The Valet's Tragedy and Other Stories [102]
ballads should be one of the very best.'
The occurrence would not only be remarkable, but, as far as possibility goes in literature, would be impossible, for several reasons. One is that neither literary men nor mere garreteers and makers of street ballads appear, about 1719-1730, to have been capable of recapturing the simplicity and charm of the old ballad style, at its best, or anything near its best. There is no mistaking the literary touch in such ballads as Allan Ramsay handled, or in the imitation named 'Hardyknute ' in Allan's 'Tea Table Miscellany,' 1724. 'It was the first poem I ever learned, the last I shall ever forget,' said Scott, and, misled by boyish affection, he deemed it 'just old enough,' 'a noble imitation.'* But the imitation can deceive nobody, and while literary imitators, as far as their efforts have reached us, were impotent to deceive, the popular Muse, of 1714-1730, was not attempting deception. Ballads of the eighteenth century were sarcastic, as in those on Sheriffmuir and in Skirving's amusing ballad on Preston Pans, or were mere doggerel, or were brief songs to old tunes. They survive in print, whether in flying broadsides or in books, but, popular as is 'The Queen's Marie,' in all its many variants (Child gives no less than eighteen), we do not know a single printed example before Scott's made-up copy in the 'Border Minstrelsy.' The latest ballad really in the old popular manner known to me is that of 'Rob Roy,' namely, of Robin Oig and James More, sons of Rob Roy, and about their abduction of an heiress in 1752. This is a genuine popular poem, but in style and tone and versification it is wholly unlike 'The Queen's Marie.' I scarcely hope that any one can produce, after 1680, a single popular piece which could be mistaken for a ballad of or near Queen Mary's time.
*Lockhart, i. 114, x. 138.
The known person least unlike Mr. Courthope's late 'maker' was 'Mussel-mou'd Charlie Leslie,' 'an old Aberdeenshire minstrel, the very last, probably, of the race,' says Scott. Charlie died in 1782. He sang, and sold PRINTED ballads. 'Why cannot you sing other songs than those rebellious ones?' asked a Hanoverian Provost of Aberdeen. 'Oh ay, but--THEY WINNA BUY THEM!' said Charlie. 'Where do you buy them?' 'Why, faur I get them cheapest.' He carried his ballads in 'a large harden bag, hung over his shoulder.' Charlie had tholed prison for Prince Charles, and had seen Provost Morison drink the Prince's health in wine and proclaim him Regent at the Cross of Aberdeen. If Charlie (who lived to be a hundred and two) composed the song, 'Mussel-mou'd Charlie ' ('this sang Charlie made hissel''), then this maker could never have produced 'The Queen's Marie,' nor could any maker like him. His ballads were printed, as any successful ballad of 1719 would probably have been, in broadsides.* Against Mr. Child and Mr. Courthope, then, we argue that, after 1600, a marked decadence of the old ballad style set in- -that the old style (as far as is known) died soon after Bothwell Brig (1679), in the execrable ballads of both sides, such as 'Philiphaugh,' and that it soon was not only dead as a form in practical use, but was entirely superseded by new kinds of popular poetry, of which many examples survive, and are familiar to every student. How, or why, then, should a poet, aiming at popularity, about 1719-1730, compose 'The Queen's Marie' in an obsolete manner? The old ballads were still sung, indeed; but we ask for proof that new ballads were still composed in the ancient fashion.
*See, for example, Mr. Macquoid's Jacobite Songs and Ballads, pp. 424, 510, with a picture of Charlie.
Secondly, WHY, and how tempted, would a popular poet of 1719 transfer a modern tragedy of Russia to the year 1563, or thereabouts? His public would naturally desire a ballad gazette of the mournful new tale, concerning a lass of Scottish extraction, betrayed, tortured, beheaded, at the far-off court of a Muscovite tyrant. The facts 'palpitated with actuality,' and, since Homer's day, 'men desire' (as Homer
The occurrence would not only be remarkable, but, as far as possibility goes in literature, would be impossible, for several reasons. One is that neither literary men nor mere garreteers and makers of street ballads appear, about 1719-1730, to have been capable of recapturing the simplicity and charm of the old ballad style, at its best, or anything near its best. There is no mistaking the literary touch in such ballads as Allan Ramsay handled, or in the imitation named 'Hardyknute ' in Allan's 'Tea Table Miscellany,' 1724. 'It was the first poem I ever learned, the last I shall ever forget,' said Scott, and, misled by boyish affection, he deemed it 'just old enough,' 'a noble imitation.'* But the imitation can deceive nobody, and while literary imitators, as far as their efforts have reached us, were impotent to deceive, the popular Muse, of 1714-1730, was not attempting deception. Ballads of the eighteenth century were sarcastic, as in those on Sheriffmuir and in Skirving's amusing ballad on Preston Pans, or were mere doggerel, or were brief songs to old tunes. They survive in print, whether in flying broadsides or in books, but, popular as is 'The Queen's Marie,' in all its many variants (Child gives no less than eighteen), we do not know a single printed example before Scott's made-up copy in the 'Border Minstrelsy.' The latest ballad really in the old popular manner known to me is that of 'Rob Roy,' namely, of Robin Oig and James More, sons of Rob Roy, and about their abduction of an heiress in 1752. This is a genuine popular poem, but in style and tone and versification it is wholly unlike 'The Queen's Marie.' I scarcely hope that any one can produce, after 1680, a single popular piece which could be mistaken for a ballad of or near Queen Mary's time.
*Lockhart, i. 114, x. 138.
The known person least unlike Mr. Courthope's late 'maker' was 'Mussel-mou'd Charlie Leslie,' 'an old Aberdeenshire minstrel, the very last, probably, of the race,' says Scott. Charlie died in 1782. He sang, and sold PRINTED ballads. 'Why cannot you sing other songs than those rebellious ones?' asked a Hanoverian Provost of Aberdeen. 'Oh ay, but--THEY WINNA BUY THEM!' said Charlie. 'Where do you buy them?' 'Why, faur I get them cheapest.' He carried his ballads in 'a large harden bag, hung over his shoulder.' Charlie had tholed prison for Prince Charles, and had seen Provost Morison drink the Prince's health in wine and proclaim him Regent at the Cross of Aberdeen. If Charlie (who lived to be a hundred and two) composed the song, 'Mussel-mou'd Charlie ' ('this sang Charlie made hissel''), then this maker could never have produced 'The Queen's Marie,' nor could any maker like him. His ballads were printed, as any successful ballad of 1719 would probably have been, in broadsides.* Against Mr. Child and Mr. Courthope, then, we argue that, after 1600, a marked decadence of the old ballad style set in- -that the old style (as far as is known) died soon after Bothwell Brig (1679), in the execrable ballads of both sides, such as 'Philiphaugh,' and that it soon was not only dead as a form in practical use, but was entirely superseded by new kinds of popular poetry, of which many examples survive, and are familiar to every student. How, or why, then, should a poet, aiming at popularity, about 1719-1730, compose 'The Queen's Marie' in an obsolete manner? The old ballads were still sung, indeed; but we ask for proof that new ballads were still composed in the ancient fashion.
*See, for example, Mr. Macquoid's Jacobite Songs and Ballads, pp. 424, 510, with a picture of Charlie.
Secondly, WHY, and how tempted, would a popular poet of 1719 transfer a modern tragedy of Russia to the year 1563, or thereabouts? His public would naturally desire a ballad gazette of the mournful new tale, concerning a lass of Scottish extraction, betrayed, tortured, beheaded, at the far-off court of a Muscovite tyrant. The facts 'palpitated with actuality,' and, since Homer's day, 'men desire' (as Homer