\n\n          See, mine is ready for the fight.\n\n     \"If weaponless is one of you,\n\n          To him my own sword I will lend;\n\n     With this good dagger, keen and true,\n\n          I can right well my life defend.\"\n\n     As thus she spoke these words of pride,\n\n          The hermit off his robe did throw;\n\n     She snatched the dagger from his side,\n\n          And pierced his heart with deadly blow.\n\n     \"Oh, who has slain my lover true,\n\n     That lies before me on the ground?\"\n\n     \"'T was you, my lady, only you\n\n     Had fateful power to give the wound.\"\n\n     Rise up, Maria, from your knees,\n\n          In vain in prayer your hands are crost,\n\n     The sobbing of the orange trees\n\n          Bewails your soul, forever lost.\n\nThe ballad of Dom Pedro Menino was found by Signor Braga in the Azores\nislands, and is by him attributed to an actual historical event, the\nmarriage of Dom Pedro Nino, a simple knight, to the infanta Beatrixe\nof Portugal; but, notwithstanding the similarity of names, it must be\nconsidered as at least doubtful.\n\n\n\n\nDOM PEDRO MENINO.\n\n\n     The marquis had three gallant sons,\n\n          Each one was handsome, brave and tall;\n\n     The king commanded them to come,\n\n          And serve as pages in his hall.\n\n     The first put on the royal robe;\n\n          The next the ribboned shoe-strings tied;\n\n     The third and youngest of the three\n\n          His prentice hand as barber tried.\n\n     The princess saw his blooming face,\n\n          And smiled on him with loving eye;\n\n     The King was told the shameful thing,\n\n          And swore the daring page should die\n\n     He cast him in a dungeon cell,\n\n          Within a tower great and strong.\n\n     While waiting there the fatal day,\n\n          A huntsman chanced to pass along.\n\n     He saw Dom Pedro, as he passed.\n\n          \"Cousin, what do you there?\" said he.\n\n     The prisoner answered through the grate,\n\n          \"I'm destined for the gallows tree.\n\n     \"To-morrow morn I'm doomed to die,\n\n          And to the ravens shall be fed,\n\n     All for a simple word of love\n\n          That to the princess I had said.\"\n\n     The huntsman to the marquise goes,\n\n          \"I bring you news of woe and scorn,\n\n     Dom Pedro is condemned to die,\n\n          As sure as comes to-morrow's morn.\"\n\n     The marquise mounted a fleet steed,\n\n          And all her servants followed on,\n\n     Their mantles hung upon their arms,\n\n          They had not time their cloaks to don.\n\n     \"What do you in a prison cell?\"\n\n          \"I'm doomed to the black gallows tree,\n\n     Because I kissed with love words light\n\n          The royal maid, who smiled on me.\"\n\n     \"Come, take your sweet-voiced mandolin,\n\n          And sing in tune the while you play\n\n     The gentle song your father made\n\n          In honor of St. John's fair day.\"\n\n     Is such a woman from God's hand?\n\n          Her heart is harder than a stone.\n\n     Her son must die at morning's light;\n\n          She bids him sing in joyous tone.\n\n     \"O, what a lovely day,\n\n          The bright day of St. John\n\n     When youths and maidens sweet\n\n          Their shining garments don;\n\n     They smile as hand in hand,\n\n          They move with dancing feet,\n\n     Some bearing blushing roses,\n\n          And some the basil sweet.\n\n     How sad it is for me\n\n          In prison cell to lie,\n\n     And never see the sun\n\n          That sparkles in the sky.\"\n\n     The King, who rode his courser white,\n\n          That he might view the royal chase,\n\n     Reined in his steed and loitered there\n\n          With silent wonder in his face.\n\n     \"What voice divine is that I hear,\n\n          That fills the air with melody?\n\n     Is it the angels in the sky,\n\n          Or magic sirens in the sea?\"\n\n     \"It is no angel in the sky,\n\n          Nor magic siren in the sea,\n\n     It is Dom Pedro in the tower,\n\n          Condemned to die for love of me.\n\n     I'd wish to have him for my spouse,\n\n          If that the King would set him free.\"\n\n     \"Bid the jailer hasten there;\n\n          Take off his chains and let him go.\n\n     Take him, daughter, for your spouse,\n\n          Since God himself has wished it so.\"\n\nThe ballad of Count Nillo may perhaps be attributed to the same real or\nimaginary origin as the preceding on account of some similarity in the\nname and the language, although the denouement is different. The trees\nwhich spring from the tombs of the unfortunate lovers and unite their\nbranches is one of the most familiar images in folk-poetry, and hardly\nany collection of national ballads is without an example.\n\n\n\n\nCOUNT NILLO.\n\n\n     Count Nillo in the river halts to bathe his weary steed;\n\n          While the thirsty stallion drinks the Count sings loud and\n\n               high;\n\n     The evening shade had darkened down; the King's sight\n\n               was not clear:\n\n          The Infanta asked her heart if she would laugh or cry.\n\n     \"Keep silent, daughter! hearken! What sweet song do you\n\n               hear?\n\n          Is it a heavenly angel, or siren of the sea?\"\n\n     \"It is no heavenly angel's song, or siren's magic voice,\n\n          But Nillo, the Count Nillo, who comes to marry me.\"\n\n     \"Who speaks of the Count Nillo, who dares to breathe his\n\n               name?\n\n          That traitor who defied me, and whom I have exiled.\"\n\n     \"The fault is mine alone; I could not live without him,\n\n          Oh, pardon the Count Nillo, pardon your only child!\"\n\n     \"Silence, dishonored daughter, let me not see your shame,\n\n          Before the morning lightens, the Count shall lose his head.\"\n\n     \"Let the headsman be prepared to take my life likewise,\n\n          And the sexton dig a grave wide-for a double bed.\"\n\n     The mournful bells are ringing; for whose death do they\n\n               knell?\n\n          Count Nillo has been slain; the Infanta's soul has flown;\n\n     The body of Count Nillo was buried in the porch,\n\n          The Infanta laid to rest before the altar throne.\n\n     A cypress and an orange sprang from these lovers' graves,\n\n          They grew and leaned together, and with their branches\n\n               kissed.\n\n     The King in savage anger\u00bb bade axemen cut them down,\n\n          But from their severed trunks arose a heavenly mist.\n\n     From his cloud came a pigeon, from her cloud a ringdove,\n\n          They flew before the King at his table as he ate.\n\n     \"Accursed be the loves that thus mock me to my face,\n\n          And neither life nor death has power to separate.\"\n\n\n\n\nHUNGARIAN FOLK-SONGS.\n\n\n|There is a Hungarian proverb which says, \"The\nMagyar amuses himself by weeping.\" There is an underlying element of\nmelancholy in this proud and high-spirited race, and its susceptibility\nto sadness is manifest in its folk-poetry as in its remarkable\nand powerful national music, which has for the fine ear a note of\nlamentation beneath its fiery tone. This is not singular, for the\nfolk-songs of almost every nation have this pervading element to a\ngreater or less degree, characterized by shades of temperament and\nnational and historical influences, and showing that the minds of\nprimitive peoples were most deeply affected by the woes of life rather\nthan its joys, and the disappointments rather than the successes of\npassion, which express themselves in poetry. The aspects of nature,\nparticularly the loneliness of vast plains such as exist in Hungary,\nand the enforced pensiveness of the shepherd life, exercise a powerful\ninfluence in giving a melancholy tinge to popular poetry, and in its\nmelody and in its thought it breathes the note of the rain-laden breeze\nthat sighs across the vast expanse, and the lights of whose magic\nsunshine are rather of sadness than exhilaration. Like all primitive\npoetry, born in times of strife and a disorganized and turbulent\ncondition of society, the Magyar ballads deal with violent passions\nand bloodshed, and the brigands, who were rather military outlaws\nthan common robbers, are the popular heroes, and appeal to the peasant\nimagination as the embodiments of the revolt of the people against the\ntyranny of the rich and powerful. But, in spite of their exploits,\nthe gallows always waits for them, and the ballads end with the dismal\nspectacle of the body swinging in the wind on the deadly tree, while in\nthe midst of their carousings the note of sadness and the foreboding of\ncertain fate constantly intrudes. The Magyar brigand ballads have a much\ndeeper element of poetry and passion