'6--M OJiU-
ILLUSTRATIONS
THE LYRIC POETRY AND MUSIC
SCOTLAND.
BY THE LATE
WILLIAM STENHOUSE.
ORIGINALLY COMPILED TO ACCOMPANY THE "SCOTS MUSICAL MUSEUM,'
AND NOW PUBLISHED SEPARATELY, WITH
ADDITIONAL NOTES AM) ILLUSTRATIONS,
WILLIAM BLACKWOOD AND SONS
EDINBURGH AND LONDON
MDCCCLIII
PREFACE.
In bringing before the Public a new edition of
Johnson's collection of Scotish Songs, entitled The
Scots Musical Museum, a few words of preface
may be required, both in regard to the history of the
work itself, and to the nature of the Notes or Illus-
trations with which it is now accompanied.
The original publisher and the ostensible editor of
the work, was James Johnson, a Musicseller and En-
graver in Edinburgh. His object, as first announced,
was, " in a portable form, to unite the Songs and
Music of Scotland in one general collection ;" audit
was commenced in May 1787> ^J the publication of
the First Part, or volume, containing One Hundred
Songs, which appeared " under the patronage, direc-
tion, and review of a number of gentlemen of un-
disputed taste, who have been jDleased to encourage,
enrich, and adorn the whole literary part of the
performance." Johnson has nowhere stated who
these gentlemen were, nor does it appear that any
one of them took a prominent share in the publi-
11 PREFACE.
cation.* Dr Blacklock was an occasional contributor
both of songs and airs ; Dr Beattie has also been
mentioned, along" with Mr Tytler of Woodhouselee,
as persons who interested themselves in the pro-
gress of the work ; but, whatever aid Johnson might
have derived from these or other gentlemen " of
undisputed taste," it may be confidently asserted,
that, unless for one fortunate circumstance, " The
Scots Musical Museum" might never have extended
beyond a couple of parts or volumes ; or, at least,
might never have acquired the reputation which it
has enjoyed for half a century, and which it still pro-
mises to retain.
The circumstance to which we allude was the visit
of Burns the Poet to Edinburgh, in November
1786. Having become acquainted with the publisher
before the first part was completed, he furnished
Johnson with two original Songs, Nos. 77 and 78,
Green grow the Rashes, and Young Peggy
blooms, to the tune of Loch Eroch Side ; and
probably also rendered him other assistance. The
Musical Museum was a work so congenial to the
Poet's mind, that it evidently had a decided effect in
directing his efforts more exclusively to Song-writ-
ing. The early associations connected with his love
of ballad-poetry, and the rustic strains familiar to
the peasantry, were thus awakened, and his intimate
' The volumes of the Musical Museum, as originally published,
were " Humbly dedicated to the Catch Club, instituted at Edin-
burgh June 1771." On the completion of the Sixth and last
volume, in 1803, Johnson substituted a new set of title-pages,
dedicating the work " To the Society of Antiquaries of Scotland."
PREFACE.
acquaintance with the older and more popular melo-
dies with which such strains had long been happily
united, enabled him, with a rare degree of felicity,
thus to give vent to his feelings, by which he has
attained the first rank as a Lyric Poet. The interest,
or rather enthusiasm, which he felt in contributing
to the success of Johnson's undertaking, appears very
manifest in his correspondence ; and Burns, from '
this period, ought to be considered not simply as a
contributor, but as the proper and efficient editor of I
the work. He not only contributed a large number
of original songs, expressly written for it, but he
applied to every person likely to render assistance ;
and, while visiting different parts of the country, he
diligently gleaned fragments of old songs, hitherto
unpublished, which he completed with additional
lines or stanzas, as might be required ; and, at the
same time, he frequently determined the airs to which
the words should be set, besides writing the prefa-
tory notices to the several parts or volumes of what
he esteemed to be a national work.
The following are the terms in which Burns writes
to some of his friends respecting Johnson's collection.
To Mr Candlish, then at Glasgow, in June 1787j he
says, " I am engaged in assisting an honest Scotch
enthusiast, a friend of mine, who is an engraver, and
has taken it into his head to publish a collection of
all our Songs set to Music, of which the words and
music are done by Scotsmen. This, you will easily
guess, is an undertaking exactly to my taste. I have
collected, begged, borrowed, and stolen, all the songs
I could meet with." To the Rev. John Skinner,
IV PREFACE.
author of Tullochgorum, in October 1787j he says,
in reference to the Museum, " I have been abso-
lutely crazed about it, collecting old stanzas, and
any information remaining respecting their origin,
authors, &c." In the same month, he informs another
correspondent in the North, that " an engraver,
James Johnson, in Edinburgh, has, not from mer-
cenary views, but from an honest Scotch enthusiasm,
set about collecting all our native songs, and setting
them to music, particularly those that have never
been set before, Clarke, the well-known musician,
presides over the musical arrangement ; and Drs
Beattie and Blacklock, Mr Tytler of Woodhouselee,
and your humble servant, to the utmost of his small
power, assist in collecting the old poetry, or some-
times, for a fine air, make a stanza when it has no
words." To Johnson himself, in November I788,
he remarks, " I can easily see, my dear friend, that
you will very probably have four volumes. Perhaps
you may not find your account lucratively in this
business ; but you are a patriot for the music of
your country, and I am certain posterity will look on
themselves as highly indebted to your public spirit.
Be not in a hurry ; let us go on correctly, and your
name shall be immortal." Johnson appears most
wisely to have followed Burns's directions, and with
such aid, he was enabled to give his collection a dis-
tinct original character, as well as greatly to extend
his original plan j a Second, Third, and Fourth
Part, each containing One Hundred Songs, having
successively appeared in the months of March I788,
February 1790, and August 1792.
PREFACE.
Shortly after the appearance of the Fourth Part,
Burns had engaged with a like congenial spirit to as-
sist Mr George Thomson in his projected collec-
tion of Scotish Songs. His correspondence with that
gentleman, extending from September 1792, to July
1796 (the month in which the Poet died), has now
been nearly forty years before the public. This cor-
respondence included upwards of sixty songs, written
expressly for Mr Thomson's select and elegant pub-
lication. That the progress of the Musical Museum
was retarded in consequence of this engagement,
need scarcely be remarked. Hitherto, an average
interval of two years had intervened between the
publication of each part ; but five years elapsed, and
the Poet himself died before the Fifth Part was com-
pleted, to which he had, however, furnished the chief
portion of the contents; and the Sixth Part, with
which the work terminates, did not appear till June
1803, or eight years after the death of the Ayrshire
bard, y/fcvui^ ^N^.
Although Burns's attention had been thus diverted
into another channel for a space of nearly four years,
while giving form and vitality to that collection,
his original predilection in favour of the Musical
Museum was unchanged, as appears from his let-
ters addressed to Johnson while the Fifth Part was
in progress ; and more particularly from his last
letter, which has no date, but which both Johnson
and Cromek fix as having been written on the 4th
of July 1796, or seventeen days before the Poet
died. An accurate facsimile of that interesting and
affecting letter is given at the end of this Preface, as
PREFACE.
a suitable accompaniment to a work which the pub-
lisher might well acknowledge was indebted to him
" for almost all of those excellent pieces which it con-
tains." In this letter, Burns says, " You may probably
think, that for some time past I have neglected you
and your work ; but, alas ! the hand of pain, and
sorrow, and care, has these many months lain heavy
on me I Personal and domestic afflictions have almost
entirely banished that alacrity and life with which I
used to woo the rural Muse of Scotia." And, in
another part, he adds, " Your work is a great one ;
and now that it is near finished, I see, if we were to
begin again, two or three things that might be
mended ; yet, I will venture to prophesy, that
TO FUTURE AGES YOUR PUBLICATION WILL BE THE
TEXT-BOOK AND STANDARD OF SCOTTISH SONG AND
Music."
To enlarge, in this place, on the services which
Burns rendered to the Lyric Poetry of Scotland,
might well be regarded as superfluous. It is but
proper, however, to consider, in how far such ser-
vices were influenced by his connexion with the
present work. It has often been asserted, that all
his best songs were expressly written for Mr Thom-
son's collection, thus virtually claiming for it a dis-
tinction to which it is in no respect entitled, that of
having directed his mind to the subject of song-
writing. It is with no wish to lessen the importance
of that work, the merits of which rest on somewhat
different grounds from that of Johnson's, that I con-
ceive it necessary in this place to remark, that for six
PREFACE, VU
years previous to its commencement, Burns had ex-
clusively contributed songs to Johnson's Museum,
written too in his happiest moods, when nothing had
occurred permanently to depress his spirits ; and that
the original songs which it contains, not only exceed
in number, but may fairly be put in competition in
regard to merit, with those that were written for
the later publication. In considering his contribu-
tions to these respective collections, there is like-
wise this marked difference, that while for the one
the airs and subjects were generally suggested to
the poet, for the other his fancy was altogether
uncontrolled ; and although he was frequently led
to write with a degree of carelessness, and with
less delicacy, than if such effusions had to undergo
the ordeal of criticism, and to bear his name as the
author, this want of polish is amply compensated
by the greater freshness, spirit, and vivacity of his
compositions. But, on this point, I cannot do better
than quote Dr Currie's words, prefixed to his selec-
tion of the Songs by Burns contained in the Museum.
" In his communications to Mr Johnson, to which
his name was not in general affixed, our Bard was
less careful than in his compositions for the greater
work of Mr Thomson. Several of them he never
intended to acknowledge, and others, printed in the
Museum, were found somewhat altered afterwards
among his manuscripts. In the selection [^consisting
of 47 Songs]} which follows, attention has been paid
to the wishes of the Author as far as they are known.
The printed songs have been compared with the
MSS., and the last corrections have been uniformly
PREFACE.
inserted. The reader will probably think many of
the Songs which follow, among the finest produc-
tions of his Muse." 2
Nor was it alone by his original productions that
Burns enriched the Musical Museum and the lite-
rature of his country. The diligence which he used
in collecting, from all quarters, the remains of old un-
published ballads and songs, and snatches of popular
melodies, has been emulated by persons without one
spark of genius, and possessed of more zeal than judg-
ment ; but the skill and happiness with which, as with
a master-hand, he imparted spirit and life to mutilated
fragments, or remodelled those effusions unfit for
ordinary society, attributed to the Scotish Muse as
she went " high-kilted o'er the lea," have never been
surpassed. " Burns, who, of all poets that ever
breathed (to use the fine words of a kindred spirit),
possessed the most happy tact of pouring his genius
through all the meanderings of music, was unrivalled
in the skill of brooding over the rude conceptions of
our old poets, and in warming them into grace and
life. He could glide like dew into the fading
bloom of departing song, and refresh it into beauty
and fragrance."^ He himself says, " The songs
marked Z in the Museum, I have given to the world
as old verses to their respective tunes ; but, in fact,
of a good many of them little more than the chorus
is ancient, though there is no reason for telling every
body this piece of intelligence." * In regard to this
skill. Sir Walter Scott remarks : " The Scotish
^ Burns's Works, by Currie, vol. iv. p, 269.
^ Cunningham's Songs of Scotland, vol. i. p. 66.
* Letter quoted in Croraek's Select Scotish Songs, vol. ii. p. 194<.
PREFACE. IX
Songs and Tunes preserved for Burns that inex-
pressible charm which they have ever afforded to
his countrymen. He entered into the idea of col-
lecting their fragments with all the zeal of an enthu-
siast ; and few, whether serious or humorous, past
through his hands without receiving some of those
magic touches, which, without greatly altering the
song, restored its original spirit, or gave it more than
it ever possessed. So dexterously are these touches
combined with the ancient structure, that the rifac-
ciamento, in many instances, could scarcely have
been detected, without the avowal of the Bard him-
self."^ It has indeed been questioned, by the
same high authority, whether it were fortunate, or
otherwise, that Burns, during the latter period of his
life, should have exclusively confined himself to Song-
writing. *' Notwithstanding the spn-it of many of
the lyrics of Burns, and the exquisite sweetness and
simplicity of others, we cannot but deeply regret
that so much of his time and talents was frittered
away in compiling and composing for musical collec-
tions. . . . . Let no one suppose that we undervalue
the songs of Burns. When his soul was intent on
suiting a favourite air with words humorous or ten-
der, as the subject demanded, no poet of our tongue
ever displayed higher skill in marrying melody to
immortal verse. But the writing of a series of songs
for large musical collections, degenerated into a
slavish labour, which no talents could support, led
to negligence, and above all, diverted the Poet from
his grand plan of Dramatic composition." ®
^Quarterly Review, vol. i. p. 30. ^ lb. p. 32.
PREFACE,
That Burns in many instances overtasked himself
while complying with continuous requests to furnish
songs to suit particular airs, is undeniable, but that the
proper bent of his genius tended more especially to
lyric poetry, is equally certain. The instantaneous
and lasting popularity of his songs can be ascribed to
no fortuitous circumstance, but solely to the mode
in which he expressed those feelings, so true to
nature, which could be appreciated alike by all
classes. How many collections of Songs before and
since his time have appeared and been forgotten ;
and in the two works which owe their chief distinc-
tion to his aid, how immeasurably superior are the
songs of Burns to the united contributions of the
many distinguished names which are found standing
in juxtaposition with his own. May we not therefore
be justified in expressing a doubt, whether, if Burns
had succeeded in writing one or two successful
dramas, this would in any way have been com-
parable to the advantage which our literature has
gained by his Songs, or would have outweighed
the almost unequalled influence which they have
exercised not among his countrymen only. Happy,
indeed, had it been, could the mention of Burns's
name only call up the vision suggested by the words
of our great English poet, when he speaks of
Him who walked in glory and in joy,
Following' his plough upon the mountain side.
But it is impossible to forget the depressing circum-
stances in which Burns was placed ; his scanty annual
income, which " was for some time as low as fifty,
PREFACE. XI
and never rose to above seventy pounds a-year ;" his
increasing- cares, and his unremitting attention to the
vexatious and harassing duties of his official situation,
appointed " to guard ale-firkins ;" all these con-
joined, left him neither time nor disposition for any
such sustained literary efforts. It must always be
a humiliating consideration to think, that some suit-
able occupation or place had not been found, which
might have left him unharassed by pecuniary diffi-
culties. From the date of publication of the subscrip-
tion edition of his Poems at Edinburgh, to that of
his decease, being a period of nine years, he may be
said absolutely to have received no pecuniary advan-
tage from his writings. This doubtless was in some
degree owing to his own lofty but mistaken notions,
which led him to reject any stipulated recompense,
as if this implied a mere sordid or speculating in-
ducement to literary enterprise. There is no distinct
proof that he ever received any acknowledgment for
his contributions to the present work,^ beyond the
occasional donation of copies to be presented to his
friends. All the world likewise, unfortunately knows
the extent of benefit which he derived from his
connexion with its more costly and ambitious rival
collection. With no prospect of amended circum-
stances, need we wonder, therefore, (as Dr Currie
remarks,) " that as his health decayed, his proud
and feeling heart sunk under the secret conscious-
^ In a printed paper, dated 15th of March 1819, soliciting Sub-
scriptions in favour of Johnson's widow, it is stated, that her hus-
band had " on more than one occasion befriended our favourite
Scotish Poet in his pecuniary distresses ;" but I am not aware of
any thing to justify such a statement.
XU PREFACE.
ness of indigence and the apprehensions of absolute
want. Yet poverty never bent the spirit of Burns to
any pecuniary meanness ;" ® and the character of the
Poet stands only the more nobly in having- thus, in
midst of poverty and personal distress, and the in-
creasing cares of a rising family, earned such an en-
during fame. All the lamented and unfortunate cir-
cumstances connected with his literary career are in-
deed long since past, and cannot be recalled ; but
the recollection of them will remain indelible, as such
incidents in the lives and fortunes of men of genius
retain a peculiar and lasting degree of interest ; and
these Songs, the fruits of his genius in matured life,
for which he gained neither fee nor reward, " are
likely to transmit the name of Burns to all future
generations."® — He died on the 21st of July 1796,
in the thirty-eighth year of his age.
James Johnson, the original publisher of the
Musical Museum, survived the completion of the
work nearly eight years. Of his personal history
not much is known. From the few letters still pre-
served, or that have been published, it appears that
Burns entertained for him a sincere personal regard.
In his first letter, 8d of May 1787j before setting out
on his Border Tour, he sends him a song received
from Dr Blacklock, and says, *' Farewell, my dear
Sir ! I wished to have seen you, but I have been
dreadfully throng [busy], as I march to-morrow.
Had my acquaintance with you been a little older,
8 Burns's Works, by Currie, vol. i. p. 229.
9 Edinburgh Review, vol. xiii. p. 263.
PREFACE. Xni
I would have asked the favour of your correspond-
ence, as I have met with few people whose company
and conversation gave me so much pleasure, because
1 have met with few whose sentiments are so con-
genial to my own.*' In a letter written in 1794*,
he says, " As to our Musical Museum, I have better
than a dozen songs by me for the fifth volume
to send with Mr Clarke when he comes. ... If
we cannot finish the fifth volume any other way,
what would you think of Scots words to some beau-
tiful Irish airs ? In the mean time, at your leisure,
give a copy of the Museum to my worthy friend Mr
Peter Hill, bookseller, to bind for me, interleaved
with blank leaves, exactly as he did the Laird of
Glenriddell's, that [I may insert every anecdote I
can learn, together with my own criticisms and
remarks on the songs. A copy of this kind I
shall leave with you, the editor, to publish at some
after period, by way of making the Museum a book
famous to the end of time, and you renowned for
ever].*'^ In another letter, about the same time,
but without date, he says, " My dear Sir, I send by
my friend Mr Wallace, forty-one songs for your fifth
volume. Mr Clarke has also a good many, if he
have not, with his usual indolence, cast them at
the cocks. I have still a good parcel among my
hands, in scraps and fragments, so that I hope we
will make a shift for our last volume. You should
1 The words within brackets, in consequence of the original
letter being- mutilated, have been supplied from Cromek's Reliques.
He, however, has formed strange compounds, by gleaning sentences
out of three distinct communications to Johnson, and printing
them as one letter.
XIV PREFACE.
have heard from me long ago ; but over and above
some vexatious share in the pecuniary losses of these
accursed times, I have all this winter been plagued
with low spirits and blue devils, so that I have
almost hung my harp on the willow-trees." And
in his last letter, already quoted (of which an exact
fac-simile is afterwards given), he says to Johnson,
" I am extremely anxious for your work, as indeed
I am for every thing concerning your or you welfare.
You are a good, worthy, honest fellow, and have
a good right to live in this world — because you de-
serve it. Many a merry meeting this publication has
given us, and possibly it may give us more, though,
alas I I fear it."
Although numerous collections of Scotish Songs,
with or without music, and in every possible form,
have appeared during the last fifty years, the Musi-
cal Museum still keeps its ground. Such collections
as those of Mr George Thomson, of the late R. A.
Smith, and of Messrs John Thomson and Finlay
Dun, possess each of them strong and individual
claims j but the present work far exceeds these, or any
others that have appeared, in the number of the
genuine old melodies of Scotland. When the publi-
cation was first jjrojected, Johnson's chief advisers,
Dr Blacklock and Mr Tytler of Woodhouselee, it
has been remarked, "were of opinion that these wild
yet pathetic and melodious strains, these fine breath-
ings and heartfelt touches in our songs, which true
genius can alone express, were bewildered and
utterly lost in a noisy accompaniment of instruments.
In their opinion, the full chords of a thorough bass
PREFACE. XV
oug-ht to be used sparingly and with judg-ment, not
to overpower, but to support and strengthen the
voice at proper pauses : that the air itself should be
first played over, by way of symphony or introduc-
tion to the song ; and at the close of every stanza, a
few bars of the last part of the melody should be
repeated, as a relief to the voice, which it grace-
fully sets off;" &c. ..." The plan of publishing our
Scottish songs in this simple, elegant, and chaste
manner, was highly approved of by the late Mr
Stephen Clarke. This celebrated organist and
musician readily agreed to select, arrange, and har-
monize the whole of the melodies ; a task which,
from his brilliant genius, fine taste, and profound
scientific knowledge, he was eminently qualified to
perform." ^ This want of every thing like florid
accompaniments, has been held as a peculiar recom-
mendation. In regard also to the Songs, the collec-
tion is unrivalled for the extent of the good old
standard productions of the Lyric Muse, including
so many of Burns's finest compositions.
Johnson died at Edinburgh on the 26th of Feb-
ruary 1811.^ He left a widow in such indigent cir-
cumstances, that at a subsequent period, it has been
2 Blackwood's Edinburgh Magazine, July 1817, p. 377.
3 <' Died at Edinburgh [26th of February 1811], much re-
gretted, Mr James Johnson, Engraver, Musicseller, and Copper-
plate Printer ; — being the first who attempted to strike music upon
pewter, whereby a great saving is made in the charge of that
article. Mr Johnson will long be remembered in the musical
world. He published several interesting pieces of late ; and in
none was more successful than in his elegant woi'k, ' The Scots
Musical Museum,' in six volumes, &c." — (Scots Magazine, 1811,
p. 318.)
XVI PREFACE.
stated, she had nothing more to subsist on than " the
occasional donations of a few of her husband's old
friends and acquaintance ;" and, after remaining for
some time as an out-pensioner, she at length found
shelter as an inmate of the Edinburgh Charity
Workhouse. *
Three or four years after Mr Johnson's death,
the original pewter plates and remaining copies
of " The Scots Musical Museum," including the
copyright, and such of Burns's manuscript com-
munications^ as had been preserved, were ex-
posed to sale, and became the property of the late
Mr William Blackwood, bookseller. In the view
of bringing out the work in a new and improved
form, he was desirous to have it accompanied with
notes or illustrations. This was indeed part of the
scheme originally contemplated by Burns, as appears
from passages in other letters, besides the one above
quoted. Mr Thomson having informed him that
he expected to receive from Dr Beattie, " an Essay
upon the subject of our National music," to illustrate
his own collection. Burns in his letter, dated 26th
of January 1793, immediately replied : " Dr Beattie's
essay will, of itself, be a treasure. On my part, I
4 This appears from a printed paper entitled " Notice respect-
ing Mrs Johnson, widow of the late Mr James Johnson, Engraver
in Edinburgh," dated March 15, 1819.
^ When Cromek was in Edinburgh collecting materials for his
" Reliques of Burns," in the year 1808, he mentions having seen
180 Songs and Poems in Burns's autograph, which he had trans-
mitted to Johnson for the Musical Museum. The greater por-
tion of these interesting transcripts are still preserved.
PREFACE. XVll
mean to draw up an appendix to the Doctor's essay,
containing- my stock of anecdotes, &c., of our Scots
Songs. All the late Mr Tytler's" anecdotes I have
by me, taken down in the course of my acquaint-
ance with him, from his own mouth. I am such
an enthusiast, that in the course of my several
peregrinations through Scotland, I made a pilgri-
mage to the individual spot from which every song
took its rise, ' Lochaber' and the ' Braes of Ballen-
den' excepted. So far as the locality, either from
the title of the air or the tenor of the song, could
be ascertained, I have paid my devotions at the par-
ticular shrine of every Scots Muse." Neither the
Essay nor the Appendix was undertaken; but Burns,
in an interleaved copy of the first four volumes of
the Musical Museum, which belonged to Riddeli
of Glenriddell, had inserted a number of occasional
notes and remarl^s regarding the songs. Mr Cromek^
having obtained the use of this copy, transcribed and
published them in his volume of Burns's Reliques,
1808, and again in his collection of " Select Scotish
Songs," 1810 ; and these notes usually form an in-
tegral part in the modern editions of the Poet's
works.
In preparing, therefore, to publish an edition of
the Musical Museum, with notes, illustrative of the
^ William Tytler of Woodhouselee, Esq., writer to the signet,
and author of a Dissertation on Scottish Music, a Vindication.
of Mary Queen of Scots, and other works. He died on the 12th
of September 1792, in the eighty-first year of his age.
'^ R. H. Cromek was an engraver in London. He died in
1812. See note respecting him in vol. v. p. 456*.
b
XVIU PREFACE.
Lyric Poetry and Music of Scotland, Mr Black-
wood applied, according to my recollection, to more
than one individual supposed to be most competent,
for such a task. It was finally intrusted to the late
William Stenhouse, Esq., Accountant in Edin-
burgh, who, along with more than ordinary antiqua-
rian research, and much general information, pos-
sessed a thorough practical knowledge of music, and
who, moreover, had been personally acquainted with
Johnson, the publisher of the work, and with Clarke,®
by whom the airs had been chiefly harmonized. To
one of the earliest numbers of " Blackwood's Edin-
burgh Magazine," Mr Stenhouse, under the signa-
ture of " Scotus," communicated a notice of the pro-
jected edition, accompanied with two specimens of
his illustrations to Songs 37 and 66 ; which shows
that at the time, in July I8I7, he must have made
considerable progress in his undertaking. Having
completed his series of Illustrations, the printing was
commenced towards the close of 1820, and in the
course of a few months was completed, extending
in all to 512 pages. Some delay unfortunately oc-
curred in regard to a general preface for the work,
which eventually occasioned the publication to be
laid aside. Whether this preface was intended to
8 Stephen Clarke was a teacher of music, and organist of the
Episcopal Chapel in the Cowgate, Edinburgh. He survived
Burns little more than twelve months, having died at Edinburgh
on the 6th of August 1797. " He was composer of many musi-
cal pieces of considerable merit ;" and after his death, his son and
successor, William Clarke, appears to have rendered Johnson the
like service in harmonizing the airs for the concluding volume of
the Musical Museum. Clarke died about the year 1820.
PREFACE. XIX
embrace a detailed historical essay on Scotish Song-,
and Mr Stenhouse's declining health or other avoca-
tions prevented its being completed, or whether such
a preface was actually written, I cannot distinctly re-
member ; but this point cannot now be ascertained,
as no traces of such a preface were found among
his papers ; and in the lapse of time both the Editor^
and the Proprietor died, and the copies of the printed
sheets remained in the printer's warehouse neglected
as an imperfect work.
^ Although I knew Mr Stenhouse personally for many years, I
regret my inability to furnish any particular details of his history.
He was, I believe, a native of Roxburghshire, and was born in the
year 1773. He was brought up as an accountant in Edinburgh,
in the office of Charles Selkrig, Esq. His chief work was
published under the title of " Tables of Simple Interest, and of
Commission, Brokerage, or Exchange, at all the usual rates per
cent, constructed on a plan entirely new, easy, and mathematically
accurate. By William Stenhouse, accountant." Edinburgh, 1806,
large 8vo. These Tables have always been highly esteemed.
In a MS. tour, written in 1816, by Mr Alexander Campbell
(see the present work, vol iv. p. 373*), he thus describes, while
waiting for the Jedburgh coach, his meeting with Mr Stenhouse's
father : " Mr Scott of Maxpoffle (he says) accompanied me to
New Elden, where, on entering the smithy, he kindly took an
old gentleman by the hand, and calling him Mr Stenhouse,' who
turned out to be the father of my acquaintance Mr William
Stenhouse, the accountant in Edinburgh. The old gentleman is
above eighty, is still pretty active, has all his faculties, his sight
excepted (being a little impaired), is sensible, conversable, and
cheerful. He told me many entertaining anecdotes of my friend,
his son William, who showed a very early turn for mental acquire-
ments. The Blucher (a diligence coach) coming up, we nodding,
parted."
Mr William Stenhouse died at Edinburgh on the 10th of
November 1827, at the age of fifty-four, and was interred in St
Cuthbert's churchyard.
XX PREFACE.
At this time, when the new edition of the Mu-
sical Museum appears after such a protracted in-
terval, it may be stated, that the Publishers have
brought it out in compliance with the request of
several persons interested in such works, or who
knew Mr Stenhouse, and were aware that his Illus-
trations contained a mass of curious matter regard-
ing- the poetry and music of the last century. In
regard to this edition, therefore, I have only to re-
mark, that the Work itself remains substantially the
same as when originally published by Johnson, re-
taining the old title-pages and prefaces, most of which
were written by Burns, as showing the progressive
advancement of the work, and the information ob-
tained or communicated regarding the names of the
authors of the Songs ; but the whole has been printed
off, by a new process, in a superior style as to exter-
nal appearance. To each volume is now added
the portion of Mr Stenhouse's Illustrations that re-
lates to the songs which it contains ; and these are
accompanied with a series of additions and correc-
tions, distinguishing those which have been obligingly
contributed by C. K. Sharpe, Esq., by having his
initials subjoined. Mr Stenhouse's Notes, it will be
observed, remain precisely as they were thrown off
nearly twenty years ago. Had they been reprinted,
I should have presumed to make various changes,
by omission or correction. It will be remarked,
that many of our old favourite Songs are the com-
position of persons who never appeared as professed
authors ; and although most of them flourished at so
late a period as during the last century, the infor-
PREFACE.
mation to be obtained respecting their personal his-
tory is far less satisfactory than could have been de-
sired. In the Additional Illustrations, therefore, with-
out entering too much into detail, our chief endeavour
has been to ascertain some particulars respecting the
history of the less known Song-writers, whose names
appear in the pages of the Musical Museum, and more
especially of those Ladies who have enriched our
Lyric poetry with some of its finest compositions.
If this attempt has not been successful, it was not
from any want of research or direct application,
where it could be made, to the relations or personal
friends of the several authors ; and I have availed
myself of many obliging communications, which are
duly acknowledged, as the surest mode of giving
authenticity to the information thus •recorded.
I cannot conclude this Preface without expressing
my best thanks to James Chalmers, Esq., for the
loan of Sir Robert Gordon of Straloch's MS. Lute-
book, written in 1627 ; to George Farquhar
Graham, Esq., for the very obliging manner in which
he deciphered a variety of ancient airs from that
manuscript, some of which, rendered into modern
notation, have been introduced in the Additional
Illustrations; to William Dauney, Esq., Advocate,
for frequent advice and assistance in regard to these
old airs ; and above all, to Charles Kirkpatrick
Sharpe, Esq., my coadjutor in what may be truly
described as a labour of love.
DAVID LAING.
Signet Library, Edinburgh,
m.dccc. xxxix.
INTRODUCTION.
The high estimation in which the National Music of
Scotland has always been held, renders it a theme of more
than ordinary interest. There is indeed so much beauty
and unaffected simplicity in the modulation and general
character of our native melodies, that they seldom fail to
convey delight to persons of all classes, although uninflu-
enced by early or local associations. These melodies have
likewise been long inseparably connected, or identified with
the singularly varied effusions of the Lyric Muse of Scot-
land ; and it is scarcely necessary to remark, how happily
the words and airs are usually adapted to each other,
whether it be in strains of tender passion and refined sen-
timent, or of comic humour and rustic festivity. It would
have been singular, therefore, had there been no attempts
made to ascertain the origin of such a style of national
music; yet, notwithstanding the ingenious speculations
of several learned writers, it must be confessed that the
subject remains as obscure and uncertain as ever. What
is it, at best, but idle conjecture, whatever view may be
adopted ? It has been imagined, for instance, that our na-
tive melodies, in their structure and succession of intervals,
have preserved an affinity to the old Enharmonic scale
XXIV INTRODUCTION,
of the Greek Music; or assuming for Scotish Melody an Ori-
ental origin, that it found a resting-place in this remote
and barren clime, in the Westward progress of civilisation.
While some persons have, in general terms, deduced the
history of Scotish Music from the time of the Romans ;
others, without ascending to so remote a period, discover in
our popular airs, what they consider a striking resemblance
to the ecclesiastical modes, or the Canto-fermo of the Ro-
mish Church-service. The invention or improvement of
our Melody has likewise been assigned to particular indi-
viduals,— to James the First, King of Scotland, (1424 —
1437 ;) or to David Rizzio, (1563 — 1566.) Such a distinc-
tion has also been claimed for certain nameless shepherds
and shepherdesses, inhabiting at some undefined period
(called a pastoral age) the secluded pastoral vales of the
South of Scotland. Unfortunately, the absence of all
historical evidence of any considerable antiquity, and the
inability to produce any proofs, in a written form, of the
existence of our present popular tunes of an older date
than the close of the sixteenth century, is but poorly com-
pensated for by uncertain traditions or conjectures, however
ingenious and plausible.
It would be altogether foreign to the purpose of the
present work, to attempt any thing like an Historical In-
quiry into the origin and progress of Scotish Music. An
eminent English antiquary, Joseph Ritson, whose accuracy
and research deserve unqualified praise, suggested, that the
previous step to any such inquiry would be, " to determine
which of the airs now extant are to be considered as the
original or most ancient ;" and he himself, with great
care, embodied in his " Historical Essay on Scotish
Song," the various dispersed and incidental notices that
INTRODUCTION. XXV
he was able to glean from authentic writers. He was led,
however, to conclude, that no direct evidence could be
produced of the existence of scarcely any Scotish tunes
now known, prior to the year 1660 ; and that not so much
as one of these could be " found noted, either in print or
manuscript, before that period."
Since Ritson's time, more extensive research has thrown
additional light on this head ; and the subject has been re-
sumed in the Preliminary Dissertation to a volume recent-
ly published under the title of " Ancient Scotish Melodies,"
from the Skene MS. The author, Mr Dauney, has, with
great zeal and diligence, retraced Ritson's steps, and brought
to light much new and interesting information, both respect-
ing the history of music, and the musical instruments com-
monly used in Scotland prior to the seventeenth century ;
and this work bears ample evidence, that to an accurate and
enlightened acquaintance with musical scfence, he unites
an enthusiastic antiquarian zeal, so requisite for the proper
investigation of such a subject. This volume is further
enriched by a valuable addition contributed by Mr Finlay
Dun, an eminent professional musician, in the form of an
Analysis of several of our old popular Melodies, which
cannot fail to be highly esteemed by competent judges. —
Still, it may be asserted, that the history of Scotish Music
is yet in its infancy of illustration ; and although there is
little probability that it ever can be completely elucidated,
it may be suggested, whether it might not be the most
effectual mode to remove in part the obscurity that sur-
rounds the origin of our music, to institute a more pro-
found and comprehensive inquiry into the affinities of the
National music of other countries.
In this place, it occurred to the Editor, that however
XXVI INTRODUCTION.
humble the attempt, and but of limited interest, it might
not be unsuitable to present a Chronological List of the
various publications of Scotish Music, of a date prior to
the completion of Johnson's Museum. The following list
cannot pretend to be either complete, or the arrangement
correct. The common absurd practice in all kinds of
music, of omitting the dates of publication, and the frequent
alteration of publishers' names on the title-pages, renders
accuracy in such details a matter of some difficulty. Oc-
casional biographical notices of the Composers or Collectors
during the last century, are also added, to relieve a dry
catalogue of title-pages.
Of the works described, the Editor possesses several of
the earlier ones, but by far the greater number of those
printed during the last century are in the possession of
Charles Kirkpatrick Sharpe, Esq.
CHURCH MUSIC OF THE REFORMERS. — 1565.
The work commonly but improperly known under the
name of " Knox's Liturgy and Psalms," is here noticed from
the circumstance, that the first edition of it, in 1565, is the
earliest book printed in Scotland that contains musical no-
tation. It is so extremely rare, that perhaps not two perfect
copies are in existence. It has the following title : — " The
Forme of Prayers and Ministration of the Sacra-
ments, &c., vsed in the English Church at Geneua, ap-
proued and receiued by the Churche of Scotland, where-
unto besydes that was in the former bokes, are also added
sondrie other prayers, with the whole Psalmes of Dauid
in English meter. Printed at Edinbvrgh, by Robert
Lekprevik. m.d.lxv." Small 8vo.
INTRODUCTION. XXVU
The several Psalms are set to particular tunes, which are
printed with music types, at the head of each ; or a refer-
ence is made when the same tune was appropriated to more
than one Psalm. It may be added, that nearly all the sub-
sequent editions of this old version of the Psalms, previous
to 1650 when its use in Scotland was superseded by the
present version, also contain the tunes. This seems to show,
that some knowledge of sacred music must have been very
general ; which may be easily accounted for, as music
schools existed in different parts of the country. The fol-
lowing anecdote confirms such a supposition : — James
Melvill, in his Diary, in 1582, noticing the return of John
Durie, one of the ministers of Edinburgh, who had incurred
the displeasure of the Court, says, " Within few days there-
after, Ihone Durie gat leiue to ga hame to his awin flok of
Edinbruche ; at whase retourning thair was a great concours
of the haill town, wha met him at the Nafher Bow ; and,
going up the streit, with bare heads and loud voices, sang
to the praise of God, and testifeing of grait joy and conso-
lation, the 124th Psalm, ' Now Israel may say, and that
trulie,' &c., till heauin and earth resoundit. This noyes,
when the Due [of Lennox] being in the town heard, and
ludgit in the Hiegat [High street], luiked out and saw,
he raue his barde for anger, and hasted him af the town."
(Diary, p. 95.) Such a procession, consisting probably of
some thousand persons singing this tune, (still used in our
churches as the ' Old 1 24th, ') is characteristic enough of
the good old Scotish Presbyterians.
wood's manuscripts — 1366-1578.
The oldest Manuscripts written in Scotland that have
yet been discovered containing any specimens of secular
music, are two volumes out of four, written and noted by
XXVlll INTRODUCTION.
Thomas Wood, who styles himself Vicar of St Andrews, in
1566. It is, however, at the end of these volumes, and evi-
dently written at a subsequent date, that the airs alluded to
are contained.
In making an exception by noticing Wood's Manuscripts,
it is partly because Mr Stenhouse, in his Notes, has more
than once referred to these volumes, and has fallen into a
mistake regarding their exact date ; and also, because they
have not elsewhere been described. It appears that Wood, in
the year 1566, employed himself in writing four different
volumes, each containing a distinct part of the music for the
Psalms, Canticles, and Hymns of the Church used in this •
country after the Reformation. Wood himself records, that
this task occupied him four years, and it seems to have been
a laborious employment, from the care which he took to
adorn the volumes with rude designs and ornamented capi-
tals. One of the set, containing the Contra-tenor, is pre-
served in the University Library of Edinburgh, having
been presented to the Library by Mr James Browne, in the
year 1672. Another, the " Bassus," was purchased by the
late Mr Blackwood, some twenty years ago, and, after his
death, when part of his stock was disposed off by auction,
the present Editor was lucky enough to secure it. The fate
of the two other parts has not been ascertained.
On the blank leaves of the latter volume, some subse-
quent possessor has inserted the Basses of a number of
secular airs, with the first words of the songs. The hand-
writing is evidently not earlier than 1620 ; yet Mr Sten-
house refers to this portion of the volume, as if written by
Wood in 1566. Most of these airs are apparently English,
and were no doubt taken from some of the printed collec-
tions of the time. The Christmas Carol, and the Medley
which Mr S. quotes, must be considered as inserted in this
INTRODUCTION.
MS. nearly half a century after Wood's time ; and they
are also contained in the second edition of " Cantus, Songs,
and Fancies," Aberdeen, 1666, 4to.
Being well acquainted with Wood's volumes, the Editor
was surprised (in the autumn of 1835), while having the
privilege of examining the manuscripts preserved in Trinity
College Library, Dublin, to meet with a small volume in
4to (F. 5. 13,) lettered " Airs and Sonnets," and bearing
the following title : — " This is the fyft Buke addit to the
four Psalme Bukkis, for Songis of four or fyve pairtis,
meit and apt for musitians to recreat their spirittis, when
as they shall be overcum with hevines or any kynd of sad-
nes; not only musitians, but also euin to the ingnorant (sic)
of a gentle nature hearing shal be comforted, and be mirry
with us. 1569." 4to. pp. 112.
Wood's portion of this volume, however, extends only to
page 33. This is followed by a great variety of " Airs
and Sonnets " — " which are all notted heir with the Tennor
or common pairt they ar sung with." The handwriting of
this portion corresponds with the additional pages at the
end of the " Bassus," and, indeed, presents the same airs,
with the advantage of having, in most instances, the words
of the songs added.
Wood, who uniformly styles himself Vicar of St Andrews,
survived probably till the close of the sixteenth century.
Some additions, at least, in his hand occur, as late as 1584,
and 1592. It was not an uncommon name, and therefore
we cannot be certain that he was the same person with
Thomas Wood, who was admitted minister or rather vicar
of Carnbee, in Fife, November 7th, 1576. That he was
only vicar, is probable, for William Laing, in 1582, and
Andro Huntar, in 1585, appear successively as ministers;
while Thomas Wood is specially named as vicar of Carn-
XXX INTRODUCTION.
bee, in 1585. Another Thomas Wood was admitted first
minister of'Dysart, in November 1584.
These manuscripts contain a few notices of persons dis-
tinguished during the sixteenth century as musical com-
posers. It may not be uninteresting to collect such notices
under one point of view.
Angus, John, in Dunfermline. In Wood's MS. he is
usually styled ' gude Angus,' or ' gude and meike Johne
Angus.' The editor of the Psalms, in 1635, calls him
Dean John Angus ; and in one place, Wood says, " quod
Angus in Dumfermling."
Blackhall, Mr Andrew, According to Wood's au-
thority, he was a canon in the Abbey of Holyroodhouse,
before the Reformation. He afterwards became one of the
Protestant ministers ; and in 1567, and again in 1569, his
name occurs as minister of Ormiston. He was translated
before 1576, to the parish of Inveresk or Musselburgh, and
here he spent the remainder of his life. In October 1 592,
the Synod of Lothian and Tweeddale, having inquired if
any of their brethren were " greifit with the greit charge
of their flock ?" Mr Andro Blackhall declared, that he was
" greifit with his greit congregation ;" and in October
1593, the following entry occurs in the Minutes of the
Synod : — " Anent the desyre of thair brother, Mr Andro
Blackhall, minister of Mussilburgh, craning, in respect of
his adge [age] and greitnes of his flock. That the Assem-
blie wald causs the presbytery of Dalkeyth deall with the
parochinaris of Mussilburgh for a secund minister to serwe
in the cure of that kirk, and for sum prouisioun for him.
The Assemblie, considering the greitnes of the said congre-
gatioun, as also the adge of thair brother, Ordanis the pres-
bytrie of Dalkeyth to trawell with the town."
INTRODUCTION. XXXI
In reference to the above commission, the Presbytery of
Dalkeith, in October 1594, reported, that " they have
bene deilling in that matter ; Quhais declaratioun being
considerit, the Assemblie ordanis, That thai insist in the
samin." The subsequent minutes have not been preserved ;
but it appears from the Books of the Thirds of Benefices,
in 1601, in 1607, and 1608, that Adam Colt was Black-
hall's colleague, and that Edward Leyn was reidar at In-
veresk or Musselburgh, at the same time. Blackball pro-
bably died about 1610, when he must have attained a very
advanced age.
FuTHY, Sir John. The title of Sir denotes that he
was a priest. A moral song, beginning, ' O God abufe,'
in four parts, was composed by him, ' baith letter and not,'
— that is, both the words and notation. " This man (says
Wood, in the Dublin MS.) was the first organelst that ever
brought in Scotland the curious new fingefing and playing
on organs ; and zit is mair nor threscore zeiris since he com
hame : this is wreatin in I" v'' fourscore & xij. (1592.)" He
must thus have attained a very advanced age ; for, accord-
ing to Wood's statement, he had returned before the year
1532, and, we may presume, that he was then upwards of
twenty. In Bannatyne's MS., written in 1568, there are
two poems, signed ' Fethy,' and ' Fethe,' which no doubt
were by the same person. (Memorials of Geo. Banna-
tyne, pp. 74 and 76. Edinb. 1830, 4to.)
Heggie, Francis. See under Peblis, David.
Johnson, Robert. Wood calls him " Ane Scottis
preist, borne in Dunse, his name Robert Johnson ; fled for
accusation of heresy : Thomas Hutson's [Hudson's] father
knew him weill." In another volume. Wood had added to
the hymn, ' Dominus in virtute tua letabitur Rex,'' in five
XXXll INTRODUCTION.
parts, " quod ane Inglishe man ; and, as I have heard, he
was blind quhen he set it." This he has erased, and says,
" This was set in Ingland be ane Seottis preist baneist."
Ben Jonson, when at Hawthornden, informed Drummond
that he understood his grandfather had come from Annan-
: dale to Carlisle ; and that his father was a minister, and
had fled or was imprisoned for heresy during the reign of
Queen Mary, he himself being a posthumous son. Query,
could this Robert Johnson have been related to the great
Dramatic Poet ?
Kemp, Andrew. Wood styles him a minister ; but this
probably was an error, as no such name occurs in the
Registers of Scotish Ministers at that period ; while it
appears that Andrew Kemp was appointed by the Magis-
trates of Aberdeen, Master of their Music School, in the
year 1570. (Kennedy's Annals of Aberdeen, vol. ii.
p. 135.) One of the airs contains this memorandum by
Wood : — " Quod Kemp, and noted (or written) be his
awin hand, and not myne."
Lauder, James, was Chaplain of St Catharine's Altar
in the Collegiate Church of St Giles, Edinburgh, before
the Reformation. This appears from the following entry
in the Council Register, January 26 th, 1552-3: — "The
quhilk day the Provest, Baillies, Counsale, and Dekynes,
sittand in jugement anent the Supplicatioun given in be
James Lawder, Prebendar of thair queir, grantis license to
the said James to pas furth of the realme to the partis of
Ingland and France, thair to remaine for the space of ane
year nixt efter the dait hereof, to the effect that he mon
have and get better eruditioun in musik and playing nor
he hes ; provyding always that the said James cans ane
Chaiplain to keep his foundatioun of Sanct Kathyranis altar
INTHODUCnON. XXXIU
be ane preist quhill the said year be done." In 1567, we
find a James Lauder holding the office of Exhorter in the
Church of Logybryde, in Stratherne ; but whether he was
the same person must be left to conjecture. — In one of
Wood's volumes is inserted a tune, entitled " My Lord
Marche Pauen. Set be Jamis Lauder, 1584."
Peblis, David, styled an " honourable man," and one
of the Canons of St Andrews before the Reformation, set
the Canticle, ' Si qiiis diliget me,' in five parts. In the MS.
Bassus, Wood says, this was " Set be David Pablis in
four pairtis, in the zeir of God 1530 or thairby ; ane noueice
Francy Heagy, and wes this Dauid Pablis awin dissyple,
set the Fyft [part] a lytill before Pinky — [1546], and that
verray weill." In the Dublin MS., we find, " Quod David
Pablis, sumtyme ane chanone in the Abbay of Sanctand-
rous, ane of the principal musitians in all this land, in his
tyme. This sang was set about the zeir of God I", v"'.
XXX zeiris." Wood elsewhere mentions that David Peblis
set in four parts the Psalm, ' Quam multi^ Dominei sunt,' at
the desire of my Lord of March, in 1576.
The Editor of the edition of the Psalms, with the music,
" Printed at Edinburgh by the Heires of Andrew Hai't,
1635," 8vo, in a prefatory notice, after mentioning the
pains he had taken to give the Psalm Tunes correctly, in
all the four parts, has thus mentioned the names of some of
the composers of Sacred Music in Scotland at the time of
the Reformation, which corroborates Wood's notices. The
Editor signs his name E. M. I regret that we should
be so ignorant respecting this enthusiastic lover of sacred
melody, as even not to know his name : —
" I acknowledge sincerely the whole compositions of the parts to
belong to the primest Musicians that ever this kingdome had, as Deane
John Angus, Blackhall, Smith, Peebles, Sharp, Black, Buchan,
XXXIV INTRODUCTION.
and others, famous for their skill in this kind. I would bee most
unwilling to wrong such Shyning-lights of this Art, by obscuring their
Names, and arrogating any thing to myselfe, which any wayes might
derogate from them : For (God is my witnes) I affect not popular
applause, knowing how little soliditie there is in that shadow-like
seeming substance, studying to approve myself to God in a good con-
science ; which testimonie finding in my soul, I contemne all worldly
approbation, or opprobration. The first copies of these parts were
doubtlesly right set down by these skilfull Authors, but have been
wronged and vitiat by unskilfuU copiers thereof, as all things are
injured by tyme : And heerein consisted a part of my paines, that,
collecting all the sets I could find on the Psalmes, after painfull tryal
thereof, I selected the best for this work, according to my simple
judgement."
playford's dancing-master — 1657.
Mr Stenhouse, in the course of his Illustrations to the
Musical Museum, has repeatedly mentioned this work, and
has copied from it several Scotish airs. See, in particular,
pages 129, 316, and 318. At the end of Playford's " Catch
that catch can; or the Musical Companion," 1667, it is thus
described in "A Catalogue of late printed Musick-
books," — " The Dancing- Master ; or a Book of Rules for
Dancing Country Dances, with the Tunes to each Dance ;
and other New Dancing Tunes for the Treble- Violin." —
It passed through several editions, but the first, of 1657, is
very rare, and is interesting, as perhaps the earliest printed
work that exhibits several genuine Scotish airs.
THE ABERDEEN CANTUS — 1662.
" Cantus, Songs and Fancies. To Thre, Foure, or
Five partes, both apt for voices and viols. With a briefe
Introduction of Musick, as is taught in the Musick-Schole
of Aberdene, by T. D. M^. of Musick. Aberdene, printed
by lohn Forbes, and are to be sold at his Shop. Anno
Dom. M,Dc,Lxii." Small oblong 4to — leaves.
This collection, the earliest printed in Scotland, is un-
INTRODUCTION. XXXV
fortunately a set of English tunes, or of tunes composed
in an English style, rather than of genuine Scotish melo-
dies. The above title is printed within a rude wood-cut
border, representing a lady with a lute on one side, and a
gentleman with a music-book on the other. This cut is
repeated in the two subsequent impressions. It usually
passes under the printer's name, as " Forbes's Cantus;"
although Mr T. D., or Thomas Davidson, may have been
the editor; and it may be objected that the word " Can-
tus " is improperly used, as applied to a collection of airs,
instead of to only one of the Parts.
Thomas Davidson succeeded his father Patrick Da-
vidson, as Teacher of the Music- School at Aberdeen, in
the year 1640. (Kennedy's Annals, vol. ii. p. 135.) — The
first edition of the " Cantus" is of very great rarity, and
contains sixty-one songs. The dedication, by Forbes, is in
such a singular style of bombast, that it may amuse the
reader to hear of the heavenly melody and the nightingales
of Bon- Accord, or Aberdeen.
" Unto the Right Honourable William Gray, L. Provest; Alexander
Alexander, lohn Scot, lohn Duncan, Charles Robertson, Bailies ;
Thomas Mitchell, Dean of Gild; lohn Ross, Theasurer ; and
the rest of the Honourable Councell of the City of Aberdene.
" Right Honourable, —
Seeing it hath been the chief Honor and singular Praise of this famous
City, to have been the Sanctuary of Sciences, the Manse of the Muses,
and Nurserie of all Artes ; So that under you, and your Honors'
Predecessors prudent patrocinie, vigilant care, and fatherly inspec-
tion, so little a Plate of Ground hath yeelded many Plants of renowne,
who hath flowrished as Trees of delight, both in Church and State,
through out all the comers of Great Brittaine : Notwithstanding of
many strange Stormes, dismall Disasters, and malicious Designes ;
endeavouring to blast the Beautie of Bon- Accoed, to spoile Her of all
Her Decorements ; and amongst the rest to rob Her of that famous
Ornament of Vocall and Instrumentall Musick, which allwayes She
XXXVl INTRODUCTION.
could have claimed, as the proper native and heritable lewell of the
Place ; In which Her Excellency hath been so eminent, that to have
been Borne or Bred in Aberdene, hath been sufficient Argument, and
Testimony, to advance any to the Profession of that Science else-
where. Yea, How many have come of purpose from the outmost
partes of this Iland, to hear the cheerfull Psalms and heavenly melo-
! dy of BoN-AccoRD? till of late, some who had monopolized Crotchets
I to their own Pates, dauncing to the Pype of these tratarous times,
f contrare to the express Command of the Almighty, and laudable prac-
l tise of all Christian Churches in the world, that their Vocal- Worship
might be consonant to the harsh howling of their Hell-hatched Com-
j mon- wealths, would levell and astrict the Praises of the Most High •
I at all times to a Common- Tune. But now, seeing it hath pleased the
j grand Ruler of Heaven and Earth, with the greatest of Blessings,
I Our Dread Soveraigne, Charles, by the Grace of God, King of
I Great Brittaine, France, and Ireland, Defender of the True
j Apostolieke Faith, &c. ; to bring all things to their ancient Order, put
an end to these dismall Discords, string the Hearts of Brittaine with
true Loyalty ; and turne them to their proper Tunes : Elevating and
Rousing all loyall Spirits to see the royall Harpe blase in the royall
Scutcheon : I who hath made it my resolute purpose and constant re-
solution, to saile all winds, and serve up the weake partes which God
and Nature hath bestowed on me : that so, at least with the Ephesian-
Bee, I might contribute my little Wax, and sillie Bumb, to the Hyve
of Bon-Accord's Common-well, that the paines of your Children in
attaining the first elements of Musick may be lesned, and the Scarr-
craw of difficultie taken off the Hinges of the School- doore, hath en-
deavoured with all the clearnesse I can, to make the entry so patent,
that the feeblest be not afrighted to step in. I shall not weary your
patience with the commendation of this heasty embrio, seeing it must
owe its Life and Beeing to Your Honors. It's wealing in the Crad-
dle ; holding out its Hand for your assistance, suffer it not to perish,
shine on it with a beninge Aspect ; let it appeare to the World that
the meanest Schrub in Bon- Accord, can share of your Influence as-
well as the talest Cedar ; who knowes ? but this humble creeping Ivy,
if suffered to lay hold on your Favour, and lean on your Goodness,
may flowrish and winter its greenness with its growth, as the Summer
Bowre, and Winter Bush of many sweet singing Nightingales: while
either it answer the expectation of many, or get its stature and perfect
period, from your Hs. ever acceptable commands. Accept of it as an
Interlude to your more serious Effaires, and measure not the minde of
the offerer, by the Leannesse and Leamness of the offering, whose
Honor and Dignity depends on your gratious acceptance ; which is
onely able to cover its escapes, attonne its presumption, and shield it
INTRODUCTION. XXXVll
from all the poysoned Dartes of back-byting envy : So posterity shall
sing your Praises, and you shall be the soul of that, to which (if we
shall beleeve divine Plato and his followers) the Vniverse doth owe
that heavenly soule, by which it is animate, and you and your child-
ren may make that your recreation in time, which most be the worke
of all Saints throughout all Eternity: and that Bon-Accoed may re-
semble Heaven in an harmonious- Concord, and your Honors meet
with the out-bearing and best blessings of the Almighty, on all your
Designes and Enterprises, shall be the daily Prayer of
" Your Honors' most engaged Servant,
« lOHN FORBES."
THE ABERDEEN CANTUS, 2d edit. — 1666.
" Cantus, Songs and Fancies, to three, four, or five Parts,
both apt for voices and viols. With a brief Introduction to
Musick, as is taught by Thomas Davidson, in the Musick-
School of Aberdene. Second Edition, corrected and en-
larged. Aberdene, printed by John Forbes, and are to be
sold at his shop. Anno Domini, m.dc.lxvi." Small oblong
4to. 50 leaves.
A perfect copy of this edition is very rare. It has on
the title the same rude wood-cut border as in the first edi-
tion. The dedication to the Magistrates of 1666 is changed,
but it is also in a similar strain of bombast. It contains
only 55 songs ; the six following songs, for some reason,
not easily to be divined, having been omitted.
37th. The time of Youth sore I repent.
42d. Yee Gods of Love looke downe in pity.
47th. Now, O now, I needs must part.
55th. Martine said to his Man.
56th. A Shepherd in a shade.
60th. Come againe, sweet Love doth thee invite.
There are added, however, at the end of the volume, the
XXXVlll INTRODUCTION.
celebrated medley, entitled a " Pleugli-Song. Cantus.
Three voices," beginning —
My heartly service to you, my Lord,
I recommend, as should accord ;
There is an Ox into your Plough, &c.
And two Carols, or Songs, for three voices, viz. —
All sons of Adam, &c..
Trip and go, hey, &c.
The following is a portion of the dedication to this second
edition.
" Unto the Right Honble. Gilbert Gray, Lord Provest, &c. &c., and
to the rest of the Honorable Counsel of the City of Aberdene.
Right Honorable, —
A FEW years ago, that I might approve myself no less an obser-
vant Citizen then a provident Parent, being invited by the desires
of some, allured by the kindness of others, and encouraged by the
expectation and good hopes of the usefullness of the thing itself to
the Place, I did lay down my First-born as a fondling, at the feet of
your Honorable Bench ; solemnly engaging that, as it received its being
from BoN-AccoRD, and its growth from your goodness, so it should
period its stature with your pleasure. This promise hath pressed me,
that my Press might always bear the impress of your vertues ; and
express (though in a small type) my thankfulness, according to the
laudable custom of votaries, in all ages, after a few years' growth, to
represent the same to your Sanctuary, that it may be confirmed in
your favour
And now, seeing it hath pleased Providence, in your
Wisdom's Persons, to bless the Bench of Bon- Accord with such an
harmonious Consort, of as many Musitians as Magistrals, that all
under your Magistracie may descant on your labors, and posteritie sing
your praises to coming ages ; admit this poor present to your accept-
ance, its breath and being depends on your brow, being willing to
receive its sentence from the same, whether it shall be smothered in
the birth, or view the public under your patrocinie. However, that
the best blessings and out-bearing of the Almighty may accompany
your Wisdoms in all your honorable designs, shall be the daily prayer
of your Honors' own servant,
" loHN Forbes."
INTRODUCTION. XXXIX
THE ABERDEEN CANTUSj 3d edit 1682.
" Cantus, Songs, and Fancies, to three, four, or five
Parts," &c., ornamented title like the preceding editions— '
and a second title as follows :
"Cantus, Songs, and Fancies, toseverall Musicall Parts,
both apt for voices and viols. With a brief Introduction
to Musick, as is taught into the Musick- School of Aber-
deen. The Third Edition, exactly corrected and enlarged.
Together also, with severall of the choisest Italian- Songs,
and New English-Ayres, all in three parts, (viz.) Two
Treebles and a Bass : most pleasant and delightfull for all
humours. Aberdeen, printed by John Forbes, Printer
to the Ancient City of Bon- Accord, Anno Dom. 1682."
Small oblong 4to, 58 leaves.
This edition is not uncommon. It contains only fifty-five
Songs, like the second edition ; but the Plough Song and
the two Cantus are omitted, to make room for " Severall
of the choisest Italian Songs, composed by Giovanni Gia-
eomo Castoldi da Carravaggio : together also, with some
of the best new English-Ayres, collected from their chiefest
authors, all in three parts."
As the Printer still preserved his peculiar style of compli-
menting the Aberdeen Magistrates, a portion of his dedica-
tion, and his address to all true lovers of Musick, may be
quoted. But, in taking leave of this collection, we cannot
but regret that the publisher should have substituted ' Choice
Italian-Songs and new English-Ayres,' instead of a series
of the popular Scotish melodies of his time.
" Unto the Right Honorable Sir George Skene of Fintray, Lord
Provest, &c. &c. &c., and to the rest of the Honorable Counsell of
the City of Aberdeen.
Right Honorable, —
Your Honors' servant having had the good opportunity some years
Xl INTRODUCTION.
ago, at two severall occasions, to present your Honors' worthy pre-
decessors with the patronage of this Musick Book, of which two
impressions there are few extant ; and he being again (of new)
invited by the earnest desires of some, yea allured by the kindness
of others, and encouraged by the expectation and good hopes of
the usefulness and profitableness of the book itself, not onely to
this famous city, but also to all lovers of musick within this nation,
hath (according to his very bound duty) presented your Honors with
the patronage of this third edition ; especially seeing it hath ever been
the chief honor and singular praise of this famous city, to be the
sanctuary of sciences, the manse of the muses, and nurserie of all
arts ; so that under your (and your Honors' worthy predecessors)
prudent patrocinie, vigilant care, and fatherly inspection, so little a
plate of ground hath yielded very many plants of renown, who have
always flourished, as trees of delight, both in church and state,
throughout all the corners of Great Brittain ; yea, whose excellency
hath ever been so eminent, that to have been born or bred in Aber-
deen, hath been a great argument and ground to procure promotion
for any, to places of any profession elsewhere : yea, the fame of this
city for its admirable knowledge in this divine science, and many other
fine enduements, hath almost overspread whole Europe, witness the
great confluence of all sorts of persons from each part of the same,
who, of design have come (much like that of the Queen of Sheba) to
hear the sweet chearful Psalms, and heavenly melody of famous Bon-
Accord, whose hearts have been ravished with the harmonious concord
thereof. If then the Almighty hath bestowed such a grand blessing
upon the same, sure the heavenly and divine use will much more re-
dound to our eternall comfort, if with our voices we joyn our hearts,
when we sing in His holy place
Courteous Reader, —
" To all Ingenuous and True Lovers of Musick — The two former
Impressions of this Musick- Book, finding so generall acceptance, hath
encouraged me to adventure upon the printing of this Third Edition,
in which I have not only made it my care to amend some defects
■which were into the former impressions, but indeed to new mo-
dell the whole, by adding a considerable number of choise Italian-
Songs and English- Ay res, all in three parts, (viz.) two treebles
and a bass, which were never printed with the former Impressions,
and that for the severall humour of all persons, male and female, old
and young ; wherefore (I may truly say) this Musick- Book, (as it is
now published,) for such sweet harmonious songs, hath never been ex-
tant in this nation. You have also herewith printed, for the encour-
INTRODUCTION. xli
agement of young beginners in vocall musick, the print of the hand,
for teaching the Gam thereon, with the scale of the Gam, and parts
thereof; as also a full exposition of the Gam, and cliefs, moods, de-
grees, concords, and discords, &c., and that into a plain and brief
manner, for every one's capacity. I must confess, the work as to the
musick is not mine, but for printing and publishing hereof, I am still
ready, and most willing in my generation to improve my talent and
parts (which the Almighty of his infinite goodness hath been pleased to
bestow upon me,) both for the good of this City and of my Countrey ;
therefore, if these my labours prove pleasant and delightfull by your
favorable acceptance, the same shall incite me very shortly to publish
abroad, severall other Musicall Songs and Ayres of various kinds, both
Catches, and Parts- Songs, which are not readily to be found within this
kingdom, with a briefiF and plain introduction to musick, conform to
each severall book, all very pleasant for every humour, yea harmful
to none : and that all my painfull labors may tend for this City and my
Countrey's good, shall be the hearty prayer and earnest desire of
" John Forbes."
d'urfey's collection — 1720.
" There are many fine Scots airs in the Collection of
Songs by the well known Tom D' Urfey, mtitled ' Pills to
purge Melancholy,' published in the year 1720, which
seem to have suifered very little by their passing through
the hands of those English Masters who were concerned in
the correction of that book ; but in the multiplicity of Tunes
in the Scots style that have been published in subsequent
collections, it is very difficult to distinguish between the
ancient and modern." (Hawkins' Hist. vol. iv. p. 6.) —
The earlier volumes of this well-known collection passed
through several editions, which was enlarged in 1720, by the
publication of a sixth volume.
Thomson's orpheus caledonius — 1725.
" Orpheus Caledonius, or a collection of the best Scotch
Songs, set to musick, by W. Thomson. London; engraved
and printed for the Author, at his house, in Leicester Fields.
xlii INTRODUCTION.
Enter'd at Stationers' Hall, according to Act of Parlia-
ment." Folio.
This volume is dedicated to Her Royal Highness the
Princess of Wales, afterwards Queen Caroline, and con-
tains fifty songs, engraved on separate folios, followed by
eight leaves, containing the airs of the songs " for the
flute." This work may be considered as entitled to the
distinction of being the first professed collection of Scotish
Tunes. Although it bears no date, the year usually given
to it is correct, as the Editor appeared, and entered his work
in the books at the Stationers' Hall, 5th of January 1725.
