BAL´LAD, a term loosely applied to various poetic forms of the song type, but in its most definite sense a poem in which a short narrative is subjected to simple lyrical treatment. It was, as indicated by its name, which is related to the Low Latin _ballare_ and O. French _baller_, to dance, originally a song accompanied by a dance. The ballad, like the nursery tales and the _Märchen_, is probably one of the earliest forms of rhythmic poetic expression, constituting a species of epic in miniature, out of which by fusion and remoulding larger epics were sometimes shaped. Their present form is, of course, relatively recent. As in the folk-tales, so in the ballads of different nations, the resemblances are sufficiently numerous and close to point to the conclusion that they have often had their first origin in the same primitive folk-lore or popular tales. But in any case, excepting a few modern literary ballads of a subtler kind, they have been the popular expression of the broad human emotions clustering about some strongly-outlined incidents of war, love, crime, superstition, or death. It is probable that in the Homeric poems fragments of older ballads are embedded; but the earliest ballads, properly so called, of which we have record were the _ballistea_ or dancing-songs of the Romans, of the kind sung in honour of the deeds of Aurelian in the Sarmatic war by a chorus of dancing boys. In their less specialized sense of lyric narratives, their early popularity among the Teutonic race is evidenced by the testimony of Tacitus, of the Gothic historian Jornandes, and the Lombard historian Paulus Diaconus; and many appear to have been written down by order of Charlemagne and used as a means of education. Of the ballads of this period, however, only a general conception can be formed from their traces in conglomerates like the _Niebelungenlied_; the more artificial productions of the Minnesingers and Meistersingers overlying the more popular ballad until the fifteenth century, when it sprang once more into vigorous life. A third German ballad period was initiated by Bürger, under the inspiration of the revived interest in the subject shown in Great Britain and the publication of the Percy _Reliques_; and the movement was sustained by Herder, Schiller, Goethe, Heine, Uhland, and others. The earlier German work is, however, of inferior value to that of Scandinavia, where, though comparatively few manuscripts have survived, and those not more than three or four centuries old, a more perfect oral tradition has rendered it possible to trace the original stock of the twelfth century.