Читать книгу Reliques of Ancient English Poetry (Vol. 1-3) - Various Authors - Страница 11

Printed broadsides are peculiarly liable to accidents which shorten their existence, and we therefore owe much to the collectors who have saved some few of them from destruction. Ballads were usually pasted on their walls by the cottagers, but they were sometimes collected together in bundles. Motherwell had "heard it as a by-word in some parts of Stirlingshire that a collier's library consists but of four books, the Confession of Faith, the Bible, a bundle of Ballads, and Sir William Wallace. The first for the gudewife, the second for the gudeman, the third for their daughter, and the last for the son, a selection indicative of no mean taste in these grim mold-warps of humanity."35

The love of a good ballad has, however, never been confined to the uneducated. Queen Mary II., after listening to the compositions of Purcell, played by the composer himself, asked Mrs. Arabella Hunt to sing Tom D'Urfey's ballad of "Cold and Raw," which was set to a good old tune, and thereby offended Purcell's vanity, who was left unemployed at the harpsichord. Nevertheless, the composer had the sense afterwards to introduce the tune as the bass of a song he wrote himself. When ballads were intended for the exclusive use of the ordinary ballad-buyers they were printed in black letter, a type that was retained for this purpose for more than a century after it had gone out of use for other purposes. According to Pepys the use of black letter ceased about the year 1700, and on the title-page of his collection he has written "the whole continued down to the year 1700, when the form till then peculiar thereto, viz. of the black letter with pictures, seems (for cheapness sake) wholly laid aside for that of the white letter without pictures." White-letter printing of non-political street ballads really commenced about 1685, and of political ballads about half a century earlier. The saving referred to by Pepys as being made by the omission of woodcuts could not have been great, for they seldom illustrated the letterpress, and were used over and over again, so that cuts which were executed in the reign of James I. were used on ballads in Queen Anne's time.

Until about the year 1712 ballads were universally printed on broadsides, and those intended to be sold in the streets are still so printed, but after that date such as were intended to be vended about the country were printed so as to fold into book form.

The great ballad factory has been for many years situated in Seven Dials, where Pitts employed Corcoran and was the patron of "slender Ben," "over head and ears Nic," and other equally respectably named poets. The renowned Catnach lived in Seven Dials, and left a considerable business at his death. He was the first to print yards of songs for a penny, and his fame was so extended, that his name has come to be used for a special class of literature.

Although, thanks to the labours of far-sighted men, our stock of old ballads and songs is large, we know that those which are irrevocably lost far exceed them in number. It is therefore something to recover even the titles of some of these, and we can do this to a considerable extent by seeking them in some of the old specimens of literature. In Cockelbie's Sow, a piece written about 1450, which was printed in Laing's Select Remains of the Ancient Popular Poetry of Scotland (Edinburgh, 1822), there is a list of the songs sung at a meeting. In Henryson's curious old pastoral, Robin and Makyne (vol. 2, p. 85), reference is made to the popular tales and songs, which were even then old:—

"Robin, thou hast heard sung and say,

In gests and storys auld,

'The man that will not when he may

Sall hav nocht when he wald.'"

To the prologues of Gawin Douglas's translation of Virgil's Æneid, we are indebted for a knowledge of four old songs, a fact that outweighs in the opinion of some the merits of the work itself, which was the first translation of a classic that ever appeared in England.

In the Catalogue of Captain Cox's Library, printed in Laneham's letter on the Kenilworth entertainments, there is a short list of some of the popular ballads of his time, but it is sorely tantalizing to read of "a bunch of ballets and songs all auncient," "and a hundred more he hath fair wrapt in parchment, and bound with a whipcord." We learn the names of ballads which were popular in old Scotland from the Complaynt of Scotland, a most interesting list, which Mr. Furnivall has fully illustrated and explained in his edition of Laneham. Another source of information for learning the names of songs no longer known to exist are the medleys, which are made up of the first lines of many songs. The extreme popularity of ballads in the sixteenth and seventeenth centuries is reflected in the literature of the time, which is full of allusions to them. Burton, the anatomist of melancholy, who put a little of almost everything into his book, could not be expected to overlook ballads. He says: "The very rusticks and hog-rubbers … have their wakes, whitson ales, shepherds' feasts, meetings on holy dayes, countrey dances, roundelayes … instead of odes, epigrams and elegies, &c., they have their ballads, countrey tunes, O the Broom, the bonny, bonny Broom, ditties and songs, Bess a Bell she doth excel." The favourite songs of Father Rosin, the minstrel in Ben Jonson's Tale of a Tub (act i. sc. 2), are Tom Tiler, the Jolly Joiner, and the Jovial Tinker. The old drama is full of these references, and one of the most frequent modes of revenge against an enemy was to threaten that he should be balladed. Thus Massinger writes:—

