: Andrew Lang
: Sir Walter Scott and the Border Minstrelsy
: Books on Demand
: 9783748191124
: 1
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: Sprach- und Literaturwissenschaft
: English
: 147
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Persons not much interested in, or cognisant of,"antiquarian old womanries," as Sir Walter called them, may ask"what all the pother is about," in this little tractate. On my side it is"about" the veracity of Sir Walter Scott. He has been suspected of helping to compose, and of issuing as a genuine antique, a ballad, Auld Maitland. He also wrote about the ballad, as a thing obtained from recitation, to two friends and fellow-antiquaries. If to Scott?s knowledge it was a modern imitation, Sir Walter deliberately lied. He did not: he did obtain the whole ballad from Hogg, who got it from recitation-as I believe, and try to prove, and as Scott certainly believed. The facts in the case exist in published works, and in manuscript letters of Ritson to Scott, and Hogg to Scott, and in the original copy of the song, with a note by Hogg to Laidlaw. If we are interested in the truth about the matter, we ought at least to read the very accessible material before bringing charges against the Sheriff and the Shepherd of Ettrick.

SCOTT AND THE BALLADS


It was through his collecting and editing ofThe Border Minstrelsythat Sir Walter Scott glided from law into literature.  The history of the conception and completion of his task, “a labour of love truly, if ever such there was,” says Lockhart, is well known, but the tale must be briefly told if we are to understand the following essays in defence of Scott’s literary morality.
Late in 1799 Scott wrote to James Ballantyne, then a printer in Kelso, “I have been for years collecting Border ballads,” and he thought that he could put together “such a selection as might make a neat little volume, to sell for four or five shillings.”  In December 1799 Scott received the office of Sheriff of Selkirkshire, or, as he preferred to say, of Ettrick Forest.  In the Forest, as was natural, he found much of his materials.  The people at the head of Ettrick were still, says Hogg,[1a]like many of the Highlanders even now, in that they cheered the long winter nights with the telling of old tales; and some aged people still remembered, no doubt in a defective and corrupted state, many old ballads.  Some of these, especially the ballads of Border raids and rescues, may never even have been written down by the original authors.  The Borderers, says Lesley, Bishop of Ross, writing in 1578, “take much pleasure in their old music and chanted songs, which they themselves compose, whether about the deeds of their ancestors, or about ingenious raiding tricks and stratagems.”[2a]
The historical ballads about the deeds of their ancestors would be far more romantic than scientifically accurate.  The verses, as they passed from mouth to mouth and from generation to generation, would be in a constant state of flux and change.  When a man forgot a verse, he would make something to take its place.  A more or less appropriate stanza from another ballad would slip in; or the reciter would tell in prose the matter of which he forgot the versified form.
Again, in the towns, street ballads on remarkable events, as early at least as the age of Henry VIII., were written or printed.  Knox speaks of ballads on Queen Mary’s four Maries.  Of these ballads only one is left, and it is a libel.  The hanging of a French apothecary of the Queen, and a French waiting-maid, for child murder, has been transferred to one of the Maries, or rather to an apocryphal Mary Hamilton, with Darnley for her lover.  Of this ballad twenty-eight variants—and extremely various they are—were collected by Professor Child in hisEnglish and Scottish Popular Ballads(ten parts, 1882–1898).  In one mangled form or another such ballads would drift at last even to Ettrick Forest.
A ballad may be found in a form which the first author could scarcely recognise, dozens of hands, in various generations, having been at work on it.  At any period, especially in the seventeenth and eighteenth centuries, the cheap press might print a sheet of the ballads, edited and interpolated by the very lowest of printer’s hacks; that copy would circulate, be lost, and become in turn a traditional source, though full of modernisms.  Or an educated person might make a written copy, filling up gaps himself in late seventeenth or in eighteenth century ballad style, and this might pass into the memory of the children and servants of the house, and so to the herds and to the farm lasses.  I suspect that this process may have occurred in the cases ofAuld Maitlandand ofThe Outlaw Murray—“these two bores” Mr. Child is said to have styled them.
When Allan Ramsay, about 1720, took up and printed a ballad, he altered