■^^jB^,' ', \ # .0^, %^ ,*v r IMAGE EVALUATION TEST TARGET (MT-3) ->. . I 4> 1.0 1.1 11.25 lU lU |Z2 ^ 1« 12.0 li 1.4 lil.6 !V- ^>; V d \ // '/ /A *>.:•■"* ^! Photographic Sciences . Corporation ^ \ O :$g^\-o 33 WIST MAIN STRUT WltSTIR.N.Y. MSM (n«)t7a-4S93 ;\ .j».v#..^-.. r rnathod: Laa axainplairas originaux dont la couvartura an papiar aat imprimAa sont fiim^s an commandant par la pramiar plat at an tarminant soit par ia darnlAra paga qui comporta una amprainta dimpraasion ou d'iilustration, soit par la sacond plat, salon ia cas. Tous las autras axamplaitras originaux sont fiim^s an commandant par la pramiAra paila qui comporta una amprainta d'innpraaaion ou d'iilustration at an tarminant par la darnlAra paga qui comporta una taiia amprainta. Un das symbolas suivants apparaltra sur la ' darni4ra Imaga da chaqua microficha. salon la -im: la symbola -*> signifia "A SUIVllE", la ; Jymboia V signifia "FIN''. Las cartas, planchas. tableaux, ate. pauvant itra fHmto * das taux da rMuction diff*rants. Lorsqua ia documsnt ast trap grand pour ttra raproduit an un saul cHch*. II ast film* i partir da I'angia lAtpiriaur gaucha, da gaucha i droita. at da haut an-bas, an pranant la nombra d'Imagas nicassaira. Las diagrammas suivants ^ iilustrant la mAthoda. ^ ly arrata ad to int ina paiura. aqon * 1 a * ^- ■*■: •'*" mttmn y 1 a -/-' ^ ( 32X \^r //T'/^. .^;.'^^/ ^..y.f -/".^^y .i^ ''//nii'TA^/y f/'Mre'&iA 6'o/4t9*>A;a, PROM THE TRANSACTIONS OF THE ROYAL SOCIETY OF CAMDA ' '*^ SECTlOll H v-v «^ SECOND S£RIES~-x896.07 ENGLISH HISTORY, LITERATURE, ARCHAOLOQY. ETC. FOO'TNOTES TO Canadian Folksongs # By WILLIAM WOOD OP QUBBQ^C » 4 *» rmt iALB BY ^HH DURIB « 8«N, fTTAWAj THE C^PP-CLARK 0^^ TORONTO S&RNARD QUARITCH. Lf NDgN. EWOLAND 1896 ^ M .'^ % ^4 ■ Colli work too that has which no of the vh Veil- CO nd things to able, it wii to Canadii give him ] Gragnon'sc or note in time, the i only too c( ordei- to tli realizes tlm It is t(j genei-ai rea " what they ] Hre quite ii tunately pi to folklore exactly the but still on important, i his best, an( 'ng.on the %. nombre de ; c-ontient just It is, 01 '' ^^3^ =^^.^««4, and communicated by Dr. Stewart. P.as.C, . I (Re-written, October, 1806.) I. ' . : Collection. . . t Collectors of folklore «o often lament that ih. u \ work too late, and they so often find tZT . '^ have begun their ■ that has escaped the llZaeTallT^^^^^^^ wbi6h no one ever though^of 'eaZJ thai "" "''*^ "'*^ ^ ^^^^^ of the .,«,,,, ,,, ,,^,^,^. ^^ SlA^pe^d^^^^ ^ P-- -riant Veil-conducted preface Just now fniT '^^ ^ P*^ ^^ «veiy ~ things to dabble'^^n, and as h Z; 'f J "• ^"^'^ '""^ '' '"^^ P-P^ able, it will be ^consolat'io: oH^ kn^tlr T''' '' "^^ ^'«^^- to Canadian folksongs, he will beTur: ^Ld eno" r*""^ "^"^^^^-9 give h.m plenty of the dainty sweet of nXchol/ T^^'^^''^^^ *" (xagnons delightful book ' <>f the difficutldf oilier T" ''"' '" ^^• or note in Dr. Larues most fnte,.st reLfv' !^^^^^^ time, the many references to the bv Jn T^' ^ ''^ atout- the same only too eonvfncing a proo o th '^sTat! ot"",f ''' '^""^"^' -« «"^ ^^ order to the new, wtn^he folk btin to b 7^ *"""^^'" '™"^ *^« ^^^ -ali-s that opportunity is bald Snd '^ ^^"^'^•?"--— ^ the collector .ene::i:::j:^:.;^:r:;^;-:f^ -d D. Lame that student and ■ what they profess to bla rati u "•. ""'^'^ "^^'^^ -« -^«% ' , -0 auite admirable ^I^hi: h^^ X"^^ '^ ^ J^'"^"^ ^ ^^ ^ot^ tunatel.v prevent theiUein^ re^ranlTn • ' "' '""'^'^tions unfor- tc. foiklo,-e. J),. Lalue s nl ' '" ""^' '^^^' *^"'^1 ^ontrfbutions exactly the right wa;tdITAd:^ ^^^^^ ^"^-d. in but still only an essay mi^^l"^^^^^^ important, and it has\,o.e th;:^\" " irdltir" '^'T^-.^^^ -- bi8 best, and thatbest is so ffood tLt " ;^\'^'*'^"'^- «« has.given us of ing.on the same lines can evfr Mtt • i ^.u '" ''' ""''' '^">'«'?« ^^^k- . y Es* .i .;• ' il^J^^^tln uk^l ti^.i.tel ^}#i^>^V. , f * BOYAL SOCIETY OF CANADA /< ii hypothesis and so little sound theory on many points of folklore, that it is manifestly too ^rly to expect a perfect critical apjparatus ; but a good — edition for the' student is still within reach, if only it is taken in hand at once and carried out with thoroughness. To be complete, such an edition should have maps of Finance and Canada in the time of the Grand Mon- arque, showing, as nearly as possible, the old and new homes of the emigrants : it should also have folklore maps of both countries at the present time. An index, a bibliography and a glossary with philological introduction are quite indispensable. Verse and music being inseparable in the folksong, their mutual relations should be explained in a preface ; but, to ensure full justice to each, separate introductions should be written, that to the verse showing the place of the folksong in the beliefs, manners and customs and general life-history of the people. Besides this, every Bong should have its two foot-notes, one on the vorsfe, the other on the air, where all variai^te, Canadian, French and foreign, should be cited with exact bibliograpmcal references. It is fortunately unnecessary, now-a- days, to insist upon a faithful text, that being taken for granted. But' there are degrees of faithfulness, and nothing short af perfection should be accepted. When a song is taken down from oral tradition, not only . should every musical note be exactly reproducfcd, but every appropriate gesture should be noted as well ; and, when the perfect authenticity of the manuscript version has been proved, the editor should see that the printing follows it line for line, word for word and letter for letter. Even this is not enough to ensure absolute fidelity in all cases, for it is some- times very hard to withstand the temptation to make up a complete .editorial version out of authentic fragments : finding all ttfe materials is not the same thing as the discovery of the building. One word as to the collectors themselves. If there is one thing more than another which needs sympathy, tact and an insight into human nature, it is the collection of folksongs. The mere patience required is no small thing, as we can see from the difficulties Mr. Gagnon »met with here -in Canada," where, asin Old Normandy, the songs were as j)lentiful as the apples. But the chief difficulty to overcome is the shyness and suspicion of the folk when they know they are being observed. Their first instinct is to deny all knowledge of superstitious practices, out-of-the-way customs or curious legends, and so, perhaps, the best collecting of all is done as it were by accident, by living among the peopk^ and gathering up the songs and stories they let fall from time to time.* Mile H^16ne Vac^resco, to whom we owe the splendid collection of Eoumanian folksongs, published in I'.Bgland ' under the title of The Bard of the' Dimhovitza, "was forced to affect a desire to learn spinning, that she might join tho girls at their spinning-parties, and so overhear their songs more easily ; she hid in the tall maize to hear the reapers crooning them ; she caught them from the lips of peasant women, of lute-players, of gipsies and fortune- tellettf she listerAd for them bv death lvwi«. K lector is the Rev. Elias Owen „!,„ . ^'i. ■*^"''"'« suecessfill col- schools to admirable aocounr.7^^^^ of , the first class, ' Now, children, can ybu t^n l?." «-a°;>nation he asked ^ le a buggan to be seen, or of any one who Ir *"^ P'*'" ^^"'" *^«^« every hand ia the clas^ was stXhed-^/'''' ''""'*"' -^ ^°^**°^'y tell. He then asked ' Wh Lr^vf ' '"'if '^'^ '^"'^ ^«^ « «^^^ With like resnm .^ea^^t t'eXoTfitl^f Z:^ % ^f '' man, who had fondly imagined thnt tJ>. ^ *^' *^® ''^^^Sy- parish ! Theclergy'lre 4; Habif ^ "^ T^^^^^^^" - ^^ ' ai^apt to keepsn'/erstition Lt o^^;^^^^ P-ple . uninstructive folklbre item '7 b , • ^_ ^' '^*'''''' *° »*8elf is a not was old .Yilk^lnTMrnnha^t • l? l C ^^1''^ '^«* «^ ^" -"-^ors for a gnomTby a peasantt had b eA^eirn^n! h'^ "" ^"^^ ^'^'^^^ ance may have helped the illusion he C'n^' . P'"""""^ ^^P^^*^" and w,s then only just emer",^;f;o^\Teki?lrH"h T''^''''^ "^*'« ' - Baltic in dreaminff over thp nt 7 J ^ childjiooa spent beside the wore a little red cap "htl was d^KH ^V'' ''°^^- 'T^^' *-' ^^ suggestions. .But, above aHthll^'' '^^'^ ^^*^ supernatural the difficulty of d aling wS pnmS ^T^^ ^^^^.^^n^hardt had solved upon as a profane an! Jr^nrCman he ' "'*"*' of being looked ' more than initiated into'rmylries' t Te T""'' " ^°^ "^^ "- self" 8 . "lystenes— as one who was a mystery him- .henrrr:^rLt^rwra "rr ■ ;? '""""' - *»» of the whole subject • bdt i?Ih! ./ knowledge of the bearings tively with my texts nor n th« n ^ ^ ^''''"'^ *^ '^H ^^haus- them ; and so I wouM b ^ rn^ rtdr:: ITV^^ ^^ ^ ^'^^ "^^^^ ' way ar, attempt at a treatise hT,f!? I ^''^^ "P°° *^'« "« in any -. „«c. hL lon/^n^irStirrpir "- -'- ■J - ■ ^ II., . NoN-POPULAR SONQS. ' ' ' short^sr trCr^^^^^^^^^ ^* --^^ ^e as well to consider them, are .rone the less inIrudLst7 ^^^^^'^'^'^"^ »«t-ralizod among The Xy/vc is so obviously non-popular ih^t tu sufficient to put it out of court still nH^ 5 ^ ™^'^'* '"^"tion « "- ^>ween the ,Hc »-:^t:^C^i::S;r ei^tT ,^ /«i.!i^4'ti . ' < 80 ROYAL SOCIETY OF CANADA , 4' times approach the other. A lonely lyric may be bom in an unhappy- time, perhaps during an exile shared by many beside its single singer^ and then — so sweet are the uses of adversity in the realm of song — all the exiles will adopt it, cradle it nPlheir sorrow, and bring it home at last afr ' "their very own : who has not heard and laid to heart the song of Un-Canadien errant, , Banni de ses foyers ? » But this is an exception which proves the rule. The Vaudeville, that product of the bourgeois vereifier and joy or the bourgeois heart, is, in France, the greatest enemy the folksong has to fear. It has no recognized place in Mr. Gagnon's book and is not yet a power in Canada ; but it is not likely that the inter-communication between town and country and the exodus to the United States can go- on much longer without profoundly affecting French-Canadian "popular life and song. If only the vaudeville and its offshoots were entirely products of the bourgeois wit, they would not be half so dangprous as- they are ; but, whilst all is fish that comes to their net — political and historical songs, the poetry of the day, love-songs and drawing-room ditties, together with parodies of psalms, hymns and all sorts of religious verse— their choicest quany has usually been the words of a folksong and the air of a popular dance. It is to such an origin that many vaude- villes owe their tremendous vogue : like the Janissaries the folksong is kidnapped from its early home, reared among the aliens, and finally sent back to destroy its own kin. The iVbe7'" is another strictly non-popular form. It is, at best, an adaptation, composed under the direct or indirect influence of the jjriest- hood, and made up of the most heterogeneous materials. Some nools are simply versified accounts of the birth of Christ and are almost entirely of Christian brigin ; the beautiful one given by Mr. Gagnon is of this nature and is a remarkable example of the fusion of the noel and folksong into a real poem. But most are composed of whatever was handiest to the adapter : so we find noels derived from folksongs, from Christian hymns and Pagan formute, from vaudevilles, from love-songs, from diinking- songs, from i-ounds and rhymes for dancing, from fairy-tales, hero-tales and drolls, from mystery-plays^ and from events of real history. All " doubtless contain popular elements — the dramatic element, for instance, which they borrowed from the folksong, usually by way of the medieval ^mysteries, fetes des fous and fetes de Vdne; but they are not themselves .popular, because they never came directly from the lore of the folk itself. . Their popularity i'^ Provence proves nothing, for the Proven9al noel is most popular when it is least essentially a true noel. A convinc- ing proof of their non-popular character is the well-known fact, that, from the sixteenth century on, tbey have been so common in printed col- ''y*^* "" f ' J* H > . *• V • t-. ♦■ '/?