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PREFACE

An inquiry into the antiquarian movement of the second half of the eighteenth century would unquestionably be of fundamental importance for the literary history of that period. Considering the intrinsic importance of the subject, it is surprising that so little has been done in this respect.

The most vivid light is thrown upon the social and literary aspects of the time by many manuscript collections and letters, which have never been published or even adequately catalogued. The old life—and it was an exceptionally vigorous and spirited life-lives again in their pages, but they remain neglected and almost unknown.

David Laing's collections form at present an unsurveyable chaos; of George Paton's extensive correspondence comparatively few specimens have been published by the literary epicure James Maidment; and important collections of Thomas Percy's letters-e.g. those exchanged with William Shenstone-remain unused in the Manuscript Department of the British Museum.

I refrain from enlarging upon the unpleasant

causes of this neglect, the more so as in the following pages I contribute but little towards the remedy. For I am far from overrating the importance of the present subject. I do not agree with the statement that "Herd did for Scottish Song what Bishop Percy had done for English ballads." The honour of having revived English and Scottish popular poetry remains for ever and unreservedly with Thomas Percy, Robert Burns, and Walter Scott, whose knowledge and art lent adequate expression to the vivid emotions of the time. It is, however, both just and, from a historical point of view, necessary to consider the share due to their collaborators, and as a collaborator David Herd for one has deserved ample praise.

The value of David Herd's collections of songs and ballads has never been contested. Their comprehensiveness and apparent accuracy of reproduction secure them a distinguished place among the many publications of a similar kind. To the student of Scottish songs prior to Burns they are indispensable. But the original editions, as well as Sidney Gilpin's reprint of 1870, have become bibliographical rarities. The Glasgow reprint of 1869 may perhaps be more easily accessible. Yet both reprints lack satisfactory statements as to the history of the particular songs, as well as any reference to the tunes

1 Chambers's Cyclopædia of English Literature, new edition, vol. II, p. 797.

they are set to--a deficiency already complained of by Thomas Percy after the publication of the first edition, and never remedied in spite of the promise given in the advertisement of that edition. It has been my special care to satisfy this demand on the basis of modern research.

On the other hand, a great and important part of the entire material had to be excluded from this selection: Professor Child's comprehensive work made a reprint of the ballads unnecessary. That distinguished scholar was the first to go back to the Herd MSS., where he found a great many of his most valuable versions. From this it seemed probable that in respect of songs similar discoveries could be made in the same volumes. And the sup

position was amply confirmed by the notes in Henley and Henderson's Centenary Edition of Burns's poetical works, from which I may be allowed to quote the following passage: "As regards unpublished material, we might speak in no measured terms of the Herd MS. (British Museum)-given by Herd to Archibald Constable-which has hitherto escaped the notice of Burns's Editors; which includes all the songs, ballads, and scraps that David Herd-the most indefatigable and the most conscientious of the old Scots collectors-had picked together; and which distinguishes between numbers unprinted and numbers printed in Herd's own 1769 and 1776 Editions, or elsewhere. Burns may, of course, have

This Edition consists of 750 copies printed on antique laid, deckle-edge paper for sale.

And 100 copies printed on Arnold's unbleached hand-made paper, each numbered and signed.

Printed by BALLANTYNE, HANSON & Co.

At the Ballantyne Press

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Published by William J. Hay

John Knox's HOUSE

LONDON: SAMPSON LOW, MARSTON & CO LIMITED.

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