What is Ballad?
Meaning
The ballad’s name is most likely derived from mediaeval French dance songs or “ballares” (from which we also get ballet), as did the alternative rival form that became the French Ballade. They may have originated in theme and function from Scandinavian and Germanic storytelling traditions, as seen in poems such as Beowulf.
In England, the earliest example of a recognisable ballad in form is ‘Judas,’ which appears in a 13th-century manuscript.
Definition
A ballad is a type of verse that is often a narrative set to music. From the late mediaeval period until the nineteenth century, ballads were a distinctive feature of British and Irish popular poetry and song, and they were widely used throughout Europe and, later, the Americas, Australia, and North Africa. A large number of ballads were written and sold as single sheet broadsides. From the 18th century onwards, poets and composers frequently used the form to create lyrical ballads. It took on the meaning of a slow form of popular love song in the late nineteenth century, and the term is now often used as synonymous with any love song, particularly the pop or rock power ballad.
Most northern and west European ballads are written in ballad stanzas or quatrains (four-line stanzas) of alternating lines of iambic (an unstressed followed by a stressed syllable) tetrameter (eight syllables) and iambic trimeter (six syllables), known as ballad meter. Usually, only the second and fourth line of a quatrain are rhymed (in the scheme a, b, c, b), which has been taken to suggest that, originally, ballads consisted of couplets (two lines) of rhymed verse, each of 14 syllables. As can be seen in this stanza from ‘Lord Thomas and Fair Annet’:
The horse| fair Ann|et rode| upon|
He amb|led like| the wind|,
With sil|ver he| was shod| before, With burn|ing gold| behind|.
However, there is considerable variation on this pattern in almost every respect, including length, number of lines and rhyming scheme, making the strict definition of a ballad extremely difficult. In southern and eastern Europe, and in countries that derive their tradition from them, ballad structure differs significantly, like Spanish romances, which are octo-syllabic and use consonance rather than rhyme.
In all traditions most ballads are narrative in nature, with a self-contained story, often concise and relying on imagery, rather than description, which can be tragic, historical, romantic or comic. Another common feature of ballads is repetition, sometimes of fourth lines in succeeding stanzas, as a refrain, sometimes of third and fourth lines of a stanza and sometimes of entire stanzas.
Most ballads in all traditions are narrative in nature, with a self-contained storey, often concise and relying on imagery rather than description, that can be tragic, historical, romantic, or comic. Another feature shared by ballads is repetition, sometimes as a refrain of fourth lines in succeeding stanzas, sometimes of third and fourth lines of a stanza, and sometimes of entire stanzas.
Classification of Ballad
Samuel Pepys (1633–1703) amassed an early collection of ballads, as did Robert Harley, 1st Earl of Oxford, and Mortimer (1661–1724) in the Roxburghe Ballads. There were an increasing number of such collections in the 18th century, such as Thomas D’Urfey’s Wit and Mirth: or, Pills to Purge Melancholy (1719–20) and Bishop Thomas Percy’s Reliques of Ancient English Poetry (1765). The last of these also included some oral material, which was becoming more common by the end of the 18th century, with collections such as John Ritson’s The Bishopric Garland (1784), which paralleled the work of figures such as Robert Burns and Walter Scott in Scotland.
Svend Grundtvig of Denmark and Harvard professor Francis James Child of England and Scotland did important work on the traditional ballad in the late nineteenth century. They attempted to record and categorise all known ballads and variants in their respective regions. Because Child died before writing a commentary on his work, it is unclear how and why he distinguished the 305 ballads printed in The English and Scottish Popular Ballads. Many different and contradictory attempts have been made to classify traditional ballads by theme, but the most commonly identified types are religious, supernatural, tragic, love ballads, historic, legendary, and humorous.
Broadsides Ballads
Broadside ballads arose as a result of the 16th century’s development of cheap printing. They were usually printed on one side of a medium to large sheet of cheap paper. They were printed in black-letter or gothic type and included multiple, eye-catching illustrations, a popular tune tile, and an enticing poem during their heyday in the first half of the 17th century. By the 18th century, they were often printed in white letter or roman type with little decoration. These later sheets could include a number of individual songs that would be cut apart and sold separately as “slipsongs.”