^'-> FOOTNOTES TO CANADIAN? FOLKSONGS t best, a& 81 {wood] , and men of letWs, who all hld^l^T^ '' ''^ P""«*«' '^'•ff«°i«t* , ^ generally show unmistaLbl s^ls oTh"-'""^*? ''"* ''^" ^"'^ -*»- through the spectacles of books ^^ *'^'' ^* *^«»- ^^eme Less popular than the Mel or the Vaudeville anH n.. than the Lyric, is the i)rmAm,-..«,. TtrplTh ^ h"?" "''''' '^ dr.nkmg.song, like its fellows elsewhe'., is ..11^2 a ? ""'"'^ all. It may be a specimen of pot-housr 1^1 ,\^""i^'»^-««"g ''* arf-nnV>oramaidVlamentthat^eV lorrS^^^ ^"^ ^« ^«-~ boozing companions to her own,- or I lZZf^7!l \T u^"'^^''^ ^^ ^'^ the expression of a rejected ]oW«H ^ * *^ ^^' •^'«*'-«««'" or •the bott,e,u or a veLS lunTo a rZkT" /^ '^^^^" ^'« ^^ - singer takes a conscious pride in saying ^ ''j'"*"" '" ^^^^^ ^^e On dit que je suis Her, Ivrogne et paresseux • and doe, „„, ,e™p,e to ,„„d this yery „„ab„ah„d confusion to M. le C„r4 • Di.s-lul que sa paroiese Est sans dessus dessous, Que dans le Ftit Bois d'Aille ^° »> ^oit qu' des Kens souls • i^ " H may be any one of these, or something^of the same lin I "i . • • a drinkmg-song. A drinkin.r «nn.r r, . "^ ' '^"^ ^^ '« "ot of wine, ;„d whattt J^^ iTJ/r 'T' '" ^ ""^^ ^» P™- gallant delights only erves o Int ^T" "^ ''^'' ""' ^^^^ «'" o^^er Perhaps, the^omewl:™ r.^^^^^^^ «^ ^^^ theme. . except upon the wings of love and oW of fW /'""'' '"''' '''^^* '' haps, an educated fancy and an allusive vvit J. "'' P"'''""'' ""^' 1'^^- material thing, of life the little n 7'^'*f »«««««ary togive themoi-e it . obtain twsuch^^- ;;::r:;^::,«^ --^ ^^u- veste..„uheremoterdalesofCraven.a.raree::tX^|^::;;:;;^ This ale'itJs.a gallant thing ' • ' - •'t theers thft spirits of a king *" It makes a dumb man strive to sing, — Ay, and a beggar play ! '« ' Take almost any collootion of ,),.;v>r- i"g i" the., At,a„ Bn,.,a, >vho wr/r, i' o^'^^t^h' "°"'' """" Cigit le plus grand ivrogne Qui jamais ait vu le jour '7 '' declai-ed, in another place,- his intention of going _. dans rAverne. Faire enivrer Alecton, • Et planter une taverne Dans la chambre de Phiton. Sec. II., 1806. 6. -N "• -i ■4 s-4 4 -'"^^^^^lia^. ■y^^ ";Vk:^.^^^;' .'T.. T .'t |< tl,^ ' * - ft-'^ 82 ROYAL SOCIETY OF CANADA % In Boileau's account oi a-famou8 drinking-bout,** though Un docteur est alora au bout de son latin, ' (^' . - wine is still the best aid to knowledge, for , X " ■ " ' * On est savant quand on boft bien. Qui ne sait boire ne sait rien. , ^ Old Dr. Fischart, tof bibulous, memory, invokes the spirit of wine in a way quite alien to the Canadian folksinger : . * ir, " ' ( Nun bist mir recht willkommen, Du edler Rebensaf t ; . _ • , • Ich hab' gar wohl .yernoijimen, "■ — ^- . - Du bringst mir siisse Kraft ; . "^ - Liisst mir mein G'niuth nicht sinken, »< ^ I " . , . Und stiirkst das Herze rhein, •I ' Drum wollen wir dich trinken, ' i '. -UKd alle friihlich seyn.™ ? ' .1 . "■ ■• ■ I And Goethe, in writing ., , • - ■ i Drum, Bruderchen ! Ergo bibamus, * was only following the time-honoured custqm of innumerable versifying scholars in mixing dead and living languages together in the praise of wine. Gaudeajnus, laudamus, vivamus are words constantly occurring in -the refrains of drinking-songs ; so are Bacchus, Venus and many more ; And all are used with an evident knowledge of their proper sense and fitness. What M. Tiersot says'" of the French drinking-song may be said with even more truth of the, CaUjadian — "la chanson il boire n'est pas un genl« dechanson populaire." - : III. .The Folksong Proper. says com ■ us th autho:^ the rt Impersonality is of the very essence of th§ folksong. "Celrrre," r. Gagnon," " nest pas dti tojit mon oeuvre. C'est i'oeuv^e de ce pcjsiteur insaisissable q\i'on appelle le peuple." And Sjgnor.Pitr^ tells the Sicilians will not sing a song at all if they know who the is. Even in the case of 8ong8,'u8ually of a humorous nature, where avjthor devotes the last verae'to revealing or hinting at, his identity — ■ Qui a fttitcette jolie chanson ? the impersonal note is^e dominant one : the author, instead of trying to impress his own point^f view upo^ others, simply giving voice fo the thought and feeling of his tblli. And even in the love-song — though love is personal before all else-^the impersonal note is clearly struck : the lo mr sings of his own joys and pjj^n in His own way, but never with- out a i undertone wTiich tells of the burden common to his folk at large. It is jiartly a cause, partly an effect, of this impers6nality that the folk- :L- r 1 ••iio tii«it>- . ,r 1 ■' 7 ■'? ■ . ''■'^f^Y' r/ ^ , C-ooz,] ^ ^ P00TN0TE8 TO CANADIAN VoLKSONGS .' „ ^ 33 ^ an artificial pose. The aZ^tlJ^l thaT' T *\^ ^^P^^*"'^^*^ ^^r so^ they had never.foand a single lie and ,^T u '''''' ^"^« ^^ ^^'k- ^ho, if asked the reason of hif 8in^!,'„r ' T"^' '^''' '' ""' folksing^r words.of Goethe's minstr^ ^'"^' ^'""'^ '^^^ ^^"Jy answer in tL - - Jf**''°f^'e'i<5rVogelsingt. , get harried and live happiirevtirh^'-^'^^^^ Often united only by SU ! L tlVson^^ rr ^'^^ ^^« "^^'^ ^rain." "Songs are the words LoklnK^' "" ""^«'«°choly ^eek folksingt in Vord. or;h e'h sTeHe^'s '^^^^^^^^^^ 7^''^ «?^« ^ those that tell of saddest thought" seZ t , ^^^*®'*^ ««°g« ar« the folk cultivate poetry aa a Sv scLl ' ''^^'"'^ Paraphrase. If ^ . F,.nch,anc^if Fx^nch^ofkson^tf rs, J S'^T^^ one land ^ore than in another' they aTfo 1-^- "i^*"' '^^^ ^'^ ^^^ ' Gagnon has to quote the Grimms' Xf^Tf '" ^^°^^- ^et, Mr. ^ la s'''"* ""*"^^ ^^ " wrote the following lines he wrthini. ? bonheu,:." When Brizeux . ^f France, but I ^onld like To totel: ''>,'' '^^"^'" "^'"^^tic part ^ '- almost equally apBlicable to our claiv " "^ *''^ ^*^'"' *« ^« ' ^ ^^la8!jesam*,n%hantd-amour " , • Jriste ou gai tour A^tour. ^ . Cette chanson, douce A loreUle, •°"''' ^"g "':°;apotntsapa r..i |.^ J . ; V -^ ^ i> * ■'im.l ^ .U. ^--v 84 ROJAL SOCIETY OF CANADA / J'avai^ Houze ans lorsqu'en Bretagne On me I'apprit sur la niontaKne. Avec un air,-.une parole, 'ftjujours I'exil^ se console. I » ■ ¥ S) •y» Ce chant, qui de men ccewr s'eleve, ■" ' D'ou vient qu'en pleuranT: je I'aclieve ? Helas ! je sals un chant d'amour Triste ou gai tour A tour. " Triste ou ^^ai tour k tour," that is just what Canadian folksongs are ; but th^general burden of the folksong all the world over js more nearly sad-than gay. -Though^ perhaps, it was not in sadness that the Highland reaper sang, yet, ',' whate'er the theme." the nWancholy undertone was there, and that the listening poet caught its meaning we know well from his haunting lines : • Will no one tell nie what she sings ? ■ Perhaps the plaintive numbers How For old, unhappy, far-ott' things, And battles long ago : Or is it some more humble lay. Familiar matter of to-day ? Some natural sorrow, Ibss or pain, "^ That has been, and may be again ! Sympathy, truth and melancholy, tlu'pt^ three prime qualities give a mighty power to the foir<8ong. alike in the world of action or of art. It is said " that at the battle of St. Cast, as a Breton regiment was advanc- ing to the attack, it suddenly halted in amazement ; the opposing ;;. regiment of the British army was a Welsh one and the men were singing "a song heard daily in lirittany itself ! The order to tire was given ; but both sides gave it in-the same longiie !| In a wild transport oi-'onthu- " siasm discipline was thrown' to the winds, the ranks wei-e broken, aiiilThe ^ long-lost Celtic kiushiji was renewi-d upon the Held of battle ! hven tl'e faithful Swiss (Juards were not i)n)ol against the intense longing aroused in them l)y t/e sound of their native airs, and it was f (und neces.sary to Jorbid the playing of the h'aii: ■ Varlves altogether. The f<>lks weir c.r.r.-rr.™ !!:" ""'"' ^'--'- '" -^p'-. arheureux temps que celuide ces fables. ^ On court, li^las ! apr«s la v^rite ' / Ah ! croyez -moi, I'erreur a son m^rlte 'Pecheur d'Islande-' will remember h^l<^ he folksong. Readers of while fishing th..ghout thTLtri^lrrnr '^ ''''' ^^""' Jean-Fran^ois de .Vantes. Jean-Fn.nvois, Jean-Fran.ois. Those who have read ' Mon Fv,\vp, V,.^. ' ^ * u La maman qui sen est all^e Prier la Krande Sainte-Anne-d'Aurav • ' Bonne Sainte, rendeK-moi mon fll.s ! • ^ |;*B«nn«^Salnte-Anne,elleluiadit: Tu Ic I'trouvenw en para et myst^rleuso K.wie Mir ces cUmats Iwnls • ' yille ort rorauKe et la grenade I arfument chaquc promenade • Ort, touN les solrs, leg amoureux Chantcnt la N^r«'>nade houN dos balconn houreux. i 4.. %'\ ^liji^^^st^iiiik^fii .i^&sk^jv, J'A>*K>- ^e » J Jw" „ V:J-^''',^»t«-^!--S*le?i.. i> .- .'." i'u*', yi' T " *''fW. .1 ,.- ^^•;L;w^,^^-mi,^>'^if-pif^'fp> '1:1' n /"• !l '. ~4-^ v;i^'^ 86 ROYAL SOCIETY OF CANADA - fh«v^ ^ f .! r. "' '"°'"' **'*'' acknowledge the power of folksong ; they have felt its inspiration and transformed its spirit into their own creations It« influence may be seen throughout the whole of Homer ^One of Its. saddest tales has been retold by Victor Huffo in the ^oxy of "Petit Paul," who, with Dante's /nselmuccio and Shake- rX * T '7«/«rever in the poetry of pity. Its ballads of the BorJei-s have inspired Scott, Rossetti, Swinburne, William Morris and many another the ballad of Chn,y Cha.e stirred Sidney^the flower of Ehzabe han ChiValry-more than the trumpet-call to arms ; and the , greatest wnter of the century bears witness to the hold its vivifl simplicity had upon his imagination : " the unsophisticated man " says Goethe "is ftiore the master of direct, eftective expression in few words than he who has received a regular literary education." Everyone knows the folk- song, which in dialect begins - Min moder de mi ^slach't, that Gretchen sings in prison ; and it is not hard to see that Goethe has poured the essence of the true German volkdkd into her spinning-sonf- Meine Ruh' ist hin, - , Mein Herz i.st .schwer ; | Ich flnde .sie nimmer Und niiiiniernielir. We may tind plenty of apt examples of the comparative treatment of a common theme by folksong and by lettered ]X)etry in France The Lovers^ metamorphoses is an interesting case in point ; for hero we can set our Canadian variants - beside the French ones,>^ and then compare both with the poetry of Mistral and the music of Gounod. But we neeecialiy as- no one denies the influence which folksong hiis always had upon the poetry of art. Before leavin,. this part of my subject, however, I should like to recommen.l anyone desiring an object lesson on the in- sp.ru ion o folksong, to read the hust six pages of Part I. in M. Tiersot's Ilistoire de la ( hanson Popuiaire," f,>r in then, ho will find all that is necessary to prove that the Mar>^eillai.e, both in words and music is in reality, nothing else than a folksonir " writ large " . Turning now to the .litterent fonins of folksong, we naturally begin wit . the nursery. JIe.x. we tind .