than is to be found in the coarse\nhumor and vulgar trickery of the English Robin Hood ballads, and express\na finer and more delicate fibre of national feeling. The prevalent\ncharacteristics of Magyar folk-poetry are, however, the same as those\nof the higher standard of popular ballads, and were produced by similar\ninfluences, and in similar condition of mind. There is the same vigor\nof expression and strength of natural imagery, the same abruptness\nand disconnection in the construction in which dramatic dialogue is\ninterjected into description with a perfect faith in the hearer's\ncomprehension, the same na\u00efvet\u00e9 and freshness of language, and the\nsame simplicity and passion of thought. Those striking coincidences\nin subject and form of expression which are noted, to the wonder and\nbewilderment of the students of folk-poetry and folk-tales, in the most\nwidely diverse nations, and which would almost lead to the belief in a\ncommon origin and derivation, or to some means of intercommunication yet\nunknown, are to be found in the Magyar ballads, connecting them with\nthe common stock. In the specimens which follow, the ballad of Poisoned\nJanos is almost exactly similar in construction and refrain to the\nScotch ballad of Lord Randal:--\n\n     \"O, where hae ye been, Lord Randal, my son,\n\n          O, where hae ye been, my handsome young man?\"\n\n     \"I hae been to the wild-wood; mother, make my bed soon,\n\n          For I'm wearie wi hunting, and fain wald lie down!\"--\n\nwith the substitution of the \"crab with four feet\" for the \"eels boiled\nin broo\"--the conventional poisoned dish. The same ballad in substance\nand form of expression, with the same devising of property to friends\nand the same bestowal of a curse upon the murderess, is to be found in\nDanish, German, Dutch, Swedish, Spanish, Italian, and other European\nfolk-poetry, and may yet be discovered in Africa and the South Seas. The\ncircumstance of the infant speaking from the cradle, giving warning of\nthe faithlessness of his mother in Barcsai is common in the folk-ballads\nof many nations, and the incident of a bird's singing ill-news, the\nrequest of a dead man for a peculiar kind of coffin and a favorite\nburial place, and the growing together of flowers from the graves of a\nloving couple, are almost universal features in popular poetry; and the\nrejection of the body of a murdered man by a stream is also familiar.\nThe griefs and sorrows over mortality, the laments of disappointed love,\nthe woes of lonely old age, the remorse for sin, and the fierce passions\nof jealousy and revenge are common to human nature, and are interpreted\nin the same language the world over, whether in civilization or\nbarbarism.\n\nIn regard to the versions which follow, it is needless to state the\ndifficulty of transferring the original vividness of expression, or\npreserving the effect of the repetitions and other peculiarities of\nprimitive poetry in the conventional fetters of modern verse and rhyme.\nThe first ballad, Barcsai, is given in a literal translation in order\nthat these forms and turns of expression may be appreciated. The others\nhave been rendered as literally and with as much of the original flavor\nas possible, but with a consciousness that much of the latter has\ninevitably evaporated. As says M. Jean de Nathy, to whose literal\ntranslations into French, Ballades et Chansons Populaires de la Hongrie,\nI am indebted for my knowledge of Magyar folkpoetry: \"For the greater\npart without rhymes, they abound in repetition of words and parts of\nphrases, in alliterations and parallelism, called by the poet Arany\n'rhymes of thought' which are difficult to render in modern forms of\nverse.\"\n\n\n\nBARCSAI.\n\n\n     \"Go, my master, go to Kolozvar,\n\n     To Kolozvar, to the mansion of my father,\n\n     And bring me, bring me the great piece of linen,\n\n     The great piece of linen, of linen fine that I have had as a\n\n               present.\"\n\n     \"Do not go, my father, do not go, do not quit your mansion,\n\n     For my lady mother, in truth, loves Barcsai.\"\n\n     \"Hearest thou, wife, hearest thou what says the infant?\"\n\n     \"Do not believe him, my dear master, the infant is drunken.\"\n\n     He is gone upon the words of his wife,\n\n     Upon the words of his wife toward Kolozvar.\n\n     Before he had traveled half of the road,\n\n     There came to his spirit the words of the little infant,\n\n     And immediately he returns toward the mansion,\n\n     Toward the mansion. Before his door he halts.\n\n     \"Open the door, open the door, my lady wife.\"\n\n     \"In a moment I will open it, in a moment, my dear, beloved\n\n               master,\n\n     But first let me put on my every-day garment,\n\n     But first let me put on my apron.\"\n\n     \"Open the door, open the door, my lady wife.\"\n\n     \"In a moment I will open it, my dear beloved master,\n\n     But first let me put on my shoes new-soled,\n\n     But first let me knot around my head my every-day kerchief.\"\n\n     \"Open the door, open the door, my lady wife.\"\n\n     She did not know what to say; to open the door she was\n\n               forced.\n\n     \"Give me, give me, the key to the great chest.\"\n\n     \"I cannot give you it, I cannot give you the key of the great\n\n               chest,\n\n     In the neighborhood I have been; I jumped over the hedge,\n\n     And it's there I lost the key of the great chest--\n\n     We will find it at the fair blush of morning,\n\n     At the fair blush of morning, at the brightening of the earth.\"\n\n     Then he struck so strongly the great painted chest\n\n     That he broke it in two halves.\n\n     Barcsai fell out and rolled upon the earth.\n\n     He took his sword and cut off his head.\n\n     \"Hearken, my wife, hearken, my wife, hearken,\n\n     Of three deaths, which do you choose?\n\n     Do you choose that I cut off your head?\n\n     Or with your silky locks that I sweep the house?\n\n     Or do you choose to watch until the morning,\n\n     And serve as a torch to seven wassailers?\"\n\n     \"Of the three deaths I choose\n\n     To serve as a torch to seven wassailers.\"\n\n     \"My servant, my servant, my very little servant,\n\n     Bring me, bring the great pot of pitch.\n\n     Bring me, bring me, the great piece of linen,\n\n     The great piece of linen, of linen fine, received as a present.\n\n     Begin at her head, and to the sole of her feet wrap her,\n\n     The fine linen knot around her head.\n\n     Begin at her head, and to the sole of her feet cover her with\n\n               pitch.\n\n     Begin at the sole of her feet and set the whole on fire.\n\n     \"At her head I will place the Wallach fifer,\n\n     At her feet I will place the gypsy fiddler.\n\n     Whistle, Wallach, whistle from thy Wallach pipe,\n\n     Play, gypsy, play from thy gypsy fiddle,\n\n     Whistle with all thy might, play with all thy soul,\n\n     That the heart of my wife may be rejoiced.\"\n\n\n\n\nKURIS PISTA.\n\n\n     \"Go, my child, where the maidens spin\n\n          Within their chamber fair.\"\n\n     \"Ah, mother, I dare not venture in,\n\n          For Kuris will be there.\"\n\n     \"If he be there, you need not fear,\n\n          The young men will thee guard.\"\n\n     The judge's daughter, with glances clear,\n\n          Sits in the young men's ward.\n\n     Kuris Pista, indeed, was there,\n\n          And to the girl drew nigh,\n\n     His words he spoke with gracious air,\n\n          \"The gay dance let us try.\"\n\n     \"Oh, let me go, or I shall fall,\n\n          And in this place will die.\"\n\n     But Kuris heeded not her call,\n\n          And fire lit in his eye.\n\n     \"Play, gypsy, play more loud and fast,\n\n          Play till your tight strings break.\n\n     Though feet may fail, the dance shall last\n\n          For the mad music's sake.\"\n\n     \"Oh, let me go! Oh, let me go!\n\n          My treasure, let me loose,\n\n     The red blood from my heart does flow,\n\n          And fills my soaking shoes.\"\n\n     \"I will not loose you till you die,\n\n          My treasure and my dove.\n\n     Not once but twelve times o'er have I\n\n          Been spurned in asking love.\"\n\n     \"Oh, mother, open wide the gate,\n\n          Of your leaved garden thick,\n\n     The young men with a litter wait,\n\n          Bearing thy daughter sick.\n\n     \"Oh, mother, open wide the gate,\n\n          Of your rose garden red,\n\n     The young men with a litter wait,\n\n          Bearing thy daughter dead.\"\n\n     Oh, sorrow has her father dear,\n\n          The mother a heartbreak.\n\n     They did not heed their daughter's fear\n\n          Her lover's rage to wake.