Death, Birth and Marriage 101
I wad hae ye marrie the nut-browne bride,
And cast Fair Annet bye.’
‘Her oxen may dye i the house, billie,
And her kye into the byre,
And I sall hae nothing to mysell
Bot a fat fadge by the fyre.’
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Lord Thomas is then advised by his sister to take Fair Annet, but he insists
that he will take his mother’s advice and marry the nut-brown bride. With
this decision, Thomas, Annet and the anonymous nut-brown bride are
doomed. Annet appears at the wedding in stunning array, the nut-brown
bride stabs her, Thomas stabs the bride and then kills himself. The confl ict
between family interest and property, on the one hand, and making a right
choice, a choice ordained in the ballad by romantic love, honour and values
older than wealth, on the other hand, is quite clear in this text. This version
of the ballad was published in 1765, probably after transmission through
several generations of singers. Traditional singers, familiar with its formulaic
phrasing, also understood that they were expressing a very conservative view:
breaking old ties and old contracts lead to death, if not always of persons,
then of a society built on those obligations. This is a far cry from Mackenzie’s
man of feeling, and of the motif of feeling as a newly important aspect of
personality. In ballads love is akin to loyalty and obligation; in novels it was
opposed to the calculations on which marriages had been constructed by the
friends, to use an eighteenth-century word, of the couple. Marriage was at
the centre of many novels in the eighteenth century, and by the end of the
century, two Scots novels, among many in Britain, catalogued the new ideas
of marriage: Susan Ferrier’s Marriage, and Sir Walter Scott’s The Heart of
Mid-Lothian.
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Like the classic, and slightly earlier British novel that rede-
fi ned marriage, Maria Edgeworth’s Belinda, the new marriage emerged as
companionate, domestic, egalitarian and, compared with the violence, risk
and passion of the ballads, the new marriages were reasonable, loving and
tame – a domesticity based on domestication and mutual affection.
The Scots traditional ballads collected in the eighteenth and early nine-
teenth centuries provide very late early modern examples of the diffi cul-
ties of marriage and family life. The ballad found in more variations than
any other by late-eighteenth- and early-nineteenth-century collectors was
‘Mary Hamilton’, which is about infanticide.
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Others examine murder,
jealousy, betrayal, incest and parental violence. If we assume that ballads had
remained popular for several generations, up to the time of their collection
and publication, because they offered valuable counsel until a more urbane,
bourgeois population turned to novels and fashionable sermons for advice,
we have a variety of quite gruesome accounts of courtship still circulating
among eighteenth-century Scots, suggesting the memory of a society struc-
tured by force, threat, alliance and compliance with the wishes of others – a
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