# truest of all conservatives in the children, who bund down the tra.litional rhymes from generation to genenit.on, with a nuirvello... fidelity unknown to their elders. The most pnnutive forms of folkverse a.v prohul.ly of onomatopoeic origin, and th little folks, who could almost make a whole nursery' rhyme 'oui of this one pf>rt^ntous vvoni, j.reserve the traces of this origin at every turn • with their poets the soumi is an e.ho to itself- ^ "• Vn i, nri I- Ma taiito Michel ; tin i. un iini CiikI, CiOmii : Ton pli'd l)<)ur(lon,— .JoMti Klnion ; Gritl'or, I'muioi-.— Ton n*** dehont.* ,; »hi;%fS' '**;•»■' ■ti. Ik* ^ ,1 >..«. ...S MAa 1 r^f^iim'^-^ir fWOODl FOOTNOTES TO CANADIAN i||^ONGS .87 rz',^:ror°z::r: - '" -'^'"» °''-« -^i- ba„.d». Teribus y teri Odin like thQ ancent 8on^,8 for grinding, weaving and reaping or those were doubtless like those m vogue among boatmen all the world over • the Sonans when wading and hauling sing a sort of ■' (^heerily my boys'^ an eVnatTealT^' V'''" 1 ^'^ ^'''^'^^*«^' ^•^'^— chL'in3'h an equally meaningless chorus of " H^ ! misy vi " at regular intervals'^ • and our own voyageurs have plenty of choruses like " M^a, luron tre e ' ' wh,ch have no pretension to any definite meaning .rt all. and several othe;s whose meaning U is hard for the non-elect to understand ; forTnstanc" TortUle morfll, Arrangeur de faucilles, , Triboullle marteaii, Bon soir, lutin ! " Many entire rhymes are almost as primitive in form, though a little clearer ,n meanmg, whether they are i.,unds for dancing like Dans ma main droite je tiens rosier, « or enumeratives like C'est Pinson avec Condrouille, "^i or cumulatives like our old ntn^ery rhyme about the ciw with the crumpled horn that tossed the dog that worrited the cat whose art on s in the r turn were the result of a long train of events. The chief oints o" not.ce .n al these primitive forms of verse a^ that they a.^ fn no sin L hterary but dependent for their very existence on the game or danceor :^ :';c: ^^'z 'ir "^v'"' ''t-' ^^-^ '^'--^-^^ •- ^^^^ t. nan themusK,. The httle value attached t.> the meaning of the words is t:t' t: :;•;' ^; '': 'r^'«->^^-hern cacha,^nd ttwa : anu. s ot Austialm, who both sing in v^known dialects • '' and liftU ha^Uants can hanlly attach n.uch meaning U, the words >f the nu^ry rhyme, un i, mi I. quoted above nursery thejoksong. As then- name shows, all ballads were originally .lanceoitou luis tins Jrnnd Alrtvi, rtlavle. jftloiin, LaHNai! noN, lasNax noN Hallar eiitr»« nw*. entrti nos ; » plinrtrr "'it' '""■"^" ;"","""■" -" "'■"i.i>-i.ri«.o ,„.,i„„ „,, ,„ ,„„ i ,.r-'it'~^'**-^i ^ " J « jcjftSj,-~M^>i jf v^^-^-ifj-'tr^ s^^Y'^^'^fl^^^^^^'^^^^5^"^ ?^*i| ""^^ 88 ROYAL SOCIETY OF CANADA «ouata using a great deal of dramatic action in their songs, and I par- ticularl}- noticed one of them who danced and sang a couple of waggish variants of Malbrovcke. The refrain is the chief connecting link between the ballad and the simpler forms, and was often danced to after the ballad itself had lost its appropriate action. Refrains are found in every possible fonn, sometimes rising to the- importance of a Greek chorus and some- tinfes represented only by a musical accompaniment hummed in the bass during the singing of the solo. This peculiar running accompaniment is common in the folksongs of the most diverse peoples ; and I remember a chance illustration of its wide diffusion which may be worth mention- ing. At the Quebec Carnival Concert of 1894, as, on hearing the hummed accompaniment of a well-known Canadian folksong, I was turning -to remark the likeness to the bass accompaniments I had heard hummed by a Zulu choir, I found that my neighbour was turning to tell me how much the same thing reminded her of the songs she had heard sung all over Italy. The refrain is one of the most distinctive marks of the ballad-form, and when we find songs like or Voici le temps et la saison,* Je me suis mis au rang d'aimer,-"^ Without any, we may generally class them with ballads, because they would bear the addition of one without any incongruity. But a refrain in itself is not enough to make a ballad, and its presence in even the earliest verse cannot be cited as proof of a popular origin ; as a matter of fact, it is curious to observe in this connection, that the oldest refrain known in English poetiy occurs in the Lament of Deor. which is not a folksong at all. but an Anglo-Saxon lyric written twelve hundred years ago.^'* In its metre the Canadian ballad as a rule conforms to the fourteen- 8yllal>led type, which Nature seems to have set up as a master-model for most peoples to follow. On this point Mr. Gagnon remarks : »» '• La longueur c^u vers populaij-e est souvent de quatorze syllabes ou mf-me davaiitage. Chaque lois alors que la rinic! est masculine— car les rimes parfaites s'y rencontrent quclque fois— la ensure est invariablement i^nuinne. ou. plus exactcment, sourdc. Conformement k lusago, ces sortes (Ic vers ont (■tc-, dans ce recueil, brisos -i\ la cosurc ; ainsi les iloux vers : Par (h-rri^re chez iium pcre— lui yii tun Ixiis joli ; Le rossignol y chiinle et le jour et la unit, ont 6te ('^(•i-jts Hill qtuitre jigncs : Par derri^r' elies! nioii |)«Ve Lui ya t-iui boJH joli : Le rosHi^nol y chante Kt le jour et lii nuit." t(«:^' ' %^-'-^ y s~^'*^/ f^^J^t: 'f. ^ ,"»^=a^?^4'?!^sr' [WOOD] FOO-yNOTES TO CANADIAN FOLKSONGS 8 ll, The Complarnte*'^ is nearer to modem poetry n that its musical accompaniment is often only a sort of intoning, an/its aetion LTZ^ than any good reciter would make use of And yet it aix>8e in the MiTlI! tolksong. But Its ongm was different from that of the ordinaiy folk- song . ,t wa^ften a reshaping, in pithier verse, of the inter,^nable ^Zr^?'"'- ?"' "" ' transformation of 'the..«...7., whict n Its tu,n occupied a somewhat anomalous place between the epic Ind ihele,jen,ary la,. Above all, it is a narratiye^nd, though nearly a ways on a p,ous,or a tragic theme, is not at all the same thing as a iLmeTt or eegy. In the pious vein, Mr. Gagnon gives us" the fdmirabrrl^ songstorj of the fall of man. Wo may compare it with a'Pi-ovencal 3"; h" 'T" '" ------V^ and trace its descent fZT Chn^f t les deux hCtcsses, Marie Maydeleine, SainteMaraueritelL Zt f r '"" '''''' ""^""^^' «^' ^^^^ -' Saint-meoZTln the tragic vein the verse mo.-e nearly approaches the ballad form but thi ZZTu7' ''' 'r 1 ' '''''" ^^'•^«"«^-- No doubtT'is p i:^' owing to the serious tone of its dii-ect narrative style that it has kenf it« lulSJt: '' ''^': b-.t.eertain.y still moLowi:y::ir; austentj of .ts musical accompaniment that, even in far-off Canada Mar:.^son, da.neJoHe^^ is still an old-world complainte sung with aU the' stretched metre of au antique song. , It is « .omewlmt rough-.nd-ixiady way of claesifVmt folkaoni™ .„ Bimply group them together „ eo,„pLn,l as *««« lor . wTaf fo° want of a g™„rie narao for the ,imple,- forml, we might oaU ToU,mi,lT but a, I .,,a,l note any pecnliaritie. in individna, ."Imp," 1/ .ey "ellr -^e Of hypatL and cro":rd:s:~:'::;;rrrr.i7;z t n;o« ottan than no,, in,.. pW« where w. „ Jd not eee^td f:' Z ■,Mi 'M ^ vj IV. Manners and Customs. ' Irt all times au.l places th^ folk have found a pleasant escape from th« du noss of the daily round by singing at their work. In iru3thTsl an hey sew at the '< besye: P done,*'— much as, in the^ military exercise known as the " physical drill " the music not only enlivens it all. but serves to mark the duration of the separate "praclSces" as well. I wonder how many songs go to the making of a piece of Canadian homespun— I't^toffe du pays ; I am sure no spinner, '' en filant ma quenouille," could truthfully say Je le m^ne bien Mon devidoi', if she did not sing as she worked. As a rule, work-spngs refer as much to other callings as to the singer's own ; and most of them have n(5thing at all to do with work-except to lighten it— but are variations on the endless theme of love. Lord Dalhousie's canoeraen, as they paddled, used to sing the Je le mene bien mon ddvidoi',*' just quoted, which is, of course, a spinning-song^, biit only-as-regards^ihe refrain, far the song itself is one of the many variants of GMIia.'^^ So here we heive a sea-song adapted to the spinning-wheel, and then sung in this adapted form by " voya- geurs." The. great thing always is to get a' suitable rhythmical form. Tallemant des E^aux tells a story of a Huguenot arquebus-maker who • sang as he worked, Appelez Robinette, Qn'elle vienne ici-bas. The well-known theologian, Pierre Dumoulin, happening to pass by, re- monstrated with him and advised him to sing psalms instead ; the man, however, knew his own business best—" Voyez comme ma lime va viste en chantant Robinette, et comme elle va lentement en chantant Leve le cosur, ouvre I'oreille. It was more a matter of sound than sense with the worthy arquebus-maker, as it is with the Savoyard sweep, the words of whose cry, "avec sa bizarre vocalise descendante,'^" Rainoiiez-ci, rainonez-lA -ah ! La cliemiiiet; du haut en bas— are not separated from even those of Who will buy luy 8v\-eefc lavender by anything like the immense ditterence separating their respective ali-s. In the wonls set to trumpet- ai^l bugle-calls the sense is even more an echo to the sound; in fact, the words owe their very existence to the call, as in /a soupe, which has inspired " le lignard " to sing, C'est pa.H d" la soup' ; c'est du rata, C'ewt'assez boii pour le sojdat ; Pour le soldat fran(,ais ; and Tommy Atkins to make up his British variant, Ofti(!ers' wives have puddings and pies. And AoldierN' wives have .skilly. Weddings, of course, come in for their share of attention in Mr Gagnon's collection. The folksongs prop,>r to the fetes ,/e.s n»re., are i.iiJ:ijj^BtLy.%kh^ii^'^^^ i. .wv' M^^tJuA' j&,^^*^ v^l j-f <« &?I^Q^ ^^Uk.^ ^f s\> *',#- [WOOD]. . FOOTNOTES TO CANADIAN FOLKSONGS ©j «»riou8 enoug^.as a general thing, witness A la santi de ces Jeunes sanvl-t K ?*^,^ ««"^« P0P"1-- *t weddings have been so uCer am sure . Slv^rirr P T' "on-Christian tone, that, .together with the - equally popular Pagan dirges, they have rarely failed.to draw down upon hem the anathema of the Church. In 650 the Council of ChfilonsTd o threaten song-l.vin^ women with excommunication-to say nothing of the cat-o-mne^tails; and St. Augustin speaks of the " cantL no aria ' which were sung and danced to, even upon the tombs of the saYntsT" The strange mixture of gravity and yauloiserie at weddings ,s well church at the feast, and even in the bridal chamber itseltf It is inter- • estmg to notice what an old-time view the Canadian songs take of the a.ctity of betrothal : Petite Jeanneton evidently thinks that having her vieCofThr;: 'T '' 7 "f * '''"''- ' ^"* «^« ^«- -* t-ke so st^rn a view of the situation as the Bretons, who say-" Quiconque est fiancee ,troi8 fois sans se marier va brfller en enfer." '' ^ i The Canadians have no dirges ; at least neither Mr. Gagnon nor Dr Larue say a woi-d about them ; and this is perhaps naturaTenough for the popular dirge is Paganto the core, and the Canadian folksinger tikes an unusually Christian view of death. loiKsinger takes «nv ^^^''^^""'^.7 «"PP««« from Mr. Gagnon's collection that they-had' thTt ^Tt^: t '^''" ""' ^"'^^^' ^^^'"«-d -f~^ to war' ; but that IS all. The uniVersally-known desoj-ter sings, ' ' ''"' Un jour I'envte ni'a pris De deserter de Franco • ^ doing H i„ b:^:\sv>^:;T,^T,^ ™™ ?"'