Alternatively, they could be folded to make small cheap books or “chapbooks,” which frequently drew on ballad stories. They were mass-produced, with over 400,000 sold in England each year by the 1660s. Tessa Watt believes the number of copies sold was in the millions. Many were sold in city streets or at fairs by travelling chapmen. The subject matter varied from what has been defined as the traditional ballad, despite the fact that many traditional ballads were printed as broadsides. Love, religion, drinking songs, legends, and early journalism, which included disasters, political events and signs, wonders, and prodigies, were among the topics covered.
Literary Ballads
Literary or lyrical ballads arose from a growing interest in the ballad form among social elites and intellectuals, particularly during the Romantic Movement in the late 18th century. Respected literary figures in Scotland, such as Robert Burns and Sir Walter Scott, collected and wrote their own ballads, transforming the form into an artistic product. Similarly, in 1798, William Wordsworth and Samuel Taylor Coleridge published Lyrical Ballads, which included Coleridge’s ‘The Rime of the Ancient Mariner.’ Simultaneously, in Germany, Goethe collaborated with Schiller on a collection of ballads, some of which were later set to music by Schubert. Rudyard Kipling’s ‘Barrack Room Ballads’ (1892-6) and Oscar Wilde’s ‘Ballad of Reading Goal’ were later important examples of the poetic form (1897).
Characteristics / Features of Ballad
The main characteristics of a ballad are :
It is impersonal’. Even if there is an ‘I’, who sings the tale, the speaker addresses us from a perspective outside the action and he comments for our benefit on the character and situation presented.
The ballad is full of refrains. This is known as incremental repetition (a device which repeats what has been said before, sometimes lines, sometimes words). Stock epithets are also often repeated.
The ballad is remarkable for its ordinary narration and it concentrates on details. It is compressed and tends towards the dramatic with a good deal of action and dialogue in the course of narration.
The ballad is a poem in short stanzas usually of four lines, having eight and six syllables alternately. The best example is Coleridge’s ballad THE RIME OF THE ANCIENT MARINER.
Here are some more typical Features:
Plot:
• a single episode of highly dramatic nature is presented.
• the supernatural is likely to play an important part.
• the incidents are usually such as happen to common people (as opposed to nobility) and often have to do with domestic episodes.
• physical courage and love are frequent themes.
Structure:
• incremental repetition is common
• transitions are abrupt
• often the ballad is brought to a close with some sort of summary stanza
Narration:
• slight attention is paid to characterization or description in a detached narration.
Dialogue:
• action is largely developed through dialogue with little clue as to who is speaking.
Language:
• tragic situations and sudden disasters are presented with the utmost simplicity using plain, simple language.
Questions About Ballad Answersed
Question 1. Why do contemporary writers still choose to write ballads, and what is the most common usage of the term in modern poetry?
Contemporary writers continue to be drawn to writing ballads for two primary reasons. Firstly, ballads offer a unique and effective means of conveying emotional stories through song. The rhythmic and melodic qualities of ballads allow writers to tap into the power of music to evoke deep emotions in their audience. By combining narrative elements with musicality, writers can create an immersive and engaging experience that resonates with readers or listeners.
Secondly, the term “ballad” in modern poetry most commonly refers to poetry that tells a story, regardless of its meter and rhyme. This broader usage of the term provides poets with the freedom to experiment with various forms, structures, and techniques in their storytelling. They can explore different rhythms, stanza lengths, and even abandon conventional rhyme schemes while still capturing the essence of a ballad.
Therefore, contemporary writers are motivated to write ballads as a means to convey powerful emotions through storytelling, while also benefiting from the flexibility and freedom that the term offers in modern poetry.
Question 2. How did the ballad’s literary prestige change during the Victorian era and why did it become associated with sentimentality?
During the Victorian era, the literary prestige of ballads experienced a significant shift as it gradually became associated with sentimentality. The Victorian era marked a departure from the ballad’s previous stature as a revered literary form. While lyrical ballads continued to be written during this time, the Victorian era witnessed a decline in the reputation of ballads as they diverged from their original essence.