\n\n     \"Since you would not be mine,\n\n          No other shall you wed.\n\n     My blood shall flow with thine,\n\n          One mingled streamlet red.\n\n     Our bodies side by side\n\n          In one tomb close shall lie,\n\n     To God, the glorified\n\n          Our souls together fly.\"\n\n\n\n\nTHE MURDERED YOUTH.\n\n\n     They have killed the gallant youth,\n\n          For his sixty florins white,\n\n     In the Tizta they have thrown him,\n\n          For his stallion bay and bright.\n\n     The Tizta would not keep him '\n\n          In its waves nor let him float,\n\n     On the strand a fisher found him\n\n          And took him into his boat.\n\n     His mother came to wake him,\n\n          But her voice he could not hear,\n\n     \"Rise up, rise up, my gallant son,\n\n          Your mother's heart is here.\"\n\n     His father came to wake him,\n\n          But his voice he could not hear,\n\n     Rise up, rise up, my gallant son,\n\n          Your father's house is near.\"\n\n     His sweetheart came to wake him,\n\n          But her voice he could not hear,\n\n     \"Rise up, rise up, my rosemary,\n\n          Clasp my neck with arms so dear.\"\n\n     \"Oh, tell me, will you make me\n\n          A coffin of walnut bright?\"\n\n     \"My darling, I will make you\n\n          A coffin of marble white.\"\n\n     \" Oh, tell me, will you robe me\n\n          In a shroud of lawn's fine stitch?\"\n\n     \"My darling, I will robe you\n\n          In a shroud of velvet rich.\"\n\n     \"Oh, tell me, if my coffin new\n\n          You 'll trim with nails of brass?\"\n\n     \"My darling, on your coffin new\n\n          Gold nails shall be thick as grass.\"\n\n     \"Oh, tell me, will you lay me\n\n          In the graveyard's grassy glade?\"\n\n     \"My darling, I will lay you\n\n          In my own rose garden's shade.\"\n\n     \"Oh, tell me, will you mourn me,\n\n          With three maids to see your tears?\n\n\"     My darling, I will mourn you\n\n'     Until all the wide world hears.\"\n\n\n\n\nTHE THREE BRIGANDS.\n\n\n     Always ranging night and day,\n\n          The three brigands bold\n\n     Are seeking their prey,\n\n          In the forest old.\n\n     In the forest old they meet a Greek,\n\n          And the Greek they slay,\n\n     From his full wagon\n\n          Bear booty away.\n\n     Always ranging on the way,\n\n          The three brigands bold\n\n     Reach a roadside tavern's\n\n          Sheltering fold.\n\n     One cries aloud, \"Ho, landlady gay,\n\n          Bring in your good wine.\"\n\n     \"My daughter shall serve,\n\n          And I too am fine.\"\n\n     They eat and drink,\n\n          The three brigands bold,\n\n     But the youngest thief\n\n          Sits pallid and cold,\n\n     To himself he says, \"My cradle should\n\n          A coffin have made.\n\n     My infant linen\n\n          For a shroud been laid,\n\n     And my swaddling cord\n\n          My body swayed.\"\n\n\n\n\nTHE BELLS OF TARJA.\n\n\n     From bells of Tarja the sad notes flow:\n\n          Faded the sweetheart of the brave youth.\n\n     Three doves are ringing the bells of woe,\n\n          To mourn their sister in love and truth.\n\n     With lily flowers they painted her shroud,\n\n          And that is why't is so pure and white.\n\n     Her love bends o'er it, and weeps aloud;\n\n          His heart's black tears its radiance blight.\n\n     They planted rosemary on her grave;\n\n          Weeping he followed his sweetheart's hearse.\n\n     His tears were dew where grave grasses wave:\n\n          \"Return my love or have my curse!\"\n\n     Her linen chemise none will wash now,\n\n          Except the rain of his weeping eyes;\n\n     The tangled curls on her pallid brow\n\n          No one will caress with soothing sighs.\n\n     Again at Tarja the bells ring slow--\n\n          For the youth himself they sadly toll.\n\n     He wept so much for his dove laid low,\n\n          To-day they weep his own parting soul.\n\n     Young maids, young maids of Tarja's plum grove,\n\n          By constant presence pay love's debts.\n\n     For a young man's heart breaks for his dove,\n\n          While a young girl's heart weeps and forgets.\n\n\n\n\nTHE BETROTHED.\n\n\n     \"In the great court of thy small dwelling,\n\n          My dear rose, what doest thou?\"\n\n     \"I cook my pullets; my heart I'm telling\n\n          My love for his supper will come but now.\"\n\n     \"In the great court of thy small dwelling,\n\n          My dear rose, what doest thou?\"\n\n     \"I trim my dress; my heart I'm telling\n\n          My love will be coming with shining brow,\"\n\n     \"In the great court of thy small dwelling,\n\n          My dear rose, what doest thou?\"\n\n     \"I gather flowers; my heart I'm telling\n\n          My garlanded hair will attest my vow.\"\n\n     \"Cook not your fowls, nor trim your dresses,\n\n          Put no flowers in your hair.\n\n     My dear rose pale, for your raven tresses\n\n          A branch of willow you may find and wear.\"\n\n     The fatal fight is done and over,\n\n          Three came back to tell the tale.\n\n     On the bloody field there lies thy lover,\n\n          And his winding sheet is his broken mail.\n\n     \"      Oh, cruel bird, I 'll curse your singing,\n\n          Fatal voice that tears my breast.\n\n     My mother the shroud will soon be bringing,\n\n          And in white grave clothes I 'll be drest.\"\n\n\n\n\nPOISONED JANOS.\n\n\n     \"Whence comest thou with knitted brows,\n\n          My heart, my soul, my little son?\"\n\n     \" I come from my love's sister's house,\n\n               Dear lady mother.\n\n          Oh, my heart aches so,\n\n               Make ready my bed.\"\n\n     \"What has she given you to eat,\n\n          My heart, my soul, my little son?\"\n\n     \"She gave me a crab with four feet, 1\n\n     1 The crab with four feet is the conventional poisonous food\n     in Hungarian folk-lore, as the toad is in English and the\n     spotted frog in French.\n\n          Dear lady mother.\n\n     Oh, my heart aches so,\n\n          Make ready my bed.\"\n\n     \"How served she it for you to dine,\n\n          My heart, my soul, my little son?\"\n\n     \"She served it in a salver fine,\n\n               Dear lady mother.\n\n          Oh, my heart aches so,\n\n               Make ready my bed.\"\n\n     \"Is it that makes you look so white,\n\n          My heart, my soul, my little son?\"\n\n     \" Yes, that will kill me ere the night,\n\n               Dear lady mother.\n\n          Oh, my heart aches so,\n\n               Make ready my bed.\"\n\n     \"What will you leave your father gray,\n\n          My heart, my soul, my little son?\"\n\n     \"My brass-trimmed wagon, new and gay,\n\n               Dear lady mother.\n\n          Oh, my heart aches so,\n\n               Make ready my bed.\"\n\n     \"What will you leave your brother brave,\n\n          My heart, my soul, my little son?\"\n\n     \"My four strong oxen he can have,\n\n               Dear lady mother.\n\n          Oh, my heart aches so,\n\n               Make ready my bed.\"\n\n     \"What will you leave your brother fair,\n\n          My heart, my soul, my little son?\"\n\n     \"My four swift horses for his share,\n\n               Dear lady mother.\n\n          Oh, my heart aches so,\n\n               Make ready my bed.\"\n\n     \"What will you leave your sister bright,\n\n          My heart, my soul, my little son?\"\n\n     \"My household vessels silver white,\n\n               Dear lady mother.\n\n          Oh, my heart aches so,\n\n               Make ready my bed.\"\n\n     \" What will you leave your love's false kin,\n\n          My heart, my soul, my little son?\"\n\n     \"The fire of hell her heart within,\n\n               Dear lady mother.\n\n          Oh, my heart aches so,\n\n               Make ready my bed.\"\n\n     \"What will you leave your mother dear,\n\n     My heart, my soul, my little son?\"\n\n     \"The grief and pain you 'll have to bear,\n\n               Dear lady mother.\n\n          Oh, my heart aches so,\n\n               Make ready my bed.\"\n\n\n\n\nGYURI BANDI.\n\n\n     The rain falls in a few small drops,\n\n          Gyuri Bandi beside the gallows cries,\n\n     Beyond Szeged the woodman chops\n\n          The tree, from which the croaking raven flies.\n\n     Yet Gyuri Bandi naught has done\n\n          But twist his kerchief to a solid cord,\n\n     And knot it round his wife's neck bone,\n\n          To deck a tree for her sovereign lord.\n\n     His shirt and kilt he'd bade her lave,\n\n          That he might ride to his captain's abode.--\n\n     Then he bridled his steed so brave,\n\n          And away to his rose's bower he rode.