■" -" I :> it^iiii-nt. i^aicon, who was one of the Bois-Brfll.^s nf J «ifi Chivalry, as wo might expect with the scions of a gallant n.ce, has ".i f A'- Q » I f 4 b^jt. . iui.''ftAnt' ,«> .vj.«. i..f^-v-^*.'- H^ ^1L^' ^ ti^k. *^-Ml^^»JliM^iiAMd >. ? 92 •^ ROYAL SOCIETY OF CANADA left its characteristic mark on some of the best-known Canadian love- songs: This is Ijardly surprising, when we remember' that the love-song, as we know it, owes its very existence to chivalry, and that true chivalry is the fittest theme of sonar : r. » Servants d'amour, regardez doucpment, Aux echafauds anges de paradis ; « Lors jouterez fort et joyeusement, Et vous serez honores et ch^ris. • Knights, lords, princes and kings are all familiar figures to us. In En roulant ma boule the "canard blanc" is shot by "le fils du roi " • ^' another " fils du roi " hears the shepherdess singing " comme une demoi- selle " by 'the famous "Pont d'Avignon " ; «' " trois filles d'un Prince" are asleep beneath the " pommier doux " " and they wake ^o sing, in truly chivalric style — JNos amants sont en guerre, lis combattent pour nous ; " trois cavaliere barons " rescue the distressed damsel who rewards them only with a song, saying — . *^ Mon petit coeur en gage N'est pas pour un baron.*' Kings themselves— like Cophetua who married the beggar-maid, and Cormac who loved the Fair Eithne— think rustic courtship by no means beneath them. When Le roi, par la fenetre, „ saw three •' filles 4 marier"' pass by, he hastened to join them, and then Le roi prit la plus jeune, Dans la dans' I'a nienee ; A chaque tour de danae II voulait Tembrasser.'^ Even the good bourgeois goes a-courting like a knight : Dans Paris ya-tune brune Plus beir que le jour ; Sont trois bourgeois de la ville Qui lui font-l'amour ; and, when they ai-e planning how best to win her, the youngest says— Je me f'rai faireune selle Avec tous ses atours ; a Etj'irai de ville en ville Toujours (i son uomJ'-' Then wo have a whole complainte, Mfirianson, breathing the very spirit of the Middle Age ; and, beside these, there are many other vestiges of the age of chivalry remaining, sometimes in a phrase and sometimes only in a single word ; but, perhaps, enough has been said to show that, in rewards them [WOOD] J^TNOTES TO CANADI^ FOLKSONGS . eg Of thToR '''" ^"""' *'"' ««'i^- --h of the pictux^queness ^ there are very few songs in Mr. Gagnon's collection aoart from those connected with fetes and oeremoniaf customs, whch 'contain ^nv important remnants of popular myths. The dan ing of the L a^ Easter ,s not mentioned, nor are some other beliefs stilf, or up to quite recent t.mes. current in the country. But Marianne, wLe^ her donkey has been eaten by a wolf, tries to pass off the one given her bv the r^iii^ as the old one with a new skin, for, in accordancV::th imlhonoutl' custom, all good -asses changed their skin at Michaelmas.^ ThTn n Digue Bindaine,^ the sheep dance on the ..reen in th. . ' fashion ; and Pinson and Ce'ndrouille,"' when at th fr wi Cnd Jf't a wedding feast, are helped out of tLeir difficulty bv the Ho ^. ™''^ and the rat, each animal bringing some suitrb.e IhX Uh ^:^' ^CZ no lack of ta king birds ; sometimes to tell inconvenient go^ p-bmnTua gos8,p, too,. both in French and Latin-as in adlia^ IL^^ ^f ..commend matrimony, like " le rossignolet" in X' cZtZVl" ^ose;J> and sometimes to help the wetker sex to abL tWsttr^ hke the ,uail in Man beau ruban ,ns- The old belief in the m«tv of the soul ,s satiricully alluded to in the compendious Malb^oZl "^ On vit voler son &me A travers les laurlers ; "i and metempsychosis of a sort is pi-essed into the service of love in ^> tu te mets amjaille^^ and J'al fait uhe maUresss'^ Thelt I Bings " bon soir, lutin " ^^ may think twice belrencoL\lT.Xi;'^ of gobhndom, and, perhaps, some fishermen of the LowL S T ^ may have more than a suspicion that, in siLfng 'bLne bkn T"" mar,n,'. ^nhey are referring to mermaids or oZ uncanVti„.^Z' ^ more dangerous than the timid seal. In En roulant ZZut^^^Z . 4he wonderful bird producing /ewels from its eyes and gold L ler from Us beak, just as mythical beasts do in ail other counfrL ••an hardl, attribute the p,.digious convulsion I.ftat^^^^rdl^^^^^^ carpenter's s.tting down to pua-oly natural causes- ' ^^ ' En .s'asseyant il tit un bond ; ' Qni fit trembler nier et poiHsons, Et Je.s cailloux (|ui sent an fond '' comioit , but the only nong the action of^which turns ontLlf •- - supernatural agency is that qf the " plus savant J' hIk ^ "''""' [the eiena-nts enables her tolpplanl " ,a Se t .•-.':' "'"^ ^""^'^"^^'^ Ell' fait neiger, ell' fait greler, Eir fait le vent qui vente ; Eir fait reluire le soleil A niinuit dans sa chambre. "» vi ^%* H. 9' V, % 4 4 A,. ra '^^ 04 ROYAL SOCIETY OF CANADA Turning to songs connected' with Christian festivals, wa'are at once • struck by the persistence with which both song and fete have kfept the form of Pagan moulds. Usually, when a Pagan custom was too strong to be killed, it was adapted to Christian purposes ; and this practice became so universal, that Villemarqu^'s saying that the cross was planted on the dolmen, is as applicable to the whole of Christendora'-as it is to Brittany : he might have gone a step further, to say that the cross itself is almost as much Pagan as Christian. The mixture of the two beliefs in folksongs is very curious. No conversion to Christianity has ever suc- ceeded in preventing Paganism from living at least a legendary life, and often a life of real power. At the preserit day in„Tinnevelly the Anglican missionaries cannot stamp out caste among the native Christians, nor prevent their wearing the tali, a golden wedding-token, with the cross on one side and a figure of Lakshmi, the Hindoo goddessof Fortune, on the other.'*' In a Portugese ballad the king hearing a lovely sorig asks "Is it an angel in Heaven or a Siren in the sea ?"• "Whole nations ha^ve adopted patron saints, not because of their sanctity, but from their real or imaginary likeness to popular heathen deities : no Northern folk would ever have had anything to do with St. George, if his fabled fight with the Dragon had not resembled that of the mighty, Thor with the Midgard- Serpent." The adaptation of the old to the new igl, well seen in such^ songs as those till lately current in Canada in connection with Za GuignoUe. ^'' The GuignoUe is of Druidic origin, and probably wad in some way connected with the ceremony of cutting thesaci-ed .mistljetoe at the winter solstice ; at all events, it was part of a very popular sacred custom, per- formed by the high piMest of an iranjensely powerful class,*^' a class of immemorial antiquity even in the da^s of Cajsar^ and it has come down to us in Canada, through centuries of Old- World change, with eni^ugh ((f its ancient form to remind us of its original office in, the sacred forest rites. Among the superstitions alluded to in the song^ of ia GuignoUe, is the curious belief in the efficacy of warming a womanls feet to give her a good child-birth ; a practice wliich Mr. Gagnon thinks originated from propitiatory sacrifices, for he quoteg*^ from the " Soirees Canadiennes" : "II est probable que ces vers etranges : ; " Nou.s prendrons la flHe ainee, Nous y ferons ohauffer les pieds !" . ^ - sont un reste d'allusiQns aux sacrifices humains de I'ancien cuUe gaulois." In Canada La GuignoUe has always bQcn connected with ChristmaB alms-giving, the singers making a " quote " in search of all sorts of things, ^ money included, which they afterwards -distributed among the parish poor. .Sometimes, if the "queteurs" were unsuccessful at a house, they shouted uncomplimentary couj)lets, reflecting on the stinginess of the. \ \ 98 [wooB] 'FOOTNOTES TO CANADIA N^FOLKSONGS ^ host and hostess ; but thev nfiv«r ..ot,^ J u i- Mayday ..,„ate„;,^. JZ ilZZ^J^^'^'- " "" ''°'"'""-'"' J'vous souhaitons autant d'enfants Qilai 'nlmh "3 ' '" «"' "''""''" co.„enee e„sui.e e. ,a .LH Z^Tt':^" ZTr'- "* """"^ tou. .e .„„de .'..rCe. ;\Xttner„rorl"^r'''''' V' que d«st,e un nombre imnain font \l I- '^'> ]'^'>fo<'i'> saluts. ,Ceux le tout aveo la g™vit..dCeSt«:r:r„2: rp™ 7' '""T"^ chante : ' A Cana en Ooiiu^ > i j '^"gieuse. I'uis lorsque Vbn «.n«, used in tbe e^ut. oT„tl° <: " Th'e cVn^T™ °' ' ^™''''« by Mr. Gagnon, concludes thus : ^ *"'™*'»° ''"°<'. ■"' S'"™ II y a douze apotres, ' . II y a onze cehtsS^ill' vierxes, Ily a dix commandements, II y a neuf choeurs des ang^s II y a huit beatitudes, II y a sept sacrements, • Six urp's placees, rempliesy • A Cantl, en Galilee, . II y a ciii^ livr's deMoise, II y a quatre ^vangelistes, 11^ a trdls Krands patriarches, II y a Ueux Testaments ♦ 1 II n'y a qu'un seul Dieu. The Druidic Series, as given by Villemarqu^^ w V. Oouze mois et douBe signes, Onze prebres armes, Dix vaisseaux ennemis, - Neuf peti_tes mains blanches, Huit vents, Sept soleils, Six^etits enfants de cire. Cinq zones terrestres, ,' . Quatre pierres a aigulser Trois parties dans lemonde,^ Deux b<»?ufs, is summed iq) thus '■' X) \t^t 'f Jr. ».;' <:>' , ? :f . .• I 06- * %m) Yttf- SOCflETY , or CA NA DA Pas de hAi'Ik putir le nombre un ; Lft N6ces8lt6 uniquf^, '. , Le Trepas, p«re de la Douleur ; Rien avant, rien de plus. "LaNocessit/ ynique" is identified with Death- -the Breton " Ankon " the forgetting of nil nf»t unlike the Nirvana ol ii • Buddhists. " Les deux bujufs " are those A' Hu-Gadaru, an ancient Bretoti god. In the "Quatre pien-es A aiguiser ' we have a Breton variaijit of the Welsh \ylifetting-stone, whioh sharpened the swords of the brave, so that they - killed an enemy with & single stroke, but reduced the swords of cowards to dust. The "Six enfants de cire" i-efer to tile ancient and univei-sal practice of witchcraft, not yet extinct, by which an enemy is made to fall ' sick and die through the melting of his waxen, image. The connection of this with our modern habit of burning unpopular public characters in effigy is obvious. The number seven, like three and twelve, was peculiarly sacred : here we Have seven elements, seven suns and seven moons ; three beginnings and three endings, alike for man and, for the sacred oak; twelve months in theyear^and twelve signs in the Zodiac. The " Huit feux, avec legrand feu " refer to the seven sacred fires perpetually burn- ' ing in the temples and to the great fire, the Bel-tan, which the ancient Irish lit in May in honour of the Sun-god. Here again we have a modern variant in 'the Feux de St. Jean, which were lit on the Island of Orleans as late as ISIO.**' In the " Dix vaissemix ennemis" s^^q ''onze prfitres 'arnn's" we may have a reference^to the naval waf in Armorica, when (Jimir put the Senators and Druids to the sword.