d.

C.

75
LORD LOVEL

I is made up of portions of several ballads. The first stanza is derived from 'Sweet William's Ghost,' the second and third possibly from some form of 'Death and the Lady,' 4-11 from 'Lady Maisry.' The eighth stanza of E should, perhaps, be considered as taken from 'Lord Thomas and Fair Annet,' since in no other copy of 'Lord Lovel' and in none of 'Fair Margaret and Sweet William' does the hero die by his own hand.

In 'Fair Margaret and Sweet William,' as also in 'Lord Thomas and Fair Annet,' a lover sacrifices his inclination to make a marriage of interest. In 'Lord Lovel' the woman dies, not of affection betrayed, but of hope too long deferred, and her laggard but not unfaithful lover sinks under his remorse and grief. 'Lord Lovel' is peculiarly such a ballad as Orsino likes and praises: it is silly sooth, like the old age. Therefore a gross taste has taken pleasure in parodying it, and the same with 'Young Beichan.' But there are people in this world who are amused even with a burlesque of Othello.[120]

There are several sets of ballads, very common in Germany and in Scandinavia, which, whether they are or are not variations of the same original, at least have a great deal in common with 'Lord Lovel' and 'Fair Margaret and Sweet William.'

Of these, one which more closely resembles the English is 'Der Ritter und die Maid,' of German origin, but found also further north.[121]

A knight and maid have been together till morning. She weeps; he tells her that he will pay for her honor, will give her an underling and money. She will have none but him, and will go home to her mother. The mother, on seeing her, asks why her gown is long behind and short before, and offers her meat and drink. The daughter refuses them, goes to bed, and dies. So far there is no dallying with the innocence of love, as in the English ballad; the German knight is simply a brutal man of pleasure. But now the knight has a dream, as in 'Fair Margaret and Sweet William;' it is that his love has died. He bids his squire or groom to saddle, and rides to find out what has happened. On his way he hears an ominous bell; further on he sees a grave digging; then he meets men carrying a bier. Set down the bier, he cries, that I may see my love. He turns back the cloth and looks at the dead. She has suffered for him, he will suffer for her. He draws his sword and runs it through his heart. They are buried in one coffin, or in the same grave. In some of the ballads lilies rise from the grave; in a Swedish version ('Jungfruns död'), a linden, the leaves of which intermingle.

Next to this we may put a Norwegian and a Swedish ballad, which, having perhaps lost something at the beginning, cannot safely be classed: 'Maarstíg aa hass möy,' Bugge, p. 127, No 26, A, B; 'Herr Malmstens dröm,' Afzelius, III, 104, No 85. Maarstíg dreams that his love's gold ring has got upon another finger, that her gold belt is off her lithe waist, her cloak or her hair is cut to bits, her shoes are full of blood; Malmsten that his love's heart breaks. The pages are ordered to saddle, and Maarstíg, or Malmsten, rides to find what there is in the dream. Maarstíg encounters two maids, who are just from a wake. "Who is dead?" "Maalfrí, thy sweet love." He rides on, meets the bier, bids the bearers set it down, and looks at the dead. Let them dig the grave, he cries, wide and deep, it shall be his bride-house; let them dig the grave deep and long, that is where bride and bridegroom shall go. He sets his sword against a stone, and falls on it. With slight variations, the course of the story is the same for Malmsten. Another Swedish ballad, 'Den sörjande,' Djurklou, p. 106, No 7, lacks even so much introduction as the dream. The lover orders his horse, hears the funeral bell, sees the grave-digging, meets the bier, looks at his dead mistress, and kills himself. A fragment in Dybeck's Runa, 1845, p. 15, begins with the ride and stops short of the death.