\n\n     \"Ah, mother dear, I have sinned a sin,\n\n          I've killed my wife with my love to go.\"--\n\n     Then Gyuri Bandi drank at the inn,\n\n          And slept in the cloak of Kasa his foe.\n\n     Gyuri Bandi was bound with chains,\n\n          From the judge's mouth his doom was told,\n\n     The gallows tree in winds and rains\n\n          Dandles and rocks him, alone and cold.\n\n     Gyuri Bandi had never thought\n\n          The wind would rock him on the gallows tree,\n\n     Even Kasa himself, whose blood he'd sought,\n\n          Was dismal at heart the sad sight to see.\n\n\n\n\nTHE MOTHER AND DAUGHTER.\n\n\n     \"Soft shines the light of the evening star,\n\n          Beneath my window my love stands tall.\n\n     Dear mother, let me undo the bar,\n\n          My heart beats fast to come at his call.\"\n\n     \"My darling rose, to the window glide,\n\n          Your honey lips let me deeply kiss,\n\n     A thousand sorrows in my heart abide,\n\n          With but a touch they 'll bloom in bliss.\"\n\n     \"Mother, do you hear his magic call?\n\n          I have tied a bunch of roses red,\n\n     In his hat to shine above them all,\n\n          As pride of his kiss would lift my head.\"\n\n     \"My daughter, you are too young for love,\n\n          Too soon it is for the matron's cap,\n\n     For a maiden's smile the world will move,\n\n          With lover's tears for joy's good hap.\"\n\n\"      Dearest rose, to each other we're due,\n\n          We 'll marry the coming Easter morn,\n\n     Believe me, I 'll be more kind to you\n\n          Than both your parents since you were born.\n\n     \"Mother, do you hear my lover's vow,\n\n          Believe me, my pearl will be my life.\n\n     Dear mother, let me go to him now,\n\n          I die to tell him I'll be his wife.\"\n\n     \"My darling, don't trust to young men's speech,\n\n          He 'll love you while you are not his own,\n\n     But marriage its sorry lore will teach,\n\n          With a cudgel's blow to make you groan.\"\n\n     \"I have seen my father beat you too,\n\n          But for all his blows you love him dear;\n\n     I'm sure I can love as well as you,\n\n          And no warning voice shall make me fear.\"\n\n\n\n\nTHE THREE ORPHANS.\n\n\n     \"Where go ye, dear orphans three?\"\n\n          \"Far from this place for work to seek.\"\n\n     \"Oh, do not go, dear orphans three,\n\n          For work you are too small and weak.\"\n\n     \"Come, I will give you three small wands,\n\n          Upon your mother's grave to knock.\"\n\n     \"Arise, arise, our mother dear,\n\n          Cold and ragged are your flock.\"\n\n     \"I cannot rise, dear orphans three,\n\n          Within my shroud I'm dried to bone;\n\n     But you have now a second mother,\n\n          Who will tend you as her own.\"\n\n     \"When she combs our tangled hair,\n\n          Her talons scratch and make us bleed,\n\n     And when she gives us food to eat,'\n\n          'T is with curses she would feed.\"\n\n\n\n\nBUGA JAKAB.\n\n\n     \"Why do you grumble, comrade, that there's nothing in your\n\n               purse?\n\n          God is good, his gifts are sure, keep up your heart from woe;\n\n     The winter it will soon be past, the bloom come to the furze,\n\n          And where our eyes look round us we will go.\"\n\n     \"How can I help my sadness, lad, how can I drop my care?\n\n          All the ills of life I feel in my bosom sore;\n\n     I cannot sleep nor rest, nor breathe refreshing air,\n\n          My heart is in a well and covered o'er.\n\n     \"My side is naked to the blast, my coat to rags is torn,\n\n          My shoulder blade is bleeding raw, where my belt will chafe,\n\n     My horse has lost a shoe behind, the others they are worn,\n\n          And I'm afraid that none of them are safe.\n\n     \"In my mantle the rain has soaked, and rotted its strength\n\n               away,\n\n          I cannot hope for another; no one will make a gift;\n\n      have my wallet still, but bare and empty it must stay;\n\n          But that is not the worst of all my shrift.\n\n     \"From my trimming of good wolf's fur the hair is falling out,\n\n          Across my flagon's mouth the spider has spun a sheet;\n\n     The joys of youth have left me; no one comes me about,\n\n          To wash my sweated shirt and make it neat.\"\n\n     \"For all the ills of life, my friend, one lives as best one may.\n\n          The blest rays of the sunshine still warm my heart and\n\n               breast.\n\n     When I can't eat, I light my pipe, and puff my care away.\n\n          Poor fellows live; I live as do the rest.\"\n\n\n\n\nTHE FAIR ILONA.\n\n\n          \"Heaven bless you,\n\n               Judge, my lord,\n\n          Keep your house\n\n               In safe accord.\"\n\n          \"What kind fortune\n\n               Did you send\n\n          To my house\n\n               Your steps to bend?\"\n\n          \"I led my geese\n\n               To meadows green,\n\n          The judge's son\n\n               With stones was seen,\n\n          He killed my gosling\n\n               Of yellow sheen.\"\n\n          \"What shall be paid,\n\n               Ilona fair,\n\n          For thy young gosling\n\n               The lad killed there?\"\n\n          \"For each of his feathers,\n\n               A ducat bright;\n\n          For each of his feet,\n\n               A spoon so white;\n\n          For his two wings\n\n               Two salvers dight;\n\n          For his warbling throat\n\n               A horn of might.\"\n\n          \"If your demands\n\n               You place so high,\n\n          Upon the gallows\n\n               The lad must die.\"\n\n          \"May the gallows tree\n\n               Be a rose, my lord,\n\n          And my two arms\n\n               Its strangling cord.\"\n\n\n\n\nTHE BRIGAND'S WIFE.\n\n\n     Often my father and mother I prayed\n\n          Not to send me up to the mountain high,\n\n     To the mountain cold, where the brigand strayed,\n\n          And waited to clutch me as I came nigh.\n\n     At this very hour at the highway cross,\n\n          He waits for the stranger to rob his gold,\n\n     The robbed has only his money's loss,\n\n          But the wretched robber his soul has sold.\n\n     In the morn I rise bloody clothes to lave,\n\n          In the early morn, where the stream runs still.\n\n     Why weepest thou, girl?\"\n\n          No sorrows I have,\n\n          But my fire's sharp smoke has made my eyes fill.\"\n\n\n\n\nTHE GIRL AND THE SHEPHERD.\n\n\n     The night sinks softly on the plain,\n\n          The heifer's bell is still;\n\n     A lone pipe calls with magic strain--\n\n          The girl leans on the sill.\n\n     \"Here on the prairie I am alone;\n\n          My cows and horses rest;\"\n\n     The young girl to the plain has gone\n\n          With longing in her breast.\n\n     The master's herd is moving slow;\n\n          The young girl follows on;\n\n      Dear shepherd, spread your soft cloak now\n\n          The dewy earth upon.\"\n\n     The wheat has not filled out its ear,\n\n          But birds have picked the grain;\n\n     \"See, mother, in the early year,\n\n          How love has brought me pain.\"\n\n     \"My daughter, I will curse your name,\n\n          If you the shepherd wed.\"\n\n     \"Mother, I'll bear your fiercest blame,\n\n          My heart will rest his head.\"\n\n\n\n\nTHE THREE SCARFS.\n\n\n     I've bought three scarfs of white;\n\n          I 'll be white as any swan,\n\n     And none will dare embrace me,\n\n          When the three white scarfs I don.\n\n     I've bought three scarfs of red;\n\n          I 'll be red as any rose;\n\n     My love will rain his kisses\n\n          When such a floweret blows.\n\n     I've bought three scarfs of gold;\n\n          I 'll be yellow as its hue;\n\n     I 'll glitter like a weathercock,\n\n          While all the world shines new.\n\n     I've bought three scarfs of brown;\n\n          I 'll be brown as any owl;\n\n     None will dare to ask a kiss\n\n          From such a timorous fowl.\n\n\n\n\nTHE LOVELIEST FLOWER OF ALL.\n\n\n          In the harvest field there are three flowers.\n\n               These words said the bright flower of corn:\n\n          I am the brightest that charms the hours,\n\n     I 'm gathered for the church, and they say I the flesh of\n\n               Christ new born.\n\n          In the harvest field there are three flowers,\n\n               These words said the flower of the vine:\n\n          I am the brightest in all the bowers,\n\n     I'm gathered for the church, and they say the red blood of\n\n               Christ is mine.