*" The respective ages of these two rounds cannot be determined, ; but the Christian must be later than. the convemon of Armorica in the sixth century, and the Druiilic somewhat euriier,.and both must have their origin in a Pagan .past so dimly remote that we cannot now discern a single feature of it clearl3'. - . . I give Yillemt^mu'e's notes as they .stand for what they are worth, not supposing it neMasary ,to Warn my readers that the Barzaz-Breiz has fallen from its high estate of authenticity. U we want authentic Breton- folksongs, we must go to the Gwerziou and Sonniou ^}iL. Luzel, where M-e shall find a scrupulous exactiti^le. not excelled even in Professor Child'.sj monumental/?oUection of the English and Scottish ballads. The Barzaz- Breiz is something quite different from these : it is not a faithful' col- lection of folksongs ^^Q^^ ffoAi unpublished manuscripts ; still less one n> for the Bretons repudiate all knowledge literary histoiy. But it is not to ("ecause^it is no longer found to be one. ^^ a store-house of infor- r literaW^ffect; in fact, a sort of that is faithful to ovf^i of its texts ; noi- yet 5' be thrown aside as c what it was once takea mation, picturei^u»l historical novel on a large*' scale^'belonging to the same class of Celtic . a* -^ \Ktu , ^Jk- -^ fit)- ,;ple, counts for very little in folklore of r less m vei-^ tha, in prose : the no6ls arell twoo.] _ «)0TN0TE8 TO CANADIAN FOLKSOBGS V^ „ littJrature as the works of " Oanian '> \t x. ' ' ' ^E^», instead Of i„^. ts>^!oZ:^ZZe^lJT' 'r/"*""""'" mta^,li„g and stimulating vers „n of tT. ' ""' ^''''" "« "" poet-y „o„U. never have LIZZ "n ZZT"" """' °' ?" .^""« IRI8TIANITY. Christianity any kind, and,jM! popular and #1^ ^s9fSi,nnM-iache." The legend or! h iJ^." ^^'''^'■'' '■^*"« many variants, has a folklore hilr., . ^^^^^^'^ny J«„,, ^'ith its themselves ; ■hl.t we ^ ^'^^^ Z:rZlT''''^'''-- a strain of Christian reSvnation and thVnl • ^' '^""'''^'^ d'AOacisr' Christian voyageur^ ml^Ti^^"^"^"""^' ""^ the song of the which would be h ghr d e ni «■ T^" ^''"'^^ ''^ ™^''^'« '" ^ ^^7 Beginning With a -in^^ t hr dTger' bir^^^^^^ Mille fois il maudit son sort Dans le-cours du voyage. After this c^mes a warning against the wiles of the Evil One : QtujJid tu seras.sur cet. traverses ' Tu ¥s ici pr68 du demon Qui guette ta pauvre unie ; ^*, Si les maringouins te re.veilJent De leurs'chansons, Ou te ctiatouillent I'oreille De leurs'aiguillons, Apprends, cher voyageur, alors, Que c'est le DiaBle Qui chante tout autour de ton corps ' , Pour avoir ta pauvre dme. Sec. II., 1896. 7. « ^ -4' i . * Jt i^/^,.^i.'-*i •« -I 4, - •'ft .rjs>,^..j^ .^.ji^,,^^ 7' -«; % ^8. ROYAI^'SftCtETY OF CANADA^ ' **Kext comes an exhortation to prayer ; v^ " , , '^i ' QuaiKl tu seras dans e€8 mpidea, ,. ~Tp«\dangereux, '~ ■ ^ X. Ah ! pric la Vierge Marie, • Fais lui des voeux ; "Alors lance-toi dans ces Hots Aveq hardiesse, ' Et puis dirige ton canot^Y . ■, Avec beaucOup d'adresse. Excellent advice ; which rftmiiids us of that given by Oliver Ci-omwen t6 the soklioi-8 of the Now Model, when they were about to ford a river in presence of the enemy : " Trust in the Lord— and keep your powder dry. " I'rayer is again recommended at the end of the song, as the only talisman againstthe perils of flood and tield : . Ami, veuxtu marcher par teiTt' Dans ces grands ImjIs ; ^ Les sauvages te feront la guerre En vrai sournois. " - , , " Si tu veux braver leur fureur, > Sans plus at tend rt^ » . Prie alors de tout ton cd'ur. Ton iinge de te defendre. Thus we can i^>e for ourselves that there really is a class of purely ^ Christian folksongs, and that ('anada has produced some tine exampl-es . of it. But these very Canadian examples serve to prove how sterile this class has always been, even under the most favouring conditions ; foi*, though Mr. Gagnon and Dr. La/ue aiv the last collectors in the world to neglect a folksong^ yf Christian origin, though they have collected in a country consjiicuous for the religious character of its foundation and famous, throughout its entire history, for the extraordinary zeal, devotion, ' discipline and wide-spread influence of an (imnipresent priesthood, yet, in spite of all the.se advantages, the specinH>ns they give us are few in number and of Mil great intrinsic value. "•' Le nombre de iios chansons populaires est incalculable " ; in N;)rman(ly the songs were as plentii'ul as the apples ; and, ill all Knglish speaking coimtries, the Hdrders have long been cele- bratiMl as the laud of song ; yet, ne^er in the French tongue nor in the Knglish. neither in the Old, World nor in- the New. luMther liy priest nor by puritan has thefolksong-evi^r been converted. 11' a u'niversal collection of folksongs were made, and the ditVercnt classes placed in onlor of genuine |K)pularity, it would jirohably he found, that in the class of purelv Christian origin, Canada stood an undisputed tiret ; but it is quite certain that this class itself would be the verv last of all. .i^s^tii t ' /«^wt* ^i^tjL-^ i .* >Jf ^kt^^ E f ^,iiZ.dt^if^i J" [WOOD] FOOTNOTES TO CANADIAJ!? FOLKSONQS. 99 . • VI. Humour. The»e is another influence beside those already mentioned which greatly affects the characteristic tone of Canadian folksonirs and which, if niisundei-stood, makes many of them the veriest • caviare.' This is that blending' of a witty humour with a natural turn for satire, so peculiarly French that we must give up trying to find an English name for it and call it simply (jnuloiscrie. Not that we are wholly without descriptions of some such kind of humour. I n a delightful little preface to Mr. Locker's volume of society verse, Mr. Austin Dobson gives us a very good idea of the British variant of this peculiar natural trait— but, variants are variantjj, and are apt to have elusively subtle distinctions about them : Apollo made, one April day. A new thing in the rhyniinK way ; Its turn was neat, its wit wan clear, It wavered twixt a smile and tear ; Then Momus gave a touch satiric, - • And it became a "London Lyric." * And thou, if wo take this refrain of de Rougemont's we may get still nearer to an insight into the true 'raison d'etre" of (jauloiserie— a Ikkon cette vie CfA'tout varie, .,,. Ou chaciue piv-s ni^ne an toftlbeau, I'orton.H gaiinent notre fabdeau ; "^ but let us stop here ; if we go on trying to get an insight into what (jaubu^erir rmWy \h, by taking it to pieces and examining its component [parts, we shall defeat our own objcot ; for its essemte iloes not de|)end upon the t\utuiv of its parts, but uj.on the way in which they are blent [together into a Ifving whole. .lust as a joke that has to bt^ explained is no Joke at all. so ,/aiili>ixerie. is no mil influence except to those whose sense [of humour enables them to see and feel it in their .studies from the life. And in making a study fVom the life we have to reinember another characteristic French trail— the social quality, which is so strongly (leveloped in the whole nation and which, with its great poww of asNinii- lation/ has gained for France, through her men of letters, the title of the Interpreter of Furopo. All the world acknowledges the social virtues of French song— even perfidious Albion takes pleasure in "the gay F'rench refrain, as she generally calls it. Aiul then- is yet another |)oint to note hen — that we must speak of t/auloiscrif only with refen'uee to the Freiu-h latiguage, for whei-ever a different tongtie has survived within the borders of Prance, there the sad jtone nmy still bo heanl above all others. The Breton fisherman can feel passion akin to that of the wild, mysterious Flaraeiuio soygs of ^'jt^^ifias^ltL..^ * ^'M'^ "^t^^H-- V *^8f ■ ioo„ ROYAL SOCIETY OF CANADA i Spain, and a Broton maiden can sympathize with her love-forsaken Sicilian sister who pined away and died after being serenaded with dispetti and sfide, teongs of challenging suspicion, affront and ridicule.** The Flemish lover sings his song because he caiUnot rest until he has done it. although he knows beforehand the pain that the singing of it will surely cost him : Ik vinde my bedwongen dat ik zingen moet, Ja, dat ik zingen moet, Een liedeken van minne die nm trcuren doet, Ja, die my treuren doet.'"* The French themselves — les vieux Gaulois — lake things diiferently. The Franks of Chlodion were so intent upon enjoying the songs and dances at the marriage-foast of one of their great chiefs, that they never discovered the approach of jEtius till his legionaries charged down on them ; and so the Romans won their tirst battle in Gaul."* It has been said : Toujours content et sans souci, C'e.st I'ordre de Craml)anibuli ; and of this jolly order are the gaulois songs of Canada. One might suppose that in love, at all events, there would be little enough of the 'sans souci." But the French and Canadian Cupids ai-e rarely blind. I do not moan to say that either French or Caiuulian love-songs are strangers to melancholy altogether — I'errctte "" knows only too well thSt sometimes I^es onfantH sans souci lis sent l)ien loin d'iei ; nuuh less do I mean to siiy that they are struiigorH to the faithfulness of lovers — does not the ])rinces8 scout the idea that love can hang upon the issue of the tighU and is only to be given to the victors : S'ilH KiiKiieiit la batatllf lis auront iios amours. — " Qu'ils pi'niiMit on (ju'lls giiK'it'nt lis It's auront toujours." '"■- But 1 (Jo iK^licv'e that there is little, if any, exaggeration in M. Tiersot's remarks upon the general iiitlueiice of i/duloisrrie}'''^ '■ La .satire est tellement au fond de notre esprit nutioiiul qii'elle oteiul son inHueiu-e Jusquo sur nos dmnsons d'uinour. liarenicnt on trouvera dans ces der- ni^res, une di'clarati*W d'ainour vraiment sineeir et suns arn6re-|iens6e, un accord absolii de deux cojui-s * but the quintessence of ijauloiserie is in Malbrourke}^ Malbroucke hiniHolf, like his predecessor the Due de Guise, is burnt in effigy with all the mock-heroics possible. The^'- beau page '" tells '• Madame ' how the great man was followed to his grave by '■ quati*e-z-offlciers " : L'un portait sa ciiira.sse, • L'autre son bouclier, L'un portait son grand sabre, L'autre ne portait rien ; and French illustratoi-s have not left us in any doubt as to how the chief mourners ^carried their burdens — "* but Malbroucke is not to be appre- ciated jikjftkfcracts. 3^o> mjfjay and Gallic and to sing Malbroucke with gusto ought to Mj-^B^iit^h to prove Cunadiaps tru^ heirs of the singers of the "gay refrain, "Avho, in their turn, are heirs of the Gallic legionaries that, in the lime of Julius Ctesar, are said to have borne the lark upon their helmets as the distinctive emblem of their race."*' But there Is a reverse to all this. The (Tallic funeral ceremonies of Malbroucke seem very like a modern variant of the media'val Dance of Death. Both old and new owe their popularity to the same cause ; and he who runs may read the moral of both ; which is, that the great King Death will mete out equal justice to all alike, to high and low. to rich and poor, to victor and to vanquished. What a satisfaction to be able to rejoice in the foreknow- ledge of this common do soothing with on6nmlop(uic and reduplicated words, and ^'1 i I ■ i' ',n rt^W^ '/^U'i'"^ *M^A»- jm - *•"- - tn> iii^p*^*^ IR'Vj;' ^*>t'^ 102 ROYAL SOCIETY OF CANADA f the names the nurses give it in every tongue breathe the very spirit of rest and sleep — 7ie-ne in Dauphine, no-no in the South, lo-lo among the Bas(|nos are some of the many variants of the univereai French do-do. Monotony, calm and an ebbing flow of sound are universal : in Berry"* the nui"se begins with •■ Dodo, berliuo, Siiinte Catherine, in Dauphine "^ with Nene petite, « Sainte Marguerite, in Canada"' with an invocation to the same saint— Sainte Marguerite, Veiilez ma petite ; and all French nurses sing- Do, do, I'enfant do, L'eiifant dorniini tuntot ; and in every case we iiope their singing is attended by the same good fortune — Et Tenfaut ()ui dort Fait des reves d'or. " Monotonous, too, are the variatious on the simplest themes ; variations ad intiiiitum, or rather so far as the ntirse's memory and fancy can carry her. All Canadians have been sung to sleep by the chanted story of C'est la Povilette fjrri.sc ^ Qui pond dans I'eglise, ("e.st la Poulette l)laiii'lie Qui pond dans les hraiiclu's ; "^ and so on with ■ Poulvttcs" of iununu'ral)lc iiues. many seen only in the • land ol dreams. Assotuincc plays a great part in ci'adK^ songs, and makes even stranger hcd-fcllows tiian ])oiitics. its wliiuis and caprices mai\e :.. Aisatiau ■' bonnes ' mix hitter things with swi'cl iu curious fashion ; in :»'. the very siime song,"-' wlicre little girls ni-e put to bed in Ifeaven itself. ^: we find that \\{\^v boys are first well whi|)|)eil and then stuffed into a sack U full of loads : , HajJCii, KiiKii, tropfc, d'Mniuvc niiniss ma klopfe, •• (I'MaKllii kuiMiiKMi is lliiiiini'ls Ix'll, ; d Hiuiwu kuinini'ii Id (irodda nvrk. • Ami il is just as full of freaks in ('auadii ; "' 4 '"'^ II est inidi. Qiii-c' i|ui la (lit t C'csl la soiiris. On i's(, die ? * k- Dans la ehapelle. — Que fail ^■ll^' ? I Ue la denlelle. I'our i|ui t I'lMir ces dciiioiscllcs.