The true 'popular' ballads have a quality peculiarly their own, which renders them far superior to the sixteenth century imitations and which no conscious literary artist has ever successfully reproduced. Longfellow's 'Skeleton in Armor' and Tennyson's 'Revenge' are stirring artistic ballads, but they are altogether different in tone and effect from the authentic 'popular' ones. Some of the elements which go to make this peculiar 'popular' quality can be definitely stated.
1. The 'popular' ballads are the simple and spontaneous expression of the elemental emotion of the people, emotion often crude but absolutely genuine and unaffected. Phrases are often repeated in the ballads, just as in the talk of the common man, for the sake of emphasis, but there is neither complexity of plot or characterization nor attempt at decorative literary adornment--the story and the emotion which it calls forth are all in all. It is this simple, direct fervor of feeling, the straightforward outpouring of the authors' hearts, that gives the ballads their power and entitles them to consideration among the far more finished works of conscious literature. Both the emotion and the morals of the ballads, also, are pagan, or at least pre-Christian; vengeance on one's enemies is as much a virtue as loyalty to one's friends; the most shameful sins are cowardice and treachery in war or love; and the love is often lawless.
2. From first to last the treatment of the themes is objective, dramatic, and picturesque. Everything is action, simple feeling, or vivid scenes, with no merely abstract moralizing (except in a few unusual cases); and often much of the story or sentiment is implied rather than directly stated. This too, of course, is the natural manner of the common man, a manner perfectly effective either in animated conversation or in the chant of a minstrel, where expression and gesture can do so much of the work which the restraints of civilized society have transferred to words.
3. To this spirit and treatment correspond the subjects of the ballads. They are such as make appeal to the underlying human instincts--brave exploits in individual fighting or in organized war, and the romance and pathos and tragedy of love and of the other moving situations of simple life. From the 'popular' nature of the ballads it has resulted that many of them are confined within no boundaries of race or nation, but, originating one here, one there, are spread in very varying versions throughout the whole, almost, of the world. Purely English, however, are those which deal with Robin Hood and his 'merry men,' idealized imaginary heroes of the Saxon common people in the dogged struggle which they maintained for centuries against their oppressive feudal lords.