Thomas lay and sa In the bankes of He sayd Yonder is Mary of Might, Certes bot I may speke with that lady bright, I schal me hye with all my might, And sayd, Lovely lady, thou rue on me, I ride after the wild fee, My ratches rinnen at my devys. Suld you neuer be wryede for me. Trow you well, Thomas, you cheuyst ye warre; What berde in bouyr may dele with thee. Her heyre hang down about hyr hede, That he before had sene in that stede; Tak thy leue, Thomas, at son and mone, At gresse, and at euery tre, This twelmonth sall you with me gone, Alas, he seyd, ful wo is me, I trow my dedes will werke me care, Jesu, my sole tak to ye, Whedir so euyr my body sal fare. The figge and als fylbert tre; The throstylcock sang wald hafe no rest. Sees thou, Thomas, yon thyrd way, To the brynyng fyres of helle. Sees thou, Thomas, yone fayr castell, Of town and tower it beereth the belle, I shall say syttyng on the dese, I toke thy speche beyonde the le. And behelde that ladye gaye; Than was sche fayr, and ryche anone, And also ryal on hir palfreye. The grewhoundes had fylde thaim on the dere, She blewe her horne Thomas to chere, And kokes standyng with dressyng knyfe, Knyghtes dansyd by two and thre, Ladyes that were gret of gre, Sat and sang of rych aray. Thomas sawe much more in that place, Than I can descryve, Til on a day, alas, alas. My lovelye ladye sayd to me, Busk ye, Thomas, you must agayn, Here you may no longer be: Hy then gerne that you were at hame, I sal ye bryng to Eldyn Tre. Thomas answerd with heuy cher, Haf I be bot the space of dayes three. Trowe you wele he will chuse thee, Fare wele, Thomas, I wende my way.' The Elfin Queen, after restoring Thomas to earth, pours forth a string of prophecies, in which we distinguish references to the events and personages of the Scottish wars of Edward III. The battles of Dupplin and Halidon are mentioned, and also Black Agnes, Countess of Dunbar. There is a copy of this poem in the Museum of the Cathedral of Lincoln, another in the collection in Peterborough, but unfortunately they are all in an imperfect state. Mr. Jamieson, in his curious Collection of Scottish Ballads and Songs, has an entire copy of this ancient poem, with all the collations. The lacunae of the former editions have been supplied from his copy. NOTE III. ALLUSIONS TO HERALDRY.-P. 676. 'The muscle is a square figure like a lozenge, but it is always voided of the field. They are carried as principal figures by the name of Learmont. Learmont of Earlstoun, in the Merss, carried or on a bend azure three muscles; of which family was Sir Thomas Learmont, who is well known by the name of Thomas the Rhymer, because he wrote his prophecies in rhime. This prophetick herauld lived in the days of King Alexander the Third, and prophesied of his death, and of many other remarkable occurrences; particularly of the union of Scotland with England, which was not accomplished until the reign of James the Sixth, some hundred years after it was foretold by this gentleman, whose prophecies are much esteemed by many of the vulgar even at this day. I was promised by a friend a sight of his prophecies, of which there is everywhere to be had an epitome, which, I suppose, is erroneous, and differs in many things from the original, it having been oft reprinted by some unskilful persons. Thus many things are amissing in the small book which are to be met with in the original, particularly these two lines concerning his neighbour, Bemerside: "Tyde what may betide, Haig shall be laird of Bemerside." And indeed his prophecies concerning that ancient family have hitherto been true; for, since that time to this day, the Haigs have been lairds of that place. They carrie, Azure a saltier cantoned with two stars in chief and in base argent, as many crescents in the flanques or; and for crest a rock proper, with this motto, taken from the above-written rhyme "Tide what may."-NISBET On Marks of Cadency, p. 158.-He adds, that Thomas' meaning may be understood by heraulds when he speaks of kingdoms whose insignia seldom vary, but that individual families cannot be discovered, either because they have altered their bearings, or because they are pointed out by their crests and exterior ornaments, which are changed at the pleasure of the bearer.' Mr. Nisbet, however, comforts himself for this obscurity by reflecting that we may certainly conclude, from his writings, that herauldry was in good esteem in his days, and well known to the vulgar.'-Ibid. p. 160.-It may be added, that the publication of predictions, either printed or hieroglyphical, in which noble families were pointed out by their armorial bearings, was, in the time of Queen Elizabeth, extremely common; and the influence of such predictions on the minds of the common people was so great as to occasion a prohibition, by statute, of prophecy by refes ence to heraldic emblems. Lord Henry Howard also (afterwards Earl of Northamp ton) directs against this practice much of the reasoning in his learned treatise, entitled, 'A Defensation against the Poyson of pretended Prophecies." NOTE IV.