One crucial factor that played a role in the changing reputation of ballads was its increasing association with sentimentality. As ballads returned to their musical roots, they gained sentimental qualities that were particularly prominent in the 19th century. Rather than being seen as poems conveying themes of everyday life, the term “ballad” began to carry connotations more aligned with its contemporary definition, often signifying a slow love song.
This shift towards sentimentality resulted in the ballad’s diminishing literary prestige. Sentimentality, during the Victorian era, was viewed as excessive emotionality, often associated with exaggerated or forced expressions of feeling. Such sentiments were seen as contrary to the values and ideals of the time, particularly the emphasis on rationality and self-control.
The rise of sentimentality in ballads mirrored the broader cultural changes within Victorian society. The era was marked by a flourishing of romanticism, which placed a premium on expressing emotions and exploring the depths of human sentiment. However, this newfound emphasis on emotions came at the cost of a perceived loss of depth and intellectual rigor, which had previously been associated with more esteemed literary forms.
As a consequence, the ballad’s association with sentimentality resulted in its declining prestige within Victorian literary circles. The inherent expressiveness and emotional content of ballads, which had once been celebrated, now became seen as a limitation that compromised their status as serious literary works.
In summary, the Victorian era witnessed a transformation in the literary standing of ballads, as they became increasingly associated with sentimentality. This shift was driven by the ballads’ return to their musical origins, leading to a contemporary understanding of ballads as slow love songs. The rise of sentimentality in ballads mirrored the general cultural fascination with intense emotions during the Victorian era. However, this emphasis on sentimentality ultimately led to a decline in the ballad’s literary prestige, as it was viewed as an example of excessive emotionality and a departure from the intellectual rigor valued by Victorian society.
Question 3. What is meter and rhyme scheme in poetry?
Meter refers to the rhythmic pattern created by stressed and unstressed syllables in lines of poetry. It is composed of repeating units called feet, with each foot representing a specific pattern of stressed and unstressed syllables. There are different types of feet, such as the iamb (unstressed syllable followed by a stressed syllable) or the trochee (stressed syllable followed by an unstressed syllable). These feet combine to form varying poetic meters. For example, iambic pentameter is a poetic meter that contains five iambs per line.
On the other hand, rhyme scheme is the pattern of end rhymes in a poem. It refers to the specific arrangement of rhyming words at the end of each line according to a predetermined pattern. Rhyme schemes are usually indicated using letters of the alphabet, with each line of verse assigned a particular letter. For instance, a poem with a rhyme scheme of “ABAB” indicates that the first and third lines rhyme with each other, as do the second and fourth lines.
In summary, meter focuses on the rhythmic pattern created by stressed and unstressed syllables in poetry, while rhyme scheme pertains to the pattern of end rhymes in a poem. Both elements contribute to the overall structure and musicality of a poem.
Question 4. How do you pronounce the word “ballad”?
The correct pronunciation for the word “ballad” is buh-lad.
Question 5. In Edgar Allen Poe’s ballad “Annabel Lee,” what unconventional elements are present in terms of stanza length and meter?
In Edgar Allen Poe’s ballad “Annabel Lee,” there is a departure from conventional norms in terms of stanza length and meter. Instead of adhering to a consistent structure, Poe uses stanzas of varying lengths, which brings an element of unpredictability to the poem. The meter, or rhythmic pattern, is also highly irregular throughout the ballad. While this deviation from traditional meter might seem unconventional, Poe does maintain the ABCB rhyme scheme, although it can sometimes expand to ABCBDB or even ABCBDBEB in longer stanzas. Additionally, in this poem, Poe incorporates a refrain that repeats the line “In this kingdom by the sea,” which adds a haunting and evocative quality to the overall composition. Overall, these unconventional elements of stanza length, meter, and the use of a refrain contribute to the distinctive and melancholic atmosphere in “Annabel Lee.”
Question 6. How does Oscar Wilde’s ballad deviate from the traditional ballad’s stanza and rhyme scheme?
In Oscar Wilde’s ballad, “The Ballad of Reading Gaol,” there are notable deviations from the traditional ballad’s stanza and rhyme scheme. Rather than adhering to the conventional four-line stanza, Wilde opts for a six-line stanza structure. This departure allows for a more expansive exploration of themes and ideas within each stanza, compared to the concise nature of a four-line stanza.