In the index, Thomson affixes a (*) to the seven follow-
ing Songs, as having been " composed by David Rezzio."
"TheLassof Patie's Mill."— " Bessie Bell."—" The Bush
aboon Traquair." — " The Bonny Boatman." — " An' thou
wert my ain thing." — " Auld Rob Morris" — and " Down
the Burn, Davie." In republishing this work, as the first
volume of his Orpheus, in 1733, no such marks are affixed.
1/ THOMSON'S ORPHEUS — 1733.
" Orpheus Caledonius : or a Collection of Scots
Songs, set to musick, by W. Thomson. London ; printed
for the author, at his house in Leicester- Fields, 1733,"
2 vols. 8vo.
The license granted by George I. for printing this work,
to " our trusty and well-beloved William Thomson, of our
City of London, Gent.," for the term of fourteen years, is
dated 11th May 1733. Each volume contains fifty Songs.
The 1st vol., as in the folio edition, is dedicated " To the
Queen ;" the 2d vol. " To her Grace the Dutchess of
Hamilton."
William Thomson was the son of Daniel Thomson,
iNTRODUCTioi«r. xliii
one of the King's Trumpeters, and when a boy made his
appearance at the grand concert on St Cecilia's day, at
Edinburgh, in November 1695. — " Daniel Thomson (says
Mr Tytler in his account of that concert) was one of the
King's trumpeters, and was said to have understood music,
and to have been a good performer of the obligato, or solo
parts, in the trumpet songs of Purcell's Opera of Diocle-
sian, Bonduca, and other theatrical pieces then exhibited on
the stage. . . . His son, William Thomson, was early dis-
tinguished for the sweetness of his voice, and the agreeable
manner in which he sung a Scots song. He went to Lon-
don ; and at the time when the Opera, and the compositions
of Handel, were at their height, the sweet pathetic manner
of Thomson's singing a Scots song, which he accompanied
with a thorough bass, became a fashionable entertainment
at Court, where he often performed."
" In February 1722, there was a benefifr concert for Mr
Thomson, the first editor of a collection of Scots tunes in
England. To this collection, for which there was a very large
subscription, may be ascribed the subsequent favour of
these national melodies south of the Tweed. After this
concert, ' at the desire of several persons of quality,' was
performed a Scottish Song." — (Burney's Hist. vol. iv.
p. 647.)
Hawkins (vol. iv. p. 7) says of Thomson — " The editor
was not a musician, hut a tradesman^ and the collection is
accordingly injudicious, and very incorrect." I should think
he must have been misinformed in making such a statement.
TEA-TABLE MISCELLANY — circa 1726.
" Musick for Allan Ramsay's collection of Scots Songs :
Set by Alexander Stuart, and engraved by R. Cooper, Vol.
First. Edinburgh ; printed and sold by Allan Ramsay."
xliv INTRODUCTION.
This is a small oblong volume of pp= 156, divided into
six parts, and contains the music of seventy-one Songs,
selected from the first volume^of the Tea-Table Miscellany,
printed in 1724. It is very scarce, and no second volume
ever appeared. There is a frontispiece to the volume, of a
lady touching a harpsichord (on which is the name of the
maker, Fenton), and a gentleman with a violin in his hand.
Each part has a separate title, — " Musick for the Scots
Songs in the Tea-Table Miscellany. Part First," &c.
" Part First — inscrib'd to the Right Honourable Countess
of Eglintoun," — (Susanna Kennedy. To this lady Ramsay
dedicated his Gentle Shepherd.)
" Part Second — inscrib'd to the Right Honourable
Lady Somerville," — (Anne Bayntun, grand-daughter of the
witty Earl of Rochester.)
" Part Third — inscrib'd to the Honourable Lady Mur-
ray of Stanhope," — (Grizzel Baillie, the lady who was
the authoress of Memoirs of her Parents. See vol. ii. p.
*100 of the present work.)
" Part Fourth — inscrib'd to the Honourable Lady
Weir" (of Blackwood — Christian Anstruther, afterwards
Countess of Traquair.)
" Part Fifth — inscrib'd to Miss Christian Campbell."
" Part Sixth — inscrib'd to Mrs Young."
BOCCHl'S SONATAS — 1726.
" Signor Lorenzo Bocchi has published an Opera of
his own composition, by Subscription, containing 12 Sona-
tas, or Solos, for different instruments, viz. a Violin, Flute,
Violoncello, Viola de Gamba, and Scots Cantate ; with
instrumental parts, after the Italian manner, the words by
Mr Ramsay ; with a thorow Bass for the Harpsichord.
Subscribers may have their copies at Mr John Steill's any
INTRODUCTION- xlv
time before the first of March ensuing. Any person that
has not subscribed, may likewise be furnished, there being
more copies cast off than will serve the Subscribers." —
Caledonian Mercury, February 22, 1726.
In Allan Ramsay's Poems, vol. ii. p. 271, is inserted
" A Scots Cantata, — Music by L, Bocchi." It begins,
" Blate Johny faintly tald J' Whether Mr John Steill was a
Music-seller, is uncertain ; but there was advertised for the
26th of February 1729, a " Sale by Auction, of the haill
Pictures, Prints, Musick-books, and Musical Instruments
belonging to Mr John Steill." — {Caled. Mercury^
WATTS'S MUSICAL MISCELLANY — 1729-1731.
" The Musical Miscellany ; being a Collection of Choice
Songs, set to the Violin and Flute, by the most eminent
Masters. ♦'
The man that hath no musick in himself.
And is not mov'd with concord of sweet sounds,
Is fit for treasons, stratagems, and spoils.
Shakespeae.
Volume First. London, printed by and for John Watts,
at the Printing-office in Wild Court, near Lincoln's- Inn
Fields, 1729." 2 vols, small 8vo.
" The Musical Miscellany ; being a Collection of Choice
Songs and Lyrick Poems ; with the Basses to each Tune,
and transpos'd for the Flute, by the most eminent masters.
Vols. 3 and 4, London, &c., 1730: Vols. 5 and 6, London,
&c., 1731, small 8vo.
This collection, forming six volumes, includes several
Scotish airs and songs, evidently derived from Thomson's
Orpheus, 1725, or the Tea- Table Miscellany.
xlvi INTRODUCTION.
\y craig's collection — 1730.
" A Collection of the choicest Scots Tunes, adapted for
the Harpsichord or Spinnet, and within the compass of the
Voice, Violin, or German Flute. By Adam Craig. Edin-
burgh, 1730. R. Cooper, fecit. Entered in Stationer's
Hall." Oblong folio, pp. 45, besides the titles and dedica-
tion. It is thus dedicated " To the Honourable Lords and
Gentlemen of the Musical Society of Mary's Chappell :"
" As you are generous encouragers and great promoters of
Musick, it is natural for me, on this occasion, to beg your
patronage, which is my highest ambition. The following
collection, being the first of the kind, and the nature and
genuine product of the country, I flatter myself that the
countenance and protection of so noble a Society will make
it generally acceptable, and contribute much to the benefit
of, my Lords and Gentlemen,
" Your most dutiful and most obedient servant,
*' Adam Craig."
Adam Craig was a leading performer at the Concert
on St Cecilia's Day, in 1695, at Edinburgh. Mr Tytler,
in the Transactions of the Antiquarian Society, vol. i. 1792,
published an interesting paper, containing a programme,
*' The Order of the Instrumental Music for the Feast of
St Cecilia, 22d November 1695 ;" and giving the names of
the performers. Mr T. says, " Adam Craig was reckoned
a good orchestra player on the violin, and teacher of music.
I remember him as the second violin to M' Gibbon, in the
Gentleman's Concert." In the " Catalogue of Musick,
being the complete and curious Collection of the late
Lord Colville, to be sold by auction, on the 26th day of
November 1728," 4to, pp. 70, are several manuscript
articles, as well as printed works, some of which are noted
INTRODUCTION. xlvii
as " brought from Italy," or " brought from Rome,"
by Mr Michael Kinkaid. One article in the Catalogue is
" Mr Adam Craig's Works, in one book, folio MS."
Robert Lord Colville of Ochiltree, it may be added, was
a celebrated musical amateur, as well as collector. Lord
Colville succeeded his father in February 1671, and died
unmarried 26th of March 1728. He is said to have been
" a thorough master of Music, and to have understood
counterpoint well." He played on the Harpsichord and
Organ; and he was one of the performers at " the Feast of
St Cecilia," in 1695.
The God of Musiek joins when Colvil plays.
And all the Muses dance to Haddington's Essays ;
The charms are mutual, peircing, and compleat —
This in his art excells, and that in wit."
De Foe^s Caledonia, 1706.
According to Professor Mackie's MS. Obituary, (see
vol. iv. p. *384,) " Adam Craig, musician," died in October
1741.
MUNRO'S COLLECTION — 1730.
Alexander Munro's Collection, is thus quoted by
Hawkins (Hist, of Music, vol. iv. p. 7) : —
" About the year 1730, one Alexander Munroe, a native
of Scotland, then residing at Paris, published a collection
of the best Scotch Tunes fitted to the German Flute,
with several divisions and variations ; but the simplicity of
the airs is lost in the attempts of the author to accommo-
date them to the style of Italian music."
Riddell, in the preface to his Border Tunes, also men-
tions that this collection was printed at Paris ; and that
its chief excellency is the fine basses that accompany the
xlviii INTRODUCTION.
tunes. I regret not having had an opportunity to see this
collection.
i/ AIRS FOR THE FLUTE — 1735.
" Airs for the Flute, with a thorough Bass for the Harpsi-
chord." Small oblong 4to, pp. 27. Dedication. — " To the
Right Honourable the Lady Gairlies (Lady Catharine
Cochrane.) Madam, — The following airs having been com-
posed by a Gentleman for your Ladyship's use when you
began to practice the Flute a Beque, I thought I could not
chuse a better subject for my First Essay, as an engraver of
musick, than these airs ; as well because they were made
for beginners on the Flute and Harpsichord, as that they
were composed by a gentleman who first put a pencil in my
hand, and then an engraver ; but chiefly because they were
originally made for your ladyship's use, which gives me so
fair a handle to send them into the world under the pro-
tection of your Ladyship's name. I am, with the greatest
respect. Madam,
Your Ladyship's most obedient and most humble servant,
" Alex. Baillie.
« Edinburgh, December 1735."
Who the gentleman was that composed these Airs has
not been stated.
JAMES OSWALD — 1735-1742.
The earliest notices of this eminent collector and com-
poser of Scotish Melodies, which I have been able to meet
with, are the following advertisements in the Caledonian
Mercury. From these it appears that Oswald was origin-
ally a dancing-master in Dunfermline, and that he after-
wards came to Edinburgh, where he taught both dancing
and music.
INTRODUCTION. xlix
" There is to be published by subscription, a Collection of Minuets,
adapted for the Violin and Bass Viol, with a thorough Bass for the
Harpsichord or Spinnet — most of them within the compass of the
Hautboy or German Flute. Composed by James Oswald, Dancing-
master. Each subscriber to give in two shillings at subscribing, and
three shillings on receipt of the book. Subscriptions will be taken in
at Edinburgh, by Mr Cooper, engraver ; and at Dunfermline, by the
author. 'Tis expected that such as do not incline their names should
be prefixed, will signify it. The author desires they who have taken
the trouble to get subscriptions will send the lists to him at Dunferm-
line, with first occasion. — N. B. The author has by him several Sona-
tas and Solos, one of which is to be published along with this collec-
tion : if it is well received, the rest, with some other pieces of Musick,
may in time be published." — (August 12th, 1734.)
" Mr Oswald is to publish his book of Musick, against Friday the
16th of January inst. Therefore, all subscribers for said book, are
desired to call at Mr Andrew Martin, Bookseller, at his Shop, in the
Parliament Close ; or at the Author's Lodgings in Skinner's Close
(where he teaches Dancing, in company with Mr Jones), to receive
their Copies, upon paying the full Subscription, being three shillings
to those who have paid the first moiety, and five shillings to those who
have not." — (January 6th, 1736.) »•
" Whereas Ma Oswald, musician in Edinburgh, is, at the re-
quest of several ladies and gentlemen, publishing by subscription a
Collection of Scots Tunes before he sets out for Italy, which will con-
sist of above 50 Tunes, many of which were never before printed, and
all within the compass of the Hautboy and German Flute, with
Thorough Bass for the Harpsichord and Spinnet; and amongst
which there are several new Mason Songs, with words for three voices.
Subscriptions taken in at his lodgings in Carrubber's Close ; at
Messrs A. Kincaid, G. Hamilton & Co., A. Martin, W. Miller,
Booksellers; and at the Exchange Cofice- House, Edinburgh N.B.
The Subscribers will please send in their names, as also those who
have Subscription Papers, before the 1st of June next, by which time
the book will be published. The Price to Subscribers is 5s., on de-
livery of the Book, and to others 6s." — (May 8th, 1740 ; repeated on
the I5th, 19th, and 22d of the same month.)
Whether Oswald visited Italy, and how long he remained
are uncertain ; but London appearing a wider field for his
exertions than the Seotish Metropolis, he settled there in
1741 or 1742. See the Epistle in verse, addressed to
d
1 INTRODUCTION.
him on his leaving Edinburgh, in vol. iv. p. 405, of the
present work ; where some further notices respecting him
are given.
,. OSWALD'S SCOTS TUNES — 1740.
" A Curious Collection of Scots Tunes, for a Violin, Bass
Viol, or German Flute, with a thorough Bass for the
Harpsichord ; as also a Sonata of Scots Tunes, in three
parts, and some Mason's Songs, with the Words, for three
voices ; to which is added a number of the most celebrated
Scots Tunes, set for a Violin or German Flute. By James
Oswald, Musician in Edinburgh." No date ; oblong folio,
pp. 42.
This work is dedicated " To His Grace James Duke of
Perth ;" and it might be inferred, from the name of James
Colquhoun, Esq., as " Lord Provost of Edinburgh," ap-
pearing in a numerous list of subscribers, that it was pub-
lished either in the year 1738 or 1739. The above ad-
vertisement proves that it did not appear till June 1740.
" A Collection of curious Scots Tunes, for a Violin,
German Flute, or Harpsichord. By Mr James Oswald.
London ; printed for Charles and Samuel Thompson in St
Paul's Churchyard." The name of some former publisher
has been erased. Folio, pp. 46. At the end, " Philips,
Sculp."
*' A Second Collection of curious Scots Tunes for a Violin
and German Flute, with a thorough Bass for the Harpsi-
chord. By Mr James Oswald. London, &c. (as above.)"
Folio, pp. 47.
These two collections originally appeared in 1742 ; they
are included in the list of new publications in the Scots
Magazine, November 1742. — The following tunes in the
first part—" The Cock Laird"—" The Black Eagle"—
INTRODUCTION. U
<« Peggy, I must love thee" — " The Lowlands of Holland"
" William's Ghost" — and " The last time I came o'er
the moor," are ascribed to " David Rizo." The following
MS. note, however, inserted in a copy of the work, contra-
dicts this, and claims them as Oswald's compositions.
" The airs in this volume, with the name of David
" Rizo affixed, are all Oswald's. I state this on the autho-
" rity of Mrs Alexander Gumming and my mother — his
" daughter and sister, (signed) H. O. Weatherley." — "Died
at Chester le Street, in the county of Durham, in her 80th
year, Nov. 13, 1821, Mrs Weatherley, relict of the late Mr
Edward Weatherley of Garden House in the same coun-
ty, and sister of the late James Oswald, Esq., Chamber
Composer to his late Majesty, and justly celebrated as
the author of ' Roslin Castle,' ' Tweedside,' and numerous
compositions of lasting eminence."
macfarlane's collections — 1740.
" A Collection of Scotch Airs, with the latest Variations,
written for the use of Walter M'Farlan of that ilk. By
David Young, W. M. in Edinburgh, 1740." MS. 3 vols,
folio.
The Laird of Macfarlane, for whom this collection was
compiled, was an eminent antiquary, who died in 1 7 . His
manuscripts having been disposed of after his death, the
chief portions were acquired for the Advocates' Library.
The above collection is chiefly curious from the number of
tunes it contains. They are written with all the care of a
person, who, from the initials W. M. added to his name,
we may conclude, was a writing-master : The volumes
were presented by the Honourable Henry Erskine (brother
of the Earl of Buchan), to the Society of the Antiquaries
of Scotland, 23d of July 1782. Unfortunately, the first
lii
INTRODUCTION.
volume was borrowed from the Society many years ago, and
has never been recovered. The second volume, dated 1740,
contains pp. 288, and 250 airs. In the third volume, the
date of which is torn off, there are pp. 288, and 292 airs.
None of the airs have basses; and to some of them the
names of the composers are given, viz., Oswald, M' Gib-
bon, [ Forbes of?] Disblair, and M'Lean. A few also
have the initials of the compiler, D. Y[oungJ.
WALSH'S COLLECTION — circa 1740.
" A Collection of original Scotch Songs, with a thorough
Bass to each Song, for the Harpsichord. London ; printed
for and sold by I. Walsh, servant to his Majesty, at the
Harp and Hoboy, in Katharine Street, in the Strand." Folio.
This is merely a collection of Songs which had been en-
graved and sold as single leaves, without any order or ar-
rangement, and including English imitations of Scotish
Songs, sung at Vauxhall Gardens, and other places of
public amusement.
i/ WALSH'S COUNTRY DANCES.
" Caledonian Country Dances, being a Collection of all
the celebrated Scotch Country Dances now in vogue, with
the proper Directions to each Dance, as they are performed
at Court and public entertainments. For the Violin, Hoboy,
or German Flute, with their Basses for the .Bass Violin or
Harpsichord. Engraven in a fair character, and carefully
corrected. London, printed for, and sold by J. Walsh,
music printer and instrument maker to His Majesty, at
the Harp and Hoboy in Catherine Street in the Strand."
Small oblong 8vo. Eight vols. Many of the dances are
not Scotish. — There are later impressions of this work.
INTRODUCTION. liii
) BARSANTl'S COLLECTION — 1742.
" A Collection of Old Scots Tunes, with the Bass for
Violoncello or Harpsichord, set, and most humbly dedicated
to the Right Honourable the Lady Erskine, (Lady Char-
lotte Hope,) by Francis Barsanti. Edinburgh, printed by
Alexander Baillie, and sold by Messrs Hamilton and Kin-
caid; price 2s. 6d." Folio, pp. 15.
This collection was published 14th of January 1742,
(Caledonian Mercury, and Scots Magazine for January
1742.)
Barsanti, a native of Lucca, was born about the year
1690. He commenced his studies of civil law at Padua,
but afterwards chose music for his profession, and came to
England in the year 1714. He continued many years a
performer at the Opera house ; but at length, with some
favourable prospects, he settled in Scotland; "and, with
greater truth than the same is asserted of David Rizzio, he
may be said to have meliorated the music of that country,
by collecting and making basses to a great number of the
most popular Scots Tunes." About the year 1750, Bar-
santi returned to England, (Hawkins, History of Music,
vol. iv. p. 37.) — Barsanti had a daughter who made a con-
siderable figure on the stage. Her portrait is prefixed to
Bell's edition of Shakspeare's Midsummer Night's Dream.
; MACGIBBON's COLLECTIONS — 1746-1755.
" Six Sonatos or Solos for a German flute or violin,
composed by Willm. M' Gibbon. Edinburgh ; printed by
R. Cooper for the author. 1740." Oblong folio.
" A Collection of Scots Tunes, some with Variations for a
Violin, Hautboy, or German Flute, with a bass for a Violon-
cello or Harpsichord. By William M'Gibbon. Book 1st.
liv INTRODUCTION.
— N. B. Where there is double notes, the highest is for
the flute, and the lowest for the violin. Edinburgh ; printed
by Richard Cooper. 1742." Oblong folio, pp. 36.
" A Second Collection, &c. Edinburgh ; printed by
Richard Cooper, 1746." Oblong folio, pp. 36.
" A (Third) Collection, &c. Edinburgh ; printed by
Richard Cooper. 1755. Oblong folio, pp. 36.
A second edition of the first two collections (in 1755 or
1756) bears on the title, " Edinburgh ; printed and sold
by R. Bremner, at the Harp and Hautboy."
Another edition in 8vo, of the three books, bears " Lon-
don ; printed for D. Rutherford, in St Martin's Lane,"
&c.
An edition of M' Gibbon's Collection, in three books,
with some additions, by Bremner, is advertised in the Scots
Magazine, February 1762. There is also an edition,
" With some additions, by Robert Bremner. London,
printed and sold at the Music-shop of Robert Bremner,
opposite Somerset-house." Oblong 4to, pp. 120. It
contains 4 books.
William Macgibbon, was " well known and celebrated
in his time for his great execution on the violin." His
father, Matthew Macgibbon, was esteemed a good per-
former on the Hautboy ; and was one of the performers at
St Cecilia's Concert, in 1695. His son William (according
to Mr Tytler) " was sent early to London, and studied
many years under Corbet, then reckoned a great master
and composer. Corbet's sonatas for two Violins and a
Bass were esteemed good, and often played as act-tunes in
the play-house. His scholar William M' Gibbon was for
many years leader of the orchestra of the Gentlemen's
Concert at Edinburgh, and was thought to play the music
INTRODUCTION. Iv
of Corelli, Geminiani, and Handel, with great execution
and judgment. His sets of Scots tunes, with variations
and basses, are well known." This eminent composer, and
editor of the above collections of Scotish tunes, between
1740 and 1755, died at Edinburgh the 3d of October 1756.
According to the obituary notice in the Scots Magazine,
1756, p. 470, he bequeathed the whole of his estate and
effects to the Royal Infirmary.
Fergusson the poet, in his " Elegy on Scots Music,"
pays the following compliment to Macgibbon. He was
too young, however, to have had any personal recollection
of the« musician.
Macgibbon's gane : ah ! wae's my heart !
The man in music maist expert,
Wha could sweet melody impart.
And tune the reed,
Wi' sic a slee and pawky art ;
But now he's dead, »-
Ilk carline now may grunt and grane.
Ilk bonny lassie make great mane.
Since he's awa', I trow there's nane
Can fill his stead ;
The blythest sangster on the plain !
Alake, he's dead.
There is a miniature portrait of Macgibbon introduced,
as a vignette, in the title-page of " Flores Musicse, or the
Scots Musician," published by J. Clark, at Edinburgh, in
1773.
L, bremner's collections, &c — 1749.
" Thirty Scots Songs for a Voice and Harpsichord. The
music taken from the most genuine sets extant ; the words
from Allan Ramsay. Price 2s. 6d. Edinburgh; printed
for, and sold by R. Bremner, at the Harp and Hoboy."
Folio, pp. 33. " Circa 1749. This is a genuine copy of
Ivi INTRODUCTION.
the first impression before Bremner went to London ; it is
extremely rare. The title page was afterwards altered." —
(MS. note by Mr Stenhouse.)
"A Second Set of Scots Songs for a Voice or Harpsi-
chord. Price 2s. 6d. Edinburgh, printed, &c. (as above.)"
Folio, pp. 33.
" Twelve Scots Songs, for a Voice or Guitar, with a
thorough Bass adapted for that instrument. By Robert
Bremner. Price Is. 6d. Edinburgh, printed and sold at
his music-shop," &c. [1760.] Oblong 4to, pp. 18 ; ad-
vertised in Scots Magazine, May 1760.
V' "A Collection of Scots Reels or Country Dances, with a
Bass for the Violoncello or Harpsichord. Price 6s. Lon-
don, printed and sold by Robert Bremner, at the Harp and
Hautboy, in the Strand." [1764?] Oblong 4to.
\^ "A curious Collection of Scots Tunes, with Variations
for the Violin, and a Bass for the Violoncello or Harpsichord.
Music, 2s. 6d. Bremner." Advertised in Scots Magazine,
Aug. 1759.
iy " The Songs in the Gentle Shepherd, adapted to the
Guitar. Music Is. 6d. Bremner." Scots Magazine,
December 1759.
" Thirty Scots Songs, by Robert Bremner. The words
by Allan Ramsay. London, printed and sold by R. Brem-
ner, opposite Somerset House, in the Strand."
V " The Freemason's Songs, with Choruses, in three and
four parts, and a Bass for the Organ or Violoncello. Music
Is. Bremner." Scots Magazine, June, 1759-
Bremner, as above stated, settled in London. This pro-
bably was about 1764, and he continued for a number of
years to carry on an extensive business as a music-seller.
" Mr Robert Bremner, Music- Printer in the Strand, died
at Kensington, 12th of May, 1789."
INTRODUCTION. IvH
V/ OSWALD'S POCKET COMPANION — 1759.
" The Caledonian Pocket Companion, containing a fa-
vourite Collection of Scotch Tunes, with Variations for the
German Flute or Violin. By James Oswald."
This work was originally published in successive books
or parts, at " London ; prhited for the Author, and sold at
his musick shop in St Martin's Churchyard in the Strand."
This imprint was afterwards altered to " London; printed
for J. Simpson in Sweeting's Alley," Sec. Later copies bear
" London ; printed for Straight and Skillern, St Martin's
Lane ;" but all of them without dates. Oswald himself, on
completing the 7th part, published them with the general
title, "The Caledonian Pocket Companion, in seven vo-
lumes ;" but the entire work extends to 12 parts, usually
bound in two volumes.
Among Oswald's miscellaneous compositions are the fol-
lowing : —
" Colin's Kisses, set to musick by Mr Oswald. Printed
in the year 1743." (The Kisses, as appears from a MS.
note, were written by Robert Dodsley). 4to.
" Six pastoral Solos for a Violin and Violoncello, with a
thorough Bass for the Organ or Harpsichord, composed by
James Oswald. Printed for the author, and sold at his
music shop in St Martin's Churchyard. Price 5s." Ob-
long folio, pp. 16.
" Airs for the Spring, Summer, Autumn, and Winter.
By James Oswald. Printed for the author, and sold at
his music shop, St Martin's Churchyard." 4 parts, folio,
The same engraved frontispiece serves for all the Seasons,
which were published separately.
At the end of " The Comic Tunes in Queen Mab, as
they are performed at the Theatre-Royal in Drury Lane ; set
for the Violin, German Flute, or Hoboy, with a thorough
Iviii INTRODUCTION.
Bass for the Harpsichord, composed by James Oswald," is
the following notice of an edition of Oswald's works. It
has no date; but what publication was here meant is
uncertain : —
" Some time before Mr Oswald's death, he had fitted
for the press a correct edition of his works, as well those
that were known and acknowledged to be his, as tljose that
were really such, but had formerly been published under
the names of others, for reasons not difficult to guess.
There are many excellent composers whose circumstances
will not permit them to please themselves, by addressing
their compositions to the heart, instead of the ear only.
His fine taste, his elegant compositions, his pathetic per-
formance, were well known and justly admired.
" In compliance with his own intentions, a genuine edi-
tion of his works is now presented to the public. For such
a publication no apology is necessary. That they are his,
is sufficient to justify their appearance, and recommend
them to all good judges and true lovers of musick."
V BURK humoth's AIRS — circa 1760.
" Twelve Scotch and twelve Irish Airs, with Variations,
set for the German Flute, Violin, or Harpsichord, by Mr
Burk Humoth. London ; printed for, and sold by John
Simpson, at the Bass Viol and Flute, in Sweeting's Alley,"
&c. Royal 8vo, pp. 49.
GENERAL REID'S MINUETS, &C 1770.
" A Sett of Minuets and Marches, inscribed to the Right
Hon. Lady Catharine Murray, by J[ohn] R[eid], Esq.
London ; printed and sold by R. Bremner, in the Strand."
Price 5s. Oblong 4to, pp. 3 1 . This contains, at the end
of the minuets, three marches, and Athole House, ditto.
INTRODUCTION. lix
" Six Solos for a German Flute or Violin, with a thorough
Bass for the Harpsichord, by J[ohn] R[eid], Esq., a mem-
ber of the Temple of Apollo. London ; printed for J. Os-
wald, and sold at all the musick shops." Oblong folio.
" A Second Sett of Six Solos," &c.
" Captain Reid's Solos." Sold also by Bremner, as ap-
pears from his catalogue of music.
The name of General Rbid, in regard to the " Musical
Museum," is only connected with one air, (according to the
note at page 202 ;) but as it is likely he will be long and grate-
fully remembered in this country, a more than casual notice
in this place may be excused. In his Will, dated at Lon-
don 19th of April 1803, he styles himself " John Reid of
Woodstock Street, Oxford Street, in the county of Middle-
sex, Esquire, General in His Majesty's Army, and Colonel
of the 88th regiment of foot;" and states, that he was
" the last representative of an old family iiT Perthshire,
which on my death will be extinct in the male line."
General Reid was the son of Robertson, alias Reid of
Straloch, a property near Strathardel, in Perthshire — a fa-
mily whose head was anciently designated as Baron Reid.
He mentions that his birthday was the 13th of February,
but he omits to say in what year. It must have been about
1720, or 172 L He was sent to the University of Edin-
burgh, and we find his name in the list of Professor Steven-
son's Classes, in 1734 and 1735. How long he continued
at the University, where he says, " I had my education,
and passed the pleasantest part of my youth," or what other
classes he attended is uncertain, as the lists of students at
that time have only been partially preserved. But this re-
collection of his earlier days had no doubt its influence,
when he bequeathed the reversion of his property to the '
University. Having embraced a military profession, he
Ix INTRODUCTION.
himself mentions his having been a lieutenant in the Earl
of Loudon's regiment, raised in the year 1745.
By his will, General Reid bequeathed the bulk of his
fortune to the Principal and Professors of the University of
Edinburgh, with the special provision for endowing a Pro-
fessorship of Music ; and as his property (to the amount of
nearly L. 80, 000) has now become available by the death
of his relations, who had a liferent of the property, we may
speedily expect this part of his will carried into eJ0Fect ; and
there can be no doubt that the appointment of a gentleman
thoroughly acquainted with the history, theory, and prac-
tice of music, may be the means of raising the character,
and giving an impetus to the progress, of that science in
this country, that will tend to perpetuate the name and
liberality of the founder. General Reid died at his house
in the Haymarket, London, 6th of February 1807, aged 87.
He directs in his will, that annually on his birthday, the 13th
of February, there shall be a concert of music, including a
full military band, and to perform some specimens of his
own compositions, to show the style of music that prevailed
about the middle of the last century.
Clark's flores MUsiciE — 1773.
" Flores Musicse, or the Scots Musician, being a general
Collection of the most celebrated Scots Tunes, Reels,
Minuets, and Marches. Adapted for the Violin, Hautboy,
or German Flute, with a Bass for the Violincello or Harpsi-
chord. Published the 1st June, 1773, by J. Clark, plate
and seal engraver, printer, &c., first fore stair below the head
of Forrester's Wynd, Edinburgh." Folio, pp. viii. 8vo.
From an advertisement in the Scots Magazine, May 1 773,
this collection was to be published in twenty numbers ; but
probably no second part ever appeared. The editor's name is
INTRODUCTION. Ixi
not mentioned. A small vignette portrait of " W. Macgib-
bon," is engraved in the centre of the title page. In the pre-
face, it is stated that "David Rizzio is now generally fixed
upon as the composer of the best of those delicate songs ; but
how so gross a falsehood comes to be so universally believed,
is not easy to determine. That the Scots music is of no older
a date than two centuries ago, no one, we hope, will venture
to assert, who is in the least acquainted with the history of
the kingdom," &c. The editor professes to have " examined
a great variety of old manuscripts, and endeavoured with the
utmost accuracy to trace out the errors that have of late
but too frequently appeared in the editions of Scots tunes,"
and to have " adhered as closely as possible to their primi-
tive simplicity." The number of tunes given is 22.
ULORD KELLY'S MINUETS, &C.— 1774.
" The favourite Minuets, perform'd at the Fete Cham-
. petre, given by Lord Stanley at the Oaks, and composed by
the Right Honourable the Earl of Kelly. Price 2s. London ;
printed for and sold by William Napier, the corner of Lan-
caster Court, Strand." Oblong 4to, published 1774 or 5.
Lady Betty Hamilton, daughter of the Duke of Hamilton,
was married to Lord Stanley, afterwards Earl of Derby, in
1774. This fete was given on occasion of their nuptials.
Some notice of Lord Kelly is given in a subsequent part
of this work. (See vol. vi. pp. 529 and 532.) He died at
Brussels, 9th of October 1781, in the fifty-first year of his
age.
frazer's country dances — 1774.
" The Dancer's Pocket Companion, being a Collection
of Forty Scots and English figures of Country Dances,
with two elegant copperplates, showing all the different
Ixii . INTRODUCTION.
figures made use of in Scots or English Country Dancing.
Properly explained, by William Frazer, Dancing-master.
Edinburgh, printed in the year 1774." 12mo., pp. 16.
There is, however, no music to the figures.
ir NEILL STEWART'S COLLECTION, circa 1775.
" Thirty Scots Songs, adapted for a Voice or Harpsichord.
The words of Allan Ramsay. Edinburgh. Book 1st,
price 3s. 6d. Printed and sold by N. Stewart and Co.,
No. 37, South Bridge Street. J. Johnson, sculpt." Folio,
pp. 31. — The same, book second, price 3s., pp. 33. . Book
third. Printed and sold by Neil Stewart, at his Shop,
No. 37, South Bridge Street. J. Johnson, sculpt. Edin-
burgh, pp. 28.
L "A New Collection of Scots and English Tunes, adapted
to the Guitar, with some of the best Songs out of the
Beggar's Opera, and other curious Ballads, most of them
within the compass of the common flute. Price Is. 6d.
Printed and sold by Neil Steuart, at the music-shop oppo-
site the head of Blackfryers Wynd, Edinburgh." Oblong
4to, circa 1760.
" A Collection of the newest and best Minuets, adapted for
the Violin or German Flute, with a Bass for the Violoncello
or Harpsichord. Edinburgh ; printed for and sold by Neil
Steuart, at his music-shop, opposite to the Tron Church."
Oblong 4to, pp. 94, circa 1770.
This collection, which is almost entirely Scotish, contains
some of Lord Kelly's compositions.
" A Second Collection of Airs and Marches for Two
Violins, German Flutes, and Hautboys, all of which have
Basses for the Violoncello or Harpsicord. Edinburgh ;
printed and Sold by N. Stewart, at his shop, Parliament
INTRODUCTION. Ixiii
Closs. Where may be had, The first Collection of Marches
and Airs. Price 6s."
I/" A Collection of Scots Songs, adapted for a Voice or
Harpsichord. Edinburgh ; printed and sold by Neil Stew-
art, at his shop, Parliament Square." Folio, circa 1790,
pp. 28.
[^ Dow's MINUETS — circa 1775.
" Twenty Minuets, and sixteen Reels or Country Dances,
for the Violin, Harpsichord, or German Flute. Composed by
Daniel Dow. Edinburgh ; printed for the author, and sold
at the music-shops, in town and country. Entered at Sta-
tioners' Hall. Price 2s. 6d." Oblong 4to, pp. 36. Mr
Sharpe mentions, that his mother told him that Dow was
a teacher of music, particularly the guitar, when she was
a young girl.
Collection of Ancient Scots Music, (Highland Airs,) by
Daniel Dow, (title-page wanting,) about 1778. Oblong
folio, pp. 44.
\^ peacock's airs — circa 1776.
" Fifty favourite Scotch Airs, for a Violin, German Flute,
and Violoncello, with a thorough Bass for the Harpsichord.
Dedicated to the Right Honourable James Earl of Erroll,
Lord High Constable of Scotland, &c., by Francis Peacock.
London ; printed for the publisher in Aberdeen, and sold
by Mrs Johnson in Cheapside ; Thompson & Sons, St
Paul's Churchyard ; R. Bremner, N. Stewart, in Edin-
burgh ; and A. Angus in Aberdeen." Folio, pp. 35,
with Lord Errol's arms engraved on the title page. His
Lordship died 3d of July 1778.
The preface contains this silly passage — " No species of
Ixiv INTRODUCTION.
pastoral music is more distinguished by the applause and
admiration of all good judges than the songs of David
Rizzio. We cannot, indeed, certainly distinguish his com-
positions from those of his imitators, nor can we determine
whether he formed the musical taste of the Scots, or only
adapted himself to the musical taste established before his
time ; but if we may believe tradition, it is to him that the
Scots are indebted for many of their finest airs ; and custom
has now affixed his name to this particular mode of musical
composition." — The book was published by subscription.
Francis Peacock died on the 26th June 1807, aged
eighty-four years, as is stated on a marble tablet, erected to
his memory on the wall of Collison's Aisle, on the north
side of St Nicholas Church, at Aberdeen. The aisle has
been lately taken down. There is a notice of him in The
History of Aberdeen, by Walter Thom, vol. ii. p. 192.
Aberdeen, 1811. 2 vols. 12mo. Mr Peacock died in
pretty easy circumstances, leaving a considerable sum to
the charitable institutions of the town. A lane on the north
side of the Castlegate is called after him Peacock's Close.
His dancing-school was in an old house called Pitfoddell's
lodging, in the Castlegate, which was taken down about
the year 1800, to make way for the office of the Aberdeen
Banking Company.
I am indebted for the above information to Joseph Ro-
bertson, Esq., F.S.A. Scot.; and for the following com-
munication to William Dauney, Esq., advocate.
Francis Peacock, the author of the Collection of Scot-
ish Tunes published at Aberdeen, was a dancing-master
in that place, where he died about the year 1806. He was
well versed in the science of music, and an excellent player
on the violin and violoncello, upon both of which instru-
INTRODUCTION. IxV
ments he used to perform at the concerts of the Aberdeen
Musical Society, an institution on the model of the St Ce-
cilia Hall, and supported by the nobility and gentry of that
part of the country, among whom were the father of the late
Duke of Gordon, the grandfather of the present Earl of
Kintore, Dr Beattie, &c. Dr Beattie himself was a toler-
able performer on the violoncello. Another gentleman who
distinguished himself as an amateur of this Society was
Mr Littleton, a brother of Sir George Littleton, who lived
for many years in Aberdeen. He had been a barrister, but
had retired from public life, and selected Aberdeen for his
residence, as a comparatively secluded part of the world,
where he might enjoy the amusements of shooting, fishing,
and music, free from the cares and bustle of society ; and,
to disconnect himself the more completely from his family,
he changed his patronymic to Smith, and was usually
known in that quarter under the name of ' Fis&ing Smith.'
Some account of him will be found in Mr Pryse Gordon's
very amusing Memoirs, published a few years ago."
FOULis's SOLOS — circa 1776.
" Six Solos for the Violin, with a Bass for a Violoncello or
Harpsichord. Composed by a Gentleman." Inscribed to the
Honourable Francis Charteris, Esq. of Amisfield, (after-
wards Earl of Wemyss.) In a copy that belonged to the
late Charles Sharpe of Hoddam, Esq., the author's name is
given as " Foulis." Folio, pp. 26 The above date 1776,
is perhaps a few years too recent.
V MACLEAN'S COLLECTION — circa 1776.
" A Collection of favourite Scots Tunes, with Variations
for the Violin, and a Bass for the Violoncello or Harpsichord.
By the late Mr Charles M'Lean and other eminent masters.
Ixvi INTRODUCTION.
Edinburgh; printed for, and sold by N. Stewart, at bis
music-shop, Parliament Square." Oblong folio, pp. 37.
^J m'glashan's COLLECTION— circa 1778.
" A Collection of Strathspey Reels, with a Bass for the
Violoncello or Harpsichord. By Alexander M'Glashan.
Edinburgh; printed for A. M'Glashan, and sold by Neil
Stewart, at his music- shop. Parliament Square." Oblong
folio, pp. 34.
V' *' A Collection of Scots Measures, Hornpipes, Jigs, AUe-
mands, Cotillons, and the fashionable Country Dances,
with a Bass for the Violoncello or Harpsichord. By Alex-
ander M'Glashan, Edinburgh; printed for the publisher,
and sold by Neil Stewart, Parliament Square." Price 5s.
Oblong folio, pp. 36.
Alexander M'Glashan, "better known by the appella-
tion of King M'Glashan, which he acquired from his tall
stately appearance, and the showy style in which he dressed ;
and who, besides, was in high estimation as an excellent
composer of Scottish airs, and an able and spirited leader of
the fashionable bands." — (Chambers's Diet. vol. ii. p. 477.)
\r cumming's collection — 1780.
" A Collection of Strathspey or old Highland Reels. By
Angus Cumming, at Grantown in Strathspey.
Come and trip it, as you go
On the light fantastic toe.
And in thy right hand lead with thee
The mountain nymph, sweet Liberty.
Milt.
Edinburgh, 1780." Oblong folio, pp. 20. /' :> I
i
INTRODUCTION. Ixvii
1/ m'donald's highlan;d airs — 1781.
" 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 in Argyleshire.
Edinburgh ; printed for the publisher, and to be had at the
Music-shops of Corri and Sutherland, Bridge Street, and
N. Stewart, Parliament Square." [1781.] Folio, pp. 22
and 43. Dedicated " To the Noblemen and Gentlemen
who compose the Highland Society in London."
The preface states, that " this is the largest collection of
the Vocal music of the Highlands of Scotland that has ever
been offered to the public." " Almost the whole of the
North Highland airs, which form the first and the largest
division of the following work, were collected by the late Mr
Joseph M'Donald, the publisher's brother; whose musical
genius and attainments, as well as the enthusiastic attach-
ment which he had to the peculiar music of his native
country, are still remembered by many. He was born in
Strathnaver, the most northerly district of Scotland, and
passed the first years of his life under the tuition of his fa-
ther, who was a minister in that part of the country." He
afterwards completed his studies at Haddington and Edin-
burgh, where he had the benefit of professional musical in-
struction. Previous to his going to the East Indies, in 1760,
" he wrote out a copy of a number of the vocal airs which
he had collected, and left it with a sister as a token of
affection. All his other collections and papers relating to
Highland music and poetry, he carried along with him. He
did not live to accomplish his plan (of completing his col-
lection of Highland airs.) A malignant fever cut him off,
in the prime of life, before he had been much more than a
Ixviii INTRODUCTION,
twelvemonth in the country. His premature death will be
considered, by the lovers of Highland music, as a public
misfortune ; as, from the collection which he had made,
from his abilities and zeal, there was reason to expect from
him a large and correct publication."
His brother, the Rev. Patrick M'Donald, was settled
as minister of Kilmore, Presbytery of Lorn, Argyleshire,
12th of May 1757 ; and, after holding the incumbency for
the very lengthened period of sixty-eight years, he died
25th of September 1824.
Prefixed to this volume is a Dissertation " On the in-
fluence of Poetry and Music upon the Highlanders." It is
anonymous, but was written by the Rev. Walter Young
(afterwards D.D.), who composed the basses. Dr Young,
who was profoundly skilled in the theory of music, was
settled as minister of Erskine in Renfrewshire, in 1772,
and died at an advanced age, 6 th of August 1814.
t^ NEIL GOW'S REELS — 1784.
" A Collection of Strathspey Reels, with a Bass for the
Violoncello or Harpsichord. By Neil Gow, at Dunkeld, 5s.
N. Stewart, Edinburgh." — (Scots Magazine, August 1784.)
Neil Gow, so celebrated as a performer on the violin,
and also as a composer of Scotish airs, was born in Perth-
shire on the 22d of March 1727. In the Scots Magazine
for January 1809, appeared " A brief Biographical Ac-
count of Neil Gow," which has been attributed to the late
Rev. Dr Macknight. A fuller account of Neil Gow, with a
memoir of his son, Nathaniel Gow, and notices of their
several publications, contributed by Joseph Macgregor, Esq.,
will be found in Chambers's Scottish Biography. Without
attempting to give any analysis of these accounts, it may
INTRODUCTION. Ixix
be sufficient to add, that Neil Gow died at Inver, near
Dunkeld, on the 1st of March 1807; and his son at Edin-
burgh, 17th of January 1831.
I, aird's collection — circa 1784.
" Selection of Scots, &c. Airs, adapted to the Fife, Vio-
lin, or German Flute. 3 vols each containing 200 airs.
Price of each vol. 3s. 6d." Advertised in the title-page of
Malcolm Macdonald's Strathspey Reels.
James Aird appears to have been settled in Glasgow,
and to have carried on an extensive business as a Music-
seller, during the latter half of the last century.
^ JOHN riddell's collection — circa 1786.
" A Collection of Scots Reels, Minuets, &c., for the Violin,
Harpsichord, or German Flute. Composed by John Riddell,
in Ayr. The second edition, greatly improved. Entered in
Stationers' Hall. Glasgow ; printed and sold by James
Aird, at his music-shop in New Street." Oblong 4to,
pp. 60.
Riddell's Scots Reels for Violin or Pianoforte. Published
by J. Aird, Glasgow, price 5s. Advertised in the title-
page of Macdonald's Strathspey Reels.
Burns, referring to the Air, No. cclxxi. in the present
collection, considered it to be " the happiest composition
of that bard-born genius, John Riddell, of the family of
Glencarnock, at Ayr."
J macdonald's reels— circa 1786.
" A Collection of Strathspey Reels, with a Bass for the
Violoncello or Harpsichord, dedicated to Mrs Baird of
Newbyth. Composed by Malcolm Macdonald, Glasgow.
IXX INTRODUCTION.
Printed and sold by J. Aird, and by the Author, " &e. No
date. Oblong 4to, pp. 24.
/ GORKI'S COLLECTION — circa 1788.
" A New and Complete Collection of the most favourite
Scots Songs, including a few English and Irish, with proper
Graces and Ornaments peculiar to their character ; likewise
the New Method of Accompaniment of thorough Bass. By
Sig. Corri. Edinburgh, printed for, and sold by Corri
and Sutherland." Two thin vols, folio. The title-page
was probably from a design by D. Allan, and contains a
portrait of Neil Gow. Folio.
DoMENico Corri, in 1810, published " The Singer's
Preceptor, or Corri's Treatise on Vocal Music," in 2 vols,
folio. To this he prefixed a " Life" of himself, from
which we learn, that he was born at Rome, 4th of October
1746. He early showed an inclination for Music, and was
benefited by the instructions of several eminent masters.
The Cardinal Portocaro, in whose establishment Corri's
father was confectioner, in his zeal for the religious orders,
used all his endeavours to persuade young Corri to study
for the priesthood ; but,* after a few years, the Cardinal's
death left him at liberty to follow the natural bent of his
genius, to which his father was in no way disinclined.
" At Naples (he says) I lived and boarded with Porpora
for five years, attended with great expense to my parents,
and at his death returned again to Rome. The name of
my preceptor, Porpora, was of great weight and service in
my introduction to the first society in Rome, among whom
were then residing many English noblemen and gentlemen,
to whom I had soon the honour of becoming known ; namely,
the Dukes of Leeds and Dorset, Messrs Harley, Jones,
INTRODUCTION. Ixxi
Lighten, Hanbury, Sir William Parsons, &c., &c., and
particularly my highly esteemed friend Dr Burney. These
fortunate connexions contributed to place me in a situation
consonant to my wishes and interest, being appointed to con-
duct the concert parties which then took place among the
Roman and English nobility. This period was the pontificate
of Ganganelli, who was the friend of Prince Charles, the
Pretender, brother of Cardinal York. That prince frequently
gave entertainments and concerts to the nobility, the conduct-
ing of which was also assigned to me. With Prince Charles
I had, previously to this period, lived two years, during
which time he had kept entirely private, not seeing any one
whatever, it being in the reign of the preceding Pope, who
had refused to acknowledge the title he assumed. In his
retired life Prince Charles employed his hours in exercise
and music, of which he was remarkably fond. I usually
remained alone with him every evening, the Prince playing
the violoncello and I the harpsichord, also composing to-
gether little pieces of music ; yet these Ute a ttte's were of a
sombre cast. The apartment in which we sat was hung
with old red damask, with two candles only, and on the
table a pair of loaded pistols, (instruments not at all con-
genial to my fancy,) which he would often take up, examine,
and again replace on the table ; yet the manners of this
prince were always mild, affable, and pleasing."
Before leaving his native country he married Miss Bac-
chelli ; and he gives the following account of his coming
to Edinburgh : —
" About this time (in 1780) the Musical Society ot
Edinburgh, wanting a singer and conductor for their con-
certs, wrote to I'Abbe Grant at Rome, desiring hini to ob-
tain for them, if possible, either of the two persons men-
tioned by Dr Burney. At the arrival of this letter, I'Abbe
Ixxii INTRODUCTION.
Grant found these two persons, namely Miss Bacchelli and
myself, united in marriage. This circumstance being no
impediment to the proposal from Edinburgh, on the con-
trary a favourable occurrence, he immediately concluded
for us an engagement for three years, at Edinburgh, with a
handsome provision for our journey. We accordingly left
Italy about three months after, and arrived at Edinburgh,
August 1781 ; and here I beg leave to make my most sin-
cere and grateful acknowledgements for the liberal favour
and support we received from the noble families of Buc-
cleuch, Gordon, Hamilton, Lauderdale, Argyle, Athol,
Elphinstone, Kelly, Elgin, Errol, Haddo, Hopetoun, Mel-
ville, Haddington, Selkirk, Breadalbane, and Lothian, also
the Gentlemen Directors of the Musical Society, and the
Scotch nation in general. The second year of our Edin-
burgh engagement, proposals were made to me from Lon-
don by Mr Yates, to compose for the Opera House, and
by Messrs Bach and Abel to Mrs Corri, to sing at the first
opening of the Hanover Square Rooms. These proposals
we were enabled to accept through the kind indulgence of
the directors of the Edinburgh society. After this season
in London we again returned to Edinburgh, which engage-
ment we continued eighteen years."
During that period, he lived alternately at London and
Edinburgh; but, unfortunately, he involved himself in diflS-
Ities by the multiplicity of his affairs, in his management of
the Theatre, his Pianoforte manufactory, his Musicselling,
&c. At length, finding it necessary on account of his
family to settle in London, he thus concludes the sketch of
his life.
" I now conclude this short sketch of my professional
life, adding, that at the age of sixty-four, still blessed with
good health, I am enabled to pursue my musical career,
INTRODUCTION. Ixxiii
and accustomed avocations of instructing in Vocal Music,
the Pianoforte, thorough Bass, and Composition. I also
continue to take young persons as apprentices, to qualify
them as public professors, or private tutors N. B, Mrs
Corri also instructs in Vocal and Instrumental Music."
Domenico Corri, died at Hampstead, 22d of May 1825.
His younger brother, Natale Corri, as early as the year
1790, had also settled at Edinburgh as a Teacher of Music
and Musicseller. He died at Weisbaden, 24th of June
1822, in the 57th year of his age,
SHIRREFFS'S AIRS, &C. — 1788.
t^" The Overture, Airs, Songs, and Duets, in Jamie and
Bess, by Andrew Shirreffs, A.M., 4s." — (Advertised along
with the following in the Scots Magazine, May 1788.)
" Forty Pieces of Original Music, by Andrew Shirreffs,
A.M., containing his Address to his Crutch, &c., 6s. Sold
by the Author at Aberdeen : Stewart and Co. Edinburgh."
For some notice of Shirreffs, see vol. vi. pp. 479 and 525.
CLARKE'S SONATAS — circa 1790.
" Two Sonatas for the Piano-Forte or Harpsichord, in
which are introduced favourite Scotch Airs, composed and
respectfully dedicated to Mrs Ersldne, juni". of Mar, by
Stephen Clarke, Organist of the Episcopal Chapel, Edin-
burgh. Price 5s. Printed for and sold by the author," &c.
Oblong folio, pp. 16.
Some account of Stephen Clarke, who harmonized the
airs in the present collection, is given in the Preface, p.
xviii.
NAPIER'S COLLECTION — 1790.
^ " A Selection of the most favourite Scots Songs, chiefly
Pastoral, adapted for the Harpsichord, with an accompani-
Ixxiv
INTRODUCTION.
ment for a Violin. By eminent Masters. Respectfully in-
scribed to Her Grace the Duchess of Gordon. Price
L.l, 6s. London; printed for William Napier, Musicseller
to their Majesties, No. 474, Strand." [1790.] Folio.
This was published by subscription, and contains Mr
Tytler's dissertation at the beginning. The sets are excel-
lent. Napier printed a second volume, " A Selection of
original Scots Songs, in three Parts, the harmony by Haydn.
Dedicated to H. R. H. the Duchess of York. London,"
&c. [1792.] Folio, pp. 101 — A Third volume was en-
tered at Stationers' Hall in 1794.
Campbell's country dances — circa 1790,
" Campbell's First Book of new and favourite Country
Dances and Strathspey Reels, for the Harp, Piano-forte,
and Violin. Printed and sold by Wm. Campbell, No. 8,
Dean Street, Soho." This collection, in oblong 4to, was
continued to Book 12th. Price each, 2s. 6d. Some of the
tunes are marked as composed by W. Campbell.
bryson's collection — 1791.
" A curious selection of favourite tunes, with variations.
To which are added upwards of fifty favourite Irish airs,
for the German Flute or Violin; with a Bass for the Harp-
sichord or Violoncello, 5s. J. Bryson." — (Scots Magazine,
June 1791.)
THE musical miscellany — 1792.
I'' " The Edinburgh Musical Miscellany : a Collection of the
most approved Scotch, English, and Irish Songs, set to
Music. Selected by D. Sime, Edinburgh. Edinburgh,
printed for W. Gordon, &c. 1792." Thesame, " Vol. II.
Edinburgh, printed for John Elder, &c. 1 793," 2 vols. 12mo.
The Editor speaks of " the professional abilities of the
Compiler." — David Sime also selected the Songs in
INTRODUCTION. IXXV
Haydn's Collection, published by Mr Whyte ; see page
Ixxx. He was a teacher of Music in Edinburgh, and died
many years ago.
'-^ GEORGE THOMSON'S COLLECTION — 1793, &C.
" A Select Collection of original Scottish Airs for the
voice, to each of which are added introductory and conclud-
ing Symphonies, and accompanyments for the Violin and
Pianoforte, by Pleyel, with select and characteristic verses,
by the most admired Scotish Poets, adapted to each air ;
many of them entirely new. Also suitable English verses
to such of the Songs as are written in the Scotish dialect.
Entered at Stationers' Hall. London, printed and sold by
Preston and Son, at their wholesale warehouse. No. 97,
Strand, for the Proprietor. First set, price 10s. 6d." Folio.
The preface dated " Blair Street, Edinburgh, 1st May
1793." ''^"' '"■
This well-known collection was originally published at
considerable intervals, in books, or half-volumes, each con-
taining twenty-five Songs ; and has passed through many
editions. An edition, in 6 volumes, royal 8vo, was pub-
lished in 1822 ; and another in five volumes folio, has
appeared while this sheet is at press.
mackintosh's reels, &c 1793.
t'''" Sixty-eight new Reels, Strathspeys, and Quick Steps ;
also some slow Pieces, with variations, for the Violin or
Pianoforte, with a Bass for the Violoncello or Harpsichord.
Composed by Robert Mackintosh, and dedicated by permis-
sion to the Hon. Mrs Campbell of Lochnell. Price to sub-
scribers, 5s. ; non-subscribers, 6s. Printed for the Author."
(Scots Magazine, April 1793.)
Mr Stenhouse, in his note at page 479, has given a short
notice of Mackintosh, who, he says, died at London, in
February 1807.
ixxvi INTRODUCTION.
dale's collection, 1794.
Collection of Scotish Songs, quoted by Mr Stennouse.
Three books of this Collection were entered at Stationers'
Hall in 1794.
riddell's collection — 1794.
^ "A Collection of Scotch, Galwegian, and Border Tunes,
for the Violin and Piano- Forte, with a Bass for the Violon-
cello or Harpsichord. Selected by Robert Riddell of Glen-
riddell, Esq. Price 7s. Edinburgh ; printed and sold by
Johnson & Co., Musicsellers, Lawnmarket." Folio, pp. 37.
Published in 1794, (Scots Magazine, 1st May 1794.)
y " New Music for the Piano-forte or Harpsichord, com-
posed by a gentleman, (R. Riddell of Glenriddell ;) consist-
ing of a Collection of Reels, Minuets, Hornpipes, Marches,
and two Songs in the old Scotch taste, with variations to
five favourite tunes. Published by James Johnson, engra-
ver. Bell's Wynd, Edinburgh." Folio.
Robert Riddell of Glenriddell, Esq., was much re-
spected, and obtained some celebrity as an antiquarian,
although his researches were not very profound, and some
of his theories fanciful.
" Mr Riddell was an excellent man, but no musician ;
as I have been assured by a competent judge, whose par-
tiality to the author would have made him very sensible of
any merit his compositions might possess." Mr Sharpe, in
addition to this note, says in reference to a poem, " The
Bedesman of Nith side," 1792, 4to, with a vignette, by Cap-
tain Grose, — " Sir Walter Scott told me that this pro-
duction puzzled him — it was much too good for the one
and much too bad for the other."
Mr Riddell was member of several learned societies, and
communicated various papers which were inserted in their
INTRODUCTION. IxXvU
Transactions. He was a particular friend of Captain Grose ;
and was likewise a neighbour and friend of Burns, who
honoured his memory by writing a Sonnet on his death,
which took place at his house at Friar's Carse, near Dum-
fries, 21st of April 1794.
i/ ritson's collection — 1794.
" Scotish Songs, in two volumes. London ; printed for
J. Johnston in St Paul's Churchyard ; and J. Egerton,
Whitehall, 1794." 2 vols. 12mo .
An excellent collection, edited by Joseph Ritson, an
eminent English antiquary, who has prefixed a very elabo-
rate " Historical Essay on Scotish Song." The music
consists of the simple airs, without basses, and is chiefly
taken from the collections already mentioned, with the
assistance of William Shield, the well-known English
Composer, who supplied some original airs. Ritson died
in September 1803, and Shield in January 1828.
y URBANi's collection — circa 1794.
" A Selection of Scots Songs, harmonised and improved,
with simple and adapted graces. Most respectfully dedi-
cated to the Right Honourable [Elizabeth DalrympleJ
the Countess of Balcarras, by Peter Urbani, professor of
music. Book I. Entered at Stationers' Hall. Price 12s.
Printed for the author, and sold at his house, foot of Car-
rubber's Close, and at all the music-shops, Edinburgh ;
M'Gown's, Glasgow; Longman and Brodrip, London;
Mrs Rhimes and Mr Lee, Dublin." Folio, pp. 51. Book
IL is dedicated to Lady Katharine Douglas, daughter of
the Earl of Selkirk. — Of this Collection, vol. i. (perhaps a
new edition,) was entered at Stationers' Hall in 1 797 ; vol.
ii. in 1794 ; and vol. iii. in 1799.
In vol. iv. p. 318-19, of the present work, Mr Stenhouse
has given a short notice of Urbani. The following ex-
Ixxviii INTRODUCTION.
tract is from the Obituary in the Scots Magazine, Decem-
ber 1816.
" Died lately, in South Cumberland Street, Dublin, aged
67, after a painful and tedious illness, which he bore with
Christian resignation, Peter Urbani, professor of music, a
native of Milan, in Italy, where he obtained the degree of
Doctor of Music. The celebrated Rontzini and Urbani
were the only remaining two of that great school of science.
They finished their studies nearly about the same time,
quitted their native home together, and arrived in London.
After some years, Rontzini went to Bath, Urbani to Edin-
burgh, where he resided for many years with distinguished
eclat. He has left an aged widow behind, a foreigner,
now deprived of every thing, even the means of subsist-
ence."
THE VOCAL MAGAZINE — 1797.
" The Vocal Magazine, containing a Selection of the most
esteemed English, Scots, and Irish Songs, ancient and
modern, adapted for the Harpsichord or Violin. Edinburgh;
printed by C. Stewart & Co., 1797 ;" Vol. II. 1798 ; and
Vol. III. 1799 ; royal 8vo. Each volume price 10s. 6d.
bound.
The editor of this collection is said to have been James
Sibbald, bookseller in Edinburgh. It was published in
Nos. every second month, at Is. 6d. After it had reached
No. 19, being the first No. of vol. IV., it terminated, with-
out any cause being assigned.
A new series of the Vocal Magazine was afterwards
commenced, including a number of foreign airs. It is also
in large 8vo. but only a few numbers appeared, containing
79 airs ; the publication apparently terminating abruptly,
when its publisher, James Sibbald, died, in the year 1803.
INTRODUCTION. Ixxix
Ross's COLLECTION.
" A Select Collection of Ancient and Modern Scottish
Airs, adapted for the Voice, with introductory and conclu-
ding Symphonies and Accompaniments for the Pianoforte,
composed by John Ross, Organist, St Paul's, Aberdeen.
Vol. I. Price 12s. Edinburgh ; printed and sold by John
Hamilton, No. 24, North Bridge Street, &c." Folio pp. 62.
" Mr John Ross, late organist of St Paul's Chapel,
Aberdeen, was born in the town of Newcastle, Northum-
berland, on the 12th of October 1763. He was called to St
Paul's when very young ; and arrived in Aberdeen on the
18th of November 1783. He studied under Mr Handen
seven years, who recommended him to the managers of St
Paul's Chapel. He continued to do the duty of organist
in the above chapel for 53 years. He died at Craigie Park,
near Aberdeen, on the 28th July 1837, in his 74th year.
He was married to Miss Tait, eldest daughter of Mr Tait,
who was 44 years organist of St Paul's, and Mr Barber's
predecessor when Mr Ross succeeded. On his retiring
from the duties of St Paul's, he was presented with an ele-
gant piece of plate, in testimony of esteem, by the congre-
gation, and also with a splendid edition of Bagster's large
Bible, by the Rev. John Brown, senior clergyman of St
Paul's Chapel. Two notices of him appeared in the Aber-
deen Journal of the 9th August 1837, bearing testimony to
his private virtues. In the one it is said, ' He possessed
eminent talents both as a performer and as a composer of
music ; ' and in the other that he was ' celebrated as a
musical composer, at once chaste and original in his style.'
The last was written by the Rev. John Brown of St
Paul's." — (MS. communication by Joseph Robertson, Esq.)
, , haydn's collection.
" A Collection of Scottish Airs, harmonized for the
IxXX INTRODUCTION.
Voice or Pianoforte, with introductory and concluding Sym-
phonies ; and accompaniments for a Violin and Violoncello.
By Joseph Haydn, Mus. Doct. (Vol. I. and II.) Edin-
burgh, published by the proprietor, William Whyte, No. 1,
South St Andrew's Street ; and sold by Clementi and Co.
26 Cheapside." Folio, two thin volumes,, pp. 67 ; the first
containing- 40, the second 25 Airs.
In the advertisement to this Collection, dated ] st March
1806, the Publisher says, " The Harmonies of the Songs,
in all existing editions of Scottish Airs, are the productions
of Composers of various descriptions and degrees of genius
and talent. The Harmonies of the present are composed
exclusively by Haydn ; confessedly the first of modern
masters. From this circumstance it is, that while the
genius of the composer, indulging in all the varieties of its
luxuriance, has accommodated itself to the specific charac-
teristics of each diiferent air, there yet arises a general uni-
formity, which can hardly fail to give pleasure to the
classical ear.
" The selection of the melodies, it is hoped, will be found
to comprise the most beautiful of the different classes to
which they belong. The proprietor has, in this respect, to
acknowledge his obligations to the taste and professional
abilities of Mr Sime, by whom the selection was made, and
who has exerted himself to conduct the work to its comple-
tion, with so much industry and care, as must, in a great
measure, be considered as a pledge for its accuracy."
{■^ JOHNSON'S SCOTS MUSICAL MUSEUM.
