INTRODUCTORY REMARKS ON POPULAR POETRY, AND ON THE VARIOUS COLLECTIONS OF BALLADS OF BRITAIN, PARTICULARLY THOSE OF SCOTLAND. THE Introduction originally prefixed to this collection, was rather of a historical than literary nature; and the remarks which follow have been added, to afford the general reader some information upon the character of Ballad Poetry. It would be throwing away words to prove, what all must admit, the general taste and propensity of nations in their early state, to cultivate some species of rude poetry. When the organs and faculties of a primitive race have A developed themselves, each for its proper and necessary use, there is a natural tendency to employ them in a more refined and regulated manner for purposes of amusement. The savage, after proving the activity of his limbs in the chase or the battle, trains them to more measured movements, to dance at the festivals of his tribe, or to perform obeisance before the altars of his deity. From the same impulse, he is disposed to refine the ordinary speech which forms the vehicle of social communication betwixt him and his brethren, until, by a more ornate diction, modulated by certain rules of rhythm, cadence, assonance of termination, or recurrence of sound or letter, he obtains a dialect more solemn in expression, to record the laws or exploits of his tribe, or more sweet in sound, in which to plead his own cause to his mistress. This species of original poetry must have one general character in all nations, whether in its merits or imperfections. The earlier poets have the advantage, and it is not a small one, of having the first choice out of the stock of mate rials which are proper to the art; and thus they compel later authors, if they would avoid slavishly imitating the fathers of verse, into various devices, often more ingenious than elegant, that they may establish, if not an absolute claim to originality, at least a visible distinction betwixt themselves and their predecessors. Thus it happens, that early poets almost uniformly display a bold, rude, original cast of genius and expression. They have walked at free-will, and with unconstrained steps, along the wilds of Parnassus, while their followers move with constrained gestures and forced attitudes, in order to avoid placing their feet where their predecessors have stepped before them. The first bard who compared his hero to a lion, struck a bold and congenial note, though the simile, in a nation of hunters, be a very obvious one; but every subsequent poet who shall use it, must either struggle hard to give his lion, as heralds say, with a difference, or lie under the imputation of being a servile imitator. It is not probable that, by any researches of modern times, we shall ever reach back to an earlier model of poetry than Homer; but as there lived heroes before Agamemnon, so, unquestionably, poets existed before the immortal Bard who gave the King of kings his fame; and he whom all civilized nations now acknowledge as the Father of Poetry, must have himself looked back to an ancestry of poetical predecessors, and is only held original because we know not from whom he copied. Indeed, though much must be ascribed to the riches of his own individual genius, the poetry of Homer argues a degree of perfection in an art which practice had already rendered regular, and concerning which, his frequent mention of the bards, or chanters of poetry, indicates plainly that it was studied by many, and known and admired by all. It is indeed easily discovered, that the qualities necessary for composing such poems are not the talent of every man in the tribe; that the bard, to reach excellence in his art, must possess something more than a full command of words and phrases, and the knack of ar |