Moreover, Wilde’s ballad breaks away from the typical ABCB rhyme scheme commonly found in traditional ballads. Instead, it utilizes a unique rhyme scheme of “ABCBDB.” This alteration in rhyme scheme adds a sense of unpredictability and emphasis on certain lines throughout the poem. By employing this unconventional structure, Wilde’s ballad creates a distinct rhythmic pattern that complements and enhances the emotional impact of the poem.
In essence, Oscar Wilde’s ballad deviates from the traditional ballad’s stanza and rhyme scheme by employing a six-line stanza structure and an “ABCBDB” rhyme scheme. These departures allow for a more expansive exploration of themes and ideas, as well as a unique rhythmic pattern that adds depth and impact to the overall composition.
Question 7. How does Samuel Taylor Coleridge’s ballad “The Rime of the Ancient Mariner” use different types of meter?
Samuel Taylor Coleridge’s ballad “The Rime of the Ancient Mariner” skillfully incorporates various types of meter to create a powerful and evocative poetic experience. This poem, written in the late 18th century, showcases Coleridge’s mastery in utilizing different metrical patterns to enhance the narrative and evoke specific emotions within the reader.
One of the primary meters employed in “The Rime of the Ancient Mariner” is the traditional ballad meter, also known as common meter or ballad stanza. This consists of alternating lines of iambic tetrameter (eight syllables) and iambic trimeter (six syllables), creating a distinctive rhythm. Coleridge uses this meter throughout the poem, particularly in the sections that recount the mariner’s voyage and his encounters with supernatural elements. The regularity and sing-song quality of the ballad meter contribute to the oral tradition from which ballads have historically emerged, enhancing the poem’s storytelling nature.
However, Coleridge also incorporates variations in meter to evoke different moods and intensify certain scenes. For instance, during moments of suspense or heightened intensity, he employs shorter lines, often in a trochaic or anapestic meter. These meters feature stressed syllables followed by unstressed syllables, or two unstressed syllables followed by a stressed syllable, respectively. By using this quickened rhythm, Coleridge creates a sense of urgency or excitement, intensifying the narrative at crucial junctures. An example of this can be seen in the following lines from Part IV of the poem: “The Wedding-Guest sat on a stool / He cannot choose but hear.” The rapid succession of unstressed and stressed syllables in these lines adds tension and draws the reader in.
Furthermore, Coleridge employs a variety of metrical patterns in certain sections to evoke different emotions or to emphasize specific themes. In some instances, he incorporates an irregular meter, deviating from the structured ballad form. This irregularity can be seen as a reflection of the mariner’s disturbed state of mind or the chaotic events he experiences. By breaking away from the established metrical patterns, Coleridge conveys a sense of turmoil and creates a disorienting effect within the reader. An example of this can be found in the description of the ghostly ship in Part IV, where Coleridge employs irregular lines and varied meter to convey the eerie atmosphere and the mariner’s increasing sense of unease.
Overall, “The Rime of the Ancient Mariner” demonstrates Coleridge’s adeptness at utilizing different types of meter to enhance the narrative and evoke specific emotions within the reader. By employing traditional ballad meter, variations in rhythm, and even irregular meters, Coleridge creates a dynamic and multifaceted poetic experience that brings the story and its themes to life. Through the skillful use of varied meter, Coleridge engages the reader on multiple levels, reinforcing the enduring power and versatility of the ballad form.
Question 8. What is the structure and rhyme scheme of John Keats’ ballad “La Belle Dame sans Merci: A Ballad”?
The structure and rhyme scheme of John Keats’ ballad “La Belle Dame sans Merci: A Ballad” follows both the traditional ballad form and introduces some deviations. The poem consists of twelve stanzas, each comprising four lines, which is a common feature of ballads. Keats employs the ABCB rhyme scheme throughout the poem, with the first and third lines of each stanza rhyming with each other. The second and fourth lines end with different rhymes in each stanza, providing variation and musicality to the poem.