-P. 678. As he The strange occupation in which Waldhave beholds Merlin engaged, derives some illus tration from a curious passage in Geoffrey of Monmouth's life of Merlin, above quoted. The poem, after narrating that the prophet had fled to the forest in a state of distraction, proceeds to mention, that, looking upon the stars one clear evening, he discerned from his astrological knowledge, that his wife, Guendolen, had resolved, upon the next morning, to take another husband. had presaged to her that this would happen, and had promised her a nuptial gift (cautioning her, however, to keep the bridegroom out of his sight), he now resolved to make good his word. Accordingly, he collected all the stags and lesser game in his neigh bourhood; and, having seated himself upon a buck, drove the herd before him to the capital of Cumberland, where Guendolen resided. But her lover's curiosity leading him to inspect too nearly this extraordinary cavalcade, Merlin's rage was awakened, and he slew him with the strike of an antler of the stag. The original runs thus: • Dixerat: et silvas et saltus circuit omnes, Quo gestabatur, vibrataque jecit in illum, For a perusal of this curious poem, accurately copied from a MS. in the Cotton Library, nearly coeval with the author, I was indebted to my learned friend, the late Mr. Ritson. There is an excellent paraphrase of it in the curious and entertaining Specimens of Early English Romances, pub. lished by Mr. Ellis. GLENFINLAS; OR, LORD RONALD'S CORONACH1. INTRODUCTORY NOTE. THE simple tradition upon which this ballad is founded runs thus: While two Highland hunters were passing the night in a solitary bothy (a hut built for the purpose of hunting) and making merry over their venison and whisky, one of them expressed a wish that they had pretty lasses to complete their party. The words were scarcely uttered, when two beautiful young women, habited in green, entered the hut, dancing and singing. One of the hunters was seduced by the siren who attached herself particularly to him, to leave the hut: the other remained, and, suspicious of the fair seducers, continued to play upon a trump, or Jew's harp, some strain, consecrated to the Virgin Mary. Day at length came, and the temptress vanished. Searching in the forest, he found the bones of his unfortunate friend, who had been torn to pieces and devoured by the fiend into whose toils he had fallen. The place was from thence called the Glen of the Green Women. Glenfinlas is a tract of forest-ground, lying in the Highlands of Perthshire, not far from Callender in Menteith. It was formerly a royal forest, and now belongs to the Earl of Moray. This country, as well as the adjacent district of Balquidder, was, in times of yore, chiefly inhabited by the Macgregors. To the west of the Forest of Glenfinlas lies Loch Katrine, and its romantic avenue, called the Troshachs. Benledi, Benmore, and Benvoirlich, are mountains in the same district, and at no great distance from Glenfinlas. The river Teith passes Callender and 1 Coronach is the lamentation for a deceased warrior, sung by the aged of the clan. the Castle of Doune, and joins the Forth near Stirling. The Pass of Lenny is immediately above Callender, and is the principal access to the Highlands from that town. Glenartney is a forest, near Benvoirlich. The whole forms a sublime tract of Alpine scenery. This ballad first appeared in the Tales of Wonder. The ballad called 'Glenfinlas was, I think, the first original poem which I ventured to compose. As it is supposed to be a translation from the Gaelic, I considered myself as liberated from imitating the antiquated language and rude rhythm of the Minstrel ballad. A versification of an Ossianic fragment came nearer to the idea I had formed of my task; for although controversy may have arisen concerning the authenticity of these poems, yet I never heard it disputed, by those whom an accurate knowledge of the Gaelic rendered competent judges, that in their spirit and diction they nearly resemble fragments of poetry extant in that language, to the genuine antiquity of which no doubt can attach. Indeed, the celebrated dispute on that subject is something like the more bloody, though scarce fiercer controversy, about the Popish Plot in Charles the Second's time, concerning which Dryden has said Succeeding times will equal folly call, The Celtic people of Erin and Albyn had, in short, a style of poetry properly called national, though MacPherson was rather an excellent poet than a faithful editor and translator. This style and fashion of poetry, existing in a different language, was supposed to give the original of 'Glenfinlas,' and the author was to pass for one who had used his best command of English to do the Gaelic model justice. In one point, the inci dents of the poem were irreconcilable with. the costume of the times in which they were laid. The ancient Highland chieftains, when they had a mind to hunt the dun deer down,' did not retreat into solitary bothies, or trust the success of the chase to their own unassisted exertions, without a single gillie to help them; they assembled their clan, and all partook of the sport, forming a ring, or enclosure, called the Tinchell, and driving the prey towards the most distinguished persons of the hunt. This course would not have suited me, so Ronald and Moy were cooped up in their solitary wigwam, like two moorfowl-shooters