The present work, extending to six parts or volumes, was
commenced in 1787, and completed in 1803. See the
Preface to this new edition.
[ Ixxxi ]
APPENDIX TO THE INTRODUCTION.
THOMAS wood's manusckipts — 1566-1578.
(See page xxvii.)
On the 21st March 1575-6, Thomas Wod, having ob-
tained from " ray Lord Regent's Grace, a presentation to
the vicarage of Sanctandrois, Mr John Wjnrame, Superin-
tendant of Fyfe, was charged to admit him to the said vicar-
age."— (Registrum Secreti Sigilli.)
After the paragraph at p. xxviii., ending " the fate of the
two other parts has not been ascertained," I might have
added, that one of these, which belonged to the late Archi-
bald Constable, Esq., afterwards came into my possession ;
but having, several years ago, given the loan of it to a
friend, it was unfortunately lost. The following note was
written at the foot of one of the pages: — " Thtr four hukki's
was only pennit he me^ Thomas Wod, Vicar of Sanctandrois.,
[after] four yeiris labours.'''' Like the other volumes, we
may presume it had also secular airs added at a subsequent
period ; but the volume happened to be imperfect both at the
beginning and end.
Of the Composers of Sacred Music at the period of the
Reformation, whose names occur in Wood's Manuscripts, as
detailed at pp. xxx.-xxxiii., some additional particulars have
since been discovered.
/
Ixxxii APPENDIX TO
Angus, John. He was one of the Conventual brethren
of the Monastery of Dunfermline. Besides some similar
deeds of a later date, I have one in which his name, " Et
ego Johannes Anguss," occurs, in a discharge granted by
George, Commendator of Dunfermline, " with assent and
consent of the Convent of the samyn chaptourlie convenit,"
to Master Hew Rig and his spouse, " of our landis of Car-
berry," dated at " our said Abbey, May 22, 1543." After the
Heforraation, Angus, having joined the Protestants, was ap-
pointed to one of the livings attached to the Chapel-E.oyal
of Stirling. On the 24th December 1584, he received the
Confirmation " of the preceptorie and eleemozinarie of St
Leonardis in Dunfermling," — " as he has bene thir dyvers
yeiris bypast preceptor and eleemosinar of the Hospitalle of St
Leonardis besyd Dunfermling." — (Register of Presentations
to Benefices). Pensions of £10 each were assigned out of
the Abbey of Dunfermline, " to his lovit daylie oratouris,
John Angus (and seven others). Conventual brether of the
said Abbay of Dunfermling," 22d December 1584, and were
confirmed 27th May 1587.— (J^*.) He died probably in 1596,
as, on the 2d March 1596-7, Mr David Drummond, Minister of
Crieff, was presented " to the personage of Creif, callit Creif
Secundo^ vacand be deceis of umquhile Deane John Angus,
last person and possessor thereof." — [Ih.) This presentation,
it seems, was not confirmed, as the same living was granted,
on the 9th March 1598-9, to Mr Thomas Gray, " to use and
exerce of ane musician in His Hienes Chappell-Royall of
Stirling;" and on the 4th of January 1602, the parsonage
and vicarage of Kirkcowen (one of the livings attached to
the Chapel-Royal) was granted to Mr Andrew Lamb, Minis-
ter of the King's House ; both livings being said to be
vacant " be deceis of umquhile Deane John Angus, ane of
the Conventuall brether of the Abbacie of Dunfermling."
THE INTKODUCTION. Ixxxiii
Blackhall, Me Andeew. In Wood's Manuscripts, the
CI. Psalm, set in five parts, is said to have been composed
" by Maister Andro Blakehall in Halyrudehous, 1569 (now
minister of Musselburgh), and giffin in propyne to the Kyng."
On the 22d July 1582, James the Sixth granted a confir-
mation " of a pension to Mr Andro Blackhall, Minister, ane
of the Conventuall brether of the Abbay of Halyrudhous,
and to Andro Blackhall his son." In October 1593, he
applied to the Synod of Lothian, craving, in respect of his
advanced age, and the greatness of the congregation, that a
Second Minister be provided for the parish. According to
the following inscription, he was born in 1536, became
minister of Inveresk or Musselburgh in 1574, and died in
1609. When Inveresk church was rebuilt in 1805, a large
slab was built into the wall near the south porch of the
church, with this inscription : —
" Here lyes Mr Andrew Blackhall, Pastor of this Church
35 years. Wlio dyed 31 January 1609, aged 73." His
son, of the same name, became minister of Aberlady.
BuCHAN, Andeew. The editor of the Psalms, in 1635,
has named him among " the prime musicians'" of his age
connected with the Chapel-Koyal. He was probably related
to Alexander Buchane, clerk and singer in the King's Col-
lege within the Castle of Stirling, who obtained a grant of
£20 yearly, 11th November 1500. — (Privy Seal Register).
He died before 1584, as " Our Soverane Lord ordanis ane
letter disponand to Johne Buchane, Maister of the Sang
Scule of Hadington, all and haill the prebendarie of the
Chapell Royall of Striveling callit the Parsonage of Dalmel-
lingtoun, in Kingis Kyle, with all the ruites, &c., vaikand
be deceis of umquhile Andro Buchan, last possessour thair-
of." — (Register of Presentations to Benefices, 13 March
Ixxxiv APPENDIX TO
1583-4.) This presentation was superseded by another
grant of the same parsonage, " vaikand be deceis of umquhile
Andro Buchan," to John Gib, " ane of the vallettis of his
Majesteis chalmer," which was confirmed 4th January
1585-6.— (/6.)
Hagie, Andrew. On the 29th January 1582-3, the
vicarage of Martoun was " vacant be deceis of umquhile Sir
Andro Hagie." — (Register of Presentations to Benefices).
Heneyson, Edward, " Maister of the Sang Schole of
Edinburgh, and Prebendare of St Geilis Queir," died on the
15th of August 1579. — (Register of Confirmed Testaments).
Peblis, David, " sumtyme ane of the Conventuall brether
of the Abbay of Sanctandrois," died in December 1579. —
(Register of Confirmed Testaments.)
At page xxxiii., in mentioning " E. M,'' the editor of the
Psahns in Four Parts, published in 1 635, I expressed regret
" that we should be so ignorant respecting this enthusiastic
lover of Sacred Melody, as even not to know his name." It
is some satisfaction, therefore, now to be able to identify
him with Mr Edward Millar, a Prebendary of the Chapel-
Royal, who resided in Edinburgh as a teacher of music.
This appears from the " Register of Presentations to Be-
nefices," in which we find that " Mr Edward Millar, musi-
tiane, indwellar in Edinburgh," was presented, in 1634, to
the parsonage and vicarage of St Mary Kirk of the Lowis.
The presentation is in the following terms : —
" Charles R. — Oure Sovei-ane Lord ordaines ane letter
to be maid under His Hienes Privie Seal in dew forme,
iiiakand mentioun. That His Maiestie being crediblie in-
THE INTRODUCTION. ixxxv
formed of the qiialificatioune and abilitie of Mr Edward
Millar, musitiane, indwellar in Edinburgh, to undergoe the
functioune and charge of ane pi'ebendar within His Hienes
Chappell Eoyall of Stirling, and of the said Mr Edward his
experience and skill in the airt of Musick, Thairfoir nomi-
nating and presenting, likeas be the tennour hereof nomi-
natis and presentis the said Mr Edward Millar, during all
the dayes of his lyftyme, in and to the personage and vic-
carage of the kirk and parochine of Sanct Marie Kirk of the
Lowis, lyand in Atrik Forrest, the whole fruittis, rentis,
eraolumentis, and deuties of the same as being ane of the
kirkes belonging to His Hienes said Chappell E,oyall of
Strivieling and prebendaries of samyn, now vacand in his
Majesties handis, and at his Hienes presentatioune be depri-
vatioune of Edward Kellie, last prebendar thairof, &c. Re-
quyring heirby ane Reverend father in God, Adame Bishope
of Dunblane, and Deane of the said Chappell Royall, to tak
tryall of the literature, qualificatioune, lyfe, and conver-
satioune of the said Mr Edward Millar ; and he being fund
meitt and abill to use and exerce the chairge and functioune
of ane prebendare within the said Chappell Royall, to admit
him thairto ; to tak his aith for acknowledging of his Hienes
authoritie and prerogative royall, and dew obedience to the
said Bishope his Ordinar, &c. Gevin at Quhythall, the 15th
day of February 1634."— (Vol. vii. f. 24.)
The reference by " E. M." to his brethren of the Chapel-
Royal leaves no doubt in regard to his identity. It may
therefore be added, that Millar pursued his studies at the
University of Edinburgh, where he took the degree of A.M.
in August 1624. Previously, however, to the above presen-
tation, he had been connected with the Chapel-Royal. In
some MS. lists, dated in 1627, the name occurs of " Mr Ed-
ward Millar, in Blackfriars Wynd, [who] teaches bairns."
Ixxxvi APPENDIX TO
Also of " James Crichtone, blind : Mr Edward Millar stayes
with him." — (Balcarres Papers, vol. vil.) But how long he
survived has not been ascertained.
THE SKENE MANUSCRIPT — circa 1620.
The original proprietor or compiler of this manuscript was
probably " Mr John Skene of Halyairds, ane of the Ordlnar
Clerks of Session," who died in 1640, and v/hose testament
was confirmed 1st June 1650. See the additional note,
p. 110. The MS. bears internal evidence of having been
written between the years 1614 and 1620; and the publica-
cation by Mr Dauney, referred to, in which his zeal and
research — aided by his learned friend George Farquhar
Graham, Esq. — was so signally displayed, appeared in a
handsome volume, 4to, in 1838. The Editor, William
Dauney, Esq., was born in Aberdeen in the year 1800.
He received his early education under Dr Glennie, at Dul-
wich, near London ; and having completed his studies at the
University of Edinburgh, he was called to the Scottish Bar
in 1823. Soon after the publication of his volume of " An-
cient Scottish Melodies," from the Skene MS., he went to
Demerara, where he practised successfully as a Barrister,
and rose to be Solicitor-General in British Guiana, but died
at Demerara on the 28th of July 1843.
SIR WILLIAM MURE's LUTE-BOOK, MS. — circa 1625.
This manuscript is now in my possession. It was given
to me by Mr Lyle, surgeon in Airth, In place of another
volume of Mure's, which I happened to purchase at the sale
of Mr Motherwell's library, but which Mr Lyle was desirous
to have restored to Mr Andrew Blaikle of Paisley, from
whom. It appeared, he obtained it, and having lent it to Mr
Motherwell, it had remained in his possession at the time of
THE INTRODUCTION. Ixxxvii
his lamented decease. I do not know who is now the pos-
sessor of Mr Blaikie's manuscripts.
playfoed's dancing-mastee — 1651.
Although Mr Stenhouse quotes this work as first pub-
lished in 1657, it is by no means certain that he actually
made use of that, which is the second edition ; and being a
very popular work, the successive editions were constantly
altered, and numerous additions made, so that scarcely any
two of the editions are found to correspond. In the third
edition, as announced in " Playford's Musick's Delight,"
1666, there were " an 100 new Tunes added, to be played
on the Treble Violin."
The first edition bears the following title : " The English
Dancing Master : or, Plaine and easie Rules for the Dancing
of Country Dances, with the Tune to each Dance (small
engraving, W. Hollar, fecit). London: printed by Thomas
Harper, and are to be sold by John Playford, at his Shop in
the Inner Temple near the Church doore." Oblong 4to,
pp. 104, containing a separate tune on each page.
Of this volume a copy is preserved in the British Mu-
seum ; and another, marked as a Museum duplicate for sale,
was bought for a small sum at Heber's sale, and is now in
the Britwell Library. The second edition of " The Dancing
Master, containing 132 New and choice Country Dances,"
was printed in 1657. There is a copy of this edition in the
Pepysian Library, Cambridge. According to a list of edi-
tions kindly furnished by Dr E. F. Rimbault, the 3d edition
appeared in 1665, the 4th in 1670, the 5th in 1675, the 6th
in 1680, the 7th in 1686, the 8th in 1690, and the 9th in
1695. In the 10th edition, 1698, and five subsequent editions,
bearing the respective dates 1700, 1703, 1706, 1711, and
1713, a Second Part was added. The 16th, 17th, and 18th
Ixxxviii APPENDIX TO
editions, in the years 1716, 1721, and [1725], consist of two
volumes I and in 1728, Young printed a third volume of the
" Dancing Master."
The 17th edition, containing 358 Tunes, the whole revised,
&c., was published at London, printed by W. Pearson,
1721, in oblong 8vo. The 18th edition has no date. Of
this work William Chappell, Esq., editor of the valuable
" Collection of Ancient English Melodies, with illustrations,"
possesses the 5th edition, 1675 ; the 7th, 8th, 9th, and 10th ;
also the 15th, 16th, and 17th, with the above dates, and the
18th, without date, but printed in the year 1725.
JOHN PLAYFOED'S MUSICK'S DELIGHT — 1666.
" Musick's Delight on the Cithren, restored and refined
to a more easie and pleasant Manner of Playing than for-
merly ; And set forth with Lessons A la Mode, being the
choicest of our late new Ayres, Corants, Sarabands, Tunes,
and Jiggs. To which is added several New Songs and
Ayres to Sing to the Cithren. By John Playford, Philo-
Musicce. London, printed by W. G., and are sold by J.
Playfoi'd, at his shop in the Temple, 1666." Small oblong
volume, with an engraved frontispiece, " R. Gaywood, fecit."
In this volume there are some tunes, with at least Scottish
titles, such as " Gen. Leshley's March," p. 31 ; " High-
lander s March," p. 66 ; " Montrosses March," p. 67.
In a note to the Hon. Roger North's interesting " Me-
moirs of Musick," Dr Rimbault has given a notice of the
editions of Playford's popular collections of Catches, Songs,
and Glees, under the title of the " Musical Companion,"
(p. 109, Lond. 1846, small 4to.)
" Apollo's Banquet, or the Violin Book, containing New
Ayres, Theater Tunes, Horn-pipes, Jiggs, and Scotch Tunes.
The Second part of this Book contains a collection of French
THE INTRODUCTION. Ixxxix
Dance Tunes, used at Court, and in Dancing-Schools ; as
several new Brawls, Corants, Bores, Minuets, Gavots, Sara-
bands, &c., most of which are proper to play on the Recorder
or Flute, as well as on the Violin. Newly printed, with lai'ge
additions, price Is. 6d." The same is advertised in Vol. 2d
of the Theater of Music, published 1685.
As Playford's name is connected with so many curious
works on music, it may be noticed that he was born in the
year 1623. This appears from one of his engraved portraits,
marked " A.D. 1663, setat. 40." According to the Ashmole
MS., quoted in Busby's " History of Music" (vol. ii. p. 206),
Play ford was Clerk of the Temple Church, near the door of
which his music-shop was situated. His dwelling-house was
in Arundel Street, in the Strand. In 1659, he styles him-
self " A faithfull servant to all Lovers of Musick ; "'"' and was
highly esteemed by most persons of distinction in his time.
His " Introduction to the Skill of Music" was a very popu-
lar work. It was first published in 1655, and he lived to
superintend the 10th edition in 1683, which is enlarged with
An Introduction to the Art of Descent, in place of Campion's
treatise under a similar title. Sir John Hawkins, in men-
tioning Playford, is mistaken when he says, " he lived to near
the age of fourscore, dying, as it is conjectured, about the year
1693."— (Hist, of Music, vol. iv. p. 473.) The 11th edition of
the " Introduction to the Skill of Music" Avas printed for his
son and successor, Henry Playford, 1687 ; and in this volume
there is " An Ode on the Death of Mr John Playford."
ly HENRY PLAYFOED's SCOTTISH TUNES — 1700.
" A Collection of Original Scotch-Tunes (full of the High-
land Humours) for the Violin : Being the first of this kind
yet Printed : most of them being in the compass of the
Flute. London : Printed by William Pearson, in Eed-
'/ J
XC APPENDIX TO
Cross Alley in Jewin-street, for Henry Playford, at his shop
in the Temple-Change, Fleet-street, 1700." Oblong 4to,
pp. 16.
Henry Playford, the publisher of this Collection, as above
mentioned, was the second son of John Playford. The
eldest son, John Playford, also was a music-seller, " at his
shop near the Temple Church, 1699."
As Henry Playford's seems to be the earliest collection in
a substantive form of Scottish Tunes, and is so rare that no
second copy is known, a list of the Tunes may be added : —
ORIGINAL SCOTCH TUNES.
Mr Mc.Laine's Scotch-measure,
Mr Mc.CIauklaine's Scotch-measure.
I love my Love in seacreit.
Madam Mc.Keeny's Scotch-measure.
Cronstoune.
Keele Cranke.
The Berkes of Plunketty.
Good night, and God be with you.
The Laird of Cockpen's Scotch-mea-
sure.
My Lord Sefoth's Scotch-measure.
Ginleing Georde.
The Collier's Lass.
Sir William Hope's Scotch-measure.
Stir her up, and hold her ganging.
Greek's Scotch-measure.
My Lady Hope's Scotch-measure.
Peggy vi^as the pretiest Lass in aw
the Town.
Bride next.
The comers of Largo, A reell.
Bess-Bell.
Dick a Dollis.
A new Scotch-measure.
Wappat the Widow my Lady.
If Love is the cause of my mourning.
The Berks of Abergelde.
For old long Gine my Joe.
Allen Water.
Madam Sefoth's Scotch-measure.
Wallis' Humour in Tapping the Ale.
The Lard of Cockpen's Scotch-mea-
sure.
A New Scotch-measure.
Widow, gin thou be waking.
Aways my Heart that we mun sun-
der.
The Lass of Leving-Stone.
I fix my Fancy on her, a Round O.
Quoth the Master to the Man.
Cosen Cole's Delight.
Holy Even, a Scotch-measure.
The Deal stick the Minster.
Finis.
ADAM CRAIG. — (Page xlvi.)
From the Confirmed Testaments, we find that Adam
Craig, Music Master in Edinburgh, and Ann Montire his
relict, both died at Boroughmuirhead, near Edinburgh, the
said Adam in [the date blank, but in October 1741, see p.
xlvii.], and the said Ann Montire 3d February 1763, leaving
a daughter, Helen Craig, married to James Craighead,
THE INTEODUCTION. XCl
Teacher of English in Leith. — (Conf. Test. Commiss. of
Edinb. 6th March 1766.)
Walsh's musical miscellany.
^ " The British Musical Miscellany; or, the Delightful Grove :
Being a Collection of Celebrated English and Scotch Songs.
By the best Masters. Set for the Violin, German Flute, the
Common Flute, and Harpsicord. Vol. 1. Engraven in a
fair Character, and Carefully Corrected. London : Printed
for and sold by J. Walsh, Musick printer and Instrument
Maker to his Majesty, at the Harp and Hoboy in Cathrine
Street in the Strand." In 6 volumes small 4to, 145 pages
in each volume, and nearly one-sixth of the collection are
Scotch airs.
MUNEO'S COLLECTION — 1732.
This collection, noticed at p. xlvii., is curious on account
of its having been published in France. It is of importance
only for its scarcity. Mr A. J. Wighton, Dundee, possesses
a copy, from which the following note was taken. It has
two title-pages, viz. : (1.) " A Collection of the best Scots
Tunes, fited to the German Flute, with several Divisions,
and Variations, by A. Munro. Dumont, sculpsit. At
Paris." (2.) " Recueil des Meilleurs Airs Ecossois, pour la
Flute Traversiere, et la Basse. Avec plusieurs Divisions, et
Variations, par Mr Munro. Grav^ par Dumont. A Paris,
avec Permission," folio, pp. 45 ; besides the royal warrant
for printing, dated at Paris, 18th July 1732. It contains
only the following twelve tunes : — Wallace March, Mary
Scott, The Bush aboon Traquair, The Boatman, Bonny
Christy, Nancy's to the Greenwood gane. Bonny Jean,
Tweedside, Galla Shells, The Souters of Selkirk, Corn Riggs,
Fy gar rub her o'er wi' strae.
XCll APPENDIX TO
Thomson's orpheus caledonius — 1733,
Among the MS. collections of George Chalmers, I find it
stated, from Dodsley's Receipt Books, that, on the 3d of
March 1753, Thomson received from Dodsley, the well-
known London bookseller, the sum of £52, 10s. for the
copyright, with the plates of his Oiylieus Caledonius. The
booksellers, Hicks, Millar, and Rivington, it is added, were
equally concerned in this purchase. Copies of the work
itself remained in quires, till a comparatively recent period,
in the warehouse of the Messrs Rivington.
AIES FOR THE FLUTE — 1735.
There was a small treatise, on Thorough Bass, " by A.
B.," printed in 1717 ; whether it should be ascribed to Alex-
ander Baillie can only be conjectured. The title is, " An
Introduction to the Knowledge and Practice of the Thoro'
Bass. Humbly Inscrib'd to the Right Honourable the
Lord Colvill. By A. B. Edinburgh : Printed in the
year M.DCC.XVII." Folio, pp. 11. The dedication copy,
having an inscription on the title-page, " To my Lord Col-
vill," is in the possession of James Maidment, Esq., advo-
cate. In the same volume there is a neatly-wi'itten MS.,
" Institutions of Musick, wherein are sett forth the Prac-
ticall Principles of Musicall Composition, in Two Parts,"
pp. 22.
MACLEAN'S COLLECTION— 1737.
" Twelve Solos or Sonatas for a Violin and Violoncello,
with a Thorough Bass for the Harpsicord. Dedicated to the
Honourable the Governour and Members of the Musical
Society. Composed by Charles Macklean. Opera Prima.
N.B. — The four last Solos are adapted for the German
THE INTRODUCTION. XClll
Flute. Edinburgh, printed by R. Cooper for the Author,
and sold by him and Mr And. Martin, bookseller in the Par-
liament Closs, 1737." This title, within a narrow engraved
border, is followed by a list of Subscribers. Folio, pp. 46.
" A Collection of Favourite Scots Tunes, with Variations
for the Violin, &c. And a Bass for the Violoncella and
Harpsichord, by the late Mr Chs. M'Lean, and other Eminent
Masters. Edinburgh, printed for and sold by N. Stewart,
at his music shop, opposite the Tron Church. J. Johnson,
sculpt. Edinr." Oblong folio, pp. 37. Another edition,
with the imprint slightly varied, is noticed at page Ixv.
macfarlane's collection — (See page li.)
Walter Macfarlane, of Macfarlane, in Dumbartonshire,
was " descended in a direct male line from the old Earls of
Lennox." An account of the family is contained in Doug-
las's Baronage of Scotland, pp. 93-97. He was esteemed
the best genealogist of his time ; and his collections, made
at great expense, have proved highly useful to antiquaries
and other persons engaged in historical investigations. He
married Lady Elizabeth Erskine, daughter of Alexander,
sixth Earl of Kelly, and died at his house in Canongate,
Edinburgh, on the 5th of June 1767.
Oswald's collections.
1/ " A Collection of Scots Tunes, with Variations, particu-
larly adapted for the Violin and Harpsicord : Most humbly
Dedicated to the Right Hon*^'®. the Earl of Bute (arms of
Lord Bute). By James Oswald. London, printed for the
Author, at his music shop on the pavement in St Martin's
Churchyard ; of whom may be had, the Caledonian Pocket
Companion, in seven volumes, for the German Flute, with
variety of New Musick printed abroad." Folio, pp. 37.
XCIV APPENDIX TO
In a later edition, the number of Tunes, 43, is added on
the title ; and the imprint is thus altered, " London, printed
and sold by J. Bland, at his music warehouse, No. 45
Holborn."
/^ " A Collection of the best Old Scotch and English Songs
set for the Voice, with accompaniments and Thorough Bass
for the Harpsichord : Most humbly Dedicated to Her Eoyal
Highness the Princess Dowager of Wales, by James Oswald,
Church Composer to his Majesty. London, printed for
J. Oswald, and sold at his music shop on the pavement in
St Martin's Churchyard, where may be had a variety of
New Music, &c. J. Phillips, sculpt." Folio, pp. 36.
Oswald's appointment as Church Composer to George the
Third is dated 31st January 1761 ; the Princess Dowager
(mother of George the Third) died in 1772.
It may be noticed, that after the imprint is added, " Where
may he Jiad^ Two Collections of all the most favourite old
and new Scotch Tunes, several of them with Variations
entirely in the Scotch taste, set for the German Flute, Violin,
or Harpsishord ; in two Books, the First Book now engrav'd
the size of the Second Book, with addition of several new
Airs, with Variations. Dedicated to his Koyal Highness the
Prince of Wales, by Mr James Oswald."
A Collection of Scottish Airs, &c., wanting the title-page,
in royal 8vo. This was probably by Oswald, and published
before the year 1760. It begins on page 1 with Mary
Scott and the Broom of Cowdenknows ; ending, on page
48, with Pattie and Peggy. The music consists of the Air
and the Bass; and may be the First Book above men-
tioned.
Sir Walter Scott, in " Redgauntlet," mentioning " the
favourite air," Roslin Castle (No. viii.), introduces the blind
fiddler Willie Steenson, who says of it, " Here's another ;
THE INTRODUCTION. XCV
it's no a Scots tune, but it passes for ane. Oswald made it
himsell, I reckon — he has cheated mony a ane, but he canna
cheat Wandering Willie." It is proper, however, to add,
that Oswald has not claimed this air as his own composition,
whilst, as Mr Stenhouse has pointed out, it occurs in M'Gib-
bon's Collection under the name of " The House of Glams."
m'gibbon's collections — 1 746-1 762,
The following is a note of the titles of two of the editions
mentioned at p. liv. : — " A Collection of Scots Tunes, some
with Variations for a Violin, Hautboy, or German Flute :
With a Bass for a Violoncello or Harpsichord. By William
M'Gibbon. Book First. London ; printed for D. Ruther-
ford, at the Violin and German Flute, in St Martin's Court,
near Leicester Fields, where may be had all the most favour-
ite Minuets and Country Dances, likewise Books of Listruc-
tions for all Listruments," pp. 21. Book II., same title,
pp. 21. Book III., same title, pp. 21.
TUNES IN BOOK FIRST.
Sae merry as we hare been.
The bonniest Lass in a' the World,
and 2 variations.
The Busli aboon Traquair.
I love my Love in secret.
Steer her up, and hand her gaun.
Polwart on the Green.
Mary Scot.
An thou were my ain thing.
Tweedside.
The Highland Laddie.
Love is the cause of my moaning.
Mucking of Geordy's Byer.
The Lass of Patie's Mill.
I wish my Love were in a myre.
Peggie, I must love thee.
Alloa House.
Leith Wynd.
If e'er you do well, it's a wonder.
Green grows the rashes.
Robin Cushie.
I'll never leave thee.
" A Collection of Scots Tunes for the Violin, or German
Flute, and a Bass for the Violoncello or Harpsichord. By
William M'Gibbon. With some additions by Robert Brem-
ner. Book I., price Is. 6d. London ; printed and sold at
the Music shop of Robt. Bremner, opposite Somerset
House." Oblong 4to. Along with Books II., III., and
IV., pp. 120.
XCVl APPENDIX TO
The First Book contains 32 Tunes ; the Second, 36 ; the
Third, 44; and the Fourth, 41 — in all, 153 Tunes or Airs.
Six Sonatas for two German Flutes, compos'd by Mr
Wm. M'Gibbon of Edinburgh. London; printed for J.
Sinapson, in Sweeting's Alley, opposite the East door of the
Eoyal Exchange. Eoyal 8vo, pp. 22.
BARSANTl'S COLLECTION— 1742.
Before leaving Scotland, Barsanti dedicated a set of Six
Anthems to the Right Hon. Lady Catharine Charteris,
expressing the obligations he was under to her Ladyship
and her Noble Family. The title bears, " Sei Antifone
composte, da Francesco Barsanti. Opera Quinta." No
date. Folio, pp. 32.
bremner's collection — 1749-1789.
Additions to M'Gibbon's Collection. See pp. liv. and xcv.
The later impressions of the " Thirty Scots Songs," and
" A Second Set of Scots Songs," with a portrait of Allan
Ramsay, were published at London. " Printed and sold by
Preston and Son, at their warehouses, 97 Strand, and Exeter
Change," price 3s. each.
" A curious Collection of Scots Tunes, &c. (see p. Ivi.)
Edinburgh ; printed and sold by R. Bremner, pi'ice 2s. 6d.
James Read, sculpt, Edinburgh." Oblong folio, pp. 20.
" Twelve Scots Songs, for a Voice or Guitar, &c. By
Robert Bremner. London, printed and sold at his Music
shop in the Strand." (Circa 1785). Oblong 4to, pp. 18.
This is a later edition of the small work, published in 1760.
See p. Ivi.
" A Collection of Scots Reels, &c." (See p. Ivi.) This
work is an oblong 4to, pp. 96.
W " A Second Collection of Scots Reels or Country Dances,
THE INTRODUCTION. XCVll
with a Bass for the Violoncello or Harpsichord, and proper
Directions to each Dance. London : Printed by K. Bremner
in the Strand, and at his Music shop in Edinburgh, &c."
Oblong 4to, from page 97 to page 112 inclusive. This
Collection is advertised in the Scots Magazine for April
1761. He also published a Collection of Minuets in num-
bers; and No. 4 is advertised along with the above 11th
and 12th No. of Reels.
" A Collection of Catches, for Three and Four Voices, by
different Authors. Price 6 pence. Edinburgh ; printed for
E,. Bremner, at his Music shop," &c. Oblong 4to, pp. 8.
i^' ' " Miscellany for the Harpsichord or Spinnet, by E..
Bremner, London." 3s., and advertised in Scots Magazine
for August 1761. Oblong folio, pp. 26.
" Instructions for the Gruitar, with a Collection of Airs,
Songs, and Duets, fitted for that Instrument. By Bobert
Bremner, London. Printed for the Author, and sold at his
Music-shop, facing Somerset-House in the Strand." Oblong
4to, pp. 28. Price Is. 6d.
V/ " A Collection of Airs and Marches, for Two Violins or
German Flutes. Printed for, and sold by Rob*. Bremner,
at the sign of the Harp and Hautboy, Edinburgh. Where
may be had, the Rudiments of Music, price, bound and gilt,
3s. As also all Sorts of Music and Musical Instruments, at
the London price." Oblong 4to, pp. 8. Bremner's " Rudi-
ments of Music" is a small volume, Edinburgh, 1756; a
second edition, " with considerable additions, printed for the
Author, and sold at his Music shop," appeared in 1 762 ; and
a third edition, London, 1763, 12mo.
ANONYMOUS COLLECTION — circa 1760.
" The liand of Cakes. Book the first, containing Six
Songs set to Musick in the True Scots Taste. To which is
9
XCVUl APPENDIX TO
added, The Tears of Scotland. Loudon ; printed for E..
Williams, price Is. T. Kitchen, sculpt." Folio, 8 leaves.
BURK thumoth's AIRS — circa 1760.
By a typographical mistake, his name, at p. Iviii., is
printed " Humoth."
GENERAL REID'S SOLOS.
"Six Solos for a German Flute orViolin, witha thorough
Bass for the Harpsichord. Inscribed to the Countess of
Aielsbury, by J. R., Esq., a Member of the Temple of
Apollo. London, printed for William Randall, successor to
the late Mr Walsh, in Catharine Street, Strand. Price 3 sh.
J. Shuter, Sculp. John Shuter." Oblong folio, pp. 17.
" Three Grand Marches, and Three Quick-steps, for a
full Military Band, by an Eminent Master [query, General
Reid?] Price 6s. London, printed for William Napier,
Musician in Ordinary to his Majesty, &c. Lisle Street, Lei-
cester Square." Oblong 4to, in separate sheets for the
different instruments.
gilson's collection — 1769.
" Twelve Songs for the Voice and Harpsichord, composed
by Cornforth Gilson. Edinburgh ; printed for, and sold at
Mr Gilson's lodgings, and at Mr Bremner's music-shop,
Edinburgh and London. 1769." Folio, pp. 14.
Gilson was a teacher of music, and had previously pub-
lished " Lessons on the Practice of Singing, with an Addi-
tion of the Church Tunes, in four Parts, and a Collection of
Hymns, Canons, Airs, and Catches, for the impi'ovement of
beginners. By Cornforth Gilson, Teacher of Music in Edin-
burgh. Edinburgh, 1759." 4to, pp. vi. 40. In the Scots
Magazine, May 1759, it is advertised as published, price
2s. 6d. In his Introduction he says, " I need not trouble
THE INTRODUCTION. XCIX
the Public with any Preface to a performance of this kind.
The utility of such performances is now well known ; espe-
cially since the introduction of the late improvement in
Church Music, vvhich now so happily prevails in this
country."
In the Scots Magazine for May 1755, April and Decem-
ber 1756, various notices are given of the improvement
which took place in singing in the different Edinburgh con-
gregations. Bremner, in the second edition of his " E,udi-
ments of Music," 1762, also makes special reference to such
improvement in congregational singing. By an Act of the
Town Council, " for improving the Church Music in this
City," candidates for the office of " Master of Music" were
invited to come forward, among whom was Gilson from
Durham, who, being tried and approved by the Musical
Society, was elected to the said office in 1756.
Clark's flores musics — 1773.
Clark republished, or rather completed, this work, under
the same title, containing 126 Tunes, on 82 pages, folio.
The 22 Tunes in the separate Number, mentioned at pp. Ix.
Ixi., are interspersed.
EARL OP Kelly's minuets, &c. — 1774.
Robert Bremner, musician and musicseller in Edinburgh,
obtained a Royal license for the sole printing and publishing
of the Earl of Kelly's compositions in music, for the space
of nineteen years, on the 17th of July 1761. He accord-
ingly published at that time " Six Overtures in eight parts,
and a thorough Bass for the Harpsichord, composed by the
Right Hon. the Earl of Kelly." A list of other composi-
tions of this very eminent musical genius, with a biogra-
phical notice, is given in the Introduction of a volume of
" Minuets, &c., composed by the Right Hon. Thomas Earl
C APPENDIX TO
of Kelly;' Edinburgh, 1836. 4to. Edited by the late
Charles Kirkpatrick Sharpe, Esq., and embellished with an
engraved title and vignette, and a portrait of Lord Kelly.
In mentioning this volume, which was printed for private
distribution, it will not be considered out of place to add,
that Mr Shaepe, who with a singular amount of antiquarian
taste, skill, and knowledge joined the accomplishments of a
musical amateur, and who so cheerfully contributed to the
Notes and Illustrations in the present collection in 1839, was
the second son of Charles Sharpe, Esq. of Hoddam, Dumfries-
shire. He was educated at Christ's Church, Oxford, but
spent the latter period of his life at Edinbui-gh, where he
died, October 1851, aged 71, and was interred in the family
burying-vault, in the churchyard of Hoddam.
The chief portion of Mr Sharpe's musical collections was
purchased, after his death, by the Right Hon. Lady John Scott.
ANGUS GUMMING.
The original copies have no printer or publisher's name,
but the title is followed by two leaves of letterpress, con-
taining a long list of upwards of 340 subscribers (of whom
the half were of the name of Grant), several of them sub-
scribing for two and four copies of the work. In the Preface
Cnmming says, '' The Publisher follows the profession of his
forefathers, who have been for many generations Musicians
in Strathspey ;" and states that he had spent several years
in forming this collection.
In another edition, bearing the following title, the list of
subscribers and preface are suppressed : —
" A Collection of Strathspeys, or Old Highland Reels. By
Angus Cumming, at Grantown in Strathspey. With a Bass
for the Violoncello, Harpsichord, or Piano Forte. Glasgow,
printed and sold by James Aii'd, at his music shop in New
THE INTRODUCTION. CI
Street. Where may be had, a Collection of Scots Reels,
Minuets, &c. bj John Ridded, Musician in Ayr, price 5s.
A Sellection of Favourite Scots, English, Irish, and Foreign
Airs, Adapted to the Fife, Violin, or German Flute, in a
Neat Octavo Voll., price 3s. Clagget's 6 Easy Duets for 2
Ger. Flutes or Violins. Op. 6th, 3 sh. Favourite Scots
Medleys, each 6d. W^ith great variety of Music or Musical
Instruments at the London prices. Musical Instruments
repaired or lent out per month or quarter. Graved by J.
Johnson, Edinburgh." Oblong folio, pp. 20.
DANIEL DOW.
" A Collection of Ancient Scots Music, for the Violin,
Harpsicord, or German Flute, never before printed, consist-
ing of Ports, Salutations, Marches or Pibrachs, &c. By
Daniel Dow. Edinburgh : Printed for and sold by the Pub-
lisher, and to be had at the Music shops in Town and Coun-
try. Price 10s. Gd." James Johnson, sculpt. Edinr. Oblong
folio, pp. 46, with list of subscribers, and dedication to the
Duchess of Athole.
1/. " Thirty-seven New Reels and Strathspeys, for the Violin,
Harpsichord, Pianoforte, or German Flute. Composed by
Daniel Dow. Entd. Stat. Hall. Price 2s. Edinburgh :
Printed and sold by N. Stewart, at his music shop. Parlia-
ment Square, where may be had, Scots Songs with Sym-
phonies; each Book 2s. 6d." (J. Johnston, sculpt.) Oblong
4to, pp. 26. Conc^ '7?t>-
JOHN RiDDELL, AYR — circa 1776.
" A Collection of Scots Reels, or Country Dances and
Minuets, with two particular Slow Tunes, with a Bass for
the Violin, Violincello, or Harpsichord. Composed by John
Riddle at Ayr, and Sold by Himself there ; likewise by Mr
CU APPENDIX TO
Rob'. Bremner in Ediu'"., also at his shope at the Harp and
Hautboy, opposite Sumerset House, in the Strand, London.
Price 5s. EnterM Stationers Hall.
Wm. Edward, Sculp*. > -m. ,,
-r^ r^ T^ • . >-Edinr.
Dun. Cameron rrints it. )
Oblong 4to, pp. 45. This is the first edition of the Collec-
tion described at page Ixix.
According to a note by the Editor of the Ballads and
Songs of Ayrshire, " old John Eiddell" had a small salary
from some gentlemen of note in the county, and had several
pupils who obtained local celebrity. In stating that " Riddell
was blind, it is believed, from infancy," (p. v.), this probably
is not correct.
anonymoUkS collection — circa 1776. ..•
" A Collection of Airs, &c. for the Violin or German Flute,
with a Bass for the Violoncello or Harpsichord, taken from
the best Masters, and published in Six numbers. Each num-
ber consists of sixteen pages, price One Shilling. To be had
at the shop of Tho^ Phinn, Engraver, Luckenbooths.
" N.B. — As the Person who has collected the above Num-
bers has avoided inserting any one Air found in other Col-
lections of the kind, and has been carefull of his choice, only
adding a few Scots tunes in his own taste, with some Airs
of his Composition, it is hoped this Collection will meet with
a favourable reception."
Oblong 4to. Query, by General R.eid ? The copy I have
extends only to page 48, or equal to three numbers ; and I
cannot ascertain whether it was ever completed.
Stewart's collection of catches — 1780.
" A Collection of Catches, Canons, Glees, Duettos, &c.
Selected from the works of the most eminent Composers,
THE INTRODUCTION. ciii
antlent and modern. Edinburgh ; printed for N. Stewart,
and sold at his music shop, Parliament Close. Where may
be had,
i/' 3 books of Scots Songs, with Symphonies, each 2s. 6d.
A New Collection of Strathspey Reels, 5s.
M'Lean's Scots Tunes, with Variations, 5s,"
In oblong 4to, pp. 112. The dedication, " To the Catch
Club, instituted at Edinburgh June 1771," by the publisher,
N. Stewart, is dated Edinburgh, June 1780.
NIEL GOW'S COLLECTIONS — 1782-1809.
" A Collection of Strathspey Reels, with a Bass for the
Violoncello or Harpsichord, most humbly dedicated to her
grace, the Dutchess of Athole. By Niel Gow, at Dunkeld.
Edinburgh, printed for the Author, and sold by Corri and
Co., Music sellers to Her Majesty." Folio, pp. 36.
" A Second Collection, &c. Dedicated (by permission) to
the Noblemen and Gentlemen of the Caledonian Hunt."
Edinburgh, printed for Corri and Sutherland, &c. Pp. 36.
" A Third Collection of Strathspey Reels, &c,, for the
Pianoforte, Violin, and Violoncello. Dedicated to the Most
Noble, the Marchioness of Tweeddale. By Niel Gow, at
Dunkeld. Price 6s. Edinburgh, printed for the Author, and
to be had of him, at Dunkeld ; Nath. Gow, Baillie Fyife's
Close, Edinburgh ; John and Andrew Gow, No. 60 King^s
Street, Golden Squai'e, London." Pp. 36.
William, John, and Andrew Gow, all sons of Niel Gow,
gave early indications of musical talent, but were eclipsed
by their younger brother Nathaniel, who was born at Inver,
28th May 1766. John and Andrew, it appears from the
above title, had settled in London as music-sellers ; and it
will be seen, from some of these publications, that Nathaniel
also carrie^i on business in Edinburgh for some years. An-
CIV APPENDIX TO
Other edition of this Third Collection has " Edinburgh,
printed and sold by N. and M. Stewart, Music sellers, 37
South Bridge, &c. Where may be had M'Glashan's First
and Third Collection of Strathspey Reels, &c."
" A Fourth Collection of Strathspey Reels, &c., for the
Pianoforte, Violin, and Violoncello, dedicated to the Right
Honourable the Earl of Eglintown, by Niel Gow, at Dun-
keld. Entered at Stationers' Hall. Price 6s. Edinburgh,
printed by Gow and Shepherd, Music sellers. No. 41 North
Bridge Street ; to be had of the author at Dunkeld, and
John Gow, No. 31 Carnaby Street, Golden Square, London,
where all the author's Reels may be had. J. Johnson,
sculpt., Edinburgh." Folio, pp. 36. On the last page is
this intimation, " And [I] add, for the information of those
who wish to possess themselves of my Reels, or what is
called Gow's Reels, that the books I have published are
five in number, and are as follows : —
A Collection (my first) of Strathspey Reels, dedicated to the Dutchess of
Athole. Price 6s.
A Second Collection of Strathspey Reels, dedicated to the Caledonian
Hunt. 6s.
A Third Collection of Strathspey Reels, dedicated to the Marchioness of
Tweeddale. 6s.
A Complete Repository of the Original Scotch Slow Strathspeys and
Dances, dedicated to the Dutchess of Gordon. 7s. 6d.
And the Fourth Collection, dedicated to the Earl of Eglintown. 6s."
Another edition of this Fourth Collection has on the title,
" Edinburgh, printed by Gow and Sutherland, 16 Princes
Street." U'V ./
A Fifth Collection, by Neil Gow and Sons, " Edinburgh,
printed for Gow and Sutherland," appeared subsequently to
1808. The date is ascertained by the reference on the title-
page to Ckomek's Reliques of Bums ^ which was published in
the year 1808.
" Sixth Collection of Strathspeys, Reels, &c. Dedicated
THE INTEODUCTION. CV
to the Marchioness of Huntly." Price 8s. Published 1822.
Pp. 36.
" Part Second of the Complete Repository of Original
Scots Slow Tunes, Strathspeys, and Dances. Dedicated to
the Duchess of Buccleuch."" Price 8s. Pp. 88.
" Part Third of Ditto. Dedicated to the Countess of Lou-
doun and Moira." Price 8s. Pp. 38.
" Part Fourth of Ditto. Dedicated to the Nobility and
Gentry of Scotland." Price 8s. Pp. 38.
Being in all Six Collections and Four Repositories, pub-
lished by Neil Gow & Sons.
" The Beauties of Neil Gow, being a Selection of the most
favourite Tunes from his First, Second, and Third Collec-
tions of Strathspeys, Reels, and Jigs, chiefly comprising the
Compositions of Neil Gow & Sons. (The Dances arranged
as Medleys). All of which are adapted for the Harp, Piano-
forte, Violin, and Violoncello. Respectfully dedicated to the
Noblemen and Gentlemen of the Caledonian Hunt, by Na-
thaniel Gow. Entd. Stat. Hall. Price 6s. Edinburgh :
Published and sold by Alex. Robertson, 39 Princes Street,"
&c. Part 1st, pp. 38; part 2d, pp. 38; part 3d, pp. 38 —
all folio.
" The Vocal Melodies of Scotland. Dedicated to his Grace
the Duke of Buccleugh and Queensberry. Arranged for the
Pianoforte, or Harp, Violin, and Violoncello, by Nathaniel
Gow. Entd. Stat. Hall. Edinburgh : Printed and sold by
A. Robertson, 39 Princes Street." In three parts, at 8s.
each, and 36 pages each.
^. , . " The Ancient Curious Collection of Scotland, consisting
of Genuine Scotch Tunes, with their Original Variations,
with Basses throughout for the Pianoforte, or Harp, Violin,
and Violoncello. Dedicated to Sir Walter Scott, Bart,, by
Nathaniel Gow. Entd. Stat. Hall. Price 8s. Edinburgh :
CVl APPENDIX TO
Published by Robertsons, 39 Princes Street." 1823. Folio,
pp. 36.
"A Select Collection of Original Dances, Waltzes, Marches,
Minuets, and Airs. Eespectfully dedicated to the Most
Noble the Marchioness of Queensberry. Many of which are
composed, and the whole arranged for the Pianoforte and
Harp, by Nath. Gow. Entd. Stat. Hall. Price 8s. Edin-
burgh : Published by Alexander Robertson & Co., 39 Princes
Street." Folio, pp. 36.
" A Collection of Airs, Reels, and Strathspeys, being the
Posthumous Compositions of the Late Neil Gow, Junr. Ar-
ranged for the Pianoforte, Harp, Violin, and Violoncello.
Gratefully dedicated to the Right Honourable the Earl of
Dalhousie, by his much obliged servant, Nathaniel Gow.
Entd. Stat. Hall. Price 6s. Edinburgh: Published and
sold by Alex. Robertson & Co,, 39 Princes Street." Folio,
pp. 22. Published 1849. There is a Memoir of Neil and
Nathaniel that accompanies the work.
The Works of Neil Gow and Sons, and Nathaniel Gow,
consist of —
6 Collections of Reels, &c.
4 Parts of the Repositories.
3 Parts of the Beauties of Neil Gow.
3 Parts of the Vocal Melodies of Scotland.
1 Ancient Curious Collection of Scotland.
1 Select Collection of Original Dances.
1 The Posthumous Compositions of Neil Gow, jun.
In all 19 Parts, goes under the name of Neil Gow & Sons
Works.
The following Collections were published by Nathaniel
Gow towards the close of last century : —
" A Collection of Strathspey Reels, with a Bass for the
Violoncello or Harpsichord, containing the most approved
THE INTRODUCTION. CVU
Old and the most fashionable New Reels, some of which are
composed, and others with additions, by Nathl. Gow. To
which are added, a few favourite Irish Airs. Price 6s.
Printed by Corri Dussek & Co., Music-sellers to the Royal
Family, No. 69 Dean Street, Soho, No. 28 Haymarket, Lon-
don ; No. 8 South St Andrew Street, and 37 North Bridge,
Edinburgh. N.B. — All the original tunes in this Collection
are entered in Stationers'' Hall, according to act of Parlia-
ment. J. Johnson, sculpt," Folio, pp. 36.
" New Strathspey Reels for the Pianoforte, Violin, and
Violoncello. Composed by a Gentleman, and given with
permission to be published by Nathl. Gow. Price 5s. Edin-
burgh : Printed and sold by N. Stewart & Co." Folio, pp.
24. (On Mr Wighton's copy is written " Composed by the
Earl of Eglintoun.")
" A Collection of much-admired Marches, Quick-steps,
Airs, &c. Composed by a Lady, and very generously given
(with permission to be published) to her much obliged and very
humble servant, Nath. Gow. Price 2s. 6d. Entd. Stat. Hall.
Edinburgh : Printed and sold by N. Stewart & Co., Music-
sellers, No. 37 South Bridge, where may be had all the dif-
ferent Collections of Reels, by Gow, M'Glashan, &c." John-
son, sculpt. Folio.
" A Collection of entirely Original Strathspey Reels,
Marches, Quick-steps, &c. for the Pianoforte, Violin, German
Flute, &c. &c., by Ladies resident in a remote part of the
Highlands of Scotland. N.B. — Corrected by Nath. Gow.
Pr. 5s. To be had of Gow & Shepherd, and of the principal
Music-sellers in Town and Country." Johnson, sculpt. Folio,
pp. 24.
" A Complete Collection, of Originall German Valtz, for
the Pianoforte or Violin and Violoncello, with a Second
Violin Accompaniment. Dedicated to Lady Charlotte Camp-
CVlll APPENDIX TO
bell, by Nath. Gow. Price 6s. Entered at Stationers' Hall.
Edinr., printed for Gow & Shepherd, No. 16 Princes Street.
Where may be had, Petrie's New Reels, Miss Sitwell's Reel,
and every Foreign and London publication, &c. &c. J.
Johnson, sculpt. N.B. — A Second Collection will be pub-
lished soon." Folio, pp. 24.
" A Complete Repository of Old and New Scotch Strath-
spey's, Reels, and Jigs, adapted for the German Flute.
Edinburgh : Printed and sold by Goav & Shepherd, No. 40
Prince's Street." Oblong 4to, pp. 48, including two pages
with Index. Price 5s.
Book Second, same title-page, pp. 50. 5s.
MALCOLM m'dONALD'S REELS.
The Collection, mentioned at the foot of page Ixix., in
other copies has this imprint: "Edinburgh, printed for the
Author, and sold by all the Music shops in Town and
Country. Price 2s. 6d." It was followed by three others,
viz. : —
" A Second Collection of Strathspey Reels, &c. With a
Bass, &c. Dedicated to the Right Hon. the Earl of Bread-
albane. By Malcolm M'Donald, corrected by Niel Gow, at
Dunkeld. Edinburgh, printed by Corri and Sutherland,
where may be had Gow's First and Second Set of Reels."
Folio, pp. 13.
" A Third Collection of Strathspey Reels, &c. (same as
first and second collections). Dedicated by permission to
Miss Drummond of Perth, by Malcolm McDonald, at Dun-
keld. Price 2s, 6d. Edinburgh, printed for the author, and
sold by Corri and Co., Johnson and Co., R. Bryson, and all
the Music sellers in Town and Country. J. Johnson, sculp<^."
Some copies have in the title, " Edinburgh, printed for J.
Brysson, &c. Price 3s." Folio, pp. 12.
THE INTRODUCTION. CIX
" A Fourth Collection of Strathspey Reels, &c. (same as
above). Dedicated to the Right Honble. the Countess of
Breadalbane, by Malcolm M'Donald, at Dunkeld. Price 3s.
Edinburgh, printed for the Author, and to be had at Gow &
Shepherd's." Folio, pp. 13.
COERl'S COLLECTIONS.
One of Corri's most important publications is, " A Select
Collection of the most admired Songs, Duets, &c., from
Operas of the highest esteem, and from other works, in
Italian, English, French, Scotch, Irish, &c. In Three Books.
By Dominico Corri. Edinburgh, printed for John Corri, sold
by him, and by C. Elliot, Parliament Square." 3 vols, folio.
" A Select Collection of Forty of the most favorite Scots
Songs. With introductory and concluding symphonies, pro-
per graces peculiar to their character, and accompaniments
for the Pianoforte. By D. & N. Corri. The fourth Edition,
with additions and improvements, price 7s. 6d., folio. Edinr.,
printed and sold by N. Corri, &c., at his Concert Room, head
ofLelth Walk."
m'intosh's reels, &c. — 1793.
The Collection, described at page Ixxv., folio, pp. 39, was
continued by the publication of " A Second Book of Sixty-
eight new Reels and Strathspeys."
y And by "A Third Book of Sixty-eight new Reels and
Strathspeys, &c., compiled and composed by Robert M'ln-
tosh, and dedicated to Mrs Oswald of Auchincruive. Price
7s." Folio, pp. 39.
" Airs, Minuetts, Gavotts, and Reels. Mostly for two
iolins, and a Bass for the Violoncello or Harpsichord.
Composed by Robert Macintosh. Opera first. Price 7s. 6d.
To which is added a Solo, intended as a Specimen of a set
K'U
ex APPENDIX TO
of Solos for the Violin, which the Author purposes to publish
afterwards. Edinburgh ; printed for the Author, and sold
at his house in Advocate's Close, and at Corri & Suther-
land's, and the other Music shops. J. Johnson, sculpt.,
Edinburgh." Folio, pp. 40.
" Sixty-eight New Reels, Strathspeys, and Quick Steps ;
also some Slow Pieces, with Variations, for the Violin and
Pianoforte, with a Bass for the Violoncello or Harpsichord.
Composed by Eobert Mackintosh, and Dedicated, by permis-
sion, to the Honourable Mrs Campbell of Lochnell. Entd.
in Stationers' Hall. Price 6s. Where may be had, at the
undermentioned places, the Author's first Book of Airs,
Minuets, Reels, &c. Printed for the Author, and to be had
at his house, Skinner's Close, & of all the Music sellers in
Edinburgh ; A. Macgowan, Glasgow ; & Longman & Brod-
rip, London." Folio, pp. 39.
" A 3rd Book of Sixty-Eight New Reels and Strath-
speys, also above forty old Famous Reels. For the Violin
and Pianoforte, with a Bass for the Violoncello or Harpsi-
chord. Compiled & Composed by Robert Mackintosh. De-
dicated, by permission, to Mi"S Oswald of Auchincruive.
Entd. in Stationers' Hall. Price 7s. May be had at the
undermentioned places the Author's 1st & 2nd Book of Airs,
Minuets, Reels, &c. Printed for the Author, and to be had
at his house. Skinner's Close, & of all the Music sellers in
Edinburgh ; A. Macgowan, Glasgow ; & Longman & Brod-
rip, London." Folio, pp. 39.
" A Fourth Book of New Strathspey Reels, also some
Famous old Reels, for the Pianoforte or Harp. Dedicated,
by permission, to her Grace the Dutchess of Manchester.
Compiled and Composed by Robert Mackintosh. Entd. at
Stationers' Hall. Price 8s. London ; printed for the Author,
3 Little Vine Street, Piccadilly, by Lovenu and Mitchell,
THE INTRODUCTION. CXI
Music Sellers to liis Royal Highness the Prince of Wales,
No. 29 New Bond Street."
Robert M'Intosh, or " Red Rob," as he was familiarly
called, settled in London, where he died in 1807.
NAPIER'S COLLECTIONS — 1790-1792.
It may be added, that the first volume of this Collection,
published in February 1 790 by William Napier, music-seller
in the Strand, contains 81 Songs, the Airs harmonised by
four professional Musicians — Dr S. Arnold, William Shield,
Thomas Carter, and F. H. Barthelemon. The Harmony
consists of a figured bass for the Harpsichord, with a Violin
Accompaniment. The second volume contains 100 Songs,
the whole of the Airs harmonised by Joseph Haydn ; but in
neither volume are there any Symphonies. This Second
volume, " Printed for William Napier, Music seller to their
Majesties, No. 9 Great Queen Street, Lincoln's Inn Fields,"
[1792], has an engraved frontispiece by Bartolozzi, from a
design by W. Hamilton, R.A.
" A Selection of Original Scots Songs, in Three Parts,
The Harmony by Haydn. Dedicated by permission to Her
Majesty. Vol. III., price 26s. London; printed for Willm.
Napier, Music seller to their Majesties, No. 49 Great Queen
Street, Lincoln's Inn Fields. Neele, sc. Strand. The above
vol. may be had, in four separate Numbers, at 7s. each.
Entered at Stationers' Hall."
. , " Napier's Selection of Dances and Strathspeys, with new
and appropriate Basses, adapted for the Pianoforte, Harp,
&c., price 10s. 6d. Entd. Stationers' Hall. Printed for
Wm. Napier, Music Seller, and Musician in Ordinary to his
Majesty, Lisle Street, Leicester Square. Where may be
had, Napier's Three Volumes of Scots Songs. The Harmony
by Haydn and other eminent Composers." Folio, pp. 36.
CXll APPENDIX TO
" Died lately at Somerston, Mr William Napier, in the
72d year of his age. He was distinguished for his musical
skill, and for the beautiful selections of Scotch Ballads which
he edited. For many years he belonged to his Majesty's
Band, and to the professional concert, but was obliged to
retire on account of the gout in his hands, to which he
became a victim." — See Scots Magazine, August 1812,
pp. 648.
URBANl'S COLLECTIONS — 1792, &C.
The notice of Urbani's works, at page Ixxvii., is by no
means complete ; and the publication of Book I. should be
referred to 1792, or the beginning of 1793. In a letter,
dated 2d May 1793, a request is made to a lady, by a friend
of the writer, to purchase for her " a copy of Urbani's new
publication of Songs, at Corri's or any other Music shop."
Book II., dedicated to Lady Catherine Douglas, has a por-
trait of Allan Bamsay and the same imprint as the first, and
contains pp. 50. Book III. is dedicated to the Hon. Lady
Carnegie. Edinburgh, printed and sold by Urbani and Lis-
ten, 10 Princes Street, pp. 54. Book IV. is entitled " A
Selection of Scots Songs," &c., and is dedicated to the Bight
Hon. Lady Lucy Bamsay, with the same imprint as Book III.
Books V. and VI., completing the work, were published to-
gether, as " A Select Collection of Original Scotch Airs ;
with Verses, the most part of which were written by the
celebrated Bobert Burns." The imprint is the same; and
the dedication, to the Duchess of Bedford, is dated from
Edinburgh, February 1, 1804. The Words and the Music
are pi-inted on opposite pages, and each extend to pp. 59.
A new edition of this Collection bears " Edinburgh,
printed and sold by John Sutherland," as four volumes in
three, the first corresponding with Books I. and II. ; the
THE INTKODUCTION. CXIU
second with Books III. and IV. ; the thh-d and fourth in one,
with Books V. and VI., retaining, in this volume, the original
dedication to the Duchess of Bedford. In this Collection, as
Mr Graham remarks, " The Melodies were harmonised by
Urbani, with an accompaniment for the Pianoforte, the
Harmony filled up in notes for the right hand ; and the first
four volumes have, besides, Accompaniments for Two Violins
and a Viola, all printed in score, along with the Voice part.
Each song has introductory and concluding Symphonies.
Urbani's Selection is remarkable in three respects — the
novelty of the number and kind of instruments used in the
Accompaniments ; the filling up of the Pianoforte Harmony ;
and the use, for the first time, of introductory and concluding
Symphonies to the Melodies."
" A Favourite Selection of Scots Tunes, properly arranged
as Duettos, for Two German Flutes or Two Violins, by P.
Urbani. Book 1st, price 5s. N.B. — The first part arranged
to play as Solos, price 3s. Edinburgh : Printed and sold
by Urbani and Listen. Entd. Stat. Hall." Oblong 4to,
pp. 24.
Book Second (same title as above), from page 25 to 48
inclusive.
Books First and Second, for Second Violin or Flute, se-
parately, same size and number of pages.
THE EDINBURGH COLLECTION OF CATCHES.
" A Collection of Catches, Canons, Glees, Duetts, &c.
Selected from the Works of the most eminent Composers,
Antient and Modern. Vol. I. Edinburgh : Printed for J.
Sibbald, Parliament Square, and Messrs Corri and Suther-
land, Music sellers to Her Majesty. J. Johnson, sculpt.,
Edin^" 4 vols, oblong 4to, each volume containing pp. 112.
The first volume of this Collection is a republication of that
h
CXIV APPENDIX TO
of Stewart, in 1780, described supra^ p. xcv. The imprint in
some copies was changed to " Edinburgh, printed for J. Sib-
bald & Co., and sold at their Circulating Library, Parliament
Square/^ A still later edition of the same Collection has
this imprint : " Edinburgh, printed and sold by Gow &
Shepherd, Music sellers. No, 41 North Bridge, price 8s. 6d."
There is also an edition of the first two volumes : " Printed
and sold by John Watlen, Music seller, 34 North Bridge.
Price 8s. 6d."
EDINBURGH COLLECTION OF DUETTS. ^/^^ tj'll ' /
" A Collection of Duetts for Two German Flutes or two
Violins. Selected from the best Authors, and containing
many scarce and valuable pieces. By a Society of Gentle-
men. Price 4s. 6d. Edinr. : Printed and sold by J. Brysson,
Music seller. Cross, where may be had. The Scots Musical
Museum in Four Volumes, each Volume consisting of 100
Scots Songs, each Vol. 6s. — 24s." In oblong 4to, pp. 60.
AIRD (jAMES).
" A Selection, &c." See p. Ixix. This collection, in place
of three, consists of six volumes. It was twice republished
by Aird's successor, under the following titles : —
" A Selection of Scotch, English, Irish, and Foreign Airs,
adapted for the Fife, Violin, or German Flute. Vol. I.
Humbly dedicated to the Volunteer and Defensive Bands of
Great Britain and Ireland. (Glasgow Musical Circulating
Library.) Printed by J. M'Fadyen, Glasgow. Price 3s. 6d.
Where may be had the other Five Volumes."
The same engraved title serves for each of the six volumes,
the number of the volume being filled in with the pen. In
small oblong 8vo. Vol. L, pp. 74; Vol. IL, pp. 80; Vol.
III., pp. 155 to 233 ; Vols. IV., V., and VL, each pp. 80.
THE INTRODUCTION. CXV
Except the last volume, which ends with 181, the other
volumes have each 200 Airs.
" Aird's Selection of Scotch, English, Irish, and Foreign
Airs, adapted to the Fife, Violin, or German Flute. Glas-
gow, printed and sold by J. M'Fadyen." Volumes First to
Fifth, small oblong 8vo.
" Aird's 6th and Last Volume of Scotch, English, Irish,
and Foreign Airs, adapted for the Fife, Violin, or German
Flute. Glasgow, printed and sold, with the other 5 volumes,
by J. M'Fadyen, Music seller and stationer, Willson Street,
&c. G. Walker, sculpt." Pp. 80.
ANDEESON (JOHN).
]y " A Selection of the most approved Highland Strathspeys,
Country Dances, English and French Dances, with a Harp-
sichord & Violoncello Bass. Dedicated to the Gentlemen of
the Musical Society of Greenock. By John Anderson.
Edinburgh : Printed for the Author, and sold by Corri and
Sutherland, Music-sellers to her Majesty, and by all Music
and Booksellers in Scotland. Price 6s. J. Johnson, sculp."
Folioj pp. 36, and 105 tunes.
BOWIE (JOHN).
" A Collection of Strathspey Reels and Country Dances,
with a Bass, &c. Dedicated to the Countess of Kinnoul.
By John Bowie, at Perth. Edinburgh, printed for the
Author.'"' Folio, pp. 35.
BUTLER (T. H.)
i/' "A Select Collection of Original Scottish Airs, arranged
for one and two voices. With Introductory and Concluding
Symphonies, for the Flute, Violin, and Pianoforte. By T. H.
Butler." (Entd. Stationers' Plall. Folio, price 8s.) Most
CXVl APPENDIX TO
respectfully Dedicated to the Eight Hon'^'s. the Earl of Cas-
silis. (His Lordship's arms engraved on the title-page.)
Printed and sold by Muir, Wood, & Go., Music-sellers, Edin-
burgh, and A. Macgown, Glasgow. 25 pages with music,
25- with words, 25 Airs, and 49 Songs.
CAMPBELL (ALEXANDEE).
" Sangs of the Lowlands of Scotland, carefully compared
with the original editions, and embellished with character-
istic designs composed and engraved by the late David Allan,
Esq., Historical Painter. Edinburgh : printed and sold by
Andrew Foulis, Strichens Close, High Street, 1799." 4to,
pp. 222.
