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Author of the History of Poetry in Scotland, a Journey througlh the different parts of Scotland &p.&e;.
PirBLisHED by Oliver & Botd,
AND SOLD BY CLEMENTI & C. & LAW '.t WHIT TAKER LONDON;
fc the Principal Music ^Booksellers in the United Kingdom.
1816.
PREFACE.
Rational amusement is as essential to the mind as food
and raiment are to the body : wherefore, to arrange skill
fully, and administer with proper effect, such innocent
entertainment as a reflecting being can relish, may fairly
be reckoned no unworthy employment, in a state of society
of the highest possible polish.
Those who prepare the mental banquet deserve no less
encouragement and approbation than they who provide for
the more immediate wants of nature: nay, inasmuch as
mind is superior to body, the former has undoubtedly
juster claims to commendation than the latter. Hence, in
the unpolished as well as in the more advanced stages of
civilization, we find, that the skilful artist and man of
science are regarded with enthusiasm, rewarded with hon-
ours, and remunerated with substantial emolument.
The elegant pursuits of Music, Poetry, Painting,
Sculpture, and Architecture, depend more on taste than
the more abstract speculations of science, which bring into
action the intellectual energies of the human mind: and
taste depending greatly on the feeling and imagination of
die individual, hence that diversity of opinion regarding
public and private amusements, observable in all ages, and
in different sections of the habitable globe.
Music, of all the Fine Arts, is that which yields the
most transient entertainment. Its power over the imagina-
tion being exquisite, in proportion to the brevity of its
duration, may in some measure account for the avidity with
which the .gratification is sought after by those who are
susceptive to its charms ; while, on the contrary, to those
who derive pleasure from sources of a more palpable, and
relatively more permanent, nature, seem to disregard the
beauty of that elegantly simple concatenation of tones
called Melody, or that combination of co-existing notes
called Harmony and too frequently, to hold " the science
of sweet sounds" as unworthy of attention, in comparison
with the more abstract speculations of the human under-
standing. The discussion of this topic would here be
entirely out of place.
Taste has ancient models of relative perfection to guide
discrimination in all the Fine Arts, — Music excepted.
Whether the melodies of savage or of barbarous nations
be worthy of being considered as Music, in the general
acceptation of the term, might form the subject of very
interesting disquisition. Such melodies being the voice or
breathings of Nature, and inasmuch as they please the ear
of those accustomed to a more artificial arrangement of
sound, the musical remains of the more remote times may,
on due examination, be found worthy of being rescued
from that oblivion into which they must inevitably fall,
unless, ere it be too late, they be placed on record, and thus
authenticated and consigned to future ages.
That the melodies alluded to are referable to a certain
criterion, or series of tones, peculiar to stages of civilization
but little advanced in the progress of human refinement, the
present Editor has demonstrated at considerable length
elsewhere.* The discovery of this remarkable fact was the
result of observation and repeated trial, conducted in the
order of induction; and the rational conclusion thence
drawn was, that there exists a striking coincidence of the
scale of tones to which the melodies of Scotland, Ireland,
• Fide History of Poetry in Scotland, " Convertation on Scotish Song."
and (in many respects) those of Wales, are referable, in
their structure, or succession of intervals, to the old enhar-
monic scale of the Greek music, to which the oldest na-
tional airs of Greece were referred.
But this is not all. It is no less remarkable, that the
scale of the Chinese music is precisely that of the old
Greek enharmonic ; and both the scales in question are
exactly the same as the scale to which the melodies of this
and of our neighbouring Island are referable, in the minor
mode, or flat series, as writers on music call it. It is well
known also, that the more ancient airs alluded to origi-
nate in a scale or gamut of a sharp series, or major mode.
But in order to demonstrate this matter distinctly, and to
the satisfaction of every one the least acquainted with
music as a scientific art, here follow the Diagrams, or
Scales Major and Minor, in systematic connection.
Fig. 1.
Fig. 4. Tlie Primary Scale of Music.
MAJOR.
Fig. 5. The same transposed to G, and to its Relative,
E Minor.
explanation of the above diagrams.
Fig. 1. Exhibits the order of the musical intervals, which
the late truly learned and highly ingenious Dr Charles
Burnky considers as the ancient genuine Greek enharmonic
scale or octave ; in which the trite and lichanos, i. e. the
third and seventh (reckoning downwards), are omitted.
Fig. 2. Exhibits the order of the musical intervals, which
Borney considers as the Dorian mode; in which the
tetrachords, or thirds, are omitted ; which omissions answer
to the fourth and seventh of the diatonic scale of modern
music.
a
Li
il
PllEFACE.
Fig. 3. Exhibits the preceding intervals transposed to
the black or short keys of the organ or piano-forte ; on
touching which in regular succession, either upward or
downward, or in any direction, the sounds produced bear
so striking an analogy to our Scotish and Irish melodies.
This has been observed time out of mind.
Fio-. 4. Exhibits the Dorian mode and old Greek enhar-
monic scale (transposed), in systematic connection; and
answer to the major key of C, and its relative key of A
minor, of the modern system of scientific music.
Fig. 5. Exhibits the same order of intervals, transposed
to the key of G, and its relative, E minor.
Fig. 6. Exhibits the arrangement and compass of a
Chinese musical instrument, which Btjrney had seen in the
possession of the Abbe Arnaud of the French Academy.
By comparing these Diagrams, the striking similitude,
or rather identity, of the Chinese, Grecian, and Scotish
6eries of musical intervals or scales, must impress one with
this general conclusion. The primary scale of music is
that which the Fig. 4. of the above Diagrams exhibits to
the scientific musician, and amateur who is conversant with
music as a scientific art.
Having shewn that there is a certain criterion or series
of musical intervals, major and minor, which, as being the
most ancient, may be called the primary scale of music,
it would here, perhaps, be proper to consider, how, in the
progress of art, the major sixth, or flat seventh, so affecting
a tone in the less ancient airs alluded to, came naturally
into use among the performers of very remote ages ; but
the very narrow limits the Editor has necessarily allowed
to himself, will not suffer him to dilate the discussion of
this part of the subject. Suffice it for the present to say,
that the sweetly plaintive tone called the jtat seventh, so
frequently introduced in the melodies indigenous to this
and our sister Island, must be of very ancient origin ; and
the presumption is, that it long preceded the introduction
of the third tone in the diatonic scale, which, together with
the sharp seventh, completes the series in the octave of
scientific music.
All British and Irish travellers unite in mentioning
their being struck with the similarity of the Asiatic and
African melodies to those of their respective countries.
Those airs which the Editor has collected, from time to
time, from persons of his acquaintance who have returned
from foreign travel, convince him of the truth of the re-
markable fact alluded to, and which now so universally
obtains ; and he has reason to believe, that the more ancient
airs of universal Europe are similar to those now about to
be rescued from that oblivion into which they would soon
otherwise have fallen.
From what has been briefly stated above, it should seem
that melody is nearly of the same cast among all nations,
and at correspondent periods or stages of civilization. Hence
that striking similarity in the structure of the melodies of
countries and people so far distant from each other, and so
dissimilar in articulate language, customs, and manners.
But music being an universal language, and the voice of
Nature, referable to the ultimate facts of science, the wonder
ceases, while the admiration remains, in contemplating the
beautiful relics of ancient melody, so elegantly artless, and
at the same time so affecting and pathetic, when given with
simplicity and effect.
The history of Scotish Music and Vocal Foetry is a
subject of too great extent to be comprised in a book of a
hundred pages. With respect to the origin of the melodies,
enough has been suggested to establish their claims to very
remote antiquity ; and their introduction into the islands of
Great Britain and Ireland being, in all probability, coeval
with the Aborigines or first inhabitants, there is little room
to doubt that many of the airs still extant have come down
to us in all their primitive simplicity and characteristic
peculiarities.
It will be asked, by those but little acquainted with the
subject, " Whether the melodies of the Scoto-Gael, and
those of the Scoto-Saxons, differ widely in point of struc-
ture, or cast of character V The reply is very obvious : —
They do not essentially differ ; and their shades of differ-
ence are really so imperceptible, as frequently to elude
discrimination. The truth is, that the present Editor made
repeated trials of this fact during his late journey to the
Highlands and Western Isles, by singing to the natives
several of the Lowland melodies, and some of the Border
airs ; when these tunes were immediately recognised as
old Hebridean and Highland melodies. The same thins
has frequently occurred when the Editor made similar-
experiments, while travelling in the Lowland districts ;
when the Lowlanders exclaimed against the inhabitants of
the Grampians and Isles for stealing from them their music,
as well as their more substantial goods and gear; assigning
a much more recent date to the latter depredation than to
the former musical transference or transposition. But
mistakes of this sort are very natural, more especially with
respect to the subject under present discussion ; and as the
melodies alluded to are referable to one and the same
criterion, the mistake here pointed out is of very obvious
solution. Hence the general conclusion is, that the tunes
of the Scoto-Gael and of the Scoto-Saxons have the same
origin with the melodies of our neighbours the Irish and
Welsh, and, in all probability, those still extant among our
Scandinavian neighbours — nay, of the millions that inhabit
the shores of the Baltic, and even the borders of the Caspian
Sea. It would yield matter for a curious, if not an inte-
resting, inquiry regarding the several orders of bards,
minstrels, harpers, pipers, crowd, rebec, and violin players,
were the limits of this preface not so circumscribed. This
subject being reserved for a supplementary volume to the
present work, will be a sufficient reason for touching on it
in so slight and brief a manner as must be done in the
present sketch.
Vocal poetry, and its conjunctive air, aided by the
skilful handling of a musical instrument, such as the lyre,
harp, lute, &c. were regarded in all ages as the most im-
pressive vehicles of commendation or invective. The facul-
ties of rhyming, singing, and playing, being, in savage and
barbarous ages, more rarely called into action than in more
refined stages of civilization, the possessors and practitioners
of these seemingly supernatural gifts excite wonder, admi-
ration, and delight. Hence they arc held in high estima-
tion ; and names are invented to distinguish them above
the ordinary classes of the social order. Thus, for example,
among the more ancient inhabitants of Great Britain, the
appellation Bard gave honourable distinction to an order of
men held in enthusiastic estimation by prince and people.
This assertion is supported by historical evidence. The
passages usually cited by writers on this subject are to be
found in the writings of Diodorus Sicutus, AmmianPe
Marcellinus, and Girald Barry the Welshman, com
monly called Giraldus Cambrensis.* The first of these
* See the passages alluded to quoted in the original languages, and trans-
lated, in Mr John Gunn's learned and elegant " Historical Inquiry respecting
the Performance on the Harp in the Higlilands of Scotland," pp. 27, 58, 59,
60, 61, 63.
PREFACE.
iii
writers was contemporary with Julius and Augustus
Cesaks ; the second flourished in the fourth century ; and
the last was preceptor to Prince John, son of King Henry
the Second of England.
It is well known, that Bard was synonymous with poet
and musician united in one and the same individual ; and
that, from the days of Homer down to Ossian — nay, till
much nearer our own times — the composer of lyric or vocal
poetry was likewise the performer, and gave additional
effect to his performance by his skilful accompaniment on
the lyre, harp, crowd, rebec, lute, or some such musical
instrument as happened to be in use at the time he flourished.
It should seem, however, that at the dawn of refinement, in
the middle ages, the poet and musician became separate
callings : whence arose a somewhat modified order of exciters
of sensibility, called Troubadours among the French, Min-
strels among the Anglo-Saxons and Scoto-Saxons ; con-
cerning which, learned and ingenious writers, but recently
deceased,* maintained very contrary opinions. As the
discussion of this point is reserved for a future portion
of the present work, let us pass on to review the state of
vocal poetry and instrumental performers, from about the
beginning of the twelfth century down to the commence-
ment of the present.
Taking Giraldus as a sufficient authority, we find him
expressing his opinion of our National Music in the following
words : " It is to be observed, however, that both Scotland
" and Wales, the former from intercourse and affinity of
" blood, the latter from instruction by the Irish, exert
" themselves with the greatest emulation to rival Ireland
" in musical excellence. In the opinion of many, however,
" Scotland has not only attained to the excellence of Ireland,
" but has even, in musical science and abilityJt/ur surpassed
" it, as to the genuine source of the art.,,-J-
In the year 1249, at the coronation of Alexander the
Third, when as yet the Gaelic language was that of the
court, we find it mentioned by our historian Fordun,| that
a Scoto-Gael or Highland bard appeared in his proper
habiliment (i. e. scarlet robe), rehearsed, in his vernacular
dialect, the genealogy of that prince, up to Fergus the
First of Scotland. We are left in the dark regarding the
manner of this bard's recitation, whether he was accom-
panied with the harp, tiompan, or clarsach, or the more
sonorous tones of the great Highland bagpipe, as it is
called.
In the year 1329, when David, the son of Robert de
Bruce, was (while yet an infant) espoused to Joan, sister
to Edward the Third of England, mention is made in the
Exchequer Rolls, § of specific sums given to minstrels who
performed at the nuptials of the royal pair. The ceremony
took place at Berwick-upon-Tweed. This historical docu-
ment proves, at least, that minstrels were the musicians of
the times. The presumption is, however, that they were
mere instrumental performers, as they appear afterwards
to have been, when mentioned in the records subsequent to
the period mentioned above.
On the return of our James the First {anno 1424),
after a nineteen year's captivity in England, he found his
nobles proud, imperious, ungovernable ; and their vassals,
• The late Bishop of Drumore, Dr Percy, and the late Mr Joseph
Ritson, the celebrated literary archaiologist.
•f Notandum vero, quod Scotia et Gwallia, haec propagationis, ilia commea-
tionis et affinitatis gratia, Hiberniam in modulis semula imitari nitantur dici-
plina. Multorum autem opinione, hodie Scotia, non tantum magistram
ajquiparavit Hiberniam, verum etiam in musica peritia, longe praevalet et
praxellit; unde et ibi quasi fontera artis jam requirunt. Girald. Camb.
Topog. Hiher.
f Scoticliron. lib. x. c. 2.
§ In the account of Robert Peblis, Chamberlain of Scotland, given in at
Scone, 28th August 1329. See Exchequer Rolls, vol. i. p. 86.
and the great body of the people, imitating the higher
orders in vice and folly. He himself, a poet and musician,*
as well as a lawgiver and magnanimous prince, was anxious
to encourage the humanizing arts, in which he so much
excelled his subjects ; even the harpers of the Highlands
and of the Hebrides, who were said to be inferior to this
accomplished king, and father of his people, as the Historian
of Scotland emphatically calls himf . But, in the flower of
manhood ami career of glory, he fell a sacrifice to cabal and
the hatred of traitors, among whom was his own uncle,
Walter Stuart, Earl of Athol. This horrid murder
was perpetrated in the monastery of Blackfriars, Perth, in
November 1437.
The son and successor (James II.) of the murdered
monarch was killed by the accidental bursting of a cannon
at the siege of Roxburgh castle, A. D. 1460. We hear
nothing of his predilection for the Fine Arts. His son,
however, was of a different cast, nay, even to excess ; for
his associates were chiefly artists, and, among others, musi-
cians.J This good-natured, but ill-fated king, fell by the
hand of an assassin — a priest, who, in the act of administer-
ing absolution, stabbed the Lord's anointed to the heart !
This tragical event happened in June 1488, after his retreat
from the battle of Sauchyburn, in which his son and suc-
cessor, James the Fourth, headed the rebels. §
Sorely did the Scotish Absalom rue the fatal error into
which his inexperienced youth had hurried him. At the
age of sixteen, this youthful monarch began his reign. In
his person handsome and graceful, easy, yet dignified,
prepossessing in his manners, and most winning in his
demeanour, he reigned in the hearts of his people, with
whom he seemed always on habits of condescending inti-
macy. That he encouraged artists, and particularly mu-
sicians, is proved by the Exchequer Rolls of his reign,
excerpts from which are subjoined in a note ; || which
curious document will shew that music was in high estima-
• Vide John Major's History of Scotland, book vi. c. 14.
■f Vide Robertson's History of Scotland.
t The Accounts of the Gr. Ch. of Scotland, and of other Officers of the
Crown, rendered at Ex.
1174
Item gevin at the kingis command iij° Septembris to John Broun lutare At his
pafTage oure fey to leve his craft - - -' - - - v li.
Item to the trumj/atcs 6 eln of blew for their gownes price of the elne 16 sh
Item 4 elne of blak for their hose 13 sh the elne
Item 10 elnes of blak holmefs fustian to the trumpatis doublats 3 sh the eln
Item fra Will of Rind to the kingis lutare the boyc 2 eln of fustiane
1 eln of braid clath
Item for a pair of hose to him of blac v sh
Item gevin to AndQ balfour 11 Junij to by lyning & smale grath to the kingis
title lutare 6 sh 8d.
§ Vide Dhumjiond of Hawthomdcn's History of James III. p. 60.
|| Apr. 13. 1490.
Item to the trumputts ...... L.5 8.
Item to Blind llary - - > ■ - . . jg.
Item to Benat ...... jg_
Item til ane odcr fyd'ar .......5
Apr. 19. 1490
To Martin clarefihate and ye toder crfchc elarefchwte at ye kingis command 18 s.
May 1490 til ane erfche harper at ye kingis command . _ 18 s.
Ap. 5.' 1491
Item to the trumpets 6 unicorns
Item to Blind Hary - - - 18 s.
Item to Benat .... 18 s.
Item til a harper - - - 18 s.
Aug. 21. 1491
Item to iiij Inglis pyparis viii unicorns L.7 4
1496
April giffin to James Mytson the harpar at the kings command . 13 4
June to twa icemen that sang to the king ----- 13
July to lundoris the lutare at the kings command - - - 13
■ ' to Jacob the Itttar at the k. command .... 13
Sonday ) to John pret the payntour at the k. command - L.5 19
Jul. 17 ) to John of wardlaw the lutar - - . . . 18 sh
Aug. 1. Item that same day giffin to the harpar with the a hand 9 sh
Mar. 14. Item that samyn day to a man that playit on the clarjcha to the king 7. s
July 21. 1497. to the pyonouris to gang to the castell to help with Mons
doun 10. s.
Item To the mcnstrallis thatplayit before Mons doun the gait 14 sh
January 1. 1512, 1513.
Item gevin to the mcnstrallis the famyn day that is to say Italianis, franche men,
fcottis trumpettis, lutaris, harparis, & vther fcottis menstrallis to the nowmer
of xxv perfonis To euer Ilkane of thame xiij s~ summa - xvij li x s~
Item the thrid day of Januar gevin till ane bardc wife callit agnes Carkill at
the kingis command .... xhj s--
PREFACE.
tion at the court of the Hero of Flouden-field, which was
fought in autumn 1513, and where that monarch disap-
peared from the face of the earth.
His son> James the Fifth, was, like his father, beloved
by his people, among whom he delighted to associate as one
of themselves. Many of our popular songs are said to be
of James's composition. Be this as it may, there cannot
be the shadow of a doubt that he encouraged minstrelsy
with enthusiasm, and was the warm patron of all those who
excelled in learning and ingenuity. It is well known that
his latter days were embittered with a series of disappoint-
ments and mortifications ; and if he did not die a violent
death, he died of a broken heart.*
Mary, the beauteous Queen of Scots, the only child of
James the Fifth, was born in the palace of Linlithgow,
A. D. 1542, and succeeded to the crown while an infant of
but a few days old. The beauty of her person, mental
acquirements, varied life, misfortunes, long captivity, and
death, belong to the record of regular history. Regarding,
however, her knowledge of music, a few particulars may
be mentioned, as properly belonging to the subject under
present review. But before stating any of the points
alluded to, the following excerpt from the Exchequer Rolls
will serve as a connecting link in the chronological order
observed in the present rough sketch of this part of our
inquiry. " Feb. 6. 1557. Item be the Quenis speciale
" command to David Malville indueller in Leith for ane
" pare of organes to the chapell in fhepalice of the abbay
" of Halirudhouse — L36."-f- The queen-dowager, Mary
of Lorraine, is the personage here meant ; for at this period
Mary Queen of Scots was in France.
That there were organs in our chapels and cathedrals
long before this, is pretty certain ; consequently the vocal
portions of the service were accompanied with those instru-
ments : and it is also certain, that our James the First not
only introduced organs into the service of the church, but
also founded an institution for the instruction of the clergy
in music. £ And Ave shall see, in a subsequent section of
the present inquiry, this fact alluded to, when Music Schools
come to be mentioned.
Having now traced music and vocal poetry from the
time the Romans invaded Britain, citing the record of
chronological history as we went along, to establish the
authenticity of the particulars stated, — we have arrived
at a momentous era of the history of the human mind, too
extensive to be embraced in the compass of these pages.
The era alluded to is that of the Reformation.
Brantome, who accompanied Queen Mary from France
to the capital of her Scotish realm, mentions, that on the
March 17.
Item the faid day to the curat of the canongait for the tyrement of ane Italiane
trumpet - - - - - 54 sh
Among the expenses of the " Vestvmenta Scruitorum" Regis, 1512, are the
following :
Item to xiiij menstrallh Italianis franchemen trumpctis fchawm&ris & ta-uilroun-
crU to thair claithis Ilk man for his gowne doublatte &• hsifs vj li x s~ 91 li
Stipendia Operutorum.
Item ye x day of nouember to Juliane drummond & his vij complicis Italiane
menstrallis & trumpcttis for the monethis Of december instant, & Januar
tocum to Ilkane of thame L4. 7. 6d be the faid tyme
Item the faid day to James dauenecourt boncrufs and thair complicis menftraVis
franchemen quhilk ar vj perfonis in the haile for thair wagis of the saidis
monethis of nouember december and Januar to ilkane of thame L4. 7. 6
x maij
to Julian drummond & his four complicis Italiane mcnstrallis thar quarter waige
at beltane &c. &c.
Item the fame day to gilliaume taiehroncr & his four complicis franche men-
strallie thair quarter wage of the said terme ilk man L4. 7. 6
Item to ane Italiane trumpet of quhilk his tua complicis paft in Ingland and
the thrid deit for his quarter wage L4. 7. 6
Item ye xj day of Julij to Odonelis harpar quhilk past away with him be ye k.
command - - - - - - 7 li
• He died at the palace of Falkland, in Fife, on the 14th December 1542.
■f Treasurer's account for 1557. .
$ Vide Boetuii Scotorum Historia, foL 362.
night of her arrival at the palace of Holyroodhouse, the
citizens serenaded her with psalms and spiritual songsj
accompanied by scraping catgut on the rebec and fiddle,
till the queen and her French attendants had enough of it.
" Quelle musique, et quelle repos pour sa nuit !" exclaims
the delighted Frenchman. *
Whether Mary delighted in the melodies of her native
country is left to conjecture. Educated from her in-
fancy in France, the inference is, that the music which
Rousseau censures, as still existing in his day, was that in
which the accomplished Queen of Scots was said to excel.
The harp, called " Queen Mary's Harp," is still extant ;-f-
but that she could handle it skilfully is not left on record.
Her ill-fated secretary, Rizzio, was, till very lately, sup-
posed to have composed our most popular music. J Poor
David Rizzio compose our national melodies !
When reformed order arose, " in the beauty of holiness,"
out of the horrible confusion of furious fanaticism, our
native melodies were supplanted by the exotic drawls of
psalmody ; or " gude and godly ballads,'1 adapted to a few
of those melodies which are mentioned in Veddekburn's
" Complainte of Scotland," printed in anno 1549, and in
pious publications subsequent to the period under review. §
Church music, || however, although hastening to decay,
was revived by royal authority, as the following act of
parliament will clearly establish.
" For instructioun of the yhouih in miiftk
" For inftructioune of the yhouth in the art of mufik
" and singing quhilk almaist decayit and fall fchortly decay
" without tymous remeid be prouidit our fouerane lord
" with auife of his thrie estaitis of this present parliament
" Requeistis the prouest baillies counfale and communitie
" of the maist special burrowis of this realme And of the
cc pratonis and prouestis of the collegis quhair sang senilis
" ar foundat To errect and sett vp ane sangscuill with ane
" maister sufficient and able for instructioun of the yhouth
" in the said science of musik As they will answer to his
" hienes vpoune the perrell of thair fundationis and in
" performing of his hienes requeist do vnto his maiestie
" acceptable and gude plesour."
Acta Parliamentorum, A. D. 1579, p. 174.
