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Dixon in his "Ancient Poems, Ballads, and Songs of the Peasantry of England, taken down from oral tradition, and transcribed from private manuscripts, rare broadsides, and scarce publications," published by the Percy Society. Dixon was probably deceived by Davies Gilbert, who sent the ballad to the Gentleman's Magazine in , and said that it formerly "resounded in every house, in every highway, and in every street.

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He wrote in his Records of the Western Shore p. It was soon after inserted in a Plymouth paper. It happened to fall into the hands of Davies Gilbert, Esq. The two lines above-mentioned formed, I believe, the burthen of the old song, and are all that I can recover. A far more beautiful ballad than Hardyknute is Auld Robin Gray , in which a lady of rank caught the spirit of the tender songs of peasant life with excellent effect.

Lady Anne Barnard kept her secret for fifty years, and did not acknowledge herself the author of it until , when she disclosed the fact in a letter to Sir Walter Scott. These were harmless attempts to deceive, such as will always be common among those who take a pleasure in reducing the pride of the experts; and when they were discovered no one was found to have been injured by the deceit.

It is far different, however, when a forgery is foisted in among genuine works, because when a discovery is made of its untrustworthiness, the reputation of the true work is injured by this association with the false. Pinkerton inserted a large number of his own poems in his edition of Select Scottish Ballads , which poems he alleged to be ancient. He was taken severely to task by Ritson on account of these fabrications, and he afterwards acknowledged his deceit.

One of the most barefaced of literary deceptions was the work published in by R. Cromek, under the title of Remains of Nithsdale and Galloway Song. Although the ballads contained in these volumes are very varied in their subject, they were almost entirely composed by Allan Cunningham, who produced whatever was required of him by his employer. Poets are often the worst of editors, as they find the temptation to "improve" their originals too strong to resist.

Allan Cunningham published in [Pg xlvii] a collection of the Songs of Scotland , in which he availed himself so largely of this license that Motherwell felt called upon to reprobate the work in the strongest terms. He observes: "While thus violating ancient song, he seems to have been well aware of the heinousness of his offending. He might shudder and sicken at his revolting task indeed! To soothe his own alarmed conscience, and, if possible, to reconcile the mind of his readers to his wholesale mode of hacking and hewing and breaking the joints of ancient and traditionary song; and to induce them to receive with favour the conjectural emendations it likes him to make, he, in the course of his progress, not unfrequently chooses to sneer at those, and to underrate their labours, who have used their best endeavours to preserve ancient song in its primitive and uncontaminated form.

The worst among the forgers, however, was a man who ought to have been above such dishonourable work, viz. In Scott's Minstrelsy of the Scottish Border will be found three ballads— The Death of Featherstonhaugh , Lord Ewrie , and Bartram's Dirge , which are treated by Sir Walter as true antiques, and of the genuine character of which he never had a doubt. They are all three, however, mere figments of Surtees's imagination. Each of the ballads was accompanied by fictitious historical incidents, to give it an extra appearance of authenticity.

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Featherstonhaugh was said to be "taken down from the recitation of a woman eighty years of age, mother of one of the miners in Alston Moor;" [Pg xlviii] Lord Ewrie was obtained from "Rose Smith, of Bishop Middleham, a woman aged upwards of ninety-one;" and Bartram's Dirge from "Anne Douglas, an old woman who weeded in his Surtees's garden. George Taylor makes the following excuse in his Life of Surtees p. Surtees no doubt had wished to have the success of his attempt tested by the unbiassed opinion of the very first authority on the subject, and the result must have been gratifying to him.

But at a later period of their intimacy, when personal regard was added to high admiration for his correspondent, he probably would not have subjected him to the mortification of finding that he could be imposed on in a matter where he had a right to consider himself as almost infallible. And it was most likely from this feeling that Mr. Surtees never acknowledged the imposition: for so late as the year , in which Scott dates his introduction to the edition of the Minstrelsy , published in , the ballad of the Death of Featherstonhaugh retains its place vol. Surtees for the communication of it, and the same commendation of his learned proofs of its authenticity.

As was to be expected, the existence of the forgeries just referred to caused several persons to doubt the genuineness of many of the true ballads. Finlay wrote, in , "the mention of hats and cork-heeled shoon in the ballad of Sir Patrick Spence would lead [Pg xlix] us to infer that some stanzas are interpolated, or that its composition is of a comparatively modern date;" [27] and, in , the veteran ballad-collector, Mr. David Laing, wrote as follows: "Notwithstanding the great antiquity that has been claimed for Sir Patrick Spence , one of the finest ballads in our language, very little evidence would be required to persuade me but that we were also indebted for it to Lady Wardlaw Stenhouse's Illustrations of the Lyric Poetry and Music of Scotland , with additional notes to Johnson's Scots Musical Museum , p.

Laing, after quoting from Finlay, made the following further observations: "Bishop Percy also remarks that 'an ingenious friend thinks the author of Hardyknute has borrowed several expressions and sentiments from the foregoing and other old Scottish songs in this collection.

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Dixon, in , considered that the suspicion had become a certainty, and wrote of Lady Wardlaw as one "who certainly appears to have been [Pg l] a great adept at this species of literary imposture. Dixon and the late Mr. Robert Chambers have also thrown out hints of their disbelief in the authenticity of the recitations of Mrs. Brown of Falkland. These, however, were mere skirmishing attacks, but in Robert Chambers marshalled his forces, and made a decisive charge in his publication entitled The Romantic Scottish Ballads, their Epoch and Authorship.

