The ballad - Index of
The ballad - Index of The ballad - Index of
The Ballad Gray's eulogy of the ballad, written about the same time as the production of the play, both illuminates the methods of dramatic construction in 1756 and pounces on a marked characteristic of all good ballads. The ballad, says Gray, " begins in the fifth act of the play." A short study of an index of first lines of any collection will testify that this is just what good ballads do. Child, Maurice begins with no hint of tragedy ; we are simply introduced to the Child (which " means no more than the Knight) hunting in the silver wood." He sends a message, by the " little foot-page " so common in ballads, to John Steward's wife, to come to the silver wood to hunt with him. The boy delivers the message faithfully (it is a long one), and the lady bids him hold his peace, lest my lord should hear. My lord, in fact, is is listening even writing down the message. He takes horse, finds Child Maurice combing his hair in the silver wood, and challenges him. They fight. John Steward kills Child Maurice, cuts off his head, and carries it home to confront his lady with it. Now, up to this point we may suspect that John Steward is But justified. "When she looked on Child Maurice' head, She never spoke words but three : ' I never bare no child but one, And you have slain him truly.' " 48
The Ballad Here is a thunderclap of tragedy : another follows immediately. John Steward curses his " wrath " : For I have slain one of the courteousest knights That ever bestrode a steed, So have I done one of the fairest ladies That ever ware woman's weed." We guess that she is dead of grief ; but to the end we do not know whether Child Maurice was or was not John Steward's son. It is his relationship to his mother that matters. It is impossible even to enumerate here the fine ballads in which the situation turns on the family relationship. Such as they, however, may be supposed to have originated before the ballads of the faithless servant. Yet the horror of " churles blood " evident in Glasgerion * belongs to an early age, and the story of 2 Lamkin has a very wide vogue, and is still in circulation. In The Lord of Learne* an inversion of the very popular " Goose-girl " story that to us seems to belong to Grimm, we have the " false steward " at his worst ; but our versions of the ballad are degenerate. When we come to consider the list of the English and Scottish ballads that deal with super- 1 First Series, i. 2 First Series, 196. 3 Second Series, 182 D 49
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<strong>The</strong> Ballad<br />
Here is a thunderclap <strong>of</strong> tragedy<br />
: another follows<br />
immediately. John Steward curses his<br />
" wrath<br />
"<br />
:<br />
For I have slain one <strong>of</strong> the courteousest knights<br />
That ever bestrode a steed,<br />
So have I done one <strong>of</strong> the fairest ladies<br />
That ever ware woman's weed."<br />
We guess that she is dead <strong>of</strong> grief ;<br />
but to the<br />
end we do not know whether Child Maurice was<br />
or was not John Steward's son. It is his relationship<br />
to his mother that matters.<br />
It is impossible even to enumerate here the<br />
fine <strong>ballad</strong>s in which the situation turns on the<br />
family relationship. Such as<br />
they, however,<br />
may be supposed to have originated before the<br />
<strong>ballad</strong>s <strong>of</strong> the faithless servant. Yet the horror<br />
<strong>of</strong> " churles blood " evident in Glasgerion * belongs<br />
to an early age, and the story <strong>of</strong><br />
2<br />
Lamkin<br />
has a very wide vogue, and is still in circulation.<br />
In <strong>The</strong> Lord <strong>of</strong> Learne* an inversion <strong>of</strong> the very<br />
popular " Goose-girl " story that to us seems to<br />
belong to Grimm, we have the " false steward "<br />
at his worst ;<br />
but our versions <strong>of</strong> the <strong>ballad</strong> are<br />
degenerate.<br />
When we come to consider the list <strong>of</strong> the<br />
English and Scottish <strong>ballad</strong>s that deal with super-<br />
1<br />
First Series, i.<br />
2 First Series, 196.<br />
3 Second Series, 182<br />
D 49