- ('^oinl)i('ii in vcndelle ! 'IVoIh (|unrls dc sel. 1. <, ..t ->.4*&'iiii#ttauti..'-rt.„^a&-«i.,,...i,j..i^^,iiL ,, ".^i.-^ • 1 . ..»• 1 . .. • ' '., L^j^i m ^a^iH^ [wood] FOOTNOTES TO CANADIAN FOLKSONGS 103 he same ijood eH ; variations This constant mention of animals shows us what nureery favoui-ites they have' always been : witness. Le Chat a Jeannette, La Petit' pouV tjrise, Le Bal des Souris and Les Noce's du Papillon for France,"' and for Canada the wedding of Pinson avcc Cendrouille "* and the unending enumerative which begins with T^ne Perdriole}^'-^ It is strange that Mr. 'Gagnon gives us no lullabies of the Virgin, unless we can take D'ou viens-tu, beryere, as one ; for they form an important class apart,- and arc met with in many conntries. They are, however, somewhat like the noels in tone, and often had a common non- popular origin. The famous one with the refniin MillieH tibi laudes cunimiis 1 Mille, iitille, luillies,'''" could hardly have been of popular composition, even if it had btn-n in some vernacular ; but another Latin one '^' might well have been a folk- song : 'Donni Jesu, mater ridet, QuH' tain dulcem somnum videt, Dornii Jesu blandule. ^ Si non dornii.s, mater plorat, Inter flhi uantans oral : Blande, veni Somnule. The last line reminds vis that lullabies are long-lived beyond most other folksongs and trace their descenj from Pagan times. "Blande, veni Sonmuie " is at least a -reminiscence of the direct invocation to Sleep, still common among maiiy folk. The vayvapianara of Afodem Greece have inanv such invocations; so have the se coiijttjvd with a Hlinl, Patcrniistir or other nuigical formula, the counection with a survival of Pagan beliefs is iiot far to si-ek It is curious to observe the nuinb(M-,of ("liristian <^UKtomH which the folk has pressed into tlie service of White ALigic ; even liie ' Angelus has not esca|H>(l, the Pro- vei)(,uls believing that it was instituted to scare away the evil spirits who might be tempted out by the ap|)roach of night ! '■"sm 104 ROYAL SOCIETY OF CANADA \Y ■^ « But, whether of ChriHtian or of Pagan origin, whether in Canadii or in other lands, the simple Berceuse has all the intimate pathetic chiirm of one of "Nature's old felicities" ; for thej[^ is nothing that can take us back to our own fii^st twilight fancies, and to the ver\" infancy of time itself, like a crooning lullaby, whispering of all the little immemorial mysteries of cradleland."" VIII. Vt^ Nursery Rhymes. Tlipugh Nurserij rhymes belong to a later age qf childhood than lullabies, they are really a still simpler form of verse, in fact, a mere jingling iiccompanim»nt to the action and air of sqme sort of ganic, and never make the slightest pretensions to poetry. Assonance is, of course, most iiripA'tant, and* generally plays its pranks to the a'dnuration of all concernecr ; sometimes, however, opinions ditfer. To or to lie ^-'" or ti) go or Ride a cock-hoTse to Banbury .Cross,' A theval, a cheval, sur Fa (jueue d'uii orignal, A Pari.s, a Paris, sur la queue d'tni p'tit cheval p;ris, J A Rouen, a Rouen, sur la (pu-ue d'un p'tit cheval blanc, is all very well ; but, perhai')s, Quebecers might rather nnnaiii forever unUno^vn to uin-serv fame, than be immortali/A'd in the coui»let A Quebec, a Quebec, sur4a queue d'une belette ! '-" As tliey have so much in common with lullabies, it is natural enough ti\at nursery rhymes with a muitable rhythm should elijoy an ecjual iio|iuhirity in fitlif'i- Ibrm.-; ./'(// tard d'ciifdnls n nuiricr. Ah ! qui nwriiruns- Hints .' Ccsf le lii/n rin f/iii i/<(iisc, ('ist hi ///us 'helir di rhnis and many other sim])le rliymcf^ are sung besiile the cKadlc as well as in the l)la^()om.'-'' The nuiiii feature of interest in all nui'seiy rhymes is the wondi'iiul tidelity with wbiih b(tth wortls and action have been handed down from generation to genei'ation. A Canadian girl or boy singing • ■'■'', C'est le bon vin (|ui danse lei,'-' reminds us at onjjt\ by the single word '' viii,' thai this4-liyint' originally came from France — whence, indued, all our mirsery Hiynu's have conu!. When we -liear a reference to ' le pout de Nantes' '"' or to the more famous •' pont d'Avignon "' '" we kn.ow they ai'e singing of Fraufc in Ihc olden tinu'. The .mention .of •' lassemblt'' d'aino\ir'"' lakes us hack to the nu'diieval Courts of Love ; in Le jweiuiir jnur de .l/i(/ '*' we have iVreniiniscence of the fetes lor the rite of May ; aiu^he couplet J'ai trovivf' \v Tiiqne dn li»'\ re, Maiwlt' lit'vre n'y iHart pas,'-*^ 'oiiC^ .. 'I^J'¥-'i*'"*''^'^f^^S' .Wi-^j'W'r*'} »" ^ i^\ ^ '■s' ^'* *?^^ .^ J « - , 1 FOOTNOTES TO CANADIAN-.FOLKSONGS lOS ^wood] * .rrd our^ewes in what has been well called the.ld cunos.ty shop of customary love. English children singing Eeny, meeny, miny, '^o, are using a variant of Bene, nieene, miekeii, niiiken, '■'^' in which German children^stili ask their play-fellows to join them in the Teutonic conquest of Celtic Britain : Kumin will'n beid' na England gan ! II is e.>8V enough to go b»ck still farthev. In « Bucl<. l.ucl<, ho" """j; ' I'olT iToW up - w„ „avo the linca, dc^-endant of - old "Jo.^ ;:■ j;rorrdCr.v:,; .Ji;:: ^o. ..'» .,.. ......e .o, jit least, a very respectable pedigree. Ijove-songs. '• . Kvo,-vo,„. ,,„... .0 N..U,,. l„..-»..|t fo,- tl,«o,,«i„ o,^ tl,.. /,«-.«?.; „l lov,. 1.HV0 1.f.-., n,..<\.h,-.l. hi'l Kj '".' , ,i;.,i-v ■„«! lasllv l.v .tl,e ' ".V ""■ ^rr T" 'mf No:t;i:: ' ™- -1 -o „i»;.u«. "'■'■'■'""■;'■";: ; „ ;::".,■..,« ;«u;; > *■—! "■•'■•■'- sioii. and. as the timi iii."u.,> ,-, ( uij-uon !S 4-wt liloiul of Nature, chivali-y. itiuloibO n .mu, ,„uv,liei-l,aF. l«'aM"«.'.lloi«llt"rt"^ ' (;aK„on'» l-.k. ;i:;;r::::::::::-:«^:.':-^ -: Que veux tu que je te doniie f •lefai di'ja trop doiine : ,le t'ai donne uiit- roso, - La plu«'l)elle denies roses Que j'avais Hur mon rosier.'*" r 106 ROYAL SOCIETY OF CANADA Neither does she sing her regrets at having found th.it power irresistible, ' like her Scotch sister : But had I wist, before I kist, « That Love hiid been so ill to win, I'd lock'd my heart in a case of goud And pinn'd it wi' a sillef pin.'^' But,th'eC/*(mso« ^ \ Ji^ A.iiifC.'^J ^^k-a "ll^S^Llfijl^^ 'X. ikdS !^4 'f\^i. «r» »"-)•;!' W^f'?^'"''^^^ ir^ [WOOD] FOOTNOTES TO CANADIAN FOLKSONGS 107 A third damsel will not descend to particulars : Ma flUe promettez mol done De n'jivmaiH aimer les gardens. -J'estim'rai« mieux que la maison - Serait en cendre et en charbons, Et vouB mon per' sur le pJgnon : Vous vous chaufferiez les talons. Le beau temps s'en va, Le niauvais revient ; Je nai pas de barbe au inenton Mais il m'en vient.^"' s'm va-t-aa monhh^'^ or, aim ihitci, x.-< show where the line is dr»w„ in the diffevent oo.mti.e8. , The ,,.ufc.,.c.nV which turn, the love^hg .nto J.. /.a«-<^^^^^^^^^^ is seen in F»p-H«, «« « »«taJ« "" "'><'„»"""' t'^"!;,."! Jna-lian in exan,ining the infl,.enee ^''^ ^"'^^ .AZr^Zm-^'' »"<' aa«„„. iaMour. .vhich ma,- be t.-..ly etoea »^^-;;°/ ' ^ i,„,;„ si.,„e: The.e have f^:^;^ZX^::!^^L Spanish, and as this : Y a ben sept ans que ze se amoureusa D'on bravou labori : Rien que dy va son labourazou Me fa lien plasl.''" ■' S'-"" '• "^ , ,„. „„, „.„,. heeans,. they teel that the end ,. toy.ng wilh .1. "»!-» M ' >, „,, know ihev will he ,.11 the ..u.r.. coHain. and i.. A la CUuf- >»»'«» '' ,. , j,„,.„ ■ ..,„,„ „„„,„,,.,s h... i«-'K ;;■;;;.;;" \;; / :'^,„„d s;,„nay ^!:soUlie.- who nn,kes .1 o. „nn»n ."i'-'y in—; ^ . AdieU, belle Frauv<>ise. Adieii, belie Franvoise I .Je VOU8 epouserai, Au retour de la guerre. Si j'y suis respecte."" ■^ 1 fb.. -love that is t(.<. hot and strong" which . loo. It may Ih' tlu> \om imii > ,.„i.,im_ ,,oon . o.astc' that drives ".o tils duvo, to oxcUm- , Bergere-on non je.veux in voir On qH« '"O" che val ct-eve ! '«" 5j ' ^ Pevhaps • runnt^t .«. li -St-i£S<*l-^ !,« ti '^^•Y' 1-1 ti ■ ^ ,!^' :-'4^-.^^*^-:.^^iy^^^^^i 108 ROYAL SOCIETY OF CANADA But there can be no doubt about the intense longino; in tliis putlietio ai»])eal : Araant, que j't'ai done fait Qui puiss' taut te deplaire? Est-c'que j't'ai pas iiiiiie Comm' tu I'as merite i Je t'ai aime, je t'aime, Je t'aimerai toujours. Pour toi tiion cccur soupire Toujours. r Nor can we doubt that " Versailles. Paris et St. J)eni.-<." '"^ would willingly be given in ransom for the jn-isoner of war in llolland. if his mistress hud them to give. And we have only to |urn to Li Fommirr Doux^^ to find, in the '• Trois tilles d'un prince/" the very einhodinienl of unchang- ing love. X. Songs op the Voya(jeurs. The Voyar/eur, like all other workers, takes whatever comes to Wis hand, and is always equally ready, eitiier to sing a spinning-cliorus. like Je te mene bien won deviiJoi',"^ or to make up a canoeing variant of his own, like " Fringue, fringue sur la rivi«'re, Fringue, fringue sur I'aviron,'"'' which is an adaptaticm of Va, i'a,va,p'tit btmnct, grand liounef}^' But the most interesting songs in his repertory ai-c naturally those connected with his own naodc of life. Love. war. religion and, the hai'dships of his calling are their jtrincipal themes ; and it is especially noteworthy how much the religious tone is deepened by the sense of evcr-itrpsent danger — the voyageur at work, like the soldier on active service, being a living proof that godliness is commoner in the ticld than in barracks. Cadirux's aong.^^' Lc Chantier d'A/xtris,"''^ the Christian Voijagcur'''^ and Pierriche Falcon^s Songs of the '' Bois-Brnles." ^'" already ipentioned in connection with war and religion, arc all tnu' Voyageur songs. AVe are indebted to Dr. Larue '"' for si'veral -other sjiecimcns of this class. Void I'hiver (irriri^'' has admirable local colour; the i'ree-and-easy .shanty- maii, paid on the abomimible truck sy,steni, , . . . travail l)en tout riiivcr > Au i)rintenips on 8e trouve cliiir ! And so he sings with hearty good will — Que l'(lial)le einport' 1(\ I'hantiers ; bu£, for all that, he goes back to them iigiiin the following year. Bytown c'est tin' joli place ''^ is a^^.soug of paru^g Nous n'irons pluH voir nos blondes ■s> P ai A a P tl si , ii '4'nrs ,u:a>rlventr which ends without telhng us what . beeonies of the two husbands : J'ai done re^u de fausses lettres Que vous etiez mort, enterr6, Aussi, je me suis marine. ^ It i, a .,rc»t ,.itv to li.,J Mo Jtappointiug bol.h,es8 here. ,.» the, samj. f "t : S,i fl It orien,,;.,.,.', ..E„«ch A,,U.,..