But, on the whole, mirth and light-heartedness are very far from being characteristics of the Scottish ballads. Of ballad themes in general, it has been said that they concern themselves mainly with the tragedy and the pathos of the life of feudal and early times; while, on the other hand, the folk-song reflects the sunnier hours of the days of old. This is peculiarly true of the Scottish ballads. The best of them are dipped in gloom of the grave. They breathe the very soul of 'the old, unhappy far-off times.' Even over the true lovers, Fate stands from the first with a drawn sword; and the story ends with the 'jow of the deid bell' rather than with the wedding chimes. Superstitious terrors, too, add a shadow of their own to these tragedies of crossed and lawless love and swift-following vengeance. In this respect, the Scottish ballads are more nearly akin to the popular poetry of Denmark and other countries across the North Sea, than to that of our neighbours across the Tweed. There are a score of ballads that agree so closely in plot and structure, and even in names and phrases, with Norse or German versions, that it is impossible to doubt that they have been drawn directly from the same source. Either they have been transplanted thither in the many descents which the Northmen made on Scotland, as is witnessed not only by the chronicles, but by existing words, and customs, and place-names scattered thickly around our coasts; or, what may perhaps be as strongly argued, both versions may have come from an older and common original.
Celtic influences are also present, although scarcely, perhaps, so directly manifest as might have been expected, considering that the Celtic race and speech must at one time have been spread almost universally over Scotland; they appear rather in the spirit than in the plot and scene and characters of the typical Scottish ballad. They supply, unquestionably, a large portion of that feeling of mystery, of over-shadowing fate, and melancholy yearning--that air of another world surrounding and infecting the life of the senses--which seems to distinguish the body and soul of Scottish ballad poetry from the more matter-of-fact budget of the English minstrels.