"I will have thee

Pictur'd as thou art now, and thy whole story

Sung to some villainous tune in a lewd ballad,

And make thee so notorious in the world,

That boys in the street shall hoot at thee."36

Fletcher sets side by side as equal evils the having one's eyes dug out, and the having one's name sung

"In ballad verse, at every drinking house."37

The ballad-writers are called base rogues, and said to "maintaine a St. Anthonie's fire in their noses by nothing but two-penny ale."38

Shakspere was not behind his contemporaries in his contemptuous treatment of "odious ballads," or of "these same metre ballad-mongers," but he has shown by the references in King Lear and Hamlet his high appreciation of the genuine old work, and there is no doubt that the creator of Autolycus loved "a ballad but even too well."

There have been two kinds of collectors, viz. those who copied such fugitive poetry as came in their way, and those who bought up all the printed ballads they could obtain.

Of the manuscript collections of old poetry, the three most celebrated are the Maitland MS. in the Pepysian Library, Cambridge, the Bannatyne MS. presented by the Earl of Hyndford to the Advocates' Library, Edinburgh, and the famous folio MS. which formerly belonged to Percy, and is now in the British Museum. The Maitland MS., which contains an excellent collection of Scotch poetry, was formed by Sir Richard Maitland, of Lethington, Lord Privy Seal and Judge in the Court of Session (b. 1496, d. 1586). Selections from this MS. were printed by Pinkerton in 1786.

In the year 1568, when Scotland was visited by the Plague, a certain George Bannatyne, of whom nothing is known, retired to his house to escape infection, and employed his leisure in compiling his most valuable collection of Scottish poetry. This MS. was lent out of the Advocates' Library to Percy, and he was allowed to keep it for a considerable time. Sir David Dalrymple published "Some ancient Scottish Poems" in 1770, which were taken from this MS.

The great Lord Burghley was one of the first to recognize the value of ballads as an evidence of the popular feeling, and he ordered all broadsides to be brought to him as they were published. The learned Selden was also a collector of them, but the Chinese nation was before these wise men, and had realized an idea that has often been suggested in Europe. One of their sacred books is the Book of Songs, in which the manners of the country are illustrated by songs and odes, the most popular of which were brought to the sovereign for the purpose.

The largest collections of printed ballads are now in Magdalene College, Cambridge, in the Bodleian at Oxford, and in the British Museum. Some smaller collections are in private hands. In taking stock of these collections, we are greatly helped by Mr. Chappell's interesting preface to the Roxburghe Ballads. The Pepysian collection deposited in the library of Magdalene College, Cambridge, consisting of 1,800 ballads in five vols., is one of the oldest and most valuable of the collections. It was commenced by Selden, who died in 1654, and continued by Samuel Pepys till near the time of his own death in 1703. Tradition reports that Pepys borrowed Selden's collection, and then "forgot" to return it to the proper owner. Besides these five volumes, there are three vols. of what Pepys calls penny merriments. There are 112 of these, and some are garlands that contain many ballads in each.

Cambridge's rival, Oxford, possesses three collections, viz. Anthony Wood's 279 ballads and collection of garlands, Francis Douce's 877 in four vols., and Richard Rawlinson's 218.

Previously to the year 1845, when the Roxburghe collection was purchased, there were in the British Museum Library about 1,000 ballads, but Mr. Chappell, without counting the Roxburghe Ballads, gives the number as 1292 in 1864. They are as follows:—

Bagford Collection	355
Volume of Miscellaneous Ballads and Poems, 17th century	31
Volume, mostly political, from 1641	250
Volume in King's Library, principally relating to London, from 1659 to 1711	60
The Thomason Collection of Tracts	304
Satirical Ballads on the Popish Plot, from Strawberry Hill sale	27
Luttrell Collection, vol. ii.	255
Miscellaneous	10
	1292

The celebrated Roxburghe collection was bought by Rodd at Benjamin Heywood Bright's sale in 1845 for the British Museum, the price being £535. It was originally formed by Robert Harley, first Earl of Oxford, and as John Bagford was one of the buyers employed by the Earl, he is the reputed collector of the ballads. At the sale of the Harleian Library, this collection became the property of James West, P.R.S., and when his books were sold in 1773, Major Thomas Pearson bought it for, it is said, £20. This gentleman, with the assistance of Isaac Reed, added to the collection, and bound it in two volumes with printed title-pages, indexes, &c. In 1788, John, Duke of Roxburghe, bought it at Major Pearson's sale for £36 14s. 6d., and afterwards added largely to it, making a third volume. At the Duke's sale in 1813, the three volumes were bought for £477 15s., by Harding, who sold them to Mr. Bright for, it is supposed, £700. The collection consists of 1335 broadsides, printed between 1567 and the end of the eighteenth century, two-thirds of them being in black letter. Bright added a fourth volume of eighty-five pages, which was bought for the British Museum for £25 5s.