- .n„ .o,neHn„, . wrthehtigM am. finA».v.. of ««y ... Mau,>a«.ant;,, »h..rt B.ovy . •' Lo Retouv.» • ' . - " t • XI. ]. Variants.''" " Y-u-run. i.e^in at home; and, though t1.e loeal ones are ottcn ,,, J; Iv f U^ -St tritliug importance, they are never to Ik, negleeted TZ^llnr. ma variant of En roula.t^ the word "m.tan oeeurs : Cerrier' chez nous ya-t-un etang, Et la rivii-r' passt- au mitan.'«' This in itself is a snudl thing ; but the use of the word acqxures a go.nl 11,1b ni itKii frequent in the Cote de """ "^'';'''':r'':ro;i::„ . • e'',,: si'h, ca„aaa,« .....t i. B..au,.,v. , ,<= 1»U' "f "r „„, ,b„, „, u„ow from «vhat provin.o. ". T;: ; ;',: ;. „ 1 W.d., PKavdy.and the hahUa„« of the r r r if. ' :..^ no ROYAL SOCIETY OF CANADA variants are made simvly l»y the freakish misuixlerstanding of tlie traditional words : for instance the old round- is perverted, into C'eht la pl\iK belle de c^ans, C'cRt^par la main je vous la preiuis, C'est la plus belle de Sioii, C'est par la main nous la tenons.'"' It than ^ Other variants of a minor kind have more to justify tlu-ir existenct is more mitural for a .St. Ijawrenee Hsln'mian to siny- Dans les prisons de Lgndres , ' Dans les prisons de Nantes,"* §fnd the mixed geography of \ - , II est^ans la Hollande, Les Irlandais I'ont pris,'"^ is not without sutfieient reasons of its (jwn. Variant refrains abound ; Mr. Gttgnon gives ifi« six ft^r En roulant alone.'*^ l'o])ular humorous songs, which so easriy lend themselves to improvisation, are peculiarly' subject to variations: the inevitable Malbrourhe^'^-' has two Canadian variants"" touched with Indian local colour, one beginning ^ , * C'etrtic un vieux sauvage, Tout noir, tout barbouilla, Avec sa vieill' couverte Et son sac ii tabac, and both ending in much the same way : Quatre vieux sauvafies -Portaient les coins du drai), Et deux vieilles sauvagesses Chantaient le libera. /■ There are plenty of variations of all kinds, besides tliasi'. many made up on the spur of the moment and as (juickly forgotten, and others flitting , about in oral tradition with more or less tixity of form. The voyageurs have their variants like the rest of the w6rld ; a good instance being the :i)urely Canadian Death-son;/ ofCddicux^*^ which begins in the original versioni — "Petit rocher de la liat^te niontagne, Je viens finlr ici ce'tte canipagne,'-'- and in that of the lied Jliver Settlement — , Petlts oiseaux, dedans vos cliannants nids, • Vous ((ui chantez pendant (jue ,je gcinis, ' Si j'avais des ailes comme vous, ■Je vivrais content avant qu'il fut Jour.'"-' It is easy enough to see that nearly ail Canadian folksongs are variants from the French, somewhat remote in a few instances, but very .■:ig0bM^'«''<'4iA%. ■^1 • > ■^'""^-a. .FOOTNOTES TO CANADIAN FOI.KSON^ HI [wood] close in most. All nursery rhymen unci lullabies "i^f 1«L^^b ^'8 "f Tjurely'FiVuch origin': so may all songs of the typo of Cinlia L< laumarii and La maumarUer Jc ne veux pas d'„n habitant, Bn rouiantr An jardin de man pen' an oran.jer Ui-ya,^^- ^'""'^-'jrZ de Nantes ^^' Mananne au .nuH,lin,-«' Pnrettr est (nrv mtlade and othters too' numerous to^me.itiun. - The peeul^ar restrietions which pre- Xnted many^.'anadian variants from \»ttainn.K a too luxuriant growth are wclK described by Mr. Gagnon.--' We may see how powerful these restrictions were, by taking s.ich a typical theme as U reto.r du .man and comparing Dr. Larue's version- witii M. Kk-urys four Lower ^orman variants «» or with those of Spain and Portugal which are the mo.T romantic ones of all. The Canadian variant of Au jardin de nu>n pen' .. nrmuu-r lui-m -^ breaks off suddenly, whilst Fleury's Gorman variants" X who sun-y, like those of Bartsch - Bujeaud,- Legrancl.- and others. It is a noticeable fact in folk-history that -the Nonnan 'Coucou"-^" has nevier been acclimatized in Canada. ■ ' Mon pire u fait hdtir maison is sung in Saintouge and Aunis, J'm cueiULMl^'ll" rosr in Angoumois, ("ambresis, Artois and Le ^^ver- ,.ais Aa imhu rossiynolet in Franche-Comt^ and Switzerland. Cra, le rosier and Tai^trop ind-U certainly '^ with the Anglo-Saxon songs, for Beowulf is the oldest Teutonic epic ; r ;:;ldic ..i^s preserved much of the folklore ot t^'^'O ^---' ..mP of the finest Portuguese ballads have been collected m the A/ous . : : .rcInlcJ: " have ;;rsion. of A la Cl.in F.ntnine. ^- I. F.^^ Donx, and other songs which are older, and often more poetical, tl^^u nfiVt of the variants now current in Frame. -■ The numfcei- of French iblks.>ngs represented by C ana.lian vanant. in our texts is certainly Remarkable ; but, to give a just view o the "lationship' between the collections of tlie t- countr^^wemi. i.o forget lo mention that no trace is to be t.mnd in either Mi^Gagnono Dr Larue of many -f the most popular and typical songs of France O course it must be borne in mind that those two gentlemen were not ol- Z^.L fblklorists,l.ut for the general publie-^u.d the public has rel^belMi better served-but it is, at least.noteworthy from every point f .V that thev have .nven us no specimens of the following type. : ■ uZu^^n- Elle : ehoisi le rL'^ La fille perd.,e- Le n.oine fj^l^'Lon des n-,..K- Lrs tro. t.nbour.-^ La ^"--/"^ ;;. ^Z;ji.nentr Laeonrte paiUer'^Ua.ant ,ui tae.a nuutresse/'^ Martn. 'M 7 > . «.j y § 4 ' r~ I... * that, even in far Catbay. b<' has fellow-surt'erers ; for there the ••• lIotUMg Lioness" niaUes her better halt (puike at every roar."' The Htory of the prisoner and the gaoler's daughter is known everywhere anilis idways a ni()st jiopular theme, nhetlier the hero is simply ' un prisoHiiier.'' as he is in Camida. or a peer ot. the realm, as he is in the : Lonmj HalUtd of Lord liateman. The tragic history of Marianson'" is common to many countries, more partictilarly to Sjiain and Portugal, where the famous ballad of llelemi'*" has always been held in especial ; .^ " -^ 'S '■¥5f^''i'»n- f^F" 1 i^'2 1'^^^#f^?«?'*:#^ ; [wood] • FOOTNOTES TO CANADIAN FOLKSONGS 113 honour. * The Atvriants of the MHnuwrpko^e^ of Lore have «i.itu.1 from the Kast over tho wliolo world, and are so univemil that it would 1)0 difficult to Hud any hum'uago in which they are quite unknown Mr. (iasrnon'8 two variants-" thelovei has to follow' his mistress throus^h her chansies into an et I a lark, a nun and so tbrth. Some other lovers, on when they belong to the weaker sex. are nun •h more severeh' trien-teus in the tourth book ..t the Odvssev. hardlv need mention. '♦' The m'rfaworpUsis affords us a. st rikin- illustration ..J the wonderinl dirtusi.m of identical thon.es; but. when wc h.ar ..f Chenicrs t ra..slat->n.r a Homaic tblksoni; which had been taken down tV.Hn oral tradition m the highlan.ls of (Ireeec, and which prov-l to be the same a8 Ophelias son- which SbakcHpeniv learnt fn.m some Kn-iish crowder. wc are .'veu more struck bv the wonderful the stinset, like the (ireek Calabrians whi> call il- "o iglio va.sileggui "— n T/A/oif fiaffiXtvu. Nor coulil he ap|ireciale the golden promise ol' some rare, st, like all else around her. in that scene of beauty hushed in awe. I had been below for some time, trying to get to sleep.' when I thought I heard someone calling. Going up on deck ^ quietly, I found that my man had i)addled ashore and was there singing to himself, hidden away somewhere in the darkness : he had left his heart behind him, and here was his solace. As his far-off chanted strains on the eternal theme of love, coming from out an impenetrable shadow, rose and fell upon my ear. they seemed, in their complete unconscious- ness, to be as much a part of surrounding Nature as the cry of the lonely night-bird, the deep pulsation of the tide or the silent, everlasting hills themselves. Entering the limits of our te.Kts in search of poetry, we hnd that wi^ ,nav iustify'our affirmative answer in at least three different classes of s,.n.rs • the popular noH, the romplainte and. of course, the love-son2 virnsta, herrn t is perfect as a children's picture-poem. The form (,f ,,uestion and answer at once arouses the childish interest, and the simple descriptive touches, all borrowed from the child's own little world, are strikingly dramatic to his wondering imagination ; gu'as-tu vu, berRere ? ^ In petit enfivnt Sur la piiille fraiche Mis blen tendrenient. Ya le bwuf et I'ant! Qui sont par devaiit, Avec leur lialeine R«i.oliiiuirent lenfimt. Rien de pluH, burg^re, Hien Av phis \ — Ya tn)i8 petlts anges. Di'NceiuliiN dn ciel, Chantant les louangeB Du Ftire Kternel. " La belle ,'om\>hnnt*' de Marianson " is the Hnest piece of iK)etry in Canadian folksong. It does not begin with an attempt at preparing its hearers to see things from the proiwr point of view, nor does it ever turn aside to explain its purport by the way, for the folksong always takes its hearers' intelligent sympathy for granted ; but. with true dramatic in- sight it sings the burden of its song as shortly and directly as it may. u£^^. I iJtt^^' m.j-i^tl^iJj^^b^^ -tt- I iffrift^i'i^^ I "<"'*??"? " -J5»^^ -* *^ ROYAL isOCIETY OF CANADA And so it is. that, as a tale of fated woo. an ec'ho from the days "of tour- neys and great challenges of knights,' terse, tragic and of'an intinite pathos, it has come down to us, stripped of all poetic trappings, and glorious in all the grand simplicity of naked strength. In her innocence Marianson has lent her golden rings to the fiUse friend who. having had them copied, goes out to meet her husband on his retnrn'from the war : Marianson, daniejolie, Eir m'a ete fldele assez ? Qui, je le crois, je le decrois : VoilA lea apneaux de ses doigts ! Ah ! tnanian, montre-lui son fils ; Ca lui rejouira I'esprit. A pris I'enfant par le maillot, Trols fois par terre il I'a jete. MfirUmson, par le.s cheveux, A son cheval Ta-tattacliee. Marianson, dame jolie, Ou sent les anneaux de te.s doigts ( lis sent dans reoffre, au'pied du lit ; Ah r prendn les clefs et va les ((u'ri'. II n"eut pas fait trois tours de clef, 8cs trois anneilux d'or a trouves. Marian.son, dame jolie, . > ' " ijuci l)on chinirgien vous faut-il ( \f.' bon chirurgicn qu'il inc faut, ("est un l)on drap pour m'enser'lir. Marianson, daniejolie. Voire mort ni'estclle pardonnee ( Oui, nia mort vous est pardonn«'e, N'on pas In cell" du nouveaun*'. •> ' Tho \y\nv'A\^liive-!ii>mi ol' Canada is .\ la rliii're fontaini . everyone knows it. I'vervnne sings it and ovi'ryono can see how well il liolds the mirror n|) to French ( 'anadian nature. Some of the French versions have a pot'lic turn of tho\ight wanting in the Canadian : A\l milieu de la rose .Mon cu'ur e>tt cnchainc : N'y a Hcrruricr en France Qui pnisse le di^cluiiner, Sition mon ami Pierre Qui en a pris la clef. .ft. r- te id ce id no he [WOOD] FOOTNOTES TO CANADIAN FOLKSONGS 117 On the other fiiind the Norman verse— , C haute beau rossignol, y, Toi qui as I'cd'ur tunt gai ; - - - Je ne suis pas de merne, Je suis bien attlige, will not bear comparison with-the Oanidian— Chante, i-ossignor, chante, , Toi qui as le cti'ur gai ; Tu as le Cd'ur a rlre, Moi Je I'ai-t-a pleurer. And then we look in vain among the current variants of France for the touching refrain — „ Lui-ya longtenipsque je t'aime, JamaiK je no t'oublierai. . A deeper note Ib struck'by.the intense fidelity of the 'pvincessV love in fje Pommicr Doux — S'ils gagiieut la ba£aille * [1h auront nos amours, ^ yuils Hums the boy past bearing - . :'.'