Additionally, “La Belle Dame sans Merci: A Ballad” includes a refrain, a repetition of a particular phrase in each stanza, which is characteristic of traditional ballads. The refrain in this poem is “O what can ail thee, knight-at-arms,” which is repeated three times throughout the course of the poem. This repetition serves to reinforce a haunting and melancholic tone.
Although Keats adheres to the structure and rhyme scheme of a traditional ballad, he deviates from the norm in the meter of the poem, particularly in the short fourth lines of each stanza. Rather than following a consistent metrical pattern, Keats varies the meter of these lines to create a sense of irregularity and instability. This technique adds to the overall atmosphere of ambiguity and mystery in the ballad.
PARTIALLY ANSWERED QUESTIONS
Question 1.
Why did poets originally write folk ballads and how did the form aid in oral transmission?
Sub-Questions
Why was the traditional ballad an ideal form for narrative poetry transmitted orally?
The traditional ballad was an ideal form for narrative poetry transmitted orally because it made the words so easy to remember. The repetitive structure and musical nature of ballads, combined with their communal nature in oral and musical storytelling, made them well-suited for transmitting and preserving a culture’s important stories and myths.
How did the form of folk ballads aid in oral transmission?
The form of folk ballads aided in oral transmission by making it easier to memorize. The repetitive nature of the ballad, along with its strict meter, rhyme scheme, and recurring sounds of rhymes and refrains, contributed to the memorability of the ballads.
Why did poets write ballads originally?
Poets wrote ballads originally to aid in oral transmission and memorization. The repetitive form, strict meter, and rhyme scheme of folk ballads were particularly helpful for singers and storytellers to remember the words of the poems.
Full Answer Combined
“As ballads evolved over the centuries, their purpose and transmission methods varied, leading poets to write different forms of ballads. Folk ballads, the oldest form, were primarily transmitted orally. The repetitive nature of these ballads served a crucial role in aiding their oral transmission. The strict meter and rhyme scheme not only facilitated memorization but also provided a rhythmic structure that captivated both singers and listeners. The recurring sounds of rhymes and the repeating words of refrains further enhanced the memorability of these ballads, allowing them to be passed down through generations.
The traditional ballad, with its narrative style, was particularly suited for oral transmission. It became an essential means of preserving a culture’s important stories and myths, as the communal nature of oral and musical storytelling allowed for the widespread dissemination of these ballads. This communal aspect fostered a sense of shared identity, as communities collectively embraced and preserved their cultural heritage through the transmission of ballads.
In the 16th century, the advent of cheap printing gave rise to broadside ballads. These ballads, printed on medium to large sheets of inexpensive paper, were widely circulated. They featured eye-catching illustrations, popular tune titles, and enticing poems, all aimed at capturing the attention of readers and listeners. By the 18th century, broadside ballads had transitioned to simpler printing styles, often incorporating multiple individual songs that could be cut apart and sold as “slipsongs.” These ballads covered a wide range of subjects, including love, religion, legends, and even early forms of journalism, encompassing topics such as disasters, political events, and prodigies.
Literary or lyrical ballads emerged during the Romantic Movement in the late 18th century, as social elites and intellectuals developed a growing interest in the ballad form. Esteemed literary figures like Robert Burns and Sir Walter Scott collected and composed their own ballads, transforming the form into an artistic expression. Notably, William Wordsworth and Samuel Taylor Coleridge published Lyrical Ballads in 1798, which featured Coleridge’s acclaimed “The Rime of the Ancient Mariner.” This period also witnessed collaborations between influential figures like Goethe and Schiller in Germany, resulting in a collection of ballads that were later set to music by Schubert. In the late 19th century, poets such as Rudyard Kipling and Oscar Wilde continued to contribute to the ballad tradition with their notable works.
While the historical development and categorization of ballads are important aspects to consider, understanding why poets originally wrote folk ballads and how the form aided in their oral transmission provides valuable insights into the enduring appeal and cultural significance of these poetic expressions.”<
Question 2.
How do folk ballads differ from lyrical ballads and modern ballads?
Sub-Questions
How do modern ballads differ from traditional ballads?
Modern ballads today may not adhere to the conventions of meter or rhyme schemes that once defined the form. While the term “ballad” is used to describe various poems and songs that tell stories, not all modern ballads conform to traditional ballad structures. However, the musical roots of the ballad have endured. The ballad today is associated more with its musical aspects and less with its literary prestige.