\n\n          In the harvest field there are three flowers,\n\n               These words said the wee violet blue:\n\n          I am the brightest beneath the showers,\n\n     For the young maidens cull me to deck the hats of those they\n\n               love so true.\n\n\n\n\nTHE LONESOME ONE.\n\n\n          Before thy door the bright, green corn\n\n               Bends o'er the pebbly path,\n\n          Its blooming flowers are not yet born\n\n               Two doves coo in the math.\n\n          Comes tripping by a village lass:\n\n               Her skirts are wet with dew,\n\n          Has she been raking the moistened grass?\n\n               Oh, I am far from you.\n\n          My sweetheart, I'm as far from you\n\n               As I have been for years,\n\n          Of her I ask each stranger new,\n\n               No tidings reach my ears.\n\n     O'er the lone prairie the wind whistles cold,\n\n          The young shepherd sadly follows his way.\n\n     \"Where is your flock?\"\n\n     Oh, my sheep I have sold.\"\n\n          \"Where is your gayety?\"\n\n     Vanished away.\"\n\n     \"Your sheep you have sold! Why did you so?\"\n\n          \"Because on earth I shall need nothing more.\"\n\n     \"Why did your light heart to a sad one grow?\"\n\n          \"Because my false love has wounded it sore.\"\n\n     \"God guard you, dear prairie, and comrades brave,\n\n          My reed pipe again I shall never play.\"\n\n     O'er the lone prairie the bitter winds rave,\n\n          The young shepherd sadly follows his way.\n\n          May beetle, golden beetle;\n\n               I do not ask when summer will come;\n\n          I do not ask how long I shall live,\n\n               I only ask for my rose in bloom.\n\n          May beetle, golden beetle;\n\n               I do not ask for the summer's light,\n\n          For a summer's fire in my heart has burned,\n\n               Since my rose first flamed upon my sight.\n\n     The time will come, the time will come,\n\n          When you will come to weep before the house;\n\n     When you will clasp the doorpost of the entrance,\n\n          In deep regret for your unfaithful vows.\n\n     The time will come, the time will come,\n\n          When you will come to weep before my door.\n\n     Perhaps I may a word or two say to you,\n\n          But not the words I said to you before.\n\n          When I was a gallant lad,\n\n               I'd come from my door with glee;\n\n          I'd thrill the air with shouts of joy,\n\n               And the world would know 5t was me.\n\n          Now I am a graybeard old,,\n\n               I come from my door with pain,\n\n          Let me shout as loud as I may,\n\n               No voice will answer again.\n\n          The petals of the white rose fall;\n\n               To-day another weds my rose.\n\n          Through the wood the violins call,\n\n               And my heart shuts tight with its woes.\n\n          The shining star adorns the night,\n\n               In vain for thee my heart has beat,\n\n          My star for me has quenched its light,\n\n               But in my heart its ray is sweet.\n\n          At Dobreesen flowers a fair rose-tree;\n\n               It bears a lovely perfumed rose,\n\n          But what is that lovely rose worth to me,\n\n               If far beyond my reach it blows.\n\n          The young postilion is sounding his horn,\n\n               He brings a letter from my dear.\n\n          But her letter of gold leaves me forlorn,\n\n               Since she comes not to meet me here.\n\n               Down there under the steep hillside,\n\n               A small apple-tree blooms in pride.\n\n               Its flowers are fair; its fruit is sweet,\n\n               A little maiden sits at its feet.\n\n               She tresses garlands of red and white;\n\n               On her breast they turn to silver bright.\n\n               She lifts her eyes to the heavens vast,\n\n               And sees a wide road winding past.\n\n               Its borders two like silver gleam,\n\n               The middle is a golden stream.\n\n               A lamb walks there with curly bell,\n\n               On each curl point tinkles a bell.\n\n          The wild duck broods in the reedy grass,\n\n               In the meadow rich ripens the corn,\n\n          But the place where lives a faithful lass\n\n               I never have found since I was born.\n\n     In the lonesome night the stars are falling,\n\n          The young man drags his feet toward the house.\n\n     Heavy in his heart are voices calling,\n\n          And hatred of the world his miseries arouse.\n\n     In the lonesome night the stars are falling,\n\n          In the white mansion the candle glimmers red.\n\n     Flowers strew the couch. Oh, the sight appalling!\n\n          The brown girl in her shroud lies stretched upon her bed.\n\n          They are sweeping the wide street.\n\n               The soldiers start marching down\n\n          A maid of sixteen, red and sweet,\n\n               Is following out of town.\n\n          The young captain turns and speaks\n\n               \"What this means I must know.\"\n\n          She answers with tear-wet cheeks,\n\n               \"I follow where'er you go.\"\n\n          The roads are thick with snow,\n\n               The black steed gallops wide.\n\n          His bridle reins hang low\n\n               In his mad master's ride.\n\n          The brigand on the steed\n\n               Breathes deep, and sadly sighs,\n\n          \"I dreamed not, in my need,\n\n               She'd sell me to the spies.\n\n          \"Of all the brigands cursed,\n\n               Who rob on the wide plain,\n\n          The soldiers seek me first,\n\n               To bind me with a chain.\n\n          \"My father was a thief,\n\n               My grandfather likewise.\n\n          To honest life's relief,\n\n               How can such seed arise?\"\n\n\n\n\nFOLK-SONGS OF ROUMANIA.\n\n\n|It gives one a strange idea of what treasures of primitive poetry and\nmusic may yet be found among the peasantry of Europe, when a volume like\nthis--The Bard of the Dimbovitza, Roumanian Folk-Songs. Collected from\nthe Peasants by Helene Yacaresco. Translated by Carmen Sylva and Alma\nStrettell--has been brought to light from the single district of\nRoumania. The preface by Carmen Sylva (the Queen of Roumania), herself\nan accomplished literary artist, says that these songs were collected\nfrom the lips of peasant girls, the lute players, the reapers, and the\ngypsies, by the young poetess Helene Yacaresco, in the district of\nRoumania, in which her father's domain is situated. She spent four years\nin collecting them, and even although her family has been known and\nhonored for centuries by the people, she encountered many difficulties\nin endeavoring to induce the peasants to repeat their songs to her. \"She\nwas forced to affect a desire to learn spinning that she might join the\ngirls at their spinning parties, and so overhear their songs more\neasily; she hid in the tall maize to hear the reapers crooning; she\ncaught them from the lips of peasant women, of lute players Cobzars,' so\ncalled from the name of their instrument, the cobza, or lute, of\ngypsies, of fortune tellers; she listened for them by death-beds, by\ncradles, at the dance, and in the tavern with inexhaustible patience.\"\nThe result is a volume which is not only equal in quality to that of the\nfinest folk-song and poetry which any European nation possesses, and\nwith a peculiar and original flavor of its own, revealing strong and\noriginal national characteristics, but, one is tempted to say, with more\nof the sublimated and naked essence of poetry than can be found in any\nwork of modern civilized poets. There are times when the vivid strength\nof simple passions, expressed with the force of naked directness without\nany weakening refinement of language, the feelings of a people to whom\nlove is a genuine and undisguised passion, in whom hatred burns the\nblood and finds relief in the shot or the stab, to whom death is an\nobject of vital horror as the end of life and happiness, and to whom\nreligion is an embodiment of direct supernatural power, produce a\npoetry, which reaches a force of expression and touches the heart with a\npower to which all modern refinements of thought and language are unable\nto attain. It is, in comparison, as if a cloud of unreality, the\nemanations of artificial thoughts and sentiments, or the dust, as it\nwere, of ages, had fallen upon the native freshness of feeling and\nlanguage, and that civilized men were no longer able to feel so deeply\nor to speak so clearly as those who had never been burdened with\nknowledge, or the strength of whose emotions had not been diluted by the\nrestraints and refinements of civilization, transcendental religion, or\nartificial