Stories from the Ballads, Told to the Children — Edition Insights

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In Category - Folklore
Macgregor, Mary, Cameron, Katharine, 1874-1965 [Illustrator] Project Gutenberg 2007 Not confirmed
Children's stories; Ballads, Scots -- Adaptations; Ballads, English -- Adaptations Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 23,459
Reading time 102 min
Text sections 3

Stories from the Ballads, Told to the Children — Edition Insights can be approached with a clearer sense of reading commitment from its source measurements: 23,459 words, 1 hr 42 min estimated reading time, and 3 detected text sections.

The text analysis averages about 19.4 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Children's stories,” connecting these edition facts with the source record’s subject description.

Mary Macgregor retells seven Scottish border ballads in prose for children, preserving the supernatural encounters, abrupt shifts in time, and the mingling of fairy lore with mortal sorrow. The author's preface frames the tales as recovered from minstrel songs, and the narrative voice maintains a direct, oral quality throughout.
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Editorial Edition Score 4.6/5

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  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.

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Read the Text

She was off and away to the lone plain of Carterhaugh.--_Frontispiece._

'In earth or air I dwell, as pleases me the best,'

'For twelve long years have I never been within the Holy Church, and I fear to enter now,'

'Drink,' she said gently, 'drink,'

Under the Eildon tree Thomas met the lady,

'Will ye come to the Highlands with me, Lizzie Lindsay?'

'I go but to my lattice window to listen to the birds,'

THE LAIRD O' LOGIE.--

She stood at the hall door gazing wistfully after the young Laird of Logie,

The young Tamlane had lived among mortals for only nine short years ere he was carried away by the Queen of the Fairies, away to live in Fairyland.

His father had been a knight of great renown, his mother a lady of high degree, and sorry indeed were they to lose their son.

And this is how it happened.

One day, soon after Tamlane's ninth birthday, his uncle came to him and said, 'Tamlane, now that ye are nine years old, ye shall, an ye like it, ride with me to the hunt.'

And Tamlane jumped for joy, and clapped his hands for glee. Then he mounted his horse and rode away with his uncle to hunt and hawk.

Over the moors they rode, and the wind it blew cold from the north. Over the moors they rode, and the cold north wind blew upon the young Tamlane until he grew cold and stiff.

Then the reins they fell from his hands and down from his horse slipped Tamlane, and laid himself down to rest, so weary, so cold was he. But no sooner had he lain down on the bare earth than he closed his eyes and fell fast asleep. And no sooner had he fallen fast asleep than the Queen of the Fairies came and carried Tamlane off to Fairyland.

For long years Tamlane dwelt among the little green folk, yet ofttimes he would come back to visit the land of his birth.

Now many were the hills and dells haunted by the fairy folk. Yet neither hill nor dell pleased them more than the lone plain of Carterhaugh, where the soft-flowing rivers of Ettrick and Yarrow met and mingled.

Many a long day after fairies were banished from the plain of Carterhaugh would the peasant folk come to gaze at the circles which still marked the green grass of the lone moor. The circles had been made, so they said, by the tiny feet of the fairies as they danced round and round in a ring.

Well, in the days before the fairies were banished from the plain of Carterhaugh, strange sights were to be seen there by the light of the moon.

Little folk, dressed all in green, would flit across the moor. They would form tiny rings and dance on their tiny toes until the moonlight failed.

Little horsemen dressed in green would go riding by, the bells on the fairy bridles playing magic music the while. Sounds too, unknown to mortals, would tremble on the still night air.

Full of mischief too were these little elfin folk, and wise mortals feared to tread where fairy feet were tripping.

Wise mortals would warn the merry children and the winsome maidens lest they should venture too near the favourite haunts of fairydom.

To Carterhaugh came, as I have told you, many of the fairy folk; but more often than any other came a little elfin knight, and he was the young Tamlane, who had been carried away to Fairyland when he was only nine years old.

Beyond all other of the little green folk was the elf knight feared. And little was that to be wondered at, for well was it known that over many a fair-haired child, over many a beauteous maiden, he had used his magic power. Nor would he let them go until they promised to come back another moonlit eve, and as a pledge of their promise he would seize from the children a toy, from the maidens a ring, or it might be their mantle of green.