How do lyrical ballads differ from folk ballads?
Lyrical ballads emerged as a new variation on folk ballads in the 18th century. While inspired by the musical traditions surrounding traditional folk ballads, lyrical ballads have little to do with oral tradition or music. Writers of lyrical ballads expanded the subject matter to include everyday stories, rather than only stories characterized by excitement or adventure. Lyrical ballads still use the “bouncy” rhythm of the iamb but allowed themselves to stray from always using common meter.
What are the characteristics and origins of folk ballads?
Folk ballads are traditional ballads that existed as an oral (and often musical) tradition before being recorded in written language. They are typically not attributable to any one author and are some of the oldest ballads. Folk ballads tend to tell stories of love and adventure and typically employ common meter.
What are the three main categories that help define the evolution of the ballad?
The three main categories that help define the evolution of the ballad are folk ballads, lyrical ballads, and modern ballads.
Full Answer Combined
Ballads have a rich history that has seen various forms and adaptations over time. One significant distinction to explore is the difference between folk ballads, lyrical ballads, and modern ballads. Folk ballads, as described in Their article, are traditional ballads that existed as part of an oral and musical tradition before being recorded in written language. These ballads, such as “Tam Lin” and “Robin Hood,” are not attributed to any specific author and are among the oldest ballads known. They often narrate tales of love and adventure and typically follow a common meter.
In contrast, lyrical ballads, also referred to as literary ballads, emerged in the 18th century, as Their article explains. This variation of the ballad form was influenced by the musical traditions surrounding traditional folk ballads but deviated from the oral tradition and music. Respected literary figures like Robert Burns and Sir Walter Scott collected and wrote their own ballads, transforming the form into an artistic product. Notably, William Wordsworth and Samuel Taylor Coleridge published Lyrical Ballads in 1798, which included Coleridge’s renowned work, “The Rime of the Ancient Mariner.” These literary ballads retained the rhythmic structure of the iamb but allowed for greater flexibility in meter. They expanded the subject matter beyond exciting or adventurous stories to include everyday narratives.
It is also worth noting that ballads continue to evolve in modern times, as mentioned in Their article. While the term “ballad” is now used to describe various poems and songs that tell stories, not all modern ballads adhere to the conventional meter or rhyme schemes that once defined the form. However, the musical roots of the ballad have endured. Narrative songs, particularly popular ones centered around love, are often referred to as ballads, serving as a reminder of their origins. Nevertheless, the ballad today holds less literary prestige and is more closely associated with its musical aspects.
Additionally, Your article provides insights into other types of ballads, such as broadsides ballads and literary ballads, which further enrich our understanding of the evolution and diversity of the ballad form. Broadsides ballads were printed on large sheets and sold as individual songs or stories. They were often folded into small, inexpensive books known as “chapbooks” and covered a wide range of topics, including love, religion, legends, and early journalism. Literary ballads, as embraced by social elites and intellectuals during the Romantic Movement, were collected and composed by respected figures such as Robert Burns and Sir Walter Scott. These literary ballads elevated the form into an artistic expression, and their enduring impact can be seen in the works of poets like Rudyard Kipling and Oscar Wilde.
In conclusion, the distinctions between folk ballads, lyrical ballads, and modern ballads encompass their origins, subject matter, and adherence to traditional forms. Folk ballads maintain a strong connection to oral and musical traditions, while lyrical ballads emerged as a literary variation that expanded the range of stories told. Modern ballads, although diverging from traditional forms, still carry the essence of storytelling through music. Exploring these differences deepens our appreciation for the rich tapestry of balladry throughout history.<
Question 3.
What are the different categories of ballads?
Sub-Questions
What are modern ballads and how do they differ from traditional ballads?
Modern ballads are various types of poems and songs that tell stories. Unlike traditional ballads, not all modern ballads adhere to the conventions of meter or rhyme schemes that once defined the form. However, the musical roots of the ballad have endured. Narrative songs, especially pop songs about love, are often referred to as ballads. While the ballad today may have less literary prestige, it still maintains a connection to its original musical origins.