Some early ballads are included in the collection of broadsides in the library of the Society of Antiquaries, and a collection of proclamations and ballads was made by Mr. Halliwell Phillipps, and presented by him to the Chetham Library at Manchester.

The late George Daniel picked up a valuable collection of ballads at an old shop in Ipswich, which is supposed to have come from Helmingham Hall, Suffolk, where it had lain unnoticed or forgotten for two centuries or more. It originally numbered 175 to 200 ballads, but was divided by Daniel, who sold one portion (consisting of eighty-eight ballads) to Thorpe, who disposed of it to Heber. At Heber's sale it was bought by Mr. W. H. Miller, of Britwell, and from him it descended to Mr. S. Christie Miller. Twenty-five ballads known to have belonged to the same collection were edited by Mr. Payne Collier for the Percy Society in 1840. The portion that Daniel retained was bought at the sale of his library by Mr. Henry Huth, who has reprinted seventy-nine of the best ballads. Other known private collections are five volumes belonging to Mr. Frederic Ouvry, President of the Society of Antiquaries, which contain Mr. Payne Collier's collection of Black-letter Ballads, the Earl of Jersey's at Osterley Park, and one which was formed by Mr. Halliwell Phillipps, who printed a full catalogue of the ballads contained in it, and then disposed of it to the late Mr. William Euing of Glasgow.

We owe our gratitude to all these collectors, but must also do honour to those writers who in advance of their age tried to lead their contemporaries to fresher springs than those to which they were accustomed. The first of these was Addison, who commented on the beauties of Chevy Chase and the Children in the Wood in the Spectator. He wrote: "it is impossible that anything should be universally tasted and approved by a multitude, though they are only the rabble of a nation, which hath not in it some peculiar aptness to please and gratify the mind of man."

Rowe was another appreciator of this popular literature, and his example and teaching may have had its influence in the publication of the first Collection of Old Ballads, for the motto to the first volume is taken from the prologue to Rowe's Jane Shore (first acted in 1713):—

"Let no nice sir despise the hapless dame

Because recording ballads chaunt her name;

Those venerable ancient song enditers

Soar'd many a pitch above our modern writers.

They caterwauled in no romantic ditty,

Sighing for Philis's or Cloe's pity;

Justly they drew the Fair and spoke her plain,

And sung her by her Christian name—'twas Jane.

Our numbers may be more refined than those,

But what we've gain'd in verse, we've lost in prose;

Their words no shuffling double meaning knew,

Their speech was homely, but their hearts were true."

Parnell, Tickell, and Prior belonged to the small band who had the taste to appreciate the unfashionable old ballad. Prior says of himself in a MS. essay quoted by Disraeli in the Calamities of Authors: "I remember nothing further in life than that I made verses: I chose Guy Earl of Warwick for my first hero, and killed Colborne the giant before I was big enough for Westminster school." The few were, however, unable to convert the many, and Dr. Wagstaffe, one of the wits of the day, ridiculed Addison for his good taste, and in a parody of the famous essay on Chevy Chase he commented upon the History of Tom Thumb, and pretended to point out the congenial spirit of this poet with Virgil.

There is still another class of preservers of ballads to be mentioned, viz. those whose tenacious memories allow them to retain the legends and songs they heard in their youth, but as Prof. Aytoun writes: "No Elspats of the Craigburnfoot remain to repeat to grandchildren that legendary lore which they had acquired in years long gone by from the last of the itinerant minstrels." The most celebrated of these retailers of the old ballads was Mrs. Brown of Falkland, wife of the Rev. Dr. Brown, for from her both Scott and Jamieson obtained some of their best pieces. Her taste for the songs and tales of chivalry was derived from an aunt, Mrs. Farquhar, "who was married to the proprietor of a small estate near the sources of the Dee in Braemar, a good old woman, who spent the best part of her life among flocks and herds, [but] resided in her latter years in the town of Aberdeen. She was possest of a most tenacious memory, which retained all the songs she had heard from nurses and countrywomen in that sequestered part of the country."39 Doubts have been expressed as to the good faith of Mrs. Brown, but they do not appear to be well grounded. Another of these ladies from whose mouths we have learnt so much of the ever-fading relics of the people's literature was Mrs. Arrot.

