DOCSLIB.ORG

Dotrc Dame Scholastic Dl5cs-9VA5I-5£Mp6r-Vlctvrws- -VIVG •9\Yasl- CRAS-Morjtuiews'

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dotrc Dame Scholastic Dl5cs-9VA5I-5£Mp6r-Vlctvrws- -VIVG •9\Yasl- CRAS-Morjtuiews' Che -Q^-a^' Dotrc Dame Scholastic Dl5CS-9VA5I-5£mP6R-VlCTVRWS- -VIVG •9\yASl- CRAS-MORJTUiewS' VOL. XLIX. NOTRE DAME, INDIANA, OCTOBER 23, 1915. No. 7. is "The Nut-Brown Maid," or "Sir Patrick Autumn. Spens," it is, about the dead hour o' the night QOFTLY the bright leaves flutter down. She heard the bridles ring, Russet and brown and gold; and Soon shall thej"^ sleep their long, long sleep O we were sisters, sisters seven In a winding sheet of mould. We were the fairest under heaven. A professor of sociology has shown the Sweetly the Spring may come again great influence of primitiv-e verse on the social With misty blue-bell eyes, life of man and the assistance choral rhythm Calling the soulful songsters home, lent the development of so:iety. The ballads And bidding the flowers rise. are the songs of the people. Rarely, if ever, is Roses may crimson every path an old ballad found which is the work of but Under a sky of grey. one person. Communal authorship seems to But gone to rest for evermore be the best explanation of their origin when we Are the leaves of yesterday. consider that they are the product of an age George William Shan a ha it. when singing, dancing and improvising were •afc the common modes of expression. The vballads The Ballad. appeal to the common memory and imagination and are but the "natural expression of ai^ BY KERNDT IVr. HEALY. unsophisticated age and an uneducated people." Another argument for communal authorship UR English ballads deserve much more is the many variations on the same theme consideration and appreciation than which have been preser\'ed treating of local they receive. Their literary excel­ rather than of national events. The ballad lence, the light the}"- throw upon the was not the work of minstrels, who rather men and customs of early England and their intruded upon the field of balladry, but was influence upon later poetry make them worthy handed down from generation to generation of consideration. by an unlettered community. "The work For a Tong time the question of popular of the singer was only a ripple in the stream literature was not considered worthy of men of national poetr}'." of letters. However, within comparatively What, then, are the excellent qualities of recent years serious study has been given to the ballad and why is it worthy of consideration? the ballad, and in the seventeenth centiiry The literary excellence of the ballad is to be Percy collected some three hundred and pub- considered first. Two reasons why the ballad Hshed them in his "Reliques." Sir Walter flourished in the fifteenth and sixteenth cen­ Scott, too, has been instrumental in the revival turies, are the desire ever>'-one has to hear a of the ballad. good story and the joy .man takes in acting The Oxford English Dictionary says a ballad ,"a familiar or exciting" situation in compaiiy was originally "a song intended as the accom­ with his friends. Entertainment seems to be paniment to a dance." Later the word was one of the chief purposes of the ballad,' and used to describe "a light, simple song," narra­ accordingly it was sung whenever there were tive in subject, lyrical in form and traditional gatherings of any sort. It was Cowper who said in= origin. A well-known writer says the ballad the ballad was adapted to the drollest and-most 98 THE NOTRE DAME SCHOLASTIC tragical subjects and that it' was characterized extraordinarily good and it possesses more by simplicity and ease. Primarily, the ballad pleasing qualities than any preceding lyric. is one of situation and many of the situations "Barbara Allen" and' "Lady Alice" are are tragic. "The ballad is dramatic in origin, beautiful l3'-rics, and Goldsmith delighted in in setting, and in splendid tragic possibilities." hearing an old dair3'-maid sing him into tears Man}'- ballads have famih'woes for their theme. with "Barbara Allen's'cruelty." The false M^ife ruins the happiness of her hus­ Objectivity is a quality prominent in the band, or the • wicked mother schemes for the ballad. The individual is sacrificed and oblit­ destruction of the wife. Some of the tragic erated in the effort to tell an impersonal story. ballads secure romantic details in their develop­ The balladist has no concern with himself; ment, but they remain simple tales "of love he is not introspective; he simply tells the and obstacles, flight, fight and death." story, and no idea of the individual's feelings . The old English ballads .were expressed in may be had from the direct narration of events. simple