These last ballads apparently give us the middle and end of a story which has also some sort of beginning in the following: Danish, 'Den elskedes Død,' Kristensen, II, 39, No 20, A-D, and in many unprinted copies from oral tradition, besides two from MSS of the sixteenth century, communicated to me by Grundtvig; Swedish, 'Hertig Nils,' Arwidsson, II, 21, No 72, 'Peder Palleson,' Arwidsson, No 71, II, 18, 437; Norwegian, 'Herr Stragi,' Landstad, p. 537, No 61.[122] A lover and his mistress have parted, have been long parted. She is sick, dying, or even dead. In the Danish manuscript copies we are distinctly told that she has grieved herself to death on his account. Word is sent him by carrier-pigeons, a bird, a page; or he is informed by a spae-wife (Landstad). He leaps over the table, spilling mead and wine (Kristensen), and rides faster than the doves fly. The rest of the tale is much as before, with those minor diversities that are to be expected. The lover commonly kills himself, but dies of heart-break in 'Peder Palleson' and one of the sixteenth century Danish copies. In the latter he hears the bells, says he shall never arrive alive, dies without the house and she within; in the former the maid dies in the upper room, the swain on the wild moor. In the Danish manuscript copies the man is laid south in the churchyard, the maid north [west, east], two roses spring from their breasts and span the church-roof, and there they shall stay till doom; in Kristensen it is two lilies, in Arwidsson a linden.

With these last may belong a German ballad of a young Markgraf, who marries a very young wife, goes for her mother upon the approach of a threatening childbirth, and, returning, has encounters similar to those in 'Der Ritter und die Maid.' In some instances it is a Reiter, or Jäger, "wohlgemuth," not married, or in secret relations with his love, who, coming to a wood or heath, hears a bell that alarms him; etc. In the end he generally kills himself, sometimes dies of a broken heart. Lilies in several cases rise from the young woman's grave, or their grave.[123]

A Romaic ballad has the characteristic features of the English, German, and Scandinavian stories, with a beginning of its own, as these also have: ' Ἡ Ευγενουλα,' 'Ὁ Χαρος και ἑ Κορη,' etc. (1) Zambelios, p. 715, 2=Passow, No 415; (2) Passow, No 418; (3) Fauriel, p. 112, No 6=Passow, No 417; (4) Marcellus, II, 72=Passow, No 414; (5) Chasiotis, p. 169, No 5; (6) Passow, No 416; (7) Aravandinos, p. 285, No 472; (8) Tommaseo, III, 307 f; (9) Jeannaraki, p. 239, No 301; and no doubt elsewhere, for the ballad is a favorite. A young girl, who has nine brothers and is betrothed (or perhaps newly married) to a rich pallikar, professes not to fear Death. Death immediately shows his power over her. Her lover, coming with a splendid train to celebrate his nuptials, sees a cross on her mother's gate, a sign that some one has died. In (2) he lifts a gold handkerchief from the face of the dead, and sees that it is his beloved. Or he finds a man digging a grave, and asks for whom the grave is, and is told. "Make the grave deep and broad," he cries; "make it for two," and stabs himself with his dagger. A clump of reeds springs from one of the lovers, a cypress [lemon-tree] from the other, which bend one towards the other and kiss whenever a strong breeze blows.[124]

In a Catalan ballad, a young man hears funeral bells, asks for whom they ring, is told that it is for his love, rides to her house, finds the balcony hung with black, kneels at the feet of the dead, and uncovers her face. She speaks and tells him where his gifts to her may be found, then bids him order the carpenter to make a coffin large enough for two. He draws his dagger and stabs himself; there are two dead in one house! 'La mort de la Nuvia,' Briz y Candi, I, 135, Milá, Romancerillo, p. 321 f, No 337 A_ll, B_ll; found also in Majorca.

As will readily be supposed, some of the incidents of this series of ballads are found in traditional song in various connections.

D is translated by Grundtvig, Engelske og skotske Folkeviser, p. 194, No 29; by Rose Warrens, Schottische Volkslieder der Vorzeit, p. 115, No 25.

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