This collection, which scarcely comes within the scope of
the present List, is connected with a work entitled " An
Introduction to the History of Poetry in Scotland ; together
with a Conversation on Scotish Song, by Alexander Camp-
bell." Edinburgh, 1798, 4to. At the end of the volume is
advertised " Twelve Songs set to Music," by the same author.
Pie was employed by the Highland Society to collect High-
land Airs, and the result of his Tours for that purpose
appeared in two volumes in folio, under the title of " Albyn's
Anthology," 1816 and 1818. — Campbell was born in 1764,
and died at Edinburgh in 1824. A notice of his life is con-
tained in Chambers's Scottish Biography, vol. i. p. 463.
CAMPBELL (JOSHUA).
•^ " A Collection of New E.eels and Highland Strathspeys,
with a Bass for the Violoncello or Harpsichord, by Joshua
Campbell. A number of which are his own Composition.
Glasgow, printed for the Author, and sold at the Music shops
-in Edinburgh and Glasgow. Price 5s. 6d. J. Johnson,
sculpt. Edin." Folio, pp. 48.
THE INTRODUCTION. CXVll
V' " A Collection of Favourite Tunes, with New Variations,
adapted for the Violin and German Flute, with a Bass for
the Violoncello, and Thorough Bass for the Harpsichord, by
Joshua Campbell. Glasgow, printed for" (the rest cut off
in the binding). Oblong 4to, pp. 81.
CLAGGET (WALTER). A7f<-*
^ " A New Medlj Overture, consisting entirely of Scots
Tunes and Thirty-Six of the most favorite Scots Airs, to
which is added the favorite air of Chivey Chase, all with
Variations for two Violins or two German flutes and a
Violoncello, also adapted to the Pianoforte. The Airs se-
lected and the Variations composed by Walter Clagget.
Entd. Stat. Hall. Edinburgh, printed for the Author, and to
be had at all the Music shops." (Engraved by George
Walker). Folio, pp. 28.
The Part for the Second Violin or Flute is published
separately, with title-page same as above ; folio, pp. 12.
Clagget's Scots Tunes for the Pianoforte or Flute, price 6s.
In a list of favourite music, sold by J. M'Fadyen, at the
Glasgow Musical Circulating Library, we find " Six Solos
and Six Scots Airs, with Variations for the Violin or Violon-
cello, with a Thorough Bass for the Harpsichord. Composed
by Walter Clagget. Opera, 2do. London, printed for the
Author, and sold by him at the Sedan Chair, Great Hart
street, Covent Garden, and Messrs Thompson & Sons in
St Paul's Church yard." Folio, pp. 39.
CLARK (JOHN).
\/ " A Collection of New Strathspey Reels and Country
Dances, with a Bass for the Violoncello or Harpsichord.
Dedicated to the Musical Society of Perth. Composed by
John Clark, Perth. Entd. Stat. Hall." Folio, pp. 21.
CXVIU APPENDIX TO
CLARKSON (JOHN).
V " Clarkson's Musical Entertainment, being a Selection of
various Tunes and Pieces of Music, adapted for the Piano-
forte or Harpsichord. London: Published for the Author;
to be had at his House, Carrubber's Close, Edinburgh. Price
3s, 6d." Folio, pp. 20.
Died at St Andrews, 20th January 1812, " Mr John
Clarkson, many years an eminent Teacher of Dancing there,
and at Kirkaldy, Cupar, and Dunfermline." — (Scots Mag.
1812, p. 158.)
CLARKSON (JOHN), JUNIOR.
V "A Complete Collection of much-admired Tunes, as Danced
at the Balls & Public's of the late Mr Strange. Purchased
and arranged for the Pianoforte, and respectfully Dedicated
to his Scholars, by John Clarkson, Junr., Teacher of Danc-
ing, Edinburgh. Edinburgh : Printed and sold by J. Ha-
milton, 24 North Bridge street, opposite the Post Office."
Folio, pp. 50. Price 10s. 6d.
COOPER (ISAAC).
/ " A Collection of Reels, by Isaac Cooper of Banff." Pub-
lished about 1783; advertised on the last page of Aird's third
Glasgow Collection. Price 3s.
DALE (JOSEPH).
" Dale's Collection of Sixty favourite Scotch Songs,
taken from the Original Manuscripts of the most celebrated
Scotch Authors and Composers, properly adapted for the
German Flute. Book II., price 5s. London ; printed for
J. Dale, No. 19 Cornhill, and the corner of Holies Street,
Oxford Street." Oblong 4to.
THE INTRODUCTION. CXIX
" Dale's Collection of Duets for two performers on one
Piano Forte, by the most celebrated Composers." Folio, in
four books, and containing six tunes. A list of " Music
published by Joseph Dale, Piano Forte maker to his Eoyal
Highness the Prince of Wales," prefixed to one of these
books, has the date 1809.
DANIEL (jAMES).
" A Collection of Original Music, consisting of Slow Airs,
Strathspeys, Reels, Quadrilles, Waltzes, Hornpipes, &c.
Adapted for the Pianoforte, or Violin and Violoncello. By a
Citizen. Aberdeen : Engraved and printed and published
by James Daniel, Engraver, &c." Folio, pp. 39.
DING (LAWEENCE). "'^, - "
" The Anacreontic Museum, or, Thirty Select Catches,
Canons, Glees, &c. (from the works of the most eminent
Masters). Inscribed to all Catch Clubs and Practitioners of
Music ; by Lawrence Ding, $tXo-dp/Liowa, Editor of the Song-
ster's Favourite and Scholar's Assistant. Edinburgh : printed
for and sold by the Editor, at his house, first entry within
the Netherbow, north side, and at the Music Shops of Messrs
E. Bremner, Stewart and Co., &c." Oblong 8vo, pp. 16.
DUFF (CHARLES).
1/ " A Collection of Strathspey Eeels, Jigs, &c., with a Bass
for the Violoncello or Harpsichord. To which is added Four
Minuets, Four Marches, in 3 Parts. Dedicated (by permis-
sion) to his Grace the Duke of Athole. By Charles Dufi",
Dundee. Price 6s. Edinburgh : N. & M. Stewart & Co.,
Corri & Co., Johnson & Co., R. Ross, and J. Brysson ; and
by A. M'Gowan, Glasgow ; and Longman & Broderip,
London. J. Johnson, sculpt. N.B. — The Tunes marked
CXX APPENDIX TO
J. M'D. are composed by Mr Jno. M' Donald, late Dancing-
Master, Dundee." Folio, pp. 36.
ELOUIS (j.)
" First Volume of a Selection of Favorite Scots Songs,
with Accompaniments for the Harp or Pianoforte, which
may be performed on these Instruments either with the
Voice or without it, as Familiar Lessons; to which are
added Several Airs, with Variations. Composed and Ee-
spectfully Dedicated, by permission, to the Kight Honorable
Lady Montgomerie, by J. Elouis. Enf^. at Sta. Hall. Price
each vol. One Guinea. Edinburgh : Sold by Messers Gow
& Shepherd; Messers Muir, Wood, & Coy., Music-sellers ;
and by Eobt. Birchall, at his music warehouse, No. 133
New Bond Street, London. The music is engraved by J.
Johnson, and the letterpress by Oliver & Co. Every copy
is signed by the Author and Proprietor, J. Elouis." Folio.
The words and music are printed on opposite pages. The
former, pp. 49; the latter, 51; also pp. 11, with 3 Airs
(without the words) repeated with Variations, and a Glos-
sary. In the preface it is said, — " There is 7iot one Edition
of Scottish Songs in which lines with two, three, and some-
times four syllables too muck or too little are not frequently
to be met with. The troublesome and ungrateful task of
restoring the verses to their proper measure, by retrenching
or adding words to the defective lines (without encroaching
upon the sense), was undertaken by Mrs Elouis, the author^s
wife. It can now be safely asserted that there is no other
selection of Scottish Songs but this, in which the verses, from
being uniformly correct, always suit their respective airs."
" Second " Volume of a selection of Favorite Scots Songs,
&c. " Dedicated to the Eight Honorable the Earl of Eglin-
ton," — in other respects the title same as the first vol. Pp.
THE INTRODUCTION. CXXl
50 with words, and 50 music ; and 7 pp. with 3 tunes with
variations. Each vol. contains 50 Airs with the words, be-
sides the Airs with variations. Pubhshed by subscription.
The Queen and thirteen others of the Royal Family are
amongst the subscribers. The advertisement to the second
volume Is dated 1807.
GOW (JOHN AND ANDREW).
\/" A Collection of Slow Airs, Strathspeys, and Reels, with
a Bass for the Violoncello, Harpsichord, or Pianoforte. De-
dicated by permission to the Highland Society of London,
by Jno. and Andw. Gow. London ; printed and sold by
Wra. Campbell, No. 8 Dean Street, Soho ; and to be had of
the Authors, No. 60 King Street, Golden Square, price
7s. 6d." Foho, pp. 36.
GRANT (dONALD).
U" "A Collection of Strathspey Reels, Jigs, &c., for the
Pianoforte, Violin, and Violoncello. Dedicated to Mrs Col.
Grant. By Donald Grant. Price 8s. 6d." (Folio, pp. 38 ;
121 Tunes, 76 original.) " Edinburgh, printed for the
Author at Elgin, and Mr Gow, Edinburgh, and Mr Davie,
Aberdeen."
gunn (john).
\y' " Forty favorite Scotch Airs, adapted for the Violin,
Gei'man Flute, or Violoncello, with the phrases mark**., and
proper fingering for the latter instrument ; being a Supple-
ment to the Examples In the Theory and Practice of finger-
ing the Violoncello. By John Gunn." Ent. Stat. Hall.
Price 7s. 6d. Folio. London.
Gunn was the author of other works — " The Art of play-
ing the German Flute on new principles, price 10s. 6d. ;"
CXXU APPENDIX TO
also, " The School for the German Flute, Part. I., 5s.,"" are
advertised along with his Forty Scotch Airs, on the title-page
of " The Theory and Practice of fingering the Violoncello,
&c., by John Gunn, Teacher of the Violoncello. The second
edition. London, printed for the Author, and sold by him,
at No. 1 Bennet Street, K.athbone Place, and by Preston,
&c." Folio, pp. 64.
Another work which he published was, an " Historical
Enquiry respecting the performance on the Harp in the
Highlands of Scotland, from the earliest times until it was
discontinued, about the year 1734. Drawn up by desire of
the Highland Society of Scotland, and published under its
patronage, by John Gunn, F.A.S.E., (fee." Edinburgh, 1807,
large 4to, pp. 112, with three engravings of Queen Mary's
Harp and the Caledonian Harp. The Author announces, in
a postscript, his intention of publishing a much more detailed
work ; but it never appeared.
HAMILTON (JOHN).
" A Choice Collection of Scots Reels, or Country Dances,
and Strathspeys, with a Bass for the Violoncello or Harpsi-
chord. Edinburgh, printed and sold by J. Hamilton, North
Bridge. Price 3s." Oblong 4to, pp. 40.
[r " The Caledonian Museum, containing a favorite Collec-
tion of Ancient and Modern Scots Tunes, adapted to the
German Flute or Violin. Book HI. Price 3s. Edinburgh ;
J. Hamilton, 24 North Bridge Street." Oblong 4to. From
page 52 to 75 inclusive, containing 100 Airs.
Hamilton died in 1814. See note to Song 592, p. 537.
JENKINS (GEORGe).
" Eighteen Airs for Two Violins and a Bass, dedicated (by
permission) to her Grace the Duchess of Athol, by George
THE INTEODUCTION. CXxiii
Jenkins. Price 3s. N.B. — To render this work useful for
Harpsichord performers, the first Violin and Bass are put In
Score. Printed for and sold by J. Brysson, at his Music
shop, Edinburgh." Oblong folio, pp. 9.
\/ " New Scotch Music, consisting of slow Airs, Strathspeys,
quick E,eels, Country Dances, and a Medley on a new plan,
with a Bass for a Violoncello or Harpsichord. Dedicated by
permission to his Koyal Highness the Prince of Wales.
Composed by George Jenkins, Teacher of Scotch Dancing.
Price 10s. 6d. To be had of the Author, No. 125 High
Holborn, Bloomsbury." Folio, pp. 70.
In the list of New Music, published by George Goulding,
(upon the last page of Sir Adam Gordon's Psalms, with music
by Drs Arnold and Calcott, in 1791), we find "Jenkins's
Thirty Highland Airs, price 5s."
LEBUEN (ALEXANDER).
|.- " A Collection of Strathspey Reels, &c., with a Bass for
the Violoncello or Harpsichord. Dedicated, by permission,
to Mrs Moncrietf of Eeedie, by Alex. Leburn, Auchter-
muchty. Price 2s. 6d. Edinr,, Johnson & Co." Folio,
pp. 12.
MACDONALD (JOHN).
" Nine Minuets for the Harpsichord or Pianoforte. Com-
posed by John M'Donald, Teacher of Dancing In Dundee.
Dedicated to her Grace the Duchess of Athole." Oblong
4to, pp. 11. — See under Duff (Charles), p. cxix.
m'fadyen (JOSEPH).
W^' The Repository of Scots and Irish Airs, Strathspeys,
Reels, &c. Part of the Slow Tunes adapted for two Violins
and a Bass, others with variations. The whole with improved
CXXIV APPENDIX TO
Bass for the Harpsichord or Pianoforte. Most respectfully
Dedicated to the Eight Hon'''®. Lady Montstewart. Vol. 1st,
price 6s. ; bound, 7s. 6d. Glasgow ; J. M'Fadyen." Oblong
4to. 64 pages with Slow Airs, and 64 of Strathspey Eeels,
&c. ; in all 128 pages.
MACINTOSH (ABRAHAM).
V " Thirty New Strathspey Eeels, &c,, with a Bass for the
Violoncello or Harpsichord. Composed by Abrm. Macintosh.
Price 3s. Edinr., printed for and sold by the Author, and
by J. Brysson, at late Bremner's. A. Macintosh, sc." Folio,
pp. 11. Advertised in the Scots Magazine, December 1792.
MACINTYRE (D.)
t- "A Collection of Slow Airs, Eeels, Strathspeys. Dedi-
cated, by permission, to the Eight Hon'''". Lady Charlotte
Campbell. Composed by D. Macintyre. Price 8s. London,
John Gow & Son." Folio, pp. 40, and 79 Tunes.
MACKAY (ALEXANDER).
^ " A Collection of Eeels, Strathspeys, and Slow Tunes,
arranged for the Pianoforte. Chiefly composed by Alexr.
Mackay, Musician, Islay. (Subscribers, 5s. ; non-sub., 6s.)
Dedicated, by permission, to the Eight Hon'''®. Lady Elinor
Campbell of Islay and Shawfield. Glasgow, published by
J. M'Fadyen." Folio, pp. 36.
MACLEOD (H. p.)
" A New Selection of the most approved Pieces, properly
arranged as Duetts for two German Flutes, by H. P. Mac-
leod, Teacher of Music. Book I. Edinburgh : Printed by
the Author, and sold at all the Music Shops. Price 5s.
Book IT. Edinburgh : Printed and sold by the Author, at
THE INTRODUCTION. CXXV
his house, Richmond Court. J. Johnson, Sculpt" Oblong
4to, the two books pp. 96, and Index.
MAESHALL (WILLIAM).
*-' " A Collection of Strathspey Reels, with a Bass for the
Violoncello or Harpsichord. Composed by Wm. Marshall.
Price 2s. 6d. Printed for Neil Stewart, and sold at his
Music shop, Parliament Square, Edinburgh. Where may
be had — 3 Books of Scots Songs, with Symphonies, each
2s. 6d. ; M'Glashan's Strathspey Reels, 5s. ; M'Lean's Scots
Tunes, with Variations, 5s. ; M'Gibbon's Scots Tunes, 3
Numbers, each 2s. 6d. ; Marches and Airs, 1st and 2d Books,
6s. Johnson, sculpt." Oblong folio, pp. 12, and 36 tunes.
t " Marshall's Scottish Airs, Melodies, Strathspeys, Reels,
&c., for the Pianoforte, Violin, and Violoncello, with appro-
priate Basses. Dedicated to the Most Noble the Marchioness
of Huntly. Entd. Stat. Hall. Price 12s. 6d. ; to non-
subscribers, 15s. Edinburgh : Published for the Author, and
sold by Alex. Robertson, 47 Prince's Street, &c." Folio,
pp. 60, and 176 Tunes. 1822.
L,, "Volume 2d of a Collection of Scottish Melodies, Reels,
Strathspeys, Jigs, Slow Airs, &c., for the Pianoforte, Violin,
and Violoncello, being the Genuine and Posthumous W^orks
of William Marshall. All the Airs in this Collection are
now published for the first time. This work is Copyright.
Entd. Stat. Hall. Price 6s. Edinburgh : published by
Alex. Robertson, 39 Princes Street," &c.j [1847]. Folio,
pp. 35, and 81 Tunes.
MORRISON (WILLIAM).
'^ '' A Collection of Highland Music, consisting of Strath-
speys, Reels, Marches, Waltzes, and Slow Airs, with Varia-
tions, original and selected, for the Pianoforte, Violin, and
CXXvi APPENDIX TO
Violoncello. Dedicated to the Eight Hon'''^ Lady Seaforth,
by William Morrison. Price 7s. 6d. Printed for, and sold
by J. Young & Co., Inverness, &c. Entd. Stat. Hall."
Folio, pp. 36.
PEACOCK (FEANCIS).
To the notices given at page Ixiv. it may be added, that
he was the author of a volume entitled " Sketches relative
to the History and Theory, but more especially to the Prac-
tice of Dancing, as a necessary accomplishment to the youth
of both Sexes, &c. By Francis Peacock, Aberdeen." Aber-
deen : printed by J. Chalmers & Co. Sold by Angus and
Son, &c. 1805, 8vo. It is dedicated to the Duchess of
Gordon ; and in the list of subscribers may be found the
names of all the leading persons in Aberdeenshire. It also
marks the estimation in which the author was held, to find
added to this list, " By order of the Town Council of Aber-
deen, 20 copies." In his advertisement, dated April 1805,
he refers to " the experience of upwards of sixty years, during
which he has been a teacher of Dancing ;'' and states that if
any emolument should be derived from the publication, it
would be appropriated towards the Lunatic Asylum, then
lately established in Aberdeen.
PETRIE (EOBEET).
U" "A Collection of Strathspey Heels and Country Dances,
&c., with a Bass for the Violoncello or Harpsichord, humbly
dedicated to Mrs Farquharson of Monaltrie, by Robert
Petrie, at Kirkmichael, Perthshire. Price 4s. Edinburgh :
Printed for the Author, and sold by Stewart & Co., John-
ston & Co., Lawnmarket, and all the Music-sellers in Town
and Country. J. Johnson, sculpt.'' Folio, pp. 22.
i
THE INTRODUCTION. CXXvii
V " A Second Collection of Strathspey Eeels, &c., for the
Piano Forte, Violin, and Violincello, humbly dedicated to
Mrs Garden of Troup, by Robert Petrie at Kirkmichael.
Edinburgh, printed for the Author, and sold by all the Music
sellers in Town and Country." Later copies have, " Edin-
burgh, printed for Gow and Shepherd, 41 North Bridge
Street George Walker, sculp*." Folio.
jj.' " A Third Collection of Strathspey Reels, with a Bass for
the Violoncello or Pianoforte, humbly dedicated to Francis
Garden, Esq., junior, of Troup, by Robert Petrie, at Kirk-
michael. Price 6s. London : Printed for the Author, and
to be had at all the Music-sellers in Town and Country."
Folio, pp. 26.
y " A Fourth Collection of Strathspeys, Reels, Jiggs, and
Country Dances, for the Pianoforte, Violin, and Violoncello.
Composed and respectfully dedicated to Mrs Garden Junr.,
of Troop and Glenlyon, by Robert Petrie. Price 5s. Edin-
burgh, printed for the Author, and to be had of him at Kirk-
michael, Perthshire, and at all Music shops. Engraved by
W. Hutton, High Street, Edin." Folio, pp. 24.
0
POETEUS (jAMES).
i A Collection of Reels and Strathspeys, &c. Edinburgh.
Folio, pp. 40. Wants title-page, &c.
PEINGLE (JOHN).
t " A Collection of Reels, Strathspeys, and Jigs, with a
Bass for the Violoncello or Pianoforte, dedicated by permis-
sion to the Hon. Miss Elliot, by John Pringle. Entered at
Stationers' Hall. Price 5s. Edinburgh, printed for the
author, to be had of him, No. 16 Rose Street, and at all the
Music shops." Folio, pp. 19.
CXXVIU APPENDIX TO
ROBERTSON (DANIEL).
I ■ " A Collection of Reels, Stratbspeys, Jigs, Waltzes, &c.,
foi' the Pianoforte, Harpsichord, and Violin, with a Bass for
the Violoncello. Composed and dedicated, by permission,
to Miss Georgina Scott of Seabank, by Daniel Robertson.
Price 6s. Edinr., printed by Muii-, Wood, & Co., No. 7
Leith Street. Entd. Stat. Hall." Folio, pp. 26.
EOSS (JOHN).
" A Complete Book of Instructions for beginners on the
Harpsichord or Piano-Forte. To which is added, a select
set of Airs, Scots Songs, and Lessons, composed by John
Ross, Organist of St PaiiFs Chapel, Aberdeen. Price 8s. 6d.
London, printed for the Author, by Broderip & Wilkinson,
No. 13 Haymarket." Oblong folio, pp. 67.
A notice of Ross is already given at page Ixxix.
SHEPHERD (WILLIAM).
1/ " A Collection of Strathspey Reels, &c., with a Bass for
the Violoncello or Harpsichord. Dedicated by permission to
Miss Abercromby of Tullibody. Composed by William
Shepherd. Edinburgh, printed for the Author, and to be
had at all the Music shops in town and country. Price 5s.
George Walker, Sculp*., Edinburgh." Folio, pp. 26.
" A Second Collection of Strathspey Reels, &c., for the
Pianoforte, Violin, and Violoncello. Dedicated to Lady
Carmichael of Castlecraig. Composed by William Shepherd.
Entd. Stat. Hall. Price 6s. Edinburgh, printed and sold
by Gow & Shepherd, Music-sellers, No. 16 Princes Street.
(J. Johnson, sculpt.)." Folio, pp. 26.
William Shepherd, musician, in 1793 resided in Hamil-
ton's Close, Bristo ; and having entered into partnership
THE INTEODITCTION. CXxix
with Nathaniel Gow in 1796, they carried on business as
music-sellers in Edinburgh, under the firm of Gow and
Shepherd, on an extensive scale. Shepherd died at Edin-
burgh on the 19th of January 1812.
STEWAET (CHARLES).
K "A Collection of Strathspeys, E-eels, Giggs, &c., with a
Bass for the Violoncello or Harpsichord. Dedicated (by
permission) to the Right Hon*^'®. Lady Mary Hay. By
Charles Stewart, Musician to the late Mr Strange. Price 5s.
N.B. A few New Hornpipes, Minuets, and Cotillons, by the
most esteemed Composers. Edinr., printed for the Author,
and to be had at Muir, Wood, & Co. Entd. Stat. Hall."
Folio, pp. 25.
1/ "A Collection of a few New Hornpipes, Minuets, Cotil-
lions, Jigs, &c. By Charles Stewart." Folio, pp. 25.
THOMSON (GEOEGE).
A list of the dates of publication of the several volumes or
books of Thomson's Collection, as entered in Stationers'
Hall, was communicated to Mr G. F. Graham, and is printed
in " The Songs of Scotland," vol. i. p. vi. Mr Thomson,
for many years Principal Clerk of the Board of Trustees,
Edinburgh, died at Leith Links, on the 18tli February 1851,
at the very advanced age of 94. — It may be noticed as a
singular fact that he should never have seen Burns, or at
least have had any personal intercourse with him, notwith-
standing the aid so liberally awarded by the Poet, during
the four years of their correspondence. The series of the
original letters and songs addressed by Burns to Thomson,
arranged and bound in one volume, were exposed to sale by
auction in November 1852, at the upset price of £210, and
fetched Two Hundred and Sixty Guineas.
CXXX APPENDIX TQ
WALKER (AECHIBALD).
" A Collection of the most approved Church Tunes now-
used in the Church of Scotland. To which is added, a few
Catches and Songs, by Archd. Walker. Price Is. Edin-
burgh, printed and sold at J. Brysson's Music shop. South-
side Cross Well. Third edition, with additions. J. John-
son, sculpt." 12mo, pp. 40.
^/ j/if^*c = , WALKER (JAMES).
\f "A Second Collection of Reels, Strathspeys, Jigs, &c.,
with a Bass for the Violoncello or Harpsichord. Dedicated
to Lady St Clair of Sinclair, by James Walker, Dysart.
Printed for the Author, and to be had at his house in Dysart.
Sold also by Jas. Johnson, Music-seller, Lawnmarket, and at
all the other dealers of Music in Edinburgh. J. Johnson,
sculpt." Folio, price 4s.
WILSON (WILLIAM).
" Twelve Original Scotch Songs, for the Voice and Harp-
sichord, with an Accompaniment for the Violin or Flute,
dedicated by permission to His Koyal Highness the Prince
of Wales. Composed and adapted by William Wilson.
Entered at Stationers' Hall. Op. III. Price 10s. 6d. Lon-
don, printed for the author. No. 2 Camden Place, Hampstead
Road, by Longman and Broderip, No. 26 Cheapside, and
No. 13 Haymarket," &c. Folio, pp. 29, besides title and
printed list of Subscribers. One of these " Original Scotch
Songs," is " Roy's Wife of Auldy Wallach."
THE INTEODtrCTION. CXXXl
Of the preceding Collections, some are iio doubt posterior
to the period which this Catalogue was intended to comprise.
Others again are purposely omitted, when the dates of publi-
cation were well ascertained not to fall within that period —
such, for instance, as the later publications of George Thom-
son ; the British Minstrel, by E. A. Smith ; the Melodies of
Scotland, by Finlay Dun ; the Dance Music of Scotland, by
J. T. Surenne ; the Caledonian Kepository, by James Davie,
Aberdeen ; the Complete Eepository, by Malcolm Keith ;
with many others, of more or less importance.
To this list might be added the principal collections of
Highland Airs, such as Albyn's Anthology, by Alexander
Campbell ; Airs and Melodies peculiar to the Highlands of
Scotland and the Isles, by Captain Simon Fraser ; the
Ancient Martial Music of Caledonia, called Piobaireachd, by
Donald Macdonald ; and the Ancient Piobaireachd or High-
land Pipe Music, by Angus Mackay.
But before concluding these Notices, it may not be out of
place to mention a volume entitled " Musical Memoirs of
Scotland, with Historical Annotations, and numerous illus-
trative Plates," by the late Sir John Graham Dalyell, Edin-
burgh, 1849, 4to. The title of this volume furnishes no very
distinct notion of its contents, which exhibit the result of a
long-continued and laborious investigation into the History
of Music in Scotland, "selected from copious collections on
the subject of Scottish history, the accumulation of many
years;" and accompanied with plates of the various Musical
instruments in use from the earliest times.
Another work, published by Messrs Wood, and edited by
Mr Farquhar Graham, may also be mentioned, as the in-
formation contained in the Notes to Johnson's Musical
Museum has been copiously employed by the Editor, and
CXXXll APPENDIX TO THE INTRODUCTION.
duly acknowledged in the following terms : — " The kind
liberality of the Messrs Blackwood has enabled the publish-
ers of this work to avail themselves of those valuable Notes
and Illustrations above referred to ; and thus to I'ender this
new Collection much more interesting than it could other-
wise have been." The work referred to contains an extensive
and judicious selection, with interesting notices and remarks
by the Editor, under the title of " The Songs of Scotland
adapted to their appropriate Melodies, arranged with Piano-
forte Accompaniments, by G. F. Graham, T. M. Mudie,
J. T. Surenne, H. E. Dibdin, Finlay Dun, &c. Illustrated
with Historical, Biographical, and Critical Notices, by G. F.
Graham. Wood and Co., 12 Waterloo Place, Edinburgh,
1848." 3 vols, royal 8vo.
As reference is made in the previous Introduction to some
of the early composers of Sacred Music, I may also be per-
mitted here to specify a recent publication, containing a very
extensive and elaborate Collection of Church Tunes, from
the earliest and most authentic editions of the English,
Scottish, and German Psalters, skilfully harmonised. The
volume is entitled " The Standard Psalm-Tune Book, con-
taining upwards of 600 specimens, comprising all the avail-
able Tunes in the English, Scotch, and Geneva Psalters,
with many others from the German ' Choral Bucher,' and
other authentic sources, many of them rare, the whole
faithfully compiled from the original editions, and arranged
for 4 Voices, with an Organ accompaniment, by Henry
Edward Dibdin, Organist of Trinity Chapel, Edinburgh."
1852. Folio.
INDEX OF THE COLLECTIONS
DESCRIBED IN THE PRECEDING CATALOGUE.
Aberdeen Cantus, 34-41.
Aird, James, 69, 114.
Anderson, John, 115.
Anonymous Collections, 97, 102,
113, 114.
Baillie, Alexander, 48, 92.
Barsanti, Francis, 53, 96.
Bocchi, Lorenzo, 42.
vBowie, John, 115.
iBremner, Robert, 55-56, 96-97.
V Brysson, John, 74.
;^ Butler, T.H., 115.
•, Campbell, Alexander, 116.
- Campbell, Joshua, 116.
•'Campbell, William, 74.
^■Clagget, Walter, 117.
Clark, John, 60, 99.
VClark, John, Perth, 117.
Clarke, Stephen, 73.
' Clarkson, John, 118.
■ Clarkson, John, junior, 118.
Cooper, Isaac, 118.
Corri, Domenico, 70-73, 109.
Craig, Adam, 46, 47, 89.
■. Gumming, Angus, 66, 100.
■. Dale, Joseph, 76, 118.
Daniel, James, 119.
. Dauney, William, 25, 86.
Davidson, Thomas, 35.
Ding, Lawrence, 119.
Dow, Daniel, 63, 101.
Duff, Charles, 119.
D'Urfey, Thomas, 41.
Elouis, J., 120.
Eglinton, Earl of, 107.
Forbes, John, 34-41.
Foulis,— 65.
Frazer, William, 61.
Gilson, Cornforth, 98, 99.
Gow, Niell, 68, 103-106.
Gow, Nathaniel, 103-108.
Gow, John and Andrew, 103, 121.
Graham, G. Farquhar, 131.
Grant, Donald, 121.
Gunn, John, 121.
Hamilton, John, 122.
Haydn, Joseph, 79.
Jenkins, George, 122.
Johnson, James, 80.
Kelly, Thomas, Earl of, 61, 97.
Leburn, Alexander, 123.
Macdonald, John, 123.
Macdonald, Malcolm, 69, 108.
Macdonald, Patrick, 67.
Macfarlane, the Laird of (Manu-
scripts), 51, 93.
INDEX.
; M'Fadyen, Joseph, 123.
vM'Gibbon, William, 63-56, 95, 96.
VM'Glashan, Alexander, 66.
vMacintosh, Abraham, 124.
vMackintosh, Robert, 75, 109-111.
VMacintyre, D., 124.
>>lMackay, Alexander, 124.
VM'Lean, Charles, 65, 92, 93.
Macleod, H. P., 124.
V Marshall, William, 125.
Millar, Edward, 33, 84.
\'Morison, William, 125.
Munro, Alexander, 47.
Mure, Sir William, of Rowallane
(Manuscripts), 86.
":■' Napier, William, 73, 74, 111, 112.
V Oswald, James, 48-51, 57, 58, 93-95.
vPeacock, Francis, 63-65, 126.
vPetrie, Robert, 126.
Playford, John, 34, 87-89.
i'Playford, Henry, 89-90.
VPorteus, James, 127.
^ Pringle, John, 127.
(•,y Ramsay's Tea-table Miscellany, 43.
Reid, General John, 58-60, 98-102.
\ Riddel], John, 69, 101.
Riddell, Robert, 76.
Ritson, Joseph, 77.
Robertson, Daniel, 128.
Ross, John, 79,128.
Sharpe, Charles K., 100.
Shepherd, William, 128.
■ Shirreffs, Andrew, 73.
Sibbald, James, 78. .
Sime, David, 74, 80.
Skene of Halyairds (Manuscripts),
86.
, Stewart, Neill, 62, 102.
Stewart, Charles, 129.
Stuart, Alexander, 43. /
Thomson, George, 75, 129.
Thomson, William, 41-43, 92.
Thumoth, Burk, 58, 98.
Urbani, Peter, 77, 78, 112, 113.
Vocal Miscellany, 78.
Walker, Archibald, 130.
Walker, James, 130.
Walsh, J., 52, 90.
Watts' Musical Miscellany, 43.
Wilson, William, 130.
Wood, Thomas (Manuscripts),
27-33, 81-84.
/C
ILLUSTRATIO^JS
OF THE
LYRIC POETRY AND MUSIC
OF
SCOTLAND.
PART I.
I.
THE HIGHLAND QUEEN.
The words and air of this song were composed by Mr Mac-
vicar, when purser of the Solbay man of war. It was originally
published as a half-sheet song, and Oswald afterwards in-
serted the music in his Caledonian Pocket Companion, book
xi, in 1750. The late Mr D. Herd inserted the words in the
first volume of his Scottish Songs, in 1776. The Highland
King, intended as a parody on the former, was the produc-
tion of a young lady, the friend of Charles Wilson of Edin-
burgh. It first appeared in a collection of songs, edited l)y
this Wilson, in 1779, entitled, St Cecilia, or the Lady and
Gentleman's Harmonious Companion.
II.
AN' THOU WERE MY AIN THING.
The late Mr Tytler of Woodhouselee, in his Dissertation
on Scotish Music, was of opinion, that this beautiful air must
have been composed between the period of the Restoration
and the Union. Mr William Thomson, editor of the Or-
pheus Caledonius, on the other hand, supposed it to have
been a composition of David Rizzio. Both opinions, how-
ever, are equally fanciful, and unsupported by evidence.
That the air, and first verse, including the chorus, of this
a II.— AN THOU WEEK MY AIN THING.
song are ancient, there can be no doubt, because, in 1725,
Thomson printed it as an ancient song ; but neither the name
of its composer, of the tune, nor that of the poet who wrote
the original words to which it is adapted, are now known.
It is remarkable, that the old verse, beginning with, " I
would clasp thee in my arms," is not to be found in Ram-
say's Tea Table Miscellany, although it appears in the Or-
pheus Caledonius. The four additional stanzas, beginning,
" Of race divine,'* are generally attributed to Ramsay, but
he himself annexes the letter X to the song, to denote that
the author was unknown.
III.
PEGGY, I MUST LOVE THEE.
>. Mr J. Stafford Smith, in his " Musica Antiqua," vol.
iii. p. 183, gives this beautiful air as the composition of the
celebrated Henry Purcell, because John Playford had printed
it as such in his " Musick's Handmaid," published at London
in 1689. The old Irish air called, " Lillibulero," is likewise
given by Smith as Purcell's composition. But neither the
Scotch nor the Irish air were composed by Purcell, (al-
though he might have put a bass to them for his old friend
Playford) nor have either of them the smallest resemblance
to any of the other compositions of this truly eminent master.
The Scottish air appears in a very old manuscript music book,
now in the possession of the editor, written in square or lo-
zenge shaped notes, under the title of, " Peggie, I must love
thee," in all probability, long before Purcell was born. Of
this ancient song nothing remains but the tune and the title,
for the verses to which the air is adapted, both in the Or-
pheus Caledonius, and in the Scots Musical Museum, were
the production of Allan Ramsay. His friend, Crawfurd,
likewise wrote a song to the same air, beginning, " Beneath
a beech's grateful shade," inserted in Mr George Thomson's
collection of Scots songs, vol. iii. p. 124, where it is beauti-
fully harmonized and arranged as a duet for two voices, by
the celebrated Dr Haydn. It may also be noticed enpasmni.
HI.— -PEGGY, I MUST EOVB THEE. S
that Henry Playford adapted an English song to the same
Scottish air, beginning, " Tom and Will were shepherd
swains,'' which was printed in his first volume of *' Wit and
Mirth," printed at London in 1698.
LILLIBURLERO and BULLEN- A-LAH were the pass
words used by the Irish papists in their massacre of the Pro-
testants in 1641. The song of Lilliburlero was written in
1686, on the king's nominating General Talbot, a furious pa-
pist, (newly created Earl of Tyrconnel) to the lieutenancy of
Ireland. This song contributed not a little towards the great
revolution in 1688. It is inserted in Percy's Reliques of An-
cient English Poetry, vol. ii. p. 365.
IV.
BESS, THE GAWKIE.
This song is the production of the late Rev. James Muir-
head, minister of the parish of Urr, in the province of Gallo-
way. Burns justly remarks, that " it is a beautiful song; and
in the genuine Scots taste. We have Jew pastoral composi-
tionSf I mean the pastoral of nature, that are equal to this."" —
See his Reliques by Cromek. This song appears in Herd's
collection in 1776.
v.
LORD GREGORY.
This is a very ancient Gallowegian melody. The two
verses adapted to the air in this collection, were compiled
from the fine old ballad, entitled, " The Lass of Lochroyan,"
which was first published in a perfect state by Sir Walter
Scott in his Minstrelsy of the Border, vol. ii. p. 41 1 . Burns
remarks, that " it is somewhat singular, that in Lanark,
Renfrew, Ayr, Wigton, Kirkcudbright, and Dumfries-shires,
there is scarcely an old song or tune, which, from the title,
&c. can be guessed to belong to, or be the production of
these counties. This, I conjecture, is one of these very few,
as the ballad, which is a long one, is called, both by tradition
and in printed collections, ' The Lass o' Lochroyan^ which
I take to be Lochroyan, in Galloway."— if^/ijwes, j?. 196.
VI.
THE BANKS OF TWEED.
Burns says, " this song is one of the many attempts that
the Enghsh composers have made to imitate the Scottish
manner, and which I shall, in these strictures, beg leave to
distinguish by the appellation of Anglo Scottish productions.
The music is pretty good, but the verses are just above con-
tempt."'— See Burns's Reliques.
If any resemblance can be traced between this melody and
those of Scotland, it does not, at all events, appear to be very
striking. For to what genuine Scottish air has there ever
been a regular recitative prefixed ? The English composer,
Mr Hook, certainly never meant it should pass for a Scottish
production, else he would not have displayed his name on
the original title-page. This song was very popular during
Mr Tenducci's residence in Scotland, and Johnson, at the
request of several of his subscribers, was induced to give it an
early place in his work. The greater part of the first volume
of the Museum was engraved before Burns and Johnson be-
came acquainted.
VII,
THE BEDS OF SWEET ROSES.
This Border melody was communicated to the editor by
Mr Stephen Clarke. Burns mentions, that when he was a
boy it was a very popular song in Ayrshire, and he has heard
those fanatics, the Buchanites, sing some of their nonsensical
rhymes, which they dignified with the name of hymns, to
this air. These itinerant visionaries were so denominated
from their leader, Elizabeth Buchan, the wife of one of the
proprietors of the Delft manufactory at Glasgow, by whom
she had several children. About 1779 she began to pro-
phecy, that the day of judgment was at hand, and that all
Christians ought to abandon their worldly aifairs, and be in
readiness to meet Christ. She soon gathered a number of
proselytes, and journeyed with them through several parts of
Scotland. Whilst in Nithsdale the Buchanites resided in a
barn, where the women span flax during the day, and re-
VII. — THE BEDS OF SWEET ROSES. 5
ceived their male visitors at night. The prophetess had as-
serted, that she was to be translated alive into heaven ; but
she died in 1791, and her infatuated disciples, after hiding
her body in a peat-moss, gradually dispersed. In Black-
wood's Magazine, vol. vi. p. 663, there is a very interesting
account of these singular enthusiasts.
VIII,
ROSLIN CASTLE.
" These beautiful verses (says Burns) were the produc-
tion of Richard Hewit, a young man that Dr Blacklock (to
'whom I am indebted for the anecdote) kept for some years as
an amanuensis. I do not know who is the author of the se-
cond song to the same tune. Tytler, in his amusing History
of Scottish Music, gives the air to Oswald ; but in Oswald's
own Collection of Scots Tunes, wherein he affixes an asterisk
to those he himself composed, he does not make the least
claim to the tune."
We have only to add, that Oswald was not the composer
of the air of Roslyn Castle. The same tune, note for note,
appears in a prior publication, namely M'Gibbon's Collection
of Scots Tunes, under the title of the " House of Glams.""
The old words which had been adapted to this air, however,
are now lost. The words of both the songs to this air ap-
peared in Herd's Collection, printed in 1776, and afterwards
in the collection entitled, St Cecilia, at Edinburgh, in 1779.
IX.
SAW YE JOHNIE COMIN'.
" This song, for genuine humour, and lively originality in
the air, is unparalleled. I take it to be very old." — Biirns's
Reliques.
This observation had been hastily made, for the air, either
when played or sung slowly, as it ought to be, is exceedingly
pathetic, not lively. Burns afterwards became sensible of
this; for, in one of his letters to Thomson, inserted in Currie's
edition of his works, he says, " I enclose you Fraser s set of
this tune ; when he plays it slow, in fact he makes it the lan-
guage of despair. Were it |)ossible, in singing, to give it
6 IX.— SAW TK JOHNIE COMIN*.
half the pathos which Fraser gives it in playing, it would
make ah admirable pathetic song. I shall here give you two
stanzas in that style, merely to try if it will be any improve-
ment.
I.
'' Thou hast left me ever, Jamie,
Thou hast left me ever ;
Often hast thou vow'd that death
Only should us sever ;
Now thou hast left thy lass for ay,
I must see thee never, Jamie,
I will see thee never.
II.
" Thou hast me forsaken, Jamie,
Thou hast me forsaken ;
Thou canst love another maid
While my heart is breaking ;
Soon my weary eyes I'll close
Never more to waken, Jamie,
Never more to waken."
Mr Thomas Fraser, to whom Burns alludes, was an inti-
mate acquaintance of the poet, and an excellent musician.
He still lives, and is at present (1820) the principal oboe con-
certo player in Edinburgh, of which city he is a native. His
style of playing the melodies of Scotland is peculiarly chaste
and masterly.
X.
WOO'D AND MARRIED AN' A'.
This humorous old song was omitted by Ramsay in his
Tea-table Miscellany, in 1724, although it was quite cur-
rent in the Border long before his time. Oswald inserted the
tune, and Herd the words, in their respective collections. The
following verses to the same air, in the genuine spirit of the
original, were written by Mrs Scott of Dunbartonshire.
I.
The grass had nae freedom o' growing.
As lang as she was nae awa ;
Nor in the town could there be stowin.
For wooers that wanted to ca :
Sic boxin, sic brawlin, sic dancin.
Sic bowin and shakin a paw.
The town was for ever in brulziM,
But now the lassie's awa.
i
X>-»MrOO'D AN» MARRIED AND a\
Woo'd and married and a',
Married and wood and awa'.
The dandelie toast o' the parish,
Is wQo'd and carried awa\
II.
But if he had ken'd her as I did,
His wooin it wad hae been sma ;
She kens neither bakin nor brewin.
Nor cardin, nor spinnin ava :
But a' her skill lies in buskin.
And O if her braws were awa.
She soon wad wear out o* the fashion.
And knit up her buggers wi' straw.
Woo'd and married, S^c.
III.
But yesterday I gaed to see her.
And O she was bonnie and braw ;
She cried on her gudeman to gie her
An ell o' red ribban or twa :
He took and he set down beside her
A wheelie and reelie to ca' ;
She cried, " was he that way to guide her,"
And out at the door and awa.
Woo'd and married, 8^c.
IV.
The road she took was to her mither,
Wha said, " Lassie, how gaes a' ?"
Quo she, " Was it for nae ither
That I was married awa.
But to be set down to a wheelie.
And at it for ever to ca' ?
An' syne to ha'et reel'd by a cheelie^
That's everly crying to draw ?"
Woo'd and married, S^c.
v.
Her mither said till her, " Hech ! Lassie,
He's wisest I fear o' the twa ;
There'll be little to put in the tassie,
Gif ye be sae backward to draw ;
For now ye should work like a tyger.
And at it baith wallop and ca',
Sae lang's ye hae youdith and vigour.
An' weanies and debt kept awa.
Woo'd and married, Sfc.
VI.
" Sae, swith ! awa hame to your haddin,
Ye're the mair fool for comin awa.
Ye manna be ilka day gaddin.
Nor gang sae white finger'd and braw ;
8 X.— woo'd and married and a'.
For now wi' a neebor ye're yokit.
And wi' him should cannily draw ;
Or else ye deserve to be knockit ;
So that's an answer for a."
Wood and married, 8^c,
VIII.
Young luckie thus fand hersel' nither'd,
And wish'd she had ne'er come awa ;
At length wi' hersel' she consider'd
That hameward 'twas better to draw.
And e'en tak her chance o' the landing
However that matters might fa'.
Folks manna on frets aye be standing.
That's woo'd and married and a'.
Wood and married, S^c.
Mrs Grant of Laggan wrote an English parody of Mrs
Scott's song, which Mr G. Thomson has inserted in his Col-
lection, vol, iii.
XI.
SAW YE NAE MY PEGGY.
This charming song (says Burns) is much older, and in-
deed superior to Ramsay's verses, " The Toast," as he calls
them. There is another set of the words much older still,
and which I take to be the original one ; but though it has
a very great deal of merit, it is not quite ladies' reading. The
original words, for they can scarcely be called verses, are still
older, and are familiar, from the cradle, to every Scottish ear.
Saw ye my Maggie,
Saw ye my Maggie,
Saw ye my Maggie,
Linkin o'er the lea ?
High killed was she.
High kilted was she.
High kilted was she.
Her coat aboon her knee, &c. &c.
Though it by no means follows, that the silliest verses to
an air must, for that reason, be the original song ; yet I
take this ballad, of which I have quoted part, to be the old
verses. The two songs in Ramsay, one of them evidently
his own, are never to be met with in the fire-side circle of our
XI. SAW YE NAE MY PEGGY. 9
peasantry, while that which I take to be the old song is in
every shepherd's mouth. Ramsay, I suppose, had thought
the old verses unworthy of a place in hi-s Collection. — Burns's
Reliques.
In Ramsay ""s Tea-table Miscellany we find his song,
called " The Toast," to the same tune, " Saw ye my
Peggy r' but he left out both of the old songs under this
title, to which Burns alludes. The first of these two songs
is still extant, but the words are not fit to be sung in a draw-
ing-room. The other, which is likewise older than Ramsay's
time, was not inserted in any regular collection of Scottish
songs till that of David Herd in 1769, from whence it was
copied into Johnson's Museum. The melody, however, is
inserted in the old manuscript music-book, in the editor's
possession, before alluded to, and was also printed in the first
edition of the Orpheus Caledonius, 1725.
XII.
THE BONNIE SCOTSMAN.
This song was written by Ramsay, who calls it " The
BoNiJY Scot, to the tune of the Boatman.'''' The old verses,
which had been adapted to this original Scottish melody, are
now however supposed to be lost. There is a striking co-
incidence in several bars, between this air and that of
" Nancy's to the Greenwood gane." Perhaps they were both
composed by the same minstrel. Thomson pubhshed Ram-
say's verses to the tune of " The Boatman," in his Orpheus
Caledonius, in 1725. The same melody appears in Craig's
Collection, A. D. 1730, and several subsequent musical publi-
cations.
XlII.
THE FLOWERS OF EDINBURGH.
This song, from intrinsic evidence, is not very ancient. It
is neither to be found in Ramsay's Miscellany, the Orpheus
Caledonius, nor in Craig or Macgibbon's Collections ; but
both of them are inserted in a collection of songs called,
" The Muses' Delight,'''' printed and sold by John Sadler,
Liverpool, 1754. In this work it is entitled, " The Flower
10 XIII. THE FLOWEKS OF EDINBURGH.
of Edinburgh, set by Signor D. Rizzio." Oswald has a copj
of the air in his Caledonian Pocket Companion, vol. iii.
printed in 1742 ; and the words appear in Herd's collection,
who has used some liberty with the original, though his al-
terations are neither numerous nor important. The Liver-
pool editor is unquestionably erroneous in ascribing the me-
lody to Rizzio, for there is reason to believe, that it was com-
posed subsequent to the year 1700. Indeed the editor is
creditably informed, that the tune only became a fashionable
' Scottish measure (a sort of hornpipe so called) about the year
^ /'■ 1740; and that it was subsequent to this period when the
verses appeared by an anonymous hand.
Burns says, that this song " is one of the many effusions
of Jacobitism. The title, Flowers of Edinburgh, has no
manner of connexion with the present verses, so I suspect
there has been on older set of words, of which the title is all
that remains." — Vide Ms Reliques.
The grounds our poet had for conjecturing that this song
was a Jacobite effusion, do not appear to be sufficiently plain.
No such song as the one alluded to is known to exist. Sub-
sequent to the year 1745, indeed, there was a Jacobite ballad,
which was frequently sung to this air, beginning,
To your ai-ms, to your arms, my bonny Highland lads !
To your arms, to your arms at the touk o' the drum !
The battle-trumpet sounds, put on your white cockades.
For Charlie, the great Prince Regent, is come.
But this ballad, which may be seen in Hogg's Jacobite
Reliques, has no allusion whatever to The Flowers ofEdin-
hurgh. It seems more likely that the composer of this Scotch
measure had given it the name in compliment to the young
ladies of the Scottish metropolis, who were then attending the
dancing schools.
Burns further observes, that " it is singular enough, that
the Scottish muses were all Jacobites. I have paid more
attention to every description of Scots songs than perhaps
any body living has done, and I do not recollect one single
Xnr.— THE FLOWERS OF EDINBURGH. 11
Stanza, nor even the title of the most trifling Scots air, which
has the least panegyrical reference to the families of Nassau
or Brunswick ; while there are hundreds satirizing them.
This may be thought no panegyric on the Scots poets, but I
mean it as such. For myself, I would always take it as a
compliment to have it said, that my heart ran before my
head ; and surely the gallant though unfortunate house of
Stuart, the kings of our fathers for so many heroic ages, is a
theme much more interesting than * * * »
Our poet's heart certainly hurried him, on some occasions,
too fast for his head ; for there were many songs composed in
Scotland at the time, diametrically opposite to Jacobitism.
The three following, excerpted from a MSS. collection of
loyal songs, composed for the use of the Revolution Club,
part of which was afterwards printed at Edinburgh, by A.
Donaldson and J. Reid, in 1761, may not be unacceptable as
counter specimens.
HIGHLAND LADDIE.
When you came over first frae France,
Bonny laddie, Highland laddie,
You swore to lead our king a dance.
Bonny laddie, Highland laddie;
And promis'd on your royal word.
Bonny laddie. Highland laddie,
To mak the Duke dance o'er the sword.
Bonny laddie, Highland laddie.
u.
Whan he to you began to play.
Bonny laddie. Highland laddie.
You quat the green and ran away.
Bonny laddie, Highland laddie ;
The dance thus turn'd into a chace.
Bonny laddie. Highland laddie.
It must be own'd you wan the race.
Bonny laddie, Highland laddie,
tii.
Your partners that came o'er frae France,
Bonny laddie. Highland laddie,
They understood not a Scots dance.
Bonny laddie, Highland laddie;
X^ XIII.— THE FL0WER9 OF EDINBURGH.
Therefore, their complaisance to shew.
Bonny laddie, Highland laddie.
Unto our Duke they bow'd right low.
Bonny laddie. Highland laddie.
IV.
If e'er you come to dance again,
Bonny laddie. Highland laddie.
New dancers you must bring frae Spain,
Bonny laddie. Highland laddie ;
And, that all things may be secure.
Bonny laddie. Highland laddie.
See that your dancers be not poor,
Bonnie laddie. Highland laddie.
V.
I think insurance you should make.
Bonny laddie. Highland laddie.
Lest dancing you should break your neck.
Bonny laddie. Highland laddie ;
For he that dances on a rope,
Bonnie laddie. Highland laddie.
Should not trust aU unto the Pope,
Bonny laddie. Highland laddie,
VI.
For dancing you were never made.
Bonny laddie. Highland laddie ;
Then, while 'tis time, leave off the trade.
Bonny laddie. Highland laddie ;
Be thankful for your last escape.
Bonny laddie. Highland laddie,
And, like your brother,* take a cap.
Bonny laddie. Highland laddie.
O BROTHER SANDIE.
To the Tune of " Lilli Bullero."
I.
O Brother Sandie, hear ye the news ?
Lilli bullero, hullen a la,
An army's just coming without any shoes.
Lilli bulle7'0, bullen a la.
To arms, to arms, brave boys to arms !
A true British cause for your courage doth call ;
Court, countiy, and city, against a banditti.
Lulli bullero, bullen a la.
II.
The Pope sends us over a bonny young lad, ;
Lilli bullero, ^c.
* Cardinal York, brother of Charles, and second son of James, deno-
minated " the Pretender."
XUI. — THE FLOWERS OF EDINBUHGH. 13
Who, to court British favour, wears a Highland plaid.
Lilli bullero, S^c.
To arms, to arms, &c.
III.
A protestant church from Rome doth advance,
Lilli bullero, <Sfc.
And, what is more rare, it brings freedom from France,
Lilli bullero, &;c.
To arms, to arms, &c
IV.
If this shall surprise you, there's news strangeryet,
Lilli bullero, Sfc.
He brings Highland money to pay British debt.
Lilli bullero, §'c.
To arms, to arms, &c.
V.
You must take it in coin, which the country affords,
Lilli bullero, S)C.
Instead of broad pieces, he pays with broad swords.
Lilli bullero, S^c.
To arms, to arms, &c
VI.
And sure this is paying you in the best ore ?
Lilli bullero, S^c.
For who once is thus paid, will never want more.
Lilli bullero, S^c.
To anns, to arms, &c.
GREAT WILLIAM OF NASSAU.
TcNE " The Nun and Abbess."
Great William of Nassau, who sav'd us from Rome,
Being born to make happy the ages to come.
First, by his sword, he rescu'd our cause.
And thereafter, for ever, secur'd it by laws.
II.
To prevent the surrender of Sovereign pow'r
To one who had sworn it away to the whore.
He settled, the crown on the Hanover line.
And defeated that right which some rogues call divine.
III.
May the Palatine race, who have ventur'd and lost.
For their country and God, be repayed their cost.
In a vast long train of generous blood.
On our throne, till 'tis ask'd where London has stood.
Many similar anti-jacobite songs might be quoted, but
these may suffice. Before concluding this long article, it
14 XIII.— THJS FLOWERS OF EDINBURGH.
may be proper to state that Burns himself wrote two pretty
stanzas to the tune of the Flowers of Edinburgh. They are
as follow :
T.
Here is the glen, and here the bower.
All underneath the birchen shade ;
The village bell has toU'd the hour,
0 what can stay my lovely maid !
'Tis not Maria's whispering call ; —
'Tis but the balmy, breathing gale,
Mixt with some warbler's dying fall.
The dewy star of eve to hail.
II.
It is Maria's voice I hear !
So calls the woodlark in the grove.
His little faithful mate to cheer, —
At once 'tis music — and tis love !
And art thou come, and art thou true !
O welcome dear to love and me !
And let us all our vows renew
Along the flowery banks of Cree*
Xiv.
JAMIE GAY.
The author of the words of this song is unknown, but
the music is the composition of Mr Berg. This song was
originally entitled, " The Happy Meeting," and was fre-
quently sung at Ranelagh, with considerable applause. It
is printed in the " London Songster," forW. Nicoll, St Paul's
Church-yard, London 1767, and afterwards by Herd in 1776.
Burns, in his Reliques, observes, " that it is a tolerable Anglo-
Scottish piece."
XV.
MY DEAR JOCKIE.
'^ This song was collected and pubhshed by Charles Wil-
son in his " St Cecilia, or Harmonious Companion," publish-
ed in 1779- The melody is uncommonly pretty, and is much
in the style of Mr James Hook's Anglo Scottish productions. J
We do not know, however, that it is actually his. Mr Jo- ^
The name of- a small river, on the west toast of Seotland.
XV.— MY SEAR JOCKIE. 15
seph Dale published the same song with introductory and
concluding symphonies, under the title of " Absent Jockey,"
in the second volume of Scottish songs ; but he has not fa-
voured us with the name either of the author or of the com-
poser.
Xvi.
FYE GAR RUB HER O'ER WI' STRAE.
This air is very ancient, but the precise era of its composi-
tion is unknown ; but it is at least as old as the reign of
Queen Mary, as it is inserted in a MS. music book written
in the old notation or tableture for the lute, about the begin-
ning of the reign of her son and successor James VI. This
fine old tune had remained very long a favourite in England,
for about the beginning of last century, it was adapted to an
English song beginning, " How can they taste of joys or grief ;
Who beauty's powers did never prove. Mr Gay also select-
ed it as a melody for one of his songs in his " Musical Opera
of Achilles," beginning, " Think what anguish," which was
performed at Covent Garden in 1733, after the author''s de-
cease. This song was sung by Miss Norsa, in the character
of Deidamia. Thomson published this tune to Ramsay's
verses in his Orpheus Caledonius in 1725, and Watts re-
printed both in his Musical Miscellany, vol. v. London,
1731. Burns observes, " it is self-evident that the first four
lines of this song are part of a song far more ancient than
Ramsay's beautiful verses wl^ich are annexed to then. As
music is the language of nature, and poetry, particularly
songs, are always less or mor6 localized (if I may be allowed / /
the verb), by some of the modifications of time and place,
this is the reason why so many of our Scots airs have out-
lived their original, and perhaps many subsequent sets of
verses ; except a single name, or phrase, or sometimes one or
two lines, simply to distinguish the tunes by. To this day,
among people who know nothing of Ramsay's verses, the
following is the song, and all the song that I ever heard :"—
16 XVI,— FYE GAR RUB HER o'bR Wl' STRAE.
" Gin ye meet a bonnie lassie,
Gie her a kiss and let her gae ;
But gin ye meet a dirty hizzie,
Fye, gar rub her o'er wi' strae.
Fye, gae rub her, rub her, rub her,
Fye, gae rub her o'er wi' strae ;
And gin ye meet a dirty hizzie,
Fye, gae rub her o'er wi' strae."
Burns s Reliques.
The song, as it is inserted in the Orpheus Caledonius,
Johnson's M useum, and other collections, is an abridgment of
Ramsay's spirited imitation of the " Vides ut alta stet nive can-
didum^'' of Horace, which Lord Woodhouselee considered as
one of the happiest efforts of the author's genius. The read-
er is here presented with a complete copy of this elegant poem.
Look up to Pentland's tow'ring tap,
Bury'd beneath great wreaths of snaw,
O'er ilka cleugh, ilk scar and slap.
As high as ony Roman wa'.
Driving their baws frae whins or tee.
There are nae gowfers to be seen ;
Nor dowsser fowk wysing a-jee
The byass-bouls on Tamson's green.
Then fling on coals and ripe the ribs.
And beek the house baith butt and ben ;
That mutchkin stoup it bauds but dribs,
Thea let's get in the tappit hen.
Good claret best keeps out the cauld.
And drives away the winter soon ;
It makes a man baith gash and bauld.
And heaves his saul beyond the moon.
Leave to the gods your ilka care ;
If that they think us worth theit while.
They can a rowth of blessings spare.
Which will our fashious fears beguile.
For what they have a mind to do.
That will they do should we gang wud ;
If they command the storms to blaw.
Then upo' sight the hailstones thud.
But soon as ere they cry, " Be quiet,"
The blattering winds dare nae mair move.
But cour into their caves, and wait
The high command of supreme Jove.
1
I
Let niest day come as it thinks fit.
The present minute's only ours :
On pleasure let's employ our wit.
And laugh at Fortune's fickle powers.
Be sure ye dinna quit the grip
Of ilka joy when ye are young.
Before auld age your vitals nip.
And lay ye twafald o'er a rung.
Sweet youth's a blyth and heartsome time ;
Then lads and lasses, while its May,
Gae pou the gowan in its prime.
Before it wither and decay.
Watch the saft minute of delight.
When Jenny speaks beneath her breath.
And kisses, laying a' the wyte
On you, if she kepp ony skaith.
" Haith, ye're ill-bred," she'll smiling say ;
" Ye'U worry me, ye greedy rook ;"
Syne frae your arms she'll run away.
And hide hersel' in some dark nook.
Her laugh will lead you to the place
Where lies the happiness j^ou want.
And plainly tells you to your face,
Nineteen nay-says are half a grant.
Now to her heaving bosom cling.
And sweetly toolie for a kiss ;
Frae her fair finger whop a ring.
As taiken of a future bUss,
These benisons, I'm very sure.
Are of the Gods' indulgent grant ;
Then, surly carles, whist, forbear
To plague us wi' your whining cant.
The ingenious reader will easily perceive, that the song of
" Fye gar rub her o'er wi"" strae"" is composed of the first four
old lines mentioned by Burns, and the seven concluding verses
of Ramsay's spirited and elegant Scottish version of Horace's
9th Ode. Ad Thaliarchum.
The other verses to the same tune in the Museum, begin-
ning, " Dear Roger, if your Jenny geek," are likewise by
Ramsay, and were introduced as one of the songs in his Gentle
Shepherd.
B
18
XVII.
THE LASS OF LIVINGSTON.
This tune is inserted in Mrs Crockat's Music Book, with
many other old Scottish airs, in 1 709 ; but, in all probability,
it is fully a century older ; for Ramsay, who was born in
1684, gives it as an ancient tune. Ramsay wrote new verses
to it, beginning, Pained with her slighting Jamie's love, and
published them in 1724. They afterwards appeared with the
music in the Orpheus Caledonius in 1725. The original
verses to this air, in three eight-line stanzas, are well known—
they have merit as to humour, but they are, as Burns justly
remarks, rather unfit for insertion. The old song begins,
The bonnie lass of Livingston,
Her name ye ken, her name ye ken;
And she has written in her contract
To lie her lane, to lie her lane.
&c. &c. &c.
xviir.
THE LAST TIME I CAME O'ER THE MUIR.
This air is of undoubted antiquity. Burns says, that
" Ramsay found the first line of this song, which had been
preserved as the title of the charming air, and then composed
the rest of the verses to suit that line. This has always a
finer effect than composing English words, or words with an
idea foreign to the spirit of the old title. When old titles of
songs convey any idea at all, they will generally be found to
be quite in the spirit of the air." — Burns's Reliques.
This conjecture of Burns turns out to be amazingly cor-
rect. In the Advocates' Library, Edinburgh, there are six
MSS Collections of old Scottish tunes, which had belonged to
Sir John Skene, who published the Acts of the Scots Parlia-
ment, with a treatise De verhorum sig?it/icatione, in 1597.
These MSS, now bound in one volume, bear Sir John's sig-
nature, and were probably compiled when he was a very
young man. They were presented a considerable time ago
to that Library, along with several other MSS, by one of Sir
John's descendants. In these Collections, the identical tune
1
XVIII. THE LAST TIME I CAME O'EH THE MOOIl. 19
of " The last time I came o'er the moor" occurs no less than
twice, and one of the sets commences with the two first lines
of the old song.
" Alace ! that I came o'er the moor
" And left my love beliind me."