diction, they moved swiftly and were The traditional ballad either tells a story or capable of portra3dng the great moments of presents a situation each for its own sake; human life. Incremental changes and simple whatever lyric qualities it may have are repetition are the two basic structural features restricted to the singable verses, and if it have of the ballad. Oftentimes the narration ceases any purpose, any subjective feeling, it cannot for the time being to permit incremental be called a ballad. repetition which consists of returning to the The vocabulary of the ballad is quite limited main theme with variations. It has been called and analogies and metaphors are rare. The trivial and commonplace, but if it is so, why epithets employed are very general and tradi­ has the refrain endured so many years until tional and are used over and over again. Wives it now^-remains a A^ery popular and fundamental are "true;" knights are "brave;" ladies arc form of verse? The ballads, many of them "&3-y;" feet are "white;" water is "wan." in fact, are almost entirely composed of incre­ The ballad has no idea of character develop­ mental repetition. "It is the legacy of an earty ment and rarely are particulars of time and and popular art, no invention of a poet in a place ever given. The Robin Hood cycle is library," and has been called the genius of the to be excepted, however, for in these poems the ballad itself. In "Child Waters," the repetition hero's character is portrayed rather carefully. is shown to good advantage in the dialogue The balladist does not try to "heighten" between Ellen and her lover. Some critics style and give it an air of individuality and have pronounced this ballad as having no artistry; indeed he often follows convention superior in English, but in that splendid ballad to the entire disregard of the facts. of "Child Maurice," The charm of' the ballads lies in their fresh­ And heere I send her a mantle of greene ness and their naivete, a quality rarely found As greene as any grasse— at the present day. "This frank play of thought And there I send her a ring of gold and feeling compensates for a more perfect A ring of precious stone,— art in the ballads." They do not often soar we find an example of ballad structure inde­ to the highest pinnacles of poetic perfection, pendent and unique, based on a law of literary but the}'- have sincerity, spontaneity and form. Gray w'rote that this ballad "is divine— power of Advid portra3'-al. It must be remem­ Aristotle's best rules are observed in it in a bered "they are not rivers of song, deep, manner w^hich shows that the author never wide and swift, but rather cool, clear springs heard of Aristotle." among the hills" coursing down to the plain The refrain is also an essential parvt of the of Poetry with enchanting melody. ballad and it argues very forcibly for its choral In many w^ays the ballads throw light upon origin. Dialogue, in m.any instances, coupled the. men and customs of early England. In with refrain, composes many ballads. Dialogue the days when ballads were made the people which takes the form of charge and denial, sang and danced to express their feelings and question and repl}'^, is found in such ballads emotions. The men sang of the sea and heroes as the "Drowned Lovers," the splendid and and outlaws'" and battles and border raids. haimting "Edward, Edward," and the "Nut-. "The Hunting of.the Cheviot," the ballad Brown Maid." In this ballad the meter is which moved Sir Philip Sidney's heart "more TiSE NOTRE DAME SCHOLASTIC 99 than a trumpet," tells of the strife between the The influence of the ballads upon later clans of Douglas and Percie. In Gilbert K. poetry makes them worthy of consideration. Chesterton's modern "Ballad of the White The ballad in some instances is a min ature of Horse," King Alfred chances upon a band of the epic. Edward Bliss Reed remarks "that Danish warriors. The harp is passed around for centuries the ballads were sung, yet as a to each one in turn and they sing of '-'some old class the}'- are not songs, but narrative poems, British raid" and of wars and seas and gods, little epics." The epic deals with an event The people sang of domestic complications and of national importance, an historical or mytho- stolen brides and of infidelity and fidelity and logical incident capable of being treated at of kinship. "Bewick and Graham" is a ballad some length. It is direct and simple, and accord- of kinship in which the story of sworn brother- ing to Aristotle, "a single action, entire and hood is well told. The fathers of two young complete." The baUad is closely related to men quarrel; they call upon their sons to fight the epic and on a smaller scale reproduces its in their stead.
