The Press.
London, England, 1858-07-24 00:00:00

THE P AIE SS, JUL' 24, 1858.

Literature always has had its particular "schools,"
and Professor Aytoun is the living representative
of the Scotch school of poetry. He is not partial
to the style of poetry which is now cultivated by
those who woo the Muse in England. " Modern
glitter and resonance," of which Professor Aytoun
speaks in the foregoing passage, are rather dis-
tasteful to him. His taste is for Doric, not Com-
posite art ; and the strains of the Laureate may
probably seem too artificial, too sensuous in
imagery, too over-laboured in diction. Force,
simplicity, action, are demanded by the taste of
Professor Aytoun, and it is possible that he over-
rates the rank of mere ballad poetry.
That question we shall not now discuss, but we
must remark that the study of ballad poetry is
still continued vigorously amongst us. The
Scandinavian ballads have, especially, in late
years, attracted great attention in our literary
circles, and much critical research has been em-
ployed on Danish and Swedish ballads. Minds
addicted to dramatic reading, and those that love
seeing the passions of the human heart depicted
in a close form, complain that ballad poetry is
apt to tire. They say that it is flat, reiterative,
and insipid. On the other hand, there are many
intellects who complain that the dramas for the
closet are like philosophic disquisitions in verse ;
that the ear is not captivated with the tone of
metrical language; and that dramatic poetry
tends to the metaphysical. No critical canon
can be applied to solve questions of individual
taste and prepossession. We have ourselves been
struck with the fact that critical ballad readers
will linger lovingly enough over a second-rate
ballad, but that readers of the drama will scarcely
peruse with pleasure an inferior play. The lovers
of ballad poetry arc, we think, rather apt to be
too exclusively attached to the one school of
poetry which pleases them most.
Fully admitting the great importance of ballad
literature, and confessing our own pleasure in the
perusal of that particular form of poetical expres-
sion, we think that quite enough of admiration
has been bestowed on ballad poetry, and we
could desire that the poetical mind of Scotland
were turned in some direction in which the
national Muse might gain fresh laurels. The
impulse given by " Percy's Reliques," the in-
fluence of Scott's poems, and the feelings
awakened by various editions of old ballads, have
all done their work, and it would be well if a
new current of poetical thought were discovered.
Professor Aytoun is a poet and a man of genius,
from whom we have high expectations. Emi-
nently successful in his poetical enterprizes, we
think that he would soar still higher if he took
another model for his compositions than that on
which he has worked hitherto. Some of us
south of the Tweed think that he is too sectional
in his taste, and that he sets too great a value on
these " firstlings of his memory," as he calls
these ballads.

It is well to recollect that the form of the
ballad gives it only a limited power. Sir Walter
Scott has admitted " the flatness and insipidity
" which are the great imperfections of ballad
" poetry ;" and the same high authority has also
alluded to " the tenuity of thought and poverty
" of expression by which old ballads are too often
" distinguished " (Introduction to Minstrelsy of
Scottish Border). The "tenuity of thought"
there mentioned by Sir Walter Scott is the great
defect in ballad literature. it was said of
Cowper's poetry by an able critic, that it will be
always popular with women and young persons ;
and the same might be affirmed of ballads.
Learned for the first time in a parent's home,
and associated for many a year with the affecting
recollections of early lite, ballad poetry has many
extraneous charms. Scotchruen, especially, join
these ballads before us with the nationality of
their country, so that there is a tendency, per-
haps, to overrate the poetical value of their
pieces. On their historical and antiquarian value
there can be no difference of opinion.
But without going further into the discussion
of this subject, we shall allow Professor Aytoun,
in his own words, to give his opinion as to the
literary origin of these ballads:—
Their number, as we have them now, without attempting
to estimate the many which must have disappeared iu the
course of time, is a clear proof that they were not composed
casually or from the caprice of the writers, but were the
production of minstrels, who, in remoter times, followed
their craft as a regular profession or means of livelihood
—though the emoluments may have been but scanty, and
the social position of the professors not very exalted. It

