Summary

The English and Scottish popular ballads…

The exuberance of this large humanity pervades his edition of the English and Scottish ballads. Even in his last years, when the languor of uncertain health sometimes got the better, for a season, of the spirit with which he commonly worked, some fresh bit of genuine poetry in a ballad, some fine trait of pure nature in a stray folk-tale, would, in an instant, bring back the full flush of that enthusiasm which he must have felt when the possibilities of his achievement first presented themselves to his mind in early manhood.
Source: Gutenberg

The English and Scottish popular ballads…

The knight tears through the wood, to the great peril of Anneli's gown and limbs, and when he has come to the right place, spreads his cloak on the grass, and makes the usual request. She weeps when she sees eleven maids in the fir-tree, and receives the customary consolation:
'Weep not too sore, my Anneli,
'Tis true thou art doomed the twelfth to be;
Up to the highest tip must thou go,
And a margravine be to all below;
Must be an empress over the rest,
And hang the highest of all as the best.'
The request to be allowed three cries is lost.
Source: Gutenberg

The English and Scottish popular ballads…

If this was the original form of the Dutch ballad, and the Dutch ballad is the source from which all the other ballads have come, by processes of dropping, taking up, and transforming, then we may feel compelled to admit that this ballad might be a wild shoot from the story of Judith. Any one who bears in mind the strange changes which stories undergo will hesitate to pronounce this impossible. What poor Ophelia says of us human creatures is even truer of ballads: "We know what we are, but know not what we may be."
Source: Gutenberg

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