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The Child Ballads are traditional ballads from England and Scotland, collected and anthologized by Francis James Child during the second half of the 19th century. The collection contains examples from the 13th century onward. However, the majority of the ballads date to the seventeenth and eighteenth century. Although some have very ancient influences, only a handful can be definitively traced to before 1600. Child Ballads are heavier and darker than other ballads. The topics of the ballads are romance, enchantment, devotion, determination, obsession, jealousy, forbidden love, hallucination, the suppressed truth, supernatural experiences and deeds, half-human creatures, teenagers, family strife, the boldness of outlaws, authority, lust, death, karma, punishment, sin, morality, vanity, folly, dignity, nobility, and many others. They contain stories of national heroes like Robin Hood and mysterious creatures like elves and fairies.
Reprint of the original, first published in 1898.
This 19th-century collection compiles all the extant ballads with all known variants and features Child's commentaries. Includes Parts IX and X of the original set — ballads 266-305 — plus indexes, glossary.
One of the earliest documented Scottish song collectors actually to go 'into the field' to gather his specimens, was the Highlander Joseph Macdonald. Macdonald emigrated in 1760 - contemporaneously with the start of James Macpherson's famous but much disputed Ossian project - and it fell to the Revd. Patrick Macdonald to finish and subsequently publish his younger brother's collection. Karen McAulay traces the complex history of Scottish song collecting, and the publication of major Highland and Lowland collections, over the ensuing 130 years. Looking at sources, authenticity, collecting methodology and format, McAulay places these collections in their cultural context and traces links with contemporary attitudes towards such wide-ranging topics as the embryonic tourism and travel industry; cultural nationalism; fakery and forgery; literary and musical creativity; and the move from antiquarianism and dilettantism towards an increasingly scholarly and didactic tone in the mid-to-late Victorian collections. Attention is given to some of the performance issues raised, either in correspondence or in the paratexts of published collections; and the narrative is interlaced with references to contemporary literary, social and even political history as it affected the collectors themselves. Most significantly, this study demonstrates a resurgence of cultural nationalism in the late nineteenth century.