But many years had not elapsed, when it appears, by a
subsequent act of parliament which was passed, respecting
the chapel royal of Stirling, that the fund for " interteyne-
" ment of ane certane nowmer of musicianis To mak
" residence and service in his hienes houfs and chappell at
" all tymes requisit" was entirely exhausted, so " that the
" saidis musicianis ar not hable to mak residence, nor thair
" is nathing left to theme to leif vpoun," Bot that the said
" erectioun and fundacioun appearis alluterlie to decay.
« THAIRFOIR," &c. &c.
Acta Parliamentorum, A. D. 1594,
" Anent tlie chappell royal of StrirwiUng?
* It should seem the citizens of Edinburgh were ever disposed to regale with
their psalmody delighted Majesty ; two instances whereof are on record. The
first was when Anne of Denmark was welcomed, on her arrival to espouse our
sixth James ; and the second time was when that timid monarch returned
quaking from Perth, having, as he solemnly asserted sitting on the cross of
Edinburgh, that he had escaped the sword of the assassin, in his miraculous
escape from Gowrie-house, where the regicides were assembled-
+ See Gunn's Historical Inquiry, p. 77.
X There are many collections (printed in London), to the melody of many
songs in which the name David Rizzio is affixed as the supposititious com-
poser.
§ See History of Poetry in Scotland, vol. i. p. 129 ; and see Additional
Notes, same vol. pp. 362, 363, 364, article, " Geddes's Saint's Recreation,"
in which are mentioned a few of our most popular Lowland Airs then in vogue.
|| The music for the cathedral of Dunkeld (5 volumes quarto) is among tlie
MSS. of the Edinburgh University, sigs. A, C, H.
PREFACE.
V
In a sumptuary law, passed in A. D. 1621 , the following
are two of the specific clauses of certain privileged orders
exempted from the rigour of its application. " It is heirby
" ordanit that no [cloathes] be guildit with gold. 10. Item
" it is sicklyke statuted that minstrellis be exemit."
But a sweeping calamity was near at hand for the Scotish
sons of Apollo ; which the excerpt following will, alas !
but too plainly demonstrate.
Acta Parliamentorum Jacobi VI.
" And all menstrallis sangstaris and tail tellaris not
" avount in speciall service be sum of the lordis of parlia-
" ment or greit barronis or be sum of the heid burrowis
" and citeis for the common menstrallis all vagaboundis
" scollaris of the vniuersiteis of Sanctandrois glasgow and
" aberdene not licencit be the rector and dene of facultie
" of the vniuersities to ask almous salbe taken adiugeit
<£ demed and pvneist as Strang beggaris and vagaboundis.'"
Append, p. 87.
We see now into what disregard, nay, disgrace, our
Scotish musical tribe had fallen, when the renovated facul-
ties of the Reformers had finally triumphed over the dor-
mant energies of the Beast " with seven heads and ten
" homs.11
The bards of this age, in like manner, suffered renewed
persecution ; but whether this calamity spurred on their
Pegasus, or damped the fire of their Doric Muse, is
left to conjecture. One thing is certain, that this once
privileged order seems to have been, from the days of
Edward the First of England to the reign of Charles
the Second and his immediate successor, legally devoted to
all the horrors of outlawry, nay, proscription. " Justice
" should be done (says one of our old acts of parliament)
" vpon maisterful beggars and sorners as vpon theives or
" reavers feinzed foolis bairdis or rinners about — at last
" after sundrie punishment may be hangit.11 *
During the ascendancy of the Covenanters, after their
political and religious struggles against their native prince,
and, alas ! decapitated monarch, our Doric Muse was
suffered to pine in solitude, and her sweet and pathetic
strains were foregone for the hosannahs of martyred enthu-
siasts, who suffered for the cause that eventually triumphed.
But while the west and south-west districts of Scotland
were deluged with the blood of those who were stigmatised
rebels by the persecutors, and dignified with the appellation
martyrs by the persecuted, the inhabitants of the east coast,
particularly the citizens of Aberdeen, were moderate in
their sentiments, industrious in their habitudes, and not
unmindful of the more elegant pursuits of the Fine Arts ;
witness the great attention they paid to printing. And,
what is not a little remarkable, it appears that the printers
of Aberdeen possessed music types: in proof of which,
Forbes1 s Collection of Songs, &c. set to music, printed
in 1666, and reprinted in 1682 ; three copies of which
were in the present Editor's possession, till his library was
wrenched from him by the chicanery of certain caterpillars
* Jacobi II. pari. 6, c. 22 and c. 45. Another statute to the same purport
appears in Jacobi III. pari. 10, c. 77. " To our fathers' time," says a writer
of the seventeenth century, " and ours, something remained, and still does, of
" this ancient order (i. e. bards). And they are called by others, and by them-
" selves, Jokies, who go about begging, and used still to recite their sluggornes
'* of most of the true ancient surnames of Scotland, from old experience and
" observation." — " Some of them," continues this writer, " I have discoursed
" with, and found them to have reason and discretion. One of them told me
" there were now twelve of them in the whole isle ; but he remembered when
" they abounded, so as at one time he was one of five that usually met at
" St Andrews." Vide Martin's State of the See of St Andrews, sect. 1. p. 3.
b
of the law, too contemptible to have their names put upon
even the record of infamy !
In the Aberdeen Collection (as it is now called) are to be
found none of our national melodies or popular vocal
poetry. Ritson calls it " a sort of song-book,"* and
mentions it as " the first known collection of Scotish songs,
" or rather in which Scotish songs are to be found.'" But
this learned and indefatigable literary antiquary, ignorant,
as he himself acknowledges, of music, -f- and (as the present
Editor knows) but slightly gifted with what is called a
musical ear, besides being tenacious in opinion, conceiving
it to be just — the wonder ceases, in contemplating the
strange mistake so accurate a writer and fastidious a critic
had, in this instance, suffered himself to fall into. He lived
to acknowledge, but not to correct his error.
When the cause of freedom finally prevailed, and the
Revolution was fully established, the better classes of North
Britain, turning their attention to the Muses, began to
indulge their taste for scientific composition ; a proof of
which is on record. On St Cecilia's day, anno 1695, a
concert of music was performed, in commemoration of that
heavenly Muse, the plan of which is to be seen in the
Transactions of the Society of Antiquaries of Scotland,
vol. i. p. 499. Among the performers of this concert were
professional men, who, in acquiring a knowledge of exotic
music, had not lost a relish for their native melodies ; as
they manifested in their being at the pains to collect and
arrange many of our popular airs, and had them printed
and published, as shall be noticed in chronological order.
In 1706, James Watson, printer, published " A
" Choice Collection of Comic and Serious Scots Poems,
" Ancient and Modern, by several Hands.11 In 1709, a
second volume was added to this selection ; and a third
volume (which the Editor has not seen) of the same work
was published in 1711 or 1712. In this " Choice Col-
" lection11 are, for the first time to be met with, many
of our popular songs. Whether the encouragement these
volumes met with stimulated Allan Ramsay to exer-
tion, or whether he had been secretly preparing materials
for a still more popular publication, is left to conjecture ;
but,
In 1724, Ramsay published his " Tea-table Mis-
" cellany, or a Collection of Choice Songs, Scots and
" English ;11 soon after which he published " Music for
" Allan Ramsay's Collection of Scots Songs, set by
" Alexander Stuart, and engraved by R. Cooper,11 in
six small volumes (or parts) 12mo.j This Alexander
Stuart, then, so far as is at present understood, is the first
on record who harmonized and adapted Scotish melodies
to vocal poetiy, such as Ramsay has given in his valuable
Miscellany, notwithstanding its many faults and imperfec-
tions.
In the year 1725, " The Orpheus Caledonius,11 edited
by W. Thomson, and inscribed to the Princess of Wales
(afterwards Queen Anne), was published in London. The
first edition was in folio ; the second was printed in 1733,
and is in two volumes octavo. Both editions are now seldom
• " Cantus : Songs and fancies, to three, four, or five parts, both apt for
" voices or viols. With a brief introduction to music, as taught by Thomas
" Davison, in the music school of Aberdene." Printed (for the second time)
in 1666, and again in 1682.
■f " A total ignorance of the musical art is not the only inconvenience under
" which the present writer [Ritson] labours." See Dissertation on Ancient
Songs and Music, prefixed to his curious anil valuable Collection of Ancient
Songs, from the time of King Henry the Third to the Revolution. Printed,
London, 1792.
X " Edinburgh : printed and sold by Allan Ramsay :" by which it
appears that Ramsay was by this time established as a bookseller and publisher.
It' was with the engraver of the music for the Tea-table Miscellany that our
immortal Strange (whose proper name was Strang) was bound an apprentice.
PREFACE.
to hi .net with. Ramsay mentions, that this Thomson
was : a ^ooci singe i and teacher of Scots songs.'"*
11 About the year 1730,11 says Sir John Hawkins,
: one A ex yNder Monro, a native of Scotland, then
'• residing at Paris, jmblished a collect'onof the best Scotch
tunes, fitted to the German flute, ■ ith several divisions
" and variations; bat the simplicity of the airs,1' says
Sir John, " i: lost in the attempt of the author to acqom-
" modate them tn the ^t;rle of Italian music.'" Would to
Heaven this ha.! been the only insv-nce of a like trespass
against the beauty and elegant simpii ty of aur national
music ! In the same year (1730), .ic „m Craig published
: A Collection of the jhoicest Scots Tunes, adapted for
the Ha-psichord or Spmnet, w ithin compass of the Voice,
" Viohn, ,t German 1: lute." This collection is inscribed
" To the Honourable Lords and Gentlemen of the Musical
Society of clary's Chapel,11 -\ (afterwards translated to
St Cecilia's Hall, now Free-mason's Hall, Niddry Street.)
Tha late learned and worthy vindicator of Queen Mary,
Mr Tytljer of Yvoodhouselee, says, " I remember him
" [a.t>am CraigJ as second viohn to M'G ibbon, in the
" gentlemen's ccncert.""|
In the year 1716, William M'Gibbon (the last musi-
cian mentioned), after his return from Italy, published his
first " Collectiop of Q~3ts Tunes,11 and completed the third
set of his Collection in 1 f 55. His sets of our native tunes,
like every thing of the same kind that comes through the
hands of professed musicians, savour strongly of pedantic
garnish. In the present instance, however, it is but fair to
admit, that the pure Italian taste, which at that time was
supreme over all Europe, did consequently less harm to
our Scotish melodies than the exquisitely refined taste of the
modern German school.
In anno 1749, Yair the bookseller published the
" Charmer,11 which was reprinted in two volumes in 1776.
In the year 1759, James Oswald, one of our most
successful musical adventurers in London, published his
" Caledonian Pocket Companion,11 in twelve thin octavo
volumes (usually bound up in two), in which he appears in
the double capacity of author and editor ; and he is among
the very few to whom we can trace the authenticity of our
national melodies. Had he composed nothing else but
" The Braes of Ballc-nden^and the air to " Lovely Nymph,'1
introduced in the burletta of Midas, his name would live
as long as a relish existed for genuine Scotish melody ; but
he composed several other pretty enough pieces of vocal
and instrumental music, which do him equal credit ; and,
in truth, his country may proudly class him with King
James the First, the Earl of Kelly, and a few more,
whose works remain as never-fading testimonies of their
brilliant talents and love for the Muse.
Toward the close of the seventeenth, and about the
commencement of the eighteenth centuries, " an inundation
" of Scotch songs, so called, appears to have poured upon
" the town [London], by Tom DUrfey and his Grub-
" street brethren.1^ And it ought not to escape mention,
that the introduction of many of our favourite national airs
on the stage, by their being united to the verses in the
Beggar's Opera, the Highland Fair, and other melo-
dramas of more recent date, such as the Duenna, the
* In the second edition, vol. i. p. 68, is a set of " My Apron, Deary," in
purls nafotralibu*, and with the simple melody (and a base), of one measure
only : a proof of the interpolation which our Music has suffered from time to
time, and by subsequent collectors and editors.
+ The society was instituted in March 1728. See Arnot's History of
Edinburgh, p. 379.
X Trans. Antiq. Soc. vol. i. p. 510.
§ See Rxtson's Historical Essay on Scotish Song, p. Ix.
Highland Reel, fyc. doubtless contributed greatly to the
popularity of these pieces.
About the year 1749, the late Robert Bremner, music-
seller, published two volumes thin folio, entitled, " Collection
" of Scots Songs, for the Voice or Harpsichord ; the Words
" by Allan Ramsay which Collection, till within the
last twenty years, was reckoned the standard for Scotish
song, consequently has had a great run through the whole
British empire.
In the year 1750, a collection of " Loyal Songs11 was
printed at Edinburgh. In 1751, that virtuous, venerable
judge, learned and accurate antiquary, Lord Hailes,
edited " British Songs, sacred to Love and Virtue,11 which
was printed at Edinburgh. Not above fifty copies of this
selection were printed off ; consequently a copy of it, at this
day, is rarely to be seen.
In 1751, Alexander Macdonald published a small
volume of Gaelic songs, * many of which are directed to be
sung to Lowland airs, such as Through the Wood, Laddie,
T-cvcedside, The Lass of Patie''s Mill, he. as if there did
not exist Highland and Hebridean melodies in abundance,
and better suited to Celtic vocal poetry than Low Country
tunes.
In the year 1755, " A Collection of Old Ballads11 was
printed at Glasgow. In anno 1760, the celebrated trans-
lator of Ossian's Poems gave his first specimens of our
Celtic Homer. Oswald, the composer, soon afterwards
set several of the " Songs of Selma11 to music
In 1768, Alexander Ross, schoolmaster of Lochlee3
published, under the eye of Dr Beattie, a Scotish poem
of great merit, entitled, " The Fortunate Shepherdess,11 at
the end of which are several much-admired songs, in the
pure Doric dialect, or what is called Broad Buchans, of
the north-east coast of Scotland.
In fhe same year, i. e. 1768, Duncan Macintyre,
(familiarly called Donnacha' Ban nan Orain,) published a
small volume of Gaelic songs, -f" of his own composition,
many of which are excellent in point of description and
style ; and he has, withal, just claims to originality. He
could neither read nor write. He was a native of Glenorchy,
Argyleshire ; was born in 1724, and lived to enjoy his fame
in ease, comfort, and relative independence. He died but
a few years ago ; but his name will live in the j^oetical
annals of his country.
In the year 1769, the late worthy David Herd pub-
lished his valuable " Collection of Ancient and Modern
" Scots Songs, Heroic Ballads, &C.11 This collection is
now become very scarce. It was to this gentleman the
present Editor is so much indebted for many hints and
notices which he has acknowledged in his " History of
" Poetry in Scotland,11 passim. The following testimony
to this good and ingenious man is worthy of record :
Near this Stone
are interred the remains of
Mr DAVID HERD, Writer;
A man of probity,
Of a kind and friendly disposition,
Mild tolerant principles,
And a taste in ancient Scotish Literature.
Not solicitous to shine,
Nor anxious to become rich.
He lost few friends,
And made few enemies.
These qualities had their influence ;
For they averted many of the wants and evils
of declining years.
He died a Bachelor, aged 86,
Upon the 10th of June 1810.
* " Ais-ciridh na scan chanan Albannaick,S;c. h' Al AST AIR Mac DhonX'I lI"
f " Oram Ghalkachach, le Donnaciiadh Mac-an-t-saoir."
PREFACE,
vii
In anno 1770, Lord Hailes edited " A Collection of
" Ancient Scotish Poems, from the MS. of George
" Bannatyne, 1568," in which are several songs whose
airs are harmonized agreeahly to the counterpoint in prac-
tice among composers of the sixteenth century, such as are
preserved in J. S. Smith's " Collection of Songs composed
" ahout 1500," and such as are to be found in the Maitland
Collection hereafter to be mentioned.
In 1770, the late Niel Stewart, music-seller and
dancing-master in Edinburgh, published a volume (in folio)
of Scotish songs, in imitation of Bremner1s Collection,
mentioned above. In these collections, the melodies are
harmonized with w hat ivas called a dropping- base ; that is,
a thinly-scattered accompaniment, so as to support the
voice of the performer : and, considered in this point of
view, it perhaps may yield more pleasure to a person of
unsophisticated taste, than a more laboured harmony, in
which the subtilties of chromatic trick are commingled, to
please the dainty, and delight the exquisitely nice ear of a
deeply- skilled and fastidious amateur.
In 1770, Dugald Buchanan, schoolmaster in Rannoch,
Perthshire, published a volume of Gaelic vocal poetry.
The subjects being sacred, chiefly, are well calculated for
the purpose intended : they breathe a spirit of piety, in an
easy flow of harmonious verse. Most of the pieces are sung
to popular melodies well known in the Highlands of Perth-
shire.
In 1776, Ronald Macdonald published a collection
of Gaelic songs, and other lyric specimens of Celtic poetry,
together with a few translations.* The late Mr John
o
Clark, and the late Dr Smith of Camelton in Kintyre,
published each translations from the Gaelic, of ancient and
modern lyric poetry ; the former in the year 1 778, and the
latter in 1780. The originals of the latter pieces were
published in 1787; Ritson says, " under very suspicious
" circumstances.11
In 1779, a collection of Jacobite songs was printed,
entitled, " The True Loyalist, or Chevalier's Favourite
and in the same year was published, " St Cecilia, or the
" Lady's and Gentleman's Harmonious Companion,11 &c.
edited by Charles Wilson, printer in Edinburgh. This
song-book is neatly printed, and now very scarce.
In 1781, the popular old ballad of " The Gaberlunzie
•* Man" was overwhelmed with notes — not musical, but
critical, etymological, and historical — by two celebrated
philologistsj namely, Callander of Craigforth and Dr
Doeg of Stirling. In the same volume is " Christ's Kirk
" on the Green,11 which is also eked out with a similar train
of pedantic learning.
In anno 1781, Mr John Pinkerton published a volume
of '* Scotish Tragic Ballads,11 and a second in 1783.
In 1783, Peter Stewart, schoolmaster at Lochaird,
Monteith, Perthshire, published a volume of Gaelic songs,
some of which are tolerable.
In the year 1785, Margaret Cameron, residing at
Callander, Monteith, Perthshire, published a small volume
of Gaelic songs.
In 1784 was published, " A Collection of Highland
" Vocal Airs, never hitherto published : to which are
" added, a few of the most lively Country Dances or
" Reels of the North Highlands and Western Isles, and
" some Specimens of Bagpipe Music ;" by Patrick
M'Donald, minister of Kilmore, Argyleshire. The re-
verend Editor of this collection still lives ; and although
X " Cmnh-Chruincachcidh Oram Chaidhcalach, le Raonuii. MaCDHOJIH-
KL1LL, ami an Eilcin Eigg."
greatly advanced in years, yet enjoys good health, retired
from official duty. A generation has passed and gone since
tins work was first put into the hands of the public ; con-
sequently its merits have had sufficient time to be fully
appreciated.
In the year 178G, was printed and published at Perth,
for John Gillies, bookseller, " A Collection of Ancient
" and Modern Gaelic Poems and Songs, transmitted from
" Gentlemen in the Highlands of Scotland to the Editor.11*
This collection, with all its inaccuracies, is a valuable acqui-
sition to our scanty fund of Celtic classics. There are many
of the pieces of vocal poetry throughout its pages, which
are directed to be chanted to certain airs in the collection of
Flighland music last mentioned. The present Editor is
personally acquainted with several of the contributors to
the Perth, or Gillies's Collection, as it is called ; among
whom he is allowed to name Captain Peter Campbell,
late of the 42d Regiment, or Royal Highlanders. Another
ingenious contributor to this collection was the late Mr
Donald Macintosh, the last of the Scotish episcopal
clergy who stood staunch till his death to the principles with
which he had set out in early life.
In the year 1786, a collection of songs and poems, en-
titled, " The Poetical Museum,1' was printed at Hawick by
C. Caw, in which appeal-, for the first time, many of the
Border ballads. This publication excited considerable
attention, till a more splendid work made its appearance, to
be noticed in course.
In A. D. 1786, " Poems, chiefly in the Scotish Dialect,
" by Robert Burns," were printed by John Wilson,
Kilmarnock, in one volume octavo ; in which appeared
specimens of those verses (to well-known Scotish melodies),
that filled ever}' reader with wonder and admiration. Burns
has fixed the standard of song-writing or vocal poetry.
His masterly lyrics breathe the tender pathos of Tibullus,
the rural sweetness of the Doric Muse, and all the ardour
of Pindar and animation of Homer himself. To what
purpose would a waste of words be, in a fruitless attempt
to dilate on the grasp and versatility of his poetical talent ?
Volumes have been written ; and the subject is still new-
it is inexhaustible. The late Mr James Johnson, music
engraver, happily for himself and the world, fell in with
Burns, about the time that industrious artist commenced
his " Scots Musical Museum," a work of no small merit ;-f*
and, cordially embracing the spirited speculation, he gave
a loose to his Muse, by which Johnson's Museum became
the repository of Scotish song, till another more splendid
work attracted his attention, which now became divided ;
till at length he was seduced, and Mr George Thomson
finally triumphed, as is sufficiently well known. This
gentleman has succeeded to a wish ; and long may he
enjoy his well-earned reputation, and the fruits of his
industry and steady perseverance to please.
After the appearance of Burns' Poems, all the town and
country presses teemed with publications of this sort : and
since Johnson's " Scots Museum," and Thomson's " Select
" Collection of Original Scotish Airs," appeared, many
similar publications have issued from the press, both in
Scotland and in England. Signiors Corri and Urbani,
Messrs Napier and Butler, have each edited and har-
* " Scan Dam, agus Oriiin Ghaidhcalach , do rcir ordii" Dhao'm Uaixil aroid
" an Gaeltachd Alba, %c. <§r.
f The late Mr Stephen Clerk, organist, was the person who harmonized
the greater number of the melodies adapted to Bunxs's verses in the Scots
Museum. This gentleman was the intimate friend of Burns ; consequently
he laboured con amorc. The fact is, they were congenial spirits, and enjoyed
the moments sacred to conviviality and the Muses. Clerk was an uncom-
monly sensible and accomplished man, and certainly the first organist of his
day north of the Tweed.
viii
PltEFACE.
monized select collections of our national airs, with various
success; and Mr William Whyte, book and music
seller, South St Andrew's Street, Edinburgh, engaged the
Shakespeare of music, Haydn, to harmonize " A Collec-
" tion of Scotish Airs,'1 in two volumes folio, to which
Mr Walter Scott contributed several animated effusions
of his " fertile and mighty genius,*" as a noble contempo-
rary* dignifies the present writer's principal coadjutor,
Before we close this part of our subject, it will be proper
to notice slightly a few more publications of vocal poetry
and music peculiar to Scotland and the Isles.
In the year 1789, Hector Macneill, Esq. published
" The Harp, a Legendary Tale." This gentleman is
assuredly one of the first classical song-writers of the age.
Several of our Scotish clergy have distinguished themselves
as song-writers ; such as Skinner, Logan, Macdonald,
&c. In mentioning some of our living poets, eminently
distinguished as song-writers, it would be unpardonable to
omit the names of Joanna Baillie, Mrs Hunter, Mrs
Opie, Lord Byron, Thomas Campbell, Esq. and Allan
Cunningham. An illustrious and select few, whose names
would grace our list, might be added, were the Editor
allowed a liberty, which he trusts will not long be withheld.
In 1792, Kenneth Mackenzie published a volume of
Gaelic songs cf his own, together with English versions of
a few popular Scotish songs.
In 1796, the late Richard Gall published the " Tint
" Quey," a poem. Few of our Scotish song-writers have
given better proofs of a genuine feeling and appropriate
expression than this very promising writer, who was cut
off in the bloom of youth, while the prospects of life were
opening to his view with alluring aspect. The popular
song of " My only Jo and Dearie, O," is one of his earliest
productions ; and had nothing else dropped from his pen,
this delightful effusion of his genius would embalm his
memory. It was to this young gentleman, by profession a
printer, that the present writer was so highly indebted for
many hints and notiees regarding Scotish poets, which he
has acknowledged in his History of Poetry in Scotland,
p. 306. As the poetical works of Mr Gall are now in
the press, the public will speedily be gratified with a ban-
quet of mental pleasure.
In the year 1798, a volume of Gaelic songs was published
at Edinburgh by Allan Macdougal, a blind person, then
living at Inverlochie, near Fort-William, Loehaher, but
now living as Colonel Macdonell of Glengary's bard, on
the banks of the Gary, near the residence of the chief.
The contents of this volume are various in point of merit :
on the whole, as a modem production, it merits approbation.
The orthography of this small volume is a model.
