The ballad - Index of
The ballad - Index of The ballad - Index of
The Ballad villagers produce their traditional ballads. In the last ten years Mr. Cecil Sharp, the Folk-Song Society, and aiders and and their gramophones abettors, have scoured our counties one by one ; and from the cottage by day and the taproom by night, from gleaners at noon and gypsies round the evening fire, they have gathered hundreds of songs. The first thing that strikes any collector who takes up this work is the reluctance of the folk to impart their lore in cold blood the ; second thing is the way in which, under pressure, they " work themselves up," and after delays, grumblings, and false starts begin to sing. I have sat through an afternoon in a rural workhouse waiting for an old man to sing first he could ; not, then he would not next he cleared his ; throat and mumbled a snatch or two ; shook his head, harked back, stumbled, and at length, with shaking head, gleaming eye, and tapping foot (an instinctive memory of the dance), burst out and could hardly be stopped. A disused machine ; it only needs a little coaxing, and perhaps a little oil. The worst enemy of the theory of collective or communal composition is, naturally enough, the rival composer the individual literary or literate man. When the theory was first launched, little more than a century ago, it was generally received with laughter, the echoes of which have not yet died away. Even to-day the trained 24
The Ballad literary mind appears or affects to find it very difficult to entertain the idea, and a hundred In very much the years since it was impossible. same way, and at the same date, popular poetry and ballads were held to be " rough and uncouth " ; they were crude verse, which it was literary etiquette to despise, and for which even their friends, like Percy, felt bound to apologise. But the nineteenth-century outburst of scientific research and comparative study has by now begun to leaven the literate mass, chiefly by insisting again and again that the ballad is not literature. George Borrow, travelling in Spain, actually found a primitive community that possessed no poet and no poetry, yet they all sang ballads. Borrow was of too early a generation to realise the interest of his discovery ; but since his day similar or still more primitive communities have been found, even in Europe, where communal song and dance survive. It is not literature no ; more convincing proof of this could be desired than the recorded fact that literature the literary man and his individual poem exterminates the folk-song and the ballad wherever it meets them. In short, using the words in their strict sense, popular poetry is only popular poetry so long as it is i.e. -popular, in the minds and on the lips of the people. Like a pressed flower, you may preserve it in your book, but the colour is gone. 25
- Page 1: CD CN :LD ICD Sidwick, Frank The ba
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- Page 19 and 20: ^ Ballad -^ itA tion and repetition
- Page 21 and 22: The Ballad tage. The zoologist Rich
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- Page 25 and 26: The Ballad bodily movements, especi
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- Page 35 and 36: The Ballad form never had a refrain
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- Page 43 and 44: The Ballad ence " it his bookbinder
- Page 45 and 46: The Ballad senting them in concentr
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- Page 51 and 52: The Ballad and Christy cannot. Old
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- Page 55 and 56: The Ballad " Queen of Elfin's Nouri
- Page 57 and 58: The Ballad ever that may be, hardly
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- Page 71: Sidgwiek, Frank The ballad. PLEASE
<strong>The</strong> Ballad<br />
villagers produce their traditional <strong>ballad</strong>s. In<br />
the last ten years Mr. Cecil Sharp, the Folk-Song<br />
Society,<br />
and aiders and<br />
and their gramophones<br />
abettors, have scoured our counties one by one ;<br />
and from the cottage by day and the taproom by<br />
night, from gleaners at noon and gypsies round<br />
the evening fire, they have gathered hundreds <strong>of</strong><br />
songs. <strong>The</strong> first thing that strikes any collector<br />
who takes up<br />
this work is the reluctance <strong>of</strong> the<br />
folk to impart their lore in cold blood the<br />
;<br />
second thing<br />
is the way in which, under pressure,<br />
they " work themselves up," and after delays,<br />
grumblings, and false starts begin to sing. I have<br />
sat through an afternoon in a rural workhouse<br />
waiting for an old man to sing first he could<br />
;<br />
not, then he would not next he cleared his<br />
;<br />
throat and mumbled a snatch or two ;<br />
shook his<br />
head, harked back, stumbled, and at length, with<br />
shaking head, gleaming eye, and tapping foot (an<br />
instinctive<br />
memory <strong>of</strong> the dance), burst out and<br />
could hardly be stopped. A disused machine ;<br />
it only needs a little coaxing, and perhaps a little<br />
oil.<br />
<strong>The</strong> worst enemy <strong>of</strong> the theory <strong>of</strong> collective or<br />
communal composition is, naturally enough, the<br />
rival composer the individual literary or literate<br />
man. When the theory was first launched, little<br />
more than a century ago, it was generally received<br />
with laughter, the echoes <strong>of</strong> which have<br />
not yet died away. Even to-day the trained<br />
24