The Lament Of The Border Widow

The Text is given from Scott's Minstrelsy (1803), vol. iii. pp. 83-4. His introduction states that it was obtained from recitation in the Forest of Ettrick, and that it relates to the execution of a Border freebooter, named Cokburne, by James V., in 1529.

The Story referred to above may have once existed in the ballad, but the lyrical dirge as it now stands is obviously corrupted with a broadside-ballad, The Lady turned Serving-man, given with 'improvements' by Percy (Reliques, 1765, vol. iii. p. 87, etc.). Compare the first three stanzas of the Lament with stanzas 3, 4, and 5 of the broadside:--

3.
And then my love built me a bower,
Bedeckt with many a fragrant flower;
A braver bower you never did see
Than my true-love did build for me.

4.
But there came thieves late in the night,
They rob'd my bower, and slew my knight,
And after that my knight was slain,
I could no longer there remain.

5.
My servants all from me did flye,
In the midst of my extremity,
And left me by my self alone,
With a heart more cold then any stone.

It is of course impossible to compare the bald style of the broadside with the beautiful Scottish dirge; and the difficulty of clothing a bower with lilies, which offends Professor Child, may be disregarded.

THE LAMENT OF THE BORDER WIDOW

1.
My love he built me a bonny bower,
And clad it a' wi' lilye flour;
A brawer bower ye ne'er did see,
Than my true love he built for me.

2.
There came a man, by middle day,
He spied his sport, and went away;
And brought the king, that very night,
Who brake my bower, and slew my knight.

3.
He slew my knight, to me sae dear;
He slew my knight, and poin'd his gear;
My servants all for life did flee,
And left me in extremitie.

4.
I sew'd his sheet, making my mane;
I watched the corpse, myself alane;
I watched his body, night and day;
No living creature came that way.

5.
I took his body on my back,
And whiles I gaed, and whiles I sate;
I digg'd a grave, and laid him in,
And happ'd him with the sod sae green.

6.
But think na ye my heart was sair,
When I laid the moul' on his yellow hair?
O think na ye my heart was wae,
When I turn'd about, away to gae?

7.
Nae living man I'll love again,
Since that my lovely knight is slain;
Wi' ae lock of his yellow hair,
I'll chain my heart for evermair.

Frank Sidgwick

Frank Sidgwick was an English writer, publisher, and scholarly editor. He was instrumental in popularizing ballad and folklore studies in the early 20th century. Sidgwick co-founded the publishing company Sidgwick & Jackson, which became known for its contributions to literature and scholarship. Though not primarily known as a poet, his editorial and publishing efforts significantly impacted the literary culture of his time, emphasizing the academic study of traditional songs and verses.

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The Lament of the Border Widow

My love he built me a bonny bower,
And clad it a' wi' a lilye flower,
A brawer bower ye ne'er did see,
Than my true love he built for me.

There came a man, by middle day,
He spied his sport and went away,
And brought the king that very night,
Who brake my bower, and slew my knight.

He slew my knight, to me so dear;
He slew my knight, and poined his gear;
My servants all for life did flee,
And left me in extremitie.

I sewed his sheet, making my mane;
I watched the corpse, myself alane;
I watched his body, night and day;
No living creature came that way.

I took his body on my back,
And whiles I gaed, and whiles I sat,
I digged a grave, and laid him in,
And happed him with the sod so green.

But think na ye my hear...

George Wharton Edwards

The Douglas Tragedy

There are here put in juxtaposition three versions in ballad-form of the same story, though fragmentary in the two latter cases, not only because each is good, but to show the possibilities of variation in a popular story. There is yet another ballad, Erlinton, printed by Sir Walter Scott in the Minstrelsy, embodying an almost identical tale. Earl Brand preserves most of the features of a very ancient story with more exactitude than any other traditional ballad. But in this case, as in too many others, we must turn to a Scandinavian ballad for the complete form of the story. A Danish ballad, Ribold and Guldborg, gives the fine tale thus:--

Ribold, a king's son, in love with Guldborg, offers to carry her away 'to a land where death and sorrow come not, where all the birds are cuckoos, where all the gr...

Frank Sidgwick

The Cruel Brother

The Text is that obtained in 1800 by Alexander Fraser Tytler from Mrs. Brown of Falkland, and by him committed to writing. The first ten and the last two stanzas show corruption, but the rest of the ballad is in the best style.

The Story emphasises the necessity of asking the consent of a brother to the marriage of his sister, and therefore the title The Cruel Brother is a misnomer. In ballad-times, the brother would have been well within his rights; it was rather a fatal oversight of the bridegroom that caused the tragedy.

Danish and German ballads echo the story, though in the commonest German ballad, Graf Friedrich, the bride receives an accidental wound, and that from the bridegroom's own hand.

The testament of the bride, by which she benefits her friends and leaves curses on her e...

Frank Sidgwick

Jamie Douglas And Waly, Waly, Gin Love Be Bonny

The Text of the ballad is here given from Kinloch's MSS., where it is in the handwriting of John Hill Burton when a youth. The text of the song Waly, waly, I take from Ramsay's Tea-Table Miscellany. The song and the ballad have become inextricably confused, and the many variants of the former contain a greater or a smaller proportion of verses apparently taken from the latter.


The Story of the ballad as here told is nevertheless quite simple and straightforward. It is spoken in the first person by the daughter of the Earl of Mar. (She also says she is sister to the Duke of York, 7.4, a person often introduced into ballads.) Blacklaywood, the lady complains, has spoken calumniously of her to her lord, and she leaves him, saying farewell to her children, and taking her youngest son with her.

The bal...

Frank Sidgwick

The Gay Goshawk

The Text is from the Jamieson-Brown MS., on which version Scott drew partly for his ballad in the Minstrelsy. Mrs. Brown recited the ballad again to William Tytler in 1783, but the result is now lost, with most of the other Tytler-Brown versions.

The Story.--One point, the maid's feint of death to escape from her father to her lover, is the subject of a ballad very popular in France; a version entitled Belle Isambourg is printed in a collection called Airs de Cour, 1607. Feigning death to escape various threats is a common feature in many European ballads.

It is perhaps needless to remark that no goshawk sings sweetly, much less talks. In Buchan's version (of forty-nine stanzas) the goshawk is exchanged for a parrot.


THE GAY GOSHAWK

    1.
    'O well's me o' my g...

Frank Sidgwick

The Braes Of Yarrow

The Text was communicated to Percy by Dr. Robertson of Edinburgh, but it did not appear in the Reliques.

In 9.1, 'Then' is doubtless an interpolation, as are the words 'Now Douglas' in 11.1 But on the whole it is the best text of the fifteen or twenty variants.


The Story.--James Hogg and Sir Walter Scott referred the ballad to two different sources, the former legendary, and the latter historical. It has always been very popular in Scotland, and besides the variants there are in existence several imitations, such as the well-known poem of William Hamilton, 'Busk ye, busk ye, my bonny bonny bride.' This was printed in vol. ii. of Percy's Reliques.

About half the known variants make the hero and heroine man and wife, the other half presenting them as unmarried lovers.


THE...

Frank Sidgwick