What are lyrical ballads and how do they differ from folk ballads?
Lyrical ballads are poems that began to appear in the 18th century as a new variation on the folk ballad. They were inspired by the musical traditions surrounding traditional folk ballads but have little to do with oral tradition or music. Writers of lyrical ballads, such as Coleridge and Poe, continued to use the rhythmic structure of the iamb to tell their stories but allowed themselves to stray from always using common meter.
What are folk ballads?
Folk ballads are traditional ballads that existed as an oral and musical tradition before being recorded in written language. They are typically not attributable to any one author and often employ common meter.
What are the three main categories that help define the evolution of ballads?
The three main categories that help define the evolution of ballads are folk ballads, lyrical ballads, and modern ballads.
Full Answer Combined
According to Your article, the different categories of ballads can be identified as follows:
“The most commonly identified types are religious, supernatural, tragic, love ballads, historic, legendary, and humorous.”
While Your article provides a concise list of the various types of ballads, it lacks the thoroughness and explanation provided in Their article. To further elaborate on these categories:
1. Religious ballads: These ballads revolve around religious themes, often recounting stories of faith, devotion, or spiritual experiences.
2. Supernatural ballads: This category encompasses ballads that involve elements of the supernatural, such as ghosts, witches, or mythical creatures. These ballads often have an eerie or mysterious atmosphere.
3. Tragic ballads: Tragic ballads focus on stories of sorrow, loss, or unfortunate events. They evoke emotions of sadness and often explore themes of heartbreak or tragedy.
4. Love ballads: Love ballads center around themes of romance, relationships, and the complexities of love. They may express feelings of longing, devotion, or heartache.
5. Historic ballads: Historic ballads recount events from history, often focusing on specific historical figures, battles, or significant moments. These ballads can provide insights into historical events and capture the spirit of a particular era.
6. Legendary ballads: Legendary ballads delve into myths, legends, and folklore, narrating tales of heroes, mythical creatures, or legendary events. They often have a mythical or fantastical quality.
7. Humorous ballads: Humorous ballads bring a light-hearted tone to their storytelling, using wit and humor to entertain listeners. These ballads may contain comedic elements or satirical commentary.
While Your article provides a brief overview of the different categories, this expanded explanation offers a more thorough understanding of each type of ballad, allowing for a richer appreciation of the diversity within the genre.<
Question 4.
How has the ballad evolved over time?
Sub-Questions
How has the ballad transformed in modern times?
In modern times, the term “ballad” is used to describe various poems and songs that tell stories. Not all modern ballads adhere to the traditional conventions of meter and rhyme schemes that once defined the form. However, the musical roots of the ballad have endured. Narrative songs, especially pop songs about love, are often referred to as ballads, but the ballad today enjoys less prestige than it did historically when it was considered a form with literary rather than musical merit.
What is the difference between folk ballads and lyrical ballads?
Folk ballads are traditional ballads that existed as an oral tradition before being recorded in written language. They are not attributed to any specific author and employ common meter. Lyrical ballads, on the other hand, emerged in the 18th century as a new variation on the folk ballad. They were inspired by the musical traditions surrounding folk ballads but have little connection to oral tradition or music. Lyrical ballads allow for more freedom in the use of meter and expanded the subject matter to everyday stories, rather than just stories of excitement or adventure.
How did folk ballads originate and what are their typical themes?
Folk ballads originated in Europe in the late middle ages as an oral tradition popularized by traveling minstrels. They are typically not attributable to any one author and often employ common meter. Typical themes of folk ballads include stories of love and adventure.
What are the three main categories that help define the evolution of the ballad?
The three main categories that help define the evolution of the ballad are folk ballads, lyrical ballads, and modern ballads.
Full Answer Combined
“The Evolution of the Ballad
Throughout history, the ballad has undergone a fascinating evolution, adapting and transforming in response to changing cultural and literary landscapes. One early collector of ballads, Samuel Pepys (1633?1703), recognized the value of these poetic and musical treasures. Similarly, Robert Harley, 1st Earl of Oxford, and Mortimer (1661?1724) contributed to the preservation of ballads through their compilation, the Roxburghe Ballads. As the 18th century unfolded, the popularity of ballads surged, leading to the emergence of diverse collections like Thomas D?Urfey?s Wit and Mirth: or, Pills to Purge Melancholy (1719?20) and Bishop Thomas Percy?s Reliques of Ancient English Poetry (1765).
