Lord Ingram and Chiel Wyet kill each other. Lady Maisry goes mad, resolving to beg, or go on pilgrimage, until she dies, and more for Lord Ingram than Chiel Wyet. From Wikipedia, the free encyclopedia. This section does not cite any sources. Please help improve this section by adding citations to reliable sources.
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Retrieved 12 August Without their involvement, the Glenbuchat manuscripts would still be sitting in a box. For permission to publish the collection, the editors are grateful to the Library and Historic Collections of the University of Aberdeen, and especially to the former librarian, the late W.
Douglas Simpson. Thanks also to Sharon Cochrane for creating computer files from the initial transcripts. During the fall of , I was a visiting fellow at the Elphinstone Institute, University of Aberdeen, and I would like to extend my warmest thanks to the staff for their assistance and hospitality, particularly to Gwen Smith for her help with local housing. My sincerest thanks to all. I am especially grateful to Myrtle Anderson-Smith and her staff in Special Libraries and Archives, University of Aberdeen, who not only endured two and a half months of steady requests, but also pointed out valuable resources that I might otherwise have missed.
The Glenbuchat Ballads.
During trips to the glen, I benefitted greatly from conversations with Mr. Charlie Anderson, Alford; Mr. Willie Farquharson, Mill of Glenbuchat; and Mr. Charles Ogg, Buchaam. Steve Bicknell very kindly provided the map of the glen.
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I would like to offer collective thanks to the members of the Ballad-L listserv, who do so much to keep the discussion of old songs not only alive but vibrant. I am especially grateful to the late W. Bruce Olson, who generously shared his incredible knowledge of early broadsides. Publication support was generously provided by Ian Campbell, Prof. Graham Catto, Fred Holliday, the Hon. Special thanks to Andrew Noble for leading the fund-raising effort. My gratitude to David Buchan is beyond words.
He was a true mentor. Finally, my wife, Melissa, and sons, Andrew and Alexander, have patiently endured my quiet obsession with this project.
The Glenbuchat Ballads. - Free Online Library
Folklore Fellows Communications, No. Helsinki: Suomalianen Tiedeakatemia, Bodleian Heaney, Mike, et al. Austin: University of Texas Press, Child Child, Francis James. The English and Scottish Popular Ballads. New York: Dover, John Johnstone. John Longmuir, ed. Paisley: Alexander Gardner, Citations include volume and, where applicable, folder numbers. Patrick Shuldham-Shaw, Emily B.
Aberdeen: University of Aberdeen Press vols. Laws Laws, G. Philadelphia: American Folklore Society, Motif Index Thompson, Stith. Motif Index of Folk Literature. Bloomington: Indiana University Press, — The New Statistical Account of Scotland. Simpson and E. OSA Sinclair, John, ed. The Statistical Account of Scotland. The Broadside Index. Maresfield, UK: The Author. May Roud Roud, Steve. Folk Song Index. William Grant and David D. Edinburgh: Scottish National Dictionary Association, — Oslo : Universitetsforlaget, Traditional Tunes of the Child Ballads.
I n t r od uc t i on The Glenbuchat manuscripts have hovered on the edge of ballad scholarship for nearly two centuries. They were known to at least two Scottish antiquarians in the s, but from there the collection lapses into obscurity for more than a century and a quarter. Child did, in fact, reprint two Glenbuchat texts that had appeared earlier in print Child A and K , and while he noted the source of one text, he apparently was not aware that it came from a substantial collection.
Ballads collected in Glenbuchat prior to Plans to incorporate them in his doctoral research were hampered by library restrictions not only to the Glenbuchat material but also to the Greig-Duncan collection , forcing him to rely on established ballad sources. His work on Northeast balladry, however, deeply impressed University Librarian, Douglas Simpson, and in Buchan was given permission to edit the manuscripts for publication Simpson, Letter to Buchan, 25 October , Buchan Papers; see also I.
Olson, 33— Unfortunately, academic responsibilities and other research projects sidelined any plan to publish them right away. At the time of his death in , he had completed work on the ballad texts, but background research on the compiler and the community had barely begun. As one of his graduate students, I was asked to see the project through to completion. The following introduction attempts to situate the Glenbuchat ballads within an appropriate historical and ethnographic framework. There are layers to the problem, however, as the collection is both a record of tradition and a cultural artifact of the Scottish Romantic Revival.
On the one hand, there is the context of the ballads, which speaks to the relationship between the texts and the cultural world of singers and their audiences. Buchan felt that the Glenbuchat material offered an ideal opportunity to examine the relationship between text and context, because he regarded it as one of the few collections from the Romantic era to represent a community repertoire.
On the other hand, there is the more immediate context of the collection, which speaks to the circumstances that surround the actual recording of a specific set of performances. Trying to keep both perspectives before us, we shall begin with a description of the collection and a discussion of its provenance—in so far as it can be determined—followed by a biography of the compiler. Lastly, we shall take a look at the community itself to assess the historical and ethnographic conditions that gave rise to the collection.
The collection itself, which stems generally from the intellectual influences of the Scottish Romantic Revival, may also have been a response to specific local events or to circumstances in the life of the compiler. The latter motivations highlight aspects of the politics of revivals that may not have been examined elsewhere. The Manuscripts The Glenbuchat manuscripts consist of four slim folio volumes, measuring roughly mm x mm volume III is slightly oversized at mm x mm.
They contain sixty-eight ballad texts and the title alone for a sixty-ninth. There are twenty ballads in volume I, seventeen in volume II, eighteen in volume III, and thirteen in volume IV; the final twelve pages of the last volume are blank.
webmail.cmnv.org/mamu-cell-track.php There is nonetheless a stylistic mix of oral and print balladry, as well as a linguistic mix of Scots and standard English. On the whole, the compiler appears to have been guided by a general antiquarian preference for narrative material Hustvedt —61; Freidman —30 , and for such concerns as regional significance and apparent age.
It further indicates, as Ian Olson has suggested 34 , that the manuscripts are xx Intr od uction not field transcripts. Yet the collection is far from a finished document; rather, it is a work in progress, a draft. Several features support this assertion.
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