society. There is, of course, a power and subtlety of thought\nin minds which have inherited the world's wisdom and knowledge, and\ntheir thoughts have a scope and extent to which those of unlettered\npeasants are strangers, and their views of the problems of life and\nhumanity are as those of a man to a child; but the strength of their\nfeeling in simple passion is much diluted and their powers of expression\nare correspondingly less, so far as vividness and simplicity are\nconcerned. As an illustration of the weakness of purely artistic\nliterature, whatever its beauty and skill, to touch the depths of\nfeeling like the purely unsophisticated language of the natural poets,\nwho simply endeavored to express their emotions without thought of form\nor artistic melody, may be compared the closing aspiration of the famous\nand beautiful serenade in Maud,--\n\n     She is coining, my own, my sweet;\n\n          Were it ever so airy a tread,\n\n     My heart would hear her and beat,\n\n          Were it earth in an earthy bed;\n\n     My dust would hear her and beat,\n\n          Had I lain for a century dead;\n\n     Would start and tremble under her feet,\n\n          And blossom in purple and red,--\n\nwith the simple utterance of the Javanese lover in one of the natural\nflowers of folk-song,--\n\n     I do not know when I shall die,\n\n          I have seen at Badoer many that were dead,\n\n          They were dressed in white shrouds, and\n\n          Were buried in the earth;\n\n     If I die at Badoer and am buried beyond the\n\n     Village eastward against the hill,\n\n          Where the grass is high,\n\n     Then will Adinda pass by there, and the border\n\n     Of her sarong will sweep softly along the grass,--\n\n          I shall hear it.\n\nThere are times when the vitality of poetry seems to be lost as one\nfeels the simple and direct power of some of these ancient songs which\nspring from the heart and not from the head, and all modern verse\nseems like the pale and artificial product of intellectuality, weakened\nfeeling, and language refined until it has lost its strength, and one is\nalmost tempted to believe that civilization is as fatal to poetry as it\nis to religious enthusiasm. Of course this is not the case. The human\nheart has not lost its strength of feeling nor its power of expression,\nand modern poetry is greater in its power and wider in its scope than\nfolk-song. But it has lost some of the peculiar strength which comes\nfrom simplicity of feeling and overmastering power of passion; and its\nlanguage, if it has many delicate shades of meaning, which that of\na primitive people has not, has lost the clearness and vividness of\nexpression of those whose words are few, but which are the creation of\ntheir hearts and not of their intellects.\n\nThese folk-songs of Roumania are full of the pathos and strength of\nsimple passions, and they show a native poetical spirit and power of the\nimagination which is rare in any nation. Doubtless many of them are old,\nthe inheritance of long tradition and familiar forms of expression, but\nit is indicated that many of them are new, and that the stock is being\nconstantly added to by the force of a poetic inspiration, which is still\nin full life and flower. We are told that many of the spinning songs are\nimprovisations, the girls all standing in a circle, the best spinner or\nsinger in the centre, and that she begins to improvise a song, which\nis passed on for continuance with the distaff to any one whom she may\nselect. Doubtless these are on familiar themes and with familiar forms\nof expression, like all folk-songs, but they show the vital spirit of\npoetry still existing, and the bulk of more elaborate compositions is\nprobably still being added to. This fact confirms the belief, which\nintelligent observers have noted, that the Roumanians and the kindred\npeoples of this race have an intellectual power which is of an undecayed\nand still progressive people, very different from the effete Ottomans\nby whom they were so long oppressed, and that, if the future promised\nan opportunity for original development, instead of absorption into\nthe Muscovite empire, they might produce a homogeneous and progressive\nnation with original features and an independent contribution to\ncivilization. At any rate the volume gives evidence of remarkable\nintellectual power among the Roumanian peasantry, and it may be hoped\nthat this treasure-trove will stimulate other researches, and the\ndiscovery of a larger bulk of native poetry, if none of finer value.\nWhether any touch of sentiment has been added in the translations with\nthe higher poetic form in some instances cannot, of course, be apparent,\nbut the internal evidence would indicate that essential faithfulness\nhas been preserved and that the substance is as genuine as the poetry is\noriginal and powerful.\n\nSome of the most striking songs in the collection are those of the\ngypsies, which have a wild and fiery tone like the gypsy music which has\nstirred the blood of refined civilization, as it has been performed by\norchestras with all the effect of modern instrumentation, in a way that\nthe most skillful composers have failed to do, and shows the element of\npoetry and passion in that strange and exotic race. What stronger beauty\nof expression or grace of feeling can be found than this?--\n\n     There where the path to the plain goes by,\n\n     Where deep in the thicket my hut doth lie,\n\n     Where corn stands green in the garden plot--\n\n     The brook ripples by so clearly there,\n\n     The way is so open, so white, and fair--\n\n     My heart's best beloved, he takes it not.\n\n     There where I sit by my door and spin,\n\n     While morning winds that blow out and in\n\n     With scent of roses enfold the spot,\n\n     When at evening I softly sing my lay,\n\n     That the wand'rer hears, as he goes his way--\n\n     My heart's best beloved, he hears it not.\n\n     There, where on Sunday I go alone\n\n     To the old, old well with the milk-white stone,\n\n     Where by the fence, in a nook forgot,\n\n     Rises a spring in the daisied grass,\n\n     That makes whoso drink of it love--alas!\n\n     My heart's best beloved, he drinks it not.\n\n     There, by my window, where day by day,\n\n     When the sunbeams first brighten the morning gray,\n\n     I lean and dream of my weary lot,\n\n     And wait his coming, and softly cry\n\n     Because of love's longing that makes one die--\n\n     My heart's best beloved, he dieth not.\n\nA peculiar character in the Roumanian songs is that of the Heiduck,\na sort of combination, it would seem, of the knight-errant and the\nbrigand, with all the legendary attributes of beauty, strength, courage,\nand generosity of the half-fabulous popular heroes of all nations. The\nSong of the Heiduck has all the buoyant spirit and gayety appropriate to\nsuch a figure, but is overshadowed also by a sort of elfin sadness and\nthe doom of a supernatural fate, which is chiefly to be found in those\nnations which have a tinge of oriental mysticism, and is a marked\nfeature of the Roumanian folk-songs. The Celtic mysticism, where it\nexists, is more strictly religious.\n\n\n\n\nTHE HEIDUCK'S SONG.\n\n\n     _I tell the forest the wonders I see in my dreams\n\n     And the forest loves to hear the tale of my dreaming\n\n          More than the song of birds,\n\n          More than the murmur of leaves._\n\n     The huts had well-nigh beguiled me to stay, for the windows\n\n     Stood wide, and the smiles of the maidens shone out from\n\n               within,\n\n     But the Heiduck am I--and I love the far-stretching roads\n\n          And the plain, and my galloping steed.\n\n     My mother gave birth to me, sure, on a sunshiny morning,\n\n     And had I but never known love, ah, how happy were I!\n\n     I sing at the hour when the moon climbs above the horizon;\n\n     The tales that the aged folk know, I can tell, every one,\n\n     And I make the young dance, when I sing, to the tune of\n\n                    my ballads.\n\n               For I a strange woman have loved;\n\n     She comes every night to me now, and she kisses my forehead,\n\n               And asks if I love her still.\n\n          She carries a knife in her girdle--her eyes have a glitter\n\n          Like daggers--her hand is as white as the veil of a bride;\n\n     But her voice I have never heard--yet know I full surely,\n\n               She asks if I love her still.\n\n          In token thereof I have given her up my girdle,\n\n               My cap with its feathers gay,\n\n     My mantle with broid'ry brave, and my glitt'ring daggers.\n\n     And my songs, I have given them all to her, one by one,\n\n     Yet the gayest bring no smile to her face, and the saddest\n\n               Are powerless to make her sad.