The earliest printed collection of Scottish popular poetry known to exist is a volume printed at Edinburgh, "by Walter Chepman and Androw Myllar, in the year 1508," which was reprinted in facsimile by David Laing in 1827. The next work of interest in the bibliography of ballads is "Ane Compendious Booke of Godly and Spirituall Songs, collected out of sundrie partes of the Scripture, with sundrie of other ballates, chainged out of prophaine songs for avoiding of Sinne and Harlotrie," printed in 1590 and 1621, and reprinted by J. G. Dalzell in 1801, and by David Laing in 1868. It contains parodies of some of the songs mentioned in the Complaint of Scotland, and is supposed to be the work of three brothers—James, John, and Robert Wedderburn, of Dundee. To the last of the three Mr. Laing attributed the Complaint, but Mr. Murray, the latest editor of that book, is unable to agree with him.

The first book of "prophane" songs published in Scotland was a musical collection entitled "Cantus Songs and Fancies to several musicall parts, both apt for voices and viols: with a brief introduction to musick, as it is taught by Thomas Davidson in the Musick School of Aberdeen. Aberdeen, printed by John Forbes." 1662, 1666, and 1682.

The next work in order of time is "A Choise Collection of Comic and Serious Scots Poems, both ancient and modern, by several hands. Edinburgh, printed by James Watson." In three parts, 1706, 1709, 1710. Supposed to have been compiled by John Spottiswood, author of Hope's Minor Practicks.

All these works emanated from Scotchmen, and the only works of the same character that were published in England were small collections of songs and ballads, called Garlands and Drolleries. These are too numerous to be noticed here; but that they were highly popular may be judged from the fact that a thirteenth edition of The Golden Garland of Princely Delight is registered. The Garlands are chiefly small collections of songs on similar subjects. Thus, there were Love's Garlands, Loyal Garlands, Protestant Garlands, &c. Considerable pains seem to have been taken in order to obtain attractive titles for these little brochures. Thus, on one we read:—

"The sweet and the sower,

The nettle and the flower,

The thorne and the rose,

This garland compose."

Drolleries were collections of "jovial poems" and "merry songs," and some of them were confined to the songs sung at the theatres.

One of the first English collections of any pretensions was Dryden's Miscellany Poems, published in 1684–1708, which was shortly after followed by Tom D'Urfey's Wit and Mirth, or Pills to Purge Melancholy, 1719–20. But the first attempt to bring together a large number of popular ballads, as distinguished from songs, was made in "A Collection of Old Ballads, corrected from the best and most ancient copies extant, with Introductions historical, critical, or humorous." London. Vols I. and II. 1723. Vol. III. 1725.

The object of most of the works referred to above was the publication of songs to be sung; the object of this one was the presentment of ballads to be read. It had a large sale, and the editor (who is said to have been Ambrose Phillips) expresses his satisfaction in the Preface to Vol. II.: "Though we printed a large edition for such a trifle, and in less than two months put it to the press again, yet could we not get our second edition out before it was really wanted." In spite, however, of its satisfactory reception, it does not appear to have taken any permanent position in literature, although it must have prepared the public mind to receive the Reliques. This collection contains one hundred and fifty-nine ballads, out of which number twenty-three are also in the Reliques.40 Many of the others are of considerable interest, but some had better have been left unprinted, and all are of little critical value.

In the year after the first two volumes of the English collection were published, Allan Ramsay issued in Edinburgh "The Evergreen, being a collection of Scots poems wrote by the ingenious before 1600," the principal materials of which were derived from the Bannatyne MS. This was followed in the same year (1724) by "The Tea-Table Miscellany: a Collection of choice Songs, Scots and English," a work which is frequently referred to by Percy in the following pages. In neither of these works was Ramsay very particular as to the liberties he allowed himself in altering his originals. In order to make the volumes fit reading for his audience, which he hoped would consist of

"Ilka lovely British lass,

Frae ladies Charlotte, Ann, and Jean,

Down to ilk bonnie singing lass

Wha dances barefoot on the green,"

Ramsay pruned the songs of their indelicacies, and filled up the gaps thus made in his own way. The Tea-table Miscellany contains upwards of twenty presumably old songs, upwards of twelve old songs much altered, and about one hundred songs written by the editor himself, Crawford, Hamilton, and others.

In 1725, William Thomson, a teacher of music in London, brought out a collection of Scottish songs, which he had chiefly taken from the Tea-table Miscellany without acknowledgment. He called his book Orpheus Caledonius.

For some years before Percy's collection appeared, the Foulises, Glasgow's celebrated printers, issued from their press, under the superintendence of Lord Hailes, various Scottish ballads, luxuriously printed with large type, in a small quarto size.

These were the signs that might have shown the far-sighted man that a revival was at hand. At last the time came when, tired out with the dreary and leaden regularity of the verse-writers of the day, the people were ready to receive poetry fresh from nature. The man who arose to supply the want (which was none the less a want that it was an unrecognized one) was Thomas Percy, a clergyman living in a retired part of the country, but occasionally seen among the literati of the capital.