Ermeline — A Closer Reading

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Borrow, George, 1803-1881 [Translator], Wise, Thomas James, 1859-1937 [Editor] Project Gutenberg 2008 Not confirmed
English poetry Readers of public-domain and historical texts
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Edition facts

Words 5,584
Reading time 25 min
Text sections 1

This digital edition of Ermeline — A Closer Reading is described by source-level measurements including 5,584 words, 25 min estimated reading time, and 1 detected text section.

The text analysis averages about 24.9 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “English poetry,” connecting these edition facts with the source record’s subject description.

George Borrow's translation of a Danish ballad follows Sir Thunye's encounter with the Dwarf's daughter beneath a linden tree, where her Runic harp-playing blurs the boundary between human and elfin realms.
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Read the Text

Transcribed from the 1913 Thomas J. Wise pamphlet by David Price, email ccx074@pglaf.org

LONDON: PRINTED FOR PRIVATE CIRCULATION

With lance upraised so haughtily Sir Thunye rides from Alsey town; On land and main he was, I ween, A daring knight of high renown.

Sir Thunye rides in good green wood, He fain will chase the nimble hare; And there he meeteth the Dwarf’s daughter, All with her band of maidens fair.

Sir Thunye rides in good green wood, To chase the nimble hart and hind; And there he meets the Dwarf’s daughter, Beneath the linden bough reclin’d.

She rested ’neath the linden’s shade, The gold harp in her hand was seen: “O yonder I spy Sir Thunye ride, I’ll bring him to my feet, I ween.

“Now sit ye down, my maids so small, And sit you down my little foot boy; For I the Runic note will play, Till field and meadow bloom with joy.”

Then struck she amain the Runic stroke, The harp began so sweet to ring, The wild bird on the twig that sat Forgot its merry song to sing.

The wild bird on the bough that sat Forgot its merry song to sing; The wild hart running in the shaw Forgot forthwith to leap and spring.

Then bloomed the mead, the bough burst forth, As wildly rang that Runic strain; Sir Thunye fiercely spurred his steed, But, ah! to ’scape he strove in vain.

It was the knight Sir Thunye then From his good courser bounded he; He went up to the Dwarf’s daughter, And took his seat beside her knee.

“Hail to thee, Daughter of the Dwarf! Do thou become my wedded wife, And I’ll respect and honor thee, All, all the days I gain in life.

“Here sitt’st thou, Daughter of the Dwarf, A rose amongst the lilies all; No man can see thee in this world But thee his own he fain would call.”

“Now list to me, Sir Thunye the knight, Give up, I beg, this amorous play; I have already a bridegroom bold, The King whom all the dwarfs obey.

“My father sits within the hill, He marshals there his elfin power; Next Monday morn my bridegroom bold Shall bear me to his elfin bower.

“My mother in the hill doth sit, And plays with gold that round is strewn; But I stole away from out the hill, To play upon my harp a tune.”

“O ere the Dwarf shall thee possess, And his shall be a bliss so high, O I will lose my youthful life, And break my faulchion willingly.”

Then answered straight the Dwarf’s daughter, And with a frown thus answered she: “O thou may’st gain a lovelier bride, But ne’er, Sir Knight, wilt thou gain me.

“Now haste away, Sir Thunye the knight, I rede thee for thy life take heed; My father and my bold bridegroom I ween will both be here with speed.”

It was her mother, the Dwarf’s Lady, She peeped from out the mountain’s side; And she was aware of Sir Thunye there, Standing beneath the linden wide.

Out came her mother, the Dwarf’s Lady, And anger shone upon her face: “Now hear Wolfhilda, daughter mine, But ill beseems thee such a place.

“Thou’dst better sit within the hill, And sew the linen white as snow, Than come to strike the gold harp here, Beneath the verdant forest bough.

“The King of the Dwarfs has wedded thee. Thy free consent he sought and won; Yet thou hast dared Sir Thunye here To chain with stroke of magic Rune.”

It was the daughter of the Dwarf Must weeping into the mountain flee; Devoid of sense Sir Thunye went Behind her, nor could hear nor see.

But hear what did the wife of the Dwarf: With silk so soft a stool she spread, And there he sat till crow of cock, As though he had been stark and dead.