" The Forest Minstrel,1' a selection of songs adapted to
the most favourite Scotish airs, few of them ever before
published ; by James Hogg, the Ettrick Shepherd, and
others. Edinburgh, printed for the Editor, and sold by
Mr Archibald Constable, 1810 ; in which are inserted
several songs of great merit.
Very little of any consequence appeared in print of our
vocal poetry for some years, till, to the wonder and admira-
tion of every person of feeling and taste, in the year 1802,
the two first volumes of " Minstrelsy of the Scotish Border'"
issued from the Kelso press, so justly celebrated for correct-
ness and typographical beauty. With respect to the merits
of the " Minstrelsy of the Scotish Border,11 (a third volume
of wliich was printed in anno 1803), the present Editor
* Vide Dedication to " The Corsair, a Tale."
must observe becoming silence, for a reason sufficiently
obvious to stand in need of explanation.
In the year 1803, " A Complete Theory of the Scots
" Highland Bagpipe11 was published by the Rev. Patrick
M'Donald, minister of Kilmore, Argyleshire (the same
gentleman who edited the collection of Highland airs men-
tioned above.) This treatise was composed many years
since by the reverend Editor's brother, Joseph M'Donald,
who died in India. It would have been for ever lost to the
world, but for Sir John Macgregor Murray, Bart, of
Lanrick, to whom it is inscribed.
The mention of this last article naturally suggests a few
words to be added concerning the musical instruments that
were in use among the ancient and modern Scoto-Gael, and
their more immediate neighbours the Scoto-Saxons ; but as
the preceding portion of this preface has already swelled to
an unforeseen bulk, what regards this part of our plan
must be as brief as possible, reserving the further consider-
ation of it to a future volume, by which time our scanty
materials may accumulate, and be properly digested for
convenient discussion and proper arrangement.
A learned friend* has obligingly favoured the Editor
with an authority, that the emit, crooth, or crowd, was the
crotta, or characteristic British musical instrument, at a
very early period, as mentioned in the writings of Venan-
tius Fortunatus, bishop of Poictiers, Poictou, in France,
who flourished in the sixth century. It is not unlikely
that this species of crotta is pretty similar to the one in
present use among the Welsh, and which was, within the
last hundred years, in use among the inhabitants of North
Britain, and may be traced, in all its modifications (such as
the psaltry, rebec, fiddle, kc), to this day. That the harp,
clar, clarsach, or tiomban,f and Welsh harp or telyn, was
in common use in the time of the Romans, has already been
stated, and authorities cited in support of the fact; and
that its voice had not finally ceased till about the year 1739,
when Murdoch Macdonald, + the last of the Hebridean
harpers, died, and was buried in a romantic spot in Mull,
which the present writer visited in August 1815.
That the lute was in pretty early use in Scotland, is
recorded by our historians ; and our James the First was
" richt craftie in playing baith of the lute and harp, and
" othir instruments of musik," such as the harp, psaltry,
organ, tympanum, chorus (or double trumpet), tibia, fistula,
and tuba i, in a word, this magnanimous prince and accom-
plished individual seems to have been a general musician,
as well as a poet of the first eminence, of the age which he
adorned.
We have already seen that the lute was in general use
in this country, at least at court, in the sixteenth century ;
about the middle of which (1450), « The Houlatc?% an
allegorical poem, was written by one Holland, in which
are mentioned the lute, lilt-pipe, cithil, fift, citholis, trump,
atharift, croude, gythornis, monycordis, dulsate, dulsacordisr
taburn, tympanc, schalim, rote, clarionis, portatibis, bellis,
cymbaelonis, psaltry, and organis : the harp is omitted.
And in Vedderburn's « Complainte of Scotland," the
shepherds introduced in this fine allegorical prose-poem are
made to perform on different instruments of the rural kind,
such as the drone-bagpipe, a pipe made of ane bleddir and
• Mr Jakieson.
•f Are we to consider the harp, clar, clarsach, or tiomhan, one and the same
instrument, or rather modifications of the same ?
+ Mrs Christina Mackenzie of Derbheg in Mull (the Miss M'LeaiT
whom Johnson and Boswell celebrate jn their Tours to the Hebrides) has
communicated to the Editor a brief but "distinct biographical sketch of this
harper, which shall have a place in the supplementary volume to this work.
§ See Scottish Poems, edited by PlNXEBTOH, 1792, vol. iii. p. '179.
PREFACE.
of ant reid, ane trump, ane come pipe, ane pipe maid of
ane gait horn, ane recorder, ane Jiddill, ane quhissil. Now,
by this list of musical instruments, we are led to conclude
that there was no lack of a sufficient variety, at least, of
both stringed and wind instruments, as well as those of
percussion.
At what particular time the various species of the bag-
pipe were introduced into the Lowlands, Highlands, Western
and Northern Isles, is still a matter of uncertainty. But that
that which is now called the " great Highland bagpipe''''
was in general use, both on the Continent and in South
Britain, at the commencement of the sixteenth century, the
writer of these pages has clearly shewn, and sufficiently
proved, in his notes annexed to " The Grampians Desolate,
" a Poem," which fell dead from the press many years ago.
However, as this subject is reserved for an appropriate
place in a future volume of the present work, it is unneces-
sary to pursue it farther, until it can be done to more
advantage.
The next topic in the natural order of the present
arrangement, which would fall under discussion, would be,
the manner of handling the instruments in former and in
present use, together with the vocal performance, accom-
panied with those artificial aids ; as also, the characteristic
classification of the melodies and vocal poetry correspondent
with the events and local circumstances coincident and
necessarily connected with each class, order, species, and
variety ; — but this also must be deferred till a future
opportunity. And what must not be overlooked, is, the
influence and effect of national music, song, and dance,
upon the moral action and manners of a people, more par-
ticularly the inhabitants of North Britain. The considera-
tion of this very essential topic, so intimately connected
with the present inquiry, must likewise be deferred till a
more favourable opportunity presents.
But in bringing this dry discussion to a close, let the
Writer of these pages be allowed to state briefly how the
present undertaking originated, and came to claim that
notice which now it happily has acquired from the first
personages of the United Kingdom.
So far back as the year 1790, while as yet the Editor of
Albyn's Anthology was an organist to one of the Scotish
Episcopal chapels in Edinburgh, he projected the present
work. Finding but small encouragement at that period,
and his attention being directed to other pursuits of quite a
different nature, the plan dropped ; till very recently, an
accidental turn of conversation at a gentleman's table, whom
to name is to honour,* the Honourable Fletcher Norton,
gave a spur to the speculation now in its career. He, with
that warmth of benevolence peculiarly his own, offered his
influence with the Royal Highland Society of Scotland, of
" As all Scotland can witness, during the last forty years of his life he hath
sojourned here, as one of the Judges of his Majesty's Court of Exchequer.
which he is a member of long standing ; and, in conformity
to the zeal he has uniformly manifested for every thing con-
nected with the distinction and prosperity of our ancient
realm, on the Editor's giving him a rough outline of the pre-
sent undertaking, the Honourable Baron put it into the hands
of Henry Mackenzie, Esq. of the Exchequer, whose in-
fluence in the Society is deservedly great. And immediately
on Mr Mackenzie laying it before a select Committee for
Music, John H. Forbes, Esq. advocate, as convener of the
Committee, convened it; and the result was a recommendation
to the Society at large, who embraced the project cordially,
voted a sum to enable the Editor to pursue his plan ; and
forthwith he set out on a tour through the Highlands and
Western Islands : — having performed a journey (in pur-
suit of materials for the present work) of between eleven
and twelve hundred miles, in which he collected one hundred
and ninety-one specimens of melodies and Gaelic vocal
poetry, he returned to Edinburgh, and laid the fruits of
his gleanings before the Society, who were pleased to
honour with their approbation his success, in attempting to
collect and preserve the perishing remains of what is so
closely interwoven with the history and literature of Scotland.
In the course of the Editor's labours in arranp-inp; ma-
terials for publication, Mr Walter Scott, whom the
Editor may emphatically call Friend, generously offered his
assistance in the progress and execution of the present ex-
tensive plan, or great National Repository of Original Music
and Vocal Poetry. Through Mr Scott's means, the Prince
Regent was applied to, for permission to inscribe this col-
lection to his Royal Highness, who was graciously pleased to
signify his sanction to a gentleman high in office, who gladly
communicated the same ; consequently this National Work
comes forth under the patronage of one who is well able to
appreciate its merits, and award accordingly.
To the Royal Highland Society of London the Editor is
under peculiar obligations ; and in a more especial manner
to one of its office-bearers, namely, Colonel David Stewart
of Garth ; and likewise to Colonel Macdonell of Glen-
gary, for having, in the handsomest manner, without soli-
citation, called the attention of the Society to the work in
question.
In summing up his heavy account of obligations, let the
Editor offer his most hearty thanks for the zeal displayed
by Sir John Sinclair, Sir John Macgregor Murray,
Ranald Macdonald, Esq. of Staffa, and his depute, Mr
Lewis Gordon, secretary to the Highland Society ; hope-
ful that, in some measure, the Editor has justified their
lauckble exertions in his behalf, and that of the prosperity
of this work, — a portion of which is now committed to its
fate.
ALEX. CAMPBELL.
General Register House, \
2<M/( J urn 1816. )
INDEX
TO
THE FIRST VOLUME.
tflRST LINES.
AUTHORS.
AIRS.
PAGE.
A Hirst, or St Kilda Song - -
28
Blythesome may I see thee
Editor »
Gu ma slan a chi mi
11
Bawloo, my bonny baby, bawlillilu
Mr Hogg
A Border Melody
31
Come ilka lad and lovely maid
Mr Hogg
Gowd in Goupins
16
Come, my bride, haste, haste away
Editor *
Original, by the Editor - -
67
Hear what Highland Nora said
Walter Scott, Esq.
Cha teid mis a chaoidh *
20
I still may boast my will is free
Editor - - -
An t-Aiileagan
12
I've made a vow, and I'll keep it true
Mrs Gray
A' Gille' Cuanach
32
In Warwick halls while minstrels gay
Mr Pringle
A Border Melody
36
I'll bid my heart be still
Mr Pringle <•
A Border Melody
40
I'll ne'er return more
Editor * -
A St Kilda Melody
51
Like lightning gleams along the sky
James Douglas, Esq. -
Hei an clo dubh, ho an clo dubh
24
Leave thee, loth to leave thee
Editor - - -
Robi donadh Gorrach
44
My dad was an Irish blade
Editor - - -
An Irish Melody m.
69
Now winter's wind sweeps o'er the mountains
Editor -
Ma's thu mo Mhathair
48
0 hush thee, my baby, thy sire was a knight
-
Cadil gu lo
23
0 why comes my love nae langer to woo me
Mr Hogg
A Border Melody
27
Of a' the maids o' fair Scotland
- -
Young Benjie ...
35
0 will ye walk the wood, lady
Mr Hogg
A Border Melody
39
O, my love, leave me not
Mrs Grant
Bealach a Gharaidh
43
Our heroes return, for the battle is won
William Smyth, Esq. -
Oran Moladh - -
52
O sing, ye children of the brave
Mr Fairbairn
Tha ghaoth a niar cho chaithramach
59
O have ye na heard o' the fause Sakelde
Kinmont Willie
78
Pibroch of Donuil Dhu
Walter Scott, Esq. -
Piobaireachd Dhonuill Duibh
82
The auburn-hair'd bonny dey
Mr Jamieson
A Bhanarach dhonn a chruidh
8
The spring for me revives in vain
Mr Gray
Soraidh slan do 'n Ailleasran
47
The stars are all burning chearily, chearily
John Wilson, Esq.
Ho ro Mhairi dhu' ■ « -
55
The hawk whoops on high
Editor
Creag Ghuanach
56
The moment's approaching -
Editor
Gur muladacli tha mi - -
60
Tha tighin fotham, fotham, fotham
Tha tighin fotham eiridh
63
64
The Piper and Trihodyan
Alexander Boswzll, Esq.
Trihodean -
73
Thig Mac Shomhuirle bho 'n Ruta
81
The moon's on the lake
Walter Scott, Esq.
Thain' a Gregalich -
91
Why should I sit and sigh - , - «
Mr Hogg
Cnochd a Bheannichd
15
Why weep ye by the tide, ladie
Walter Scott, Esq.
A Border Melody
19
8
JVft very
S7cw.
I.
m
A bhanar ach dhoiin a chruidh, chaoin a chruidh, dhonn a chruidh; Cail_liu deas
The auburn-hair'd bon_ny Dey , mild as e'er milk_ed Kye, Sprightly and
h - m i . mss^m i I J" ^
dona a chruidh, Cuachag an fhasairh. A bhan ar__ach mhiogach'se do ghaol thug fo
I
3
winsome ay, sweetest and rarest, So charming1, so art_less, She first won my
i
H
3
3
chis mi, siuath thiij lamhainnean siod air do mhin bhosaibh ba_na .
0 I P • 0
bhan ar ach
i J ^ ,
heart from me; 0 may she kindest be, as she is fairest ! And lo'es me my
it
p * • s=
jsjif • &-
* — h
• 4-
1 r
it
dhonn a chruidh., chaoin a chruidh, dhcnua chruidh, Cail_ in deas donn a chruidh,Cuachag an fhasaich
i r-H-
*^ .bonny Dey, mild as e'er milked Kye, Sprightly and winsome ay, sweetest and rarest!
r-.r+v
n=2
3
-or
Wr^^fefepur. a ; i r r i i a Mi
THE AUBURN-HAIR'D BONNY DEY.
9
The auburn-hair'd bonny dey,1
Mild as e'er milked kye,
Sprightly and winsome ay,
Sweetest and rarest !
So charming, so artless, she
First won my heart from me ;—
O may she kindest be,
As she is fairest !
And lo'es me my bonny dey, ko.
Her song, at the loaning5 gay,
Mavis3 on blooming spray,
Singing at break of day,
Ne'er could come near it :
To list the sweet lay of love,
Silence would lull the grove ; —
What yearnings my heart did prove,
Ravish'd to hear it !
And lo'es me my bonny dey, &c»
Then softly the melting strain,.
Thrilling thro' ev'ry vein,
My soul echoed back again,
Panting with pleasure ;
While dancTd ev'ry heart to hear
Her lively carol clear ; —
IMITATION OF THE ORIGINAL GAELIC SONG,
" % Bijanararl) fcljonn a CijruttJi).'
By Mr JAMIESON.
Ne'er so could viol cheer,
Gay tho' its measure.
And lo'es me my bonny dey, he.
What time the far ousel's song,
Rocks and cascades among,
Wood-echoes soft prolong,
Down the glen ringing :
How clear swell her notes at e'en,
DowfF'-murm'ring falls between,
O'er humming leglin5 clean,
Milking and singing !
And lo'es me my bonny dey, &c.
Her teeth white, in order fair,
Lips red as roses are ;
Blythe her blinks,'every care
Gently beguiling :
Sweet dew-drops in morn of May,
Trembling in every ray,
Still changing, ever gay,
Is my love's smiling.
And lo'es me my bonny dey, he.
How graceful her tresses flow
Round her smooth neck of snow,
And her cheeks' rosy glow,
In the shiel6 churning ;
While amber beads, sparkling bright,
Mingle their varied light,
Ever new to the sight,
Twinkling and turning.
And lo'es me my bonny dey, &c„
Ay sain'd7 is her soothing hand,
Touch look and voice so bland,
Kye, looking backward, stand
Crooning8 with pleasure :
And ne'er do they kick the pail ;
Ne'er does her churning fail ;
Cantrip arts ne'er assail
Her yellow treasure.
And lo'es me my bonny dey, &o„
O soon may my bonny dey,
Mild as e'er milked kye,
Sprightly and winsome ay,
Sweetest and rarest !
All leal as she's lovely, be
Rless'd as she blesses me,
Heart and hand yielding free,
Happiest as fairest !
And lo'es me my bonny dey, Sec.
1. Dey, dairymaid, in Scotland, and in Gloucestershire and other parts
of England.
2. Loaning, lawn where the cows are milked.
3. Mavis) thrush. 4. Dowf, hollow.
5. Leglin, milking pail. 6. Shicl, summer dairy for the distant pasture?.
7. Sained, blessed; as if signed with the sign ofihe cross.
8. Crooning, making a low murmuring inward noise.
£ gftjatl&ait) fctjOtltt a Cljritfti), le Alastiair Mac Dhomxuill.
A Bhanarach dJionn a rJiruidh,
Chaoin a chruidh, dltonn a chruidh,
Cailin dcas donn a chruidh,
Cuacliag an fhasaich.
A Bhanarach mhiogach
'S e do ghaol thug fo chis mi,
'S math thig lanihainean siod'
Ah* do mhin-bhosaibh bana.
A Bhanarach dhonn, &c.
"S mor bu bhinne bin t-tisteachd
An am bhi bleothann na spreidhe,
N'an smeorach sa Cheitein
Am bar geig aim am fas-choill.
A Bhanarach dhonn, he.
'N uair a sheinne tu coilleag
A leigeil mairt ann an coillidh,
Dh' eulaidh eunlaith gach doirc,
Dh' cisteachd coireall do mhanraim
A Bhanarach dhonn, &c.
'S ga b' fhonnar an fhiudhall,
'S a teudan an rithidh,
'S e bheireadh danns air gach cridhe
Ceol nighinn na h-airidh.
A Bhanarach dhonn, he.
Ceol farusda fior-hhinn,
Fonnar, farumach, dionach,
A sheinn an Cailin donn miogach
A bheireadh biogadh air m' airnibh.
A Bhanarach dhonn, he.
Gum bu mhothar mo bheadradh
Teachd do'n bhuaillidh mu'n ead-thra,
Seadhach seang-chorpach beitir,
'S buarach greasad an ailaic'.
A Bhanarach dhonn, he.
'S ciatach nuallan na gruagraich,
A' bleothann cruidh ghuaillinn,
A' stealladh bainn rinn an cuachaig, -
'S bothar fhuaim aig a claraibh.
A Bhanarach dhonn, he.
Da mhaoth-bhois bu ghrinne
Fo 'n da ghairdein bu guile,
'N uair a shinnt iad gu sgilcil
Gu sinean cruidh fhasgadh.
A Bhanarach dhonn, he.
Glac gheal a b' aird gleodhar,
A' stealladh bainn' an cuaich bhleothainn,
A' seinn luinneagan seadhach,
Na suidh an gothal na blarakr.
A Bhanarach dhonn, &c.
Do chul arnlagach teudax;h,
Buchlach feoimeanach ceutach,
De chnothaibh na geige,
Cheapadh gleiteach a lan diubh.
A Bhanarach dhonn, &c.
Chuireadh moill air do leirsinn,
Ann am maduinn chidin cheitein,
Na gathanna greine
Thig o t-theud-chul cas, fainneach.
A Bhanarach dhonn, &c.
Bheireadh dulan na greine
A' dearsa moch air fhoir t-eudainn,
'S gum b' ait leom ra leirsinn
Baoisgeadh eibhinn cul Mari.
A Bhanarach dhonn, &c.
'S taitneach siubhal a cuailein
Ga chrathadli mu clasaibh,
A' toirt muigh air seit luachraich
An tigh buailidh, 'n gleann fasaich,
A Bhanarach dhonn, cj-c.
Do mhuineal geal boidheach
Mu'n iathadh an t-oniar,
'Sa dhath fein air gach scorsa,
Chite dorta tre d* bhraghad.
A Bhanarach dhonn, he.
'N uair thogadh i bhuarach,
Cuach, a's currasan na buaile,
B' ai)-coltach do ghluasad
Ri guanag no sriiide.
A Bhanarach dhonn, Sfc.
Do chalpannan mcaninach,
Mar phileirin marabuill,
Co ghile ri caineichean,
Chinncadh fana-gheal 's na blaraibh.
A Bhanarach dhonn, fyc.
Tha deirg agus gile,
Gleachd an gruiadhibh na fine,
Beul min mar an t-shirist,
O'm milis thig finite.
A Bhanarach dhonn, <Sec.
Mar phairc thaitnich de'n ibhri
Tha deudach na ribhinn,
Gur i 'n donn-gheal-ghlan smideach,
Is ro mhig-shuilich failte.
A Bhanarach dhonn a chruidh,
Chaoin a chruidh, dJionri a chruidh,
Cailin dcas donn a chruidh,
Cuachag an JJiasaich,
10
BLYTHESOME MAY I SEE THEE.
WRITTEN BY THE EDITOR.
Am — " Gu ma slan a chi mi."
I.
Bi.ythesome may I see thee, and mild as placid May,
And fresh as dew-fraught roses, full-blown, at break of day ;
And when thou strayest gaily o'er meads and hillocks green,
May love and joy attend thee, O fairest rural queen !
II.
When first I saw thee, lovely as lily of the vale,
And heard thy mellow warblings commingling with the gale,
I thought of seraphs hymning, in bowers of bliss above,
Their hallowM strains harmonious of purest heavenly love.
III.
'Twas then I first felt rapture, true love, and chaste desire,
Those tenderest sensations that wishes pure inspire :
'Twas then I fondly fancied, that such a form divine
Would yield all earthly joyance, were such an angel mine.
IV.
Full blythe then may I see thee, for ay, my winsome maid,
In every grace and virtue, thy mind and frame array 'd ;
Thy guileless spirit playful, as innocently gay,
Be sprightly as the spring-time, and blooming fair as May.
SEISD.
Gu. inn slan a chi mi,
Mo chailin dilcas don it,
Air an cFjjids an cuailein reidh,
S air an dci.ie dlC eireadh fonn ;
\S e cainnt do blicoil bu bhihn /cam,
'JVwair bhiodh m inntinn trom ;
"S tu thdgadh suas mo chfidh,
''Nuair bhiodh tu bruidMnn num.
I.
Gur rhuladach a ta mi,
'S mi nochd air aird a chuain ;
'S nco shunudach mo chadal domh,
'S mo chaidreadh fada uam ;
'S trie mi ort a smaointeaph',
As f-aogmhuis tha mi tru'agh ;
'S mur a dean mi t-fhaotainn,
Cha bhi mo shaoghal buan.
Gu ma slan, <§:c.
II.
Suil chorrach mar an dearcag,
Fo rosg a dh'' iadhas dluth ;
Gruaidh dhearg mar an caorann,
Fo 'n aodann tha learn ciuin ;
Mur d' aithris iad na breugan,
Gu "n d" thug mi fhein duit run;
'S gur bhadhna learn gach la,
O 'n uair a dh' fhag me thu.
Gu ma slan, fyc.
III.
Theireadh iad mu 'n d' fhalbh mi uait,
Gu ?m bu shearbh learn dhol ad choir ;
Gu 'n do chuir mi mo chul riut,
'S gu 'n do dhiult mi dhuit mo phog ;
Na cuireadh sud bonn curam ort,
Tha "h nine gearr na leoir ;
Tha t-anail learn cho churaidh,
'S tha 'n driuc ah bhar an fheoir.
Gu ma slan, &c.
IV.
Tacan mu In do shcol sinn,
'S ann a thoisich each ;
As innse do mo chruinneac-sa,
Nach tillinn-sa gu brath ;
No cuireadh sin ort gruaman ;
A luaidli ma bhios mi slan,
Cha chum dad idir 'uait mi,
Ach saighead chruaidh a bhais.
Gu ma slan, &c
Tha Caimbeuleich mar chairdeas.
Ga ardachadh le strith ;
'S gu bheil cuid diubh 'g radliain,
Gur taire mi na i ;
Ach mur biodh i deonach,
Cha phosamaid a choidhch ;
'S c' ar son a chaill i a fradharc,
'Nuair ghabh i a raoghainn mi.
Gun ma slan, #c.
VI.
Ach tha snaoim a nis ceantrailte,
Gu damgeann a s gu teann ;
'S their luchd na fanoid rium,
Nach eil mo phrobhaid ann ;
Am fear air bheil fortan,
Tba crois a tigh'n na cheann,
'S tha mise teingeil toilichte,
Ged tha mo sporan gann.
Gu ma slam, &c.
TRANSLATION BY THE EDITOR.
May I see thee in blooming health, my faithful Brunette of
the flowing tresses and jov-iuspiring voice. The words
of thy mouth are to me melodious: when my spirit is de-
pressed, how thy soothing conversation lifts up my heart !
It is night, and mournful I muse on the bosom of the
ocean : my slumber is but restless. My dear one is far
distant from me ; but thou art ever present in my reveries.
Without thee I am wretched : unless thou art mine, the
pleasures of existence are unavailing.
' \ : ' ... :■ -n.\ : ...