Burns, in one of his letters to Mr Thomson concerning this
song, says, " there are several lines in it which are beautiful,
but, in my opinion — pardon me, revered shade of Ramsay !
the song is unworthy of the divine air." Burns, although he
did not altogether like Ramsay's song, seems, nevertheless, to
have felt an aversion to alter it. In another letter, addressed
to the same gentleman, he proceeds, " Ramsay, as every
other poet, has not been always equally happy in his pieces ;
still I cannot approve of taking such liberties with an author
as Mr W- proposes doing with The last time I came o'er
the moor. Let a poet, if he chooses, take up the idea of ano-
ther, and work it into a piece of his own ; but to mangle the
works of a poor bard, whose tuneful tongue is now mute for
ever in the dark and narrow house — by Heaven, 'twould be
sacrilege ! I grant that Mr W's version is an improvement,
but let him mend the song as the Highlander mended his
gun — hegave it a new stock^^ a new lock, and a newjmvrel^
XIX.
THE HAPPY MARRIAGE.
This elegant song, beginning, How blest has my time been,
•what joys have I Jcnown, is not a Scottish production. It was
written by Mr Edward Moore, author of Fables for the
Female Sex, The Gamester, a tragedy, and other esteemed
works. In this song, Mr Moore has not only exhibited a
charming picture of real domestic happiness, but has likewise
paid a delicate compliment to the amiable virtues of his wife.
This lady, whose name was Janet Hamilton, was a daughter
of Mr Hamilton, table-decker to the princesses. She had
also a poetical turn, and is said to have assisted her husband
in writing his tragedy. One specimen of her poetry was
handed about before their marriage, and afterwards appeared
20 XIX. THE HAPPY MARRIAGE.
in The Gentleman's Magazine, 174-9, page 192. It was ad-
dressed to a daughter of the famous Stephen Duck, and be-
ghis with the following stanza :
You will tliink it, my Duck, for the fault I must own.
Your Jessy, at last, is quite covetous grown ;
Though millions if fortune should lavisUy pour
I still should be wretched if I had not More.
After playing on his name with great delicacy and ingenuity
throuo-h half a dozen of other stanzas, she thus concludes :
You will wonder, my girl, who this dear one can be.
Whose merit can boast such a conquest as me ;
But you shan't know his name, though I told you before
It begins with an M ; but I dare not say More,
Mr Moore's works were printed in one volume, 4to. in
1756. He died a few months thereafter, viz. on 28th Feb-
ruary 1757.
XX.
THE LASS OF PATIE'S MILL.
Her maiden name, as we learn from the Statistical Ac-
count of Scotland, was Anderson, the only daughter and le-
gitimate child of John Anderson, Esq. of Patie's Mill, in the
parish of Keith-hall, and county of Aberdeen. Her father,
who generally went by the name of BlacJc John Anderson,
was likewise proprietor of the estates of Tullikearie in the
parish of Fintray, and Standing-stones in the parish of Dyce.
From her uncommon beauty, accomplishments, and prospect
of a large fortune, she had many admirers. Mr Sangster,
then Laird of Boddom, in attempting clandestinely to carry
the young lady off about the year 1550, was discovered by a
dog, and received a very rough chastisement from her father.
The disappointed lover, in revenge, wrote an ill-natured song,
of which her great-grandson, born in 1703, and now living
(in 1791) remembers these words,
Ye'U tell the gowk that gets her.
He gets but my auld sheen.
A more favoured lover composed a song to her praise, the
air of which only is now preserved. His name, likewise, was
Anderson. On this gentleman she bestowed her fair hand.
XX. THE LASS OF PATIE'S MILL, 21
and had several children by him. Having survived her first
husband, she was afterwards married to a Mr James George,
to whom she also bore a family. Like many other beauties,
she was latterly very unfortunate. Her father having killed
a man in the burgh of Inverurie, fled to Orkney, where his
maternal uncle was bishop. His flight — the derangement of
his affairs during his absence — and the expence of procuring
a pardon, ruined his estate. Several of the descendants of
this celebrated beauty reside in the parish of Keith-hall, and
the adjacent districts of that part of the country.
Allan Ramsay adapted his modern words to the old melo-
dy, and transferred the heroine of his muse to the parish of
Galston in the county of Air, where a mill with a similar
name Avas existing. Burns gives us the followinor account of
this translocation, upon the authority of Sir William Cun-
ningham of Robertland, Baronet, to whom the anecdote was
communicated by the late John, Earl of Loudon. " The
then Earl of Loudon, father of Earl John before-mentioned,
had Ramsay at London, and one day walking together by
the banks of Irvine-water, near New-mills, at a place yet
called Patie''s Mill, they were struck with the appearance of a
beautiful country girl. His lordship observed, that she
would be a fine theme for a song. Allan lagged behind in
returning to Loudon-castle, and at dinner produced this
identical song." — Burns' s Rellques.
Ritson says, that Ramsay's Lass of Patie's Mill, and some
others, must be allowed equal to any, and even, in point of
pastoral simplicity, superior to most lyric productions, either
in the Scottish or any other language. The second verse is
omitted in Mr George Thomson's Collection, probably from
an idea that the imagery was somewhat too warm. Ram-
say's verses appear in the Orpheus Caledonius ; but the air,
as has been shewn, is at least as old as the middle of the six-
teenth century.
99
XXI.
THE HIGHLAND LADDIE.
The two songs in the Museum, viz. the first beginning,
The Lawland lads thinJc they are fine, and the other, The
Lawland maids gang trig and fine, were both written by
Ramsay, and published by him in his Tea-Table Miscellany
in 1724. With regard to the tune, it is very ancient; a set
of it appears in a manuscript collection of airs in 1687. It ori-
ginally consisted of no more than one strain of eight bars, and
was copied in this primitive state, adapted to Ramsay's verses,
in the Orpheus Caledonius in 1725. The ancient words to
the tune are now lost, and Jthe second part or strain of this
tune is a modern interpolation.
XXII.
THE NEW HIGHLAND LADDIE.
X This beautiful melody was composed, by the celebrated Dr
Arne, to an English version of Ramsay's Highland Lassie.
Both words and music are printed in the Muses'' Delight, p.
66, Liverpool, 1754. The second set of verses, beginning.
Ah ! sure a pair was never seen, also adapted to Dr Arne's
tune, was written by R. B. Sheridan, Esq. and introduced
as a song in his musical opera of the Duenna, acted at Drury
Lane in 1775.
XXIII.
THE TURNIMSPIKE.
This truly comic ballad, beginning, Hersell he High-
land shentleman, by an anonymous author, does not ap-
pear either in the Tea-Table Miscellany or the Orpheus
Caledonius. It is preserved, however, in Herd's Collection
of 1769, with another ballad in the same style to the tune
of, " Had awa frae me, Donald," probably by the same
hand. From its excellent broad humour, and the ludicrous
specimen of a Highlander's broken English, it has long been
a popular favourite in the lower districts of Scotland. It is
adapted to the ancient air of " Clout the Caldron," of which
tradition relates, that the second Bishop Chisholm of Dun-
blane used to say, that if he were going to be hanged, no-
XXIII THE TURKIMSPIKE. 23
thing would sooth him so much as to hear this tune played
by the way.
In the Museum one stanza has been left out, apparently
from want of room. It should be placed between the 9th
and 10th stanzas. It is as follows :
Tey tak the horse ten by the head.
And tere tey make her stand, man ;
Me tell tern, me hae seen te day,
Tey had nae sic command, man.
The old song, beginning, " Have you ony pats or pans,"
may be seen in the Tea-table Miscellany, and the Orpheus
Caledonius, 1725. Burns observes, that " the air is also
known by the name of the Blacksmith and his apron, which,
from the rhythm seems to have been a line of some old song
to the same tune." — Reliques.
XXIV.
BLYTHE JOCKEY,
Both the air and words of this Anglo-Scottish song, be-
ginning, My Jocky is the hlythest lad, are comparatively mo-
dern. It came out about the year 1769, and was inserted in
the first edition of Horsfield's Songster's Companion, 2 vols
12mo. London, 1770. The first set of verses in the Museum
are slightly altered from the copy in Horsfield's Collection,
and in Wilson's Cecilia, published in 1779- The other verses
to the same tune, beginning. To Jly like bird from grove to
grove, are pretty ; but their author is yet anonymous. They
were also taken from Horsfield's Songster, Vol. II. p. 2^0.
XXV.
AULD LANG SYNE.
These verses, with the exception of the first line, which
is the title of the old tune, are wholly by Ramsay. They
appeared in his Tea-Table Miscellany in 1724, and again in
1725, along with the music in the Orpheus Caledonius.
About the year 1790, Burns was so fortunate as to recover
some fine original verses of the older ballad, as he himself
informs us, from an old man's singing them to him. He af-
terwards communicated them to the editor of the Museum,
24 AULD LANG SYNE.
to Mrs Dunlop, and to Mr George Thomson. Burns speaks
with rapture of this recovery. In a letter to Mrs Dunlop, he
says, " Hght be the turf on the breast of the Heaven-inspired
poet who composed this glorious fragment ! There is more
of the fire of native genius in it than in half a dozen of modern
English bacchanahans." The reader will find this fine old
fragment in the fifth volume of the Scots Musical Museum, p.
426, where it is set to the original Lowland air of Auld lang-
syne. It has since been published by Mr George Thom-
son, in his Collection of Scottish Songs, adapted to a very
beautiful and more modern air, now generally known by the
name of Sir Alexander Doti's Strathspey. This latter tune
has nearly superseded the old air, as the verses are now sel-
dom, if ever, sung to any other. The history of this air is
somewhat curious. Mr William Shield, in his overture to
Rosina, acted at Covent Garden in 1783, introduced into
this overture two strains of an old Scottish strathspey, slightly
altered, entitled, " The Millers Daughter." Some years
thereafter, Mr Gow published Shield's copy of the tune in his
Collection of Reels and Strathspeys ; and, in compliment to
the late worthy Baronet of Newton Don, gave it the name of
Sir Alexander Don's Strathspey. The late Sir Alexander
Don was an excellent musical amateur, and some persons,
from this circumstance, have been erroneously led to ima-
gine that he was the composer of the air.
xxvir.
THE GENTLE SWAIN.
Theke are two sets of verses in the Museum, both of
Avhich are adapted to the tune of Jockey'' s gray hreelcs. With
regard to the melody. Burns observes, that " though it has
certainly evei-y evidence of being a Scottish air, yet there is a
well-knoAvn tune in the north of Ireland, called the ' Wearoer
and his Shuttle, O,' which, though sung much quicker, is
every note the very tune.'"'— Eeliques.
The old slow Scottish air, which is in triple time, is pre-
served in Oswald's Collection, Vol. II. p. 32. Oswald him-
XXVI.— THE GENTLE SWAIN, 25
self, although he lays no claim to it, it is believed, composed
the more modern tune in common time, and inserted it in
the same collection, which first appeared in 1742, conse-
quently the tune adapted to the verses in the Museum, as
well as to the song of " The Weaver and his Shuttle,"" can-
not be many years anterior to that date. Oswald, however,
borrowed the subject of his air from the older melody. Every
musician knows how easy a matter it is to change a tune from
triple to common time, and vice versa, though, to an unex-
perienced ear, the air might seem totally different.
This tune appears to have been highly relished by our
poet, for in a subsequent part of his remarks, he says, that
" to sing so beautiful an air to such execrable verses is down-
right (prostitution) of common sense. The Scots verses," he
adds, " are indeed tolerable." — Reliqices. Burns, however, is
certainly too severe in his strictures on the harmless effusions
of this anonymous " Gentle Swain," whose verses indeed,
though far short of sublimity, do not seem to merit the harsh
epithet of execrable. The other set of verses, to which the
poet alludes, beginning, " Jenny's heart Avas frank and free,"
and which, he admits, are tolerable, was written by Mr
Mayne, formerly of Glasgow, who likewise composed some
beautiful verses to the tune of " Logan Water," Mr Mayne
is also the author of the Siller Gun, and several other pieces
of considerable poetical merit.
As this melody was a particular favourite of Burns, he did
not permit it to slip away unwedded to his muse. The fol-
lowing beautiful stanzas were accordingly composed by him,
which are admirably suited to the air. They appear in Mr
Thomson's Collection, p. 108, under the title of
THE LASS OF BALLOCHMYLE.
I.
'TwAS even, — the dewy fields were green.
On every blade the pearls hung ;
The zephyr wanton'd round the bean.
And bore its fragrant sweets along !
26 XXV[. THE GENTLE SWAIN.
In ev'ry glen the mavis sang.
All nature list'ning seem'd the while.
Except where green-wood echoes rang
Amang the braes o' Ballochmyle.
II.
With careless steps I onward stray 'd.
My heart rejoic'd in nature's joy.
When, musing in a lonely glade,
A maiden fair I chanc'd to spy :
Her look was like the morning's eye.
Her air like nature's vernal smile ;
The lily's hue and rose's dye
Proclaim'd the lass o' Ballochmyle.
III.
Fair is the morn in flowery May,
And sweet is night in autumn mild.
When roving through the garden gay.
Or wand' ring in the lonely wild :
But woman, nature's darling child.
There all her charms she does compile ;
Even there her other works are foil'd
By the bonny lass o' Ballochmyle.
IV.
O had she been a country maid.
And I the happy country swain,
Tho' shelter'd in the lowest shed
That ever rose on Scotland's plain !
Through weary winter's wind and rain.
With joy, with rapture, I would toil.
And nightly to my bosom strain
The bonny lass o' Ballochmyle.
V.
Then pride might climb the slipp'ry steep.
Where fame and honours lofty shine.
And thirst of gold might tempt the deep.
Or downward seek the Indian mine :
Give me the cot below the pine.
To tend the flocks or till the soil.
And every day has joys divine
With the bonny lass o' Ballochmyle.
The older set of verses to the same air, which Johnson,
from an unaccountable fastidiousness, had rejected, are not
destitute of merit. These artless strains are still sung in
Scotland at every country fire- side, and it now becomes a
matter of justice to restore them.
XXVI. THE GENTLE SWAIN. 27
JOHNNY'S GREY BREEKS*
I.
When I was in my se'enteenth year
I was baitli blythe and bonnie, O ;
The lads loo'd me baith far and near.
But I loo'd nane but Johnny^ 0.
He gained my heart in twa three weeks.
He spak sae blythe and kindly, O ;
And I made him new grey breeks
That fitted him most finely, O.
II.
He was a handsome fellow,
His humour was baith frank and free;
His bonny lockS;, sae yellow.
Like gowd they glitter'd in my ee ; —
His dimpl'd chin and rosy cheeks,
And face so fair and ruddy, 0 ;
And then a day his grey breeks
Were neither auld nor duddy, 0.
III.
But now they are quite thread-bare worn.
And wider than they used to be ;
They're a' tash'd-like and unco torn.
And clouted sair on Uka knee :
But gin I had a simmer's day.
As I hae had right mony, O,
I'll make a web o' new grey.
To be breeks to my Johnny, 0.
IV.
For he's weel wordy o' them.
And better than I hae to gie ;
But I'll take pains upo' them.
And strive frae faults to keep them free.
To dead him weel shall be my care.
And please him a' my study, O ;
But he maun wear the auld pair
Awee, tho' they be duddy, 0.
I have seen two additional stanzas to the song, but they
appear to be the production of a different and very inferior
pen ; they are hkewise coarse, and inadmissible on the score
of delicacy.
xxviir.
HE STOLE MY TENDER HEART AWAY.
" This song, says Burns, is an Anglo- Scottish production,
but by no means a bad one."" — Reliques. This beautiful
melody, to which the verses are set, is the composition of
28 XXVIII.— HE STOLE MY TENDER HEART AWAy.
Sig. Thomaso Giordani, a native of Italy. It was originally
adapted to a French song, beginning, Lison dormoit dans un
boccage, of which the stanzas in the Museum are an English
version, and possess no small share of elegance and pastoral
simplicity. This fine air was arranged as a lesson for the
piano-forte or harpsichord, by the celebrated Wolfang Ama-
deus Mozart, and it has been very much and very deservedly
admired by all who have heard it.
XXIX.
BLYTHE JOCKEY YOUNG AND GAY. - cr
This song is of considerable antiquity. It is inserted in a
musical manuscript, written about 1680. An imperfect copy
of the tune and words afterwards found their way into Henry
Playford's Mirtli and Wit, first edition, in 1698. The two
middle stanzas are omitted in Playford's copy, and he has
also taken some liberties with the air. Both of these, how-
ever, are restored to their original state in the Museum. In
1773, Mr James Hook of London set the same verses to an
air of his own composition, which was sung at Vauxhall Gar-
dens that year with applause. /;
XXX.
BONNY BESSY.
This song was written by Ramsay, and published by him in
his Tea-Table Miscellany, in 1724, to the old tune of Bessie's
haggis, which, from the title, would seem to have been a
very humorous old Scottish song, now supposed to be lost.
Ilamsay''s words, adapted to the music, appear in the Orpheus
Caledonius in 1725. About the year 1745, a Jacobite parody
of the old song came into vogue. It began,
Ken ye wha supped Bessy's haggles ?
Ken ye wha diimer'd on our Bessy's haggles ?
Four good lords and three bonny ladies^
A' to dinner on our Bessy's haggles.
Ae gude chief wi' his gear and his glaumrie.
Lords on the bed and Dukes In the aumrie ;
There was a khig's son cover'd o'er wi' raggies,
A' for to dinner on our Bessy's haggles.
XXX. BONNY BESSY. 29
This song is inserted at large in Hogg's Jacobite Reliques,
vol. ii. p. 191, et seq.
XXXI.
TWINE WEEL THE PLAIDEN.
I KEMEMBEK an old lady who sang these verses to a very-
plaintive and simple air in slow treble time, a copy of which,
but corrupted with embellishments, appears in Oswald's Col-
lection, No 12, under the title of " The lassie lost her silken
snood." Napier, who first published the song, being unac-
quainted, perhaps, with the original melody, adapted the
verses to the same air which is inserted in Johnson's Mu-
suem. This song, though undoubtedly of considerable anti-
quity, is neither to be found in the Orpheus Caledonius, nor
in Ramsay's Tea-Table Miscellany.
xxxir.
FAIREST OF THE FAIR.
Burns observes, that " it is too bare-faced to take Dr
Percy's charming song, and by the means of transposing a
few English words into Scots, to offer it to pass for a Scots
^ ^song. I was not unacquainted with the editor until the first
volume was nearly finished, else, had I known in time, I
would have prevented such an impudent absurdity" — Re-
liques. These remarks are equally true and candid ; yet it
may not be improper to observe, that even Bishop Percy, when
he Avrote these elegant verses, might have had in view the
Scottish song inserted in Ramsay's Tea-Table Miscellany, en-
titled, " The young Laird and Edinburgh Kate." The
structure of the stanza in both songs is exactly alike, and one
cannot but remark, that the Bishop's song commences in
words nearly similar to the second stanza of the other.
Old Song, verse 2d.
0 Katy wiltu gang wi me.
And leave the dinsonne town awhile ;
The blossom's sprouthig from the tree.
And a' the simmer's gawn to smile.
30
XXXII FAIREST OF THE FAIR.
The Bishop's song begins,
O Nancy, wilt thou go with me,
Nor sigh to leave the flaunting town ?
Can silent glens have charms for thee.
The lowly cot and russet gown ?
But, be this as it may, it must be admitted that the Bishop''s
verses, which were adapted to a beautiful air, composed by
Mr Thomas Carter, and sung by Mr Vernon at Vauxhail in
1773, form one of the most successful imitations of the Scottish
pastoral ballad which has ever yet appeared on the south side
of the Tweed. This beautiful Anglo-Scottish song is here
presented to the reader.
OH, NANCY, WILT THOU GO WITH ME.
Words hj Bishop PERcr. Music hy Mr Thomas Carter. 1773.
/^-^ H.
Oh, Nan-cy, wilt thou go with me. Nor sigh to leave the
XXXir. ^FAlREST OF THE PAIR.
31
i^^Si^^^^;^^
silk - en sheen^ No long- - er deck'd with jew - els rare ;
^
Ji
-"P-
Ifegp-CXfeggaSr^^^P^
Say, canst thou quit each court - ly scene. Where thou wert
Iq p P- r 0-
ig:
-sh:~
%
:ai:
tm
p-^-
^-.
fair - est of the fair ? Say, canst thou quit each
^iS^liii^^^
B^
courtly scene. Where thou wert fairest of the fair? Where
^
±t:
thou wert fairest. Where thou wert fairest. Where
I I t f » I I I
32
xxxrir.
THE BLATHRIE O'T.
This artless melody of one strain, in the minor mode, car-
ries with it every mark of antiquity, and the pretty verses in
the Museum are admirably adapted to the air. Kelly, who
published his Scottish Proverbs in 1721, tells us, it was then
an old song. In Yair''s Charmers^ however, printed 1749,
there appears another version of the same song, which is di-
rected to be suns to the tune of " Dunbarton Drums." As
the latter version has been copied both by Herd and Ritson
in their respective collections, it is here annexed.
I.
When I think on this warld's pelf.
And how little I hae o't to myself;
I sigh when I look on my thread-bare coat.
And shame fa' the gear and the bagrie o't.
II.
Johnny was the lad that held the plough.
But now he has goud and gear enough ;
I weel mind the day when he wasna worth a groat.
And shame fa', &c.
III.
Jenny was the lass that mucked the byre.
But now she goes in her silken attire;
And she was a lass who wore a plaiden coat.
And shame fa', &c.
IV.
Yet a' this shall never daunton me,
Sae lang's I keep my fancy free ;
While I've but a penny to pay t'other pot,
May the deil tak the gear and the bagrie o't.*
Burns says, " the following is a set of this song, which was
the earliest I remember to have got by heart. When a
child, an old woman sung it to me, and I picked it up, every
word, at first hearing."
I.
O Willie weel I mind I lent you my hand.
To sing you a song which you did me comniand ;
But my memory's so bad, I had almost forgot.
That you called it the gear and the blaithrie o't.
* " Shame fa the gear and the lladry o't," says Kelly, is the turn of an old
Scottish song, spoken when a young handsome girl marries an old man upon ac-
count of his wealth." — Scots Proverbs, page 296. It would, therefore, seem, that
the version in the Museum is the older of the two.
XXXIII.— -THE BLATHRIE o't, 33
II.
I'll not sing about confusion, delusion, or pride,
I'll sing about a laddie was for a virtuous bride ;
For virtue is an ornament that time will never rot.
And preferable to gear and the blaithrie o't.
III.
Tho* my lassie has nae scarlets nor silks to put on.
We envy not the greatest that sits upon the throne ;
I wad rather hae my lassie, tho' she came in her smock.
Than a princess wi' the gear and the blaithrie o't.
IV.
Tho' we hae nae horses nor menzie at command.
We will toil on our foot, and we'll work wi' our hand j
And when wearied without rest, we'll find it sweet in any spot.
And we'll value not the gear and the blaithrie o't.
V.
If we hae ony babies, we'll count them as lent ;
Hae we less, hae we mair, we will aye be content ;
For they say they hae mair pleasure that wins but a groat.
Than the miser wi' his gear and the blaithrie o't.
VI.
I'll not meddle wi' th' affairs o' the kirk or the queen.
They're nae matters for a sang, let them sink, let them swim;
On your kirk I'll ne'er encroach, but I'll hold it still remote,
Sae tak this for the gear and the blaithrie o't.
Vide Reliques.
As the last stanza speaks of meddling with the affairs of
the hirk or the queen, it is probable that the verses recover-
ed by Burns were written in the time of Queen Anne, per-
haps about the year 1710.
Oswald added a second strain to this very ancient tune,
which is printed in the fifth volume of his Pocket Compa-
nion, page 23, under the title of " Deil take the gear ;" but it
is quite unsuitable for the ordinary compass of the human
voice, being almost a repetition of the first strain, set an oc-
tave higher.
XXXIV.
LUCKY NANCY.
In Ramsay's Tea-Table Miscellany these truly comic
verses are directed to be sung to the old air of " Dainty
Davie. '''' They are accordingly adapted to this tune in the
Museum. The tune of Dainty Davy is inserted in Play-
34 XXXIV. LUCKY >rANCY.
ford's Dancing-Master, first published in 1657. It is clear,
therefore, that there was a song under this title, long before
the well-known story about the Rev. David Williamson and
the daughter of the Laird of Cherrytrees.
From the letter Q being affixed to this song in Ramsay's
work, (by which, he tells us, is meant, old songs with addi-
tions) Bvirns was induced to conjecture, that nothing but the
chorus was old, and that Ramsay himself was the author of
the song. In a communication, however, by Lord Wood-
houselee to Mr R. H. Cromek, his Lordship says, " I have
good reason to believe, that no part of the words of this song
was written by Ramsay. I have been informed, by good
authority, that the words, as printed in Ramsay's Collection,
were written by the Hon. Duncan Forbes, Lord Pi-esident of
the Court of Session." — See CromeJc's Select Scottish So7iffSi
ancient and modern, with critical observations and biogra-
phical notices, by Robert Burns, vol. ii. p. 188.
XXXV.
MAY-EVE, OR KATE OF ABERDEEN.
This song was written by the late Mr John Cunningham,
the poet and comedian, about the year 1766, and set to mu-
sic by Mr Jonathan Battishill, a celebrated English compo-
ser, who obtained the gold medal in 1770 for his well-known
glee for three voices, Underneath this myrtle shade. This
song was printed without the music in the London Song-
ster, in 1767, and was frequently sung by Miss Polly Young
at Vauxhall Gardens, with great applause. Burns says, that
" Kate of Aberdeen" is, I believe, the work of poor Cun-
ningham the player, of whom the following anecdote, though
told before, deserves a recital. — "A fat dignitary of the church,
coming past Cunningham one Sunday, as the poor poet was
busy plying a fishing-rod in some stream near Durham, his na-
tive country, his reverence reprimanded Cunningham very se-
verely for such an occupation on such a day. The poor poet,
with that inoffensive gentleness of manners which was his
peculiar characteristic, replied, that he hoped God and his
XXXV. — MAY-EVE, OR KATE OF ABERDEEN. 35
reverence Avould forgive his seeming profanity of that sacred
day, as he had no dinner to eat hut what lay at the bottom
of that pool. This, Mr Woods the player, who knew Cun-
ningham well, and esteemed him much, assured me was
true."" — Reliques.
The late Mr William Woods, of the Theatre Royal,
Edinburgh, was incorrect when he told Burns that Durham
was the place of Cunningham's nativity. He was born in the
year 1729 in Dublin, where his father, an eminent wine-
merchant, (who was a descendant of the Cunninghams of
Enterkine in Ayrshire) then resided. At the age of twelve
he wrote several little poems, which are still admired, and he
produced the only dramatic performance he left, viz. Love in
a Mist, before he was seventeen. Although both his voice
and figure were rather against him, his passion for the stage
obtained so strong a power over him, that he secretly left his
parents, and embarked for England. After experiencing va-
rious vicissitudes of fortune as an itinerant player, he was, in
1761, engaged as a performer at the Edinburgh Theatre, at
that time under the direction of Mr Love. Here he wrote
some of his best pieces, and, as a poet, began to emerge from
obscurity. He afterwards repaired to London, in hopes of
obtaining a more comfortable, as well as a more respectable
subsistence in the literary world; but the bookseller, by whom
he was employed, in a short time became bankrupt, and he
once more returned to Scotland. At this period he was en-
gaged by Mr Digges, who had now become manager of the
Edinburgh Theatre, who treated our author with uncom-
mon respect • and kindness. Mr Cunningham resided in
Edinburgh during the whole of Mr Digges' management of
the Theatre. He then went to Newcastle-upon-Tyne, which
had formerly been his residence for several years, and which,
to his last breath, he used emphatically to call his home. At
this place, and in the neighbouring towns, he earned a mo-
derate subsistence, and was much esteemed by several of the
most respectable characters in the country. Mr Cunningham
36 XXXV.— MAY-EVE, OR KATE OF ABERDEEN.
died at Newcastle on the 18th September, 1773, and was
buried in St John's Church-yard.
XXXVI.
TWEED-SIDE.
In the Muses Delight, printed at Liverpool in 1754, this
beautiful old Scottish melody is erroneously attributed to Sig-
nor David Rizzio, a musician in the service of Mary, Queen
of Scots. The real name of the composer is unknown.
Prior to the birth of Ramsay, in 1684, it was adapted to the
following verses, which are said to have been written by Lord
Yester.
When Maggie and I were acquaint,
I carried my noddle fii' hie ;
Nae lint-white on aU the gay plain.
Nor gowdspink sae bonny as she.
I whistled, I pip'd, and I sang,
I woo'd, but I came nae great speed.
Therefore I maun wander abroad.
And lay my banes far frae the Tweed.
To Maggie my love I did tell,
Saut tears did my passion express ;
Alas ! for I loo'd her o'er well.
And the lasses loe sic a man less :
Her heart it was frozen and cauld.
Her pride had my ruin decreed.
Therefore I wiU wander abroad.
And lay my banes far frae the Tweed.
The beautiful song, beginning, What beauties does
Flora disclose, was written prior to 1724, as it was printed
in Ramsay's Collection that year, and again in 1725, with the
music, in the Orpheus Caledonius. The author was Mr
William Crawfurd, of the house of Auchinames, in the
county of Renfrew, an intimate friend and correspondent of
Hamilton of Bangour. — See Lord Woodhouselee''s Life of
Lord Kaims, vol. i. According to the testimony of Sir Wal-
ter Scott, Bart, the lady who is celebrated in Crawfurd's
song was a Miss Mary LiUias Scott, one of the daughters of
Walter Scott, Esq. of Harden, an estate delightfully situated
on the north side of the Tweed, about four miles below Mel-
rose, This lady was a descendant of another celebrated
beauty, Mary Scott, daughter of Mr Scott of Dryhope,
XXXVI.— TWEED-SIDE. 37
in Selkirkshire, famous by the traditional name of " The
Flower of Yarrow." Miss M. L. Scott of Harden was
certainly, in her youth, one of the greatest beauties in
Scotland. She, as well as her elder sister, who was rather
plain than handsome, were both excellent singers. The
youngest sister, in particular, frequently sung the bal-
lad of Lochaber with such feeling and effect, as to draw tears
from those who heard her. The Duke of Hamilton, who
was a great admirer of this lady, had her picture painted by
Ramsay, the poet's son. It was esteemed a good likeness.
Pennant takes notice of this picture ; but the editor is un-
certain if it still remains in Hamilton Palace. In Burns's
Reliques, it is said that the Christian name of the poet was
Robert Crawford, and that the Mary he celebrated was a
Mary Stewart, of the Castlemilk family, afterwards married
to a Mr John Ritchie. As to both these points, the infor-
mation which Burns received appears to have been incorrect.
Mr Gay selected this beautiful air for one of his songs in
the opera of " Polly," beginning. The stag, when chac'd all
the long day — printed in 1729.
XXXVII.
MARY'S DREAM.
This beautiful song, as well as the first set of the tune, are
the composition of Mr John Lowe, who was born at Ken-
more in Galloway, in the year 1750. His father was gar-
dener to the Hon. Mr Gordon of Kenmore, son of that un-
fortunate nobleman who paid the forfeit of his life and titles
for his adherence to the House of Stewart in 1715. Lowe
was the eldest son of a numerous family, and received a
pretty liberal education at the parish-school of Kells. At
the age of fourteen, he was bound apprentice to a respectable
weaver of the name of Heron, father of the late Robert
Heron, author of the History of Scotland, in six volumes,
and other works. This profession, though dictated by the
necessity of a parent, was neither congenial to the feelings
nor genius of young Lowe. By his own industry, however,
he was afterwards enabled to place himself under the tuition
38 XXXVII. — Mary's dream.
of Mr Mackay, then schoolmaster of Carsphairn, an eminent
master of the languages. Lowe at this time employed his
evenings in teaching church-music, as he possessed a very
just ear, sung well, and played with considerable skill upon
the violin. These qualities, added to a happy temper and
a fine flow of animal spirits, soon gained him many friends,
through whose assistance our poet was, in 1771, enabled to
enter himself a student of divinity in the University of Edin-
burgh, On his first return from college, he became tutor in
the family of Mr M'Ghie of Airds, an amiable country gen-
tleman, who had several beautiful daughters. In this ro-
mantic abode, so favourable to the descriptive muse, Lowe
composed many little pieces, of which, it is to be regretted,
few copies are now to be found, though there are some
songs of his composition still sung by the common people of
the Glenkens in Galloway. He also composed a pretty long
pastoral, entitled, " Morning, a Poem," which is still preserved
in his own hand-writing, and another fine song, Pompey's
Ghost. He likewise attempted to write a tragedy, but no
part of it is now to be found. About this time Mr Alexan-
der Miller, a surgeon, who had been engaged to Mary,
one of the young ladies of Airds, was unfortunately lost at
sea, an event which would probably now have been forgotten
but for the exquisitely tender and pathetic song of Mary's
Dream, which has given to it immortality. It is presumed,
that our poet was sensibly alive to the misfortunes of a young
lady, whose sister had inspired him also with the tenderest
passion ; but it was not their fate to be united.
After finishing his studies at the Divinity-hall, and seeing
no prospect of obtaining a living in his native country, Mr
Lowe, in 1773, embarked for America. For sometime he
acted as tutor to the family of a brother of the great Wa-
shington, a situation which supplied some hopes of advance-
ment. He next opened an academy for the education of
young gentlemen in Fredericksburgh, Virginia,' which was
given up upon his taking orders in the church of England.
After this event he married a Virginian lady, who unfortu-
XXXVII.— Mary's dream. 39
nately proved his ruin. She was not only regardless of his
happiness, but even unfaithful to his bed. Overwhelmed
with shame, disappointment, and sorrow, the vigour of his
constitution was broken, and he fell into an untimely grave,
in 1798, in the 48th year of his age. His remains were in-
terred under the shade of two palm-trees, near Fredericks-
burg, without even a stone to write, " Mary, weep no more
for me."
This truly elegant and popular ballad, however, Mr Cro-
mek informs us, was originally composed by Lowe in the
Scottish dialect, before he gave it the polished English form.
As the older ballad may be interesting to some readers in
original Scottish garb, it is here subjoined.
I.
The lovely moon had climbed the hill,
Where eagles big aboon the Dee ;
And like the looks of a lovely dame.
Brought joy to every body's ee.
A' but sweet Mary deep in sleep.
Her thoughts on Sandie far at sea ;
A voice drapt saftly on her ear,
" Sweet Mary, weep nae mair for me !"
II.
She lifted up her waukening een.
To see from vs^hence the voice might be.
And there she saw her Sandy stand.
Pale-bending on her his hollow ee !
0 Mary dear, lament nae mair,
I'm in death's thraws aneath the sea J
Thy weeping makes me sad in bliss,
Sae, Mary, weep nae mair for me 1
III.
The wind slept when we left the bay,
But soon it wak'd and rais'd the main.
And God, he bore us down the deep.
Who strave wi' Him, but strave in vain !
He stretch'd his arm and took me up,
Tho' laith I was to gang but thee ;
1 look frae heaven aboon the storm,
Sae, Mary, weep nae nlair for me !
IV.
Take off thae bride-sheets frae thy bed,
Which thou hast faulded down for me ;
Unrobe thee of thy earthly stole —
I'll meet in heaven, aboon, wi' thee.
40 XXXVII.— MARY'S DREAM.
Three times the grey cock flapt his wing.
To mark the morning lift his ee.
And thrice the passing spirit said.
Sweet Mary, weep nae mair for me !
XXXVIII.
NEW SET OF MARY'S DREAM.
This second set of the air to Lowe's song, is, I believe,
the composition of my friend Mr Schetky, the celebrated
Violoncello player in Edinburgh.
Mary M'Ghie, the heroine of both songs, was afterwards
married to a very respectable gentleman, and died in England
about two years ago.
xxxix.
WATER PARTED FROM THE SEA.
We are indebted both for the words and music of this fine
English song to that eminent composer, Thomas Augustine
Arne, Mus. Doc. It was originally sung by Mr Tenducci
in the English opera of Artaxerxes, first performed at Covent
Garden in February 1762. Dr Arne was the brother of
Mrs Gibber, the celebrated singer and actress, and the father
of Michael Arne, who likewise became an excellent musician.
Many of Dr Arne's ballads were professed imitations of the
Scottish style, and, in his other songs, he frequently dropped
into it, though perhaps without design. He is generally
supposed to have been the Dr Catgut of Foote's comedy of
"The Commissary," acted at Hay-market in 1765. Dr
Arne was born at London in March 1710, and died there of
a spasmodic complaint, on 5th of March 1778.
XL.
THE MAID THAT TENDS THE GOATS.
This fine pastoral song was written by Mr Robert Dud-
geon, farmer at Preston, near Dunse, in the county of Ber-
wick. Some elegant poetical compositions (still unpublished)
are likewise attributed to this modest and unassuming writer.
The air of this song is said to be of Gaelic origin, and that it
is called, ^'^ Nian dounnan gohJiar^''' See Eraser's Highland
Melodies. The editor never met with this Highland song,
5
XL.— THE MAID THAT TENDS THE GOATS. 41
neither did he ever hear the tune, until it was pubhshed with
Mr Dudgeon's .verses.
XLI.
I WISH MY LOVE WERE IN A MIRE.
This old melody is inserted in a manuscript music-book,
which, from an inscription, appears to have belonged to a
" Mrs Crockat in 1709," now in the editor's possession. The
old song began —
I wish my love were in a myre
That I might pu' her out again.
The remainder of this ditty, I believe, is lost. The verses
in the Museum, beginning, " Blest as th' immortal Gods is
he," were adapted to the old melody, and published by Thom-
son in his Orpheus Caledonius in 1725. They are a tran-
slation of an Ode of Sappho of Mitylene, the celebrated Greek
poetess, who, for her excellence, is sometimes styled the Tenth
Muse. She flourished about six hundred years before the
Christian era. It is said, that being unable to conquer her
own passion for Phaon, or to gain his aiFections, she cast her-
self headlong from the promontory of Leucas, and perished in
the sea. The translator was Ambrose Philips, Esq. the
English dramatic writer and poet, who is allowed to have
done every possible justice to his Grecian model. This spirited
translation has been set to music by Mr Stubley, as well as by
Mr Exeter, both doubtless in their best styles. It still, how-
ever, continues to be more usually sung to the old Scottish
air.
The second set of verses to the same air, beginning, " O
lovely maid, how dear^^s thy power," appears in the Tea-Table
Miscellany with the initial L ; but Ramsay has left no clue
for ascertaining the author.
XLII.
LOGAN WATER.
This beautiful old tune appears in Mrs Crockafs manu-
script book in 1709. Though the song originally adapted
to this air may have been pathetic, or of a melancholy cast,
. corresponding to the nature of the melody itself, which is slow,
42 XLII.— LOGAN ■WATEH.
plaintive, and in the minor mode ; nevertheless, it is certain,
that it was adapted at an early period to a song of a very
different cast ; it began
Ae simmer night, on Logan braes,
I helped a bonnie lassie on wi' her claise.
First wi' her stockings, and syne wi' her shoon.
But she gied me the glaiks when a' was done.
But had I ken'd what I ken now,
I would, &c. &c.
The rest of the song is rather exceptionable on the score
of delicacy. The verses in the Museum, beginning " For
ever. Fortune, wilt thou prove an unrelenting foe to love,"
written by our admired poet James Thomson, author of the
Seasons, first appeared, adapted to the air of Logan Water, in
the Orpheus Caledoniu sin 172^v / ■■ -
About the year 1783, a new song, to the tune of Logan
Water, written by Mr John Mayne, a native of Glasgow,
became very popular in the south west of Scotland. It was
published along with the old air, not long thereafter, by the
music-sellers, and soon became a favourite at Vauxhall and
other parts of the kingdom. It was afterwards printed in the
Star Newspaper of London, signed with ihe initial letter of
the author's surname, on 23d May 1789.
LOGAN WATER.
By Mb. John Mayne.
Bt Logan's streams that rin sae deep,
Fu' aft wi' glee I've herded sheep ;
Herded sheep or gather'd slaes,
Wi' my dear lad, on Logan braes :
But, waes my heart ! thae days are gane.
And, fu' o' grief, I herd my lane ;
While my dear lad maun face his faes.
Far, far frae me and Logan braes !
Nae mair at Logan kirk will he,
Atween the preachings, meet wi' me,
Meet wi' me, or, when its mirk.
Convoy me hame frae Logan kirk.
I weel may sing— thae days are gane !
Frae kirk and fair I come alane,
While my dear lad maun face his faes.
Far, far frae me and Logan braes !
Mr Burns imagined that this delightful composition of Mr
XLII.— LOGAN WATEK. 43
Mayne was of considerable antiquity. In a letter to a cor-
respondent, dated 7th April, 1793, he says, "I remember
the two last lines of a verse in some of the old songs of Logan
Water, which I think pretty."
" Now my dear lad maun face his faes,
Far^ far frae me and Logan braes."
These two lines Burns has incorporated into his elegant
stanzas to the same tune, composed in one of his pensive
moods, as he himself informs us in the following letter ad-
dressed to Mr George Thomson, and afterwards published
in Dr Currie's edition of our poet's works. ,
" Have you ever, my dear sir, felt your bosom ready to
burst with indignation on reading of those mighty villains
who divide kingdom against kingdom, desolate provinces, and
lay nations waste, out of the wantonness of ambition, or often
from still more ignoble passions ? In a mood of this kind to-
day, I recollected the air of Logan Water; and it occurred
to me, that its querulous melody had its origin from the
plaintive indignation of some swelling, suffering heart, fired
at the tyrannic strides of some public destroyer, and over-
whelmed with private distress, the consequence of a country's
ruin. If I have done any thing at all like justice to my feel-
ings, the following song, composed in three quarters of an
hour's meditation in my elbow chair, ought to have some
merit."
LOGAN WATER.
By Robert Burns.
I.
0 LoGANj sweetly didst thou glide.
That day I was my Willie's bride ;
And years sinsyne hae o'er us run.
Like Logan to the simmer sun.
But now thy flow'ry banks appear.
Like drumlie winter^ dark and drear ;
While my dear lad maun face his faes,
Far^ far frae me and Logan braes.
II.
Again the merry month o' May
Has made our hills and valleys gay.
The birds rejoice in leafy bow'rs.
The bees hum round the breathinar flow'rs.
44 XLII. LOGAN WATER.
Blytlie morning lifts his rosy eye.
And ev'ning's tears are tears of joy ;
My soul, delightless, a' surveys.
While Willie's far frae Logan braes.
in.
Within yon milk-white hawthorn bush,
Amang her nestlings sits the thrush ;
Her faithfu' mate will share her toil.
Or wi' his song her cares beguile.
But I wi' my sweet nurslings here,
Nae mate to help, nae mate to cheer.
Pass widow'd nights and joyless days.
While Willie's far frae Logan braes.
IV.
O wae upon you, men of state.
That brethren rouse to deadly hate !
As ye mak mony a fond heart mourn,
Sae may it on your heads return !
How can your flinty hearts enjoy
The widow's tears, the Orphan's cry ;
But soon may peace bring happy days.
And Willie hame to Logan braes.
In Duncan's Pocket Encyclopedia of Scottish, English,
and Irish Songs, printed at Glasgow, in two neat vols,
18mo. 1816, four additional stanzas are annexed to
Mayne's song. They possess considerable merit, and
bring matters to a happy issue between the disconsolate shep-
herdess and her dear lad, who had returned " free from
wars alarms," and agreeably surprised her while weeping his
absence on Logan braes. He leads her immediately to the
altar of Hymen, and all's well. These additional verses, how-
ever, render the song too long and tedious.
This Logan Water, celebrated by so many Scottish bards,
rises in the hills which separate the parishes of Lismahagoe
and Muirkirk, and, after running eastward for a course of
eight miles, falls into the river Nethan-
XLIII.
ALLAN WATER.
This tune is inserted in a very old manuscript in the pos-
session of the Editor, written in square-shaped notes. It has
no title prefixed to it, so it is uncertain what it was called
XLIII. — ALLAN WATER. 45
prior to the year 1724. There is some reason to believe
that the old song began, My love Annie's very bonnie, as
the song of Allan Water, in Ramsay's Collection, has both
these titles, though no such hne as My love Annie's very
bonnie occurs in the whole of Crawfurd's song. The verses
in the Museum, beginning, " What numbers shall my muse
repeat," were written by William Crawfurd, Esq. author of
the fine pastoral song of Tweedside. They were first adapt-
ed to the old air of Allan Water, in the Orpheus Caledonius,
in 1725.
The Allan Water here celebrated, is a small river in Perth-
shire, which takes its rise at Gleneagles, in the parish of
Blackford, and, passing by Dunblane, discharges itself into
the river Forth, about two miles above Stirling bridge.
XLIV,
THERE'S NAE LUCK ABOUT THE HOUSE.
The author of this inimitable ballad was William Julius
Mickle, Esq. a native of Langholm, and well known as the
elegant and inimitable translator of the " Lusiad and other
poetical works."" The sixth stanza alone, as it stands in the
Museum, is not the composition of Mickle; neither is it in
Herd's copy. It was supplied by Dr Beattie, subsequently
\i"f to 1776. " This (says Burns) is one of the most beautiful
^*t-^ songs in the Scots or any other language." These two lines,
" And will I see his face again !
And will I hear him speak !"
as well as the two preceding ones,
" His very foot has music in't.
As he comes up the stair."
are unequalled by almost any thing I ever heard or read ;
and the lines,
" The present moment is our ain.
The neist we never saw."*
are worthy of the first poet. It is long posterior to Ram-
say's days. About the year 1771 or 72, it came first on the
* These are the two last lines of the sixth stanza, which was supplied by Dr
Beattie.
46 XLIV. — THERE'S NAE LUCK ABOUT THE HOUSE.
streets as a ballad, and I suppose the composition of the
song was not much anterior to that period." Thus far
Burns. Mr Cromek, the editor of his Reliques, was at con-
siderable pains to discover the author of this incomparable
ballad. At first he seems to have been inclined to ascribe it
to a Miss Jean Adams, who formerly taught a day-school at
Crawford's-dyke, in the neighbourhood of Greenock, and
who died in the Town Hospital of Glasgow, on 3d April
1765. The reasons which induced Mr Cromek to form this
conclusion were, 1 wo, That Mrs FuUerton, who was a pupil
of Jean Adams, frequently heard her repeat it, and affirm it
to be her composition. 2do, Mrs Crawford, a daughter of
the above Mrs FuUerton, in a letter to Mrs Fletcher, dated
Ratho-house, January 24, 1810, says, " You may assure Mr
Cromek, that the ballad, ' There''s nae luck about the house,'
was written by Jean Adams on a couple in Crawford's-dyke,
the town where her father lived. I do not recollect that I ever
heard her repeat it ; but since I can remember any thing,
I have always heard it being spoken of as being her compo-
sition by those she depended much upon. My aunt, Mrs
Crawford of Cartsburn, often sung it as a song of Jean
Adams'." Qtio, The song was published before Mr Mickle
was known as an author.
The grounds which had been adduced by Cromek, for
supposing Jean Adams to be the author of the ballad, at
once appear vague, inconsistent, and altogether inconclusive.
Mrs FuUerton says, she frequently heard Jean Adams repeat
it as her own composition. Her daughter, on the other hand,
declares, she does not recollect she ever heard her repeat it,
but has always heard it spoken of as being her composition.
This proves nothing with respect to Mr Cromek's own asser-
tion, that the ballad was published before Mr Mickle was
known as an author, and that Jean Adams repeatedly declar-
ed it to be her's at a time when Mr Mickle was living to dis-
prove her title to it ; it can now only be matter of sincere re-
gret, that he should have hazarded such unguarded assertions,
xLiv.— there's nae luck about the house. 4T
or shown himself so Uttle acquainted with the particulars of
Mr Mickle's pubhc life. The ballad was neither seen in print,
nor heard of in any shape whatever, before Mr Mickle was
known as an author. So early as 1755, some of Mickle's
poems were sent to Lord Lyttleton, who was so delighted
with them, that he dissuaded Mickle from entering the marine
service, to which the young man's views were at that time
directed, and encouraged him to persevere in the paths of
poetry. The idea of Mr Micl<le, contradicting poor Jean
Adams' assertion of being the author, is really too absurd to
require a serious refutation. Mickle never, in all probability,
heard of her name, nor the story of her claiming his ballad as
her own composition, in the whole course of his life. The
following important discovery, by the Rev. Mr Sim, which
was in 1810 communicated to Mr Cromek himself, at once
swept away his former cobweb theory, and restored the true
author of this inimitable ballad to his proper and now indis-
putable right. It is here introduced into Mr Cromek's own
words :
" As the editor, on claiming the ballad ^ There's nae luck
about the house' as the property of Jean Adams, had nothing
in view but truth, he hastens to lay the following letter be-
fore the readers of these volumes, written by the Rev. John
Sim, A. B. editor of Mr Mickle's works, and his intimate
friend, and received since the above account was printed.
" The contents of Mr Sim's letter, and the poetical sketch it
incloses, warrant the editor (Mr Cromek) in conceding the
ballad to Mr MicJcle.'''
" Pentonville, April 14, 1810.
" Dear Sir, — Since I received Mr Mudford's letter, (a co-
py of which you will see in the Universal Magazine for this
month, page ^Q5) I have been so very fortunate as to dicover
among Mr Mickle's MSS. what I have every reason to be-
lieve, from its inaccuracy and other evident marks of haste, to
be the very first sketch of the ballad, ' There's nae luck
about the house,' a copy of which I have inclosed. Besides
48 xLiv.— there's nae luck about the house.
the marks of haste which I have noticed in the margin, you
will find Colin spelt once with two and twice with a single
I ; the verb mun (must) spelt with an u and an a, at the dis-
tance of only two lines ; and the word make spelt twice with
and thrice without the letter e. One stanza contains twelve,
two stanzas eight, and the others only four lines a^piece ; by
which he seems undetermined whether the first four or the
last four lines should form the chorus. Other inaccuracies
and blunders you will perceive on comparing the MSS. with
the printed copy in my edition of Mickle's poetry.
" Since I wrote to Mr Mudford, Mrs Mickle has informed
me, without being asked, that she now perfectly recollects,
that Mr Mickle gave her the ballad as his own composition,
and explained to her the Scottish words and phrases ; and
she repeated to me, with very little assistance, the whole of
the song, except the eight hnes, which I have, and I think
with justice, ascribed to Dr Beattie.* When I asked her
why she hesitated at first; she said, that the question, coming
unexpectedly upon her, flurried her, and the flurry, together
with the fear that she might be called upon to substantiate
what she then said upon oath, made her answer with diffi-
dence and hesitation. This struck me at the time to have
been the case ; and I believe such a behaviour to be very na-
tural to persons labouring under a disorder so depressive as
a paralysis.
" I shall only add, that Mickle had too high an opinion of
his own poetical powers, to have adopted the compositions of
but very few of his contemporaries ; and certainly too much
• On the authority of the Rev. Patrick Davidson of Rayne, in the county of
Aberdeen.
The eight lines omitted in Mr Mickle's copy are likewise not to be found in Mr
Herd's early edition of this song. They are as under— >
" The cauld blasts of the winter wind,
That thrilled thro' my heart,
They're a' blawn by, I hae him safe.
Till death we'll never part :
But what puts parting in my head ?
It may be far awa ;
The present moment is our ain.
The neist we never saw !"
51
XLVI.
THE MAID IN BEDLAM.
It is difficult now to determine, whether this air be origi-
nally Irish or Scottish. In Scotland the old tune, " Will ye
go to Flanders," which may be seen in the second page of
M' Gibbon's fifst-Collection, is almost, note for note, the same
as " Gramachree." In the Museum there are three sets of
verses adapted to the air, all of them excellent. The first
beginning, " One morning very early, one morning in the
spring," is attributed to George Syron, a negro ; and it is
said, that this poor maniac actually composed the song during
his confinement in Bedlam. The second, " As down on
Banna's banks I strayed, one evening in May," is the com-
position of Mr Poe, a counsellor in Dublin. " This anec-
dote," says Burns, " I had from a gentleman who knew the
lady, the * Molly' who is the subject of the song, and to
M'hom Mr Poe sent the first manuscript of his most beautiful
verses. I do not remember any single line that has more
true pathos than,
" How can she break that honest hearty
That wears her in its core."
Reliques.
For the third and last set of verses, beginning, " Had I a
heart for falsehood framed," we are indebted to the elegant
pen of the late Right Hon. Richard Brinsley Sheridan, who
introduced it as one of the songs in his musical opera of
" The Duenna," written in 1775, and performed at Drury-
lane that year. Mr Herd has preserved two verses of the
old song of, " Will ye go to Flanders," in his Collection, vol.
ii. p. 223, but they are of little interest.
XLVII.
THE COLLIER'S BONNY LASSIE.
This old song, which appears to have been retouched
about the beginning of last century, is printed along with
the music in the Orpheus Caledonius, 1 725. It was also se-
lected by Mr Gay, for a tune to one of his songs, in his mu-
52 XLVII. THE COLLIEIl's BONNY LASSIE.
sical opera of " Polly," beginning, " When right and
wrong's decided." Mr Gay selected a considerable number
of other Scottish airs for his songs in the opera of Polly, in-
tended as a second part to the Beggar's Oj)era, which is partly
incomplete without it. Though the author seems to have
written the second part to atone for any mischief his first
might occasion among the lower orders of the people, the
Duke of Grafton, who was then Lord Chamberlain, not only
refused to license it, but likewise commanded it to be suppress-
ed, through the intrigues of Walpole and his party ; but from
what motives it is not easy to discover. It was, however,
printed by subscription, at the desire of Gay's numerous pa-
trons and friends, in 1729, both in quarto and octavo ; and
the author cleared four times as much money as he could
have expected from a very tolerable run of it at the theatre.
Burns judiciously remarks, that the first half stanza is
much older than the days of Ramsay. The old words be-
gan thus —
" The collier has a dochter.
And, 0, she's unco bonny ;
A laird he was that sought her.
Rich baith in lands and monej%
She wadna hae a laird.
Nor wad she be a lady.
But she wad hae a collier^
The colour o' her daddie."
Burns himself wrote another set of verses to this air, which
may be seen in Mr George Thomson's Collection ; but they
are not in his happiest style.
XLVIII.
WITHIN A MILE OF EDINBURGH.
There is an old Anglo-Scottish song, entitled, " 'Twas
within a furlong of Edinborough town," which, there is rea-
son to believe, was a production of Thomas Durfey, publish-
ed in Playford's first volume of " Wit and Mirth," in 1698.
The air is also preserved in Oswald's Collection ; it is in the
key of G minor. The words in the Museum, beginning,
XLVIIT. WITHIN A MILE OF EDINBURGH. 53
" 'Twas within a mile of Edinborough town," are only a mo-
dern, though improved, version of the old verses, adapted to
a new air, composed by Mr James Hook of London, well
known for several successful imitations of the Scottish style.
XLIX.
MY AIN KIND DEARIE, O.
The old melody, together with a " jig" on the same sub-
ject, appear in Oswald. The verses in the Museum, begin-
ning, " Will ye gang o'er the lea rig," were written by Ro-
bert Fergusson in one of his merry humours. There is an
excellent song under the same title, however, which is much
older than that of Fergusson. It begins,
I'll rowe thee o'er the lea-rig-,
My ain kind dearie, O ;
I'll rowe thee o'er the lea-rig.
My ain kind dearie, 0.
Altho' the night were ne'er sae wat.
And I were ne'er sae weary, O,
I'll row thee o'er the lea-rig.
My ain kind dearie^ 0.
The following additional stanzas, grounded on the old
verses, were written by Mr Wilham Reid, bookseller in Glas-
gow, who has composed several very fine songs.
At gloamin, if my lane I be.
Oh, but I'm wondrous eerie, 0 ;
And mony a heavy sigh I gie.
When absent frae my dearie^ 0 :
But, seated 'neath the milk-white thorn.
In e'ening fair and dearie, O ;
Enraptur'd, a' my cai"es I scorn.
Whan wi' my kind dearie, 0.
Whare thro' the birks the burnie rows.
Aft ha'e I sat fu' cheerie, O ;
Upon the bonny greensward howes,
Wi' thee, my kind dearie, O :
I've courted till I've heard the craw.
Of honest chanticleerie, 0 ;
Yet never mist my sleep ava.
Whan wi' my kind dearie, 0.
For tho the night were ne'er sae dark.
And I we7X' ne'er sae wearie, O,
I'd meet thee on the lea-rig,
My ain hind dearie, O.
54 XLIX. — MY AIN KIXD DEARIE, O.
While in this wearie warld of wae.
This wilderness sae drearie, O :
What makes me blythe, and keeps me sae ?
'Tis thee, my kind dearie, O.
L.
NANCY'S TO THE GREEN-WOOD GANE.
This is one of the fine old and exquisitely humorous Scot-
tish Songs, which has escaped the polishing file of Ramsay,
and happily reached us in its simple and native garb. It ap-
pears in the Tea-Table Miscellany with the signature Z, by
which letter Ramsay denotes such genuine old songs as had
been composed time out of mindy but whose authors were
unknown, even in his day, or that of his father before him.
Ramsay was born in 1684; and, from the structure of the
language and other intrinsic circumstances, it may fairly be
conjectured, that the song itself is at least as ancient as the
union of the crowns in 1603. This song appears in the first
edition of the Orpheus Caledonius along with the music, in
1725. Mr Gay selected this charming old Scottish air for
one of his songs, beginning, " In war weVe nought but
death to fear," in his Musical Opera of Achilles, performed
at Covent Garden in 1733, after the author's death.
LI.
BLINK O'ER THE BURN, SWEET BETTY.
The verses adapted to this tune in the Museum, begin-
ning, *' Leave kindred and friends, sweet Betty," were written
by Mr Joseph Mitchell, a Scotchman. He was the son of a
stone-mason, and born in the year 1684. At an early pe-
riod he had the happiness to be introduced to the Earl of
Stair and Sir Robert Walpole, on the latter of whom he was
for the greater part of his life almost entirely dependent. So
zealous was Mitchell for the interest of his patron, that he
was frequently distinguished by the title of Sir Robert Wal-
pole's poet. Mitchell was the author of " Fatal Extrava-
gance," a tragedy, published in 1720; Poems, in two vo-
lumes octavo, 1729 ; and the opera of " The Highland Fair,"
1731. This author died, 6th February 1738, in the 53d
LI.- — BLINK O ER THE BURN, SWEET BETTY. OO
year of his age. Mitchell lived in good correspondence with
several eminent poets of his time, particularly Aaron Hill,
James Thomson, David Mallet, and Allan Ramsay.
In the Orpheus Caledonius the two following verses of
another song, but in a different measure, are prefixed to
Mitchell's words,
As the gentle turtle dove
By cooing shews desire ;
As ivys, oaks do love.
And twining round aspire :
So I my Betty love.
So I my Betty woo ;
I coo as coos the dove.
And twine as ivys do.
Her kiss is sweet as spring.
Like June her bosom's warm ;
The autumn ne'er did bring.
By half so sweet a charm.
As living fountains do
Their favours ne'er repent.
So Betty's blessings grow.
The more, the more they're lent.
The measure of these stanzas is similar to that of the
" Lass of Patie's Mill," to which air it is probable their au-
thor had intended them to be sung. But Thomson, in
adapting the old air to these two stanzas, in his Orpheus Ca-
ledonius has taken some liberties with the melody ; and, by
blending these stanzas with those of Mitchell, the song be-
came a confused medley. These blunders were rectified in
the Museum. The original words of the song, however,
were written long before Mitchell's time, and are as follow :
Blink o'er the burn, sweet Betty,
It is a cauld winter night ;
It rains, it hails, and it thunders.
The moon she gies nae light :
It's a' for the sake o' sweet Betty,
That ever I tint my way ;
O lassie let me creep ayont thee.
Until it be break o' day.
It's Betty shall bake my bread.
And Betty shall brew my ale ;
6
56 LI. BLINK o'er the BURN, SWEET BETTY. -
And Betty shall be my love,
When I come over the dale ;
Blmk over the burn, sweet Betty,
Blink over the burn to me ;
And while I hae life, my dear lassie.
My ain sweet Betty thou's be.
LIT.
JENNY NETTLES.
Mr Chalmers, the biographer of Allan Ramsay, attri-
butes this comic song to Ramsay himself. He is so far right ;
but some of the lines belong to a much more ancient, though
rather licentious song, which for that reason is here inad-
missible. This old air is uncommonly pretty ; and, when
played, makes a very lively and excellent dancing tune.
WHEN ABSENT FROM THE NYMPH I LOVE.
This delightful air was formerly called, " O Jean, I love
thee ;" but the words of this ancient song are supposed to be
lost. The song to which this old air is adapted in the Mu-
seum, beginning, " When absent from the nymph," was
written by Ramsay, and printed in 1724, and again in 1725,
with the music, in the Orpheus Caledonius. Ramsay cer-
tainly must have seen the English song, which was written
by Thomas South erne and set to music by Thomas Far-
mer, introduced in the comedy called, " The Disappoint-
ment, or Mother of Fashion," acted at London in 1084.
This English song is printed in Henry Playford's " Theater
of Musick," Book I, p. 5. London, 1685. It consists of the
following stanzas :
When absent from the nymph I love,
I'd fain resolve to love no more ;
Tho' reason would my flame remove.
My love-sick heart will still adore.
My weak endeavours are in vain.
They vanish soon as they I'eturn ;
I by one look relapse again.
And in a raging fever burn.
To rocks and trees I sigh alone.
And often do my passion tell ;
I fancy that they hear my moan.
And echo back. You love too well !
LIII. WHEN ABSENT FROM THE NYMPH 1 LOVE. 57
Forbear your passion to pursue.
Or it will end in misery ;
The nymph's in love, but not with you^
If this wont do, despair and die.
The English air by Farmer is in treble time, but greatly
inferior to the old Scotch tune, in common time, called, " O
Jean I love thee," to which William Thomson adapted
Ramsay's verses in 1725. Ramsay's song is entitled, " The
Complaint," to the tune, When absent from the nymph I
love. From this circumstance it would appear, that he had
known both the words and music of Southerne's English song.
LIV.
BONNY JEAN.
This fine pastoral melody was in former times called " My
bonny Jean of Aberdeen," the last line of the chorus of a
very old song which Ramsay had deemed inadmissible in
his Collection. This poet, however, wrote the song in the
Museum, beginning, " Love's goddess in a myrtle grove," in
1723^, and Thomson adapted it to the old tune in his Or-
pheus Caledonius in 1725. Watts reprinted both the words
and music in the first volume of his Musical Miscellany in
1729, and the song has since appeared in various collections.
Adam Craig, who was one of the principal violin players at
the concert held at Edinburgh on St Cecilia's day the 22d of
November 1695, published a Collection of Old Scottish Airs
in 1730, one of which is " Bonny Jean of Aberdeen." The
reader will find a plan of this concert, with the names of the
professional and amateur performers, inserted in the first vo-
lume of the Transactions of the Antiquarian Society of Edin-
burgh, and likewise in the Edinburgh Magazine or Literary
Miscellany for February 1792, communicated by the kte
William Tytler of Woodhouselee, Esq.
Mr Charles Coffey selected this air of " My bonny Jean"
for one of his songs, beginning, " Long have I been with
grief oppressed," in bis musical opera of " The Female Par-
son, or Beau in the Sudds," acted at Haymarket Theatre in
London 1730, This opera was very justly condemned by
58 L;^V,— BONNY JEAN.
the audience on the first night of its representation, but the
author published it with the songs set to music (among which
there are several Scottish melodies), in the course of the same
year.
LV.
O'ER THE MOOR TO MAGGIE.
This old air of one strain (for the second strain is only a
slight variation of the first,) was united to soma verses which
Ramsay very properly rejected in the Tea-Table Miscellany,
and substituted one of his own composition, which is that in
the Museum, beginning, " And I'll o'er the muir to Maggie."