But hear what did the wife of the Dwarf: The book of power forth she brought, Therewith she broke the Runic thrall, Wherein the hero had been caught.

“Now have I freed thee from the Runes, They never more can thee oppress: This have I done for honor’s sake, My daughter thee shall not possess.

“Much more, Sir Knight, for thee I’ll do, For sheer goodwill and affection pure; I will for thee a bonnier bride Than any elfin maid procure.

“I was not born in this wild hill, Of Christian folk I am the child; An only sister I possess, And she Dame Ermeline is stil’d.

George Borrow's translation of Ermeline opens with a knight riding from Alsey town, lance upraised, into a greenwood that quickly becomes a threshold between worlds. The ballad's structure hinges on repeated, almost ritualistic movements: Sir Thunye rides to chase game, encounters the Dwarf's daughter beneath a linden, and is drawn into a static, enchanted space where her harp-playing halts birds and harts. The narrative shifts between the knight's active pursuit and the daughter's reclined, musical stasis, a pattern that recurs as the scene moves from forest to mountain.

Recurring Thresholds and the Linden Tree

The linden tree appears three times in the opening stanzas, each time as a fixed point where the human and elfin worlds intersect. The Dwarf's daughter is first seen "beneath the linden bough reclin'd," then later Sir Thunye stands "beneath the linden wide" as her mother emerges from the mountain. This tree is not merely a setting but a structural anchor: it marks the spot where the Runic harp is played, where the knight dismounts, and where the mother's anger erupts. The ballad's movement between forest and hill is always mediated by this tree, suggesting a liminal zone where enchantment takes hold.

The Harp as Agent of Transformation

The Dwarf's daughter strikes "the Runic stroke" and the harp's sound causes immediate, physical changes: the mead blooms, boughs burst forth, and wild creatures forget their natural motions. The bird on the twig "forgot its merry song to sing," and the hart "forgot forthwith to leap and spring." This is not mere decoration; the harp's music actively rewrites the laws of nature. Sir Thunye, too, is affected—he spurs his steed but cannot escape, eventually dismounting to sit beside her. The harp functions as a narrative device that halts the knight's forward momentum and compels him into the elfin sphere.

Dialogue as a Clash of Perspectives

The ballad's dialogue reveals a sharp contrast between the knight's courtly language and the daughter's pragmatic warnings. Sir Thunye offers marriage and honor, calling her "a rose amongst the lilies all." She responds with direct refusal, citing an existing betrothal to the Dwarf King. Her speech is laced with urgency: "Give up, I beg, this amorous play" and "I rede thee for thy life take heed." The mother's dialogue reinforces this tension, scolding her daughter for leaving the hill and sewing linen. The exchanges are brief but layered, showing the knight's romantic persistence against the daughter's awareness of elfin law.

Movement Between Interior and Exterior Spaces

The ballad repeatedly contrasts the open forest with the hidden interior of the hill. The Dwarf's daughter "stole away from out the hill" to play her harp, while her mother "peeped from out the mountain's side" and later emerges in anger. The father sits "within the hill" marshaling elfin power, and the mother "in the hill doth sit" playing with gold. These interior spaces are never described in detail; they remain mysterious, offstage presences that exert pressure on the forest scene. The narrative's movement—from Alsey town to greenwood to mountain—traces a path from human territory to the edge of an unseen elfin world, leaving the hill's interior as a persistent, threatening elsewhere.

Readers attentive to the ballad's repetitions will notice how the same phrases—"in good green wood," "beneath the linden," "forgot its merry song"—create a hypnotic rhythm that mirrors the harp's enchantment. The incomplete excerpts leave the resolution uncertain, but the pattern of threshold-crossing and musical compulsion is already established. This edition, transcribed from the 1913 Thomas J. Wise pamphlet, preserves the ballad's stark, oral-formulaic style without editorial interpolation.

I keep thinking about how that ballad in Ermeline hums between the worlds, the way a tune can hold you without you knowing why. It reminded me of the quiet ache in Riley Child-Rhymes — Inside the Classic, where a childhood verse stays with you, soft and strange, like a scrap of song you carry into grown-up quiet. Both left me a little homesick for somewhere I've never been.

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