\n\n     Then hence she goes, by the small plank over the river\n\n               The plank that sways to her step.\n\n     The willows bow down their heads, and bend as she passes...\n\n          And morning cometh, and findeth me poor and trembling,\n\n          Since she hath taken my all from me, even my songs.\n\n          Yet is she not content, nor will cease from asking,\n\n               Whether I love her still.\n\n          _I tell the forest the wonders I see in my dreams\n\n          And the forest loves to hear the tale of my dreaming,\n\n               More than the song of birds,\n\n               More than the murmur of leaves._\n\nAlmost all the songs have the refrain, as in this example, which is not,\nnecessarily, directly associated with the subject of the song, but is\nsuggested by some incident, circumstance, or scene brought to the mind\nat the time of the recital. As often in the old Scotch ballads, it\nadds a weird and touching effect like a dominant note in music, or a\nsymbolical background to a picture.\n\nA marked feature in these folk-songs of Roumania, as in those of all\nother nations, is the place which fighting has in them, the songs of the\nsoldiers who are going to battle for their native land, and the emotions\nof heroism, courage, and self-devotion; but as in all these songs there\nis an underlying element of melancholy, mysticism, and refined and\ndelicate feeling, quite different from the savage ferocity, heartiness,\nand humor of more northern nations, and there is no trace whatever\nof the farcical rudeness and cunning which is attached to some of the\nheroes of the Scandinavian ballads. The sentiments expressed are those\nof singular refinement for a primitive people, and the general tone of\nthe soldier songs is one of sadness and content in death, rather than\nof the fierce joy and hope of the conflict, as in the following\ncharacteristic specimen:--\n\n\n\n\n\"I AM CONTENT.\"\n\n\n          _A spindle of hazel-wood had I;\n\n          Into the mill-stream it fell one day\n\n          The water has brought it me lack no more._\n\n          As he lay a-dying the soldier spake--\n\n                    \"I am content.\n\n          Let my mother be told in the village there,\n\n               And my bride in the hut be told,\n\n               That they must pray with folded hands,\n\n                    With folded hands for me.\"\n\n          The soldier is dead--and with folded hands,\n\n                    His bride and his mother pray.\n\n          On the field of battle they dug his grave,\n\n          And red with his life-blood the earth was dyed,\n\n                    The earth they laid him in.\n\n          The sun looked down on him there and spake,\n\n                    \"I am content.\"\n\n          And flowers bloomed thickly upon his grave,\n\n               And were glad they blossomed there.\n\n          And when the wind in the treetops roared,\n\n          The soldier asked from the deep, dark grave,\n\n                    \"Did the banner flutter then?\"\n\n          \"Not so, my hero,\" the wind replied,\n\n          \"The fight is done, but the banner won,\n\n          Thy comrades of old have borne it hence,\n\n               Have borne it in triumph hence.\"\n\n          Then the soldier spake from the deep, dark grave:\n\n                    \"I am content.\"\n\n          And again he heard the shepherds pass,\n\n               And the flocks go wand'ring by,\n\n          And the soldier asked, \"Is the sound I hear,\n\n               The sound of the battle's roar?\"\n\n          And they all replied: \"My hero, nay!\n\n          Thou art dead, and the fight is o'er,\n\n          Our country joyful and free.\"\n\n          Then the soldier spake from the deep, dark grave:\n\n                    \"I am content.\"\n\n          Then he heareth the lovers laughing pass,\n\n          And the soldier asks once more:\n\n          \"Are these not the voices of them that love,\n\n               That love and remember me?\"\n\n          \"Not so, my hero,\" the lovers say:\n\n          \"We are those that remember not;\n\n          For the spring has come and the earth has smiled,\n\n               And the dead must be forgot.\"\n\n          Then the soldier spake from the deep, dark grave:\n\n                    \"I am content.\"\n\n          _A spindle of hazel-wood had I;\n\n          Into the mill-stream it fell one day,--\n\n          The water has brought it me back no more._\n\nAs has been said, the underlying and predominant element of these\nRoumanian folk-songs is melancholy, and rarely, if ever, in those of any\nnation, is the sorrow of death and parting more vividly and powerfully\nexpressed. The voices speak from beyond the grave, but they seem to\nintensify rather than lighten the grief, and the calm and beauty of\nnature bring no consolation to the stricken heart, but only deepen the\nagony. This dirge for a child will speak to every one who has known\nanguish, as with the voice of the wailing wind:--\n\n               The river went weeping, weeping,\n\n               Ah, me, how it did weep!\n\n               But I would never heed it,\n\n               The weeping of the river,\n\n               Whilst thou were at my breast.\n\n               The stars--poor stars--were weeping,\n\n               But I would not hear their weeping,\n\n               Whilst yet I heard thy voice.\n\n     Unhappy men drew nigh, and told me of their woe,\n\n     They said: \"We are the sorrow of all humanity.\"\n\n          But I had no compassion for human misery,.\n\n               Whilst thou wert with me still.\n\n               Then these, the river with its weeping,\n\n               The piteous stars, the miserable men,\n\n     All prayed the earth's dark depths to take thee from me,\n\n     That so my woe might understand their woe;\n\n               And now--I weep.\n\n          Yet weep I not for human misery,\n\n          N     or for the stars' complaining,\n\n          Nor for the river's wailing.\n\n          I weep for thee alone, most miserly,\n\n          Keep all my tears for thee!\n\n     Now I must rock forever empty arms,\n\n     That grieve they have no burden any more.\n\n     Now I must sing, and know, the while, no ears\n\n          Are there to hearken.\n\n     The birds will ask me, \"To whom singest thou?\"\n\n     The moon look down and ask, \"Whom rockest thou?\"\n\n     The grave will be right proud, while I am cursed,\n\n          That I did give her thee.\n\n     My womb upbraideth me because I gave\n\n     To Death the gift that once she gave to me,\n\n          The gift that sprung from her.\n\n     Now must I see thy sleep and never know\n\n          Whether this sleep be sweet.\n\n               Then do I ask of Earth\n\n               \"Is the sleep sweet indeed\n\n               That in thy lap we sleep?\"\n\n          But, ah! thou knowest Earth misliketh pity,\n\n               And loves to hold her peace!\n\n          Wilt thou then answer in her stead, and say,\n\n               \"What do the birds, O mother,\n\n               Since I have gone to sleep?\n\n               And the river with its pebbles,\n\n               Since I have gone to sleep?\n\n               And thy broken heart, O mother,\n\n               Thy little heart, dear mother,\n\n               Since I. have gone to sleep!\n\n               Does my father guide the oxen\n\n               Walking beside the ploughshare.\n\n               Since I have gone to sleep?\"\n\n               Oh, say all this to me!\n\n          Answer instead of Earth that knows no pity,\n\n               And loves to hold her peace.\n\n               The river went weeping, weeping,\n\n               Ah, me, how it did weep!\n\n               But I would never heed it,\n\n               The weeping of the river,\n\n               Whilst thou were at my breast.\n\n               The stars, poor stars, were weeping,\n\n               But I would not hear their weeping,\n\n               Whilst yet I heard thy voice.\n\nAnd this other has a beautiful and touching sentiment:--\n\n     _The river last night swept the bridge away,\n\n     And so we must wade through the river to-day.\n\n     The maidens sing as they wade, and are gay._\n\n     A little sister the dead child had,\n\n     Since it died little sister has grown more glad,\n\n     And saith to the mother: \"Its own sweet smile\n\n     The one that is dead unto me did give,\n\n     And all the life that it might not live\n\n     Now lives in me.\" But the mother, the while\n\n     Fell a-weeping, and bowed her head,\n\n     And remembered the child that was dead.