Thine eye is like the bilberry, moving in a fine-formed
expressive eve-lid : thy cheek is ruddy as the clustered fruit
of the mountain ash : thy countenance is to me meek as it
is beautiful. If they [tatlers] tell not untruth, it was I
myself who rivetted thee, with unalterable affection. Every
day seems a year since my departure from thee.
III. . • 4
Before my departure, they would say that my visits to
thee were become bitter and grievous — that I turned my
back on thee — and that I no longer bestowed my caresses
on thee. But'let not such tattle give thee uneasiness ; time
is hastening onward ; and thy breath is to me as the dew
is to the pasture.
IV.
A while before I sailed, they began to tell thee that I
would never return. But be not, cast down, my love : if I
remain in perfect health, nothing shall keep me from thee
but the keen arrow of death.
v. - . ■
The Campbells, as in friendship, exalt themselves in
contention : some among them say that I am her in'erior in
birth. But if she is unwilling, our union can never take
place. Oh ! why was she so blindfold, when her choice fell
on me !
VI.
. But noiv the knot is tied strongly. The scorners w ill
still say that my welfare is not in the tic ; and that he who
is lucky, misfortune is hastening to overtake him. But I
am contented, although my purse is but rather ill supplied.
Blythsome may I see thee, and mild asmornof May; And
Arr an d'fhas an cuailein reidh 'sair deise dh'eiradh fonn; 'se cainnt do bheoil bu
V V v V
blooming fresh as ro_ses full blown at break of day; A:id when thou slrayest
bhinn learn nuair bhisdh mo inn tinn
» 1 '
trom*
'stn thogadh
P
Ma*
suas mo
"fc IV
gai_ly o'er meads and liil_looks green, May love and joy at_
cliridhj nuair bhiodh tu brni-dhinn riiun.
2
2
_tend thee, O fair_est ra__ral Queen!
i
5^E
3=±
r nfrrr
I — !fe
P
ri
i
12
Gay
Quick .
ill I
He
o
Sor_aidh slan do' n Ail-leag an bha'n so mu'n tra's an de,
I N -ft
IFF
2
1 still may boast my will IT free , My heart is still my own , No
lot i mn na hiairnibh me, 'smi crait eal--ach a didheidhj ma's
5E
5
Swain of what_sp_e'er de_gree, Shall move me with his moan:
But
teach— dair tha o'n baa's
thn.
'snach slanuich mi gun leigh ^
Guh
3=2
sighs, 'tis said, will soften rocks, breath'd warmly from the heart ;
But
tn__.
gas ga°l o'm chridhe do* dh'oig nigh_ean nan rosg reidh
mine, love-proof, at sigh_ing mocks ; I smile at Cu__pids dart
-'1 — T
^^^^
5=
I STILL MAY BOAST MY WILL IS FREE.
WRITTEN BY THE EDITOR.
Air — " An t-Ailleagan"
" I still may boast my will is free,
My heart is yet my own ;
No swain, of whatsoe'er degree,
Shall move me with his moan :
But sighs, 'tis said, will soften rocks,
Breath'd warmly from the heart ;
But mine, love-proof, at sighing mocks ;
I smile at love's keen dart."
So Frances said — but in her eye
A tear-drop, full and bright,
Gave to her fault'ring tongue the lie,
And vanish'd out of sight.
So virgin modesty conceals
That heart-consuming glow,
Which oft a casual blush reveals,
Or sighs unconscious shew.
i.
O sokuidh slan do^n Ailleagan
Bha 'n so mu "n trath-sa an de,
Gu "n lot i mu na h-airnibh mi
'S mi craitealach a <T dheidh ;
Ma 's teachdair tha o'n bhas thu
'S nach slanuich mi gun leigh,
Gu 'n tugas gaol o 'm chridhe
Do dh1 oig nighean nan rosg reidh.
II.
Dh1 fhalbh thu 'n de mu 'n trath-sa uain
'S tha mi fo chradli 's fo Icon ;
'S e 'n gaol a thug mi "h ciad la dhuit
A dhruigh air nf fhuil 's air m' fheoil :
Ach chi mi 'n diu' cha d1 thainig thu,
'S air 'n aile cha b1 i choir ;
Tha m' osna trom an uaiganeas,
Ag smuain air bean do neoil.
III.
O tha mo smuaintean cairiseach
O dhealnich sinn Dia-luan,
Gheug ur na "n glaca min-bhasach,
A leannain chaoimh gun ghruaim :
Ma tha buaidh mu 'n t-sugradh ort,
'S nach hib thu le mend stuaim,
Do ghaol a leasaich m1 iomagain
'S a chuir an giorrad n\ uair.
IV.
"S e chuir an uair an taiche rium
Gu 'n ghlacthu 'n cleachdadh ur,
Gu 'n d rinn thu 'n guiomh nach b" abhaist duit,
Mo ghradhsa chuir air chtil :
Cha d1 aithnich mi rianih failing ort
O chairich mi ort iul,
Gu h-uasal, bannail, baruigeach,
Min tairis, cairdeil, ciuin.
V.
•
'S min, tairis, ciuin a labhraidh tu,
Gheug ur nach gann mu 'd cheill;
Air Mach-thir no air Gaidhealtachd
'S tearc samhla bean do bheus :
Cha 'n iongnadh cliu bhi fuaighte riut,
'S gun d1 fhuaras thu gun bhcud
Do shiol na lala connspuilluich
L1 suaimhneas ceann an fheidh.
VI.
S' min, soitheamh, seamliuidh, suaimhneasach
An ribhinn uasal og ;
Gur lionar cis a bhuainaichd thu
Nach d1 fhuaras riamh cho mor,
Do dha ghruaidh dhearg co taitncach,
Do shlips mar shneachd an loin,
Do shuilibh mealla, miogach
Mar ghrian air tionntadh neoil.
TRANSLATION BY THE EDITOR.
Joy and health to the jewel that was here this time yes-
terday ! She wounded me severely, since which I am in-
wardly tormented. If thou art not the messenger of death,
I am, without a physician, incurable. I gave the affection
of my heart to the young maid of the lovely eye-lids.
II.
Thou didst leave us about this time yesterday. I suf-
fer pain and excessive anguish, being wounded. And the
passion which I felt the first day for thee, hath pervaded my
whole frame.* But I see that to-day thou dost not come :
in truth this is not well : my sighs are heavy in secret, think-
ing on one of thy loveliness.
III.
My thoughts are wandering ever since on Monday we
parted. Beautiful Scion of the soft palms and smooth
arms ! Kind sweetheart without a frown ! Admirable even
in mirth, thy great modesty will not suffer thee to stoop to
any thing the least unbecoming. My love for thee in-
creases my anguish, and abridges my being.
IV.
I suffered unpleasant feelings for a time, when thou
didst seem, contrary to thy wonted manner, to do an action
unworthy of thyself — that of slighting my affection ; for
since our first acquaintance I did not discover any such
imperfection in thy nature, so gentle, feminine, matchless,
faithful, friendly, and meek.
V.
Thou speakest with becoming mildness, meekness, and
kindness ! Thou beautiful branch ! How seldom is seen
thy like in moral virtue and courteous demeanour, either
in the Lowlands or in the Highlands. There is not every
where to be found such high fame as thou deri vest from that
noble Clan,-'- whose armorial ensign is the head of the deer.
VI.
Soft, placid, modest, composed, is the gentle, beautiful,
young maid. Ample is the tribute which was gainful
with thee — so liberal a one was never obtained before. Thy
cheeks arc becomingly red — thy skin is white as snow.j
Thine eye is bewitching, and bright as the sun-beam on
the clouds. ||
*•• Literally, blood and flesh.
t The Clan-Coinneaeh, Mackenneth, or Mackenzie.
£ Literally, the snow of the loin, i. e. barn-yard.
|| Air tionntadh neoil, or the back of clouds.
14
WHY SHOULD I SIT AND SIGH?
WRITTEN BY MR HOGG.
Am — " Cnochd a Bheannichd.'"
I.
Why should I sit and sigh,
When the greenwood blooms sae bonny ?
Lavrocks sing, flow'rets spring, .
A' but me are cheery.
Ochon, o ri ! there's something wanting ;
Ochon, o ri ! I'm weary ;
Nae young, bly the, and bonny lad,
Comes o'er the knowe to cheer me.
Ochon, o ri ! there's something wanting, &c.
II.
When the day wears away,
Sair I look adown the valley,
Ilka sound, wi' a stound,
Sets my heart a thrilling :
When I see the plover rising,
Or the curlew wheeling,
Then I trow some bonny lad
Is coming to my sheeling.
Ochon, o ri ! there's something wanting, &c
III.
Come away, come away,
Herd, or hind, or boatman laddie ;
I hae cow, kid, and ewe,
Gowd and gear to gain thee.
My wee cot is bless'd and happy ;
O 'tis neat and cleanly !
Sweet the brier that blooms beside it, !
Kind the heart that's lanely.
Ochon, o ri! there's something wanting, &c.
Tha mi sgi, 'smi lcam fhein, thuile lath a'n chochd a bheannichd ;
Tha mi sgi, 'smi learn fhein, thuile lath a' m1 aonar.
Thuile lath an cnochd a bheannichd, thuile lath a1 m' aonar,
Thuile lath an cnochd a bheannichd ; sni fliir tien 'am fherich !
Cuil an tomain, beul an tomain, cuil an tomain bhoidheach ;
Cuil a» tomain, beul an tomain, thuile lath a m1 aonar !
The remaining verses of this song have not coir.e to the Editor's hand — in truth, Mr Hogg has caught the general spirit of the piece,
and highly improved the subject.
re/sicn
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•^Why should I sit and sigh^when the green-wood blooms sae bonny Lav rocks sing", flow'rets spring
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BONNY TWEEDSIDE.
WRITTEN BY MR HOGG.
Am — " Gonad in Goupins."0
I.
Come ilka lad and lovely maid,
Come ilka kindly lover;
We'll a' down to bonny Tweedside,
And see my love come over.
We'll down the hill, we'll down the dale,
We'll nowther halt nor hover ;
We'll a' down by Ashiesteel,
And see my love come over.
II.
O boatman, boatman, list to me,
And get your coble ready,
That I may cross at Fairnilee,
To meet my bonny lady.
O lang I'll bless the happy day,
And lang the night I'll hallow,
When I came down the bracken brae,
To meet the flower o' Gala.
III.
We'll a' down by bonny Tweedside,
When wakes the morning early,
E'er the purple hue and bonny blue
Spread o'er the welkin fairly :
At nowther Peel nor Ashiesteel,
Nor at the Yair we'll tarry ;
We'll a' down to Fairnilee,
And meet my bonny Mary.
IV.
Young Clovenford and Hollylee
Baith woo'd her for their marrow,
But yet my Mary gangs wi' me
Out o'er the hills to Yarrow :
Whate'er betide my lovely bride,
I ne'er can cease to love her ;
Then, hey ! a' down to bonny Tweedside,
And see my love come over.
B
JOCK OF HAZELDEAN.
WRITTEN BY WALTER SCOTT, Esq.
Air—" A Border Melody"
£
" Why weep ye by the tide, ladie ?
Why weep ye by the tide ?
I'll wed you to my youngest son,
And ye sail be his bride :
And ye sail be his bride, ladie,
Sae comely to be seen — "
But aye she loot the tears down faV
For Jock of Hazeldean.
II.
" Now let this wilful grief be done,
And dry that cheek so pale ;
Young Frank is chief of Errington,
And lord of Langley-dale ;
His step is first in peaceful ha',
His sword in battle keen — "
But aye she loot the tears down fa',
For Jock of Hazeldean.
III.
u 0' chain o' gold ye sail not lack,
Nor braid to bind your hair ;
Nor mettled hound, nor managed hawk.
Nor palfrey fresh and fair ;
And you, the foremost of them a',
Shall ride our forest queen — "
But aye she loot the tears down fa',
For Jock of Hazeldean.
IV.
The kirk was deck'd at morning-tide,
The tapers glimmer'd fair ;
The priest and bridegroom wait the bride,
And dame and knight are there.
They sought her both by bower and ha',
The ladie was not seen !
She's o'er the border, and awa
Wi' Jock of Hazeldean.
3E
_ — . 7 » . - c- — ^ —
"Why weep ye by the tyde Lady, why weep ye by the tyde.r III
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And ye sail be his
bryde La_dv, sae comely to be seen-' But a^
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tears down
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Hear what Highland Nora said; "The Erlies son III
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never wed. Should all the race oJ nature die, And none remain but he and I:
HE
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Cha_teid mis a ohaoidh gam dheoin do mhac og an Jar la ruaidh;
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ever vaLour lost or won, I would not wed the Er^csSon"
f7\
— «
/«. /° fentatado
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NORA'S VOW.
21
WRITTEN BY WALTER SCOTT, Esq.
; Air — 11 Clia teid mis a chaoidh''
I.
Hear what Highland Nora said,
" The Erlie's son I will not wed.
Should all the race of nature die,
And none be left but he and I.
For all the gold, for all the gear,
For all the lands, both far and near,
That ever valour lost or won,
I would not wed the Erlie's son."
III.
" The swan," she said, " the lake's clear breast
May barter for the eagle's nest ;
The Awe's fierce stream may backward turn ;
Ben-Cruaihan fall, and crush Kilchurn ;
Our kilted clans, when blood is high,
Before their foes may turn and fly ;
But I, were all these marvels done,
Would never wed the Erlie's son."
II.
" A maiden's vows," old Callum spoke,
" Are lightly made, and lightly broke ;
The heather on the mountain's height
Begins to bloom in purple light ;
The frost wind soon shall sweep away
That lustre deep from glen and brae ;
Yet, Nora, ere its bloom be gone,
May blythely wed the Erlie's son."
IV.
Still in the water-lilies shade,
Her wonted nest the wild swan made ;
Ben-Cruaihan stands as fast as ever i
Still downward foams the Awe's fierce river ;
To shun the clash of foeman's steel,
No Highland brogue has turn'd the heel ;
But Nora's heart is lost and won,
She's wedded to the Erlie's son.
*0ran CaotJ*
Hilu ilin u ho rO) hilu ilin u ho ro,
Hilu ilin u ho ro, hilin o hug o ro i.
Cha teld mis a chaoidh gam dheoin
Do mhac 6g an Iarla1 ruaidh ;
Gus a' cuir a' beinn 'ud shios
Cul ris a' bheinn ""ud shuas.
Hilu ilin u ho ro, &c.
II.
Cha teid mis a chaoidh gam dheoin
Do mhac 6g an Iarla ruaidh,
Gus a dean an Ella1 bhan
Nead ga ard air bhar a'stuadh.
Hilu ilin u ho ro, &c.
III.
Cha teid mis a chaoidh gam dheoin
Do mhac 6g an Iarla ruaidh,
Gus a cuir am bradan-breachd
Tri chuir ghrad le era na" uain-
Hilu ilin u ho ro, &c.
TRANSLATION.
Hilu ilin u ho ro, hilu ilin u ho ro,
Hilu ilin u ho ro, hilin o hugo ro i
I.
I shall not willingly go to the Earl's young son, till yon-
der nether mountain turns its back to the upper one.
Hilu ilin u ho ro, &c.
II.
I shall not willingly go to the EaiTs young son, till the
swan build her nest on the cliffy rock.
Hilu ilin u ho ro, &c.
III.
I shall not willingly go to the Earl's young son, till the
salmon-trout make three leaps in the lamb-fold.
Hilu ilin u ho ro, Sic.
22
LULLABY OF AN INFANT CHIEF *
Air—" Cadilgu lo."
I.
0 hush thee, my baby, thy sire was a knight ;
Thy mother a lady, both lovely and bright ;
The woods and the glens, from the towers which we see,
They all are belonging, dear baby, to thee.
O ho ro, i ri ri, cadil gu lo,
O ho ro, i ri ri, &c.
II.
O fear not the bugle, though loudly it blows,
It calls but the wardens that guard thy repose ;
Their bows would be bended, their blades would be red,
Ere the step of a foeman drew near to thy bed,
O ho ro, i ri ri, &c«
III.
O hush thee, my baby, the time soon will come,
When thy sleep shall be broken by trumpet and drum ;
Then hush thee, my darling, take rest while you may,
For strife comes with manhood, and waking with day.
O ho ro, i ri ri, &c
* The first and last stanzas of this song have been set to music by Mr Whitaker, and introduced in Mr Terry's popular
Drama of Guy Mannering.
*0ran <&noiL
O ho ro, i ri ri, cadil gu Id,
O ho ro, i ri ri, cadil gu la.
TRANSLATION.
O ho ro, i ri ri, sleep on till day.
O ho ro, i ri ri, sleep on till day.
'Se m' fheadai'l an Cuirt-fhear dheanadh mir' agus sugradh ;
'Se m1 fheadail an Cuirt-fhear gun durichinn pog.
O ho ro, i ri ri, #c. /
II.
'Se m1 fheadail am Fleasgach ghabh air failbh air an fheasgar,
O tha mi fuidh bhreislich, ma sheasas an ceo !
O ho ro, i ri ri, &c
III.
Dol a null air an fhaoghailt gun deaninn mo raoghinn,
Bhiodh each air do dheagh aidh 'smo raoghinn air tos.
O ho ro, i ri ri, &c.
My beloved is the wooer that excites joy and gaiety : rv
love is the wooer to whom I would grant a kiss.
O ho ro, i ri ri, sleep on till day.
O ho ro, i ri ri, fyc.
II.
My beloved is the youth who went away in the evening :
oh ! I shall be raving should the mist continue.
O ho ro, i ri ri, &c.
■
III.
In passing the march-bourn, I would make my choice :
my choice would be foremost, and the rest would follow
thee,
0 ho ro, i ri ri, #c.
knight; Thy mother a lady both lovely and bright. The woods and the glens from the
s
i
1
mire ag us Sugradh; moghaoil do an Chuirtear gun <iuraigin pog
tLo—. 1 . i Jla. — — i k p i ft '
O ho ro
6S=
tower which we see, They all are be_longing dear ba_by to thee:
O ho ro
si
_ — *
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.<
i ri ri caidil gu lo O, o ho ro i ri ri caidil gu lo.
i v u i • — b< — ^
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i ri ri caidil gu lo, O, o ho ro i ri ri caidil gu lo.
24
s,wmMci\ rating g c^i^ffi
Li
Hei an Clb dubh, ho an Clo dubh, hei an Clb dubh,bfhear am Brear an,
Like light_ning gleams a _ long the Sky the sun shine of our tardy Summerjlong
^4* ■
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Hei an Clo dubh, hb an Clo dnbh, hei an Clo dubh, h9 fhear am Breach an-^7>
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j howls the win ter wind on hicrh. that ev er was so fast a Com er.
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ys glide like the wave-lets kist by j
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,un-beams glancing in the fountain; the
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fft< do aheibhiim Co ta don Chlo 'sfhear a thig a Sas-gunn. •*/
I ev-v days creep on like mist, that hea_vi_ly rolls round the mountain .
'-A I r—i j^sg^ ' ' -
i
LIKE LIGHTNING GLEAMS.
WRITTEN BY JAMES DOUGLAS, Esq.
Am — " Hei an clo dubh, ho an do dubh."*
I.
■
Like lightning gleams along the sky,
The sunshine of our tardy summer ;
Long howls the winter wind on high,
That ever was so fast a comer.
III.
Whate'er the moralist may say,
Unequally reign joy and sorrow,
Since grief must ever mourn to-day,
While hope expectant joys to-morrow.
IV.
Calm days glide like the wavelets, kist
By sunbeams, glancing in the fountain ;
The evil days creep on like mist
That heavily rolls round the mountain.
When J ove Time's hour-glass did ordain,
The destined days of man to measure,
Commingled with dark sands of pain,
Were joined few sparkles bright of pleasure.
£)ran an garnr, am Brearan MJad>
Le Alasdaie Macdhonuill, mac Mhic Alasdaie.
Hei an do dubh, 7io an do dubh,
Hei an do dubh, b' fhear am Breacan*
Hei an do dubh, ho an do dubh,
Hei an do dubh, tffhear am Breacan.
B' Fhear leom breacan uallach.
Mu 'm ghuaillibh, 'sga chuir fo m' achlais,
Na ge <T fhaigliinn cota,
Do'n chid is fhear a thig a Sasgunn.
Hei an clo dubh, &c.
Fior chulaidh an t-saoid'fhear,
Sneo-ghlaoicail ri uchd na caismeachd ;
Sciatoch 's an adbhans u,
Fu shantraich na 'm piob s' nam brattach
Hei an clo dubh, &c.
Bu mhaith gu sealg an fheigh thu,
'Nam eridh do1n ghrein air chreachuinn,
'S dh'fhalbhainn leat gu loghmhor,
Didomhnuich a dol don chlachan.
Hei an clo dubh, &c.
Ged spurn sibh an crith asainn,
'Sar brollaichion sios a shracadh,
Cha toir sibh asainn Tearlach,
Gu brath gus an d'theid ar tacadh,
Hei an clo dubh, &c.
Mo chion an t-og fearragha,
Thar fairge a chaidh uainn air astar ;
Durachd bla do dhucha,
an urnuigh gu 'n lean do phearsa.
Hei an clo dubh, <§-c.
'S ged a f huair sibh lamh-an-uachdar,
Aon uair oirne le scorsa tappaig,
An donas blar ri bheothsan,
Ni am feoladair tuille tappa.
Hei an clo dubh, <Sfc.
IMITATION BY THE EDITOR.
Hei the home-made sable zcool doth !
Hei the Iwmc-made Highland plaiden !
Sjssanachs may boast their broad cloth,
While we brook our Highland plaiden.
The Highland plaid so noble,
On shoulder, or under arm put,
Well becomes the hero
In peace or in heat of battle.
Hei the home-made sable wool cloth .'
Hei the home-made Highland plaiden, eye.
In belted plaid Eve bounded,
Like roe-buck o'er the heath-clad mountain ;
In my midnight slumbers,
I've charg'd in my tartan plaiden.
Hei the home-made sable wool cloth !
Hei the home-made Highland plaiden, &c.
My sword for Royal Charlie,
I drew 'gainst the red-coat rebels ;
With gun, dag, dirk, and target,
I fought for my exiled monarch.
Hei the home-made sable wool cloth f
Hei the home-made Highland plaiden, See.
Ye fiends ! rip up our bosoms,
And thence tear our loyal heart-strings ;
Search you can't the spirit,
And thence wrench our darling Charlie .'
Hei the home-made sable wool cloth !
Hei the home-made Highland plaiden, &c.
The joyous days are coming,
When, smiling shall peace and plenty
Welcome back poor Charlie :
The clans then shall wear the tartan.
Hei the 7iome^made sable wool cloth !
Hei the home-made Highla?id plaiden !
Sassanachs may boast their broad cloth,
Wliile we brook the Highland plaiden.
* Communicated by Colonel David Stewart of Garth; the Melody being transmitted to him by the Rev. Mr Stewart of Kirkmichael, and the rp.sea
transmitted by the Rev. Mr Macdonald of Fortingal : the six stanzas inserted above are selected from many more of pretty nearly th^.' same impoi r , ..id
may serve as a specimen of that spirit which pervaded the Highlands and western Isles,, till the mind of a Chatham penetrated the Grampians, and by
loving kindness, led forth the Clans to the utmost borders of the British Empire, to defend, to conquer, or die.
26 A YEAR O'ER YOUNG.
WRITTEN BY MR HOGG,
Air — A Border Melody.
O why comes my love nae langer to woo me ?
Why come nae mair by the light o' the moon ?*
Sair is my heart that lad should undo me ;
Sair is my heart that I love sae soon.
II.
Sweet is the birk that grows by the river,
Sweet was the blackbird's sang yestreen :
The gowden broom it is bonny as ever ;
Meet me again at the broom at e'en.
III.
Ye'll maybe sing as ye sang afore, love ;
O sae mournfully as ye sung :
Ye'll maybe sing as ye sung afore, love ;
0 ! an' alack ! I'm a year o'er young.
IV.
I'll never sing as I sang afore, love ;
Daily and hourly will I rue :
I'll never sung as I sung afore, love ;
Imt I'll aye sing, I'm years enow.
' v.
Touch not the nettle, lest that it burn you ;
Wally sae green as the braken grows ;
Love not the lad that ye canna get,
For the bands o' love they are ill to loose.
VI.
O, I hae done the thing that I rue, love !
1 hae done the thing that I rue sair !