Thomson did not insert Ramsay's song in his Orpheus Cale-
donius. It appeared however in a monthly musical publication,
called, " The British Miscellany, or the Harmonious Grove,"
printed for Daniel Wright, Brook Street, London, in Novem-
ber 1733. It is here entitled, " O'er the moor to Maggie,
within the compass of the Flute, never before printed."
A second strain to the old tune appears in this publication,
as well as in the subsequent Collection of Scottish Tunes by
Oswald ; but both of them are merely the old tunes slightly
varied.
LVI.
PINKY HOUSE.
The air of Pinky House was anciently called " Rothe's
Lament." Of this old song, the melody and title are all that
remain. It was printed in the Orpheus Caledonius in 1725,
adapted to the following ballad, one of the earliest composi-
tions of Mr David Mallet.
I.
As Sylvia in a forest lay-
To vent her woe alone ;
Her swain Syhander came that way.
And heard her dying moan :
Ah ! is my love, she said, to you
So worthless and so vain ?
Why is your wonted fondness now
Converted to disdain ?
II.
You vow'd the light should darkness turn.
Ere you'd exchange your love ;
tVI. PINKY HOUSE. 59
In shades you may creation mourn,
Since you unfaitliful prove :
Was it for this I credit gave
To every oath you swore ?
But ah ! it seems they most deceive
Who most our charms adore.
III.
'Tis plain your drift was all deceit.
The practice of mankind :
Alas ! I see itj but too late.
My love hath made me blind.
For you delighted I could die ;
But, oh ! with grief I'm fill'd.
To think that cred'lous constant I
Should by yourself be kiU'd.
IV.
This said — all breathless, sick, and pale.
Her head upon her hand.
She found her vital spirits fail.
And senses at a stand.
Sylvander then began to melt :
But ere the word was given.
The hoary hand of death she felt.
And sigh'd her soul to heaven.
The song in Johnson's Museum, beginning, " By Pinkie
House oft let me walk," is said to have been written by Mr
Joseph Mitchell, of whom mention has already been made.
Mitchell seems to have been very partial to this old air, for
he wrote another song to the same tune, beginning, '' As love-
sick Corydon beside a murm'ring riv'let lay,'' which is print-
ed in Watt's Musical Miscellany, vol. v. London, 1731.
LVII.
HERE AWA, THERE AWA.
This charming little air, with the three first stanzas, each of
four lines, were recovered by James Oswald, who printed
the tune with variations in the seventh book of his Cale-
donian Pocket Companion. Old David Herd afterwards
published the words in his Collection in 1769- The last four
silly lines, which are attached to them in the Museum, have
no earthly connexion with the preceding stanzas ; they be-
long to a still more ancient but inadmissible version of the
song. Burns always felt a particular dehght in hearing this
beautiful old air ; and he composed the following verses for it
60 LVII. HEEE AWA, THERE AWA.
in March 1793, which are certainly inferior to nothing al-
most that he ever wrote. —
I.
Here aw a, there awa, wandering Willie,
Here awa, there awa, had awa hame ;
Come to my bosom, my ain only dearie,
TeU me thou bring'st me my Willie the same.
II.
Winter winds blew loud and cauld at our parting ;
Fears for my Willie brought tears to my ee ;
Welcome now simmer, and welcome my Willie —
The simmer to nature — my Willie to me.
III.
Rest, ye wild storms, in the cave of your slumbers ;
How your dread howling a lover alarms !
Wauken, ye breezes ! row gently, ye billows !
And waft my dear laddie ance mair to my arms.
IV.
But oh ! if he's faitliless, and minds na his Nannie,
Flow still between us thou wide-roaring main ;
May I never see it, may I never trow it.
But, dying, believe that my Willie s my ain.
Burns, I believe, sent the first transcript of these verses
to Mr George Thomson, to be inserted in his Collection of
Scottish Songs. In the opinion of this gentleman, however,
as well as that of William Erskine, Esq. advocate, the
verses in some instances did not exactly correspond with the
musical notes, and they suggested several amendments for
the poet's approbation. The greater part of these Burns re-
fused to adopt. " Give me leave," says he, in his letter to
Mr Thomson, " to criticise your taste in the only thing in
which it is in my opinion reprehensible. You know I ought
to know something of my own trade. Of pathos, sentiment,
and point, you are a complete judge ; but there is a quality
more necessary than either in a song, and which is the very
essence of a ballad, I mean simplicity. Now, if I mistake
not, this last feature you are a little apt to sacrifice to the
foregoing."
LVIII.
THE BLYTHSOME BRIDAL.
This ancient and uncommonly humorous song appears in
Watson's " Choice Collection," printed at Edinburgh in
LVIII. THE BLYTHSOME BRIDAL. 61
170a It is there titled « The blythsome Wedding," and
placed next to " Christ's Kirk on the Green,"" with which it is
pi'obably coeval. This is another of the old Scottish songs,
which has fortunately been handed down to us in its primi-
tive state. It is valuable both as a curious specimen of the
ancient language of Scotland as well as of the coarse but live-
ly manners of our peasantry in the olden times, circumstances
which too frequently escape altogether the notice of the his-
torian. A genuine copy of the music and words of this song
is inserted in the Orpheus Caledonius. The copy in the
Museum is likewise a correct one, with the exception of the
last line of stanza 4th. In the original, the words are, " And
bang'd up her wame in Mons-Meg*," which Johnson thought
proper to change for the sake of delicacy, though the line he
has substituted is nearly as coarse as well as defective in point
of measure. It would appear that the writer of the song had
been a native of the northern side of the river Forth, from
his sarcastic allusion of " Kirsh" having gone south to Edin-
burgh for her education.
LIX.
SAE MERRY AS WE TWA HAE BEEN.
This air appears in Skeine's MS. written prior to the year
1598. It is there titled, " Sae mirrie as we hae bein," the
first line no doubt of a song, or of its chorus, which is now
lost. In the Orpheus Caledonius, the music is adapted to
some stanzas beginning, " Now Phoebus advances on high,
nae footsteps of winter are seen," which were written by Ram-
say, and published in his Tea-Table Miscellany.
* Mons-Meg was the name given to a huge cannon which formerly lay in the
castle of Edinburgh. In the accounts of the grand Chamberlain of Scotland, the
following entries, relative to this piece of ordnance, occur, " 1497, July 21. To
the pyonouris to gang to the castell to help with Mons doun, 10 *7*. Item to the
Tnenstrallis that playit before Mons domi the gait, lis sli. I am informed that
she burst during the reign of Charles II. On the 19th day of April 1754, Mons-
Meg was removed from the castle of Edinburgh to Leith to be shipped for the
tower of London, where she afterwards arrived in safety, and is still preserved
there as a national curiosity. Her calibre is about two feet, and her weight has been
computed to be upwards of five tons.
62 LIX. SAE MEKRY AS WE TWA HAE BEEN.
The verses in the Museum, however, in which part of the
ancient chorus seems to be retained, are certainly preferable.
They were copied from Herd's Collection, but he has left no
key for ascertaining who wrote them. Burns, alluding to
this song, says, it " is beautiful ; the chorus in particular is
truly pathetic. I never could learn any thing of its author.''''
Reliques.
LX.
BONNY CHRISTY.
This song was written by Ramsay, and it is supposed to
have been one of the earhest productions of his muse. It is
the first song in point of order in his Tea-table Miscellany,
1724. In the year following, Thomson adapted it to the old
air of '' Bonny Christy," in his Orpheus Caledonius, but the
original words of the ancient song are now lost. The editor
is credibly informed, that the bonny Christy of Ramsay's
song was Dame Christian Dundas, daughter of Lord Arniston,
and wife of Sir Charles Erskine of Alva, Bart. This old
tune is to be found in the Collections of M'Gibbon, Oswald,
and several others.
LXI.
JOCKEY SAID TO JENNY.
This humorous picture of a rustic courtship, is another
little poetic gem of some ancient though now forgotten minstrel.
It appears in the Tea-Table Miscellany with the signature Z ;
which denotes that the song had been composed time out of
mind, as Ramsay expresses it, but that even in his days, the
author was unknown. It is likewise inserted with the music
in the Orpheus Caledonius in 1 725. In Ramsay's Tea-Table
Miscellany this song is entitled " For the love of Jean."
This title however does not appear to have any sort of relation
to the old comic verses. Perhaps there was another song
sung to the same tune in the days of Ramsay.
LXII.
O'ER THE HILLS AND FAR AWAY.
The title of this old pipe tune is " O'er the hills and far
awa," of which a manuscript copy of considerable antiquity is
LXII.— o'er tHE HILLS AND FAR AWAY. 03
in the possession of the editor. It is probable that this, with
many other Scottish melodies and songs, were introduced into
England about the year 1603, when James VI. left his native
country to ascend the English throne. In the Pepysian
Collection, there is an humorous poetical dialogue, which
seems to have been composed about this time, called " A pro-
per new ballad, entitled, The wind hath blown my plaid awa,
or a discourse betwixt a young maid and the Elphin Knight.
To he sung to its own new pleasant tune." It consists of
twenty stanzas, of which the first may serve as a specimen.
The Elphin Knight sits on yon hill,
Ba, ba, ba, lilli ba;
He blows his horn both loud and shrill.
The wind has blown my plaid awa.
From the peculiar structure of the stanzas, and the broad
dialect of the burthen line, the author of this ballad must
have heard both the tune and words of the silly old Scottish
ditty; it begins.
It's o'er the hills and far awa.
It's o'er the hills and far awa.
It's o'er the hills and far awa.
The wind has blawn my plaid awa.
The song in Ramsay's Tea-Table Miscellany, entitled,
" O'er the hills and far away," beginning. Jockey met with
Jenny Juir, is not a genuine Scottish production. It was made
by one of the Grub-street poetasters about the year 1700, and
afterwards inserted with the music in the fourth volume of the
*' Pills to purge Melancholy," a second edition of which, by Mr
John Lenton, was printed in 1709. It is there called " Jockey's
Lamentation." Ramsay only altered some of the words, and
struck out the last stanza of the English song, which runs thus ;
There by myself I'll sing and say,
'Tis o'er the hills and far away
That my poor heart has gone astray.
Which makes me grieve both night and day.
Farewell, farewell thou cruel She,
I fear that I shall die for thee ;
But if I live this vow I'll make.
To love no other for your sake.
'Tis o'er the hills, Sjc.
64 Lxii. — o"'er the hills and far away.
Gay selected this tune for one of his songs in the Beggar's
Opera, acted at London in 1728, beginning, " Were I laid on
Greenland coast." It was also chosen as the air to a loyal
and patriotic ballad, written and printed in the reign of
Queen Ann, entitled, '« The Recruiting Officer, or the Mer-
ry Volunteers,"" beginning,
Haek ! now the drums beat up again^
For all true soldier gentlemen :
Then let us list and march, I say.
Over the hills and far away.
Over the hills and over the main.
To Flanders, Portugal, and Spain,
Queen Ann commands, and we'll obey.
Over the hills and far away.
&c. &c. &c.
This latter ballad was inserted in Lenton's second edition
of the Pills, vol. iv. printed at London in 1709.
LXIII.
THE FLOWERS OF THE FOREST.
The battle of Flodden-field, between James the IV. King
of Scots, and Thomas Howard Earl of Surrey, commander in
chief of the Enghsh forces, was fought on the 9th of Sep-
tember 1513. On that fatal day, this gallant Monarch, with
many of his nobles and the greater part of his army, com-
posed of the flower of the Scottish youth, were left dead on
the field. Of the old ballad, commemorating this melancholy
catastrophe, a broken stanza or two, I believe, are all that
remain ; but the ancient air is preserved in Skene's MS. with
the title of " The flowres of the Forrest." It is also printed
in Oswald's Collection, and in many other musical works.
OLD FRAGMENT.
I've heard a lilting
At the ewes milking,
# * * ' * * *
The flowres of the forrest are a' wede awa.
The loss of the old ballad, however, judging from the fore-
going specimen, is the less to be regretted, since it has been
supplied by three of the finest lyrical compositions, of which
the English or Scottish language can boast ; all of them, too,
by ladies no less distinguished for the brilliancy of their ta-
lents than their respectability in private life.
LXIII.— THE FLOWERS OF THE FOREST. 65
The earliest of these compositions was written by Miss
Rutherford, daughter of Mr Rutherford of Fairnalie, in the
county of Selkirk. This lady was afterwards married to Mr
Cockburn* of Ormiston, son of the then Lord Justice Clerk of
Scotland, and eminent for his useful and extensive improve-
ments in agriculture. The production of this lady's song
was occasioned by the following incident. A gentleman of her
acquaintance, in passing through a sequestered but romantic
glen, observed a shepherd at some distance tending his flocks,
and amusing himself at intervals by playing on a flute. The
scene altogether was very interesting, and, being passionately
fond of music, he drew nearer the spot, and listened for
some time unobserved to the attractive but artless strains of
the young shepherd. One of the airs in particular appeared
so exquisitely wild and pathetic, that he could no longer re-
frain from discovering himself, in order to obtain some infor-
mation respecting it from the rural performer. On inquiry,
he learnt that it was " The Flowers of the Forest." This
intelligence exciting his curiosity, he was determined^ if possi-
ble, to obtain possession of the air. He accordingly prevailed
on the young man to play it over and over, until he picked
up every note, which he immediately committed to paper on
his return home. Delighted with this new discovery, as he
supposed, he lost no time in communicating it to Miss
Rutherford, who not only recognised the tune, but likewise
repeated some detached lines of the old ballad. Anxious,
however, to have a set of verses adapted to his favourite me-
lody, and well aware that few, if any, were better qualified
than Miss Rutherford for such a task, he took the liberty
of begging this favour at her hand. She obligingly con-
sented, and, a few days thereafter, he had the pleasure of
receiving the following pretty stanzas from the fair author.
* Mr Cockburn was one of that literary society of Edinburgh, so distinguished
in point of manners and accomplishments, of which the fathers were Hamilton of
Bangour, Sir William Bennet, &c. who were succeeded by still abler men, David
Hume, John Hume, Lord Elibank, Henry Mackenzie, and others.
E
6G
THE FLOWERS OF THE FOREST.
By Mrs Cockburn.
I.
I've seen the smiling of fortune beguiling,
I've tasted her favours, and felt her decay ;
Sweet is her blessing, and kind her caressing.
But soon it is fled — it is fled far away.
II.
I've seen the forest adorned of the foremost.
With flowers of the fairest, both pleasant and gay ;
Full sweet was their blooming, their scent the air perfiniiing-.
But now they are wither' d, and a' wede away.
III.
I've seen the morning, with gold the hills adorning,
And the red storm roaring, before the parting day ;
I've seen Tweed's silver streams, glittering in the sunny beams.
Turn drumly and dark, as they roll'd on their way.
IV.
O fickle Fortune ! why thus cruel sporting ?
Why thus perplex us, poor sons of a day ?
Thy frowns cannot fear me, thy smiles cannot cheer me.
Since the flowers of the forest are a' wede away.
The next beautiful elegy, adapted to the same air, and
which made its appearance several years subsequent to that
of Mrs Cockburn, was written by Miss Jane Elliot, a sister
of Sir Gilbert ElUot of Minto, Bart, one of the senators
of the College of Justice, father of the late, and grandfather
of the present, Earl of Minto. The worthy Baronet had also
a fine genius for poetry ; two of his songs are inserted in the
Museum.
Miss Elliot's ballad was published anonymously about the
year 1755. From its close and happy imitation of ancient
manners, it was by many considered as a genuine production
of some old but long-forgotten minstrel. It did not, how-
ever, deceive the eagle eye of Burns. " This fine ballad,"
says he, " is even a more palpable imitation than HardiJc-
nute- The manners are indeed old, but the language is
of yesterday. Its author must very soon be discover-
ed.''—^eZig-w^*. It was so ; and to Mr Ramsay of Och-
tertyre, Sir Walter Scott, Bart. Sheriff-depute of Selkurk-
LXIII.— THE FLOWERS OF THE FOREST. 67
shire, and the Rev. Dr Somerville of Jedburgh, we are in-
debted for the discovery.
THE FLOWERS OF THE FOREST.
By Miss Jane Elliot of M'mto.
I.
I've heard them lilting at the ewe-milking.
Lasses a-lilting before the dawn of day ;
But now they are moaning on ilka green-loaning ;
The flowers of the Forest are a' wede away.
II.
At bughts in the morning nae bly the lads are scorning ;
Lasses are lonely and dowie and wae ;
Nae daffing, nae gabbing, but sighing and sabbing ;
Ilk ane lifts her leglin, and hies her away.
III.
In har'st, at the shearing, nae youths now are jearing ;
Bandsters are runkled and lyart or gray ;
At fair or at preaching, nae wooing, nae fleeching.
The flowers of the Forest are a wede away.
IV.
At e'en. In the gloaming, nae younkers are roaming
'Bout staks, with the lasses at bogle to play •
But ilk maid sits eerie, lamenting her deary,
The flowers of the Forest are a' wede away.
V.
Dool and wae for the order sent our lads to the border !
The English for ance by guile wan the day ;
The flowers of the Forest that fought ay the foremost
The prime of our land are cauld in the clay.
VI.
We'll hear nae mair lilting at the ewe-milking.
Women and bairns are heartless and wae ;
Sighing and moaning on ilka green loaning.
The flowers of the Forest are a' wede away.
The third set of verses adapted to the " Flowers of the
Forest,"" beginning Adieu ye streams that smootlily glide,
inserted in the Museum, was composed by Miss Home, after-
wards married to the celebrated Mr John Hunter, surgeon,
brother of the founder of the Hunterian Museum at Glasgow.
This lady likewise wrote the fine songs which are adapted to the
airs of " Queen Mary's Lamentation — The Cherokee Indian's
death-song — My mother bids me bind my hair," and many
68 LXIII. THE FLOWERS OF THE FOREST.
other beautiful lyric compositions. Her poetical works, edit-
ed by herself, and dedicated to her son, were published in a
^ neat volume, 12mo-
LXIV.
BUSK YE, BUSK YE.
This delightful air was formerly called, " The Braes of
Yarrow." Some fragments of the old song still remain ; but
that which is inserted in the Museum was wholly written by
Ramsay, with the exception of the first four lines, which form
part of the ancient ballad. Hamilton of Bangour also comr
posed a fine poem in imitation of the ancient ballad, which is
printed in his poetical works ; it commences with the identi-
cal four old lines which Ramsay had previously adopted.
Thomson published Bangour's ballad, adapted to the old air,
in his Orpheus Caledonius, in 1725. The Rev. Mr Logan,
formerly one of the ministers of Leith, likewise composed a
very pretty ballad to the same tune, which is printed in his
works. Both of these ballads, however, are too long to be
inserted in the present compilation.
i> 2'Io cy The subject of the old ballad had been a great favourite,
and, of course, was subsequently modelled into a variety of
forms. Fragments of these appear in Burns' Reliques, and
Herd's printed and MSS. Collections. The most perfect of
them, however, is to found in the " Minstrelsy of the Bor-
der," vol. ii. under the title of the Doraie Dens of Yarrow ^
which consists of seventeen stanzas of four lines.
Tradition affirms, that the hero of the ancient ballad was
one of the ancestors of the present Lord Napier, who was
treacherously slain by his intended brother-in-law, Scott of
Tushielaw, at a place called Annan's Treat, in Selkirkshire.
The alleged cause of this atrocious act, it is said, originated
from a proposal made by old Tushielaw to divide his estate
equally between his son and daughter, in the event of her
marrying so renowned a warrior.
C9
LXV.
THERE'S MY THUMB, I'LL NE'ER BEGUILE THEE.
This ancient Scottish melody formerly consisted of one
strain. It appears in the Orpheus Caledonius of 1725 in this
simple garb, with the same verses that are inserted in the
Scots Musical Museum, beginning, " Betty early gone a
Maying." It was afterwards printed in the fourth volume of
Watt's Musical Miscellany in 1730. There are some verses
to the same air in Ramsay's Tea-Table Miscellany, 1724, be-
ginning " My sweetest May let love incline thee," in stanzas
of eight lines each. From this circumstance it is evident
that a second strain had about this time been added to the
tune, though unknown to the editor of the Orpheus Caledo-
nius. The verses to Avhich the tune was originally adapted
are supposed to be now irrecoverably lost.
The ceremony of confirming a bargain, or contracting any
solemn engagement, by each party licking his right hand
thumb, and afterwards pressing it against that of the other, is
of great antiquity. Decrees are yet extant in the Scottish re
cords, prior to the institution of the College of Justice, sus-
taining sales upon summonses of tliumh-licking, the fact of
the parties having licked thumbs at finishing the bargain
being first established by legal proof. Traces of this custom
too are discoverable not only in the ancient history of eastern
nations, among whom it probably originated, but likewise in
that of the Scythian and Celtic tribes, the Goths, the Ar-
menians, the Romans, the Iberians, and other nations. It has
been conjectured by some persons, that Adonibezeck cut off
the thumbs and great toes of threescore and ten kings,
to punish them for breaking a covenant that had been rati-
fied ^y this symbol.— /See Judges, chap. i. verse 1th.
We likewise learn from Tacitus,' that the Iberians tied
their right hand thumbs together by a strait cord ; and when
the blood diffused itself to the extremities, it was then let out
by slight punctures, and mutually hcked by the parties to
the contract. — Vide Tacit. Ann. lib. xii. The Moors of
1
70 Lxv — there's my thumb, I'll ne'ee beguile thee.
India at this day frequently conclude bargains with one ano-
ther, by licking and joining thumbs, in the very way which is
still practised anaong the boys and some of the lower orders
in Scotland. To this custom the last line, or burden of
the old Scottish song, alludes, There's my thumb, I'll ne'er
heguile thee.
LXVI.
GILDEROY.
This song is improperly titled in Johnson's Museum. It
should have been called, " Ah, Chloris, to the tune of Gil-
deroyT The tender and pathetic stanzas in the Museum
were composed by the Right Hon. Duncan Forbes, Esq.
Lord President of the Court of Session in Scotland, about
the year 1710. They were addressed to Miss Mary Rose,
the elegant and accomplished daughter of Hugh Rose, Esq.
of Kilravock. To this lady, with whom he had been ac-
quainted from infancy, he was afterwards united in marriage.
She bore him one son, who was his heir and successor, but
Mrs Forbes did not long survive this event. His Lordship,
however, remained a widower from that time till his decease,
which happened on the 10th of December 1747, in the
sixty-third year of his age. His remains were interred at
Edinburgh, in the Grayfriar's Church-yard. It may safe-
ly be affirmed, that a worthier man, a better lawyer, a more
discerning and upright judge, or a more clear-headed, steady,
and patriotic statesman than Duncan Forbes of Culloden,
never existed in any country or age. A chaste and masterly
marble statue, reckoned the chef d'cevre of the celebrated
sculptor Roubilliac, has since been erected in the Parliament-
house at Edinburgh, as a tribute of gratitude and respect to
the memory of this truly great and good man.
Ritson places Lord President Forbes's elegant stanzas at
the head of his Collection of English Songs, in 3 vols 8vo.
London, 1783, and says, that he never heard of its being set
to music. It would therefore seem, that he never thought
of looking for the song amongst the productions of the sister
LXVI.— GILDEROY. 71
kingdom, for it appears in the first volume of Ramsay's Tea-
Table Miscellany, published at Edinburgh on the ] st day of
January, 1724, where it is directed to be sung To the tune
of Gilderoy. The late editor of the CuUoden papers has,
with great justice, attributed the song to its proper author.
With respect to the hero of the ballad, called " Gilde-
EOYj" we learn the following particulars from Spalding and
other historians : " Gilderoy was a notorious free-booter in
the highlands of Perthshire, who, with his gang, for a consi-
derable time infested the country, committing the most bar-
barous outrages on the inhabitants. Seven of these ruffians,
however, were at length apprehended through the vigilance
and activity of the Stewarts of Athol and conducted to
Edinburgh, where they were tried, condemned, and executed, ^20^^
in February 1638. Gilderoy, seeing his accomplices taken ^^^^!^3I> ^^^^^ tt
and hanged, went up, and in revenge burned several houses Z^''^;^^ A:w?2Si-
belonging to the Stewarts in Athol. This new act of atro- f^^ /^J^^
city was the prelude to his ruin. A proclamation was issued
offering £1000 for his apprehension. The inhabitants rose
en masse y and pursued him irom place to place, till at length
he, with five more of his associates, were overtaken and se-
cured. They were next carried to Edinburgh, where, after
trial and conviction, they expiated their offences on the gal-
lows, in the month of July 1638.
If we may place any reliance on traditional report, it would
seem that Gilderoy belonged to the proscribed " Clan, Gre-
gor," and that the ballad was composed, not long after his
death, by a young woman of no mean talent, who unfortu-
nately became attached lo this daring robber, and had co-
habited with him for some time before his being apprehended.
That the ballad was well-known in England in 1650, is evi-
dent from a black-letter copy of it printed at least as early as
that date. There is another copy of it, with some slight va-
riations, in Playford's Wit and Mirth, first edition of vol. iii.
printed in 1703. Both these copies, however, though pos-
sessing several stanzas of real poetical merit, contained many
5
12 LXVI. GILDEKOY.
indelicate luxuriances that required the aid. of the pruning-
hook. This was performed by a lady in every respect qua-
lified for such an undertaking, namely, Miss Halket of Pet-
ferran, afterwards married to Sir Henry Wardlaw of Pit-
reavie, in Fifeshire, the well-known authoress of Hardica-
nute. In Lady Wardlaw's amended copy, which did not
appear till after her death, some of the old stanzas are re-
tained, others retouched or expunged, and several from her
own pen are added. The ballad, in its present shape, is now
excellent and unexceptionable. It is rather long for inser-
tion here, but it may be seen in the Collections of Herd,
Ritson, Gilchrist, and many others.
LXVIT.
JOHN HAY'S BONNY LASSIE.
The music adapted to the same stanzas, inserted in the
Museum, beginning, " By smooth winding Tay," appears
in the Orpheus Caledonius in 1725. The verses are gene-,
rally attributed to Allan Ramsay ; but, from the circum-
stances about to be mentioned, they would rather seem to be
the production of an older and somewhat inferior poet. Firsts
Though the verses in the Tea-table Miscellany were only
printed in 1724, yet the music made its appearance in Lon-
don in a few months thereafter, viz. in 1725, and again in
Craig's Collection, 1730. Now, it is a fact well known, that
neither William Thomson, nor Adam Craig, published any
tunes in their collections, but such as were old, and univer-
sally sung in Scotland at the time. Secondly^ It is a re-
ceived opinion, that Hay's Bonnie Lassie was a daughter of
John Hay, Earl of Tweeddale, afterwards Countess Dowager
of Roxburgh ; and Burns says, that this lady died at Broom-
lands, near Kelso, sometime between the years 1720 and
1740. Can we then for a moment suppose, that Ramsay
could commit such anachronism as to represent this dowager
as a " dear maid, fresh as the spring, and sweet as Aurora,"
in 1724 ? This seems rather improbable. The tune, as well
as the verses (if written by Ramsay) must have been known
LXVII.— JOHN hay's bonny LASSIE. 73
long before the period of his pubUshing the Tea-Table Mis-
cellany. This song was afterwards published with the mu-
sic, in Watfs Musical Miscellany, vol. iv. London 1730.
LXVIII.
THE BONNIE BRUCKIT LASSIE.
This Air appears in Oswald's, first Collection, published in
^1741. The verses in the Museum, with exception of the two
first lines which belong to the old song that was rejected
by Johnson on the score of delicacy, were written by Mr
James Tytler, a very clever but eccenti'ic character, com-
monly called Balloon Tytler, from the circumstance of being
the first person who projected and ascended from Edinburgh
in one of these aerial machines.
Tytler was the son of a clergyman in the presbytery of
Brechin, and brother of Dr Tytler, the translator of Calli-
machus. His attainments in almost every department of li-
terature and science were in no small degree eminent. He
was not only the principal editor, but likewise the composer
of three-fourths of the second edition of the Edinburgh En-
cyclopaedia. He was engaged, on still more liberal princi-
ples, to conduct the third edition of that work, and wrote
a larger share in the earlier volumes than is ascribed to him
in the general preface. But, unfortunately, he embarked in
the wild and irrational schemes of the British Convention,
and published a hand-bill, written in so inflammatory a style,
that a warrant was issued to apprehend him. He, however,
escaped to America, and fixed his residence in the town of
Salem, in the province of Massachusetts. Here he establish-
ed a newspaper, in connection with a printer, which he con-
tinued to his death in 1805, in the 58th year of his age.
LXIX.
THE BROOM OF COWDENKNOWS.
This is a very ancient and beautiful little air of one strain.
The song, to Avhich the tune was originally united, with the
exception of the chorus, is supposed to be lost. The old
chorus consists of the following four lines :
74 LXIX.— THE BROOM OF COWDENKNOWS.
0 THE broom, the bonny bonny broom.
The broom of the Cowdenknows ;
1 wish I were at hame again.
Milking my daddy's ewes.
This is, .in all probability, one of the Scottish tunes that
were introduced into England, not long after the union of
the crowns in 1603, for there is an ancient black-letter Eng-
lish ballad, " To a pleasant Scotch tune, called the Broom
of Cowdenknows," with the following burden.
With, 0 the broom, the bonny broom.
The broom of Cowdenknows ;
Fain would I be in the north country.
To milk my daddy's ewes.
The first set of verses in the Museum, beginning " How
blyth ilk morn was I to see,"" was copied from Ramsay's Tea-
Table Miscellany, where it is subscribed with the letters
" S. R." which probably were the initials of its author. The
second set, beginning " When summer comes, the swains on
Tweed,"" was written by William Crawfurd, Esq. and first
printed in Ramsay''s Miscellany.
Mr Gay selected the tune of the Broom of Cowdenknows
for one of his songs in the Beggar's Opera, beginning " The
miser thus a shiUing sees," acted in 1728. In Mrs Crokat's
Manuscript Music Book, dated 1709, a second strain or part
is-added to the old air ; but by whom this was done it does
not appear. It is a manifest interpolation, and has seldom,
if ever, been sung. The estate of Cowdenknows is situated on
the east bank of the River Leader, about five miles north-east
of Melrose. It presently belongs to Dr John Home, Pro-
fessor of Materia Medica in the University of Edinburgh.
Some of this gentleman's predecessors are probably alluded
to in the old ballad, written by a minstrel named Burn, en-
titled " Leader Haughs and Yarrow." It is inserted in the
Tea-Table Miscellany, and concludes thus,
For mony a place stands in hard case.
Where blyth folk kend nae sorrow;
With Homes that dwelt on Leader-side,
And Scoi(s that dwelt on Yarrow.
75
LXX.
OSCAR'S GHOST.
The8E three pretty stanzas in the Museum, beginning
0 see that form tliat faintly gleams ! were written by Miss
Ann Keith. The tune, which is a successful imitation of the
Gaelic style, is the composition of Mrs Tough.
LXXI.
HER ABSENCE WILL NOT ALTER ME.
This is the fine old air to which Thomson adapted
Ramsay's song, beginning " When absent from the Nymph
1 love," in his Orpheus Caledonius in 1725. In the Mu-
seum this song is set to the tune of " O Jean I love thee."
—See No 53. The original song is lost^ but the old verses
could hardly have surpassed those elegant stanzas in the
Museum, beginning " Tho' distant far from Jessie's charms,"
now adapted to the tune, and which, I believe, made their
first public appearance in this work. Johnson, the original
proprietor, could not recollect who wrote them. The ideas
of the last stanzas, however, beginning " For conquering
love is strong as death," are evidently borrowed from Scrip-
ture.— See Song- of Solomon, chap. viii. v. 6. and 7.
LXXII.
THE BIRKS OF INVERMAY.
This is one of the finest pastoral melodies of Scotland.
Mallet wrote the two first stanzas of the sonff, beffinninff
The smiling morn, the breathing spring, and directed them
to be sung To a Scotch tune. The BirJcs of Endermay.
Thomson, in his Orpheus Caledonius, accordingly adapted
them to this tune, which he also calls " the Birks of Ender-
may." Ramsay inserted Mallet's song in the third volume
of his Tea-Table Miscellany ; but he took the liberty of al-
tering the last line of Mallet's two stanzas, both of Avhich
end with the shades of Endermay, into the birks of In-
vermay. Ramsay likewise published three additional stanzas.
76 LXXII. THE BIKKS OF INVEEMAY.
written, it is said, by Dr Bryce of Kirknewton, as a supple-
ment to Mallet's song. The first of these stanzas begins
The lav'ricks now and lint-whites sing; but it is very
faulty, particularly with regard to the metre. The two
remaining stanzas, beginning Behold the hills and vales
around^ are very beautiful, and worthy of being placed be-
side those of Mallet. Johnson, therefore, gave them a place
in his Museum.
The locality of this song is a subject of some dubiety.
The river May, it is known, falls into the Erne nearly oppo-
site to the pleasui-e-grounds of Lord Kinnoul, at Duplin
Castle. The banks of the May are covered mth wood, both
native and planted, amongst which the hirli, or birch, holds
a conspicuous appearance, and here stands the house of In-
vermay, the residence of the ancient and respectable family
of Belches. This, in all probability, is the scenery alluded
to in that part of the song which was published by Ram-
say. It is also said, that there can be no doubt of the word
being Invermay, which has a meaning, viz. the conflux of
the May and the Erne. Endermay could have none. If the
river was Ender, the last syllable would signify nothing,
which is quite contrary to the practice of Gaelic compounds,
and the Ender is in the very heart of the Highlands. These
facts certainly carry a considerable degree of force and con-
viction with them.
It must be admitted, however, that Mr William Thomson,
the editor of the Orpheus Caledonius, who was a professional
musician, and played the second hautbois at the concert held
at Edinburgh on St Cecilia's day, in 1695, spells the word
Endermay. Both Mallet and Oswald write it the same way.
Now there is a river called the Ender, in Blair Athol, Perth-
shire, which falls into the Garry, at Dalmeen. Without
plunging into the depths of Celtic etymology, therefore, we
all know that Wyntoun, and other Scottish poets, use the
word May for a maid or young immarried lady. Is it im-
• ■ .. .,..,, ^.,.,.
LXXII. — THE BIRKS OF INVERMAY. 77
possible, therefore, that there might have been older verses
to the same tune, in which the beauties and accompUsh-
ments of some fair native of the banks of the Ender were ce-
lebrated in the song of the Lowland bard ? We have in our
days, a Maid of the Clyde, a Lady of the LaJce, Why then,
in older times, might there not be a fair one, whose residence
was among the birks of the river Ender ? The Ender May 9
LXXIII.
MARY SCOTT.
This ancient border-air originally consisted of one simple
strain. The second, which, from its skipping from octave to
octave, is very ill adapted for singing, appears to have been
added about the same year, 1709, and was printed in Thom-
son's Orpheus Caledonius, in 1725, adapted to the song
written by Ramsay, beginning " Happy's the love that
meets return," consisting of three stanzas of eight lines each,
which is very far from being in his best style. I have fre-
quently heard the old song, in my younger days, sung on the
banks of the Tweed. It consisted of several stanzas of four
lines each ; and the constant burden of which was, " Mary
Scott's the flow'r o"* Yarrow."
This celebrated fair one was the daughter of Philip Scott
of Dryhope, in the county of Selkirk. The old tower of
Dryhope, where Mary Scott was born, was situated near the
lower extremity of Mary's lake, where its ruins are still vi-
sible. She was married to Walter Scott, the laird of Harden,
who was as renowned for his depredations as his wife was for
her beauty. By their marriage-contract, Dryhope agrees to
keep his daughter for sometime after the marriage, in return
for which, Harden binds himself to give Dryhope the profits
of the first Michaelmas moon. One of her descendants, Miss
Mary Lilias Scott of Harden, equally celebrated for her
beauty and accomplishments, is the Mary alluded to in
Crawfurd's beautiful song of " Tweedside."— >SVg Notes on
Song, No d6.
78 LXXIII. MARY SCOTT.
Sir Walter Scott says, that the romantic appellation of the
" Flower of Yarrow," was in latter days, with equal justice,
conferred on the Miss Mary Lilias Scott of Crawfurd's ballad.
It may be so, but it must have been confined to a very small
circle indeed, for though born in her neighbourhood, I never
once heard of such a circumstance, nor can I see any justice
whatever in transferring the appellation of the *' Flower of
Yarrow" to her descendant, who was born on the banks of
the Tweed.
The old air of the Flower of Yarrow, as has been said,
consisted originally of one strain, to which a second had been
annexed, not earlier than the beginning of last century. The
same subject was afterwards formed into a reel or dancing
tune, to which my late esteemed friend. Hector M'Niel,
Esq. wrote a very pretty song, beginning " Dinna think,
bonnie lassie, I'm gaun to leave you." But, in the first
number of Mr Gow''s Repository, which was published a few
years ago, this tune is called " Carrick's Rant," a strath-
spey ; and the compiler of this Collection asserts, that " the
old Scotch song (he must certainly mean the air) of Maiy
Scott, is taken from this tune." The converse of this suppo-
sition is the fact; for Carrick's Rant is nothing else than
Cluries Reel, printed in Angus Cumming's Collection. But
the tune of Mary Scott was known at least a century before
either Clurie''s Reel, or Carrick's Rant, were even heard of.
LXXIV.
DOWN THE BURN, DAVIE.
Mr Burns says, " I have been informed, that the tune of
Down the burn Davie, was the composition of David
Maigh, keeper of the blood slough hounds, belonging to
the Laird of Riddell in Tweeddale." Reliques. But he
was probably misinformed ; for the tune occurs note for note
in the Orpheus Caledonius, printed in 1725. The verses
beginning When trees did bud, and fields were green,
are also in the Orpheus Caledonius. They were written by
Crawfurd, but not in his usual elegant and chaste manner.
I
^XXIV. DOWN THE BURN, DAVIE. 79
Burns wrote the three following verses, which unite very
happily with the air.
I.
Behold, my love, how green the groves.
The primrose banks, how fair ;
The balmy gales awake the flowers.
And wave thy flaxen hair.
The laverock shuns the palace gay.
And o'er the cottage sings ;
For nature smiles as sweet, I ween.
To shepherd's as to kings.
II.
Let skilful minstrels sweep the string.
In lordly lighted ha'.
The shepherd stops his simple reed
Blythe in the birken shaw ;
The princely revel may survey
Our rustic dance wi' scorn.
But are their hearts as light as ours.
Beneath the milk-white thorn.
III.
The shepherd in the flowery glen.
In homely phrase will woo ;
The courtier tells a finer tale.
But is his heart as true ?
These wild- wood flowers I've pu'd to deck
That spotless breast of thine ;
The courdei-'s gems may witness love —
But 'tis na love like mine.
Burns, in writing this song, had a very elegant model be-
fore him, thouffh in a different sort of stanza. It was the
following.
THE HAPPY SHEPHERD,
Written by James Thomson, Esq. Author of the Seasons.
If those, who live in shepherd's bow'rs.
Press not the rich and stately bed.
The new mown hay and breathing flow'rs,
A softer couch beneath them spread.
If those, who sit at shepherd's board.
Sooth not their taste by wanton art ;
They take what nature's gifts affbrd,
And take it with a cheerful heart.
80 LXXIV. DOWN THE BURN, DAVIE.
If those, who drain the shepherd's bowl.
No high and sparkling wines can boast.
With wholesome cups they cheer the soul.
And crown them with the village toast.
If those, who join in shepherd's sport.
Gay dancing on the daisied ground.
Have not the splendour of a court.
Yet love adorns the merry round.
LXXV.
THE BANKS OF FORTH.
This air was composed by Mr James Oswald, and publish-
ed in the first volume of his Pocket Companion, 1741. The
verses in the Museum, beginning Ye Sylvan powers that
rule the plains, are selected from a song by an anonymous
author, printed in Herd's Collection, consisting of six stanzas
of eight lines, of which only the first, fourth, fifth, and sixth,
are copied into the Museum, the entu'e song having been
_ deemed too long for insertion. In the same CoUection, we
likewise meet with the following stanzas. They appear to
have been the original words to which the air had been
adapted, but I have not yet learnt who wrote them.
BANKS OF FORTH.
I.
Awake, my love, with genial ray.
The sun returning glads the day ;
Awake, the balmy zephyr blows.
The hawthorn blooms, the daisy glows.
The trees retain their verdant pride.
The turtle woos his tender bride.
To love each warbler tunes the song.
And Forth in dimples glides along.
II.
0 more than blooming daisies fair !
More fragrant than the vernal air !
More gentle than the turtle dove,
Or streams that murmur thro' the grove !
Bethink thee all is on the wing
Those pleasures wait, on waitmg spring ;
Then come, the transient bliss enjoy.
Nor fear what fleets so fast will cloy.
It will probably occur to the reader, that there is a striking
similarity between the two stanzas last quoted, and those writ-
LXXV. THE BANKS OF FORTH. SI
ten by Mallet to the tune of " The Birks of Invermay," be-
ginning " The smiling morn, the breathing spring." But
both of these poets are evidently indebted to an inspired au-
thor for the principal imagery of their songs. '• Rise up, my
love, my fair one, and come away ; for lo, the winter is past,
the rain is over and gone ; the flowers appear on the earth ;
the time of the singing of the birds is come, and the voice
of the turtle is heard in our land. Arise, my love, my
fair one, and come away." — Cant, ii. ver. 10 — 13.
LXXVI.
SAW YE MY FATHER.
This simple and pathetic melody is not to be found in any
very early musical publication ; and even the verses, so far as
I have been able to discover, do not appear in any collec-
tion prior to that of Herd. It is a certain fact, however, that
the song has been a great favourite in Scotland for a long
time past. An English version of the ballad, with the mu-
sic, appears in the second edition of Horsfield's Songster's
Companion, 8vo. London, 1772 ; and also in Dale's Collec-
tion of Scottish Songs, vol. ii. The copy in the Museum is
taken verbatim from Herd's edition. We have another ver-
sion in Cromek's Remains of Nithsdale and Galloway Song.
In a note prefixed to which, he says, that Pinkerton pub-
lished the spurious verses, beginning, Saw ye my father^ or
saw ye my mother, six-and-twenty years ago, (viz. in 1784),
and that though he pronounced even them to constitute an
excellent song of superlative beauty, yet from that time to
the present (1810) no exertions have been made to recover
the original glowing verses now presented to the reader.
I.
I'll dip, quo' she, yere lang grey wing'.
All' pouk yere rosie kame.
If ye daur tak' the gay morn star
For the morning's ruddie leam !
But if ye craw na till the day,
I'll make your bauk o' silk.
And ye shall pickle the red cherries,
And drink the reeking milk !
82 LXXVI. SAW YE MY FATHER.
II.
Flee up, flee up, my bonnie grey cock.
An' craw whan it is day ;
An' I'll make ye a kame o' the beaten gowd.
An' yere wings o' the siller gray !
But fause, fause proved the bonnie grey cock.
An hour owre soon crew he ;
He clappit his wings owre the auld guid wife,
And an angry wife raise she.
III.
Wha's that, quo' she, at our door latch ?
Is it some limmer loon }
Na, mither, it is the pawky tod
That howls again' the moon.
What step is that by our ha' en'.
Which treads sae light o' spauld ?
O, mither, it is the herd laddie
Gaun by to look the fauld !
Cromek tells us, that the above verses were communicated
by Mr Allan Cunningham, and that he had them from his
father, whose memory was richly fraught with old songs and
notices regarding them. Any person in the least conversant
with Scottish song, must at once see that Pinkerton might
justly have retorted the charge on Cromek ; for if Cunning-
ham's song be not his own composition, it is at least a mo-
dern, and a very silly fabrication by another. But why at-
tack Pinkerton, and leave David Herd and Horsfield out of
the question, both of whom had published the song long be-
fore 1748. ?7^ i-
LXXVII.
GREEN GROW THE RASHES.
The air of this song is old ; a bad set of it occurs in Os-
wald's first Collection, 1 740 ; but he seems to have forgot
that the tune had been used as a reel as well as a song, in
Scotland, time out of memory. Some fragments of the an-
cient song are still preserved. It begins.
We're a' dry wi' drinking o't.
We're a' dry wi' drinking o't ;
The parson kist the fiddler's wife.
And cou'dna preach for thinking o't.
Green grow the rashes, O,
Green grow the rashes, O ;
A feather-bed is nae sae saft.
As a bed amang the rashes, 0.
LXXVII. GREEN, GROW THE RASHES. 83
The remaining lines are quite unfit for insertion, but the
song seems to have been one of those burlesque and sly sa-
tires on the real or supposed profligacy of the priests prior to
the reformation. The tune, however, appears to have been
also known by the title of " Cow thou me the Rashes green,""
quoted in the Complaint of Scotland, in 1549. The verses
in the Museum were written by Burns, and, if I rightly re-
member, it was the first song which he contributed to that
work.
LXXVIII.
LOCH EROCH SIDE.
Thbre are two songs in the Museum adapted to this tune.
The first beginning As I came hy Loch Eroch Side, was
written, I believe, by Balloon Tytler. The other, begin-
ning Young Peggy blooms, our bonniest Lass, by Burns.
Both songs are adapted to the well known modern strathspey,
called " Loch Eroch Side;"" the subject of which, however, was
taken from the air of an old Scottish song and dancing tune,
called, Lm o'er young to marry yet. The words of this
humorous old song are well known, but they possess more
wit than delicacy. Loch Erocht, or Ericht, is the name of
a lake in Perthshire, the largest in the county except Loch
Tay.
LXXIX.
THE BONNY GREY-E'YD MORN.
The editor of the "Musical Biography,"" (2 vols. Lon-
don, 1814,) says, that Jeremiah Clark, organist of St Paul's,
composed, for Durfey's comedy of the Fond Husband, or
the Plotting Sisters, that sweet ballad air, " The bonny grey-
ey'd Morn," which is introduced into the Beggar's Opera, and
sung to the words, ' Tis woman that seduces all mankind.
This information does not appear to be well authenticated.
The "" Fond Husband" was acted at Drury-Lane, 1676, with
great applause, and was honoured with the presence of King
Charles II. three out of its first five nights. Now, if Mr
Clark composed the music, we may at least suppose him at
84 LXXIX. THB BONNY GREY-EY'd MORX.
this time to be twenty years old, or that he was born in 1656.
But Clark, we all know, was a pupil of Dr Blow, and Dr
Blow was only appointed master of the children of the Cha-
pel-royal in 1674. And it was in this seminary, and under
this master, that Clark received his musical education. Dr
Burney acquaints us, that Clai'k having conceived a violent
but hopeless passion for a young lady, of rank far superior to
his own, his sufferings became so intolerable, that he termin-
ated his existence by suicide, at his own lodgings in St Paul's
Church-Yard, in July 1707. This rash act certainly looks
more like that of a young man than of one who, according to
the former supposition, must then have been at least fifty-one
years old. There are several of Clark's songs in the " Pills,"
but none of them have the least resemblance to this fine air ;
and Oswald, in his Collection of Scottish Tunes, calls it, by
way of distinction, " The old grey-ey'd Morning."
The tune of the " Bonny grey-ey'd Morn,'' with two indeli-
cate stanzas, was printed in the first volume of Playford's
Wit and Mirth, in 1698. In Durfey's subsequent edition of
that work, in 1719, they are omitted in that volume. The
song in the Museum was introduced by Ramsay as one of
the songs in the Gentle Shepherd.
LXXX.
THE BUSH ABOON TRAQUAIR.
This charming pastoral melody is ancient. It was for-
merly called, '' The bonny Bush aboon Traquhair." It ap-
pears in the Orpheus Caledonius, 1725, adapted to the same
beautiful stanzas that are inserted in the Museum, beginning
Hear me, ye nymphs, and every swain^ written by William
Crawfurd, Esq. author of Tweedside, &c ; but the old song,
it is believed, is lost. Mr Thomas Walker selected The
bonny Btish, for a tune to one of his songs, beginning " My
dearest Johnny, ease my pain," in " The Quaker's Opera,"
acted at Lee and Harper's booth, Bartholomew Fair, in
1728. Mr Walker, it is believed, was induced to bring out
this ballad-opera, from the great applause he received in per-
LXXX.— THE BUSH ABOON TKAtlUAlK. 85
forming the part of Captain Macheath in Gay's Beggar's
Opera, in which are also a number of Scottish tunes.
Traquair is a parish in the county of Peebles, lying on
the south side of the Tweed, and watered by the rivulet
Quair. In this parish stands the old mansion of Traquair,
the residence of the Earl of that name, delightfully situated
on the banks of the Tweed. On the side of a hill overlook-
ing the lawn is the old " Bush aboon Traquair," still pointed
out by a few solitary ragged trees, in former ages the peaceful
resort of innocence and love. Adjacent to this spot, his
Lordship has planted a clump of trees, to which he has given
the name of " The new Bush."
LXXXI.
ETTRICK BANKS.
This is another of those delightful old pastoral melodies,
which has been a favourite during many generations. It is
inserted in the Orpheus Caledonius in 1725, with the same
elegant stanzas that appear in the Museum, beginning On
EttricJc hanks, ae summer's night. Ramsay has left no key
to discover the author of the song : it does not appeal*, how-
ever, to be his ; and indeed it is not claimed by his biog-
rapher as his composition. In the Museum, the fourth hne
of stanza first, in place of " Came wading barefoot a' her
lane," was changed into " While wandering through the
mist her lane ;" but I do not consider it any improvment on
the elegant simplicity of the original. In other respects the
verses are correct. From some short hints scattered through
the ballad, such as. When ye come to the brig of Erne —
Soon as the sun goes round the loch — When ye sit down to
spin, ril screw my pipes ,• we may conjecture, that the lover
of this Ettrick nymph resided on the banks of Loch Erne, in
Perthshire.
The Ettrick, of such poetical celebrity, is a river in Sel-
kirkshire ; it rises in the parish of the same name, and after
a winding course of 30 miles in a N. E. direction, during
86
LXXXI.— ETTllICK BANKS.
which it receives the Yarrow near Phihphaugh, falls into the
Tweed three miles above Melrose.
LXXXII.
MY DEARIE, IF THOU DIE.
This beautiful melody is ancient, but of the old song only
a fragment remains, ending with " My dearie, an thou die.'
Crawfurd, however, has amply repaired the loss in his ele-
gant song beginning, " I.ove never more shall give me pain,"
first printed in Kamsay's Tea-Table Miscellany in 1724;
and again, in 1725, in the Orpheus Caledonius, with the
music; but the editor of this latter work has taken some li-
berties with the old tune, which have rather disfigured than
improved it.
The following is the genuine air, from an old manuscript
in the editor's possession :
MY DEARIE, AN THOU DIE !
An ancient Scottish Melody.
=zn:
i
m
<— »■
«-■ «
^^g^S^Si^^P
LXXXIII.
SHE ROSE AND LET ME IN.
" This," says Mr Ritson, in his! historical essay on Scot-
tish song, page 60, " is an English song of great merit, and
has been scotified by the Scots themselves. The modern air,
a fine composition, probably by Oswald, is very different from
that in the Pills." The air was composed long before Oswald
was born, for a copy of it, in square-shaped notes, is inserted
in an old MSS. virginal book in the possession of the editor.
The tune is here entitled, " Shoe roasse and leit me in."
The same tune also appears in the Orpheus Caledonius in
1725. But could any person in his sound senses affirm, that
such lines as the following, in Playford's edition of the song,
printed in his fourth volume of " Choice Ayres and Songs,"
XXXXIII. SHE ROSE AND LET ME IN. 87
with the music, in 1683, were not only English, but English
of great merit too ?
But, oh ! at last she proved with bern.
And sighing sat and dull ;
And I, that was as much concern'd,
Lookt then just lilce a fool !
The truth is, that the song was originally written by
Francis Semple, Esq. of Beltrees, about the year 1650. He
was a grandson of Sir James Semple of Beltrees, the ambas-
sador to Queen Elizabeth, in the reign of James the Sixth.
A manuscript copy of Francis Scrapie's Poetical Works was,
very lately, and, if living, may still be, in the hands of one of
his descendants, Mrs Campbell of Paisley. Burns says,
" The old set of this song, which is still to be found in print-
ed collections, is much prettier than this," meaning that in
the Museum ; " but somebody, I believe it was Ramsay, took
it into his head to clear it of some seeming indelicacies, and
made it at once more chaste and more dull. — Reliqiies.'''' No,
no, it was not Ramsay. The song still remains in his Tea-Table
Miscellany and the Orpheus Caledonius, and even in Herd's
Collection, in its primitive state of indelicacy. The verses in the
Museum were retouched by an able and masterly hand,
who has thvis presented us with a song at once chaste and
elegant, in which all the energetic force and beauty of the
original are preserved, without a single idea to crimson the
cheek of modesty, or to cause one pang to the innocent and
feeling heart. I have no hesitation to assert, that if Burns
had lived to reconsider the subject, or to superintend the
publication of his observations on this song before they were
committed to the public, they would have been widely differ-
ent from those which have appeared in the Reliques.
LXXXIV.
SWEET ANNIE FRAE THE SEA-BEACH CAME.
This song is enumerated in the list of those pastoral lyrics
selected by Mr Ritson, which that gentleman not only consi-
dered to be genuine, but even peculiar to North Britain.
These specimens, he was of opinion, were " the production of
88 IXXXIV.— SWEET ANNIE FRAE THE SEA-BEACH CAME.
obscure or anonymous authors— of shepherds and milkmaids,
who actually felt the sensation they describe — of those, in
short, who were destitute of all the advantages of science and
education, and perhaps incapable of committing the pure in-
spirations of nature to writing ; and, in this point of view, it is
believed, that the English have nothing equal in merit, nor,
in fact, any thing of the kind." — Essay on Scottish Song,
page 79 and 80. Though Mr Ritson certainly displays a
great deal of good nature, and is even more complimentary to
the Scots here than in any other part of his work, yet he
never seems to sit right in his saddle. He is either tumbling
upon the neck, or sliding over the crupper. That the Eng-
lish have many pastoral songs exquisitely beautiful, no person
of candour can possibly deny. Even his own Collection of
English Songs affords the clearest evidence of the fact. If
these, however, were written by people of fine taste and edu-
cation in England, so were many of those charming lyrics in
Scotland. From the instances already given, and still to be
produced, it has been shewn, that a considerable proportion
of the favourite songs of Scotland, in place of being the com-
position of shepherds and milkmaids, were written by per-
sons of both sexes, [no less eminent for their talents than
their rank in society. With regard to the composers of the
melodies peculiar to North and South Britain, that is indeed
a very distinct question, and a subject which is foreign to the
present department of this work. But it may be remarked,
in passing, that the beautiful melody of " Sweet Annie frae
the Sea-beach came,"" is one of the most unfortunate specimens
that Mr Ritson could have stumbled upon as the production
of some simple Scottish shepherd or uneducated milkmaid.
It is in fact a modern composition, and one, likewise, in
which more artificial modulation is displayed, than is compati-
ble either with the knowledge of a shepherd or the sim-
plicity of his pipe. Nay, so far at least as concerns the me-
lody, it is not a Scottish song at all. It was composed by
that jmiinent musician, Maurice Greene, mus. doct, son of
LXXXIV.— SWEET ANNIE FRAE THE SEA-BEACH CAME. 89
the Reverend Thomas Greene, vicar of St Olave, Jewry,
London. Dr Greene gave permission to Henry Robarts to
put it in his " Calliope, or English Harmony ;■" and it was
accordingly published in the first volume of that work, with
the name of its composer, page 200, printed in 1739. The
words of the song, it is said, were written by Dr John Hoad-
ley, son of Bishop Hoadley. The melody was afterwards in-
serted by Mr Oswald in the sixth volume of his Pocket Com-
panion in 1742, and this circumstance induced subsequent
editors to consider it a genuine Scottish song. It is a most
beautiful imitation, however, and is deservedly a great fa-
vourite on both sides of the Tweed.
LXXXV.
THE EWE-BUGHTS MARION.
This song is a genuine and beautiful relique of the pas-
toral muse of our ancestors. It appears in the Orpheus Cal-
edonius, along with its fine melody, in 1725. In Ramsay's
Tea-Table Miscellany it is marked as an old song, with ad-
ditions ; but on comparing it with that inserted by Bishop
Percy in his Ancient Ballads, who gave it a place in his Collec-
tion, as he informs us, on account of its great antiquity and
simplicity of sentiment, these additions are not even discern-
ible. We can only discover a slight difference in the ortho-
graphy of the two copies, such as Ramsay's substituting the
letter y in place of z ; curtailing such letters as appeared to
be redundant in the old mode of spelling, and by such means
giving the ballad a more easy and modern shape. Burns re-
marks, that he is uncertain whether this old and charming air
is a native of the north or south of Scotland, but that the
ballad of " Lord Gordon and his three Daughters," appar-
ently as old as the Ewe-bughts Marion, and which sings to
the same tune, is evidently of the north. — Reliques. It is a
matter of very little consequence, to be sure, whether the air
be a native of the north or south of Scotland. The tune,
however, has been familiar in the Lowlands for ages, whilst,
up to the present moment, it is to be found in no Gaelic mu-
90 LXXXV. THE EWE-BUGHTS MARION.
sical publication whatever. The family of Gordon, it must
also be observed, originally belonged to the south, and both
the title of Duke and Marquis of that noble family, though
now transferred to their possessions in the north, are derived
from their ancient domains in the parish of Gordon in Ber-
wickshire.
LXXXV r.
LEWIS GORDON.
The author of this modern Jacobite song was the Rev.
Alexander Geddes, D. D. formerly a Catholic priest at Shen-
val, but afterwards better known as the projector of a new
translation of the Bible, with annotations. Part of this
learned and elaborate work was published ; but Dr Geddes
died before it was completed, and it still remains in an unfi-
nished state.
The air of Lewis Gordon is evidently borrowed from the
old tune of *' Tarry Woo," already noticed. Indeed Burns
assures us, that he had in his possession one of the earliest
copies of the song, which had prefixed to it " Tune of Tarry
Woo ;" and Ritson also takes notice of the same circumstance.
*' The lad I darna name,'' who wore a star, was the " Che-
vaUer ;" and the Lewis Gordon, who is likewise alluded to in
the song, was a younger brother of the then Duke of that
name. He commanded a detachment for the Chevalier in
1715; and historians allow that he acquitted himself with
great judgment and gallantry. He died in France in 1754.
LXXXVII.
THE WAWKING OF THE FAULD.
This tune is very ancient, and some stanzas of the old
song are still occasionally sung. It begins,
O WILL ye speak at our town
As ye come frae the fauld, &c.
But it is to be regretted, that the delicacy of this ancient
fragment, like many others, is not equal to its wit and hu-
mour. The verses in the Museum, beginning My Peggy
w a young thing, were written by Ramsay, and published
LXXXVII. THE WAWKING OF THE FAULD. 91
with the music in the Orpheus Caledonius in 1725. It is one
of Patie's songs in the Gentle Shepherd.
LXXXVIII.
MY NANNIE, O.
This fine old air, with the verses in the Museum, begin-
ning, While some Jbr pleasure pawn their health, written by
Ramsay, appear in the Orpheus Caledonius, 1725. Burns
wrote a beautiful song to this tune, which is inserted in the last
volume of the Museum, song 581, where it is adapted to a
different air ; but as the verses were expressly composed for
the air of " My Nannie, O," and evidently unite more hap-
pily with it than any other melody to which it can possibly
be adapted ; and as Burns subsequently gave his original
song a few masterly touches, which have considerably heigh-
tened its effect, we presume it will neither be deemed ill-
timed nor improper to give it a place in the present part of
the work.
MY NANNIE, O.
By RoBEBT Burns.
I.
Behind yon hills where Lugar * flows,
Mang moors and mosses many, 0 ;
The wintry sun the day has closed.
And I'll awa to Nannie, 0.
The westlin wind blaws loud and shrill.
The night's baith mirk and rainy, O,
But I'll get my plaid, and out I'll steal.
And o'er the hill to Nannie, O.
II.
My Nannie's charming, sweet, and young,
Nae artfu' wiles to win ye, 0 ;
May ill befa' the flattering tongue.
That wad beguile my Nannie, 0.
Her face is fair, her heart is true.
And spotless as she's bonny, 0 ;
The opening gowan, wat wi' dew,
Nae pui-er is than Nannie, 0.
• The Lugar is a river in Ayrshire, which takes its rise in the Cumnock lakes,
and discharges itself into the River Ayr, at Barskimming,
1
92 LXXXVIII.— MY NANKIEj O.
HI.
A country lad is my degree,
And few there be that ken me, 0 ;
But what care I how few they be ?
I'm welcome ay to Nannie, 0.
My riches a's my penny fee.
And I maun guide it cannie, O ;
But warld's gear ne'er troubles me.
My thoughts are a' my Nannie, 0.
IV.
Our auld gudeman delights to view
His isheep and kye thrive bonnie, O ;
But I'm as blythe that bauds his pleugh.
And has nae care but Nannie, O.
Come weel, come wae, I care na by,
I'll tak' what Heav'n will send me, O,
Nae ither care in life have I,
But live and love my Nannie, Oi
LXXXIX.
OH ONO CHRIO. •
Dr Blacklock informed Burns, that this song, which is
adapted to a wild and plaintive Gaelic air, in the Museum,
but quite different from that which appears in Oswald's Col-
lection, was composed on the horrid massacre at Glencoe, in
1691, when thirty-eight innocent and unsuspecting persons,
including the chief of the clan, were inhumanly butchered
in their beds by a military party under Campbell of Glenlyon.
I Neither age, youth, nor sex, were spared in the dreadful
I carnage, and many who escaped immediate death, afterwards
I perished in the mountains from the inclemency of the weather,
I hunger, and fatigue. For a particular account of this atro-
f cious butchery, -w'hich will remain an eternal stain on the
I reign and memory, and on the ministers of King William
I III, see SmoUet and other historians.
;; Glencoe is a vale in Argyleshire, near the head of Loch
* There is some diversity of opinion with regard to the meaning of the burden
of this lament. Some consider it to be a corruption of the Gaelic words " O hone
a rie," signifying, alas, viy prince or chief. Others again suppose it to be a vi-
tiated pronunciation of " Ochoin och rie," a Gaelic exclamation, generally ex-
pressive of deep sorrow and affliction, similar to that of Oh .' my heart ! This,
indeed, seems to be the proper interpretation.
LXXXIX OH ONO OHRIO. 98
Etive, and famous for being the birth-place of Ossian, as ap- ';
pears from several passages in the poems of that ancient bard I
and celebrated warrior.
xc.
LOW DOWN IN THE BROOM.
In his Chronicle of Scottish Poetry, vol. iii. p. 274, Sib- \
bald states it as his opinion, that one of Wedderburn's godly
ballads, first printed about the year 1549, and again by Ro-
bert Smyth at Edinburgh, 1599, was sung to this old tune.
It begins,
My lufe murnis for me, for me.
My lufe that murnis for me ;
I'm not kinde, hes not in minde.
My lufe that tnurnia for me.
&c. &c. &c.
He likewise observes, that there is some appearance that the
hint had been taken from
He's low down, he's in the broom.
That's waiting for me.
This fine old ballad, beginning My daddy is a canfcer'd
carle, does not appear in the Tea-Table Miscellany. David
Herd rescued it from the stalls, and gave it a place in his
Collection. Oswald has inserted a wretched copy of the
melody in his Caledonian Pocket Companion, under the title
of J/y Love's in the Broom. In the Museum there is a
genuine copy both of the words and air.
xci.