Load more

Recommended publications
  • From 'The Help of Grave and Modest Women' to 'The Care of Men of Sense' : the Transition from Female Midwifery to Male Obstetrics in Early Modern England
    Portland State University PDXScholar Dissertations and Theses Dissertations and Theses 1988 From 'the help of grave and modest women' to 'the care of men of sense' : the transition from female midwifery to male obstetrics in early modern England Karen L. Smith Adams Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/open_access_etds Part of the European History Commons, and the Obstetrics and Gynecology Commons Let us know how access to this document benefits ou.y Recommended Citation Smith Adams, Karen L., "From 'the help of grave and modest women' to 'the care of men of sense' : the transition from female midwifery to male obstetrics in early modern England" (1988). Dissertations and Theses. Paper 3793. https://doi.org/10.15760/etd.5677 This Thesis is brought to you for free and open access. It has been accepted for inclusion in Dissertations and Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. AN ABSTRACT OF THE THESIS OF Karen L. Smith Adams for the Master of Arts in History presented March 18, 1988. Title: From 'The Help of Grave and Modest Women' to 'The Care of Men of Sense': The Transition from Female Midwifery to Male Obstetrics in Early Modern England. APPROVED BY MEMBERS OF THE THESIS COMMITTEE: Ann Weikel, Chair Susan Karant-1~ \ \,, '''·· ... Michael Reardon Until the sixteenth century, childbirth in England was the exclusive domain of women and was orchestrated by the female midwife. By the end of the seventeenth century, / 2 university-educated and church-approved male physicians were systematically beginning to usurp the midwife's role in the lying-in room and to gradually assume authority and power over the process of childbirth.
    [Show full text]
  • To the Ifacuity Pf The
    The Monk and folklore Item Type text; Thesis-Reproduction (electronic) Authors Gaede, Ruth Brant, 1914- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 21:23:08 Link to Item http://hdl.handle.net/10150/319149 THE- 'FOLKEOHB1 by ; , ; Bath Brant Gaede : ' ''' : A Thesi^r ' .:-.v . V, - -. sabtiitted: to the if acuity pf the.-' ' . ' Department of English • : ; in partial fulfillment of the requirements for the.degree of MASTER Of ART in the Graduate College, : University of Arizona 1956 / Approved: of Thesj ( Date Director of Thesis ; Date This thesis has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allow­ able without special permission, provided that accurate acknowledg­ ment of source is made. Requests for permission for extended quota­ tion from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the dean of the Graduate College when in their judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. SIGNED: ' ' . ; , ' ' V . lABIE OF OOHIBMIS • ' - ' : ' . ":,; -' -./^' ; ■ Page FIST OF TABLES. * . ."v:y:-' « , « - , .