In this period, a new phenomenon known as broadside ballads emerged, thanks to advancements in cheap printing during the 16th century. These ballads were printed on affordable, medium to large sheets of paper, often adorned with eye-catching illustrations and catchy tunes. Originally printed in black-letter or gothic type, they later transitioned to white letter or roman type in the 18th century, with less decoration. These broadside ballads became a popular form of entertainment, captivating audiences with their captivating poems and illustrations.
Meanwhile, a growing interest in the ballad form among social elites and intellectuals, particularly during the Romantic Movement in the late 18th century, led to the rise of literary or lyrical ballads. Eminent literary figures like Robert Burns and Sir Walter Scott in Scotland passionately collected and composed their own ballads, elevating the art form to new heights. This artistic transformation continued with the publication of Lyrical Ballads in 1798 by William Wordsworth and Samuel Taylor Coleridge, which included Coleridge’s masterpiece, “The Rime of the Ancient Mariner.” Germany also experienced a surge in ballad creation, with Goethe collaborating with Schiller on a collection of ballads, some of which were later set to music by Schubert.
As the 19th century progressed, ballads continued to evolve, finding new forms of expression. Rudyard Kipling’s “Barrack Room Ballads” (1892-6) and Oscar Wilde’s “Ballad of Reading Goal” (1897) stand as important examples of the poetic form during this era.
It is essential to note the significant contributions made by scholars like Svend Grundtvig of Denmark and Francis James Child of England and Scotland in the late nineteenth century. They dedicated themselves to the meticulous recording and categorization of all known ballads and their variants within their respective regions. Their invaluable efforts shed light on the rich tapestry of traditional ballads, revealing a wide range of themes such as religious, supernatural, tragic, love, historic, legendary, and humorous.
While these descriptions highlight the progression of the ballad form, it is important to recognize that the evolution has been multifaceted. The ballad has not only undergone stylistic changes but has also transcended its traditional conventions. Today, the term “ballad” encompasses various poems and songs that tell stories, even if they do not adhere to the strict meter or rhyme schemes that defined the form in the past. This contemporary understanding reminds us of the ballad’s origins, rooted in both literary excellence and musical enchantment.”<
Question 5.
What are some key details about ballads?
Sub-Questions
What is a refrain in a ballad?
A refrain is a line or stanza that repeats throughout the poem, much like the chorus of modern-day songs.
What is the meter in which traditional ballads are written?
Traditional ballads are written in a meter called common meter, which consists of alternating lines of iambic tetrameter (eight syllables) with lines of iambic trimeter (six syllables).
What is the simplest way to think of a ballad?
A ballad can be thought of as a song or poem that tells a story and has a bouncy rhythm and rhyme scheme.
Full Answer Combined
The ballad, an age-old poetic form in English, possesses distinct characteristics that set it apart. Allow me to shed light on these features in a concise manner, as observed in Your article.
Firstly, the ballad adopts an impersonal perspective, whereby the speaker addresses the audience from a vantage point outside the action. This approach serves to provide commentary and insights into the depicted characters and situations. Furthermore, the ballad employs a technique known as incremental repetition, wherein refrains are utilized. These refrains, often in the form of stock epithets, contribute to the repetitive nature of the ballad.
Moreover, the ballad excels in its knack for storytelling through ordinary narration. It focuses on intricate details, offering a compressed and dramatic account. Action and dialogue flourish within the narrative, captivating the readers with vivid portrayals.
Structurally, the ballad adopts short stanzas, usually consisting of four lines. These stanzas expertly alternate between lines of eight and six syllables, creating a harmonious rhythm. As an exemplar of this form, Coleridge’s renowned ballad, “The Rime of the Ancient Mariner,” abides by these parameters.
In summary, the ballad encompasses the characteristics outlined in Your article. Its impersonal tone, employment of refrains, compressed narration with attention to detail, and adherence to a specific structure all contribute to its unique identity.