! The dream that girls Inspire. Thov.gh these fewcitations may be enough to shon" that our texts %eanv <"ontam s6me poetry, thei-e is one more song which tells the story oi- the lovers vatying'moods so well that I cann<.t forbear to quote ,t, too. It begins with such an airy, >jaulo,.'* charm : . J'al perdu mon amant f ' Et Je in'eu souei' gueni ; I,e regret que Jen al Sera hieutOt passe. Je |K>rterai le dcuille », IVun habit de satin ; ' , Je verserai •> -r ^ ^i-J - "^ Ji-i*. -?«v 118 ROYAL SOCIETY OF CANADA [V But, the tmio m)oii cluingos ; and, lit the laHt. thev(5 comes the "loiiij^ rt'irret ' — Si j'etais hirondelle, , Vers.toi,- heir demoiselle, ' , Par derrler' ces rochers ^ > ' • J'iraiH prendr' ma volee. Sur votre main, la belle, J'irais me reposer, * • ^ Pour raconter la peine Quej'ai. There may be a suspicion of lettered worivmanship about all this ; yet in JVIaskinonge. the only part of Canada where it is known, it is truly popular ;'and. taken as the folksong expression of yearning for an absent lover, it will almost hear comparison with even this delightful snatch of Old-World grace : ' ' ' ' . ' Celui (jue inon fn'ur aifne tant, II est dessu.s la nier.jolie. Petit oifseau, tu peux lui .«ie aff ^"y''" ^^;^':-„^,,^,.„„. .., ireizieiiie siecles. :U sibilel-Art poeti.im'fnmvais. lo/O. s- ^;r:^';;::"E:i.i.:;: s:;.::<-«- ,7 l).,nen^-Cle.ue.i. Marot et le pHau.u-r lmm.en..t. ^ :,S Villen.an.ue Poe.nes Bretons d« Mo.v-u^Age^ ^;::r„i:;^''r^;::;;'-;;xtr;:..^-..- ....- : 11 Kastner l.es Voix de Pan-. , • ^ 12. T'lrWe Romanc'v.. de ClianipaKu.-. J 120 ROYAL SOCIETY OF CANADA 1- 43. 44. 45. 4(). 47. 48. 4!). 50. 51. 52. 5:H. 54. 55. 5fi. 57. 58. nil. 60. 01. 02. (5:1. (U. (V). ,00. (i7. m. Oil. 70. 71. 72. 7;i. 74. 75. 70. 77. 78. 70. 80. 81. 82. Kl. 8(. 85. 80. 87. 88. iKI. ill. il2. IKl. IM. il5. Beaurepaire— La Poesie populaire en Norinandie. Kleury— Litteratiire Orale de la Basse-XormaTidie. (iaiste Chansons Norrnaiides du d^uinzieme wiecle. Carnoy- Litterature Orale de la Picardie. Bouillet— LWlbuin AuvergnaU Montel et Lambert -Chants popuJaires du Languedoc. Arbaud— Cliants Popuhiires de la Provence. Voceri de Corse—" Colleftion de Contes et Chansons Populaires," vol. x., Xutt. Paul Bourde— En Corse.-* V'in.son— Litterature Or-ile dii Pays Basque. K. Michel— Le Pays Bas(|ue. Vin.son— Notice Bibliographique sur le Folklore Bas((ne. Salaberry— -Chansons Bas<(ues. Santesteban - Colle(;tion de Chansons Bas(|ues. Lamazou Chants Pyreneens. I'nyniaigre— Chants populaires recueillis dans la Vallee d'Ossau, " Romania," iii. Blade Poesies populaires de la (iascogne, 3 vols. Moncant Litterature populaire de la Ga.srogne. ' Blade Poesies populaires Fran^aises de TArniagnac et de I'Agenais. Histoires et Legendes du Pays de Chateau briant.' Fouquet Legendes, Contes, et Chansons populaires du Morbihan. Hathery Article in " Moniteur," 15th June, 185:1, La Vendee, etc. Villenianiue La Legende Celtique et la Poesie des Cloitres en Irlande, en Cambric et en Bretagne. Villen)ar;iue -Barzaz-Breiz. Sebillot Litterature Orale de la Ilaute-Bretagne. E. Kenan Poesie des Races Celti(|ues. '■ La Revue Celtique." Luzel (ivverziou BriPiz-Izel and Sonnlou Breiz-Izel. Quellien Rapport sur une mission en Basse Bretagne. Sebillot Traditions de la Haute-Bretagne. Quelllen Chansons et Danses d«a Bretons. Bujeaud Les Chants et Chansons populaires des Provinces de I'Ouest. de Coussemaker Flamands de France. Durieux et Bruyelle— Les Chants et Chansons populaires du Cambresis. Max Buchon Noels ft Chants populaires de la FrancheComte. .louve— Chansons en patois vo.sgieii. Le Due Chansons et iettres patoises Bressaiies, Bugeysieiines et Dombistes. Guillon Chansons populaires de I'Ain. VVeckerlin Chansons populaires de lAlsace, 2 vols. de Puymaigre Chants et Chansons populaires recueillis dans W Pays Messi4j. Cortet Po«'sies populaires de hi Lorraine. ° Cortet Essai sur les Fetes Religieuses et les traditions populaires (jui s'y rat- tachent. . , Weckerlin Fetes et (Chansons populaires du printemps et de I'ete. Sel>illot ■ Coutumes de la Haute-Bretagne. Chants de Mai de la Haute-Bretagne. In " Melusinc," December,- 188.5. Havard L'Aguilaneuf et les Noels. In " Monde Hebdomadaire,":iOth December, 1S82, l;lth and 20th January. 1883. Kibault de Langarrtiere. Les Noces de campagne en Berry. Laforest Limoges an di.x septieme siecle. Langlois Knerves de Jumieges. de Cous.semaker Histoire de I'Harmonie an Moyen-Age. de rous.senuiker Art harmoni(|ue aux douzieme et treizit'-me siecles. (ierbert De Cantu et Musica sacra. Kiessewetter Schicksal iind BeschaHenheit des weltlichen liesjiuges. ^^: [woon] 121 ■ . .i\ FOOTNOTi^%) CANADIAN FOLKSONGS 9B Fetis- Curiosites historiAie la Musique. , »i 97. Feti8 Histoire G^n^mle ^ la Musique. ^^ UK nomnan Dictionnaire dejpanse, 1707. wlp . . 100. Recuell des plus beaux &Vf^ ,^ . • • • v^"»"v ^ ^ 1703-11. Paris, 3 vols. v _ 103 Ballard-La clef des ClfiansQttniers, 1717. 104 Bottee de Toulmon 'l^a CKarJ^on musicale au Moyen-Age. , 105. Lavoix-La Musitiue au si^cle de St Louis. U¥i f^rnsipan Airs de Noel'8"Lorrain8. ' V Brurgault-DLudray^ Helodies populaires de la Basse-Bretag.ie. Villehelio-Souveirir'de^ Pyrenees ;douze airs Basques. . Tiersot-Dix Melodies populaires des provinces de France. 1807, ' « . ■', 107. 108. 109. 110. 111. London, Bedway, 188(1. REFKRKNCES. ,- :; 1. All quotation, from Mr. Gagnon are to be found in his 2nd edition. No. t In the Bibliography. , 2. No. 4 in the Bibliography. ^ . • I S^tic^^SoI^ctiug in Gon..nes Handbook pf FolUlore. London. N.tt, 5 LonZ - Osgoode, Moll vaine & Co. Two siries ; 1892 and 1894. 0. Bard of the Dimbovitza ; Introduction, v. 7. Gomme, 109. 8. Cesaresco -Hssays in the Study of Folksongs. 9. Gaguoji, 81. 10. Gagnon, m\ Also Bibliography 20 to 22a. 11. Gagnon, 6. 12. (iagnon^ 29(*. 13. Gagnon, 174. -.^ ■ 14. Gagnon, 213. lil" Sl7 BaUad's ; and Ballads and Songs of the K.rglish Pe-^antry. London, Bell, 1889, p. :182. 17. Masson La Lyre Franvaisi', I8it0, p. 140. 18. Lyre Franvaise, 145. 1 ^:;'lS:Sr'S; Voikslieder der neutschen. Mannheim, 18345, vol. i.. p. 25. 21. Tiersot, 210. See Bibliography. No. 9. 22. Gagnon ; Introduction, xv. 23. (Ja^non, 291 4. 24. Gagnon, 189. 25. Villemarque Barzaz-Breiz. 81-™ ed : p. 33o. 20. Kolland, iv-(M. See Bibliography, No. 0. 27. Gagnon, 80, 137. 28. Kolland, iv-2t> to *1. 2J). Gagnon, Introduction, x. ;J0. Gomme, 1K5-7. C'^ Mi li' j'j.L iM\,("V Vi.: ^y . a> Afi^' ,'V '^^*^ 5«iL'.<'w«^i*V>itet'l^L4^^V 122 31. :«. 34. :«. :«!. 37. 38. 39. 40. 41. 42. 43. 44. 4.5. 40. 47. 48. 49. .tO. 51. .52. .5:1 .54. .55. m. hi. 5H. .59. tiO. ()1. 62. tS. (W. ()5. m. <)7. ()H. «9. 70. 71. 72. 73, 74. 75. 7 Gagnon, 70. Gagnon, 177. " "' Gagnon,. 170. Gagnon, 12;^. Gagnon, 52. (ragnon, 279. Gagnon, 32. Gagnoii, 88. Gagnon, .57. Gagnon, 254. Gagnon, 80. Gagnon, 137. Gagxion, 63 (iagnon, 10. * — (Jagnoii, 14. (iagnon, 61. Larue, 356. (iagnon, 305. The (juardian. London, 14th March. 1894, p. 4{K). col Horn Literature of the Scandinavian North, 118. (iagnon, 238 ; BarzazBreiz, 445. Ca-i^ar De Bello Galileo. Comtn. : vi., 13-14. (iagnon, 241. Tiersot, 193. ^ (iagnon, :i06. 3. i^ f [wiiod] FOOTNOTES T^ CANADIAN FOLKSONGS isa_^ 5 H7. Gagnon, 314. HH. Barzaz-Breiz, H. 89. Gagnon, 240. .!)0. Bello Gallico, iii, 7 Hi. 91. Gagnon, 2(K5. > \ tt2. Gagnon, 161. 93. Gagnon, 131. 94. Gagnon, 200. 95. Larue, 3<5H. f Idersan et Segnr, ii 222. See Bibliography, No.J- Strettell Spanish and Italian Folksong«^_ London, 1887. de Coussemaker Flamands de France, .«/. Tiersot ; Introduction, iv. Gagnon, 290. 96. 97. 9S. 99. 100. 101. 102. Gagnon, (i. 103 Tiersot, 84. Gagnon, 272. Larue, 3(>1. Larue, 361. Introduction, xvii. 104. 105. 10<). 107. 108. 109; 110 *^. ^ <^ Gagnon, 254. Dumersan et Segur. i-141. Lyre Fran^aise ; Introduction, vii. Cesaresco, 248. 111. Gagnon, 258. 1,\ 112. Montel et Lambert-Lan(Jfuedoc, U- 113. Gagnon, 2.59. 114. Gagnon, 2tw. 11.5. Weck'erlin- Alsace, ii-;^8. im Gagnon ; Introduction, x. llK Bujeaud, Quest, i-35 et 7!7y. 118. Gagnon, 279. 119. JGagnon, 82. ' 120. Cesare-co, 303 ; Strettell. 43. 121. Cesaresco, 308. 122. Annuairo des Traditions populaires, 1887, p. -M. 23. Cesaresco, 318. 24. Gagnon, 259. ,^ 125. Cesaresco, 20;i »/ *«'/• 126. Larue, :}84. 127. Larue, :W. 128. Gagnon, 225. 129. Grtgnoi), 222. l:«). Gagn^, 226. 131. Gagnon, 99. 132. Gagnon. 151. 133. Gagnon, 82. , Gagnon, 15:1. Erlach, iv 447. _ . Athen«-u.n. 14tl. April, 1894. p. 4/0, col ; 3. . Tiersot, 12. Bard of the Dimbovitza, 129 note i V. 131 135 136. 137. 138. 139. 140. 141. Border Ballads 142. Tiersot, 50. Graham H. Toinson. Tiersot, 87. .,, 70. Border Ballads, 2K. I?. .# L- ; .•t^iii^jt^^J^s.^i£AiiJ^^iSk i^k^^'^^^^'^^asit^'^^ --51,' I'f-(- i| 124 ROYAL SOCIETY OF CANADA IW. 144. 145. 14(). 147. 14H. 149. 1.50. 151. 152. ira. 154. 155. 150. 157. 15)^. 15J(. 160. 161. 162. 163. KM. 165. 1()6. lo7. 16K. 169. 170. ni. 172. 17:^. 174. 175. r.6. 177. 17H. 179. IHO. 181. 182. is:j. 1H4. 185. 18(i. 187. IKS. 189. 190. 191. 192. 193. 194. 195. 196. 197. 198. Rolland, i-324 ; ii., 176, 181, 183. Rolliind, i-1 to 29 ; ii-1 to 1|L,. Rolland Tiersot, 50. Border Ballads, 6. Tiersot, 44-45. Tiersot, 52. Tiersot, 78. Gagnon, 177. (iagnoii, 70. Gagnon, 270. Gagnon, 32. Ghgnon, 192. Gagnou, 122. Gagnon, 70. Gagnon, 187. Tiersot, 88. Gagnon, 80, 140. (Jagnon, 2. Gagnon, 109. Gagnon, 9. Gagnon, 97. Gagnon, 196. Gagnon, 42. Gagnon, 5. Gagnon, 181. Gagnon, (i2. Gagnon, 59. Gagnon, 200. Larue, ;16(!. Larue, 372. Larue, .3(58. Larue, .3(W-373. (Jagnon, 102. Gagnon, 104, Larue, 3()5. Larue, m\. Larue, liffi. Larue, ;J65. Larue, :Mu. See Tiersot, Gagnon, 12. Gagnon, 2;^. Gagnon, 2.3. Carnoy. Picardie, ;175 Ferland. Canada, 1"« Partie, 511-512. (iagnon, 219. Gagnon, 2(i. Gagnon, 4(j. Gagnon, 12-2;i. (iagnon, 254. Gagnon, 125-(). Gagnon, 200. Gagnon, 2(X5. Larue, 371, (Jagnon, 31. (Jagnon, 105. Larue, 361. Gagnon, 2((8. Gagnon, 12. (Jagnon, 44. ):» Holland and Bibliography, Nbs. 40 to 83. M-' 'ii^-^l [wood] FOOTNOTES TO CANADIAN FOLKSONGS 125 iil04. Tiersot, 87. ii-17. 199. Gagnon, 2(5. 200. Gagnon, 121. 201. Gagnon, 286. 202. Gagnon ; Introduction, x. 20!}. Larue, 387. 204. Fleury. Basse-Normandie, 268. 205. Gagnon, 44. 206. Fleury, :«1. Fleury, 337. Bujeaud. Guest. 1248 and 250. Romania, x-383. Fleury, 345. Gagnon ; Introduction, xi. Larue, SiOSW. Tiersot, 90. BoUand, i-70. Kolland, i-77. Rolland, i-137. Holland, i-149 ; Rolland, i 13.5. Rolland, i-266. Rolland, i-293. Rolland, i-301. Rolland, i-'.m ; Rolland, i-:«5. Rolland, i-:^09. Rolland, 1-23 ; Rolland, iii-1. 226. Rolland, iii-5. 227. Rolland, iii-10. 228. Rolland, iii-32. 229. Rolland, iii-58. Holland, iii-68 ; Rolland, iv-21. Die Volk.slieder der Deutschen, 5 vols. Gagnon, 72. 234. Erlach, 111.58. 2;i5. Gagnon, 191. 236. Erlach, iii-96. 2:17. Gagnon, 105. •Jan. Lockhart— Manual of Chinese Quotations. 239. Gagnon, 1.57. *40. Puymaigre. Ronianceiro : Choix de Vieux Chants Portugais. . Gagnon, 78 and 137 Border Ballads, 6. Border Ballads. 217. ' Andrew Lang -Ballads ; in Encyclopu'dia Britannica. Larue, ;fl!7. , < ^ \» ^ c 207. 208. 209. 210. 211. 212. 213. 214. 21.5. 216. 217. 218. 219. 2-20. 221. 222. 223. 224. 225. 2:*). 231. 232. 233. ii-29. ■\ iv-1. See Athenwum, 1893, ii-223. 24 U 242. 243. 244. 245. 1881. p. 2:}. •* .'t'ii jj; -^..^ . (•) * '^r