    [Show full text]
  • English and Scottish Popular Ballads Edited by Francis James Child
    ,A.4 THE ENGLISH AND SCOTTISH POPULAR BALLADS EDITED BY FRANCIS JAMES CHILD PART I. rg» 04*-~ O&Kslst^+y **e~>^ &%~-jp^ 6s^**^ dr -/&^— *~^e_ *^<#^j £*~ <C- sS?C^£^ pry, ait/at- ^^_^^ ^s**j/£-4. (P^^SL *v H fo*tfV> . a^jj^±^J^^U/iy^^/<^^ ".RE AT STANHOPE STREE" MAY FAIR. N. Uun iu^u^^u A^/S Ojsfcu* kt £&?<?* /lif( fhui k *u tnii. /.fUr ??r^&&£ fr^z>t<- /^£ yk^y /Jit /k /^ v ^ & Ifox „ ^zz, ^ f ^ ' ^-> lc*jZl /^ ^~ ^ ^^^ o*^ A* \6.l£ IwA yw- tfou & ^'( ^^ / n fl<2.CvH^ /a*<^*^f+ . ^^ ^^ 4£*~*y>Ze -sr £. * ^ J <^T^ &£ £&- y Travellers' Club, Pall Mall, S.W. ^^<?%5^~ — * » & «^£' <y'fc&^+/ ^'A<tc&e~ ^:, ^^ <^*»&*¥ /* * *> ^^ tie c£/ysi i • . ^_— 7-— ^ <y£ f*-^"*? <;tj,c*<~r..— CdT^- CJ^rci^k <zcc^ <r p? *? j*y c^zz&^& ? ^^> P^< <^^* e &* ,/tty ^ *z*r /£ /est <? c c "'1:^. S^Se^ Wit v U4*x& f CM '/& X1 '4- THE ENGLISH AND SCOTTISH POPULAR BALLADS EDITED BY FRANCIS JAMES CHILD PART I BOSTON HOUGHTON, MIFFLIN AND COMPANY new york: 11 east seventeenth street London : Henry Stevens, 4 Trafalgar Square •One Ctiounaiift Copies Prmtrtr. No. *Zi / &7 Copyright, 1882, by F. J. Child. All rights reserved. The Riverside Press, Cambridge: Printed by II. O. Houghton and Company. PROSPECTUS OF The English and Scottish Popular Ballads, Edited by FRANCIS J. CHILD, Professor in Harvard College. THE Popular Ballads existing in the English language, though their surpass- ing merit has been amply recognized, have never been collected into one Dody. The sequestration of the Percy Folio forbade, until lately, the thought of ;uch an undertaking.
    [Show full text]
  • Poetic Origins and the Ballad
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications -- Department of English English, Department of January 1921 Poetic Origins and the Ballad Louise Pound University of Nebraska Follow this and additional works at: https://digitalcommons.unl.edu/englishfacpubs Part of the English Language and Literature Commons Pound, Louise, "Poetic Origins and the Ballad" (1921). Faculty Publications -- Department of English. 43. https://digitalcommons.unl.edu/englishfacpubs/43 This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications -- Department of English by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. POETIC ORIGINS AND THE BALLAD BY LOUISE POUND, Ph.D. Professor of English in the University of Nebraska )Sew ~Otft THE MACMILLAN COMPANY 1921 aU riuhta reserved COPYRIGHT, 1921, By THE MACMILLAN COMPANY. Set up and electrotyped. Published, January, 1921. TO HARTLEY AND NELLIE ALEXANDER PREFACE The leading theses of the present volume are that the following assumptions which have long dominated our thought upon the subject of poetic origins and the ballads should be given up, or at least should be seriously quali­ fied; namely, belief in the "communal" authorship and ownership of primitive poetry; disbelief in the primitive artist; reference to the ballad as the earliest and most universal poetic form; belief in the origin of narrative
    [Show full text]
  • La Ballad Inglesa Y Sus Funciones Socioculturales
    UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE FILOLOGÍA Departamento de Filología Inglesa LA BALLAD INGLESA Y SUS FUNCIONES SOCIOCULTURALES MEMORIA PRESENTADA PARA OPTAR AL GRADO DE DOCTOR POR María Asunción Martínez Cebrián Bajo la dirección de la Doctora: Josephine Bregazzi Madrid, 2004 ISBN: 84-669-2528-7 LA BALLAD INGLESA Y SUS FUNCIONES SOCIOCULTURALES TESIS DOCTORAL Dirigida por Dra. Dª Josephine Bregazzi Presentada por María Asunción Martínez Cebrián Departamento de Filología Inglesa UNIVERSIDAD COMPLUTENSE DE MADRID 2003 AGRADECIMIENTOS A la Doctora Josephine Bregazzi, Directora de esta Tesis Doctoral, . Por su apoyo, paciencia y cariño, que han hecho posible la culminación de este trabajo. Por sus acertadas indicaciones, que lo han orientado y han mejorado sus frutos. Por su buen hacer como profesora, que estimuló mis ansias de conocimiento en el inicio de mi formación universitaria, y las ha renovado algunos años después. Por su dedicación personal, que se ha convertido en un ejemplo a seguir en mi trabajo docente. ‘Gar print me ballants weel’, she said, ‘Gar print me ballants many’, ‘Gar print me ballants weel’, she said, ‘That I am a worthy ladie’ “Geordie” (Ch 209B) í N D I C E Págs. INTRODUCCIÓN 1 I ANÁLISIS FUNCIONAL DE LA BALLAD INGLESA 11 1.1 Componente Interpersonal: Participantes. Sujetos de la 11 enunciación y sujetos del enunciado. 