Outlines of English and American Literature. William J. Long

      For the origin of the ballad one must search far back among the social customs of primitive times. That the Anglo-Saxons were familiar with it appears from the record of Tacitus, who speaks of their carmina or narrative songs; but, with the exception of "The Fight at Finnsburgh" and a few other fragments, all these have disappeared.

      During the Middle Ages ballads were constantly appearing among the common people, [Footnote: Thus, when Sidney says, "I never heard the old song of Percy and Douglass that I found not my heart moved more than with a trumpet," and when Shakespeare shows Autolycus at a country fair offering "songs for men and women of all sizes," both poets are referring to popular ballads. Even later, as late as the American Revolution, history was first written for the people in the form of ballads.] but they were seldom written, and found no standing in polite literature. In the eighteenth century, however, certain men who had grown weary of the formal poetry of Pope and his school turned for relief to the old vigorous ballads of the people, and rescued them from oblivion. The one book to which, more than any other, we owe the revival of interest in balladry is Percy's Reliques of Ancient English Poetry (1765).

      [Sidenote: THE MARKS OF A BALLAD]

      The best of our ballads date in their present form from the fifteenth or sixteenth century; but the originals were much older, and had been transmitted orally for years before they were recorded on manuscript. As we study them we note, as their first characteristic, that they spring from the unlettered common people, that they are by unknown authors, and that they appear in different versions because they were changed by each minstrel to suit his own taste or that of his audience.

      A second characteristic is the objective quality of the ballad, which deals not with a poet's thought or feeling (such subjective emotions give rise to the lyric) but with a man or a deed. See in the ballad of "Sir Patrick Spence" (or Spens) how the unknown author goes straight to his story:

      The king sits in Dumferling towne,

       Drinking the blude-red wine:

       "O whar will I get guid sailor

       To sail this schip of mine?"

      Up and spak an eldern knicht,

       Sat at the king's richt kne:

       "Sir Patrick Spence is the best sailor

       That sails upon the se."

      There is a brief pause to tell us of Sir Patrick's dismay when word comes that the king expects him to take out a ship at a time when she should be riding to anchor, then on goes the narrative:

      "Mak hast, mak haste, my mirry men all,

       Our guid schip sails the morne."

       "O say na sae, my master deir,

       For I feir a deadlie storme:

      "Late, late yestreen I saw the new moone

       Wi the auld moone in hir arme,

       And I feir, I feir, my deir master,

       That we will cum to harme."

      At the end there is no wailing, no moral, no display of the poet's feeling, but just a picture:

      O lang, lang may the ladies stand,

       Wi thair gold kems in their hair,

       Waiting for thair ain deir lords,

       For they'll se thame na mair.

      Haf owre, haf owre to Aberdour,

       It's fiftie fadom deip,

       And thair lies guid Sir Patrick Spence,

       Wi the Scots lords at his feit.

      Directness, vigor, dramatic action, an ending that appeals to the imagination—most of the good qualities of story-telling are found in this old Scottish ballad. If we compare it with Longfellow's "Wreck of the Hesperus," we may discover that the two poets, though far apart in time and space, have followed almost identical methods.

      Other good ballads, which take us out under the open sky among vigorous men, are certain parts of "The Gest of Robin Hood," "Mary Hamilton," "The Wife of Usher's Well," "The Wee Wee Man," "Fair Helen," "Hind Horn," "Bonnie George Campbell," "Johnnie O'Cockley's Well," "Catharine Jaffray" (from which Scott borrowed his "Lochinvar"), and especially "The Nutbrown Mayde," sweetest and most artistic of all the ballads, which gives a popular and happy version of the tale that Chaucer told in his "Patient Griselda."

      * * * * *

      SUMMARY. The period included in the Age of Chaucer and the Revival of Learning covers two centuries, from 1350 to 1550. The chief literary figure of the period, and one of the greatest of English poets, is Geoffrey Chaucer, who died in the year 1400. He was greatly influenced by French and Italian models; he wrote for the middle and upper classes; his greatest work was The Canterbury Tales.

      Langland, another poet contemporary with Chaucer, is famous for his Piers Plowman, a powerful poem aiming at social reform, and vividly portraying the life of the common people. It is written in the old Saxon manner, with accent and alliteration, and is difficult to read in its original form.

      After the death of Chaucer a century and a half passed before another great writer appeared in England. The time was one of general decline in literature, and the most obvious causes were: the Wars of the Roses, which destroyed many of the patrons of literature; the Reformation, which occupied the nation with religious controversy; and the Renaissance or Revival of Learning, which turned scholars to the literature of Greece and Rome rather than to English works.

      In our study of the latter part of the period we reviewed: (1) the rise of the popular ballad, which was almost the only type of literature known to the common people. (2) The work of Malory, who arranged the best of the Arthurian legends in his Morte d'Arthur. (3) The work of Caxton, who brought the first printing press to London, and who was instrumental in establishing the East-Midland dialect as the literary language of England.

      SELECTIONS FOR READING. Typical selections from all authors of the

       period are given in Manly, English Poetry, and English Prose;

       Newcomer and Andrews, Twelve Centuries of English Poetry and Prose;

       Ward, English Poets; Morris and Skeat, Specimens of Early English.

      Chaucer's Prologue, Knight's Tale, and other selections in

       Riverside Literature, King's Classics, and several other school

       series. A good single-volume edition of Chaucer's poetry is Skeat,

       The Student's Chaucer (Clarendon Press). A good, but expensive,

       modernized version is Tatlock and MacKaye, Modern Reader's Chaucer

       (Macmillan).

      Metrical version of Piers Plowman, by Skeat, in King's Classics;

       modernized prose version by Kate Warren, in Treasury of English

       Literature (Dodge).

      Selections from Malory's Morte d'Arthur in Athenæum Press Series

       (Ginn and Company); also in Camelot Series. An elaborate edition of

       Malory with introduction by Sommer and an essay by Andrew Lang (3

       vols., London, 1889); another with modernized text, introduction by

       Rhys, illustrations by Aubrey Beardsley (London, 1893).

      The best of the old ballads are published in Pocket Classics, and

       in Maynard's English Classics; a volume of ancient and modern

       English ballads in Ginn and Company's Classics for Children;

       Percy's Reliques, in Everyman's Library. Allingham, The Ballad

       Book; Hazlitt, Popular Poetry of England; Gummere, Old English

       Ballads; Gayley and Flaherty, Poetry of the People; Child, English

       and Scottish Popular Poetry (5 vols.); the last-named work, edited