Sitting up o'er late i' the dark,
Gars me love the bonny lad wi' the yellow hair.
* The two first lines of the first stanza were written originally thus,
Come ye nae mair to kiss and to woo me ?
Come ye nae mair by the light o' the moon ? . .
Mr <1ouo, in a letter (accompanying the above) to the Editor, says, « the first half [meaning this Song] only is
mine — the latter very old ; as I have often told you, I got both the verses and tune from a Maniac, and I never heard
any body else sing them.'''
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rocks, and his blood die'd the ocean.
A HIRST, OH ST KILDA SONG.
29
TRANSLATION BY THE KDITOli
Cum ha' le Mnctoi oig ann an Trt d'a fear
Jeiria chailleadh ann an Sou* 'naair bha e
'g iaraidh ubhin measg nan Creag.
Gur a thall ann an Soa,
D'fhag mi'n t-Oganach cleusda' ;
Urradh dheanadh mo thacar,
'Stabhairt dhachaidh na spreidhe.
'S ge do chaidh thu sa chreig ud,
Cha b'e'n t-eagal a leugh thu.
'S ann a rin do chas sraonadh,
'S cha do d'fheud thu riamh eirigh.
Bha t'fliuil air a chloich ud,
Bha do lot ann deigh leumaidh.
Bha thu 'muigh air bhar stuaighe,
'S muir 'gad fhuasgladh' o cheile.
Lament of a young married Woman o the
death of her Husband, who was killed i, .
falling over the rods of Soa while in tht act
of searching for eggs.
It was o'er in yon Soa*
I left lately my dearest,
Who, in rural employ,
Was to excellence nearest.
He miss'd but a step,
And as lightning his motion,
He dash'd down yonder rock,
And his blood dy'd the ocean.
Unkerchief'd, thy mother
Appear'd in wild anguish ;
Thy sister came weeping,
Together we languish.
'Nuair a thainig do mhathair* Thy brother came mournful,
Cha do chairich i'm breid oir. Nor lessen'd our wailing,
'Nuair a thainig do phiuthair, While afar we beheld thee,
Bha sinn dubhach le cheile. With tears unavailing.
'Nuair a thainig do bhrathair, Thou sevenfold blessing
Cha do chaomhainn e'n eughadh. Of thy much-lov'd kindred,
Bha sinn dubhach, a's craiteach, Who clung to thy lon,-f
Gad amharc ann cein uainn. Which from poverty hinder'd.
A sheachd beannachd nan cairdean My share of the sea-birds
'S a lonf ladair na feuma. Now scream, on high thronging;
Tha mo chuid-s' de na h-eunaibh My portion of eggs
Anns na neulaibh ag eughach. To the strongest belonging.
Tha mo chuid-s' de na h-uibhibh, I left on yon Soa,
Aig a' bhuidhinn a's treubhaich'. . Him who late me protected :
'S ann thall ann an Soa 'Heft of all, now, alas !
D'fhag mi'n t-Ognach cleusda'. I'm forlorn and neglected.
* Soa, one of the islets of St Kilda.
■f Lon, a rope or thong made of raw hides, used by the natives of St Kilda, while in the perilous search for eggs and feathers in the
face of the rocks which overhang the Atlantic ocean.
This beautiful specimen of the melodies and lyric composition of the natives of St Kilda, was taken down by the Editor from the
mouth of Margaret Macdonald, one of the domestics of Donald Macdonald, Esq. of Bal-Ronalc!, North Uist, in September 1815.
THE LAST CRADLE SONG.
WRITTEN BY MR HOGG.
Air—" A Border Melody"*
i.
Bawloo, my bonny baby, bawlillilu,
Light be thy care and cumber ;
Bawloo, my bonny baby, bawlillilu,
O sweet be thy sinless slumber.
Ere thou wert born, my youthful heart
Yearn'd o'er my babe with sorrow ;
Long is the night-noon that we must part,
But bright shall arise the morrow.
II.
. Bawloo, my bonny baby, bawlillilu,
Here no more will I see thee ;
Bawloo. my bonny baby, bawlillilu,
O sair is my heart to leave thee :
■
But far within yon sky so blue,
In love that fail shall never,
In vallies beyond the land of the dew,
I'll sing to my baby for ever.
* As sung by Mr Hogg, by whom it was communicated, and to whom the Editor is indebted for many more Border
Melodies, and fragments of Vocal Poetry.
The following is a verse of the Original Words to which this elegantly simple and affecting Air is sung, and mav
serve as a specimen of this species of Border Ballad.
My love's shoulders are both broad and square ;
True love and sweetheart think on me ;
And o'er them hangs his long yellow hair,
And I'm fear'd they take him from me.
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I'VE MADE A VOW.
33
WRITTEN BY MRS GRAY.
Air — A' Gille' Cuanach.
I've made a vow, and I'll keep it true, His smile was like a sunny beam ;
That I will never married be ; The ev'ning star was in his ee ;
For the only lad that I could lo'e, Alas ! how could delusive hope
Oh ! he will never fancy me. . Say, it would ever shine on me.
He's distant in a foreign land, But love will live within that breast,
His face I never mair may see ; When weary hope would droop and die ;
Yet I maun ever think o' him And I maun ever think o' him
Wha never, never thinks o' me. Wha never, never thinks o' me.
WRITTEN BY MR JAMIESON.
How lovely sweet in the vernal year
The virgin flowers of promise shew ;
(As dear o'er all to" the heart sincere,
Love's earliest blossoms ever blow.)
The smiles of May may wake anew
To sense of life the slumb'ring scene,
And, bathed in summer's balmy dew,
The leaf and flower again be seen :
If, all too delicate, a prey
To some unkindly blight they be,
And the firstling flowers of hope decay,
And, withering, leave the parent tree ;
But summer dew, and summer gale,
And summer suns, are all in vain ;
No second fragrance they inhale,
No beauty like the first regain.
And flavourless the fruity I ween,
Though fair the outside well may be ;
Nor e'er again so bright a green
Shall grace the wasted parent tree.
A' Gille1 Cuanach, o hi o ro !
A1 Gille'' Cuanach, o ho i,
A' Gille' Cuanach, na ledain dualach,
Tha mi fo' ghruaim' 'on a chY fhag thu Tir.
This is the only stanza in the Editor's recollection of this Gaelic song, the melody of which is so elegantly simple and
pathetic. The Scotish and English performers, however, will feel no want in singing the preceding verses, which breathe
affecting allusion and sentiment throughout.
D
YOUNG BENJIE*
To its own original Melody. \
Of a1 the maids o' fair Scotland,
The fairest was Marjorie ;
And young Benjie was her ae true love,
And a dear true love was he.
And wow ! but they were lovers dear,
And loved fu1 constantlie ;
But ay the mair when they fell out,
The sairer was their plea.
And they hae quarrelled on a day,
Till Marjorie's heart grew wae,
And she said she'd chuse another luve,
And let young Benjie gae.
And he was stout and proud-hearted,
And thought o't bitterlie,
And he's gane by the wan moon-light
To meet his Marjorie.
" O open, open, my true love !
O open and let me in !"
« I darena open, young Benjie,
My three brothers are within.11
" Ye lied, ye lied, ye bonny burd,
Sae loud's I hear ye lie ;
As I came by the Lowden banks,
They bade gude e'en to me.
M But fare ye weel, my ae fause love,
That I hae loved sae lang !
It sets ye chuse another love,
And let young Benjie gang.11
Then Marjorie turned her round about,
The tear blinding her ee,
" I darena, darena, let ye in,
But I'll come down to thee."
Then saft she smiled, and said to him^
" O what ill hae I done f*
He took her in his armis twa,
And threw her o'er the linn.
The stream was Strang, the maid was stout,
And laith laith to be dang,
But, ere she wan the Lowden banks,
Her fair colour was wan.
Then up bespak her eldest brother,
" O see na ye what I see ?"
And out then spak her second brother,
" Its our sister Marjorie !"
Out then spak her eldest brother,
" O how shall we her ken ?"
And out then spak her youngest brother,
" There's a honey mark on her chin.'"
Then they've ta'en up the comely corpse,
And laid it on the grund—
" O wha has killed our ae sister,
And how can he be found ?
" The night it is her low lykewake,
The morn her burial day,
And we maun watch at mirk midnight,
And hear what she will say."
Wr doors ajar, and candle light,
And torches burning clear,
The streikit corpse, till still midnight,
They waked, but naething hear.
About the middle o1 the night,
The cocks began to craw,
And at the dead hour o1 the niobt.
The corpse began to thraw.
" O wha has done the wrang, sister,
Or dared the deadly sin ?
Wha was sae stout, and feared nae dout,
As thraw ye o'er the linn ?"
« Young Benjie was the first ae man,
I laid my love upon ;
He was sae stout and proud-hearted,
He threw me o'er the linn.11
" Sail we young Benjie head, sister?
Sail we young Benjie hang ?
Or, sail we pike out his twa grey een,
And punish liiui ere he gang ?
" Ye mauna Benjie head, brothers,
Ye mauna Benjie hang,
But ye maun pike out his twa grey een,
And punish him ere he gang.
" Tie a green gravat round his neck,
And lead him out and in,
And the best ae servant about your house,
To wait young Benjie on.
" And ay, at every seven year's end,
Yell tak him to the linn ;
For that's the penance he maun drie,
To scug his deadly sin."
* This specimen of Vocal Poetry of elder times is taken from the Minstrelsy of the Scotish Border, vol. iii. p. 251. to which the performer and reader are
referred, for some striking particulars regarding the lykewake or watching a dead body, " suspected to have suffered foul play as it is called."
t The Melody to this Border Ballad was noted down by the Editor, from the singing of the late learned and ingenious Doctor John Leyden, (in anno 1 797)
to whom the literary antiquities of his country are so deeply indebted, besides what he has added to the luminous body of poesy which has emanated from the
constellation of Minstrels of " the North Country," in the late and present centuries. '
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i
THE BANKS OF CAYLE ;
OR,
THE MAID OF LERDAN'S LAMENT.
WRITTEN BY MR PRINGLE.
Air — A Border Melody.
In Warwick halls while minstrels gay-
Delight the festive band,
Awake, my lute, the melting lay
Of Teviot's lovely land !
O bonny grows the broom on Blaikla knowes,
And the birk in Lerdan vale ;
And green are the hills o' the milk-white ewes
By the briery banks o' Cayle.
Here all are strangers to the song,
And strangers to my soul ;
And lonesome, 'mid the wassail throng,
The weary moments roll.
O bonny grows the broom, $c.
Not thus in Corbat's lordly tower,
Or Lerdan's haunted grove,
I tun'd, in youth's enchanted hour,
The trembling string to love !
O bonny grows the broom, Sj-c.
Then blithe o'er Hounam's mossy fells
With fearless feet I stray'd,
Or sported 'mong the heather bells,
By Gaitshaw's fairy glade.
O bonny grows the broom, $c.
How gaily pip'd the shepherd swain,
Upon the upland lea !
How sweet the merry milk-maid's strain.
Beneath the hawthorn tree !
O bonny grows the broom, 8$c.
Fair haunts of peace ! — yet still more fair,
In hope's fond visions drest,
When he, — the gallant lord of Yair, —
First won my youthful breast !
O bonny grows the broom, fyc.
High floating on the fragrant air,
The lark's loud notes were giv'n,
As if his flutt'ring wings would bear
Our plighted vows to heav'n !
0 bonny grows the broom, fyc.
And all around, above, below,
Was life, and love, and joy —
When rush'd the fiends of war and woe,
Impatient to destroy !
O bonny grows the broom, Sf-c.
My true-love for his country died
On Biggar's fatal field,
And Warwick stole his weeping bride
When there was none to shield !
O bonny grows the broom, fyc.
Our foes, with victory elate,
In wrath refused to spare !
My father's halls are desolate —
The dead man slumbers there !
O bonny grows the broom, SfC.
My mother's bower is stain'd with blood,
Where erst my cradle swung ;
And owlets rear their shreiking brood
Where maids and minstrels sung !
O bonny grows the broom, §c.
And Edward, Scotland's deadly foe,
Has pledg'd my captive hand
To him, who wrought my kindred's woe,
And seiz'd my father's land.
O bonny grows the broom, Sf-c.
But though the treach'rous tyrant's yoke
My country still must bear,
A Scotish maid his power shall mock —
He cannot rule despair !
O bonny grows the broom, %c.
THE LIDDEL BOWER,
A BALLAD.
WRITTEN BY MR HOGG.
Am — A Border Melody.
" O will ye walk the wood, lady ?
Or will ye walk the lea ?
Or will ye gae to the Liddel Bower,
An' rest a while wi' me ?"
4 The dew lies in the wood, Douglas,
The wind blaws on the lea ;
An' when I gae to Liddel Bower,
It shall not be wi' thee.'
" The stag bells on my hills, lady,
The hart but an4 the hind ;
My flocks lie in the Border dale,
My steeds outstrip the wind.
" At ae blast o' my bugle horn,
A thousand 'tends the ca' ;
O gae wi' me to Liddel Bower —
What ill can thee befa' ?
" D'ye mind, when in that lonely bower
We met at even tide,
I kissed your young an' rosy lips,
An' woo'd ye for my bride ?
" I saw the blush break on your cheek,
The tear stand in your ee ;
O could I ween, fair Lady Jane,
That then ye lo'ed nae me !"
' But sair sair hae I rued that day,
An' sairer yet may rue ;
Ye thought nae on my maiden love,
Nor yet my rosy hue.
' Ye thought nae on my bridal bed,
Nae vow nor tear o' mine ;
Ye thought upon the lands o' Nith,
An' how they might be thine.
1 Away, away ye fause leman,
Nae mair my bosom wring ;
There is a bird into yon bower,
O gin ye heard it sing !'
Bed grew the Douglas' dusky cheek,
He turned his eye away ;
The gowden hilt fell to his hand ;
" What can the wee bird say ?"
It hirpled on the bough, and sang,
" O, waes me ! dame, for thee ;
An' waes me ! for the comely knight
That sleeps aneath the tree.
" His cheek lies on the cauld cauld clay ;
Nae belt nor brand has he ;
His blood is on a kinsman's spear ;
0, waes me ! dame, for thee."
" My yeomen line the wood, lady,
My steed stands at the tree ;
An' ye maun dree a dulefu' weird,
Or mount and fly wi' me."
What gars Carlaverock yeomen ride
Sae fast, in belt and steel ?
What gars the Jardine mount his steed,
An' scour o'er moor an' dale ?
Why seek they up by Liddel ford,
An' down by F arras lin ?
The heiress o' the lands of Nith
Is lost to a' her kin !
O lang lang may her mother greet
Down by the salt sea faem ;
An' lang lang may the Maxwells look,
Afore their bride come hame.
An' lang may every Douglas rue,
An' ban the deed for aye :
The deed was done at Liddel Bower,
About the break of day.
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I'LL BID MY HEART BE STILL.
WRITTEN BY MR PRINGLE.
Am — A Border Melody *
I'll bid my heart be still,
And check each struggling sigh ;
And there's none e'er shall know
My soul's cherish'd woe,
When the first tears of sorrow are dry.
While minstrels wake the lay
For peace and freedom won,
Like my lost lover's knell
The tones seem to swell,
And I hear but his death-dirge alone.
They bid me cease to weep,
For glory gilds his name ;
Ah ! 'tis therefore I mourn —
He ne'er can return
To enjoy the bright noon of his fame.
My cheek has lost its hue,
My eye grows faint and dim ;
But 'tis sweeter to fade
In griefs gloomy shade,
Than to bloom for another than him.
* This sweetly rural and plaintive air, like many other of the more ancient Border Melodies, has but one part, or rather one measure. It was
taken down by the Editor, from the singing of Mr Hogg and his friend Ma Pringle, author of the pathetic verses to which it is united.
While this sheet was in its progress through the press, the young gentleman last mentioned received from his sister, Miss M. Pringle, Jedburgh,
three stanzas of the original Border ditty which was chanted to the Melody here alluded to ; and they are here subjoined, as a curious specimen of that
quaint play on words, which was much in fashion during the fifteenth and sixteenth centuries. It is to the obliging zeal of this young lady for pro*
moting the present Work that the Editor is indebted for the admirable Melody to which Mr Walter Scott has written " Jock o' Hazeldean," and
likewise the fine original Air to which her brother has written " The Banks of Cayle."
O once my thyme was young,
It flourished night and day ;
But by there cam1 a false young man.
And he stole ray thyme away.
Within my garden gay
The rose and lily grew ;
But the pride o1 my garden is wither'd away,
And it 's a1 grown o'er wi" rue.
, ..
Farewell, ye fading flowers,
And farewell, bonny Jean ;
But the flower that is now trodden under foot
In time it may blume again.
I'll plant a bower of hop, &c. &c.
#**»#**
O, MY LOVE, LEAVE ME NOT.
WRITTEN BY MRS GRANT.
Am— JSealach na Gharraidh.
O, my love, leave me not, Till the sad hour we part,
O, my love, leave me not, Fear cannot make me start ;
O, my love, leave me not Grief cannot break my* heart
Lonely and weary. Whilst thou art near me.
Could you but stay a while, Should you forsake my sight,
And my fond fears beguile, Day would to me be night,
I yet once more could smile, Sad, I would shun its light,
Lightsome and cheary. Heartless and weary.
■
Night with her darkest shroud, O, my love, leave me not,
Tempests that roar aloud,
Thunders that burst the cloud*
Why should I fear ye L . _ .
Ochain ! a laoigh, leag iad thut
Ocluiin ! a laoigh, leag iad thu,
Ochain ! a laoigh, leag iad thu,
. 1. 'J/ bealach a1 gharaidh.
7
S1 truagh nach raibh mis ann sin,
S' truagh nach raibh mis ann sin,
S' truagh nach raibh mis ann sin,
As ceathr'' air each laimh dhamh.
An leann thog iad gu d' bhanais,
An leann thog iad gu d' bhanais,
An leann thog iad gu d' bhanais,
Air t fhaireiri1 bha e,
Eha mi 1m bhreidich, 'sa m' ghruagaich,
Am bhreidich, 'sa m' ghruagich,
Am bhreidich, 'sa m' ghruagich,
S' a 'm bhantraich san aon uair udv
Gun chron air an t' saoghal ort,
Gun chron air an t' saoghal ort,
Gun chron air an t' saoghal ort,
Achnach dThend thu faoghal buan fhastinn.
Ochain ! a laoigh, leag iad thu, <$r.
O, my love, leave me not,
O, my love, leave me not
Lonely and weary. '
LITERAL TRANSLATION.
Ala3 ! my love, they have laid thee low,
. Alasi my love, they have laid thee low,
• Alas ! my love, they have laid thee /ore,
• In the breach of the garden.
'Tis pity I was not there,
'Tis pity I was not there,
'Tis pity I- was not there,
And four men on either hand of me.
The ale which they brew'd for thy bridal,
The ale which they brew'd for thy bridal,
The ale which they brew'd for thy bridal,
Was drank at thy lykewake.*
I was a maid, and a bride,
I was a maid, and a bride,
I was a maid, .and a bride,
And thy widow, at one and the same time,
Thou wert without a fault in the world,
Thou wert without a fault in the world,
Thou wert without a fault in the world,
Except that thy being was not given to be
Alas ! my love, they have laid tlcee low,
*,See^otcp. S4. ,
43
Slew arut
i
Ochain a Laoidh leag iad thu I Ochain a Laoidh I leag iad thu
C i
OchaiiTa Laodfleag 1 iad^thnf Wa i acb a^ gha raidh \ 'strnagh nach robh mi8 ann sin,
J rT ^ T r
5
30
O my Love! leave *Sj not ione-"5y~ and wea----ry.^ Couhj you^nt^^ ya^w^'
r I J J
Waghnach robh mis ann sin, ^Strnagh nach robh mis ann sin, is Cea^hr air.xa^ laimh dhambh
and my fond fears be- guile, I yet once more conldsmilejightsome and chea ry ;
Ochain a Laoidh I leag iad thui Ochain a Laoidh leag iad thu. Ochain a Laoidh leag iad thn.
" — _~ a
O my Love! leave me not, O my Love! leave me not, O my Love! leave me not,
'mbealach a ghar raidh
1
lone — ly and wea ry - A £ £ m , ,
44
Plaintive--
Ro bi don adh, gorr — ach
comhnidh gam iarridh; Gun
i
dhinnis
mi
gam
dheoin dheut.
pos'in thu'
mm
'm bliad hna*
P.
(i
ho nonr thus, be lieve- me, my soul love proof makes; My
r _r f if
'Smor gu'ni b' amis. a* TeaT lach a ghnadh 'n cois
shliabha* na
I
Ro bi donadh, gOTT — ac^ a oladh
leine.
5
— fc? .
Host our Cause de _ fend__ing, I joiu, to face the foe.
:^ f^r^=
— r — u---
f *
i 1
iff i - H Hh
F HI J P
fr — V rf_[
•
i i ii »
LEAVE THEE, LOTH TO LEAVE THEE.
45
WRITTEN BY THE EDITOR.
Air — Robi donadh Gorrach.*
Leave thee, loth to leave thee,
My heart how it aches !
'Tis honour, love, believe me,
My soul love-proof makes :
My big-swoln bosom rending,
Feels now a fiercer glow ;
The host our cause defending,
I join to face the foe.
To check the tyrant's madness,
And peace to restore ;
A season brief, with gladness,
I go where cannons roar ;
Where champing war-steeds neighing,
Impatient, paw the ground,
The hostile lines surveying,
Till swells the charge's sound.
But should propitious powers
Protect me from harms,
Keturn'd, the joyous hours
I'll while, clasp'd in thine arms !
Then hush those struggling sighs, love,
That would my soul subdue ;
And dry those tearful eyes, love ;
One kiss — adieu ! adieu !
Robi donadh, gorrach a' comhnidh gam iarridh ;
Gun dhinnis mi gam dheoin dheut, nach pos1 in 'm bliadhna',
'Smor gu'm t/anns a' Tearlach a ghnadh'n cois an sliabha1,
Na Robi- donadh, gorrach a dh'oladh a leine.
* This set of the Melody was taken down from the singing of Miss Macleod of Roudle, in Harris, September 1815.
+ The remaining stanzas of this song are of a piece with the above specimen, and the English reader has little to regret in the omission
of the original Gaelic, or translation, of what might be chanted to this plaintire Air.
THE SPRING FOR, ME REVIVES IN VAIN.
WRITTEN BY MB, GRAY.
Air — Soraidh slan do 'n Ailleagan.
The spring for me revives in vain,
The grave it cannot ope —
It cannot give me back again
The wither'd flowers of hope.
Oh ! never was there bliss like mine,
In fortune's fairy bower ;
Why was it fated but to shine
The phantom of an hour !
Oh ! Mary was the fairest flower
On love that ever smiled,
She for a kingdom was a dower,
Tho' blooming in the wild :
The brightest dawning of the spring
Is soonest overcast ;
Joy's moments on the fleetest wing
Flit from us — and are past !
The bridal song, and sorrow's sob,
Were doom'd, alas ! to meet —
And Mary s snow-white wedding robe
Became her winding sheet :
Not sooner is the moonbeam gone,
That dances on the wave, —
The star that should have seen us one,
Was shining on her grave.
£)ran k akstair jttar Cotnmdj, translation by the editor,
Soraidh slan do 'n ailleagan All hail and joy to the jewel with whom I was this time
Bha marium 'n tra so n raoir, yesternight ! Excelling all the fair of Albyn in elegance of
Gur baraichd ann an auleachd thu^ r ir" r r it n ■ i v ?
'S gar lan-mhaiseach do loinn ; frame* bloom of face' dehcacy of air' and dlSmtJ of manner
Thug thu bar air mnai1 na li Alba — commanding due deference — nature hath bestowed on
Ann an dreach \s an dealbh 's an sgoinn ; thee every attribute of virtue and beauty of person which she
Dh1 f hag nadur ann an gliocas dhuit, can freely share.
Gach buaigh dhiubh sud san roinn.
Gc dana dhomh re ghradh sin, Though bold the assertion, yet nature hath gifted thee
Thug nadur dhuit na "s leoir, with all that can possibly adorn a queen, without being
Cho mor 's gun d1 rinneadh Banri'nn dhiot uplifted with inordinate self-esteem. Thou art faultless as
Gan ardan, gan enne phrois ; , n n , , , . . . .
Cha 'n cil cron re aireamh ort, . beautlful; and> as the diamond among gold, thou art lovely
A dh1 f haodadh fas air feoil ; among virgins and young married women.