1.1.1 Los sujetos de la enunciación. 15 1.1.1.1 El enunciador. 15 1.1.1.1.1 Narrador externo. 16 1.1.1.1.2 Narrador externo con referencia personal 37 1.1.1.1.3 Narrador personaje. 42 1.1.1.1.4 Cancelación del sujeto: no narrador.
    [Show full text]
  • Francis James Child and William Macmath Working Together for Ballads
    THE CAUSE Francis James Child and William Macmath Working Together for Ballads Mary Ellen Brown• • , Editor Contents Acknowledgements The Cause The Letters Index Acknowledgments The letters between Francis James Child and William Macmath reproduced here belong to the permanent collections of the Houghton Library, Harvard University and the Hornel Library, Broughton House, Kirkcudbright, a National Trust for Scotland property. I gratefully acknowledge the help and hospitality given me by the staffs of both institutions and their willingness to allow me to make these materials more widely available. My visits to both facilities in search of data, transcribing hundreds of letters to bring home and analyze, was initially provided by the John Simon Guggenheim Memorial and Andrew W. Mellon foundations and subsequently—for checking my transcriptions and gathering additional material--by the Office of the Provost for Research at Indiana University Bloomington. This serial support has made my work possible. Quite unexpectedly, two colleagues/friends met me the last time I was in Kirkcudbright (2014) and spent time helping me correct several difficult letters and sharing their own perspectives on these and other materials—John MacQueen and the late Ronnie Clark. Robert E. Lewis helped me transcribe more accurately Child’s reference and quotation from Chaucer; that help reminded me that many of the letters would benefit from copious explanatory notes in the future. Much earlier I benefitted from conversations with Sigrid Rieuwerts and throughout the research process with Emily Lyle. Both of their published and anticipated research touches on related publications as they have sought to explore and make known the rich past of Scots and the study of ballads.
    [Show full text]
  • Scottish Historical Review
    The Scottish H istorical Review VOL. L, No. 4 JULY 1904 On the Danish Ballads close relation between the Danish and the Scottish THEballads has long been recognised. Jamieson particularly called attention to the subject by his translations from the Danish, included in his own Popular Ballads, in the notes to the Lady of the Lake, and in larger numbers, with a fuller com- mentary, among the Illustrations of Northern Antiquities (1814), edited by Scott. Motherwell in the introduction to his Minstrelsy referred to the likenesses which Jamieson had already pointed out, and added a note of his own on the ballad of Leesome Brand and its Danish counterpart. All the earlier discoveries in this field are of course recorded, with innumerable 1 additions, in the great work of Svend Grundtvig, the collection of all the Danish ballads which is being so worthily completed by his successor Dr. Axel Olrik; while the same matters, the correspondences of ballads in English and Danish (not to speak of other languages), are to be found, with frequent acknowledg- ments of obligation to Grundtvig, in the companion work of 2 Child. The commentaries of Grundtvig and Olrik on the one hand, of Child on the other, leave one almost in despair as to the the possibility of ever making out history of the connexion between the ballads of this country and of Denmark. The present paper is little more than an attempt to define some of the problems. l Danmarks Gamle Folkeviser, quoted as D.g.F. Five volumes. 1853-1890; continued by Dr.