Now about two miles from the plain of Carterhaugh stood a castle, and in the castle there lived a fair maiden named Janet.

One day her father sent for his daughter and said, 'Janet, ye may leave the castle grounds, an ye please, but never may ye cross the plain of Carterhaugh. For there ye may be found by young Tamlane, and he it is who ofttimes casts a spell o'er bonny maidens.'

Now Janet was a wilful daughter. She answered her father never a word, but when she had left his presence she laughed aloud, she tossed her head.

Mary Macgregor's preface to Stories from the Ballads, Told to the Children establishes a clear narrative frame: the tales were once sung by wandering minstrels, and the author found them in old books. This framing shapes the prose style, which retains a storyteller's directness—'Listen, children'—and a rhythmic, almost sung quality. The language is deliberately simple, yet the ballads' original starkness shows through in moments of sudden violence or supernatural encounter. Macgregor does not modernize the settings; instead, she lets the ballads' own geography—Carterhaugh, the Eildon tree, the banks of the Leader—anchor each story in a specific, often eerie landscape.

The Storyteller's Voice and the Minstrel's Echo

Macgregor adopts a consistently oral register: she addresses the reader as 'you,' uses exclamations ('Listen, children'), and occasionally inserts explanatory asides. This voice is not merely decorative—it mirrors the minstrel tradition she describes. In 'Thomas the Rhymer,' the prose shifts between the queen's formal speech and Thomas's tearful questions, preserving the ballad's dialogue structure. The narrator also controls pace by repeating temporal markers: 'seven slow long years,' 'yet another seven.' These repetitions create a sense of enchanted duration, where time in Elfland and on earth move at different speeds. The effect is a narrative that feels both ancient and immediate, as though the reader is hearing the tale aloud.

Pace and the Sudden Turn

The ballads' plots often hinge on abrupt changes—a character vanishes, a spell is cast, a war ends. Macgregor mirrors this by compressing time in single sentences: 'She was off and away to the lone plain of Carterhaugh.' In 'Thomas the Rhymer,' the arrival of the white hart and hind is described with deliberate slowness, then Thomas's reaction is immediate: 'he started up out of bed and in haste he put on his clothes.' The contrast between the stately, dreamlike procession of the animals and the frantic human response heightens the tension. Macgregor also uses short, declarative sentences to mark irreversible moments: 'My sand is run, my thread is spun, this token is for me.' These shifts in pace—from lingering description to swift action—are a hallmark of the ballad form, and the prose adapts accordingly.

Supernatural Encounters and Their Consequences

The excerpts show a pattern: a mortal meets a fairy, receives a gift or a curse, and then must live with the aftermath. In 'Thomas the Rhymer,' the Elf Queen grants the power of true speech—'nor ever shall thy tales be false'—but this gift isolates Thomas from ordinary life. The narrative dwells on his loneliness: 'He would be dreaming as he lay there of the songs he would sing.' The fairy world is not merely wondrous; it exacts a cost. Macgregor emphasizes this by describing Thomas's tears, his grey eyes, and the 'wail so full of dole' from his harp. The supernatural is never fully explained; it simply is. This restraint keeps the stories eerie rather than sentimental, and the prose remains faithful to the ballads' own matter-of-fact treatment of magic.

Readers coming to these stories from the original ballads will notice how Macgregor expands the lyrics into full narrative while preserving their essential strangeness. The book works best when read aloud, as its rhythms and repetitions are designed for the ear. Pay attention to the moments where the prose speeds up or slows down—these are the places where the ballad's own structure breaks through the surface. The illustrations by Katharine Cameron, though not discussed here, complement the text's blend of the homely and the otherworldly.

There’s something about Mary Macgregor’s ballads—those abrupt fairy crossings and mortal grief—that lingers like a half-remembered tune. Reading them, I kept thinking of another old collection, Tales of the Sun; or, Folklore of Southern India — Key Ideas to Explore, where the same unhurried wonder slips through different trees. Both feel less like stories than voices carried quietly across a long evening, maybe mine now, maybe someone else’s.

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