A' measg bhan og is mhaighdeannan,
Mar dhaoimcan a1 measg 6ir. Among the fair thou art a mirror of beauty, surpassing
A1 measg na m ban gur sgathan thu, them in a11 that is worthy of our desire. How beautiful
Tho' irt bar orr' ann h gach geall ; the ringlets and spiral tresses of thy yellow hair ! Thy
'S bachlach buighe sniamhanach, breast is full and fair as the swell of the heaving ocean !
Gach ciabh tha air do cheann ; Th cheeks are ro ag rudd , suspended from the
1 ha do gruaidn cho dreachar J J J \
Ris na h ubhlan dait air chrann ; bough- Thme eyes> blue as the mountain bdlberry, full
Suil chorrach ghorm mar dhearcag, and prominent, move in eye-lids expressive of the softer
Ma 'n iath an rasg tha mall. emotions of the soul.
Taobh 's tigh do'n bhile dhaite sin, ...
Tha deud gheal cailce grinn, Thy roseate lips encircle a set of fine teeth white as chalk,
O'n ceolmhaire thig orain, over which pour forth tones far more melodious than those
No na h organa1 seinn ; ()f the organ in its dulcet swell. If there be no latent
Mar'eil cron an falach ort, ■ i • u u . .1 ■ .1 1 , • - .1 . .1
'S e barrail a1 bheil sinn blemish about thee, it is the prevalent opinion, that thou
Gun 'd thilg thug fein as Venus, . and tne Qu^en of Love might cast lots for the pre-eminence
Ann an dealbh, s an1 eug'as croinn, in beauty.
Soraidh slan don ail leag_an
bha mar ium 'ntra
W
not
f
9
The spring for me re_ vives in vain^The grave it —
m
r- *
— — ___
*
1
* 1
• —
•
* =1
J
1
1 fJJ-J
— i
raoir, gar bar_aichd ann an \\\ _lear:hd tbu, 'sgnr lan_ mhaiseach do loinnj
r • m t
-r— ^
V 8*
ope ; It can not give me back a gain The with_er'd flowers of hope.
i
• 8 * :
§1
Thngthu bar air mnai5 na'h Al ba ann an dreach 'san dealbh 'san sgoinn;
dh' i'hag
as
1
£3
Oh!ne_ver was there bliss like mine, In fortune's fai ry bower !
■f 1 l P . ■ ft-
Why
1 — B i
nadur ann an gliocas^ dhult. gach buaigh dhiubh sud san roinn.
N ~ 1 = 1
0 0
it fat_ed but to shine The phan_tom of an hour.
m
3
was
* : •
. ■
m
m
3J
- 0
PP
fas,
(is
f
ow winter's wind sweeps oer the moan tains
-n,
i
iz
PP
bheir mi hoir in
ha;
— . <
fia cil ort ro' ghniamh na n'Con
# m
V- — 6* « pg-^-V —
undlv sleep the i'roz_en
i d m —ML • 5-
deep-ly clad \n drift_ing snow; Soundly sleep the iroz_en foun tains;
bheir mi
hoir in
ha;
e ho i
ribh eag
IT
Ice-bound streams for_ get to flow; The piercing" i blast howls loud and
r
i
na hao i o ho ro o ho.
5
V* — •
long, The leaf_less fo_ rest oaks a_mong
r
9 1
r
1
I
•
1
— i
•
1 J
-J
■
a-
-x-
• r-i
p
-f — r
-»
— J-5-
NOW WINTER'S WIND.
49
WRITTEN BY THE EDITOR.
Air — Ma's tku mo Mhathair*
Now winter's wind sweeps o'er the mountains Down the glen, lo ! comes a stranger,
Deeply clad in drifting snow ; Way-worn, drooping, all alone, —
Soundly sleep the frozen fountains ; Haply, 'tis the deer-haunt Ranger !
Ice-bound streams forget to flow : But, alas ! his strength is gone !
The piercing blast howls loud and long He stoops, he totters on with pain,
The leafless forest oaks among. The hill he'll never climb again.
Age is being's winter season,
Fitful, gloomy, piercing cold !
Passion weaken'd, yields to reason,
Man feels then himself grown old ;
His senses one by one have fled,
His very soul seems almost dead !
£>ran a ritm Etesian titja Jftl)att)air+t
Ma's tu mo Mhathair, is gur fiadh' u
Bheir mi hoirin o ha ;
Fiacil ort ro' gniamh na 'n con ;
Bheir mi hoirin o ha ;
E ho iri ribheag o;
Ma haoi oho ro ho,
* This is one of the ancient Melodies to Which many of the Poems ascribed to Ossian are chanted. This Air, together with the Vooal Poetry
and four other ancient Melodies, the Editor took down, (with the assistance of the Rev. Roderick Maclean) from the recitation of Roderick
Macqceen, Grass-keeper at Carnishy North Uist, in August 1815.
+ Ossian is made to address his Mother under the allegorical semblance of a hind, and he advises her to be aware of certain fatal evils, such as the
arrow of the black tail, the black berry of the glen ; and to be aware also of meeting on the 6trath, or among the mountains, the smith, bis sons, and
their deer-hounds; as also, Mac Mobla, and other Fingalians that are unnoticed in M'Pherson's Ossian*
F
50
I'LL NE'ER RETURN MORE.
WRITTEN BY THE EDITOR.
Air — A St Kilda Melody.
I'll ne'er return more
To my native shore !
Farewell, thou ador'd one ! ah me ! I. must leave thee !
IH ne'er return more
To my native shore !
My duty compels me— but why should I grieve thee !
IH ne'er return more !
I feel a foreboding
I'll ne'er return more !
Ah, no ! never more.
I'll ne'er return more
To my native shore !
Then dry, love, those tear-drops (too precious !) fast falling ;
For me weep no more,
Nor my loss deplore.
Hark ! the trumpet's shrill clangour our heroes now calling
To battle's dread roar !
I go — but to thee, love,
I'll ne'er return more,
I'll ne'er return more.
I'll ne'er return more
To my native shore !
Oh ! whelm not my soul with those tears unavailing !
I pray thee no more
Our hard fate deplore,
Lest I, lost to honour, in duty be failing ;
Then all would abhor
Me thus, once degraded,
Disgrac'd evermore,
i
You'd ne'er love me more.
I'll ne'er return more
To my native shore !
Our destinies, ruthless, our rending hearts sever !
We meet never more !
Ah, no ! never more !
Farewell, oh .' farewell, thou ador'd one, for ever !
We ne'er shall meet more !
O cruel foretoken !
To part ever more !
To meet never more !
*0ran Jrteart>*
Fa li' il o ro,
Fa li' il o ro,
Mor 'is mis tha foth mhulad 'smi air uilin a chrualich,
Fa li' il o ro,
Fa h' il o ro,
Mor is mis tha foth mhulad 'smi air uilin a chrualich,
Fa li' il o ru,
I ri u li rin eile,
Fa li' il o ro,
Fa li' il o ro.
* This is the only stanza which the Editor took down of the verses chanted to this exquisite Melody, and it was from the mouth of the same person
from whose singing he joted down the St Kilda Song, to be found in this volume, pages 28, and 29-— The remaining stanzas shall be given in a future
volume of this work.
. , ... vM
.51
15^
4—-^ J F F P 1
Fa li'
1
fa ii' il o ro ;
~N. V l -
Mor'is mis tha foth mhnlad \smi air
■f* k— -V-fcr
-* i i 1
g r ?
111 ne'er re_turn more to my na_„tive shore! Fare — we 11, thou a_dor'd one! a!i
-» — +
uil_in a chraalich, Fa i. li' *il o ro, fa li' il o ro, Mor' is mis tha foth
e g e J' i
2
-N — R-
-# — r
m
! I must leave thee! 1*11 ne'er return more to my native shore! My du_ty com
mhnlad *smi air uil — in a chraalich, Fa li' il ho ro, i ti li Tin ei_le, fa
>■! * • *
v ' v I >• I 9 * 1 K. g g i ' — g * b 1 P =p g
pels me, but why should I grieve thee? Ill ne'er return more* I feel a fore-bo_ding 111
li' 'il o ro. fa ir il o
v pa
m
TO .
ne'er return more! Ah no! never more!
■ =rt^ ^
,52
i
aft <l ~
-1 ! TTi 't -
j ill ) <UF-
-H a s
*>
hi r
_-*-*!«
■H — 1 H — • m
-F — • T m~, P m ■
i ' U l -
'Se do mhol_adh mhola' mho la» 'Se do mhola' ni mi gu bracb, 'Se d(
i ■ j'Ji J J n
PI
Our He__roes re turn, For the bat-Itfe is won; And the
ft 1 i 1 ^ i i i fia
3
-H — h
3
38 »° - 1 -
— * —
-TT« 1-
=q r r
1 — 5
a
1 — r i
p |
= r r ■
mholadh mhola' mho la, 'Se do mho_la' ni mi gu brach. Air mo J'ar gur *u nao
N jV ! 1 1 ™ ■ P
?h5
i
5^
_ 1 > — »j — X2 — 9 — i y r
wel _come of trans_port, the shout is Toe gun- B"* where is my
m
Luagh _ so measg na Io_ _ sil, is na Basil;
>ft* 1 I g \ I j ~ j
Stii
fior mhac
an Dnin*_
-N-t
m
i
Ro NALD, the pride of them all? They saw him
K« I I g=3 I i -L- Ny-j—
tn
1
3t
m
3=tt=
u _ _ asil 'smac an Tuanach. nuairdh'ttias am b'arr.
3t
. _to rV fall.
.lira phant in vie to ry~~
m
-i U-fL.
=3=
&
iJ 1 E
i r*- r*. * 1 : ■ ■
?=f=
* — p —
-i ?r—
m
■
-1-4
— i —
^ * 1
i
X- L_:ii
i
II ' '
OUR HEROES RETURN.
WRITTEN BY WILLIAM SMYTH, ESQ. OF CAMBRIDGE.
Our heroes return, for the battle is won,
And the welcome of transport, the shout is begun ;
But where is my Ronald, the pride of them all,
They saw him triumphant in victory fall.
O, Konald, my Konald ! yet hear me, but hear !
I bless thy proud laurels, so honour'd, so dear ;
But pardon these tears that unworthily start,
A crime to thy shade, but relief to my heart.
No tears, well I know, must be shed o'er the brave,
For freedom who fall, and their country to save ;
Yet, oh ! for a season thy spirit must bear
To hear the sad sighs of thy Mary's despair.
Am — Oran Moladh*
0.
TRANSLATION.
thou art my lover, either among the humble or
among the noble : Thou art the true son of the
gentleman, and the farmer's son when the harvest
is at hand.-f-
'Tis thy praise I'll sing for ay. By my will
* This original Hebridean Air was noted down from the mouth of a young girl, a native of the Lewis, by an accomplished lady, (a name-sake of the
Editor) in 1781. In the Edinburgh Magazine for anno 1785, this fragment, for it is no more, will be found as given by the present Editor
to the late Mr James Sibbald, (proprietor and publisher of that Miscellany) than whom, few possessed more gentlemanly acquirements : taste and
discrimination in the fine arts were in his mind so intimately united, as to render his acquaintance covetable ; while his suavity of manners endeared
him to his friends, among whom the Editor had the good fortune to be numbered.
+ Literally, when the crop is ripe.
54
THE SEA MEW.
WRITTEN BY JOHN WILSON, Esq.
Air — Ho ro Mhairi dhu\
The stars are all burning chearily, chearily,
Ho ro Mhairi dhu', turn to me !
The sea-mew is mourning drearily, drearily,
Ho ro, &c.
High up is his home, on the cliff's naked breast,
But warm is her plumage that blesseth his nest !
The ice-winds ne'er blow there,
And soft falls the snow there,
Ho ro Mhairi dhu', turn to me ! -
Oh ! green rose our shealing, chearily, chearily,
Ho ro, &c.
Thro' trees half concealing, dreamily, dreamily,
Ho ro, &a
At night, like a deer thro' the forest I flew,
Till I saw the tall smoke- wreathe in heav'n so blue.
On the soft tender lawn there,
My sweet hind and fawn there,
Ho ro, &c.
Oh ! once smiled my dwelling chearily, chearily,
Ho ro, &c.
Tho' wild waves were swelling drearily, drearily,
Ho ro, &c.
In the rock-girdled bay, as I anchored my skiff,
A sweet voice would sing from the top of the cliff;
E'er the last notes were over,
She sprang to her lover, oh \
Ho ro, &c. '
To his nest, thro' winds roaring drearily, drearily,
Ho ro, &c.
The sea mew is soaring chearily, chearily,
Ho ro, &c.
He sits in that nest by his love's downy breast !
But where is the bosom so oft I have prest ?
Her plumes torn and dim, oh !
And hush'd that sweet hymn, oh !
Ho ro, &c.
The desert is sounding drearily, drearily,
Ho ro, &c.
But the red deer is bounding chearily, chearily,
Ho ro, &c. .
Away' to his lair in the forest so deep,
Where his hind with her fair fawns is lying asleep,
On green mossy pillow,
Like summer sea-billow,
Ho ro, &c.
The wild-deer is flying chearily, chearily,
Ho ro, &c
His hind he sees lying drearily, drearily,
Ho ro, &c.
In fondness the fair creature lifts up her head !
But where hath my hind and her little ones fled ?
Hark ! hark ! what deep sighing !
In the dell they are dying ! oh !
Ho ro, &c.
51)0 xo Jttftftrt d1;u%
Cha dean mi car feum ma threigis mo leannan mi ;
Ho ro Mhairi dhu' ! tionndaidh rium !
A bhean a chul dualaich, 'sna cuachacan camlacach ;
Ho ro, &c.
'Sa Mhairi na dig a' tu thaitnidh tu rium,
'Sa Mhairi na dig a1 tu thaitnidh tu rium ;
'Sa Mhairi na dig a' tu,
B'e de bh eath' a-gainn tu ;
Ho ro Mhairi emu1, tionndaidh rium !
The above stanza is the only one the Editor took down from the singing- of Misses Anne arid Janet M'Leod of Gesto, Skye. The Melody i*
supposed to be ancient — the verses were composed to Mrs MTherson of Ostaig, by a female maniac, several years ago, who sung it, it is said, in so
sweetly wild a manner, as to thrill the listner with pleasing terror.
'S YS *
M— srl
m
r» — f=
PP.
Ores
3=^
i
_-( g . _^ ^ y,^. | J, ^ . W
The stars are all burning chearily, chearily, ho ro Mhairi Dhu! torn to me! The
Bhean a chul dualaich,'sna cnaohacan camlacach; ho ro MHAIRI Dm
m! tionndaidh rinm. 'Sa
mm
5
« — #
It
Sea Mew is mourning drearj Jy, cbear^Jy! ho ro Mhairi Dhtj! turn to me!
MhaiTi na dig a' tu thaitnidh tu rinm, 'Sa Mhairi na dig a* tu, thaitnidh tu rium; 'Sa
Si
9 — C
g g e g
Highishis home on the cliffs naked breast; butwarmis her plumage that blesseth liis nest! The
Mhairi na dig a tu, b'e do hheath ' a_gainn thn; ho ro MHAlKl DHU, tionndaidh rinm!
i
§
•y-f-
5
■ ■ y ^ ^ K m .
i-winds ne'er blowthere, And soft fallsthe snow there; 0! ho ro Mhairi Dhu! turn to me!
ice-
5\j
Sic*
Air minn o,na iom o to, iom o agns iom o ro, air minn o, na iom o ro, is
1
ajjn:
i
— ^ 1 j ^ .' r I/ ■ - " #— ^_ m9 1 - - — i— w_
The hawkwhoopsonhi£h,andkeen, keen f rom yon cliff.Lo! the ea_orle on watch eyes
— #
the
acjibhi nn learn an din nachi. Air minn o,naiom o ro, iom o, agas iom o ro, air minn o, na iom
i
0 — 0
stajr cold and stiff; The deer-horaid,maiestic, looks ]of_ty a _ionnd, while he lists with de
k ° l — I 0J-L I I I - : 0-i ,
S3
1
i
m
i53
—0
i i i
-1-
o ro, is aoibhinn learn an din na chi. Chreagmo chridh* *sa. cbreag ghuanach;creag'sand'f'htiarasgreisdo'in
m i i rq i 1 1 rq i jn^-
breaff
__ light to the harp's dis—tant sound. Is_ it swept by th ^ gale as it slow wafts
arach;creagnan damh5'snan aighean sinbhlach^a chieag aidhear-ach , urail,iapachAir minn o, na iom o ro, iom
ft I I Til i -t-TWt j i ,ii I rl r*r+ 'i *\ \ i ; .
it*
_ lontr the heart -soothing tones of an Ql-den^- times Songl* Or, is it some Dmia w|io
*
u T r UT
o, agus iom o ro, air minn o na iom o
ro, is z> 'bhinn learn an din na chi.
touch_es, un_seen,"The Harp of the North," new_lv — strunor now, I
I r*i i i r:.i j j feAgfctf
ween,
fff
THE HAWK WHOOPS ON HIGH.
57
WRITTEN BY THE EDITOR.
Air — Creag Ghuanach.
The hawk whoops on high, and keen, keen from yon cliff,
Lo ! the eagle on watch eyes the stag cold and stiff;
The deer-hound,* majestic, looks lofty around,
While he lists with delight to the harp's distant sound.
Is it swept by the gale, as it slow wafts along
The heart-soothing tones of an olden-times song ?
Or is it some Druid who touches, unseen,
" The harp of the North,1' newly strung now, I ween ?
'Tis Aleve's own minstrel ! and proud of his name,
She proclaims him chivf bard, and immortal his fame !—
He gives tongue to those wild lilts that ravished of old,
And soul to the tales that so oft have been told.
Hence Walter the Minstrel shall flourish for ay,
Will breathe in sweet airs, and live as long his " Lay :'
To ages unnumber'd thus yielding delight,
Which will last till the gloaming of time's endless night
Air minn o, na torn o ro,
Iom o agus iom o ro,
Air minn o, na iom o ro,
Is aoibhinn learn an diu na cht.
Creag mo chridhd 'sa chreag ghuanach^
Creag na d'fhuair mi greis do'm arach ;
Creag nan damh's nan aighean siubhlacht
A chreag aidhearach, urail, ianach.'
Air minn o, na iom o ro, &c. &c.
FRAGMENT of a GAELIC SONG, by an Old Hunter.
Taken down by Ewan Maclachlan of Aberdeen, from the Oral Recitation of his late Father Donalh Maclachlan of Fort-William.
" Ach' Aonghais Mhic Aonghais oig,
B'e do dhlighe 'bin coir riamh :
Bu tu cas-shiubhal nan sron,
'S b'ann le d' 'laiinh a 'leoint' am fiadh,
Leis a ghunna sin 'tha 't uchd,
Dha 'm b' ainm an Lorg fhada ghlas ;
Bu tu sior-namhaid a bhruic
Bho 'n cheud la riamh dh' fhalbh i leat."
Mo thruaighe ! mo thruaighe mi !
Tha mi 'm' shineadh air mo dhruim,
'S mi ri cuimhneachadh gu trie
Nach iarr iad mi 'nis' air chuilm :
Cha 'n iarr iad mi' 'thigh an oil,
Bho 'n dh'fhas mi' dhuine gun speis :
Bha mi uair a dhirinn sron,
'S dh' fhagainn luchd na spors 'am 'dheigh.
Miso 's tus' a GhadthairJ bhain !
Thug sinn greis roimhe ri deannal '. ■
Chaill sinn ar talhunn 's ar dan,
'S ole ar gndthuch aim 's an Eilein.
Thug a choille dh 'inn an Earb',
'S gun d' thug an t-ard dh' inn na feidh :
Cha 'n eil cdir'againn, a 'laoich !
Bho 'luidh an aois oirnn gu leir.
$i # %
Chi mi Coire-Ratha bh' nam ;
Chi mi Chruach is Beinne Bhreac ;
Chi mi Strath-Oisiann nam Fiann,
'S chi mi 'Ghrian air Meall nan leac.
Chi mi Beinn-Nimheis gu h-ard,
'S an Carn dearg a tha 'na bun :
Chite, farr mullach a fraoich,
Monadh fada faoin is mum
Chi mi Strath-farsuing a chruidh,
For an labhar guth nan sonn,
'S Coire Creagach a Mhaim bhain
'S an trie an d' thug mo 'lamh toll. —
, Cha mharbh mi coileach no cearc ;
Cha mharbh mi lach air an t shnamb
Cha chuir mi mordh' ann an sruth ;
Cha mharbh' mi iasg dubh na ban.- —
Cead do'n mhaoisleach, cead do'n bhoc :
Cead do'n damh is dosach barr ;
Cead do'n bhiolair' ann 'sa 'n fliuaran ;
Cead do'n nuallan ann 'sa charn !
Cead do'n h-uile coire 'bh' ann ;
Cead do dhiomhaireachd nan allt ;
Cead do Choire Mhuilinn lorn
'S Coire Mhinnein nan damh seang.
* * * *
PROSE TRANSLATION OF THE ABOVE FRAGMENT.
Angus, son of Angus the young ! worth, by privilege, was ever
thine : oft did thy foot traverse the peaks ; oft did thy hand pierce
the stag. Armed with that gun in thy bosom, its name " the
long gray truncheon ;" ever since it became thy attendant, thou
wert the badger's unceasing foe.
* * * *
Ah wretched, wretched me ! here, on my back reclined, I
ponder the thought, that they shall invite me to the banquet no
more ! No more shall they invite me to drink with the social
throng ; since I am become despised and forlorn ! — Once on a
time I could scale§ the steep, and leave the contemptuous behind.
* * % & *
I and thou, my white hound, made vigorous exertions in our
day ! Our strength and ardour are gone : bootless were now a
iourney to the isle. The wood has deprived us of the roe ! the
height has deprived us of the stag ! My gallant animal ! ours is
not the blame : we are now exhausted by the decays of age !
I see the distant Corry of Rath ! I see the round peak, and
the hill of Breck ! I see the Strath of Ossian and of Fingal's
race ! I see the sun on the mountain of dusky slopes ! I see
Beh-nevis towering sublime, and the red heap at its base ! From
its frowning summit are seen the ranges of desert hills, and the
ocean. I see the spacious level, the pasturage of herds, where
the full deer often raises the cry ; and the rocky vale of bright
declivities, where often I transfixed the game ! But the cock
or hen of the mountain I shall hunt no more ! no more I f]ay
the wild duck swimming on the lake ; no spear of mine shall
penetrate the stream ; the salmon, bright or dark, is my pre)- no
more ! Farewell to the fawn and to the hind ! Farewell to the
high-antlered stag ! Farewell to the cresses shading the springs !
Farewell to the romantic howl from the cairn ! Farewell, ye
sequestered rills ! All ye favourite vales ! Thou, smooth Corry
of Mullin, and thou, CoTTy-Vinnen of slender deers, farewell !
* The deef-hound, in point of size, strength, and elegance of form — speed, and powerful action — instinct, temper, and disposition, far exceeds any other
of the canine kind hitherto known in this island. In the vignette to this volume of Albvn's Anthology, is introduced, a portrait of Mr Walter Scott's
favourite deer-hound Maida, one of the very few now remaining of this noble species of dog in Scotland. The ingenious Artist (Mr William Lizaus), faith-
ful to his original, has executed his task, con amore.
f The above stanza to which this admirable Air is adapted, is one of seventy, which the Gaelic reader will find in the old song entitled " Oran na Comhachaig,"
printed, very incorrectly, in the Perth Collection, and also in M'Donald's Collection. The following stanzas, furnished by the learned Translator, seem
also to bear a striking resemblance to the song in question. It is needless to add, how pure and classical the fragment here given is, in comparison with that of
the song alluded to.
X Ghaothair. § Climb, mount, ascend.
G
O SING, YE CHILDREN OF THE BRAVE.
WRITTEN BY MR FAIRBAIRN.
Air — Tha ghaoth a niar cho chaithramach.
O sing, ye children of the Brave !
A requiem o'er your fathers' grave,
Who fought, on the triumphant wave,
The battles of the free ; — ■
The deadly conflict is begun —
Flame wraps the waves, and smoke the sun ;
And, through the shroud of sulphur dun,
Each thundering vessel glows :
Of Nelson raise the grateful song !— Lo ! rushing through the deep, Full on the foe the Chieftain steers, and rends his furious way,
Like tempests in their force and speed, his broad-wing'd vessels sweep : Like bolt of Heav'n amid the night of terror and dismay : —
The star of glory shines afar,-— The flaming wrecks are rolling wide,
The star of Nile, — o'er Trafalgar ; And hostile corses load the tide —
The light that through the storms of war But, ah ! the victors's shouts subside,
Still points to victory i* And tears their triumph close !