    [Show full text]
  • Minstrelsy, Music, and the Dance in the English and Scottish Popular Ballads
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln University of Nebraska Studies in Language, Literature, and Criticism English, Department of January 1921 Minstrelsy, Music, and the Dance in the English and Scottish Popular Ballads Lowry Charles Wimberly University of Nebraska Follow this and additional works at: https://digitalcommons.unl.edu/englishunsllc Part of the English Language and Literature Commons Wimberly, Lowry Charles, "Minstrelsy, Music, and the Dance in the English and Scottish Popular Ballads" (1921). University of Nebraska Studies in Language, Literature, and Criticism. 10. https://digitalcommons.unl.edu/englishunsllc/10 This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in University of Nebraska Studies in Language, Literature, and Criticism by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. UNIVERSITY OF NEBRASKA. STUDIES IN LANGUAGE, LITERATURE, AND CRITICISM NUMBER 4. MINSTRELSY, MUSIC, AND THE DANCE IN THE ENGLISH AND SCOTTISH POPULAR BALLADS BY LOWRY CHARLES WIMBERLY, A. M. EDITORIAL COMMITTEE LOUISE POUND, Ph. D., Department of English H. B. ALEXANDER, Ph. D., Department of Philosophy H. H. VAUGHAN, Ph. D., Department of Romance Languages LINCOLN 1 9 2 1 CONTENTS I INTRODUCTION The pastimes of the ballad in relation to the theme of the ballad. -The ballad narrative rather than descriptive.-Rapid action in the ballad.-Pastimes not ordinarily an essential part of the action.-Minstrelsy, music, and the dance in King Estmere and The Bonny Lass 01 Anglesey.-Pastimes usually portrayed in casual descriptive touches.-Purpose of the present study.­ Importance of recreational interests in the ballad.-The place of music in the present study.
    [Show full text]
  • Xvii.-The Ballad and the Dance
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications -- Department of English English, Department of 1919 XVII.-THE BALLAD AND THE DANCE Louise Pound Follow this and additional works at: https://digitalcommons.unl.edu/englishfacpubs Part of the Comparative Literature Commons, English Language and Literature Commons, Modern Literature Commons, and the Reading and Language Commons This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications -- Department of English by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. XVII.-THE BALLAD AND THE DANCE It is the purpose of the following paper to examine the relationship of the mediceval ballad to the dance, in origin and in traditional usage. Particular reference is had to the English and Scottish ballad tvpe. In various preced- ing papers 1 I have considered the theory currently ac- cepted in America of the inseparableness of primitive dance, music, and song and have shown that primitive song is not narrative in character. I have also questioned the a,ssumption that the ballad is the archetypal poetic form- this position should be assigned to the song, not the ballad -and the assumption of " communal " as against indivi- dual authorship for the English and Scottish popular ballads. The present paper examines the relation to the dance of the English and Scottish ballads. The view is widely accepted both in the Old World and in America that this, and sinlilar ballad types, originated in the dance.