is no shortsighted policy which suggests that the recre
tions of a people should be attended to at welt as th:i
physical wants ; for man is a complex animal, and in th
absence of all amusement to relieve the severity of hi
daily toil, he is apt to become sullen and morose, if no
positively dangerous. The homely phrase, " All work end
no play," implies a condition unwholesome alike for in.
dividuels and societies, and decidedly unfavourable to the
development of the better propensities of our nature
Some modern philanthropists, who are entitled to credit
for their zeal and cerity, though we may be allowed to
doubt the soundness of their philosophy and the extent of
their discretion, have opined that the best mode of reereet•
ing the people and refreshing their spirits, lies in the
alternation of severe mental and bodily exercise ; the hours
of leisure being devoted to study, as diligently as those of
labour are dedicated to the needful exercise of a handicraft.
Experience, not less than common sense, is opposed ~
such preposterous notions ; and it' there is one lesson inure
easily deducible from the pages of history than another, it
is this—that the happiness of a people is best consulted,
and their contentment most easily secured, by giving them
every facility for innocent and pleasant pastime. I eon"
help thinking that the severe measures of the Scottish
Legislature, about the middle of the sixteenth century, fur
checking and even suppressing the sports of the com-
monalty, contributed largely in engendering that spirit of
abarchv, disaffection, and turbulence, which for a long
series of years; gave Scotland the unenviable character of
being the rudest country of Christendom.
We could have wished that Professor Aytoun
had entered deeper in his preliminary disserta-
tion on the question of the status held by the
ballad-minstrels in the Middle Ages. If Bishop
Percy exaggerated the rank of the minstrels, it
is, we think, now admitted that Ritson estimated
them too low in a social point of view, and some
of the bitterest comments from Ritson's mordant
pen were in his strictures on the views put for-
ward on this point in Bishop Percy's famous
" Reliques." Professor Aytoun's conclusion on
that point is as follows :

I do not regard as mere casual compositions, dictated by
the fancy of individuals who had a natural taste for poetry,
or an ambition for making themselves known as men of
superior capacity in a small and obscure circle, but as pro-
fessional works, undertaken both for livelihood and time,
which must ever have some connection. Be it remembered
that, before the invention of printing, fame was a herb.
hood. Posthumous renown, the comfort of modern
appointed poetasters, was then a thing undiscovered. The
poet had then a living, sentient, and sensitive audience
to address ; and if he could not stir, influence, nr inspire
them, there was not even a phantom of a tribunal to
which he could carry his appeal.
_ _

This subject of critical controversy may be solved
in a manner to reconcile both views. We take
it that the rank of minstrels depended much on
their personal character, manners, and abilities.
Their rank was, probably, indeterminate. In
" Waverley," after the hero of the novel is intro-
du:ed in the feast at Glennaquoil, Fergus Allvor
asks, " Where is the song hidden, my friends, that
M'Murrough cannot find it ?" and we have then
a vivid description of the family bard's song,
composed in Gaelic, of which Flora Mqvor renders
the spirited version -.+,
There is mist in the nsithntaln, and night in the vale,
But more dsrk is the sleep of the sons of the Gael.
Sc.

--- ---
And the description by the master-novelist of the
way in which M'Murrough recited his verses,
and their effect on the chieftain's followers, is
most striking. We refer to it particularly as
illustrating to some extent the opinion offered
by I'rofessor Aytoun in the foregoing extract;
for Scott goes on to say of M'Alurrough's re-
wards :

Flora was so mach beloved by the peasantry that when
M'Murrough composed a song, in which he enumerated
all the beauties .if the district, and intimated her snperio•
rity by concluding " that the fairest apple hung on tha
highest bough," he received in donations, from the indi-
viduals of the clan, more seed•barley than would haus solved
his Highland Parnassus," the Bard's Croft," as it was called,
ten tunes over.

This passage is, we think, "founded on fact,"
and of course the occupation of the minstrel
grew higher in proportion to the rank of the
family. But we want space to discuss this sub-
ject at length.
In these volumes all the standard ballads of
Scotland, if we may use the expression, will be
found. We allude to such as " Sir Patrick
Spens," " The Battle of Otterburn," " Edom o'
Gordon," " Annie of Lochroyan," " Gil Morice,
"Waly, Waly," "Donald of the Isles," Scc.
Mingled with them are others less known in Eng-
land. Thus " llelen of Kirkeonnell " will be
new to many of our readers, for, although printed
by Scott m " The Border Minstrelsy," it is not
as much known in England as it deserves. The
ballad recites a real incident :
A lady of the name of Helen Irving, or Bell (for t 11.4 is
disputed by the two clans), daughter of the laird of hirk•

