@article{oai:kyukyo.repo.nii.ac.jp:00000113,
 author = {NAKASHIMA, Hisayo and NAKASHIMA, Hisayo},
 issue = {2},
 journal = {九州共立大学研究紀要, Study journal of Kyushu Kyoritsu University},
 month = {Mar},
 note = {Literary balladry has not been acknowledged as a literary genre as traditional balladry has in the history
of English and Scottish literature. This is because the types of imitation are so varied and quite often
subtle, and it is rather difficult to define a piece of work as a literary ballad. Therefore, literary balladry
has not provided researchers and readers with an adequate amount of texts. As a result, the study of
the literary ballad has not fully matured.
However, the nineteenth century saw the blossoming of literary balladry when more than 60 poets
created over 400 literary ballads. The purpose of this review paper is to provide a rough sketch of the
genealogy of English and Scottish literary balladry from the early eighteenth century to the nineteenth
century. The paper begins with an introduction of three representative ballad scholars in the twentieth
century. As the predecessor of the nineteenth century literary balladists, Lady Elizabeth Wardlaw’s
deviation from simple imitation is discussed. In the Romantic era, the sentimentalized tendency of
Wordsworth and Keats is stated. Among the Victorian balladists, refrain technicians are outstanding.
Tennyson and Rossetti succeeded in expressing the complicated psychology of the narrator with varying
some refrains of traditional ballads. But excessive devotion to the ballad technique produced the
cultural phenomenon of parody. Trail’s parody ballad shows a critical spirit against blind following of
the contemporary popularity of ballad refrain.},
 pages = {1--13},
 title = {The Genealogy of English and Scottish Literary Balladry from the Early Eighteenth Century to the Nineteenth Century},
 volume = {2},
 year = {2012}
}