He there explains his belief as follows:—. Whose was this mind is a different question, on which no such confident decision may, for the present, be arrived at; but I have no hesitation in saying that, from the internal resemblance traced on from Hardyknute through Sir Patrick Spence and Gil Morrice to the others, there seems to be a great likelihood that the whole were the composition of the authoress of that poem, namely, Elizabeth Lady Wardlaw of Pitreavie.


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Scotsmen were not likely to sit down tamely under an accusation by which their principal ballad treasures were thus stigmatized as false gems, and we find that several writers immediately took up their pens to refute the calumny. It will be seen that the charge is divided into two distinct parts, and it will be well to avoid mixing them together, and to consider each part separately. Certain ballads, generally supposed to be genuine, were really written by one person, in imitation of the antique. Two of these 2 and 7 are in the Folio MS. It is not necessary to discuss each of these cases separately, and we shall therefore reserve what we have to say for the special consideration of Sir Patrick Spence.

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Before proceeding, we must first consider how far Chambers's previous knowledge of ballad literature prepared him for this inquiry; and we cannot rate that knowledge very highly, for in his Collection of Scottish Songs , he actually attributes Wotton's Ye Meaner Beauties to Darnley, and supposes Mary Queen of Scots to have been the subject of the author's praises.

At this period also his scepticism had not been aroused, for all the ballads that he thought spurious in had been printed by him in as genuine productions. Overlooking the one given by Ramsay in his Tea-table Miscellany , we have neither print nor manuscript of them before the reign of George III. They are not in the style of old literature. They contain no references to old literature. As little does old literature contain any references to them. They wholly escaped the collecting diligence of Bannatyne. James Watson, who published a collection of Scottish poetry in , wholly overlooks them.

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Ramsay, as we see, caught up only one. Norval Clyne Ballads from Scottish History , , p. He writes:—. Bannatyne, in the sixteenth century, and Allan Ramsay, in the early part of the eighteenth, were not collectors of popular poetry in the same sense as those who have since been so active in that field. The former contented himself, for the most part, with transcribing the compositions of Dunbar, Henrysone, and other "makers," well known by name, and Ramsay took the bulk of his Evergreen from Bannatyne's MS.

ANN VERONICA

That a great many poems of the ballad class, afterwards collected and printed, must have been current among the people when the Evergreen was published, no one that knows anything of the subject will deny. Of known forgeries no varieties exist, but several versions of Sir Patrick Spence have been rescued from oblivion. It is not probable that any fresh ballads will be obtained from recitation, but it is in some degree possible, as may be seen from an instance of a kindred nature in the field of language.


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    • We know that local dialects have almost passed away, and yet some of the glossaries of them lately issued contain words that explain otherwise dark passages in manuscripts of the twelfth and thirteenth centuries. Chambers further affirms that the sentiment of these ballads is not congenial to that of the peasantry—"it may be allowably said, there is a tone of breeding throughout these ballads, such as is never found in the productions of rustic genius. It is they who have remembered them, and held to them with greater tenacity than the educated classes.

    We now come to the text that bears specially upon Sir Patrick Spence , and we will give it in Chambers's own words:—"The Scottish ladies sit bewailing the loss of Sir Patrick Spence's companions 'wi' the gowd kaims in their hair. Here we have the expression, to which attention is called, occurring in a popular song in common use before the battle of Flodden. I have seen it remarked, however, that it is the elliptical use of 'sail the faem' for 'sail over the faem,' which indicates an authorship not older than the day of Queen Anne.

    My answer to this objection shall also be an example from an 'old poet. These quotations completely set aside one portion of the charge, and the other, in which an attempt is made to show that a similar form of expression is constantly occurring in the several poems, is really of little weight, pressed as it is with some unfairness. We have already seen that the old minstrels used certain forms of expression as helps to memory, and [Pg lv] these recur in ballads that have little or no connection with each other. Chambers, following David Laing, uses Percy's note at the end of Sir Patrick Spence [32] as an engine of attack against the authenticity of the ballad, but there is really no reason for the conclusion he comes to, "that the parity he remarked in the expressions was simply owing to the two ballads being the production of one mind," for a copyist well acquainted with ballad literature would naturally adopt the expressions found in them in his own composition.

    The consideration of the opinion that Lady Wardlaw was the author of Sir Patrick Spence and other ballads, need not detain us long, because the main point of interest is their authenticity, and the question of her authorship is quite a secondary matter: that falls to the ground if the grand charge is proved false, and need not stand even if that remains unrefuted.

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    The only reason for fixing upon Lady Wardlaw appears to have been that as these ballads were transmitted to Percy by Lord Hailes, and one of them was an imitation of the antique by Lady Wardlaw, and another was added to by the same lady, therefore if a similarity between the ballads could be proved, it would follow that all were written by her. Now the very fact that the authorship of Hardyknute was soon discovered is strong evidence against any such supposition, because none of her associates had any suspicion that she had counterfeited other ballads, and could such a wholesale manufacture have been concealed for a century it would be a greater mystery than the vexed question, who was Junius?

    The other point, whether the author of the indistinct and redundant Hardyknute [Pg lvi] could have written the clear and incisive lines of Sir Patrick Spence may be left to be decided by readers who have the two poems before them in these volumes. A few particulars may, however, be mentioned. The openings of these ballads form excellent contrasted examples of the two different styles of ballad writing. Sir Patrick Spence commences at once, like other minstrel ballads, with the description of the king and his council:—.


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      • The king then sends a letter to Spence. There is no description of how this was sent, but we at once read:—. Hardyknute , on the other hand, is full of reasons and illustrative instances in the true ballad-writer's style:—.