canoell in Dumfrihire, and celrate for her b;
was beloved by twoess gentlemen in the eb
neighd bourhood.eau Ttyhe
name of the favoured suitor was Adam Fleming of Kirk-
patrick ; that of tbe other has escaped tradition ; although
it has been alleg
The ed that ho was a Bell of Blacket-houtte.
addreases of the latter were, however, favoured by the
friends of the lady, and the lovers were therefore obliged to
meet in secret, and by night, in the churchyard of Kirk-
tonaell, a romantic spot, surrounded by the river Kirtle.
During one of these private interviews, the jealous and
despised lover suddenly appeared on tile opposite bank of
the stream, and levelled his carbine at the breast of his
rival. Helen threw herself before her lover, received in
her bosom the bullet, and died in his arms. A desperate
and mortal combat ensued between Fleming and the Imo-
deur, in which the latter was cut to pieces.
The ballad is as follows:-
1 wish I were where Helen lies !
Night and day on we she cries ; ih
0 that I were where Helen lies, 111"--
On fair Kirkeonnell lee !

Curst be the heart that thought the thought,
And carat the hand that fired the shot,
When in my arms burd Helen dropt,
And died to sunour me !
0 think 3e na my heart was sair,
When my love dropt down and spoke nae main !
There slid she swoon wi' meikle care,
On fair Kirkconnell lee.
As I went down the water side,
None but my foe to be my guide,
None but my too to be my guide,
On fair Kirkconnell
I lighted down, my sword did draw,
I hacked him in pieces ma',
1 backed him in pieces ants',
For her sake that died for me.
0 Helen fair, beyond compare!
I'll weave a garland of thy hair
Shall bind my heart for evermalr,
Until the day l dee!
0 that I were where Helen lies!
Night and day on me she cries ;
Out of my bed she bids me rise,
Says " Haste, and come to me !"
0 Helen fair ! 0 Helen chaste :
Were I with thee I would be blest,
Where thou lies low and takes thy rest,
On fair Kirkconnell lee.
I wish my grave were growing green;
A winding•sheet drawn o'er my e'etta•ia ;
And I in Helen's arms lying
On fair Kirkconnell lee. ',.•.).„
I wish I wero where Helen lies.!).lo 23L,011
Night and day on me she cries, .0 13/11w.
And I eta weary of the skies, 9i1.1
For her sake that died for me !
. •
The egotism of grief is well rendered in these
wailing strains. The iteration of the verse,
hacked bun in pieces sum,
trenches on the ridiculous, and has a spice of gas-
conade.
The labour of collating. them s, and re-
vising the text of them, is y performed
by the accomplished editor. In the beautiful
poem of " \Vali, waly up the banks" there oc-
curs the following stanza : 7,u s, .I.uin :own not
'Tis not the frost that freezes fell,
Nor blearing anaw's inclemencie; .2A lrft bITA
'Tis not sic could that mAkes me cry, ',tow
But my love's heart grown could to me.
When we cam' in by Glasgow tours,
")'''
We were a comely sight to see; 411Anu
Jeott
My love was clad i' the black velvet; ItnitirOefilli
And I mys 11 in cramoisie.
Professor Aytoun then prints a copy (from Mr.
Kinloch's manuscript collection) of a fine ballad,
called " The Marchioness of :Dougla47! which
thus commences : ,e 1 A bbSitopllty) lihiArrlll 'VI

1)9191

1 was a lady of high renown,
As lived in the north eountrie;
I was a lady of high renown,
When Earl Douglas loved me.
When we cam thro' Glasgow toun,
We were a comely sight to see;
My guile lord in velvet green,
And I mysel in cramoisle.
When we cam to linuglas toun,
We were a fine sight to behold
My glide lord in crarnoisie
And I inyael in shining ;old. t:
Professor Aytoun says, in a preliminary note :
I may also remark tams. uly friend, Mr. Robert Chambers'
ha,' the advantage which I have enjoyed, of consulting Mr
Kinloch's MSS. ; and tint he has inserted in his collec-
tion a collated ballad, in no less than four parts, bearing
the same title as that which I have prefixed. his version,
however, has been framed upon quite a different principle
from mine. He evidently considers " Waly, waly," to be
an integral portion of tbis ballad, and he has avowedly at-
tempted to combine all existing versions. lam very far
indeed from doubting his success in the production of an
excellent poem ; fur it would ill become a younger editor
to criticize the work of an experienced brother, whose
knowledge of tradition is indisputable, and whose fine
tat rits and great industry are universally recognized. Rut

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