of the present day. After Glenfinlas, I undertook another ballad, called 'The Eve of St. John.' The incidents are mostly entirely imaginary, but the scene was that of my early childhood. Some idle persons had of late years, during the proprietor's absence, torn the iron-grated door of Smailholm Tower from its hinges, and thrown it down the rock. I was an earnest suitor to my friend and kinsman, Mr. Scott of Harden, already mentioned, that the dilapidation might be put a stop to, and the mischief repaired. This was readily promised, on condition that I should make a ballad, of which the scene should lie at Smaiholm Tower, and among the crags where it is situated. The ballad was approved of, as well as its companion 'Glenfinlas'; and I remember that they procured me many marks of attention and kindness from Duke John of Roxburghe, who gave me the unlimited use of that celebrated collection of volumes from which the Roxburghe Club derives its name. Thus I was set up for a poet, like a pedlar who has got two ballads to begin the world upon, and I hastened to make the round of all my acquaintances, showing my precious wares, and requesting criticism-a boon which no author asks in vain. For it may be observed, that, in the fine arts, those who are in no respect able to produce any specimens themselves, hold themselves not the less entitled to decide upon the works of others; and, no doubt, with justice to a certain degree; for the merits of composition produced for the express purpose of pleasing the world at large, can only be judged of by the opinion of individuals, and perhaps, as in the case of Molière's old woman, the less sophisticated the person consulted so much the better. But I was ignorant, at the time I speak of, that though the applause of the many may justly appreciate the general merits of a piece, it is not so safe to submit such a performance to the more minute criticism of the same individuals, when each in turn, having seated himself in the censor's chair, has placed his mind in a critical attitude, and delivers his opinion sententiously and ex cathedra. General applause was in almost every case freely tendered, but the abatements in the way of proposed alterations and cor rections were cruelly puzzling. It was in vain the young author, listening with be coming modesty and with a natural wish to please, cut and carved, tinkered and coopered, upon his unfortunate ballads--it was in vain that he placed, displaced, replaced, and misplaced; every one of his advisers was displeased with the concessions made to his co-assessors, and the author was blamed by some one, in almost every case, for having made two holes in attempting to patch up one. At last, after thinking seriously on the subject, I wrote out a fair copy (of 'Glenfinlas,' I think), and marked all the various corrections which had been proposed. On the whole, I found that I had been required to alter every verse, almost every line, and the only stanzas of the whole ballad which escaped criticism were two which could neither be termed good nor bad, speaking of them as poetry, but were of a mere commonplace character, absolutely necessary for conducting the business of the tale. This unexpected result, after about a fortnight's anxiety, led me to adopt a rule from which I have seldom departed during more than thirty years of literary life. When a friend, whose judg ment I respect, has decided, and upon good advisement told me, that a manuscript was worth nothing, or at least possessed no redeeming qualities sufficient to atone for its defects, I have generally cast it aside; but I am little in the custom of paying attention to minute criticisms, or of offering such to any friend who may do me the honour to consult me. I am convinced that, in general, in removing even errors of a trivial or venial kind, the character of originality is lost, which, upon the whole, may be that which is most valuable in the production. About the time that I shook hands with criticism, and reduced my ballads back to the original form, stripping them without remorse of those 'lendings' which I had adopted at the suggestion of others, an opportunity unexpectedly offered of introducing to the world what had hitherto been confined to a circle of friends. Lewis had announced a collection, first intended to bear the title of Tales of Terror, and afterwards published under that of Tales of Wonder. As this was to be a collection of tales turning on the preternatural, there were risks in the plan of which the ingenious editor was not aware. The supernatural, though appealing to certain powerful emotions very widely and deeply sown amongst the human race, is nevertheless, a spring which is peculiarly apt to lose its elasticity by being too much pressed on, and a collection of ghost stories is not more likely to be terrible, than a collection of jests to be merry or entertaining, But although the very title of the proposed work carried in it an obstruction to its effect, this was far from being suspected at the time, for the popularity of the editor, and of his compositions, seemed a warrant for his success. The distinguished favour with which the 'Castle Spectre' was received upon the stage, seemed an additional pledge for the safety