There, dark'ning half the azure main,
Arise the lofty ships of Spain ;
And France her sullied flag again
Gives boldly to the breeze :
Of Nelson's ever glorious days, the brightest and the last
Inspires his too prophetic soul ! his latest signal's past :—
" England expects that every man
" Will do his duty :" — Quick, from van
To rear, a deep low murmur ran,
As tempests threat the seas if
Yes, England, weep ! — No stain of fear
Pollutes the proud parental tear,
That falls upon thy hero's bier —
For now, belov'd of Heav'n !
Soon shall the humbled nations own (nor urge thy vengeance more)
The sceptre that subdued the sea can shake the trembling shore !
And when thy valour lacks a foe,
Thy generous worth the world shall know ;
And ransom'd states around thee grow,
Like sons by Freedom given.
Jorram, tio CtjJann HaoiuuU4
Tha ghaoth a niar cho chaithramach,
'S gun chum i 'raoir am chaithris mi,
Bhi smaointin air na fearabh sin,
'Smo mhile beannachd leo ;
Bhi smaointin air na fearbh sin
'Smo mhile beannachd leo.
Fallain do na brathribh sin
A dhalbh an de air saile bhuainn,
Bha Ailen, agus Rauill ann,
'Sair faichinn slan gu leoir.
Bha Ailen, &c. &c.
* In Southey's " Life of Nelson," vol. i. p. 24, occurs the following remarkable passage : — " And from that time, he often said, a rudiant orb
was suspended in his mind's eye, which urged him onward to renown." " He knew to what the previous state of dejection was to be attributed ;
that an enfeebled body, and a mind depressed, had cast this shade over his soul ; but he always seemed willing to believe, that the sunshine which
succeeded bore with it a prophetic glory, and that the light which led him on, was ' light from Heaven."
T Variation. " As when the tempest's breath is drawn,
Before it heaves the seas."
% The Editor regrets his not having taken down the rest of the verses of this fine old Iorram, when he jotted down the Melody and first stanza
from the singing of Lachlan Macquiiarie, one of the tenants in Ulva, the property of Ranald Macdonald, Esq. of Staffa.
Slew
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Qhairthris mi, bhi smaointin air na Fear _ abh sin, 'Smo mhile beannachd leo; bl
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Trafalgar! The light that thro' the storms of war. still points to Victory!
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att:
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tha mi, 'Smi gnn mhireadh J?un mhan_ran, ann sa'n talladh? ! in bu
la I I I I Sn rH^-, r *
. proach__ing that ends all con ten_
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tion , be tween ruth 1
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marnas ach, mea'rach
22
Reb ."els and me:
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tnr bu lence, trea son,
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macaimh's na maighdean, far'm bu tart a raJli
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gleadhraioh na
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crimes in de gree;
cru el in__ten_ _tion, ex__ceed all
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THE ROYAL SUFFERERS FAREWELL,
Gl
WRITTEN BY THE EDITOR.
Air — Gur muladach tha mi.
" The moment's approaching, that ends all contention
Between ruthless rebels and me ;
Their turbulence, treason, and cruel intention,
Exceed all dire crimes in degree !
" Why crimes are permitted, and miscreants flourish, '
Belongs not to mortals to know ;
But passions malignant no wise man will nourish,
For passion's the parent of woe.
" Henrietta ! dear consort ! of lilies the fairest I
To France, thou, ere long, must return ;
And, if for my orphans, and thine, love, thou carest,
Their father thou long wilt not mourn .'
Cumtja ^>t)tr Cormaiti JHtjk &eott>,
Le Mari Nighean Alastair Ruaidh.
Gur muladach tha mi,
'S mi gun mhireadh gun mhanran,
Anns' an talla 'm bu gna le Mac Leoid,
Gur, &c.
Tigh mor macnasach meagh'rach,
Na macaibh 's na maighdean,
Far 'm bu tartarach gleadhraich nan corn.
u But when gone, and this body in dust fast decaying,
(My spirit on high with the just),
Remember with gladness of heart this true saying,
That, ' In Heaven it is safest to trust.1
" Impress on our infants this truth never failing,
'Tis the anchor of hope and of Heaven,
Let CHARiTY.be in the bosom prevailing,
And learn to forgive — as forgiven?
The monarch here pausing — the tear-drops fast falling,
Round his consort his arms quick lie threw ;
" To the block !" while his merciless tyrants were calling !
He grasp'd her — and groaned an adieu !
Tha do thalla mor prisail,
Gun fhasgadh gun dian air.
Far am facadh mi 'm fion bhi 'ga ol.
Och mo dhiobhail mar thachair,
Thainig dith' air an aitreabh,
'S ami a's cianail learn tachairt na coh',
Shir Tormaid nam bratach,
Fear do dhealbh-sa bu tearc e.
Gun sceilm a chuir asad na bosd.
Fhuair thu teist, a's deagh urram,
Ann am freasdal gach duine, "'
Air dheiseachd 's ah- uir-ghioll beoiL ■ ■
Leat bu mhiannach coin luthmhor,
Dol a shiubhal nan stuc-bheann,
'S an gunna nach dinltadh re h ord.
'S i do lamh nach robh tuisleach,
Dol an coineadh a chuspair,
Led' bhogha cruaidh ruiteach deagh-neoiL
Glac throm air do shiliasaid,
An deigh a snaithe gun fhiaradh,
'S barr dosrach de sciathaibh an eoin.
Bhiodh ceir ris na crannaibh,
Bu neo-eisleanach tarruing,
'Nuair a leimeadh an t saighid o d' mlieor.
'Nuair a leigte o d' laimh i,
Cha bhiodh oirleach gun bhathadh,
Eadar corran a game 's a smeoirn.
Ceud soghraidh le durachd,
Uarri gu leannan an t sugraidh,
Gu 'm b'e m' aidhir 's mo run bhi ga d' choir.
'Nam dhuit tighinn gu d' bhaile,
'S tu bu tighiarnail gabhail,
'Nuair shudheadh gach caraid mu d' bhord.
Bha thu measail aig uaislean,
'S cha robh beagan mar chruas ort,
Sud an cleachdadh a fhuair thu d' aois oig.
Gu 'm biodh faram air tailisg,
Agus fuaim air a chlarsaich,
Mar a bhuineadh do shar mhac mhic Leoid.
Gur e b' eachdraidh 'na dheigh sin,
Greis air uir-sgeul no Feinne,
'S air a chuideachda earr-gheal nan crochd.
LITERAL TRANSLATION.
BY MR JOHN SCOTT.
How melancholy am I ! without mirth or sweet con-
versation, in the mansion that used to be the residence of
Macleod.
That spacious house of festivity and joy, of sons and
of maidens, wherein was (to be heard) the noisy clatter
of the drink horns.
Your extensive and valuable mansion is (now) without
shelter and without roof, — where I have seen the wine
drank freely.
O my grief, that it should so happen ! Your steadings
are in ruin : To me it is mournful to come near them.
Sir Norman of the banners ! a man of your likeness
was rare: Without vanity or vaunt, it maybe said of
you.
You have obtained honour and great respect for your
polite attention to every man, and for your ready and
eloquent address.
Swift dogs were your delight, for the purpose of tra-
versing the rugged hills, — and the gun that would not
snap.
Yours was not the unsteady hand, when the object
was to be hit — with your hard, stained, and finely coloured
bow.
A weighty quiver by your side, well polished, without
bend or flaw, and its top appearing like a tuft of birds'
wings.
Shafts well dressed with wax are not difficult to draw,
when the arrow would spring from your fingers.
Soon as let off from your hand, not an inch of it but
would be immersed (in the game), from the point to the
end of the shaft.
A hundred most sincere respects to the lover of joy :
my happiness and earnest desire was to be near you.
On your return home, how chieftain-like did you ap-
pear when every friend sat round your table.
You were in high respect among the great ; small
matters gave you no uneasiness : that was a habit you
acquired in early youth.
There was to be heard the din of backgammon, and
the sound of the harp — such (amusements) becoming the
genuine son of Macleod.
After these, the subject of history ; a while on the tales
of the Fingalians ; and a while on that community with
■white -pasterns and huge antlers.
« « Sir Norma* M'Leod of Bernera, was third son of Sir Roderick M'Leod, commonly called Rory More (or great), who was knighted by James VI. and of Isobel, >
daughter of Glengary. When Charles II. landed in Scotland in 1650, the chief of the Clan was a minor, so that Sir Roderick and Sir Norma*, sons of Rory More,
and uncles of the minor, led the Clan to the royal standard, and were present at the fatal batde of Worcester, where Sir Norman was made pnsoner, and remained m confinement
ighteen months. He then escaped, and found his Clan in the Highlands, and was by them deputed to offer to his Majesty, at Pans, their assurance of nmolable attachment.
The king dismissed him with letters to the principal people of the royal party, and desiring him to return by Holland, where General (afterwards Km of) Middleton was : he from
upon i
62
OKAN DO THIGEARNA CHLANNRAONUILL.
Am — Tha tighin fotham eiridh.
LuiNNEAG.
Tha tighin fotham, fotham, fotham,
Tha tighin fotham, fotham, fotham,
Tha tighin fotliam, fotham, fotham,
Tha tighin fotham eiridh,
Sud an t shlainte churamach,
Olamaid gu suntach i,
Deoch slainte an Ailein Mhuideirtich,
Mo dhurachd dhut gun eirich.
Tha tighin fotham, &c.
Ge do bhiodh tu fad uam,
Dheiradh sunt a's aigne orm,
Nuair chluinninn sgeul a b' aite leamt
Air gaisgeach no'n gniomh euchdach.
Tha tighin fotham, &c.
'S iomad maighdionn bharsach,
Ga math da "n tig an earrasaid,
Eadar Baile a Mhanaichj
Agus caol Bharaidh 'n deigh ort.
Tha tighin fotham, &c.
Tha pairt an ealain bheagram dhiu'
Cuid san Fhraing, 's an Eadaillt dhiu1
Cha n'eil latha teagaisg,
Nach bi'n Cille-pheadair treud dhiu',
- Tha tighin fotham, &c.
N'ar chruinnicheadh am Bannal ud,
Breid caol an caradh crainnaig orra,
Fallas air a malainean,
A danns' air urlar deile.
Tha tighin fotham, &c.
'N uair chiaradh air fheasgar,
Gum ba bheadarach do fhleasgaicheaflj .
Bhiodh pioban mor ga'n spreigeadh ann,
A's feudanan ga'n Gleusadh.
Tha tighin fotham, &c.
Sgiobair ri la gaillinn thu,
Sheoladh cuan na n marunnan,
A bheireadh long gu calachanj
Le spiunnadh glac do threin-f hear.
Tha tighin fotham, &c.
Sgeul beag eile a dhearbha leat,
Gur sealagair si time an garbhlach thu,
Le d' chuilbliir, caol nach dearmadacli,
Air dearg-ghraiglr na'n ceann ea-trom.
Tha tighin fotham, &c. •
B e sud an leoghunn ageamach,
'N uair nochdach tu do Bhaidealean,
Lamh dhearg a's long a's bradanan,
-'N uair a lasadh meanmnadh an t eudunn,
Tha tighin fotham, &c.
IMITATION.*
BY A LADY.
Come, here's a pledge to young and old,
Who quaff the blood-red wine ;
A health to Allan Muidyart bold, "
The dearest love of mine.
Along, along, then haste along,
For here no more I'll stay ;
Fll braid and bind my tresses long,
And o'er the hills away.
And when to old Kill-Phedar came,
Such troops of damsels gay ;
Say, come they there for Allan's fame ?
Or come they there to pray ?
And when these dames of beauty fan-
Were dancing in the hall,
On some were gems and jewels rare,
And cambric coifs and all.
When waves blow gurly off the land,
And near the bark may steer,
The grasp of Allan's strong right hand
Compels her hence to veer.
Along, along, then haste along,
For here no more I'll stay ;
I'll braid and bind my tresses long,
And o'er the hills away.
RISE AND FOLLOW CHARLIE.
Tm inspird, inspired, and fird !
Tm inspird, nay, fiercely jvfd !
Pm all on fire with strong desire
To rise and follow Charlie !
Flush from France, that hot-land, sirs,
Chaelie's come to Scotland, sirs ;
Push round the quaich and bottle, and, sirs,
Quaff a health to Charlie !
Ha teen ft am, /oam, fam,
Ha teen foam, foam, foam,
Ha teen fam, fo'am, fam,
To rise and follow Charlie!
Highlandman and Lowlandman,
The princely youth will follow, man !
To beat the red-coats hollow, man,
Wha wadna rise wi' Charlie ?
Ha teen fo'am, fo'am, Sic.
Let burly Wull frae Flanders come,
Wi' brazen trump and kettle-drum !
Bang up the bag-pipe ! 'tis our trum' .'
Let's trim the German rarely !
Ha teen fo'am, fo'am, fo'am, &c.
We fear nae foes nor foreign loons,
Wi' hairy lips and pantaloons ;
Nor Saxons stern, nor bluff dragoons,
Up ! up ! and waur them fairly !
Ha teen fo'am, fo'am, fo'am, &c.
Ilka loyal heart and leal,
Ye wha love auld Albyn's weal,
Come, drive the rebels to the deil !
And do't again for Charlie !
Ha teen fo'am, fo'am^ fo'am, kc.
The tongue is an unruly thing,
Whence imps o' hell in words tak wing !
See James the third and eight — The King
And — not forgettin' Charlie !
Ha teen fo'am, fo'am, fo'am, &c.
* The close and elegant imitation of this animating luinneag being in a measure different from the Gaelic original, the Editor has adapted to
the Air a few stanzas from his MS. Collection of " Loyal Songs," as they were called by the Jacobites, or staunch adherents to the now extinct
Royal Family of Stuart. It is needless to add, that vhe immediate offspring of the true Jacobite families are at this moment the most zealous and
loyal supporters of the illustrious house of Brunswick. •
f This was a sly way of drinking the health of the son of James VII. which the Jacobites never failed to do at convivial meetings, quoting
Scripture at the same time, " But the tongue can no man tame ; it is an unruly evil, full of deadly poison." — Vide the general epistle of James, chap. iii. 8.
The following extempore epigram by Dr Dirom, made when called upon to drink George the Second's health, at a loyal meeting at Manchester, is
omitted in the last edition of his works, and is here given to shew, that a correspondent spirit existed at that time among the English as well as the
Scotish Jacobites.
Here's " God bless the King ! God bless the Faith's Defender !"
There can be no harm sure in blessing — the Pretender :
But who Pretender is, or who is King-
God bless us all ! That's quite another thing !
/
/7
63
(rav and
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Thatighin fotham, fo?__ain, f o'— am, tha tigbin toibam, fo'_am, fo'am, tha tighin fotham, fo'_am, fo'_am
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Im inspired, inspir'd, and fir'd, O I'm inspir'djiayjiefcely fir'd, I'm all on fire with strongdesire to
« — •
tha tig^nn fo'am ei— ridh! Sud an t'slain di chu_ram_ ach, olamaid gn sun' ,tach
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rise and follow Charlie ! Flash from France thathot— land, Sirs! Charlie's come to Scotland,
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Sirs; pushround the Qimick and bottle, and, Sirs! quaff a health to Charlie! ha tin fo'am,
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fo'am fo'am, thatighin fo'am fo'am, fo'am, thatighin fo'am, foam fo'am, tha tighin fo'am eiridh!
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THERE'S NOTHING SO FATAL. «
65
There's nothing so fatal as woman,
To hurry a man to his grave ;
He may sigh and lament,
He may pine like a saint,-
But still she will hold him her slave.
But a bottle, altho' 'tis quite common,
The tricks of the sex will undo ;
It will drive from your head
The delights of a bride :
He that's drunk is too happy to woo !
WRITTEN BY THE EDITOR.
There's naught so delightful as woman,
Delectable source of all joy !
When lovely and kind,
And possess'd of a mind,
She's, by Heavens ! no trifling toy !
Of a truth ('tis disputed by no man),
Kind woman of life is the soul ;
With delicate ease,
She fails not to please,
When she sways man with gentlest control,
O woman ! bewitching, sweet woman !
Thou idol whom all must adore !
Let virtue inspire
Each hallowed desire,
Then, rule thou the world evermore !
* The verses and Air of this song, were taken down as sung by the Editor's friend, Robert Scott Moncrieff, Esq. who
learnt it several years ago from an elderly clergyman in Fyfe. It is also sung by Gilbert Innes, Esq. of Stow, exactly as here
given ; and so far as it consists with the Editor's knowledge, the gentlemen, whom he is permitted to name, are the only persons
who recollect this excellent relict of an old Scotish convivial song ; — it will not escape, however, suspicion of its being rather an
imitation by Dr Green, or some such successful imitator of the Melodies of North Britain.
66
COME, MY BRIDE.
WRITTEN BY THE EDITOR.
Air — Original* composed by the Editor.
He. Come, my bride, haste, haste away !
Wak'st thou, love ? or art thou sleeping ?
Song-birds, warbling loud their lay,
Salute the day-dawn peeping, love !
This is the promis'd bridal hour,
And Heaven approves our union, love !
Come, let us yield to love's soft power,
And smile at' vain opinion, love !
Two kindred hearts, by fate design'd
To live in bands of amity,
Will find resources in the mind
'Gainst blame or keen calamity*
She. I come ! I come ! — With sleepless eye
I've kept the nuptial-vigil gladly,
Watch'd the blush of orient sky,
And long'd for day-break sadly, love !
But now I hail the welcome dawn,
Which smiles upon our destiny ;
Away.! let's brush the dewy lawn,
To where we are to rest in ay.
Both. Propitious powers of wedded love !
Protect two souls united so ;
And may we all those pleasures prove,
That vows deserve, when plighted so.
• -
40ratl, le Alastair Caimbeul.
Rimhinn aluin 'stu rno run,
Oigh mo chridhe, na biodh tu agam !
Brannsa learn na ulaidh mhor,
Ri'm bheo gu biodh t'u maille rium :
Duisg, a ghaoiL, gu grad fuidli 'phramb ;
Eirich — bi sinn fadalach :
Tba n'eoin beag am barr na geig,
Ri bideil binn cho aighearach ;
Tha smeorach ann sa doire \td thall,
'Sa1 lon-dubh fonnmhor, faramach,
Toirt failte a dhninn 'sa mhatain chiun/
Is' sinn los falbh do 'n shagairt trath.
Ainnir cheutach ! bha mi 'n raoir
Re na 'noidhche soirbh gun chadal,
Na bithinn eadar do dha laimhe,
Bin1 leisgeul ann, gun amharus—
A«h, tha mi dull, mu 'n crom a ghrian,
Ga bi sinn somhlan, .solasach : —
An saoil thu, ghraidh,(mo chuid do'n1 d1 shaoghal !)
Naeh be sinn 'nochd ann flath-innis ?
'Se neamh air talamh, creid, a cheiT !
Da chridhe, dileas, treibli-dliireach,
Le beartas, beus, is beannachd ac',
Ri'm bed saod-pdsda ceangailte.
* The Editor, in thus claiming an early composition of his own, feels a mingled sensation of diffidence and satisfaction in venturing to insert it in
a Selection such as the present. . But as the trifle in question has been honoured with public approbation for many years past, and has been considered
by many, nay even professional men, as one of our oldest Tunes, it becomes the duty of the composer to state briefly, yet distinctly, the fact, and leave
it thus on record. In the year 1 783, wliile the present Writer was studying coanterpoint and composition, and turning his attention to National
Music, he made essays in that style, one of which was the Melody to which he has united Gaelic and English verses of his own, written for Albvn's
Anthology. It was originally composed as a Stkathspey '3 and in the year 1791 or 92, it was published, and inscribed to the Rev. Patrick
M'Donald of Kilmore, the Editor of the " Collection of Highland Airs" mentioned in the Preface of the present Work. In Mb Nathaniel Gow's
Collection, this Strathspey is called " Lord Balgowny's Delight," and pointed out as a " very ancient Air." It has since been published by Mjr.
J. M'Fadyln of Glasgow, under the title of " Gloomy Winter's now awa, a Scotish Song, written by R. Tannahill, with Symphonies and Accom«
paniements by R. A. Smith." Wherefore, it being now reclaimed, this indispensible egotism will freely be pardoned by. every liberal and candid mind,
when a Writer, in order to do himself justice, embraces a fair opportunity, as in the present instance, of doing so.
1
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35
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My Dad was an Irish blade, tal!, stout, and frisky; Fudra bu_le_ra
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fudra bulo ! My Mam was a neat lit_tle merchant of whisky; Fudra bulero, fudra bulo i
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skippja like a kid, and I sang like a starling; Fudra bulero, fudra bulol Withmyranti o ro.
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fii-dta bii-lo ! With my did_dero bub_be_ro, fu_dra bu_le_ro, fa dra bu_le ro,
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MY BAD WAS AN IRISH BLADE.
WRITTEN BY THE EDITOR.
71
Am — An Irish Melody/11,
My dad was an Irish blade, tall, stout, and frisky ;
Fudra bulero, fudra bulo !
My mam was a nate little merchant of whisky ;
Fudra bulero, fudra bulo !
And I was their white-headed boy, and their darling ;
Fudra bulero, fudra bulo !
I skipp'd like a kid, and I sang like a starling ;
Fudra bulero, fudra bulo !
With my ranti o ro ! fudro loudi !
Fudra bulero, fudra bulo !
With my ranti o ro ! fudro loudi !
Fudra bulero, fudra bulo !
With my ranti o ro ! fudro loudi !
Fudra bulero, fudra bulo !
With my diduro, bubbero, fudra bulero !
Fudra bulero, fudra bulo !
And och ! to be sure, the girls did not love me ;
Fudra bulero, fudra bulo !
And a tight clever lad the dear creatures still prove me ;
Fudra bulero, fudra bulo !
At christ'nings, and wakes, and weddings so rare, ah !
Fudra, bulero, fudra bulo !
To be sure I'm not welcome, with fudra bulera ;
Fudra bulero, fudra bulo !
With my ranti o ro, &c.
In peace or war-time Tin equally easy ;
Fudra bulero, fudra bulo !
But when I'm in liquor, to be sure I'm not crazy;
Fudra bulero, fudra bulo !
And then for a row with an Irishman's flail, ah !
Fudra bulero, fudra bulo !
'Tis a threshing machine, call'd a twig of shillelah !
Fudra bulero, fudra bulo !
With my ranti o ro, &c.
And should I be kilt, or clash'd down in a flurry,
Fudra bulero, fudra bulo !
To be sure I won't stir to revenge in a hurry ;
Fudra bulero, fudra bulo !
Och ! then how I'll whack at their pates and their noses !
Fudra bulero, fudra bulo !
And paint them all over like bloody red roses ;
Fudra bulero, fudra bulo !
With my ranti o ro ! fudro loudi !
Fudra bulero, fudra bulo !
With my ranti o ro ! fudro loudi !
Fudra bulero, fudra bulo !
With my ranti o ro ! fudro loudi !
Fudra bulero, fudra bulo !
With my diduro, bubbero, fudra bulero !
Fudra bulero, fudra bulo !
* This Melody (for the first time published) is one of many that bears a striking resemblance to our Highland and Hebridean Airs, and it may be
considered as the Irish set of our " Gille 'na Drovar." It is here given in illustration of the well-known fact, that there exists characteristic shades of
difference only in the Music peculiar to both sides of the water. It was from the singing of the late Comedian Ryder (who sung it without woras)
that the Editor took it down in the vear 1784,
THE PIPER AND TMHODYAN*
WRITTEN BY ALEXANDER BOSWELL, Esq.
Piper. Ye're a blob roun- and ripe,
Like a puddin' 0' tripe,
Like the bag o' my pipe,
Trihodyan.
By my" faith, I suppose,
That sax cogue-fu' 6' brose
Is your ilka day's dose,
. Trihodyan.
; _ .... • -
Gin ye swallow and swell,
I may venture to tell,
That she'll brust her nainsel,
Trihodyan.
Ye'll chock at some knowe,
Ye'll stick in some flow,
Or ye'll melt in a thow,
Trihodyan.
Fat Donald Macraw,
On some brae gin ye fa',
Ye'll row down like a ba',
Trihodyan.