\n\n     _The river last night swept the bridge away,\n\n     And so we must wade through the river to-day.\n\n     The maidens sing as they wade, and are gay._\n\nThere are other sources of grief than that of simple death, whose sorrow\ncan weep itself away, the tragedies of crime and sin and the agonies of\nremorse. There is an occasional touch of that ferocity which rejoices in\na bloody revenge, as would be natural to a passionate people, and which\nis manifested in the Song of the Dagger.\n\n          The dagger at my belt that dances\n\n               Whene'er I dance:\n\n          But when I drink the foaming wine cup,\n\n               Then it grows sad;\n\n          For it is thirsty, too, the dagger,\n\n               It thirsts for blood.\n\nBut for the most part the songs which relate to violence and bloodshed\nare the expressions of the remorse that follows the crime, and with a\ntouch of the prevailing mysticism in the reproach of natural objects.\nThe water refuses to quench the thirst of the murderer, and the trees to\ngive him shelter, and he wanders on an endless way haunted by the voice\nof his crime. The poem entitled The Outcast expresses this feeling of\nmysterious remorse and unending and unavailing expiation.\n\n\n\n\nTHE OUTCAST.\n\n\n          _Go not over the little bridge,\n\n               It is too old.\n\n          The trees that have been felled to the earth\n\n          And the birds that still would perch upon their boughs,\n\n          Must fly very close to earth._\n\n     Why do they ask me, \"Is it thou?\"\n\n     Nay, nay, I know of nothing;\n\n     No one has told me aught, yet all are afraid of me,\n\n     The stones upon the road shrink from my footsteps,\n\n     But I am wearier far than if I had trodden them,\n\n     I am always left alone, and yet I hear voices always;\n\n     My sleep is never disturbed, and yet I feel\n\n     As though I had never slept.\n\n     Know ye why I am weary, so very weary,\n\n     That if the grave should say to me, \"Lie down\n\n     Here in my lap and rest\" I would bless the grave?\n\n     It is this: I carry one upon my shoulders,\n\n     I carry him onward ever, and feel his hands\n\n     About my throat, his breath upon my neck.\n\n     It is he that makes my step so heavy,\n\n     And drives me wild, too, with the sound of his voice,\n\n     It is he that drinks my sleep,\n\n     And when I ask him, \"Whither shall I take thee\n\n     That I may carry thee no more?\"\n\n     He points to the horizon.\n\n     He is as heavy as a widow's heart.\n\n     I know, too, all his thoughts, and his thoughts burn me,\n\n     Because he thinks upon my sorrow.\n\n     And when we pass some hut, I say,\n\n     \"Let us linger here awhile, this hut seemeth pleasant to me,\"\n\n     But he answers, \"Never a hut may open its doors to thee,\"\n\n     And when I ask him, \"Friend, art thou not yet weary?\"\n\n     He answers, \"I? I rest in thy weariness,\n\n     Refresh myself in thy sweat.\"\n\n     Even on my own hearth\n\n     I can never set him down over against me,\n\n     He clings to my shoulders always--\n\n     I know not even his face.\n\n     Then I say to him, \"Thou unknown one!\"\n\n     And he answers me, \"Thou accurst!\"\n\n          _Go not over the little bridge,\n\n               It is too old.\n\n          The trees that have been felled lie on the earth\n\n          And the birds that still would perch upon their boughs\n\n          Must fly very close to earth._.\n\nOne of the peculiar customs of Roumania is that of two girls of\ndifferent families choosing each other as sisters by affinity, called\n_suratas_, or \"sisters of the cross,\" a relationship sanctioned by the\nchurch, and acting as the tie of blood in relation to family marriages.\nIt is this custom which is alluded to in the charming ballad, which\nrecalls the best of those of Spain on similar subjects, with its\ndelicate feeling and graceful expressions:--\n\n\n\n\nHE THAT TOOK NOTHING.\n\n\n     _See how it raineth! and the com is cut upon the plain,\n\n     And I have left my sickle, too, forgotten 'mid the grain.\n\n     Now there it lies--ah, woe is me!--beneath the falling rain._\n\n     Of all the lads that joined the dance each took some sign\n\n               from me--\n\n     One took my girdle, and thou know'st full well which that\n\n               may be,\n\n     The one, my sister of the cross, I fashioned with thee.\n\n     My chain, sweet sister of the cross, another took; what needs\n\n     To tell thee which--the one which hath two strings of\n\n               golden beads.\n\n     Another took my flower from me--and which one dost thou\n\n               know?\n\n     It is, my sister of the cross, the floweret that doth blow\n\n     In autumn days among the grass, where thick the plum-trees\n\n               grow.\n\n     But only one took naught away, and know'st thou, sister, who?\n\n     He of whom I often spake of thee, when I most silent grew,\n\n     He, my little sister of the cross, it is I love so true.\n\n     Then quick run after him, he dwells beside the mill-pool deep,\n\n     And through his slumbers murmuring on, their watch the\n\n               waters keep,\n\n     O  happy water, that may sing and lull him in his sleep.\n\n     Then quickly run thou after him, my sister, do not stay\n\n     To watch the flocks upon the hill, that browse the livelong\n\n               day;\n\n     Bring him a girdle, and a chain, yea, and a flower--and\n\n               say:\n\n     \"I found them hard beside the mill, and all of them are\n\n               thine.\"\n\n     But stay not longer lest thou, too, should'st love him, sister\n\n               mine.\n\n     That we may both not have to weep together, oh, beware!\n\n     My tears could not love thy tears, not yet my care thy care,\n\n     They could not dwell within my hut, nor would be welcome\n\n               there.\n\n     _See how it raineth! and the com is cut upon the plain,\n\n     And I have left my sickle, too, forgotten 'mid the grain,\n\n     Now there it lies--ah, woe to me! beneath the falling rain._\n\nThe spinning songs, which are absolutely improvisations, have, of\ncourse, all the inevitable character of abruptness and irregularity,\nbut a charming grace of feeling is often visible through them, and their\nimagery is as effective as it is spontaneous and natural.\n\n\n\n\nSPINNING SONG.\n\n\n     What didst thou, mother, when thou wert a maiden?--\n\n               I was young.--\n\n     Didst thou, like me, hark to the moon's soft footfalls,\n\n               Across the sky?\n\n     Or didst thou watch the little stars' betrothal?--\n\n     Thy father cometh home, leave the door open--\n\n     Down to the fountain didst thou go, and there\n\n     Thy wooden pitcher filled, didst thou yet linger\n\n     Another hour with the full pitcher by thee--\n\n               I was young,--\n\n     And did thy tears make glad thy countenance?\n\n     And did thy sleep bring gladness to the night?\n\n     And did thy dreams bring gladness to thy sleep?\n\n     And didst thou smile even by graves, despite\n\n               Thy pity for the dead?\n\n     Thy father cometh home, leave the door open--\n\n     Loved'st thou strawberries and raspberries,\n\n     Because they are as red as maidens' lips?\n\n     Didst thou love thy girdle for its many pearls,\n\n     The river and the wood, because they lie\n\n               So close behind the village?\n\n     Didst love the beating of thy heart,\n\n     There close beneath thy bodice,\n\n     Even though't were not thy Sunday bodice?\n\n     --Thy father cometh home, leave the door open.\n\nThese specimens will give an idea of the charm, the grace, the pathos,\nand the melody of these Roumanian songs, which are like the breath of\nwild mountain air, full of the voices of the birds and streams, the\nwailings of the wind, and the sad plaints of the human heart. There is\nscarce a page in the not very voluminous collection which is not marked\nwith some untaught grace of thought or language, and which has not the\ncharm and power of simple and strong emotion. However literal they\nmay be, and the impression is very strongly conveyed of their absolute\nfaithfulness, they also owe much to the fine grace and skill and to\nthe melody of the verse into which they have been rendered in a foreign\nlanguage, and the lovers of poetry owe a grateful debt to Carmen Sylva\nand Miss Alma Strettell, who had been already favorably known for\nher translations of Greek folksongs for the artistic quality of their\ntranslations. No richer treasury of primitive poetry has been disclosed\nfor many years.","title":"Studies in Folk-Song and Popular Poetry","tradition":"myth-cosmogony","translated_text":null,"word_count":67936}