Abstract
Abstract This article explores the pan-European phenomenon of the execution ballad, songs that told the news of true crimes and their punishment by public execution. Looking at examples across nine languages, from the sixteenth through the nineteenth century, this comparison reveals that these ballads share multiple features in textual content and format: a recognisable, formulaic narrative; sensationalist and emotive language; and a conservative perspective that confirms that the condemned is guilty and that ‘justice’ is being served. We also note key regional differences, such as in the use (or not) of contrafactum, the setting of new lyrics to familiar melodies, in the use of the first versus third person voice, and in the depiction of graphic violence, both of the crime committed and the execution. Ultimately, we argue for the existence of an almost universal tradition in Europe of how to sing the news of punishment.
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