Trihodijan. Ye may preach, ye may jeer,
Ye may pray, ye may swear ;
But I'll grup the wild deer,
Trihodyan!
Come ! out wi' your mill,
Sit down, and be still,
Ye're no for the hill,
Trihodyan.
Piper. Pit sa't on her tail,
Or, fat Donald, ye'll fail ;
Hoot ! grup a black snail,
'' Trihodyan.
Ta tlm sultmhor, bog, trotf^
Is cho reamhor ri ron,
No miolmhor na1 n tonn,
No tore mor, Trihodean !
Trihodean, tri ho !
Trihodean, tri ho!
Trihodean, tri ho !
Agns o Trihodean !
'Sarin a mheall thu mo cheiP
Le druigheach, 'sle sgleo,
Gus do lean i thu suas
Measg na beann, Trihodyan !
'Sann an airidh na' s'tuchd
Tha cruineag mo run
'Stric sriidh' air do shuil
4Stu fo luirich Hodean. «
Trihodean, tri ho, &c.
'Nuair theid thu do'n bheinn
Bi'd ghunn1 air dheagh ghleus ;
Bi d' chuilean a'd dheigh,
'Se fear treunach Hodean !
Trihodean, tri ho, &c.
Ta thu barachail, borb
Luadh, laidir, cruaidh, geur,
Calmadli, gasganach, garg ;
O 1stnu Laoch, Trihodean !
.'S gad a tha do bhrii mor,
Is do cholan cho trom,
. . .
Tha'u daonan ann'd leuni
Deigh na feidh, Trihodean !
Triliodean, tri ho, &C:
Cum do theangadh ! a chu !
'Nuar theid mi do'n fhridh,
'Scinnt1 ga spad mi damh seang,
O 'smi 'n 'shealgair Trihodean !
' Trihodean tri ho, &c.
Scinnt nach beir thu air earb,
Nr earball damli donn ;
Beir air seilcheag, — o chiall I
Naeh-glensd" Trihodean i
Trihodean, tri ho, &c.
* Trihodyan, or rather Hodean, is supposed to be an over-grown lubber, that would fain be a deer-stalker. By endeavouring to pronounce the
words with a strong Highland accent, it will add greatly to the ludicrous effect intended by the Author.
The Editor having used more freedom, not with the Melody itself, for it is given correctly as he heard it sung in Lochaber, but in adapting
Mr Boswell's excellent verses to what he conceived a correspondent variety of Air and Accompaniment ; thus attempting the ludicrous in sound,
as the Writer has done in sense.
>
73
tvtf/l
Peculiar
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Ta thu suit mhor, hog, trom, Is cho ream.hor ri Ron,
Piimi^. Ye're a blob ronn' and ripe; Like a pud din* o' tripe; Like the
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Miolmhor nan tonn, No Toro mbr, Tr hod__ean 1 Tri hod eaii , Tri ho, Tri.
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baop o* my pipe, o' my pipe, Tn_ _hod_vanl Tri__hod__y
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_hod__£an , tri ho ,
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74
mhef.il thn mo Cheil3 le dniig5ieach, *sle sgleo,gus an lean i thu suas measg na beanii3 Tri,
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faith ! I sup_pose that, sax cogue fir o' brose is yonr il_ka day's doze, your days dozeTri
_hodean. 'Sannan aindh na . stuichd iha Cruineagmornn, stnc snidV, air doshuil, stu fo
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KINMONT WILLIE*
79
To its own original Melody,
NEVER BEFORE TUBLISIIED.
0 have ye na heard o' the fause Sakelde ?
0 have ye na heard o' the keen Lord Scroope ?
How they hae ta'en bauld Kinmont Willie,
On Hairibee to hang him up ?
Had Willie had but twenty men,
But twenty men as stout as he,
Fause Sakelde had never the Kinmont ta'en,
Wi' eight score in his companie.
They band his legs beneath the steed,
They tied his hands behind his back,
They guarded him fivesome on each side,
■ And they brought liim ower the Liddel-rack.
They led him thro' the Liddel-rack,
And also thro' the Carlisle sands,
They brought him to Carlisle castell,
To be at my Lord Scroope's commands.
— " My hands are tied, but my tongue is free !
And whae will dare this deed avow ?
Or answer by the border law,
Or answer to the bauld Buccleuch?" — >
•— " Now baud thy tongue, thou rank reiver !
There's never a Scot shall set ye free :
Before ye cross my castle yate,
1 trow ye shall take farewell o' me."—
— " Fear na ye that, my Lord," quo' Willie:
" By the faith o' my bodie, Lord Scroope," he said,
" I never yet lodged in a hostelrie,
But I paid my lawing before I gaed." —
Now word is gane to the bauld Keeper,
In Branksome Ha' where that he lay,
That Lord Scroope has ta'en the Kinmont Willie,
Between the hours of night and day.
He has ta'en the table wi' his hand,
He garr'd the red wine spring on hie —
—■" Now Christ's curse on my head/' he said,
" But avenged of Lord Scroop I'll be.! .
" 0 is my basnet a widow's curch ?
Or my lance a wand of the willow tree ?
Or my arm a ladyes lilye hand,
That an English lord should lightly me !
" And have they ta'en him, Kinmont Willie,,
Against the truce of border tide !
And forgotten that the bauld Bacleuch
Is keeper here on the Scotish side ?
* And have they e'en ta'en him, Kinmont Willie,
Withouten either dread or fear ?
And forgotten that the bauld Bacleuch
Can back a steed, or shake a spear ?
" 0 were there war between the lands,
As well I wot that there is none,
1 would slight Carlisle castell high,
Tho' it were builded of marble stone.
" I would set that castell in a lowe, .
And sloken it with English blood !
There's nevir a man in Cumberland,
Should ken where Carlile castell stood.
" But since nae war's between the lands,
And there is peace, and peace should be ;
I'll neither harm English lad or lass,
And yet the Kinmont freed shall be !"—
He has ca'll'd him forty Marchmen bauld,
I trow they were of his ain name,
Except Sir Gilbert Elliot call'd,
The Laird of Stobs, I mean the same.
He has call'd him forty Marchmen bauld,
Were kinsmen to. the bauld Buccleuch,
With spur on heel and splent on spaukl,
And gleuves of green, and feathers blue.
There were five and five, before them a",
Wi' hunting horns and bugles bright ; /
And five and five came wi' Buccleuch,
Like Warden's men arrayed for fight ;
And five and five, like a mason gang,
That carried the ladders lang and hie;
And five and five, like broken men ;
And so they reached the Woodhouselee.
-
And as we cross'd the bateable land,
When to the English side we held,
The first o' men that we met wi',
Whae souldit do but fause Sakelde?
— Where be ye gaun, ye hunters keen ?"
Quo' fause Sakelde, " Come tell to me !"—
—" We go to hunt an English stag
Has trespassed on*the Scots countrie."—
— " Where be ye gaun, ye marshal men ?"
Quo' fause Sakelde, " Come tell me true !"—
— " We go to catch a rank reiver,
Has broken faith wi* the bauld Buccleuch."—
— " Wh*re are ye gaun, ye mason lads,
Wi' a' your ladders lang and hie ?" —
— " We gang to herry a corbie's nest,
That wons not far frae Woodhouselee."—
— " Where be ye gaun, ye broken men ?
Quo' fause Sakelde, " Come tell, to me !"—
— Now Dickie of Dryhope led that band,
And the never a word o' lear had he.
— Why trespass ye on the English side ?
Row-footed outlaws, stand !" quo' he,—
That ne'er a word had Dickie to say,
Sae he thrust the lance thro' his fause bodie.
Then on we held for Carlisle toun,
And at Staneshaw-bank the Eden we cross'd ;
The water was great and meikle of spait,
But the nevir a horse nor man we lost.
And when we reach'd the Staneshaw-bank,
The wind was rising loud and hie ;
And there the Laird garr'd leave our steeds,
For fear that they should stamp and nie.
And when we left the Staneshaw-bank,
The wind began full loud to blaw ;
But 'twas wind and weet, and fire and sleet,
When we came beneath the castell wa\
We crept on knees and held our breath,
Till we plac'd the ladders against the wa' ;
And sae ready was Buccleuch himsell
To mount the first before us a'.
He has ta'en the watchman by the throat,
He flung him down upon the lead —
— " Had there not been peace between our lands,
Upon the other side thou hadst gaed !"
" Now sound out, trumpets !" quo' Buccleuch ;
" Let's waken Lord Scroope, right merrilie !"—
Then loud the warden's trumpets blew—
" O whae dare meddle wi' me
Then speedilie to work we gaed,
And raised the slogan ane and a',
And cut a hole thro' a sheet of lead,
And so we wan to the castell ha'.
They thought King James and a' his men
Had won the house wi' bow and speir ;
It was but twenty Scots and ten,
That put a thous.tnd in sic a stear !
Wi' coulters, and wi' fore-harnmers,
We garr'd the bars bang merrilie,
Untiil we cam to the inner prison,
Where Willie o' Kinmont he did lie.
And when we cam to the lower prison.
Where Willie o' Kinmont he did lie-—
— " O sleep ye, wake ye, Kinmont Willie,
Upon the morn that thou's to die.'—
— " O I sleep saft, and I wake aft,
It's lang since sleeping was tleyed frae me !
Gie my service back to my wyfe and hairns,
And a' gude fellows that speer for me."—
Then Bed Rowan has hente him up,
The starkest man in Teviotdale—
—" Abide, abide now, Bed Rowan,
Till of my Lord Scroope I take farewell.
" Farewell, farewell, my gude Lord Scroope !
My gude Lord Scroope, farewell !" he cried-
— »" I'll pay you for my lodging maill,
When first we meet on the Border side."—
Then shoulder high, with shout and cry,
We bore him down the ladder lang;
At every stride the Red Rowan made,
I wot the Kinmont's aims play'd clang !
— " 0 mony a time," quo' Kinmont Willie,
" I have ridden horse baith wild and wood,
But a rougher beast than Red Rowan
I ween my legs have ne'er bestrode.
" And mony a time," quo' Kinmont Willie,
" I've pricked a horse out oure the furs,
But since the day I backed a steed,
I nevir wore sic cumbrous spurs !" .
We scarce had won the Staneshaw-bank,
When a' the Carlisle bells were rung,
And a thousand men, in horse and foot,
Cam wi' the keen Lord Scroope along.
Buccleuch has turned to Eden water,
Even where it flow'd frae bank to brim,
And he has plunged in wi' a his band.
And safely swam them through the stream.
He turn'd him on the other side,'
And at Lord Scroope his glove flung he—
— " If ye like nae my visit to merry England,
In fair Scotland come visit me !"—
All sore astonish'd stood Lord Scroope,
He stood as still as rock of stane ;
Hie scarcely dared to trew his eyes,
When thro' the water they had gane.
— " He is either himsell a devil frae hell,
Or else his mother a witch maun be ;
I wad na have ridden that wan water,
For a' the gowd in Christentie."—
* An historical ballad, as given in " The Minstrelsy of the Scotish Border," vol.' I. page 111. the learned Editor of which, in his introductory notices, expresses himself thus,
" In the following rude strains, our forefathers commemorated one of the last and most gallant achievements performed upon the border." The sage and peace-loving successor of
Elizabeth managed her resentment on this occasion with becoming dignity, as detailed at considerable length in the public records and history of that period. In addition to what
Mr Walter Scott has given in the notices cited above, the following excerpts from " Act anent the Laird of Buckcleuch" (apud Haliruidhous xxv maij anno 1596) will
corroborate the historian's testimony. " Anent the demand maid in name and for the kingis maiesteis darrest Suster The quehe of England be Robert bowis hir ambafsadour heir
" refident ffor redres tobe given to hir of the allegit outragious fact done be Schir waiter Scott of branxholme knight and his comgliceis at the caftell of carlile proportand That
" fForsamekle as the faid Schir waiter knawne to be a publict officiar with his faidis compliceis vpon the xiij day of Aprile lastbipast in weirlyke maner and hostilitie invadit hir
" maiesties realme of england Afiailzeit violentlie hir caftell of carlile &c."— which narrates that Sir Walter had no other intention " Bot that he allanerlie simpillie recouerit william
*' armestrang of kynmonth ane fubiect of Scotland furth of that parte of the caftell of carlile quhair maift Iniuftlie he wes detenit for the tyme as maift wrangullie he had bene tane
" ofbefoir within the realme of Scotland be thomas [Sakelde] depuite to the Lord fcrope wardane of england accumpanyed with a force of Sax hundreth armeit men within the
" tyme of ane generall affiiirance takin at a day of trew To the quhilk the faid williame had repairit at the fpeciall command of the faid Schir waiter In quhais name as keiper of
«* Liddisdale the faid day of trew was keipit.'V-ride Act. Parli. Jacobi VI. A. D. 1596.
80
OllAN DO MHAC MHIC ALASTAIR
MAR GUM BIODH E EADAR NIGHEAN AGUS ATHAIR.
An t-Athair.
Thig Mac Shomhuirle bho 'n Ruta,
Le 'chliabhan duilisg, 's le 'luirich,
Air ghearran ban bacach crubach,
'S e 'ruith gu h-oitir nam musgan.
Thig larl Eura romh chial Duragb,
Cho daondach 's nach faodar a channtas ;
Cha stad e 'n taobh so do 'n Ruta,
-S bheir e maidhm* air Iafla Hounntaidh.
An Nighean.
Thig Mac Shomhuirle bho 'n Ruta,
Marcach nam falairean cruitheach,
Nan steud fallain meodhrach sunntach, .
Strian oir 'na 'n cearin air a luth-chleas.
Thig Mac-Mhic-Alastair air thus ann,
'S Raonallach ga 'n coir 'bhi cliuiteach,
Ceannard bhard is chearach ruisgte,
Chuirinn geall gum b' fheaird a chuis sibh.
Gheibht 'a d' bhaile beoir gun chunntas,
Iomairt thric air phiosan dlutha,
Mac na Braich' air bhlas an t-shiucair
Air bhord aca, 's aiseag dluth air.
Thic Mac-Mhic-Ailen a Muiueart,
Le dheich ceud do dh1 fhea;' il h cliuiteach,
Nan cloguid, 's nan sgiath, 's an 1 uireach,
'S nan lann glas nach tais ri 'rusgadh,
Thig Mac-Athic 'Raonuill bho'n Cheapaich, •
Cuirt fhear air fhaolum 'an Sasonn,
Nan steud luth'or meodhrach gasta,
'S greodh nach a 'rachadh 'nan astar.
Dh' eirgheadh leat bho'n Ghleann an-Chumhann
Oighreachan deas nan cul buidhe,
Cinn-fheodhna nach cuirt1 am mughadh,
'S greodh nach dh'fhalbhadh a bhuidheann
'Ailein 'rtiaidh, le d' theangadh 'luibte !
Theid mi 'd' bhian, is chi do shuil e ;
Bho V threig thu na facaiHf bu chliuiteach,
Gu earras 'thoirt leat, 's nach b' fhiueh e.
Ma ghearras tu slat "s an dluth-choill,
Togar do mhart ann 's an umhladh ;
Bi'db agad sreang air do chulaobh,
*'S tu 'marcachd air chnagaibh dlutha.
*S binn learn an langan 's am buireadh,
Miol-choin "an ceangal ri d1 luibhthean^
'Bhi 'ga d' tharruing as an duthaich,
Gu citsin a bhaile mhuraich.
Chunnaig mi long seach an rugha,
Crith air a buird, 's ; na siubhal,
Gaoth 'ga seoladh Voimh chaol cumhann,
Colann Domlmuill an fhraoich a bhuidheann.
An Original MACDONELL SOXG,;
Translated from the Gaelic, by Mr Ewan Maclachlan of Aberdeen.
Poet.
See Sumerled's great child from Rutha speed,
With his dilse-panner, and rag-fluttYing weed :
He trots on the lame, lifeless, lazy beast,
To dig for spout fish, his luxurious feast.
But Erra's Earl, who makes the valiant yield,
Shall bring his countless armies to the field ;
To Rutha's tow'rs the hero bends his course,
And Huntly soon shall prove his mighty force.
Poetess.
■ Great Sumerled's great son, from Rutha speeds,
Illustrious rider of high-mettled steeds ;
With thund'ring prance they beat the smoky plains,
And sun-beams glitter from their golden reins.
Glengary's chief shall lead the warlike throng,
With brave Macranald's, famed in lofty song ;
Oft cheers thy boon the bard and shiv'ring swain,
And threat'ning foes defy thy might in vain.
Oft near thy mansion, round the jovial crowd,
Healths foll'wing healths, the barmy bevVage flow'd,
While malt's delicious son with virtues stor'd,
In silver cups quick cross'd the lib'ral board.
See Muideart's captain comes with soul on fire,
A thousand warriors inarch behind their sire,
With helmets, shields, and radiant mail, display'd,
Dire scene! where these unsheathe the azure blade. .
The branch of Ronald comes from Keppoch's groves,
With easy grace the court-bred warrior moves ;
His fiery coursers dart with lightning's pace,
Panting with joy to run in glory's race.
Near these, the heirs of Cona's winding valet
Their yellow tresses streaming on the gale ;
Champions that never crouch'd to mortal foe,
With rapid march around thy standard flow.
Red-pated Allan ! loosely railed your tongue,
My wrath shall scourge you for th' insulting song ;
At spotless worth you aimed your vulgar jibe,
Deserting fame to gain a paltry bribe.
If once you dare to touch our sacred grove,
You'll pay the forfeit from your folded drove ;
Your back-bound hands the felons thong shall tame,
And iron pegs torment your guilty frame.
How sweet to hear the yell of barking hounds,
Strung to your houghs inflicting wounds on wounds ;
And dragging from this land the knave of knaves,
Doom'd, in some town, to toil with kitchen slaves.
I saw the barge that pass'd yon head land mound,
With bellying sails, she skim'd the frothy sound ;
Her gallant crew Clann-DomJmuiWs matchless name,.
That wear the branchy heath in fields of fame.
* Maoim.
f Focall.
% Tradition reports, that the preceding Song contains the substance of an altercation between a Father and a Daughter, the former abusing the
Macho nell with gross invectives, and the latter extolling that illustrious race with appropriate encomiums. It would seem, that the Poetess could
not have been the satirist's Daughter, from the excessive severity of her retort ; and if this position be admitted, her language will not have transgressed
the limits of decorum observed in such metrical rencounters. Of the Poet's part we have just two "stanzas handed down ; the rest of the Song is
ascribed to the Poetess — the version is faithful, and in some lines strictly literal, no liberties being indulged in but such as perfectly accord with the
laws of poetical translation.
This Song appears strongly to point out its own Air, in the history of the Clan : It must have been in the days of (Donald Mac Angus Mhic
Allastair of) Glengary, in whose veins the Ross branch had conjoined with the Chief of the Mackonalds, by the marriage of his Grandfather and
Grandmother. Campbell is said to have been the satirist's name, and the mother of the Poetess was given to us as one of the " Clonn-DomhnuilL"
Communicated by Colonel Macboniil of Glengary.
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82
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86
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PIBROCH OF DONUIL DHU.
WRITTEN BY WALTER SCOTT, Esq.
Air — Pidbaireach Donuil Duiblu
Pibroch of Itanuil Dhu,
Pibroch of Donuil,
Wake thy wild voice anew*
Summon Clan-Conuil.
Come away, come away,
Hark to the summons !
Come in your war array,
Gentles and commons.
Leave untented the herd,
The flock without shelter ;
Leave the corpse uninterr'd,
The bride at the altar ;
Leave the deer, leave the steer,
Leave nets and barges ;
Come with your righting gear,
.Broad swords and targes.
Come from deep glen, an'
From mountain so rocky,
The war-pipe and pennon
Are at Inverlocky :
Come every hill-plaid, and
True heart that wears one ;
Come every steel blade, and
Strong hand that bares one.
Come as the winds come, when
Forests are rended ;
Come as the waves come, when,
Navies are stranded :
Faster, come faster, come
Faster and faster ;
Chief, vassal, page, and groom,
Tenant, and master.
Fast they come, fast they come ;
See how they gather !
Wide waves the eagle plume,
Blended with heather.
Cast your plaids, draw your blades.
Forward each man set !
Pibroch of Donuil Dhu,
Knell for the onset I
90
MACGREGORS' GATHERING.
WRITTEN BY WALTER SCOTT, Esq.
The moon's on the lake, and the mist's on the brae,
And the Clan has a name that is nameless by day i
Then gather, gather, gather, Gregalich !*
Gather, gather, gather, &c. .
But doom'd and devoted by vassal and lord,
Macgregor has still both his heart and his sword !
Then courage, courage, courage, Gregalich,
Courage, courage, courage, &c.
Our signal for fight, that from monarchs we drew,
Must be heard but by night in our vengeful haloo I
Then haloo Gregalich ! haloo Gregalich !
Haloo, haloo, haloo, Gregalich, Sic.
If they rob us of name and pursue us with beagles,^
Give their roofs to the flame, and their flesh to the eagles f
Then vengeance, vengeance, vengeance, Gregalich !
Vengeance, vengeance, vengeance, &e.
Glen Orchy's proud mountains, Caolchuirn and her towers,
Glen Strae and Glen Lyon-f- no longer are ours r '
We're landless, landless, landless, Gregalich !
Landless, landless, landless, &c.
While there's leaves in the forest, and foam on the river,
Macgregor, despite them, shall flourish. for ever !
Come then, Gregalich, come then, Greg^feh, .
Come then, come then, come then, &c.
Through the depths of Loch Katrine the steed shall career,
O'er the peak of Ben Lomond the galley shall steer, -J-
And the rocks of Craig Royston like icicles melt,
Ere our wrongs be forgot, or our vengeance unfelt.
Then gather, gather, gather, Gregalich !
Gather, gather, gather, &c.
* Gregalich, the Hebridean mode of pronouncing Gregarich, substituting the letter 1 for r.
t These, and many other lands, belonged to the Macgregors : but they were stripped of them all without an Act of Parliament ; and to this they
imputed the suppression of their name, as serving to disqualify them from instituting any action at law for the recovery of their estates, or the
redress of injuries.
% " And pursue us with beagles," &c. By the 30th Act of the 1st Parliament of Charles % for '■' the timeous preventing of the disorders and
oppressions that may fall out by the said name and Clan, and their followers," it was enacted, That every one of the name of Macgregor, on attain-
ing the age of sixteen, should thereafter, yearly, repair to the Privy Council, wheresoever they might happen to be, there to find caution for their good
behaviour in all time coming ; and, regardless of the general impossibility of compliance, if they failed to appear, they were, in the bloom of youth and
innocence, to be denounced rebels by the mere ceremony of some police-officer blowing "a horn ! after which, any of His Majesty's " good" subjects
might mutilate or slay them, not only with impunity, but with the prospect of reward ! for the Act concluded with holding out " the moveable
goods and geare" of this maltreated people, to excite diligence in apprehending or destroying them ; and this had such effect, that their enemies be-
came so bold and callous, that they actually employed blood-hounds, called by the natives " Coin-dubh" (black dogs) to hunt them, and isolated
individuals were frequently murdered for the sake of the promised reward ! !
The two last of these dogs are said to have been killed, one at Crinlarach in Strathfillan, the other near Lochearnhead, on the face of the hill opposite
to the castle of Edinample ; and the fowling-piece with which the last of the Coin-dubh was shot is in the possession of Francis M'Nab of M'Nab, Esq.
Mark what happened in the course of events: the son of the royal persecutor (James VI.) was beheaded, his grandson dethroned, and the extinc-
tion of the once illustrious house of Stuart has recently taken place ; and what is not less remarkable— the son and grandson of the most powerful
and active instrument of these persecutions suffered on the scaffold. In spite, however, of ill usage, nay cruelty, the Macgregors, ever loyal, firmly
adhered to their rightful sovereign.
The Melody to which the above verses is adapted, was taken down, with all possible care, from Captain Niel MT.eod of Guesto's MS. Collection
of Pibrochs, as performed by the celebrated Macrimmons of Skye ; the Melody to Pibroch of Donuil Duibh was taken down at the same time, i. e.
September 1815 — the process was tedious and exceedingly troublesome. The Editor had to translate, as it were, the syllabic jargon of illiterate
pipers (which was distinctly enough joted down in Captain M'Leod's own way) into musical characters, which, when correctly done, he found to
his astonishment to coincide exactly with regular notation ! With respect to the masterly manner Me Scott has caught the true spirit of the
pibroch, which flashes forth in his characteristic numbers, it behoves not the Editor to whisper even what he feels. "
and n
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