    [Show full text]
  • An Introduction to Braid Scots Illustrated from the Folk Songs of Scotland
    An Introduction to Braid Scots illustrated from the folk songs of Scotland Robert B. Waltz copyright ©2013 by Robert B. Waltz To Mollie Spillman “For I was hungry and you gave me food, I was thirsty and you gave me something to drink, I was a stranger and you welcomed me.” Table of Contents Introduction............................................................................................................................. 1 Pronouncing Braid Scots ...................................................................................................... 3 How the Vocabulary Works .................................................................................................. 5 Vocabulary............................................................................................................................... 6 List of Songs Cited in the Vocabulary, with the Words Cited ............................................... 49 Some Gaelic Names O!en Found in Scottis ........................................................................ 52 Appendix I: A Selection of Scottish Songs............................................................................... 53 Wha Wadna Fecht for Charlie......................................................................................... 53 "e Besom Maker........................................................................................................... 54 Bloody Waterloo ............................................................................................................. 55 "e Land
    [Show full text]
  • Of Child Ballads
    Alphabetical index to the Child Ballads While working on folk songs in manuscript I wanted to have in front of me a list of the Child ballads with their numbers. Child himself does not supply such a list and the index of my edition of Kittredge* was too small to scan. Steve Roud kindly scanned his for me. I then found that what I really wanted was an alphabetical list - so here it is: Adam Bell, Clim Of The Clough And William Of Cloudesly Child 116 Alison And Willie Child 256 Allison Gross Child 35 Andrew Lammie Child 233 Archie o Cawfield Child 188 Auld Matrons Child 249 Babylon (or The Bonnie Banks of Fordie) Child 14 Baffled Knight, The Child 112 Bailiff's Daughter Of Islington , The Child 105 Baron o Leys, The Child 241 Baron Of Brackley, The Child 203 Battle Of Harlaw, The Child 163 Battle Of Otterburn, The Child 161 Battle Of Philiphaugh, The Child 202 Beggar-Laddie, The Child 280 Bent Sae Brown, The Child 71 Bessy Bell And Mary Gray Child 201 Bewick And Graham Child 211 Blancheflour And Jellyflorice Child 300 Bold Pedlar And Robin Hood, The Child 132 Bonnie Annie Child 24 Bonnie House o Airlie, The Child 199 Bonnie James Campbell Child 210 Bonnie Lizie Baillie Child 227 Bonny Baby Livingston Child 222 Bonny Barbara Allan Child 84 Bonny Bee Hom Child 92 Bonny Birdy, The Child 82 Bonny Earl Of Murray, The Child 181 Bonny Hind, The Child 50 Bonny John Seton Child 198 Bonny Lass Of Anglesey, The Child 220 Bothwell Bridge Child 206 Boy And The Mantle, The Child 29 Braes o Yarrow, The Child 214 Broom Of Cowdenknows, The Child 217 Broomfield
    [Show full text]
  • Late Victorian Ballad Translation
    Late Victorian Ballad Translation by Letitia Henville A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of English University of Toronto © Copyright by Letitia Henville 2016 Late Victorian Ballad Translation Letitia Henville Doctor of Philosophy Department of English University of Toronto 2016 Abstract This dissertation investigates late Victorian ballad translations that depict non-British people. It focuses on ballads published in the 1890s, at the height of imperialist expansion and at a peak of ballad collecting and editing. In this period, as recent criticism in the field has shown, many ballad scholars, collectors, and publishers treated this verse form like an artifact in a Victorian museum: they framed, bowdlerized, and decontextualized the ballad, as if it were an inanimate object, rendering it easily consumable for the middle classes. By looking at poets who translated the ballad rather than publishers who ‘artifactualized’ it, I show that the ballad remained a vital—even rebellious—politically engaged form, even during this period of intense collecting and cataloguing. My work contributes to the burgeoning field of global poetics through an investigation of four poets: William Morris, Rudyard Kipling, Robert Louis Stevenson, and E. Pauline Johnson. My first chapter, a study of Morris’s ballad translations from Danish and Icelandic, argues that Morris figured the ballad as embodying folk up-rising. My second chapter argues that Kipling’s ballad translations are from “Atkinsese,” a language named after Tommy Atkins, the soldier-speaker the “Barrack-Room Ballads.” Tommy sings of the experiences of empire, but, in the margins of the text, an editor- ii figure retranslates Tommy’s words in order to undercut the authority that Tommy establishes.
    [Show full text]