'The re-issue of Cromer's Remains of Nithsdale and Galloway Song is justified rather by the rarity of the work, its interesting pictures of local manners, and the circumstances in which it was written, than by its claims to bear the name assigned to it by the Editor. The book owes more to Allan Cunningham than to tradition, and it is difficult to understand how far the English Editor was sincere in recording his belief that he was giving to the world a genuine collection of unpublished Nithsdale and Galloway Song. That Cunningham was the author of nearly all the pieces in the Collection there cannot be a reasonable doubt, and whether Cromek was so thoroughly hoaxed as his statements would imply, may be doubted. Apart, however, from its doubtful antiquarian claims, the volume is interesting as the production of a representative Scotsman, whose songs are at least founded on ballad and traditionary lore, and whose expositions of the manners and customs of the peasantry of his native district, embodied in the work, are replete with information which every antiquarian must prize. Robert Cromek, an engraver by trade, was a native of Yorkshire. He early became an enthusiastic student of ballad poetry, and interested himself in following up relics of the songs and manners of the past. When the songs of Burns were given to the world, he was so attracted by their delineations of Scottish life, that he made a pilgrimage to the North, and collected material for his Reliques of Robert Burns, which he published in 1808, and for which he was made a member of the Antiquarian Society of Edinburgh. After its publication he again visited Scotland, and it was during his second visit that he met Allan Cunningham, and secured the material which appears in the Nithsdale and Galloway Remains. Cunningham was at the time working as a mason in Dumfriesshire, but neglected his trade in his ardent pursuit of literature; and it was partly through Cromek's advice and influence, that in the very year when the Remains appeared, he went to London, and became connected with the newspaper press. It is said that Allan presented some of his poetry to Cromek, but received only feeble praise for his productions, until the thought occurred to him that he might secure more favourable criticisms if he appealed to Cromek's weak side, by saying they were traditionary remains. The bait took, the patron became enthusiastic, and the result was The Remains of Nithsdale and Galloway Song. Cromek died in London in 1812. His memory deserves the gratitude of Scotsmen. Though a native of the South, he gave his whole heart to the study of Scottish tradition, and his work is well worthy of being preserved. On the whole, it is probable that he really believed the representations made to him as to the nature of the poetry he published as Remains, and that Cunningham was the perpetrator of a hoax such as has been repeatedly imposed upon enthusiastic men of letters.' - from the Introduction to the Second Edition.

‘The Voice of the People’ presents a series of essays on literary aspects of the European folk revival of the eighteenth and nineteenth centuries, and focuses on two key practices of antiquarianism: the role that collecting and editing played in the formation of ethnological study in the European academy; and the business of publishing and editing, which produced many ‘folkloric’ texts of dubious authenticity. The volume also presents new readings of various genres, including the epic, song, tale and novel, and contributes to the study of several crucial European literary figures. Above all, it investigates the great anonymous authors of the European folk tradition – in narrative and lyric art – and their relation to the cultural movements and imagined identities of the peoples of the emerging nineteenth-century European nation.

The authorities told folk what they ought to believe, but what did they really believe? Throughout Scottish history, people have believed in fairies. They were a part of everyday life, as real as the sunrise, and as incontrovertible as the existence of God. While fairy belief was only a fragment of a much larger complex, the implications of studying this belief tradition are potentially vast, revealing some understanding of the worldview of the people of past centuries. This book, the first modern study of the subject, examines the history and nature of fairy belief, the major themes and motifs, the demonising attack upon the tradition, and the attempted reinstatement of the reality of fairies at the end of the seventeenth century, as well as their place in ballads and in Scottish literature.