of his new attempt. I readily agreed to contribute the ballads of Glenfinlas' and of 'The Eve of Saint John,' with one or two others of less merit; and my friend Dr. Leyden became also a contributor. Mr. Southey, a tower of strength, added 'The Old Woman of Berkeley,' 'Lord William,' and several other interesting ballads of the same class, to the proposed collection. In the meantime, my friend Lewis found it no easy matter to discipline his northern recruits. He was a martinet, if I may so term him, in the accuracy of rhymes and of numbers; I may add, he had a right to be so, for few persons have exhibited more mastery of rhyme, or greater command over the melody of verse. He was, therefore, rigid in exacting similar accuracy from others, and as I was quite unaccustomed to the mechanical part of poetry, and used rhymes which were merely permissible, as readily as those which were legitimate, contests often arose amongst us, which were exasperated by the pertinacity of my Mentor, who, as all who knew him can testify, was no granter of propositions. The lectures which I underwent from my friend Lewis did not at the time produce any effect on my inflexibility, though I did not forget them at a future period. The proposed publication of the Tales of Wonder was, from one reason or another, postponed till the year 1801, a circumstance by which, of itself, the success of the work was considerably impeded; for protracted expectation always leads to disappointment. But besides, there were circumstances of various kinds which contributed to its depreciation, some of which were imputable to the editor, or author, and some to the bookseller. The former remained insensible of the passion for ballads and ballad-mongers having been for some time on the wane, and that with such alteration in the public taste, the chance of success in that line was diminished. What had been at first received as simple and natural, was now sneered at as puerile and extravagant. Another objection was, that my friend Lewis had a high but mistaken opinion of his own powers of humour. The truth was, that though he could throw some gaiety into his lighter pieces, after the manner of the French writers, his attempts at what is called pleasantry in English wholly wanted the quality of humour, and were generally failures. But this he would not allow; and the Tales of Wonder were filled, in a sense, with attempts at comedy, which might be generally accounted abortive. Another objection, which might have been more easily foreseen, subjected the editor to a charge of which Mat Lewis was entirely incapable-that of collusion with his publisher in an undue attack on the pockets of the public. The Tales of Wonder, formed a work in royal octavo, and were, by large printing, driven out, as it is technically termed, to two volumes, which were sold at a high price. Purchasers murmured at finding that this size had been attained by the in sertion of some of the best-known pieces of the English language, such as Dryden's 'Theodore and Honoria,' Parnell's 'Hermit,' Lisle's 'Porsenna, King of Russia,' and many other popular poems of old date, and generally known, which ought not in conscience to have made part of a set of tales, 'written and collected' by a modern author. His bookseller was also accused in the public prints, whether truly or not I am uncertain, of having attempted to secure to himself the entire profits of the large sale which he expected, by refusing to his brethren the allowances usually, if not in all cases, made to the retail trade. Lewis, one of the most liberal as well as benevolent of mankind, had not the least participation in these proceedings of his bibliopolist; but his work sunk under the obloquy which was heaped on it by the offended parties. The book was termed 'Tales of Plunder,' was censured by reviewers, and attacked in newspapers and magazines. A very clever parody was made on the style and the person of the author, and the world laughed as willingly as if it had never applauded. Thus, owing to the failure of the vehicle I had chosen, my efforts to present myself before the public as an original writer proved as vain as those by which I had previously endeavoured to distinguish myself as a translator. Like Lord Home, however, at the battle of Flodden, I did so far well, that I was able to stand and save myself; and amidst the general depreciation of the Tales of Wonder, my small share of the obnoxious publication was dismissed without much censure, and in some cases obtained praise from the critics. The consequence of my escape made me naturally more daring, and I attempted, in my own name, a collection of ballads of various kinds, both ancient and modern, to be connected by the common tie of relation to the Border districts in which I had gathered the materials. The original preface explains my purpose, and the assistance of various kinds which I met with. The edition was curious, as being the first work printed by my friend and schoolfellow, Mr. James Ballantyne, who, at that period, was editor of a provincial newspaper, called The Kelso Mail. When the book came out, in 1802, the imprint, Kelso, was read with wonder by amateurs of typography, who had never heard of such a place, and were |