I'LL NEVER LEAVE THEE. I 'feo'^'
This beautiful air is unquestionably very old. Sibbald
was also of opinion, that another of Wedderburn's spiritual ,
ballads, in 1549, beginning, l
Ah ! my love ! leif me not, |
Lief me not, lief me not, I
Ah ! my love ! leif me not, I
Thus mine alone. I
&c. &c. &c, ]
was sung to the original air of "^ I'll never leave thee," the l
music of which is probably a little corrupted. This opi-
nion appears to be correct, for this identical tune is mention-
ed in Geddes' " Saint's Recreation," written in 1673, as ap-
94* xc. — I'll never leave thee.
pears from the approbations of the Rev. WiUiam Raitt, and
the Rev. WiUiam Colvill, Primar of the College of Edin-
burgh, both of which are dated in August, 1G73. This
work was afterwards printed in 1683. Several of Geddes"'s
pious songs are directed to be sung to popular tunes, and he
vindicates the practice in the following words: " I have the
precedent of some of the most pious, grave, and zealous
divines in the kingdom, who to very good purpose have com-
posed godly songs to the tunes of such old songs as these,,
"J^he honny broom — I'll never leave thee — Well all go pull
the hadder, and such like, without any challenge or disparage-
ment."
The chorus of the old popular song runs,
Leave thee^ leave thee, lad,
I'll never leave thee.
Gang a the warld as it will,
I'll never leave thee.
Ramsay wrote a poetical dialogue between Johnny and
Nelly, beginning, " Tho' for seven years and mair,'' to this
tune, in which he has introduced nearly the whole of the old
chorus or burden. Watts printed this dialogue, with the
tune, in his Musical Miscellany, vol. iv. London, 1730. The
song in the Museum, beginning " One day I heard Mary
say,'' was written by Crawfurd. It was printed in the Tea-
Table Miscellany in 1724, and again in 1725, with the music,
in the Orpheus Caledonius. Burns did not think it one of
Crawfurd's happiest compositions : " What an absurdity,"
says he, " to join such names as Adonis wad. Mary together.''
Reliques. This is surely a very venial fault. It is like the
discovery of a mote flickering in a sunbeam.
XCII.
THE BRAES OF BALLENDEN.
The title of this song should have been. Beneath a green
Shade, written by Thomas Blacklock, D. D. to the tune of
The Braes of Ballenden ; for Dr B's song has no relation to
the Braes of Ballenden whatever. The composition of this
fine air has been attributed to Oswald, but upon what au-
hority I am at a loss to discover. The editor of Albyn's
XCII. THE BRAES OF BALLENDEN. 95
Anthology, in the introduction to that work, asserts that
Oswald was the composer in the following terms : " In the
year 1759, James Oswald, one of our most successful musical
adventurers in London, published his Caledonian Pocket
Companion, in twelve thin octavo volumes, (usually bound up
in two) in which he appears in the double capacity of author
and editor ; he is among the very few to whom we can trace
the authenticity of our national melodies. Had he com-
posed nothing else but The Braes of Ballenden, and the air
to Lovely Nymph, inti'oduced in the burletta of Midas, his
name would live as lona: as a relish existed for genuine Scot-
tish 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 of the muse."
Without entering into any comparison between such an
accomplished prince as James I. of Scotland, and James Os-
wald the musician, it may be remarked, that Oswald
published his Pocket Companion in periodical numbers,
which he calls volumes, each consisting of from 32 to SG
pages ; six of these in two parts, called his First and Second
Collection, price ten shillings, were advertised in the Scots
Magazine for November 174^. In the fifth number, ap-
pears the tune of " The Braes of Ballandine," but he makes
no claim to it by the asterism, which in the Index is annex-
ed to his own compositions, neither is it ascribed to him in
the Collection of M'Gibbon. The air, " Lovely Nymph," is
generally attributed to the celebrated J. J. Rosseau, as well
as that of " Pray Goody, please to moderate," another song
in the musical burletta of Midas, written by Mr Kane
O'Hara, and acted at Covent Garden in 1764. Oswald
composed a very pretty tune, called, " Lovely Nancy," in
comphment, no doubt, to some " lovely nymph," but it
is quite a different air from that in Midas.
96
xcnr,
CORN RIGS.
This tune is of considerable antiquity. The verses in the
Museum, beginning My Patie is a Lover gay^ were written
by Ramsay as a song for Patie in the Gentle Shepherd.
There was a much older Scottish song, however, than that
of Ramsay, adapted to this tune, of which the following lines
are the chorus.
O CORN riggs and rye rigs.
And corn rigs are boiinie.
And gin ye meet a bonnie lass,
Prin up her cockernony.
The tune appears in Craig'*s Collection, in 1730. Craig
was a very old man when he published his Collection, for he
was one of the principal violin-players at the Edinburgh con-
cert in 1695.
The Grub-street gentry, in derision of the Scots, clothed
this fine old tune in a garb of their own peculiar manufacture.
The following sample, taken from their pattern-book, " Mirth
and Wit," vol i. p. 133, London 1698, may serve as a speci-
me n.
A SONG.
Sawkey was tall and of noble race.
And lov'd me better than any eane ;
But now he ligs by another lass.
And Sawney will ne'er be my love agen.
I gave him fine Scotch sark and band,
I put 'em on with mine own hand ;
I gave him house, I gave him land ;
Yet Sawney will ne'er be my love agen,
Mr Gay selected this tune for one of his songs in his
musical opera of " Polly," beginning " Should I not be
bold when honour calls," printed, but not acted, in 1 729.
xciv.
MY APRON, DEARIE.
The title of the song, in the Museum, ought to have been
" My Sheep I've forsaken," written by Sir Gilbert Elliot of
Minto, Bart, to the tune of " My apron, Dearie." This is a
6
XCIV.— MY APRON DEARIE. 97
very elegant pastoral song, and reflects much honour on the
poetical taste of the worthy composer.
The old words and music are preserved in the Orpheus
Caledonius, 1725. Another edition of the song, with con-
siderable alterations, perhaps improvements, may be seen in
Yair's Collection, vol ii. printed at Edinburgh in 1751, which
Herd has exactly copied into his later Collection in 1776.
But the old song, even with all the improvements it has re-
ceived, would not be quite palatable to the taste of the pre-
sent age of refinement. It is on that account omitted in this
work.
In a late publication of Gaelic Melodies, (see Eraser's Gae-
lic Airs, Edinburgh 1816,) a different set of this air makes its
appearance in two florid strains, evidently modern, under
the title of N't aparan goirid, or, " The short Apron ;" and
the editor hazards an opinion, that the Lowlanders are indebt-
ed to his country for the original melody. That the former
were capable of composing the most exquisite pastorals that
have ever been produced in any age or clime, will not surely
be called in question. Moreover, the tune of " My apron,
dearie," appears in the Orpheus Caledonius, where it is pre-
served in its primitive state, consisting of one simple strain,
of sixteen bars in treble time. Craig also published this
melody in his Collection of " Scots Tunes,"" published at
Edinburgh in 1730, where it first appears, with a second
part, added by himself ; but it is only a slight variation of the
subject of the original strain. This venerable musician as-
sures us, in his dedication to the lords and gentlemen of the
Musical Society of Mary's Chapel, with whom he had then
been acquainted upwards of forty years, that the tunes in his
Collection, are the native and genuine product of the country.
It will, therefore, require better evidence than a vague asser-
tion made in 1816, to convince us, that this melody was origi-
nally imported from the Highlands. A learned and ingeni-
ous correspondent has favoured me with the following re-
marks on the tune of " My apron dearie." " The internal
98 XCIV.. — MY APUON, DEARIE.
evidence," he says, *' appears to me strong for its being a
native of the south. I never heard an air more completely
of that sweetly pastoral kind, that belongs to the shepherds
of Ettrick and Yarrow. If it was originally of Sir G. Elliots' s
country, it would naturally account for his writing better
words to an air, which, it is probable, he admired from his
infancy." To these observations, I shall only add, that a
very slight comparison of the tune, as it stands in the Or-
pheus Caledonius in one simple and elegant strain, with that
in Eraser's book of two parts, both of which are represented
with diminuendos^ crescendos^ expressivos, pauses, swells,
shakes, he. &c. will at once satisfy every person of com-
mon sense and integrity, both with regard to the country
and to the priority of the two melodies.
xcv.
LOCHABER.
This fine old melody, as well as Ramsay's song, beginning
Farewell to Lochaber, and farewell my Jean, both appear in
the Orpheus Caledonius, 1725. From the import of the
song, it would seem that Ramsay had composed it in compli-
ment to some young military friend, probably a native of
Lochaber, then about to leave his country and his Jean to
join the British forces on the continent, under John Duke of
Marlborough, whose glorious, though bloody campaigns,
will long be remembered. This is another of Craig's genuine
Scottish melodies, but the old original song is perhaps lost.
In almost every recent copy of the tune called Lochaber,
a flat seventh is introduced in the middle of the second strain ;
but it is neither to be found in the old set of the air in the
Orpheus Caledonius, nor in Craig's Collection. Here we
have one proof, that although the old melodies have gener-
ally been pretty closely adhered to, they have, in some cases,
been retouched by modern artists. Some of these alterations,
like that just alluded to, are manifest improvements, but in
many other instances, they are the very reverse, as the pastoral
simplicity of the tune, by injudicious alterations, is frequently
XCV.— LOCHABER. 99
destroyed. In the Museum, the note E, answering to the
verb bore in the second strain of Lochaber, ought to be flat.
It had been overlooked by Mr Clark when revising the proof
sheets ; but it is easily corrected with a pen.
xcvi.
THE MUCKING OF GEORDIE'S BYRE.
This old air was formerly called " My father^'s a delver of
dykes ;" from a curious old song, preserved in the Orpheus
Caledonius in 1725, a copy of which is annexed.
t.
My daddie's a delver of dykes.
My minnie can card and spin.
And I'm a bonnie young lass.
And the siller comes linken in ;
The siller comes linken in,
And it is fu' fair to see ;
And its wow-wow-wow.
What ails the lads at me ?
II.
Whenever our bawtie does bark.
Then fiast to the door I rin.
To see gin ony young spark
Will light and venture in ;
But ne'er a ane comes in, , j
Though mony a ane gaes by ;
Syne ben the house I rin.
And a wearie wight am I.
III.
I had ane auld wife to my grannie.
And wow gin she kept me lang.
But now the carlin's dead.
And I'll do what I can.
And I'll do what I can,
Wi' my twenty pounds and my cow.
But wow, its ane unco thing.
That naebody comes to woo.
Ramsay wrote an introductory stanza to this old song, be-
ginning Ti's / have seven braw nsw gowfis ; and in place
of the last stanza, which he suppressed, he added two of his
own, beginning When I was at vit/ first prayers. The song,
thus altered, he entitled, " Slighted Nancy," to the tune of
The kirk wad let me be. The editor of the Orpheus Caledo-
nius, however, adhered to the words and tune of the old song,
idO XCVI.— THE MUCKING OF GEORDIE's BYBE.
and very properly rejected Ramsay's verses, of which the two
last are certainly objectionable.
About the year 1700, a certain lady of high rank and fa-
shion fell in love with a fine young man of an inferior station
in life, he being one of her father's tenants. She married him,
however, in direct opposition to the will of her family, and
this circumstance gave occasion to the humorous but vulgar
ballad of " The mucking o' Geordie's byre." It begins
The mucking o' Geordie's byre.
And shooling the gruip sae clean.
Has gard me weet my cheeks.
And greet with baith my een.
It was not my father's will.
Nor yet my mither's desire.
That e'er I should file my fingers
Wi' mucking o' Geordie's byre.
A contemporary bard, however, took up the cudgels for
Geordie in a very spirited manner. His ballad concludes
thus:
The lads that gae courting the lasses
Had need to be c§nny and slee.
Or else they'll be guided like asses.
Gin they be as sUly as me.
I courted a lassie for siUer,
And she was baith saucy and spree.
But when I was buckled until her.
The devU ae bodle had she.
This beautiful air, when played slow, is very plaintive, but
the songs to which it has hitherto been united are all of a very
humorous cast. The tune appears in Mrs Crokafs book, in
1709, under the title of " The three good Jellows^'' which
must have been the name of another old and now forgotten
song, to the same melody. The verses to which it is adapted in
the Museum, beginning " As I went over yon meadow,'
were written by Mr James Ty tier, with the exception of two
lines, taken from the old chorus.
XCVII.
BIDE YE YET.
. There is as rich a vein of lively and innocent humour in
this pretty little ballad as in any to be found in the whole
XC VII.— BIDE YE YET. 101
compass of the Museum. It begins Gin I had a wee house
and a canty wee fire. It was picked up and published by-
Herd, but the author is still anonymous. Some stanzas also,
to the same tune, were written by Miss Janet Graham of
Dumfries, a maiden lady, who lived to a considerable age,
although much afflicted with an asthmatic complaint, to
which she ultimately fell a victim. Being naturally of a cheer-
ful disposition, she often attempted to beguile her sufferings
by composing Scottish songs and poems of humour. As Miss
Graham's song is highly spoken of by Burns, it is annexed.
It was originally published in Herd's Collection, vmder the
title of The Wayward Wi/e, but rather in an imperfect state,
two lines of the second stanza being wholly omitted.
THE WAYWARD WIFE.
I.
Alas, my son, you little know
The sorrows that from wedlock flow;
Farewell to every day of ease.
When you have got a wife to please.
Sae bide you yet, and bide you yet,
Ye little ken what's to betide you yet ;
The half of that will gane you yet.
If a wayward wife obtain you yet.
II.
Your ain experience is but small.
As yet you've met with little thrall ;
The black cow on your foot ne'er trode.
Which gars you sing alang the road.
Sae bide you yet, ^c.
III.
Sometimes the rock, sometimes the reel.
Or some piece of the spinning wheel.
She'll drive at you, my bonny chiel.
And send you headlangs to the de'il,
Sae bide you yet, S(e.
IV.
When I, like you, was young and free,
I valued not the proudest she.
Like you, I vainly boasted then.
That men alone were born to reign.
Sae bide you yet, S^c.
102 XCVII.— BIDE YE YET.
V.
Great Hercules, and Samson, too.
Were stronger men than I or you.
Yet they were baffled by their dears.
And felt the distaff and the sheers.
Sae bide you yet, S^c.
VI.
Stout gates of brass, and well-built walls.
Are proof 'gainst swords and cannon balls ;
But nought is found by sea or land.
That can a wayward wife withstand.
Sae bide you yet, A'C
XCVIII.
THE JOYFUL WIDOWER.
These three humorous stanzas, beginning / married with
a scolding wife thejburteenth of November, were written by
Burns. They are adapted to the well-known air of Maggie
Lauder. For an account of this tune, see Notes on Song No
544. .'^■■
XCIX.
BONNIE DUNDEE.
This air appears in Skene's MSS. under the title of " Adew
Dundee." It is therefore certain that the song was a well-
known favourite in Scotland long before the year 1598. The
old song, which is certainly none of the most delicate, was
travestied by the Grub-street junto, who, as usual, made it
ten times worse. Those who have any curiosity to see their
pitiful production, will find it in " Wit and Mirth," vol. iii.
first edition, 1703, under the title of Jockey's escape from
Dundee. It begins.
Where got'st thou that haver-mill bonack ?
Blind booby, can'st thou not see ?
I'se got it out of a Scotchman's wallet.
As he lig lousing himself under a tree !
This elegant travestie thus concludes.
With sword ready drawn, they rode to the gate.
Where being denied an entrance thro',
The master and man, they fought at that rate,
That some ran away, and others they slew.
Thus Jocky, the laird, and Sawney, the man,
They valiantly fought, as Highlanders can ;
In spite of the loons, they set themselves free.
And so bid adieu to bonny Dundee.
XCIX. BONNIE DUNDEE. lOS
The song in the Museum, with the exception of the first
four lines, beginning 0 where did you get that haver-meal
bannocJCf which formed part of the first stanza of the old bal-
lad, was wholly written by Burns, The last verse is iracom-
monly pretty.
My blessings upon thy sweet wee lippie.
My blessings upon thy bonny e'e bree,
Thy smiles are sae like my blithe sodger laddie ;
Thou's ay the dearer and dearer to me.
But I'll big a bower on yon bonny banks.
Where Tay rins wimplin by sae clear.
And I'll dead thee in the tartan sae fine,
Aild mak thee a man like thy daddie dear !
Burns sent a copy of the first draught of his improved ver-
sion to his friend Mr Cleghorn, with the following laconic
epistle :
*' Dear Cleghorn, you will see by the above that I have
added a stanza to ' Bonny Dundee.' If you think it will
do, you may set it agoing
Upon a ten string'd instrument.
And on a psaltery. R. B,
" To Mr Cleghorn, farmer. God bless the trade."
Mr Gay selected " Bonnie Dundee" as a tune for one of
his songs in the Beggar's Opera, beginning " The charge is
prepared, the lawyers are met," acted at London in 1728.
But it was known in England long before that time, as it is
printed in Play ford's Dancing Master, in the year 1657.
c.
JOHNNY AND MARY.
This song, beginning Down the hum, and through the
mead, is an Anglo-Scottish production of considerable merit.
It was first introduced and sung by Miss Cately, as a " Fa-
vourite new Scotch song," in the opera of Love in a Village,
and was received with great applause. This opera, by Mr
Bickerstaffe, was first acted at Covent Garden, London, in
1762. The last line of every stanza of Johnny and Mary
tells us, that Mary wiped her honny mow- This has always
been considered very faulty and disagreeable, more especially
104< C.^— JOHNNY AND MARY.
as it 19 repeated no less than four times in singing the song.
It reminds one of Solomon's observation on a certain charac-
ter, that " She eateth and wipeth her mouth, and saith I
have done no wickedness." If the composer had only sub-
stituted a better line in place of this, the song would have
been much improved, and nearly faultless. Miss Cately, it
would seem, had introduced Johnny and Mary as an extra
song in Love in a Village; for it is not to be found in the list
of those songs which Bickerstaffe originally selected for this
opera.
END OF PART FIRST.
[ * 105 ]
ADDITIONAL ILLUSTRATIONS.
PART I.
I.
THE HIGHLAND QUEEN.
The authority for ascribing this song- to Mr Macvicar
is Burns's MS. note, in his interleaved copy of the
Museum, which states that he had the information from
Dr Blacklock. (Cromek's Reliques of Burns, p. 195.)
But no particulars respecting Macvicar have been disco-
vered. The song was first published, accompanied with
the music, in Ruddiman's Edinburgh Magazine for April
1758. It next occurs in a collection, of which only one
volume appeared, under the title of " The Lark : being a
Select Collection of the most celebrated and newest Songs,
Scots and English. Vol. I. Edinburgh, printed for W. Gor-
don, bookseller in the Parliament Close, 1765." 12mo.
II.
AN THOU WERE MY AIN THING.
There is no kind of evidence for attributing a single
Scotish melody to David Bizzio. Thomson, indeed, in
his Orpheus Caledonius, 1725, ascribed to " David Rezzio"
this and six other old tunes ; but, in republishing that work
in 1733, the name was withdrawn. Other tunes under the
name of " Rizo," by Oswald, were subsequently published.
These were his own compositions ; as a friend of his, in
1741^ ofl his leaving Edinburgh, says.
When wilt thou teach our soft jiEidian fair.
To languish at a false Sicilian air ;
* H
106 * AN THOU WERE MY AIN THING.
Or when some tender tune compose again,
And cheat the town wV David Rizo's name ?
See also the Chronological List, annexed to the Preface of
this work.
In asserting this to be an old tune, Mr Stenhouse was
correct ; for we find '' An thou wer myn oun thing," in a
MS. Lute-book, written at Aberdeen by Robert Gordon
of Straloch, in the year 1627.
IV.
BESS THE GAWKIE.
The author of this song, the Rev. James Muirhead,
descended from an ancient family, was the son of Muir-
head of Logan, and born in the year 1740 ; or, according
to the author of the Literary History of Galloway, in 1742.
He was educated at the College of Edinburgh ; was licensed
to preach in 1769 ; and ordained Minister of Urr in the
year 1770. In 1794, the University of Edinburgh con-
ferred on him the honorary degree of D.D. ; and at a more
advanced period of life (in 1806), the celebrated linguist
Dr Alexander Murray was appointed his assistant and suc-
cessor. In 1795, at the controverted election for the Dum-
fries boroughs, Dr Muirhead fell under the lash of Burns,
who then printed, for private distribution, several ballads in
the shape of broadsides, which gained him less credit for
wit than for ill-nature. Dr Muirhead replied in some viru-
lent lines, which reflect no credit upon their author. See
Chambers's Lives, vol. i. p. 440 ; and Motherwell's edition
of Burns, vol. i. p. 310. Allan Cunningham, both in his
" Songs of Scotland," and in his edition of Burns, calls him
by mistake William ; and Murray says he died in 1806. His
death is thus recorded in the Scots Magazine (vol. Ixx. p.
479), " 1808, May 16, At Spottes-hall, Dumfries-shire, the
Rev. Dr James Muirhead, of Logan, Minister of the Gos-
pel at Urr, in the 68th year of his age, and 38th of his
Ministry."
LORD GREGORY. * 107
V.
LORD GREGORY.
" O, OPEN the door, love Gregory,
O open, and let me in —
The wind blows through my yellow hair,
And the dew draps o'er my chin.
" This is much better than ' the rain rains on my scarlet
robes,' and is as generally sung by the people of Galloway
and Dumfries-shire."— (C. K. S.)
\i.
THE BANKS OF TWEED.
" Ferdinando Tenducci This was, as far as I know,
the only very celebrated Italian singer who ever visited Scot-
land. His arrival is thus announced in " The Edinburgh
Evening Courant, Monday, May 16, 1758." " Last night,
arrived here from Ireland, Mr Tenducci, the celebrated
singer." Along with him he brought his wife, whom he had
married in Ireland ; she also sang in public — but with a very
indifferent voice, as I have been told by those who heard it ;
her extraordinary Platonic passion ended in an elopement
with a gallant, and in a divorce, which makes a figurer in the
Trials for adultery, &c. Tenducci was a very handsome
man- — she, a pretty, modest looking girl. He taught music
while in Edinburgh ; and published a folio volume of his
own compositions of which this is the title—" A Collec-
tion of Lessons for the Harpsichord, or Piano and Forte,
composed by Ferdinando Tenducci. Dedicated to the Right
Honourable Lady Hope. Printed for the author, and to
be got at his lodgings, opposite Lord Milton's, Cannon-
gate ; at Mrs Phinn's, and Richard Carmichael, engraver,
back of the Guard, and at R. Bremner's music-shop."
Minuets are mingled with the sonatas, but only two have
the names of ladies prefixed — Ladies Hope and Cunning-
ham (Miss Myrton of Gogar). Lady Cunningham's mi-
nuet, with variations, is extremely beautiful," — (C. K. S.)
108 * " ROSLIN CASTLE.
VIII.
ROSLIN CASTLE.
Richard Hewitt was a native of a village near Carlisle,
and was taken when a boy to lead blind Dr Blacklock, who
resided in Cumberland, during the earlier part of his life.
Finding him to be a youth of promising dispositions, he
instructed him in various languages ; and Hewitt, on leaving
his service, addressed some verses to Mr Blacklock, which
bear testimony to the warm affection he entertained for his
master. Mr Henry Mackenzie, in his edition of Blacklock's
Poems, Edinburgh, 1793, informs us, that Hewitt subse-
quently became Secretary to Lord Milton (then Lord Jus-
tice-Clerk, and Sub-Minister for Scotland, under Archibald,
Duke of Argyle) ; but that the fatigue of that station hurt
his health, and he died in 1764.
IX.
SAW YE JOHNIE COMIN'.
Thomas Fraser, whom Mr Stenhouse mentions in this
note, died in 1825. See note in Chambers's " Scottish
Songs," p. 279, Edinburgh, 1829, 2 vols., 8vo.
X.
woo'd and married an' a'.
Mr Stenhouse, in his Illustrations, uniformly quotes
Ramsay's Tea-Table Miscellany as having been published
in 1724. The first volume certainly appeared at Edinburgh
in that year ; but the second, third, and fourth volumes were
published separately, in 24mo, at various intervals. " A
New Miscellany of Scots Songs," printed at London in
1727, contains a selection of the Scotish songs in the first
two volumes. The Tea-Table Miscellany, volume third,
was printed at Edinburgh for Allan Ramsay, in 1727 ; but
at what time the Fourth volume was puiblished I have not
been able to ascertain, having only seen a very imperfect
copy of the original edition. The first collected edition
woo D AND MARRIED AN a'. * 109
of this popular work contains the three volumes in one,
" London, printed for and sold by A. Millar, 1733," 12mo.
It is called " The Ninth Edition, being the compleatest
and most correct of any yet published, by Allan Ramsay."
The accuracy of this statement I should be disposed to ques-
tion. On the other hand, there are three distinct editions,
each professing to be " The Twelfth Edition," viz. at Glas-
gow, 1753; Edinburgh, 1760; and London, 1763. The
eighteenth, and probably the latest edition, appeared at
Edinburgh, 1 792. All the editions, subsequent to that of
1733, contain the four volumes of the collection.
XIII.
THE FLOWERS OF EDINBURGH.
" Burns is not quite correct in his assertion that the
Scotish Muses were all Jacobites — a song, beginning ' The
cats hae kittled in Charlie s wigj' is certainly the wretched
effusion of a Scotish Hanoverian." — (C. K. S.)
" N.B. Our ancient Border rhyme runs thus —
Tillielute, tillielute, tillielute of Bowelaw,
Our cat's kittled in Archie's wig ;
Tillielute, tillielute, tillielute of Boyrelaw,
Four of them naked, and four of them clad.
I am afraid the Scots Hanoverian had been but a plagiary
after all."— (MS. Note by Sir Walter Scott, in 1821).
XVI.
FYE GAR RUB HER O'ER WI' STRAE.
Mr Stenhouse, in this note and elsewhere, refers to a
MS. music-book, as in his own possession, written in tabla-
ture for the lute, and supposes it to be as old as the reign
of Queen Mary. As he mistook the age of other MSS.,
I suspect that he imagined this one to be of much too early
a date ; but unfortunately it is not known what has become
of that MS.
no * THE LASS OF LIVINGSTON.
xvir.
THE LASS OF LIVINGSTON.
The MS. music-book, with the autograph of " Mrs
Crockat, 1709," which is frequently mentioned by Mr
Stenhouse, is now in the possession of Charles Kirkpatrick
Sharpe, Esq.
XVIII.
THE LAST TIME I CAME O'eR THE MUIR.
Mr Stenhouse formed an erroneous opinion of the age
of the MS. collection of tunes, preserved in the Advocates'
Library, and described in this note. The volume consists
of seven (not six) little books bound in one ; having on the
first leaf the signature, " Magister Johannes Skeine," by
whom there can be little doubt that the collection was
formed. This person, however, was not Sir John Skene
of Curriehill, " when he was a very young man," but John
Skene of Hallyards, in Mid-Lothian, the second son of that
eminent lawyer ; and instead of being written " prior to
1598," as stated in Note cxxxi, or " circa 1570," as in
Note DLxxxix, it belongs to the early part of the seven-
teenth century, apparently about the year 1615.
The MS. collection, however, is one of great importance,
as it contains a number of popular Scotish airs of earlier
date, and in a more genuine form than they are known to
have been elsewhere preserved. A volume, containing the
several Scotish airs, (which in the MS. are written in tabla-
ture for the Mandour,) rendered into modern notation, is
now on the eve of publication, by William Dauney, Esq.,
Advocate, accompanied with an elaborate dissertation on
the origin of Scotish Music :--such a work cannot fail to be
of great interest to all lovers of our National Melodies.
xxiii.
THE TURNIMSPIKE.
" That person of the Kenmure family alluded to in the
tradition, was most probably Robert, fourth Viscount of
THE TURNIMSPIKE. * 111
Kenmure, who suffered many hardships on account of his
loyalty, and was excepted out of Cromwell's act of grace
and pardon, 1654. He died at Greenlaw, without issue,
1663."_(C. K. S.)
" Burns says nothing about the authorship of this hu-
morous song ; but we may mention that it, and its coun-
terpart, ' John Hielandman's remarks on Glasgow,' are
from the pen of Dougald Graham, Bellman in Glasgow,
and author of the facetious histories of ' Lothian Tam,'
' Leper the Tailor,' ' Simple John and his Twelve Misfor-
tunes,' ' Jocky and Maggy's Courtship,' 'John Cheap
the Chapman,' ' The Comical Sayings of Paddy from
Cork, with his Coat buttoned Behind,' ' John Falkirk's
Carritches,' ' Janet Clinker's Orations in the Society of
Clashin' Wives,' and a ' Metrical History of the Rebel-
lion in 1745,' in which he had a personal share, &c. &c.
His works, in the form of Penny Histories, have long formed
staple articles in the hawker's basket ; and while the classic
presses of Paisley, Stirling, and Falkirk, have groaned
with them, the sides of the Scottish lieges have been con-
vulsed with them for the greater part of a century." —
(Edition of Burns, by Motherwell, vol. v. p. 299.)
In the Paisley Magazine, 1828- (of which he was editor),
Mr Motherwell gave an interesting account of Dougald
Graham, proving that he was the writer of the above
' chap books,' which contain a great deal of very coarse
humour ; but which, for the credit of our peasantry, are
less sought for than formerly. Graham was born about
1724, and died in the year 1779. His ' History of the
Rebellion,' 1745, was a favourite work of Sir Walter
Scott's, and was first printed under the following title : —
" A full, particular and true Account of the Rebellion,
in the years 1745-6.
Composed by the Poet D. Graham,
In Stirlingshire he lives at hame.
To the Tune of The gallant Grahams. To which is add-
1 12 * THE TUBNIMSPIKE.
ed, Several other Poems by the same Author. Glascfow,
printed and sold by James Duncan, &c., 1746. Price
fourpence half-penny." 12mo, pp. 84.
In a metrical "Account of the Author," Graham mentions
that he was born near Raploch, in Stirlingshire, and that he
remained as a servant at Campsie. But the second edition,
1752, bears " Printed for and sold by Dougal Graham, mer-
chant in Glasgow." In the third edition, 1774, the work
was entirely re- written, and not improved, and it is this text
that has been followed in six or seven later impressions. The
first edition is so extremely rare, that only one copy is known
to be preserved, and, as a literary curiosity, it might be worth
reprinting ; although it demolishes the fine story of the
Author's difficulty in obtaining the Bellman's place from
the Glasgow Bailies, on account of his being a Jacobite,
and having joined the Pretender's army.
XXXII.
FAIREST OF THE FAIR.
" Perhaps both the author of ' The young Laird and
Edinburgh Katy' and Bishop Percy took the idea of their
ballads from a song in Lee's beautiful tragedy of Theodo-
sius, or the Force of Love : —
Can'st thou, Marina, leave the world.
The world that is devotion's bane ?—
Can you your costly robes forbear
To live with us in poor attire?" &c. &c (C. K. S.)
XXXVI.
TWEEDSIDE.
John Lord Yester, second Marquis of Tweeddale,
died at Yester, 20th of April, 1713, in the 68th year of his
age. Scot of Satchel, in the dedication of his Rhyming
History of the name of Scot, in 1688, compliments his
Lordship for his poetical abilities. For his character, see
Macky's Memoirs, p. 186, and Douglas's Peerage, by
Wood, vol. ii. p. 610.
TWEEDSIDE. * 1 13
Mr Stenhouse and other editors have asserted that Burns
was mis-informed in regard to the author of " Tweedside,"
and of some of our finest pastoral lyric poems, and state that
the poet's name was not Robert, but William Crawfurd
of Auchinames. The only person of that name, mentioned
in the genealogical account of this family, is said to have
married Helen, daughter of Sir Thomas Burnet, M.D., an
eminent physician in Edinburgh, in the reign of Charles II. ;
and to have died without issue during his father's life. (Craw-
furd's Renfrewshire, by Robertson, p. 371.) This seems
to apply to William Crawfurd, younger of Auchinames,
who died previous to 4th July, 1695, when his father
Archibald Crawfurd was served his heir. This, however,
would be much too early for the writer of the fine songs
which appeared in the Tea- Table Miscellany. In calling '
the poet William, Mr S. and others appear to have relied
on the opinion of Lord Woodhouselee, who quotes a letter
from Hamilton of Bangour to Henry Home, afterwards
Lord Kames, in July 1739, where he says, "J have made
the corrections on the moral part of Contemplation, and in
a post will send it to Will. Crawford, who has the rest,
and will transmit it to you. I shall write to him fully on
the subject." " It is pleasing to remark (Lord Wood-
houselee adds), that the Will. Crawford here mentioned
was the author of the beautiful pastoral ballad of Tweedside,
which. Math the aid of its charming melody, will probably
live as long as the language is understood." (Life of Lord
Kames, 8vo edition, vol. i. p. 97.) The letter in question
refers to Hamilton's poem, which was written in 1739, and
printed in 1744 ; and the William Crawford here mentioned
was a merchant in Glasgow, who died probably about 1750.
In the second edition of Hamilton's Poems, 1758, there is
a dedication prefixed, " To the Memory of Mr William
Crawford, merchant in Glasgow, the friend of Mr Hamil-
ton."
It is singular that Lord Woodhouselee and subsequent
114* TWEEDSIDE.
writers should have overlooked the letters of Ramsay of
Ochtertyre to Burns, which were printed by Currie, and
which I think ascertain beyond all doubt that the writer of
' Tweedside,' ' The Bush aboon Traquair,' and other songs
published by Ramsay in the Tea- Table Miscellany, was
Robert Crawfurd, a cadet of the family of Drumsoy.
As these Songs appeared in 1724, he was probably born
about the close of the Seventeenth Century.
Mr Ramsay of Ochtertyre, in a letter, dated 22d of
October, 1787, says, " 'Twas only yesterday I got Colonel
Edmonstoune's answer, that neither the words of ^ Down the
burn^ Davie,'' nor ^Daintie Davie^ (I forget which you men-
tioned), were written by Colonel G. Crawford. Next time
I meet him I will enquire about his cousin's poetical
talents." In another letter, addressed to Dr Blacklock,
from Ochtertyre, 27th of October, 1787, Mr Ramsay says,
" You may tell Mr Burns when you see him, that Colonel
Edmonstoune told me t'other day that his cousin Colonel
George Crawford was no poet, but a great singer of songs ;
but that his eldest brother Robert (by a former marriage)
had a great turn that way, having written the words of
* The bush aboon Traquair' and ' Tweedside.' That the
Mary to whom it was addressed was Mary Stewart of the
Castlemilk family, afterwards wife of Mr John Belches.
The Colonel (Edmonstoune) never saw Robert Crawford,
though he was at his burial fifty-five years ago. He was a
pretty young man, and had lived long in France. Lady
Ankerville is his niece, and may know more of his poetical
vein. An epitaph-monger like me might moralize upon
the vanity of life, and the vanity of those sweet effusions."
(Currie's edition of Burns, vol. ii. pp. 107 and 120.)
Patrick Crawfurd, third son of David Crawfurd of Drum-
soy, merchant in Edinburgh, was twice married, first, to a
daughter of Gordon of Turnberry, by whom he had two
sons, 1st, Thomas, who was successively Secretary to the
Embassy of the Earl of Stair, and Envoy Extraordinary to
TWEEDSIDE. * 115
the Court of France. He died at Paris, in 1724. 2d, Ro-
bert, the poet, who died unmarried. His brother's official
residence at Paris may have been, the occasion of his re-
maining there till 1732, when he died, or, as reported, was
drowned, on his return to his native country. His father,
Patrick, was married, secondly, to Jean, daughter of Ar-
chibald Crawfurd of Auchinames, by whom he had a large
family ; Colonel George Crawfurd, mentioned by Ramsay
of Ochtertyre, was the second son by this marriage. He
was Lieutenant-Colonel of the 53d regiment, and died in
1758. It is plainly, therefore, a mistake to designate
the Poet, ' of Auchinames.' According to the informa-
tion of old Mr Tytler of Woodhouselee to Burns, Robert
Crawfurd was drowned in returning from France, in 1732 ;
if so, his body may have been brought to Scotland for
interment.
In this Note, Mr Stenhouse refers to a portrait of Mary
Scott, " the Flower of Yarrow," as painted for the Duke
of Hamilton. Pennant, in describing the pictures at Ha-
milton, is quite animated when he comes to speak of this
portrait painted by Ramsay : — " Irresistless beauty " (he
says) " brings up the rear, in form of Miss Mary Scott,
a full length, in white satin ; a most elegant figure : and
thus concludes the list with what is more powerful than all
that has preceded ; than the arms of the warrior, the art of
the politician, the admonitions of the churchman, or the
wisdom of the philosopher." (Tour in Scotland, vol. ii. p.
125.) Another picture of " the Flower of Yarrow," also
by Ramsay, if I remember right, is in the Marquis of Bute's
possession, at Mount Stuart.
xxxvii.
Mary's dream.
" It is quite evident that this Dream, in its first Scot-
ish dress, is a forgery, proceeding from the same sources
116 • Mary's dream.
whence many of Cromek's ballads were derived. One of
the lines is too long —
Pale — bending on her his hollow ee. " — (C. K. S.)
Although never acknowledged, I have no doubt that
Allan Cunningham was the author of this version of ' Mary's
Dream' — a circumstance that cannot be excused, merely
as a pretended original old ballad, since it affected Lowe's
reputation as a poet, by taking away the originality of
the poem to which alone he owes any celebrity ; but I am
sure, my excellent friend has long since repented ever
having made any such attempt. In Cromek's Remains of
Nithsdale and Galloway Song, where this version first
appeared, there is an interesting account given of Lowe,
communicated by the Rev. Mr Gillespie. Dr Thomas
Murray, in his Literary History of Galloway, has also a
minute biography of Lowe. Mr Cunningham, however,
in his edition of Burns (vol. viii. p. 35), reprobates, in
strong terms, Lowe's conduct to the Lady, to whom he
addressed his * Mary's Dream.'
XLII.
LOGAN WATER.
John Mayne, the author of " The Siller Gun," and
other poems, was a native of Dumfries. He was long
connected with the London newspaper press, and died at
an advanced age, 14th of March 1836. " A better or
warmer-hearted man" (says Allan Cunningham) "never
existed." See an account of his life in the Gentleman's
Magazine, May 1836, and in The Annual Obituary for
1837.
XLIV.
there's nae luck about the house.
" It was from my notes that Mr S. took the traditional
account of Colin's fate. As to the contest about the au-
thorship of this song, it is very improbable that Mickle,
who had a musical ear in poetry, could ever have made
there's nae luck about the house. * 117
speak rhyme to greet — a defect which greatly spoils the
effect of these charming verses." — (C. K. S.)
" The authorship of this song" (says the late Mr Mother- \
well) " has been disputed, some ascribing it to Mrs Jean I
Adams, and others to William Julius Mickle. I am not '
convinced yet that Mickle was its author ; on the con- ?
trary, I think that the evidence contained in the Appendix \
to Cromek's Scotish Songs, completely outweighs the cir- I
cumstances on which it has been assigned to Mickle. We |
may farther add, that the measure and rhythm of many of
Jean Adams' other poems, which are all of a religious and
moral cast, are so like that of this song, as forcibly to recall
it to recollection, while nothing written by Mickle has the
remotest resemblance to it." — (Edit, of Burns,vol.v.p.308.)
I shall not presume to offer any decided opinion on this
disputed point ; and shall only observe that the evidence
in favour of Jean Adams contained in Mrs Fullerton's
letter, published by Cromek, is that of a lady whose
family were her chief patrons ; and that we know nothing
of her compositions during the last twenty years of her life,
and therefore it would be unfair to judge her solely by an
examination of verses which she composed in her younger
days, in the style of " the best English poets that have
written within seventy years." Had Mickle himself in-
cluded the song in the collection of his Poems, or left any
written evidence claiming it as his own composition, no
doubt on the subject would have remained; but the manu-
script copy found among his papers, is such as a person
might have written after having heard it sung.
A parody on this song, on the conclusion of Peace with
America, appeared in 1782, and was printed in the common
stall-form. It begins thus —
But are you sure the news is true ? I
And is it really fact ? |
Have Conway, Burke and Fox at last 1
Laid North upon hia back ? |
118 * there's nae luck about the house.
^ ^ Chorus.
There's nae luck about the Court,
There's nae luck at a' ;
There can be nane while we're at war
Wi' North America.
It is a very poor performance, and only worthy of notice
to show the popularity of the original song. See also Song
Dxcv, in the 6th vol. of the Musical Museum, for
There's nae luck about the house.
When our gudewife's awa'.
What is designated " the Gallo vidian " way of the old
Scotish song, ' There s nae luck about the house,' a version
evidently by the author of the work, will be found at page
244 of that most strange production called " The Scottish
Gallovidian Encyclopedia, by John Mactaggart." Lon-
don, 1824, 8vo.
The fullest account of Jean Adams, who died in the
Town's Hospital at Glasgow, 9th of April, 1765, is given
by Cromek, in the Appendix to his ' Select Scotish Songs,'
vol. i. p. 189. The volume of her Poems was published
by subscription, and is dedicated by her " To Thomas
Crauford of Craufordsburn, Esq."
The volume bears this title — " Miscellany Poems, by
Mrs Jane Adams, in Crawfordsdyke. Glasgow, printed by
James Duncan in the Salt-market, near Gibson's Wynd,
1734," 8vo, The Address to the Reader, signed Archi-
bald Crauford, states that " The Author of the follow-
ing Miscellany Poems is a young woman, born in the
town of Craufordsdyke, in the parish of Greenoak, and
shire of Renfrew, in the West of Scotland : her father was
a shipmaster in that place : her breeding was as is ordinary
for girls of her station and circumstances ; and having
several years ago lost her father. Providence ordered her
lot for some years in the family of a reverend Minister in
the neighbourhood, where she had access to peruse such of
that Minister's books as her fancy led her to read."
Mrs Jean Adams was not very successful in her imita-
there's nae luck about the house, * 119
tions of the style either of Milton or Cowley, and she was
rather fond of displaying her learning. In an address " To
the Phoenix," she speaks of thousands having beheld that
fabulous bird on Mount Helicon, and boasts,
Nay, I my self have seen thee there.
But never any other where,
Except at Pindar's Well.
The following poem, although the latter part, containing
the reply of the Goddess of Justice, approaches to bombast,
may be relished by Album writers of the present age.
ON ASTREA.
AsTKEA, why so pale and sad ?
Why so plainly drest ?
Why upon the jovial plain
Shunned by all the rest ?
For a garland of fresh flowers.
Why a pair of Scales ?
Thou art not yet above the sky
Where Equity prevails.
Put that rigid aspect off.
Suit thee to the time.
All the Constellations here
Are valued as they shine.
Rather let me, Phoenix-like,
Live on Earth alone ; '
Till by Nature's course I fly
To meet that glorious Sun.
Whose radiant beams will touch my wings
With pure celestial fire ;
Which shall to endless ages burn.
Yet never shall aspire.
Lament thou not, because thine eyes
Shall see no Son of mine ;
I'll flourish thro' Eternity,
Like Jove in spight of time.
120 * there's nae luck about the house.
The volume concludes with the following singular
lines : —
TO THE MUSE.
Come hither to the Hedge, and see
The walks that are assign'd to thee :
All the bounds of Virtue shine.
All the plain of Wisdom's thine.
All the flowers of harmless Wit
Thou mayest pull, if thou think'st fit.
In the fair field of History ;
All the plants of Piety
Thou mayest freely thence transplant :
But have a care of whining Cant.
L.
SCORNFUL NANCY.
" I POSSESS a MS. copy of this excellent ballad, subjoin-
ed to an early transcript of Dryden's Absalom and Achito-
phel, which contains, what seems to me, an improvement
on the printed editions. In these, Willy enumerating the
dignities of his father, mentions —
A gude blue bonnet on his head.
An ourlay on his craigie ;
And aye, untill the day he died.
He rode on gude shank's nagie.
Riding on shank's nagie means walking on foot, which is
no peculiar distinction ; but in my MS. the line stands —
He rode an ambling nagie j
which certainly coincides much better with the rest of the
description." — (C. K. S.)
LI.
BLINK OVER THE BURN, SWEET BETTY.
" The first line of this song is quoted by Shakspeare, in
King Lear."_(C. K. S.)
LII.
JENNY NETTLES.
" There is a tradition in Fife, that Jenny hanged herself
JENNY NETTLES. * 121
for love, and her grave is still pointed out. The following
notice respecting some relics discovered there was kindly-
communicated to me by Mr Fraser, jeweller, St Andrew's
Street, Edinburgh, in whose possession they now remain :
— ' Gold ear-ring and bead of a necklace which belonged
to the famed Jenny Nettles of Scotish song, whom tradi-
tion mentions committed suicide, and was buried between
two lairds' lands near the Lomond hills, a cairn or heap of
stones being raised to mark the spot, according to ancient
usage. A stranger, happening to visit a farmer in that
neighbourhood, was accidentally informed of the above cir-
cumstance, and was shown the place where the cairn once
stood. Prompted by the love of antiquarian research, he
immediately commenced digging, when, at the depth of
eighteen inches, he found the skull and other bones of poor
Jenny (which must have remained inhumed at least a cen-
tury), along with two ear-rings and twenty-four beads-
One of the ear-rings was given to a gentleman who went
to France, and twenty-three of the beads were distributed
amongst various persons. 1830.'" — (C. K. S.)
LVIII.
THE BLYTHSOME BRIDAL.
This humorous song was formerly supposed to have been
written by Francis Semple of Beltrees : it has been claimed,
upon apparently better grounds, as the composition of Sir
William Scott of Thirlestane, in Selkirkshire, ancestor
of the present Lord Napier. " There is a tradition in the
family of Lord Napier, tiiat this ballad was composed by
William Scott, Esq., younger of Thirlestane, who married
Elizabeth, Mistress of Napier. Their marriage-contract is
dated 15th Dec. 1699."— (C. K. S.)
The family tradition is minutely detailed by Mr Mai-k
Napier, in his " History of the Partition of the Lennox,"
p. 237-239. Edinb. 1835. 8vo. He there quotes a letter
to himself from the late Lord Napier, dated Thirlestane,
122 * THE BLYTHSOME BRIDAL.
15th December, 1831, as follows : — " Sir William Scott
was author of that well-known Scots song, ' Fye^ let us a'
to the bridal — -for there will be liltings there' — a better thing
than Horace ever wrote. My authority was my father,
who told me he had from his, and that he had it from his,
who was Sir William's son." Sir William Scott died on
the 8th of October, 1725. A collection of his Latin Poems
was printed in a volume, entitled " Selecta Poemata
Archibaldi Pitcarnii Med. Doctoris, Gul. Scot a Thirle-
stane Equitis, Thomae Kincadii, et aliorum." Edinb.
1727. 12mo. Mr Napier, in mentioning this volume, says
that Sir William " is therein eulogized by the editor, Dr
Pitcairne," the learned gentleman forgetting that Dr Pit-
cairne died in 1713, and that he is the first person who " is
therein eulogized by the editor " in the address, by the
printer, " Robertus Fribarnius Lectori (piT^oixaaca S.," which
was probably written by Thomas Ruddiman the gram-
marian.
LXIII.
THE FLOWERS OF THE FOREST.
I CANNOT ascertain where the different sets of these
beautiful lyrics were first published. It is also somewhat
doubtful which of them should claim priority of composi-
tion. A few particulars, however, respecting the ladies by
whom they were written will not be here misplaced.
1. Mrs Cockburn was a daughter of Robert Rutherford
of Fernylee, in the county of Selkirk, and born probably
about the year 1710 or 1712. In 1731 she married Patrick
Cockburn, youngest son of Adam Cockburn of Ormiston,
Lord Justice- Clerk, who died 16th of April, 1735, in the
79th year of his age. Patrick was admitted advocate, 27th
of January, 1728; but died, " after a tedious illness," at
Musselburgh, 29th of April, 1753. Her pathetic verses,
^ I've seen the smiling of fortune beguiling^' are printed in
THE FLOWERS OF THE FOREST. * 123
" The Lark," p. 37, Edinburgh, 1765, with some occasional
variations. She survived her husband for more than forty
years. From family intimacy, this lady was well known
to Sir Walter Scott in his youth, and on several occasions
he has mentioned her in terras of great regard. " Even
at an age " (he says) " advanced beyond the usual bounds
of humanity, she retained a play of imagination, and an
activity of intellect, which must have been attractive and
delightful in youth, but were almost preternatural at her
period of life. Her active benevolence, keeping pace with
her genius, rendered her equally an object of love and
admiration. The Editor, who knew her well, takes this
opportunity of doing justice to his own feelings ; and they
are in unison with those of all who knew his regretted
friend." (Border Minstrelsy, vol. iii. p.. 338, edit. 1833.)
See also Lockhart's Life of Scott, vol. i. pp. 9, 86, 88,
97, 122; and vol. ii. p. 358.
Sir Walter Scott communicated at considerable length
to Mr Robert Chambers, when publishing his " Scottish
Songs," in 1829, his personal recollections of Mrs Cock-
burn ; and these, as possessed of more than common inter-
est, are here copied from the preface to that collection.
" Mrs Catherine Cockburn, authoress of those verses
to the tune of the Flowers of the Forest, which begin,
I've seen the smiling of fortune beguiling,
was daughter to Rutherford, Esq. of Fairnalee, in
Selkirkshire. A turret in the old house of Fairnalee is
still shown as the place where the poem was written. The
occasion was b. calamitous period in Selkirkshire, or Ettrick
Forest, when no fewer than seven lairds or proprietors,
men of ancient family and inheritance, having been engaged
in some imprudent speculations, became insolvent in one
year.
" Miss C. Rutherford was married to Cockburn,
son of Cockburn of Ormiston, Lord Justice- Clerk of Scot-
124 * THE FLOWERS OF THE FOREST.
land. Mr Cockburn acted as Commissioner for the Duke
of Hamilton of that day ; and being, as might be expected
from his family, a sincere friend to the Revolution and
Protestant succession, he used his interest with his principal
to prevent him from joining in the intrigues which preceded
the insurrection of 1745, to which his Grace is supposed to
have had a strong inclination.
" Mrs Cockburn was herself a keen Whig. I remember
having heard repeated a parody on Prince Charles's pro-
clamation, in burlesque verse, to the tune of ' Clout the
Caldron.' In the midst of the siege or blockade of the
Castle of Edinburgh, the carriage in which Mrs Cockburn
was returning from a Adsit to Ravelstone, was stopped by
the Highland guard at the West Port ; and, as she had a
copy of the parody about her person, she was not a little
alarmed at the consequences ; especially as the officer talked
of searching the carriage for letters and correspondence
with the Whigs in the city. Fortunately, the arms on the
coach were recognised as belonging to a gentleman favour-
able to the cause of the Adventurer, so that Mrs Cockburn
escaped, with the caution not to carry political squibs about
her person in future.
" Apparently, she was fond of parody ; as I have heard
a very clever one of her writing, upon the old song,
' Nancy's to the greenwood gane.' The occasion of her
writing it, was the rejection of her brother's hand by a
fantastic young lady of fasliion. The first verse ran
thus : —
Nancy's to the Assembly gane.
To hear the fops a' chattering ;
And Willie he has followed her.
To win her love by flattering.
*' I farther remember only the last verse, which describes
the sort of exquisite then in fashion : —
Wad ye hae bonny Nancy ?
Na, I'll hae ane has learned to fence,.
THE FLOWERS OF THE FOREST. * 1 25
And that can please my fancy ;
Ane that can flatter, bow, and dance.
And make love to the ladies.
That kens how folk behave in France,
And's bauld amang the cadies. *
" Mrs Cockburn was authoress of many other little
pieces, particularly a set of toasts descriptive of some of
her friends, and sent to a company where most of them
were assembled. They were so accurately drawn, that
each was at once referred to the person characterised.
One runs thus : —
To a thing that's uncommon — a youth of discretion,
Who, though vastly handsome, despises flirtation ;
Is the friend in affliction, the soul of affection.
Who may hear the last trump without dread of detection.
This was written for my father, then a young and remark-
ably handsome man.
" The intimacy was great between my mother and Mrs
Cockburn. She resided in Crichton Street, and, my
father's house being in George's Square, the intercourse of
that day, which was of a very close and unceremonious
character, was constantly maintained with little trouble.
My mother and Mrs Cockburn were related, in what
degree I know not, but sufficiently near to induce Mrs
Cockburn to distinguish her in her will. Mrs Cockburn
had the misfortune to lose an only son, Patrick Cockburn,
who had the rank of Captain in the Dragoons, several
years before her own death; which last event took place
about forty years since.
" Mrs Cockburn was one of those persons whose talents
for conversation made a stronger impression on her con-
temporaries, than her writings can be expected to produce.
In person and features she somewhat resembled Queen
Elizabeth ; but the nose was rather more aquiline. She
* An old-fashioned species of serviceable attendants, between the
•street-porter and the valet- de- place, peculiar to Edinburgh. A great
number were always hanging about the doors of the Assembly Rooms-
126 * THE FLOWERS OF THE FOREST.
was proud of hei- auburn hair, which remained unbleached
by time, even when she was upwards of eighty years old.
She maintained the rank in the society of Edinburgh, which
French women of talents usually do in that of Paris ; and
her little parlour used to assemble a very distinguished and
accomplished circle, among whom David Hume, John
Home, Lord Monboddo, and many other men of name,
were frequently to be found. Her evening parties were
A^ery frequent, and included society distinguished both for
condition and talents. The petit souper which always con-
cluded the evening, was like that of Stella, which she used
to quote on the occasion : —
A supper like her mighty self.
Four nothings on four plates of delf.
But they passed off more gaily than many costlier enter-
tainments.
" She spoke both wittily and well, and maintained an
extensive correspondence, which, if it continues to exist,
must contain many things highly curious and interesting.
My recollection is, that her conversation brought her much
nearer to a Frenchwoman than to a native of England ;
and, as I have the same impression with respect to ladies of
the same period and the same rank in society, I am apt to
think that the vieille cour of Edinburgh rather resembled
that of Paris than that of St James's ; and particularly,
that the Scotch imitated the Parisians in laying aside much
of the expense and form of those little parties in which wit
and good-humour were allowed to supersede all occasion of
display. The lodging where Mrs Cockburn received the
best society of her time, would not now offer accommoda-
tion to a very inferior person." — (Sir Walter Scott.)
As a farther specimen of Mrs Cockburn's talent for me-
trical composition, the two following songs have been com-
municated by Mr Kirkpatrick Sharpe, who has added
marginal notes explaining the allusions to the persons de-
scribed.
THE FLOWERS OF THE FOREST.
* 127
A COPY OF VERSES, WROTE BY MRS COCKBURN
On the back of a Picture of Sir Hew Dalrijmple.
To the tune of " All you Ladiea now at Land."
1,
Look behind, and you shall see
A portrait just and true ;
Here's of mankind th' epitome,
Form'd in our right Sir Hew- pie.'ilJ'rbaS'of
Sprightly, witty, gay, and glad ; fn"pornr;.^t 'as mV.'!
Thoughtful, serious, sour, and sad ; ber for Haddington.,
^ . , . o- TT -N eliire, and died at Lon-
Pray, is not this Sir Hew ? don, i7<;o.
Ever varying, yet the same.
We find our friend Sir Hew ;
Fond of public life and fame.
And of the private too —
Though public life is his desire.
He warms his shins at his own fire.
Who is not like Sir Hew ?
3.
Once an amorous swain. Sir Hew,
As e'er pip'd on the plain ;
As witness Helen Cantilew,
Of sixty years and twain —
But now, on soul of woman bent.
Pie scorns her earthly tenement —
Woe's me for poor Sir Hew I
This stanza al'nies
to Iiis having decla-
red to the lady that
he oJice a4iiiirod her
person, but now only
her good uuderstand-
iiig and mental accom^
plishinents.
Humane and generous drops the tear.
Most genuine and true.
For woes that others feel and bear.
From gentle, kind Sir Hew :
Though out of sight is out of mind ;
Yet see him, and he's always kind.
Our worthy friend. Sir Hew.
5.
To all below him mild and just.
And to his friendships true —
Forsakes no friend — betrays no trust-
Adore him in this view ! —
Yet fog or rain will cramp his heart ;
One hour he'll act a different part— >
Who is not like Sir Hew ?
128*
THE FLOVv'ERS OF THE FOREST.
6.
Nature cried (who form'd this man
A little odd and new),
" Try, Art, to spoil him, if you can.
For I have made Sir Hew."
Art, fond of spoiling Nature's trade.
Said, " Let him be a member made.
Then know vour own Sir Hew."
For twenty years she tries her tricks.
And sends him to the senate ;
Shows factions, parties, politics.
And yet — the devil's in it —
The man grows very little worse ;
His heart is sounder than his purse.
Pray, sirs, is this not true ?
This allusion might
fix the date of the song-
to the year 1761, as Sir
Hew was first returned
to Parliament in 1741.
SONG BY MRS COCKBURN.
To the tune of " All ye Ladies now at Land. "
1.
All health be round Balcarras' board.
May mirth and joy still flow ;
And may my Lady and my Lord
Ne'er taste of future wo !
Come fill a bumper to the brim.
And here's to her, and here's to him.
Fal, lal, &c.
James, fifth Earl
of Balcarras, married
Anne, daughter of Sir
Robert Dalrymple of
Castleton, Ktl, son of
Sir Hew Dalrymple, of
North Berwick, Bart.
For here, by brandy vine inspir'd.
The frolic took its birth.
While Horn, and Soph, and all conspir'd
To spread around the mirth.
St Andrews still remember'd be
For mirth, and joy, and loyalty.
Fa, la, &c.
To the jolly Colonel and his spouse.
Pray see a health go round ;
For such a pair in any house
Is seldom to be found.
And here's to charming Elphinstone,
May she soon of two make one !
Fa, la, &c.
Robert Dalrymple
Horn Elphinstone, af»
terwards a g-eneral in
the army. He married
Mary, daughter of Sir
John ElphinstO[ie of
Logic, and died 1794.
Miss Peggy Elphin"
stone. Colonel Horn's
sister-in-law.
THE FLOWERS OF THE FOREST.
129
To Guadaloupe's fair governess
We next due honovirs pay.
And to the lad that she likes best,
Though he be far away —
Fly, gentle Peace, -with downy wing.
And to her arms her soldier bring.
Fa, la, &c.
5.
Come crown the goblet once again,
And see it quickly done.
A cup of thanks we owe, that's plain.
To Neptune's gallant son :
O all the powers of mirth forbid.
That we forget our noble Kyde.
Fa, la, &c.
Mra Campbell Dal-
rymple, daughter of Mr
Douglas of St Christo-
pher's, and wife of Colo-
nel Campbell Dalrym-
pie, Governor of Guada-
loupe. After her first
husband's death, she
married Elizabeth Lady
Balcarras's father, Chas.
Dalrymple of North
Berwick.
Captain Kydo.
6.
Now, lovely nymphs, and loving swains.
Across pray join your hands.
We mean to pay you for your pains.
For this our song commands —
To laugh, and love, and live in bliss —
Behold, how good a thing it is ■ -
For neighbours thus to love and kiss.
Fa, la, &c.
Verse added b^ Miss Anne Keith.
Come, to our laureat fill again.
For sure it's good our part ;
And let dear Cockburn's friendly name
Inspire each grateful heart.
Go, Chorus, with our loud huzzas.
To tell her of her song's applause.
Fa, la, &c.
It will be remarked that Sir Walter Scott has styled
Mrs Cockburn, Miss Catherine Rutherford and Mrs
Catherine Cockburn. From the following entry of her
marriage in the Parish Registers of Ormiston, it is certain
that Sir Walter was mistaken : —
"12th March, 1731, Mr Patrick Cockburn, Advocate,
f
130 * THE FLOWERS OF THE FOREST.
in this Parish, and Mrs Alison Rutherford, in the Parish
of Galashiels, were contracted in order to marriage, and
after due proclamation were married."
There was a Mrs Catherine Cockburn (the daughter of
Captain David Trotter), who, at an earlier period, wrote
several plays and philosophical works, which were much
admired. Mr Burnet of Kemnay, in 1704, in writing to
the Princess Sophia, drew Mrs Trotter's character in such
advantageous terms, that her Royal Highness replied,
" Je suis charmee du portrait avantageux, que vous me
faites de la nouvelle Sappho Ecossoise, qui semble meriter
les eloges que vous luy donnez." She died in May 1749,
aged 71 ; and possibly the similarity of name may have
misled Sir Walter Scott's recollections. A collection of
" The Works of Mrs Catherine Cockburn, Theological,
Moral, Dramatic, and Poetical," with her Life by Dr
Birch, was published at London in 1751, 2 vols. 8vo.
Mrs Alison Cockburn died at Edinburgh on the 24 th of
November, 1794.
2. Miss Jane Elliot was the second daughter of Sir
Gilbert Elliot of Minto, Bart., one of the Lords of Session,
and Lord Justice-Clerk (who died 16th of April, 1766,
aged 73), and Helen Stuart, daughter of Sir Robert Stuart
of Allanbank. She was born in the year 1727. Her song,
' The Flowers of the Forest,' is said to have been written
about the year 1 755 ; and when first published it passed as
an old ballad. In Herd's Collection of Scotish Songrs and
Ballads, 1776, and in other copies, both Miss Elliot's and) ^J
Mrs Cockburn's stanzas are incorporated as part of a long (^$(-
narrative ballad, which begins.
From Spey to the Border was peace and good order.
The sway of our Monarch was mild as the May ;
Peace he adored, which Soudrons abhorred.
Our Marches they plunder, our Wardens they slay.
These stanzas are altogether inferior, and of a modern
THE FLOWERS OF THE FOREST. * 131
cast ; and it may safely be alleged that neither Miss
Elliot or Mrs Cockburn had any concern in writing them.
Miss Elliot's elegy long remained anonymous. Sir Walter
Scott, in printing it, in the Border Minstrelsy, 1803,
says, " The following well-known and beautiful stanzas
were composed, many years ago, by a lady of family in
Roxburghshire. The manner of the ancient Minstrels is
so happily imitated, that it required the most positive evi-
dence to convince the Editor that the song was of modern
date."
For the following character of this lady, I am indebted
to a gentleman who was acquainted with her during the
latter period of her life : —
" Miss Elliot had a sensible face, and a slender, well-
shaped figure. Her manner was grave and reserved to
strangers : — in her conversation she made no attempts at
wit ; and though possessed of imagination, she never allow-
ed it to entice her from the strictest rules of veracity — a
virtue not very common either in poets or poetesses. She
had high aristocratic notions, which she took no pains to
conceal.
" In her early youth her father employed her to read his
law-papers to him, and declared that he profited by the
shrewdness of her remarks. I was told by a lady very
intimate with her, that she composed ' The Flowers of the
Forest ' in a carriage with her brother Sir Gilbert, after a
conversation about the battle of Flodden, and a bet that
she could not make a ballad on that subject. She had
read a great deal, and possessed an excellent memory, both
as to books and what had come under her own observation
during life. She was very fond of French literature ; but
detested the modern political principles of that ungovern-
able nation.
"She was the only lady I remember in Edinburgh who
kept her own sedan-chair. It always stood in the lobby
1-32 * THE FLOWERS OF THE FOREST.
of her house in Brown's Square. This house has lately-
been demolished, during the ruinous rage of our city
improvements.
" Though a literary character, which, in the female sex,
is sometimes productive of slovenliness as to dress, she was
remarkably nice in that particular ; neither did she affect
the costumes of her youth, which, at that time, made many
old ladies appear extremely ridiculous. There was that
good sense in every thing she said and did, which rendered
her universally respected by all who had the pleasure of her
acquaintance."
