The English and Scottish popular ballads, volume 1 (of 5)
General
The English and Scottish popular ballads, volume 1 (of 5)
Ballads, English -- England -- Texts; Ballads, Scots -- Scotland -- Texts
qualify the improbability. But the lady's equivocation is quite of a
piece with Memering's oath in 'Ravengaard and Memering,' Grundtvig, No
13, and King Dietrich's in the Dietrichsaga, Unger, c. 222, p. 206.[74]
English #A# and all the Danish, Swedish, and Norwegian ballads employ
the stratagem of lulling the man to sleep, but these are not the only
ballads in which the man lays his head in the woman's lap. This trait is
observed in nearly all German ballads of the second and third class, in
_all_ the well-preserved ones, and also in the Magyar ballad. With
regard to the German ballads, however, it is purposeless (for it does
not advance the action of the drama in the least), and must be regarded
as a relic of an earlier form.[75] English #B-F# and all the French
ballads dispose of the traitor by a watery death. The scene is shifted
from a wood to a sea-coast, pool, or river bank, perhaps to suit the
locality to which the ballad had wandered. In English #B#, where,
apparently under the influence of other ballads,[76] the lady is forced
to wade into water up to her chin, the knight is pushed off his horse
when bending over to give a last kiss for which he had been asked; in
English #C-F# and French #A#, #B#, the man is induced to turn his face
to save the woman's modesty; in French #C-E# he is made to pull off her
stockings or shoes, and then, while off his guard, pitched into a sea or
river. This expedient is sufficiently trivial; but still more so, and
grazing on the farcical, is that which is made use of in the Dutch
ballad and those of the German first class, the woman's persuading the
man to take off his fine coat lest it should be spattered with her
blood, and cutting off his head with his own sword while he is thus
occupied. The Spanish and Portuguese ballads make the lady borrow the
knight's knife to remove some of the trimming of her dress, and in the
Italian she borrows his sword to cut a bough to shade her horse; for in
Italian the halt in the wood is completely forgotten, and the last half
of the action takes place on horseback. All these contrivances plainly
have less claim to be regarded as primary than that of binding the
murderer after he has been put to sleep.
Public-domain text, read in full here on John Shaqi.
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