In the Statistical Account of the Parish of Minto, just
published, it is stated, respecting Miss Elliot, that " This
lady appears to have been no less remarkable for strength
of character than accomplishment; for, at the time of the
Rebellion 1745-46, her father being forced to conceal him-
self from a party of Jacobites among the craigs, then only
covered with broom and long grass, she received and enter-
tained the officers, and, by her presence of mind and com-
posure, averted the danger."
There is not perhaps, in the whole range of our lyric
poetry, a finer adaptation of old words handed down by
tradition, than Miss Elliot's ' Flowers of the Forest,' —
and her verses compose a dirge or elegy " expressed in a
strain of elegiac simplicity and tenderness, which has seldom
been equalled." It is to be regretted that this song should
remain a solitary memorial of her genius ; but I cannot
learn that any other verses by Miss Elliot have ever been
published.
For many years, at least from 1782 to 1804, Miss Elliot
resided in Brown's Square, Edinburgh ; but she died at
her brother. Admiral Elliot's seat, at Mount Teviot, Rox-
burghshire, on the 29th of March, 1805.
3. Miss Anne Home, to whom the verses in the
Museum, beginning, ' Adieu, ye streams that smoothly glide,'
THE FLOWERS OF THE FOREST. * 133
are assigned, was the eldest daughter of Robert Home of
Greenlaw, in Berwickshire, surgeon of Burgoyne's regiment
of Light Horse. She was born in the year 1742, and
was married to John Hunter, the distinguished anatomist,
in July 1771. The above verses, adapted to the tune of
' The Flowers of the Forest,' but having no reference to
that calamitous event, occur in " The Lark," Edinburgh,
1765. A volume of " Poems by Mrs John Hunter" was
printed at London,' 1802, 8vo, with a dedication to her
son, John Banks Hunter, Esq. The verses printed in the
Musical Museum are not contained in that volume, but
there is no reason to suppose that they have been erro-
neously ascribed to her pen. Her poems were formerly
much admired, and display both feeling and imagination.
She died at London, 7th of January, 1821, in the 79th
year of her age. She was the sister of the late Sir Everard
Home.
LXVI.
GILDEROY.
" The song of ' Ah ! Chloris, could I now but sit,' is
to be found in Sir Charles Sedley's play of the Mulberry
Garden ; ergo, this tender tale of the President Forbes and
Miss Rose goes for nothing In the Museum, the song is
ascribed to Sir Alexander Halket of Pitferran. A lady,
a connexion of his, and a near relation of mine, told me
that Sir A. wrote these verses on his wife, at whose baptism
he had been present." — (C. K. S.) Sedley's play was acted
in 1668, and printed in 1675, being several years before
President Forbes was born ; and there is no doubt that
Sedley wrote the song in question.
In the Museum, one or two other songs (see pp. 34 and 111)
are ascribed to the Lord President Forbes, on rather
slender authority. His character is sufficient, however, to
be independent of any questionable aid ; for although his
claims to be reckoned among our lyric poets should not be
134 * GILDEROY,
established, I am not sure that he would be the less respected
and venerated by his countrymen. We know, at least,
that he was a sincere friend of Allan Ramsay, Thomson,
and other poets ; and that he himself occasionally woo'd the
Muses, I have a proof in his own handwriting, being an
Epithalamium, extending to upwards of 230 lines. It is
probably a juvenile performance, and begins
No wonder that AppoUo left
Parnassus shady watry cleft.
To honour the propitious day
That blest young Strephon with the lovely Gray :
Strephon had often tuned his lyre,
- And even lent his Godhead fire ;
Strephon had taught his fingers how to move.
And strung his vocall harp for speaking love.
At the top of the second column, he has written the follow-
ing lines —
Colin, you see my pipe can only squeak.
The stops unequal are, the voice is weak.
My thumbs unus'd to dance upon the reed.
And I stranger to the learned lead ;
However, since I play, you weel may thol
To hear, your humble servant, Hobinol.
The occasion which called forth this poem, in all proba-
bility, is that alluded to in the following note : —
" President Forbes's first cousin, Mr Forbes, mar-
ried Miss Aikman, whose mother was Miss Mary Gray, of
Lord Gray's family." — (C. K. S.)
LXVIII.
THE BONNIE BRUCKIT LASSIE.
BuRNs's description of the author of this song is too
graphic to be omitted. — " The two first lines of this song are
all that is old. The rest of the song, as well as those songs
in the Museum marked T, are the works of an obscure,
tippling, but extraordinary body of the name of Tytler,
THE BONNIE BRUCKIT LASSIE. * 135
commonly known by the name of Balloon Tytler, from his
having projected a balloon : A mortal, who though he
drudges about Edinburgh as a common printer, with leaky
shoes, a skylighted hat, and knee-buckles as unlike as
* George-by-the-grace-of-God,' and ' Solomon-the-son-of-
David ;' yet that same unknown drunken mortal is author
and compiler of three-fourths of Elliot's pompous Encyclo-
pedia Britannica, which he composed at half-a-guinea a-
week." (Reliques, p. 224.)
LXIX.
THE BROOM OF COWDENKNOWS.
" The following verses to this air were taken from a
MS. collection of poems ; and are curious enough, not only
from their bombast, but as celebrating the woes of a lady,
afterwards the notorious Lady Vane." — (C. K. S.)
ON THE DEATH OF LORD WILLIAM HAMILTON.
His Lady's Lament, to the tune of The Broom of Cowdenhioios hij
Lieutenant William Hamilton, vulgo Wanton Willie.
Since cruel-hearted fate has rob'd me of my mate
In the sweet flowing bloom of his years.
Like a turtle I will moan for my jewel that is gone.
And drown in a deluge of tears.
Unto some silent shade, in sable weed arrayd.
Through the desarts I'll wander and go.
Where the heavy sighs I send to the heavens shall ascend
In the clouds of my anguish and woe.
My penetrating cryes shall rend the very skyes.
The earth with convulsions shall reel.
While the adamantick stones, sympatMzing with my groans,.
Their grief all in tears do reveal.
But lest I should offend, my humble knees I'll bend,
And with sweetest composure of mind,
I'll unto every bitt of Providence submitt.
For a patren to ladys behind.
Then with courage bold of mind my darline I'll resign.
And finish my funeral moan ;
He's the debt that I must pay to the powers above, for why ?.
I had him from them but in loan.
136 * THE BROOM OF COWDENKNOWES.
Now though he's from me snatchtj whom Death hath ovennatcht.
And pluckt from my bosom so soon.
Yet methinks I hear him say, blest angels pav'd his way.
From the evils of life to a crown.
For some notice of the writer of these verses, see the
additional note to song cxxxvii.
LXX.
OSCAR'S GHOST.
Miss Anne Keith was the same lady as Mrs Murray
Keith, an old friend of Sir Walter Scott's, whom he has
so finely portrayed in the character of Mrs Bethune Baliol,
in the Introduction to the Chronicles of the Canongate.
She was born in the year 1736, and died in April, 1818.
" Miss Anne Keith resided many years in Edinburgh
(51 George Street), keeping house with her elder sister,
Miss Jenny — both universally beloved and respected ; they
were the sisters of Sir Robert Murray Keith, commonly
called Ambassador Keith, from having been employed in
many diplomatic missions, with the applause of all the
world. He was particularly celebrated for his colloquial
talents. Sir Walter Scott told me that Mrs Anne Keith
amused heiself, in the latter years of her life, by translating
Macpherson's Ossian into verse. He did not know what
became of the MS. after her decease. Sir Robert M.
Keith erected a monument to the memory of the Jacobite
Marischal Keith, in the Church of Hochkirchen, with an
Epitaph composed by Metastasio. See Wood's Peerage,
article Marischal."— (C. K. S.)
In a letter to Mr Terry, dated Selkirk, 18th of April,
1818, Sir Walter Scott says, " You will be sorry to hear
that we have lost our excellent old friend, Mrs Murray
Keith. She enjoyed all her spirits and excellent faculties
till within two days of her death, when she was seized with
a feverish complaint, which eighty-two years were not cal-
culated to resist. Much tradition, and of the. very best
O.SCAll's GHOST. * 137
kind, has died with this excellent old lady ; one of the few
persons whose spirits and cleanliness, and freshness of mind
and body, made old age lovely and desirable. In the
general case it seems scarce endurable." (Lockhart's Life
of Scott, vol. iv. p. 139.)
Some account of Sir Robert Murray Keith will be given
in the additional Note to Song ccxxi.
LXXII.
THE BIRKS OF INVERMAY.
The last three stanzas of this song have usually been
ascribed to Mr Bryce, Minister of Kirknewton. At page
76 he is erroneously styled Dr Bryce ; and the song is
stated to have been published by Ramsay in the third
volume of the Tea- Table Miscellany, which appeared in
1727, instead of the fourth volume of that popular collec-
tion, which was not printed for several years later. This
renders it at least probable that the additional verses were
written by Bryce ; still it must have been at a very early
period of life. Mr S.'s concluding remarks on the name
Invermay and Endermay might have been spared ; for, as
Mr R. Chambers observes, " Ender is merely a corruption
of Inver or Inner. The people of Peebles, in my young
days, always spoke of Henderleithen, not Innerleithen."
In Chambers's Biogr, Diet. vol. iv. p. 493, there is an
interesting memoir inserted of Mr Bryce, drawn up from
family information. It is there stated, that " In early life
he composed several songs, adapted to some of the most
favourite Scotish airs; and his stanzas in ' The Birks of
Invermay' have been long before the world."
The Rev. Alexander Bryce, Minister of Kirknewton,
was born at Boarland, in the parish of Kincardine, in the
year 1713. He was educated at the University of Edin-
burgh, where he early distinguished himself by his scientific
acquirements, which attracted the notice and secured the
138 * THE BIRKS OF INVERMAY.
patronage of Colin Maclaurin. Upon the recommendation
of that very distinguished Professor, young Bryce obtained
the situation of a tutor in a gentleman's family in Caithness,
which enabled him to employ himself, for a period of three
years, in constructing a geometrical survey, or " A Map of
the North Coast of Scotland," which was afterwards en-
graved, and has been always highly esteemed for accuracy
by the most competent judges. After his return from the
North, he was licensed to preach in June 1 744, and was
ordained minister of Kirknewton in August 1745. He
died on the 1st of January 1786, in the 72d year of his
age, and 40 th of his ministry.
" For about three years before Mr Bryce's death (we
are told), his greatest amusement was in writing poetry,
chiefly of a serious and devotional cast ; which, though not
composed for the public eye, is read with satisfaction by
his friends, and valued by them as an additional proof of
his genius ; and a transcript of that enlightened piety,
uprightness of mind, and unshaken trust in his Creator,
which characterised him through the whole of his life."
Some verses by him on the death of Professor Colin
Maclaurin, in June 1747, were published at the time in
the Edinburgh newspapers, and are reprinted in Mr
Chambers's work, vol. iv. p. 495.
LXXVII.
GREEN GROW THE RASHES.
This air, as Mr Stenhouse intimates at p. 82, is old ;
and was long " used as a reel as well as a song." In proof
of this, it may be mentioned that " A Dance, Green grows
the Rashes," has been preserved in Gordon of Straloch's
MS. Lute-book, written in the year 1627. Having ob-
tained from James Chalmers, Esq., London, the use of that
very curious and interesting volume, I am enabled, through
the kindness of George Farquhar Graham, Esq., to give
the air from that MS., rendered into modern notation.
GREEN GROW THE RASHES.
139
GREEN GROWS THE RASHES.
H-t-LElT
^
^^Fp=f4
I
^
f
-P- -m- -P- ^
#--P-
The following air occurs in the same MS., and it will at
once be perceived that it bears a close resemblance to the
preceding ; the notation of which in Gordon's MS. is
extremely confused. " These airs, however," as Mr
Graham remarks, " are very curious as mere skeletons of
the modern air, known under the name of ' Green grow the
Rashes.' In Gordon's MS. it is entitled,
I KIST HER WHILE SHE. BLUSHT.
— -# -T-|»
I
y^
r
■p- . -^^
4=-
^
i
The MS. from which these tunes arc given, is a small
%..
140 * GRKEN GROW THE RASHES.
oblong 8vo, and has the following title : — " An Playing
BooKE FOR THE LvTE, wherin ar contained many Currents
and other musical things. Muslca mentis medicina mcestce.
At Aberdein, Notted and collected by Robert Gordon.
In the yeere of our Lord 1627. In februaree." — At the
end is this colophon, " Finis huic libro impositus Anno
D. 1629, Ad finem Decemb. In Straloch."
xc.
J- ^ ift LOW DOWN l' THE BROOM.
This Song was printed in ' The Lark,' at Edinburgh,
in 1765 ; and in a stall-copy of that time, it is connected
with other verses, apparently by a diiferent hand. Mr
Struthers, in the " Harp of Caledonia," vol. ii. p. 387, has
assigned this song to " James Carnegie, Esq. of Balna-
moon, a beautiful estate upon the slope of the Grampians,
about five miles north-west of Brechin." This, of course,
refers to ' the auld laird' of Balnamoon. See also Cun-
ningham's Songs of Scotland, vol. ii. p. 273.
xciv.
MY APRON, dearie.
The author of the well-known pastoral song, " My
sheep I neglected," was Sir Gilbert Elliot, third
Baronet of Minto, and brother of Miss Jane Elliot, men-
tioned above. At page 66, he is erroneously described as
one of the Senators of the College of Justice. Some notice
ot him will be given in the additional Note to Song ccvi.
Mr Stenhouse has omitted to mention, that Sir Gilbert's
song was printed in the first volume of the collection which
he quotes under the publisher's name as " Yair's Charmer."
The title of the work is " The Charmer : a choice collec-
tion of Songs, Scots and English. Edinburgh, printed for
J. Yair, bookseller in the Parliament Close," 1749 and
1751, 2 vols. 12mo. There is a second edition of Vol. I.
MY APRON, DEARIE. *141
in 1752, which contains several new songs, and an Ad-
vertisement by the Editor, " J. G."
There is a later edition of " The Charmer," published
at Edinburgh, by James Sibbald, in 1782, 2 vols. 12mo.
Vol. I. is called " The fourth Edition with improvements."
It is, in fact, the sheets of the edition 1752, with a new title,
and a few leaves reprinted to supply the place of some cor-
responding pages which appear to have been cancelled (pp.
337-346, and 361, &c.) Vol. II., however, as it professes,
is " An Entire new Collection ;" and the songs are classed,
under four divisions. The editor of this volume, I should
suppose, was Sibbald, whose name is best known by his
" Chronicle of Scottish Poetry," Edinb. 1803, 4 vols. 8vo.
He died a short time before its publication, in May 1803.
xcvi.
THE MUCKING OF GEORDIE's BYRE.
" I REMEMBER in my youth being told by a lady the
origin of this song — I have forgot the heroine's name — but
she was only a Baronet's daughter. Besides making her
" muck the byre," her husband used to beat her every now
and then ; a meet return for her folly." — (C. K. S.)
xcvii.
BIDE YE YET.
The remark of Burns, to which an allusion is m^-de at
page 101, is as follows : — " There is a beautiful song to
this tune, ' Alas, my son, you little know ' — which is the
composition of Miss Jenny Graham of Dumfries." This
song, which appeared in Herd's Collection, 1776, in ' The
Charmer,' vol. ii., 1782, and in other collections, will be
found in this volume, at page 101. I am not aware of any
other printed verses by this lady.
The following notice of Miss Graham formed part of a
142 * BIDE YE YET.
communication, addressed to Charles K. Sharpe, Esq., by
one of his relations : —
" Miss Jenny Grahame was the daughter of Mr Grahame
of Shaw, in Annandale. Hersprightly conversation, joined
to perpetual good-humour, and all the moral virtues, ren-
dered her a universal favourite in Dumfries, where she long
resided. One of her particular friends was the witty Lady
Johnstone of Westerhall (a daughter of Lord Elibank),
whose bon mots and extraordinary benevolence were much
talked of fifty years ago."
Having been favoured through the kindness of Alex-
ander Young of Harburn, Esq., and of her grand-nephew
William Stewart, Esq. W.S., Gloucester Place, with some
additional notices respecting this lady, I avail myself of this
opportunity to give the substance of such particulars.
Miss Jenny Graham was the eldest daughter of Wil-
liam Graham of Shaw, Esq., in Annandale. She was born
at Shaw, in the small but picturesque valley of Dryfe, in
the year 1724. The estate, which has been in possession
of the family for several centuries, was inherited by the
descendants of Sir Nicol Graham, who married Mary [the
Jfhite Lady ofAvenet), the daughter and heiress of Robert
of Avenel.
Mr Young's account is as follows : — " Miss Jenny
Graham was one of the daughters of Graham of Shaw, an
old and respectable family in Annandale, in the parish of
Hutton and Corrie, of which my father and grandfather
were ministers for a period of seventy-five years.
" During the time of being at school, both at Annan and
Dumfries, I frequently saw Miss Graham, and early con-
ceived a high respect for her, as eminent in talents and
qualifications above what often fall to the lot of her sex.
She was a good poetess, and had a great deal of humour.
When I first knew her, she resided chiefly at Wester Hall
with Lady Johnstone, who was the sister of Lord Elibank,
BIDE YE YET. * 143
the mother of Sir James Johnstone and Sir William Pulte-
ney, and a person of extraordinary and rare endowments.
Miss Graham was one of the prime favourites of this lady
till the day of her death. I afterwards knew Miss Graham
when I was a boarder at Dr Chapman's, the master of the
grammar-school at Dumfries. She then resided in the
family of Major Walter Johnstone, brother to Sir James
Johnstone of Westerhall, who was one of the original part-
ners of Messrs Johnstone, Lawson, and Company, by whom
bank-notes were first issued in Dumfries. I had the honour
of being invited sometimes to dine at this gentleman's house,
on Saturdays, and I shall never forget a scene at which I
happened to be present. The Major had a very bad prac-
tice of cursing and swearing at his servants, especially for
any blunders or mistakes committed by them when waiting
at table. He had, on one occasion, poured forth such a
torrent of abuse and malediction against an unfortunate
Annandale youth who had incurred his displeasure, that I
expected Miss Graham would rebuke him for it ; but, on
the contrary, she added such a peal of curses to the Major's,
as astonished the whole company, and none more than the
Major himself, who burst into a fit of laughter ; when she
proposed to desist from such an unseemly practice, if he
would promise to do the same; and I was told, several
years thereafter, that he was hardly ever known thenceforth
to swear at or curse a servant.
" Miss Graham resided in Edinburgh when I attended
the College there, and some of her nearest relations (Miss
Bell of Crurie and others) then lived with her. I remem-
ber her complaining occasionally of an indifferent state of
health ; but that, in alleviation of asthma, she composed
humorous Scottish songs, I regard as sheer nonsense ;
although I know that she did actually write several pieces
of humour, not, however, to be sung, but to be recited, and
to raise a laugh in company ; and I have heard the late Dr
John Rogerson (who was the son of a small farmer, in the
144* BIDE YE YET.
same parish with Mr Graham of Shaw, the father of Miss
Graham) rehearse some of her poems of a very humorous
nature."
In addition to the above statement of Miss Graham
composing humorous verses, as a mode of alleviating her
asthmatic complaint, (derived probably from Stenhouse's
note at page 101,) Mr Allan Cunningham gives the follow-
ing anecdote of Miss Graham : — " She was a fine dancer
in her youth ; a young nobleman was so much cha;rmed
with her graceful movements, and the music of her feet,
that he enquired in what school she was taught ? ' In my
mother's washing-tub/ was the answer." (Edit, of Burns,
vol. viii. p. 59.) Mr Young remarks, that this anecdote,
" I am satisfied, must appear to all those who knew her as
well as I did, to be arrant nonsense, having no foundation
in truth." The anecdote, however, is quite correct ; and
the nobleman alluded to was John, second Earl of Hope-
toun, who at the time was not very young, but a widower.
Miss Graham used to say, in mentioning the circumstance,
*' Guid forgi'e me for saying so ! I was never in a washing-
tub in my life."
Mrs Stewart, the mother of the gentleman above men-
tioned (p. *142), and the niece of Miss Graham, remarks,
that " Her private uneventful life can offer little to interest
the pilblic; whilst the higher endowments of heart and
intellect still endear her memory to a few sorrowing friends.
Of the playful wit and genuine humour which rendered her
the delight of her acquaintances, only the remembrance
now remains. And the fugitive pieces of poetry, or rhymes,
as she would have called them, though the frequent source
of amusement and admiration to an attached circle, were
merely intended to enliven the passing hours, and with
them have mostly passed away. Their mutilated remains
would now do little justice to her memory."
ILLUSTRATIONS
LYRIC POETRY AND MUSIC
SCOTLAND.
PART II.
CI.
WHEN GUILFORD GOOD.
The gaelic air, to which this song is set, was composed, it is
said, by the pipe-major of the old highland regiment, about the
period when it was first embodied under the appellation of
" An freiceadan dubh,'' or, The Black Watch. This gallant
regiment, the history of whose martial achievements would
exhaust volumes, is now better known to the world by the
title of The XLII. regiment of Royal Highlanders, or, as
Cook, the celebrated player, used to style it, the brave forty-
twa, a title which their undaunted valour, approved loyalty,
and meritorious services, in various quarters of the globe,
have so justly merited. The whimsical ballad, united to the
air in the Museum, was written by Burns ; but though it is
far from being bad, it cannot be ranked amongst the happiest
productions of our celebrated bard. The incidents of this
humorous political squib are of recent occurrence, and so ge-
nerally known, that explanation is unnecessary.
CII.
TRANENT MUIR.
This ballad, beginning *' The Chevalier being void of
fear," is adapted to the old tune of " Gillicrankie." It was
Avritten soon after the battle of Tranent, by Mr Skirven, an
H
106 CII. TRANENT MUIE.
opulent and respectable farmer in the county of Haddington,
and father of the late eminent painter, Mr Skirven of Edin-
burgh. The battle of Tranent Muir, between Prince
Charles Stewart, commonly styled the Young Chevalier, at
the head of the Highland army, and Sir John Cope, com-
mander of the king's forces, was fought near the ancient vil-
lage of Preston, in the shire of Haddington, on the 22d of
September 1745. The royal army was completely routed,
and Sir John Cope fled from the field with the utmost trepi-
dation. He was afterwards tried by a court-martial for his
conduct in action, and acquitted.
The following notes may assist the reader to understand
some of the allusions in the song :
Stanza 2. — " The brave Lochiel'' was Donald Cameron
of Lochiel, Esq. chief of the clan Cameron ; a gentleman of
distinguished talents and valour. He was wounded at the
battle of Culloden, but effected his escape to France in the
same vessel with his young master. He was afterw&rds ap-
pointed to the command of a French regiment, in considera-
tion of his great services and misfortunes, and died in 1748.
Stanza 5. — " Menteith the Great," was the reverend
clergyman of Longformacus, and a volunteer in the royal
army. Having accidentally surprised a Highlander, in the
act of easing nature, the night previous to the battle, he
pushed him over, seized his musket, and bore it off in triumph
to Cope's camp.
Stanza 5. — " And Simpson keen." This was another
reverend volunteer, who boasted, that he .would soon bring
the rebels to their senses by the dint of his pistols ; having a
brace of tliem in his pockets, another in his holsters, and one
in his belt. On approaching the enemy, however, his cour-
age failed him, and he fled in confusion and terror alongst
with the rest.
Stanza 7. — " Myeie staid, and sair he paid the kain,
man." He was a student of physic from Jamaica, and en-
CII.— TRANENT MUIR. 107
tered as a volunteer in the royal army, but was dreadfully
mangled in the battle with the Highland claymores. - <i-^'s<"
Stanza 8. — " But Gard'ner brave." This was the gal-
lant Colonel James Gardiner, who commanded a regiment of
the king's dragoons on that unfortunate day. Though dd--
serted by his troops, he disdained to fly, and, after maintain-
ing an unequal contest, single-handed, with the enemy for a
considerable time, he was at length despatched with the stroke
of a Lochaber axe, at a short distance from his own house.
Stanza 9. — " Lieutenant Smith," who left Major Bowie
when lying on the field of battle, and unable to move with
his wound, was of Irish extraction. It is reported, that,
after publication of the ballad, he sent Mr Skirven a
challenge to meet him at Haddington, and answer for his
Conduct in treating him with such opprobrium. " Gang
awa hack^'' said Mr Skirven to the messenger, " and tell Mr
Smith, I Jiave nae leisure to gae to Haddington, but if he
likes to come here, T'll tdk a look o' him, and if I think I can
fecht him Flljecht him, and if no — Til just do as he did at
Preston — Fll rin awa.''''
The old, humorous, and dog-latin ballad, entitled, " Prae-
lium Gillicrankium," by Professor Herbert Kennedy, of
Edinburgh University, is a literary curiosity, and may be
sung to the same tune. Its author was descended of the an-
cient family of Kennedy of Haleaths, in Annandale. This
macaronic ballad is printed in the second volume of the Scots
Musical Museum.
cm.
TO THE WEAVERS GIN YE GO.
Burns informs us, that this comic song, beginning My
hea"t was ance as hlythe and free, as simmer days were lang,
was written by himself, with the exception of the chorus,
which is old. Alluding to this song, our poet modestly
says, " Here let me once for all apologize for many sUly
compositions of mine in this work. Many of the beautiful
airs wanted words. In the hurry of other avocations, if 1
108 cm. TO THE WEAVERS GIN YE GO.
could string a parcel of rhymes together any thing near toler-
able, I was fain to let them pass. He must be an excellent
poet whose every performance is excellent." — Reliques. The
old song will not do in this work ; the tune is pretty enough.
Aird published it in the second volume of his Collection,
adapted for the violin, or german flute.
CIV.
STREPHON AND LYDIA.
These tender and pathetic verses, beginning *' All lovely
on the sultry heacli, expiring Streplion lay^'' to the tune of
The Gordons had the guiding o't, were written by William
Wallace of Cairnhill, Esq. in Ayrshire. The Strephon and
Lydia, as Dr Blacklock informed Burns, were, perhaps, the
lovehest couple of their time. The gentleman was commonly
known by the name of Beau Gibson, The lady was the
gentle Jean who is celebrated in Hamilton of Bangour's
Poems. Having frequently met at public places, they form-
ed a reciprocal attachment, which their friends thought dan-
gerous, as their resources were by no means adequate to
their tastes and habits of life- To elude the bad conse-
quences of such a connection, Strephon was sent abroad
with a commission, and perished in Admiral Vernon's unfor-
tunate expedition to Carthagena, in the year 1740.
cv.
ON A ROCK, BY SEAS SURROUNDED.
The words and music of this plaintive little lyric were
communicated by the late Dr Beattie of Aberdeen. Both of
them, I believe, are of his own composition. Johnson, the
original proprietor of the Museum, calls the tune lanthe the
lovely; but he was mistaken ; it is quite a different air. The
tune of " lanthe the lovely" was composed by Mr John Bar-
ret of London, organist, about the yeai" 1700, and was after-
wards pubUshed in the third volume of the Pills, in 1703, to
a song of three stanzas, beginning
Ianthe the lovely, the joy of her swain,
By Iphis was lov'd, and lov'd Iphis again ;
CV.— ON A ROCK, BY SEAS SURROUNDED. 109
She liv'd in the youth, and the youth in the fair,
Their pleasure was equal, and equal their share ;
No time nor enjoyment their dotage withdrew.
But the longer they liv'd still fonder they grew.
Barret's tune was selected by Mr Gay for one of his songs
in the Beggar's Opera, beginning When he holds up his hand
arraigned for life. Oswald also published the same English
tune in his Caledonian Pocket Companion, Book Fourth.
cvi.
O WHISTLE, AND I'LL COME TO YOU, MY LAD.
This air has generally been considered of Irish origin, be-
cause it was adapted to a song written by John O'Keefe,
Esq. in his comic opera of the Poor Soldier, which was first
acted at Covent Garden in 1783. The song begins Since
love is the plan, Pll love if I can. But the tune was com-
posed by the late John Bruce, an excellent fiddle-player in
Dumfries, upwards of thirty years before that period. Burns,
in corroboration of this fact, says, " this I know, Bruce, who
was an honest man, though a red-wud Highlander, constant-
ly claimed it ; and by all the old musical people here, (viz.
Dumfries) he is believed to be the author of it." Reliques.
This air was a great favourite of Burns. In 1 787, he wrote
the two stanzas in the Museum, and in August 1793, he
added two more. They are here annexed to complete the
song.
0 whistle, and I'll come to you, my lad, *
O whistle, and I'll come to you, my lad,
Tho' father and mither and a' should gae mad,
O whistle, and I'll come to you, my lad.
* In some MSS. the two first stanzas are varied, as under—
O whistle, and I'll come to thee, my jo,
O whistle, and I'll come to thee, my jo,
Tho' father and mither and a' should say no,
O whistle, and I'll come to thee, my jo.
But warily tent, when you come to court me,
And come na unless the back yett be a-jee ;
Syne up the back style, and let naebody see,
And come as ye were na coming to me.
110 CVI.— O WHISTLE, AND I'lL COMB TO YOU, MY LAD.
Come down the back stairs when ye come to court me.
Come down the back stairs when ye come to court me.
Come down the back stairs, and let naebody see.
And come as ye were na coming to me.
And come, &c.
O whistle, (Sfc.
At kirk or at market, whene'er you meet me.
Gang by me as tho' that ye cared na a flee ;
But steal me a blink o' your bonnie black ee.
Yet look as ye were na looking at me.
Yet look, &c.
O whistle, Sfc.
Ay vow and protest that ye care na for me,
And whiles you may lightlie my beauty a wee ;
But court nae anither, tho' jockin ye be.
For fear that she wile your fancy frae me.
For fear, &c.
O whistle, <Sfc.
CVII.
I'M O'ER YOUNG TO MARRY YET.
The title and chorus of this song are old ; the rest of it
was composed by Burns. When the air is played quick, it
answers veiy well as a dancing tune, and Bremner published
it as a reel in his Collection about the year 1758. The fol-
lowing stanza may serve as a specimen of the old words.
My minnie coft me a new gown,
The kirk maun hae the gracing o't.
Were I to lie with you, kind sir,
I'm fear'd ye'd spoil the lacing o't.
I'm o'er young, I'm o'er young,
I'm o'er young to marry yet,
I'm our young, 'twad be a sin
To tak me frae my mammie yet.
This old sprightly tune is evidently the progenitor of that
fine modern strathspey, called Loch Eroch Side. See Notes,
Song 78.
CVIII.
HAMILLA.
This song, beginning Look where my dear Hamilla smiles,
appears in Ramsay's Tea-Table Miscellany, 1724, with the
following title, « To Miss A. H. (i. e. Miss Anne Hamil-
ton, afterwards married to Professor M , in the Univer-
sity of Edinburgh) on seeing her at a concert, to the tune of
5
CVITI. — HAMILLA. Ill
The bonniest lass in a" the warld^ It is subscribed, 2. C. be-
ing the second song which Mr Crawfurd furnished to Ram-
say's work, having previously sent him the verses to the tune
of " The bush aboon Traquair,*" which is the first song of
Crawfurd in that Miscellany. " The bonniest lass in a' the
warld," was the title of a still older song, which Mr Craw-
furd transferred to the above mentioned lady, who was a re-
lation of his friend, Mr Hamilton of Bangour. Both the
song and music are in the Orpheus Caledonius, 1725. The
original song of " The bonniest lass in a' the warld," as well
as the name of so celebrated a beauty, I have not yet been
able to discover.
cix.
LOVE IS THE CAUSE OF MY MOURNING,
The music and words of this song, beginning *' By a
jfldurmuring stream a fair Shepherdess dwelt," appear in the
Orpheus Caledonius, 1725. In Ramsay's Tea-Table Mis-
cellany the verses are subscribed X. to denote that the au-
thor was unknown to him. I have heard this song attribut-
ed to Lord President Forbes, but have been unable to trace
it to him authentically as the author. Mr Burns, however,
says, that the verses were composed by a Mr R. Scott, from
the town or neighbourhood of Biggar.
ex.
BONNIE May.
Both the air and words of this ballad are unquestionably
ancient, but, having been taken down from oral recitation, it
is impossible to ascertain the era of either. It was rescued
from oblivion by old David Herd. The music, it will be ob-
served, consists of one sti*ain only, which is the minor mode,
and the sixth of the key is altogether omitted. These are
strong proofs of its antiquity. With regard to the ballad it-
self, I find the leading incidents to be similar to those in a
ballad published by Sir Walter Scott, in his " Minstrelsy of
the Border," entitled, " The original Broom of Cowden-
knows ;" but, from attentive examination of both pieces, the
112 ex. BONNIE MAY.
" Original Broom'' appears to be nothing else than an ampli-
fication of the older and more rude ballad in the Museum.
Both ballads, however, appear to refer to an amour of a gen-
tleman in Stirlingshire with a " bonnie south country lass,"
Avhich ended happily for both parties. Auchentrone I sus-
pect to be a corruption of Auchentroich, an estate in the coun-
ty of Stirling; and Okland Hills, mentioned in Sir W. Scott's
ballad, seem to be the Ochil Hills in the same county.
CXI.
MY JO, JANET.
The tune is very ancieiit; it is in Skene's MSS. under the
title of " The keiking Glass." This very humorous bal-
lad is also in the Orpheus Caledonius ; but from the struc-
ture of the melody, it is clearly the composition of a very
early period. Although the old verses were retouched by Allan
Ramsay, Burns observes, that Mr Johnson, from a foolish
notion of delicacy, has left out the last stanza of the original
ballad, in which Janet exhibits a most comic picture of the
frail and nearly unserviceable state of her old spinning wheel.
My spinning wheel is auld and stiff.
The rock o't winna stand, sir.
To keep the temper-pin in tiff,
Employs right aft my hand, sir.
Jilak the best o't that ye can,
Janet, Janet ;
But like it never wail a man,
My Jo, Janet.
In December 1793, Burns wrote the following comic bal-
lad to the same tune, in which he appears to have equalled,
if not surpassed, the rich humour of the original
MY SPOUSE, NANCY.
Written by Burns, to the tune of " My Jo, Janet."
I.
Husband, husband, cease your strife.
Nor longer idly rave, sir ;
Tho' I am your wedded wife.
Yet I am not your slave, sir.
One of two must still obey,
Nancy, Nancy;
Is it man or woman ? say.
My spouse, Nancy.
CXI. MY JO, JANET. ll'i
ir.
If 'tis still the lordly word.
Service and obedience ;
I'll desert my sovereign lord.
And so good-bye allegiance I
Sad will I be if so bereft,
Nancy, Nancy;
Yet I'll try to make a shift.
My spouse, Nancy.
III.
My poor heart then break it must,
My last hour I'm near it ;
When you lay me in the dust.
Think, think how ye will bear it !
/ ivill hope and trust in Heaven,
Nancy, Nancy :
Strength to bear it will be given.
My spouse, Nancy.
IV.
Well, Sir, from the silent dead.
Still I'll try to daunt you ;
Ever round your midnight bed.
Horrid sp'rites will haunt you.
/'// wed another like my dear
Nancy, Nancy ;
Then all hell will Jly for fear.
My spouse, Nancy.
CXII.
HE WHO PRESUM'D TO GUIDE THE SUN.
This song was written by Alexander Robertson of Struan,
Esq. The tune was composed by Mr James Oswald, who
published it in his fourth book, under the title of " The
Maid's Complaint." In Struan's Poems there is an additional
stanza to this song ; but Johnson, very properly, rejected it on
account of its inferiority to the rest.
CXIII.
THE BIRKS OF ABERFELDY.
This old sprightly air appears in Playford's " Dancing-mas-
ter," first printed, in 1657, under the title of " A Scotch
Ayre." In the Scots Musical Museum, two songs are adapted
to this tune, the first of which was wholly written by Burns,
with the exception of the chorus, which is very old. The
second song consists of two stanzas of the ancient ballad, call-
I
114 " CXIII. THE BIRKS OF ABEBFELDY.
ed " The Birks of Abergeldie." Burns composed his song
in September 1787, while standing under the Falls of Aber-
feldy, near Moness, in Perthshire. He was, at this period,
on a tour through the Highlands with his friend, Mr Wil-
liam Nicol, one of the masters of the high school in Edin-
burgh.
cxiv.
MACPHERSON'S FAREWELL.
Macpherson, a daring robber, in the beginning of last
century, was condemned and executed at Inverness. While
under sentence of death, he is said to have composed this tune,
which he called his own Lament or Farewell. It is also re-
ported, that when he came to the fatal tree, he played this
air upon a favourite violin, and, holding up the instrument,
offered it to any one of his clan who would undertake to play
the tune over his body at the lykewake. As no one answered,
he dashed it to pieces on the executioner's head, and flung
himself from the ladder. — See Cromek's Introduction to Burns' s
Reliques, vol. i. p. 3. London, 1810.
This story appears to me to be partly probable and partly
false. That this depraved and incorrigible robber might
compose the tune even while lying under the awful sentence
of death may possibly be true ; but, that he played it while
standing on the ladder with the halter about his neck, I
do not believe ; because every criminal, before he is conducted
to the place of execution, has his arms closely pinioned, in
which situation it is physically impossible for him to play on
a violin or any such instrument.
The ballad in the Museum, beginning " Farewell ye
dungeons dark and strong," is wholly the composition of
Burns. The wild stanzas which he puts into the mouth of
the desperado exhibit a striking proof of his astonishing
powers of invention and poetic fancy. There was another
ballad composed on the execution of this robber long before
Burns was born. It is preserved in Herd's Collection, vol.
i. p. 99, 100, and 101 ; but it is too long for insertion, as
well as greatly inferior to the stanzas written by Burns.
115
cxv.
THE LOWLANDS OF HOLLAND.
This ballad, the editor is informed, was composed about
the beginning of last century by a young widow in Galloway,
whose husband was drowned on a voyage to Holland. The
third verse in the Museum is spurious nonsense, and John-
son has omitted the last stanza altogether. Herd published
a fragment of this ballad in his Collection in 1 769. In Os-
wald's second book, printed about the year 1740, there is a
tune, apparently of English origin, to the same dirge, which
Ritson adapted to that part of the ballad taken from Herd's
copy ; but the tune is very indifferent. The air in the Mu-
seum is the genuine one. The ballad is constantly sung to
this Lowland melody, and it is inserted with the same title in
an old MSS. Music-book which belonged to Mr Bremner,
formerly music-seller in Edinburgh. It was from this air that
the late Mr William Marshall, butler to the Duke of Gordon,
formed the tune called " Miss Admiral Gordon's Strathspey,"
principally by adding a second part to the old air. Burns
wrote a beautiful song to the tune thus altered, beginning
" Of a' the airts the wind can blaw," which is inserted in the
third volume of the Museum. The editor of the late Col-
lection of Gaelic Airs in 1816, puts in a claim fot The Low-
lands of Holland being a Highland air, and that it is called,
" Thuile toabh a sheidas goagh." By writing a few Gaelic
verses to each Lowland song, every Scottish melody might
easily be transferred to the Highlands. This is rather
claiming too much. The stanza omitted in the Museum is
the following :
O HAUD your tongue, my daughter dear.
Be still, and be content.
There are mair lads in Galloway,
Ye need nae sair lament.
O ! there is nane in Galloway,
There's nane at a' for me ;
For I never loved a lad but ane.
And he's drowned in the sea.
5
116
CXTI.
THE MAID OF SELMA.
This prosaic song is a medley of various passages select-
ed from the Poems of Ossian, as translated by Macpherson.
hi the hall I lay by night. Mine eyes were half closed in
sleep. Sq/i music came to mine ear. It was the maid of
' Selma ;' is taken from the poem of Oina Morul. Behind
it heaved the breast of a maid, white as the bosom of a swan,
rising on swift-rolling waves; from the poem of Colna Dona.
She raised the mighty song, for she hnew that my soul was a
stream that Jlowed at the pleasant sounds. Oina Moeul.
She came on his t^-oubled soul liJce a beam to the dark-heaving
ocean when it bursts from a cloud, and brightens the Jbamy
side of a wave. Colna Dona. Cavil accompanied his voice.
The music was like the memory of Joys that are past ; pleasant
and mournful to the soul. Death of Cuchullin.
The compiler of this song appears to have founded his
medley on the old air of " Todlin' Hame," which has assum-
ed various shapes in common as well as treble time. In
Oswald's Collection is a medley called " The Battle of Fal-
kirk,"" in which " Lude's Lament" is evidently a slight alter-
ation of " Todlin"' Hame." In a more recent Collection,
another medley appears, called " The Highland Battle," in
which, " The Lament for the chief," is obviously taken from
" Lude's Lament" in Oswald. The melody of " The Maid of
Selma," however, is very pleasant, especially when sung to
those beautiful lines selected from the works of the ancient
Gaelic bard.
CXVII,
THE HIGHLAND LASSIE.
■ This song, beginning " Nae gentle dames, though ne'er
sae fair," was written by Burns, and adapted to the old
dancing tune, called " M'Lauchlin's Scots Measure."
Burns informs us, that this song was composed by him
at a very early period of his life, and before he was at all
known in the world, " My Highland lassie," says he, " was
CXVII.— THE HIGHLAND LASSIE. 117
a warm-hearted charming young creature as ever blessed a
man with generous love. After a pretty long tract of the
most ardent reciprocal attachment, we met, by appointment,
on the second Sunday of May, in a sequestered spot, by the
banks of Ayr, where we spent the day in taking a farewell,
before she should embark for the West Highlands, to arrange
matters among her friends for our projected change of life.
At the close of autumn following, she crossed the sea to meet
me at Greenock, where, she had scarce landed, when she
was seized with a malignant fever, which hurried my dear
girl to the grave in a few days, before I could even hear of
her illness." Reliques.
Mr Cromek further acquaints us with the following par-
ticulars respecting the parting of Burns with the object of
his first love. " This adieu," says he, " was performed with
all those simple and striking ceremonies, which rustic senti-
ment has devised to prolong tender emotions, and to inspire
awe. The lovers stood on each side of a small purling
brook ; they laved their hands in its limpid stream, and,
holding a Bible between them, pronounced their vows to be
faithful to each other. They parted — never to meet again.
" The anniversary of Mary CampheWs death, for that was
her name, awakening in the sensitive mind of Burns the
most lively emotion, he retired from his family, then resid-
ing on the farm of Ellisland, and wandered solitary on the
banks of the Nith, and about the farm-yard, in great agitation
of mind nearly the whole of the night. His agitation at length
became so great, that he threw himself down at the side of a
corn stack, and there conceived his sublime and tender elegy,
his address To Mary in Heaven^'' See Select Scottish Songs,
with Remarks by Cromek, vol. i. p, 115. London 1810.
CXVIII.
THE NORTHERN LASS.
The air of " The Northern Lass" appears in Oswald's
first book, page 5, which was published about the year 1740.
The tune is pretty enough, but I rather think it is an imi-
118 CXVIII.— THE NORTHEUN LASS.
tation of our style, and not a genuine Scottish air. The ver-
ses to which it was originally adapted seem to be of Englisli
origin. They are here subjoined.
THE NORTHERN LASS.
I.
Come take your glass, the northern lass
So prettily advised,
I drank her health, and really was
Agreably surprised.
Her shape so neat, her voice so svi'eet.
Her air and mien so free ;
The Syren charm'd me from my meat^
But take your drink, said she.
II.
If from the north such beauty came.
How is it that I feel
Within my breast that glowing flame
No tongue can ere reveal ;
Though cold and raw the north winds blow.
All summer's on her breast.
Her skin is like the driven snow.
But summer all the rest.
III.
Her heart may southern climates melt.
Though frozen now it seems.
That joy with pain be equal felt.
And balanced in extremes ;
Then, like our genial wine, she'll charm
With love my panting breast ;
Me, like our sun, her heart shall warm.
Be ice to all the rest.
Mr William Fisher of Hereford likewise composed a tune
to the same verses, both of which were published in the first
volume of Robertson's Calliope, in 1 739$ but it is quite dif-
ferent from that in Oswald's Collection, and in Johnson's
Museum. The verses' united to Oswald's air in the Museum,
beginning " Tho' cruel fate should bid us part," were writ-
ten by Burns a short time before his marriage with Miss
Jean Armour, who is the heroine of this and several other of
our bard's songs.
CXIX.
THE SONG OF SELMA,
This wild and characteristic melody is said to be the com-
CXIX.— THE SONG OF SELMA. 119
position of Oswald. It was published alongst with the words,
which are selected from Ossian's " Songs of Selma," in 1762.
cxx.
FIFE AND A' THE LANDS ABOUT IT.
This tune appears in the old Virginal Book already men-
tioned, in the editor's possession, imder the title of " Let
Jamie's Lad allane," which was probably the original title.
Mr Samuel Akeroyde put a bass to it, and published it in
Henry Play ford's " Banquet of Music," 1692, with two
pseudo-Scottish stanzas, beginning " Fairest Jenny I mun
love thee." The song to which the tune is adapted in the
Museum, beginning " Allan by his griefs excited," was
written, I am told, by Dr Blacklock.
cxxi.
WERE NA MY HEART LIGHT I WAD DIE.
This humorous song, beginning " There was ance a
May, and she lo'ed na men," was written by Lady Grace
Home, daughter of the first Earl of Marchmont, afterwards
wife of George Baillie, Esq. of Jarviswood, near Lanark. It
was printed in Ramsay's Tea- Table Miscellany, in 1724,
and again in 1725, with the music, in the Orpheus Cale-
donius. The tune consists of a single strain, and is evidently
very ancient.
CXXII.
THE YELLOW-HAIR'D LADDIE.
This beautiful air appears in Mrs Crockafs Music-Book,,
written in 1709; but the tune is undoubtedly far more an-
cient, for Ramsay has preserved the old words in his Tea-
Table Miscellany, 1724, under the title of " The auld yel-
low-hair'd Laddie." The old verses are also inserted in the
Museum, together with two other songs to the same air,
both of which were written by Ramsay. Thomson selected
the first of Ramsay's songs, beginning " In April, when
primroses paint the sweet plain," and published it with the
music in his Orpheus Caledonius, in 1725. Watts reprinted'
it in the first volume of his Musical Miscellany, in 1729.
120 cxxii. — THE yellow-hair'd laddie.
Ramsay's second song to this air, beginning " When first
my dear laddie gaed to the green hill," was afterwards intro-
duced as one of the songs in his Gentle Shepherd.
cxxiir.
THE MILLER.
The humorous verses, beginning " 0 merry may the
maid be that marries the miller," with the exception of the
first stanza, which belongs to a much older song, were writ-
ten by Sir John Clerk of Pennycuik, Bart, one of the
Barons of the Court of Exchequer in Scotland. The first
four stanzas were published by Yair in his Collection of
Songs, called " The Charmer,"" vol. ii. in 1751. Sir John
afterwards added a fifth stanza, as the song ended too
abruptly at the conclusion of the fourth, and in this amend-
ed form it was pubhshed by David Herd, in 17(>9 and 1776.
Tlie thought expressed in the two last lines, beginning
" Who'd be a king," appears to be borrowed from a similar
idea in the old ballad of " Tarry Woo." — -See notes on song
No 4^5.
CXXIV.
WAP AT THE WIDOW, MY LADDIE.
This is a very pretty and lively old air. " Wap at the
Widow, my Laddie," was the title of an old but indelicate
song, which Ramsay new-modelled, retaining the spirit, but
not the licentiousness, of the original. Thomson very pro-
perly preferred Ramsay's verses, beginning " The widow
can bake and the widow can brew," and united them to this
old melody in his Orpheus Caledonius, in 1725.
cxxv.
BRAW, BRAW LADS OF GALA WATER.
This charming pastoral air, which consists of one single
strain, terminating on the fifth of the key in the major mode,
is very ancient. A very indifferent set of the tune, under the
title of " The brave Lads of Gala Water," with variations
by Oswald, appears in his Pocket Companion, Book viii.
That in the Museum is genuine. This tune was greatly ad-
CXXV. BRAWj BRAW LADS OF GALA WATER. 121
mired by the celebrated Dr Haydn, who harmonized it for
Mr William Whyte's Collection of Scottish Songs. On the
MSS. of the music, which I have seen, the Doctor expressed
his opinion of the melody, in the best English he was master
of, in the following short but emphatic sentence : " This one
Dr Haydn favorite song." In the Museum, two songs are
adapted to the tune of " Braw, braw Lads of Gala Water."
The first is a fragment of the ancient song, as preserved in
Herd's Collection ; but Herd had mixed it with two verses
belonging to a very different song, called " The lassie lost
her silken snood." The only fragment of the old song is the
following :
BraWj braw lads of Gala Water ;
Braw, braw lads of Gala Water ;
I'll kilt my coats aboon my knee.
And follow my love thro' the water.
O'er yon bank and o'er yon brae.
O'er yon moss amang the heather,
I'll kilt my coat aboon my knee.
And follow my love thro' the water.
The other song in the Museum, to the same tune, begin-
ning No repose can I discover, was written by Robert Fer-
gusson the Scottish poet. In January 1793, Burns wrote
the following song to this favourite air :
I.
There's braw braw lads on Yarrow braes.
That wander thro' the blooming heather ;
But Yarrow braes nor Ettrick shaws
Can match the lads o' Galla Water.
II.
But there is ane, a secret ane,
Aboon them a' I loe him better.
And I'll be his and he'll be mine.
The bonnie lad o' Galla Water.
III.
Altho' his daddie was nae laird.
And tho' I hae nae mickle tocher.
Yet rich in kindest truest love
We'll tent our flocks by Galla Water.
IV.
It ne'er was wealth, it ne'er was wealth
That coft contentment, peace, or pleasure.
The bands and bliss o' mutual love,
0 that's the chiefest warld's treasure.
122 CXXV. BRAW, BRAW LADS OF GAtA WATER.
The sentiments in the above song are natural and pleas-
ing, yet the poet appears to have been regardless of his
rhymes — heather and better, tocher and water — do not
rhyme very well. But he likely did so in imitation of many
of the older song composers, who were not over fastidious
about this point.
This river Gala, of poetical celebrity, rises in the county
of Mid Lothian, and after receiving a considerable augmenta-
tion of its stream from the water of Heriot, runs south, and
passing the villages of Stow and Galashiels, falls into the
Tweed about four miles above Melrose,
cxxvi.
THE YOUNG MAN'S DREAM.
This ballad, beginning " One night I dreamed I lay most
easy," is another production of Mr James Tytler, of whom
mention has been made in a former part of this work.
CXXVII.
O, MITHER DEAR, I 'GIN TO FEAR.
This humorous old song, to the tune of " Jenny dang
the Weaver," was altered and enlarged by Ramsay, who, for
the benefit of his English readers, changed the name of the
air into " Jenny beguiPd the Webster." Thomson published
the song, Avith Ramsay's additions, in his Orpheus Cale-
donius, in 1725. The old song may be seen in Herd's Col-
lection. It begins,
As I came in by Fislierrow, '
Musselburgh was near me,
I threw off my mussel pock.
And courted with my dearie.
Up stairs, down stairs.
Timber stairs fear me,
I thought it lang to ly my lane,
Wlien I'm sae near my dearie.
&c. &c. &c.
cxxvm.
BESSY BELL AND MARY GRAY.
The first stanza of this song is old, the rest of it was writ-
ten by Ramsay. Thon;son adapted Ramsay's improved song
CXXVIII. BESSY BELL AND MARY GRAY. 123
to the old air in his Orpheus Caledonius, in 1725, from whence
it was copied into the first volume of Watt's Musical Mis-
cellany, printed at London in 1729- The tune also appears
in Craig's Collection in 1 730, and in many others subsequent
to that period.
The heroines of the song, viz. Miss Elizabeth Bell, daugh-
ter of Mr Bell of Kinvaid, Perthshire, and Miss Mary Gray,
daughter of Mr Gray of Lyndock, are reported to have been
handsome young ladies, and very intimate friends. While
Miss Bell was residing at Lyndock, on a visit to Miss Gray
in the year 1666, the plague broke out. With a view to
avoid the contagion, they built a bower, or small cottage, in
a very retired and romantic place called Burn-braes, about
three-quarters of a mile from Lyndock House. Here they
resided a short time ; but the plague raging with increased
fury, they at length caught the infection, after receiving a
visit from a gentleman, who was their mutual admirer, and
here they both died. They were interred about half a mile
from the mansion-house ; and Major Berry, the late proprie-
tor of that estate, carefully inclosed the spot, and consecrated
it to the memory of these amiable and celebrated friends.
Lyndock is now the property of Thomas Graham, Lord
Lyndock, the gallant hero of Barossa, Mr Gay selected the
tune of Bessy Bell and Mary Gray for one of his songs in the
Beggar's Opera, beginning " A curse attends that woman's
love, who always would be pleasing," acted at London in 1728.
cxxix.
STAY, MY CHARMER.
This song, beginning Stay^ my charmer^ can youleave me,
was written by Bvirns, and adapted to an old Gaelic tune of
one strain, entitled An Gilleadh diibh, or The Black-hair' d
Lad. This simple and pathetic air was probably composed
by one of those ancient minstrels who cheered the hardy and
brave sons of Caledonia in former ages, but whose names are
lost in obscurity and oblivion.
In Captain Eraser's Gaelic Airs, lately published, a set of
124 CXXIX. — STAY, MY CHARMER.
this tune appears in two strains, loaded with trills^ crescendos,
diminuendos^ cadences ad libitum, and other modern Italian
graces. This gentleman professes, however, to give the airs
in their ancient and native purity, but ex uno disce omnes !
cxxx.
LADY ANNE BOTHWELL'S LAMENT.
A FRAGMENT of this ancicnt and beautiful ballad. Bishop
Percy informs us, is inserted in his Manuscript Poems, writ-
ten at least as early, if not before the beginning of the reign
of Queen Elizabeth in 1558. It consists of seven stanzas of
eight lines each. A more perfect version of the ballad, but
evidently modernised, appears in Watson's first Collection,
printed at Edinburgh in 1711. This ballad, with the music,
was afterwards published by Thomson in his Orpheus Cale-
donius in 1725, from whence it was copied into Johnson's
Museum.
The subject of the ballad, as the Bishop informs us, relates
to a private story: " A lady of quality, of the name of Both-
well, or rather Boswell, having been, together with her
child, deserted by her husband or lover, composed these af-
fecting lines herself." See his Ancient Songs and Ballads,
vol. ii. p. 194. The poetess must indeed have felt what she
has so pathetically described. Who can peruse the follow-
ing stanzas, without feeling emotions of tenderness and com-
passion for the lovely mourner contemplating her smiling and
innocent babe, while lying in his cradle, and unconscious yet
either of his own or his mother's forlorn and unhappy fate.'*
BaloWj my boy, lie still and sleep ;
It grieves me sair to hear thee weep ;
If thou'lt be silent^ I'll be glad ;
Thy mourning makes my heart full sad.
Balow, my boy, thy mother's joy.
Thy father bred me great annoy.
Balow, Sfc.
Balow, my darling, sleep a while.
And when thou wakest sweetly smile ;
But smile not, as thy father did.
To cozen maids ; nay, God forbjd !
CXXX. LADY ANNK BOTHWEH,"'s LAMENT. 125
For in thine eye his look I see —
The tempting look that ruin'd me.
Balow, Sic.
But curse not him — perhaps now he.
Stung with remorse, is blessing thee.
Perhaps at death ; for who can tell
Whether the Judge of heaven and heU,
By some proud foe, has struck the blow.
And laid the dear deceiver low !
Balow, <^c.
Balow, my boy, I'U weep for thee;
Too soon, alas ! thou'lt weep for me ;
Thy griefs are growing to a sum,
God grant thee patience when they come !
Born to sustain a mother's shame,
A hapless fate — a bastard's name !
Balow, (?fc.
CXXXI.
WOES MY HEART THAT WE SHOULD SUNDER,
This tune occurs in Skene's MSS. written prior to 1598,
under the title " Alace this night yat we suld sinder," which
was undoubtedly the first hne of a very ancient song, now
lost. Whether it was worthy of being preserved for its ten-
der pathos, or comic humour, or deserving of being consign-
ed to oblivion from its indelicacy, can only now be matter of
conjecture. But it is clear that it was a well-known song in
Scotland during the reign of James the Sixth.
Both the songs, which are adapted to this ancient tune in
the Museum, were written by Ramsay. The first of these,
beginning " With broken words and downcast eyes," was
published with the music in the Orpheus Caledonius in 1725,
and the latter, beginning " Speak on, speak thus, and still
my grief," was introduced as a song for " Peggie" in the
Gentle Shepherd.
CXXXII.
STRATHALLAN'S LAMENT.
This song was written by Burns, as descriptive of the
feelings of James Drummond, Viscount of Strathallan, who,
after his father"'s death at the battle of CuUoden, escaped,
with several of his countrymen, to France, where they died
1
126 cxxxri. — strathallan's lament.
in exile. The air was composed by the late Mr Allan Mas-
terton, teacher of arithmetic and penmanship, Edinburgh,
who was an intimate friend and acquaintance of the poet.
Masterton possessed a good ear and a fine taste for music,
and, as ^n amateur, played the violin remarkably well.
Burns gives us the following account of this song in his
Reliques : " This air is the composition of one of the wor-
thiest and best men living — Allan Masterton, schoolmaster in
Edinburgh. As he and I were both sprouts of Jacobitism,
we agreed to dedicate the words and air to that cause. But,
to tell the matter of fact, except when mj passions were heat-
ed by some accidental cause, my Jacobitism was merely by
way of vive la bagatelle!''' — Reliques.
STRATHALLAN'S LAMENT.
Written ly Burns to a tune composed hy Allan Masterton.
Thickest night surround my dwelling !
Howling tempests o'er me rave !
Turbid torrents wint'ry swelling.
Roaring by my lonely cave.
Crystal streamlets gently flowing.
Busy haunts of base mankind ;
Western breezes softly blowing.
Suit not my distracted mind.
In the cause of right engaged.
Wrongs injurious to redress ;
Honour's war we strongly waged.
But the heavens denied success.
Ruin's wheel has driveij o'er us.
Not a hope that dare attend.
The wide world is all before us.
But a world without a friend.
CXXXIII.
WHAT WILL I DO GIN MY HOGGIE DIE ?
This song was composed by Burns, as appears from the
MSS. in his own hand-writing now before me. With re-
spect to the tune, we have the following account in his Re-
liques: " Dr Walker, who was minister at Moffat in 1772,
and is now (1791) Professor of Natural Histoiy in the Uni-
versity of Edinburgh, told Mr Riddel the following anec-
dote concerning this air. He said, that some gentlemen, rid-
CXXXIII. — WHAT WILL I DO GIN MY IIOGGIE DIE ? 12*7
ing- a few years ago through Liddesdale, stopped at a hamlet
consisting of a few houses, called Mosspaul, when they were
struck with this tune, which an old woman, spinning on a
i-ock (distaff) at her door, was singing. All she could tell
concerning it was, that she was taught it when a child, and
it was called " What will I do gin my Hoggie die ?* No
person, except a few females at Mosspaul, knew this fine old
tune, which in all probability would have been lost, had not
one of the gentlemen, who happened to have a flute with him,
taken it down." The gentleman who took doAvn the tune
was the late Mr Stephen Clarke, organist, Edinburgh. But
he had no occasion for a flute to assist him, as stated by Dr
Walker.
CXXXIV.
THE CARL HE CAME O'ER THE CRAFT,
This song is very ancient, and exceedingly humorous.
Ramsay, however, polished it a little, to render it less objec-
tionable on the score of delicacy ; but Thomson published
the old version, along with the original music, in his Oi'pheus
Caledonius, in 1725. In Johnson's Museum, Ramsay ""s im-
proved copy is adopted ; the following stanzas will, how-
ever, afford a specimen of the older song.
He gae to me an ell of lace.
And his beard new shaven ;
He bade me wear the Highland dress.
The carle trows that I'll hae him.
Hout aiva, S^-c.
He gae to me a ham sark,
And his beard new shaven ;
He said he'd kiss me in the dark.
For he trows that I'll hae him.
Hoivt awa, I maun hae him ;
Aye, forsooth! I'll e'en hae him;
New hose and new shoon,
And his beard neiu shaven.
* Haggle, a young sheep after it is smeared, and before it is first shorn.
The other song in the Museum, to the sanie tune, beginning " What words,
dear Nancy, will prevail," was written by Dr Blacklock.
128
cxxxv.
GAE TO THE KYE WI' ME, JOHNNIE.
A RESPECTABLE lady of my acquaintance, who was born
in 1738, informs me, that this was reckoned a very old song
even in her infancy. The verses in the Museum were
slightly touched by Burns from the fragment of the ancient
song, which is inserted in Herd's Collection, vol. ii. p. 203.
cxxxvi.
WHY HANGS THAT CLOUD.
This elegant song was written by William Hamilton- of
Bangour, Esq. about the year 1720, adapted to the fine old
air called " Hallow-e'en," and published by Thomson in his
Orpheus Caledonius, in 1725. The tune is inserted in a
very old music-book, in square-shaped notes, in the editor's
possession, under the title of " Hallow Evine," but the ori-
ginal song is lost.
CXXXVI I.
WILLIE WAS A WANTON WAG.
This very humorous song was written about the begin-
ning of last century by Mr Walkingshaw of that ilk, near
Paisley. Thomson published it with the sprightly old aii- in
his Orpheus Caledonius, in 1725. It is probable, however,
that a much older, though certainly not a more truly comic
song, had previously been adapted to this lively tune. Ram-
say, by a judicious alteration of one word in stanza first, an-
other in stanza third, and one line in stanza sixth, improved
this song very much.
CXXXVIII.
JUMPIN' JOHN.
This old air appears in Oswald's Collection. It seems
clearly to be the progenitor of the well-known tune called
" Lillibulero," which is claimed as the composition of Henry
Purcell, who died in 1695. — See J. Stafford Smith's Musica
Antiqua, vol. ii. p. 185, and John Playford's MusicJis Hand-
maid, published in 1678 ; in both of which it is called A new
Irish Tune. Purcell, however, appears only to have made a
very slight alteration on the second strain of the air. The tune
CXXXVIII. JUMPIN JOHN.
129
of Lilliburlero was common both in Scotland and England be-
fore Purcell was born ; the title of the song was the pass-word
used among the Papists in Ireland at the horrible massacre
of the Protestants in 1641. The tune itself was printed in
Playford's Dancing-Master in 1657, under the title of " Joan's
Placket," and Purcell was only born in the year 1658. The
notes of the air are subjoined.
JUMPIN' JOHN; OR, JOAN'S PLACKET.
From Playford's Dancing-Matter, ^printed in 1657.
To this air also an Anglo-Irish song, beginning " Ho !
broder Teague, do'st hear the decree,"" was adapted in 1686,
which made such an impression on the royal army, as to con-
tribute greatly towards the Revolution in 1688.
The two humorous stanzas, beginning " Her daddie for-
bad," to which the tune of " Jumpin' John" are united in
the Museum, were communicated by Burns. They are a
fragment of the old humorous ballad, with some verbal cor-
rections.
CXXXIX
HAP ME WITH THY PETTYCOAT.
Mr Tytler, in his very ingenious and masterly Disser-
tation on Scottish Music, observes, that " the distinguish-
ing strain (character) of our old melodies is plaintive
melancholy; and what makes them soothing and affect-
ing to a great degree, is the constant use of the concordant
tones, the third and fifth of the scale, often ending upon the
fifth, and some of them on the sixth of the scale. By this
artless standard some of our Scottish melodies may be traced,
such as. Gill Morrice — There came a Ghost to Margarets
Door — 0 Laddie I maun he thee — Hap me wi' thy Petti-
coat. I mean the old sets of these airs ; as the last air, which
130
CXXXIX. — HAP ME WITH THY PETTYCOAT.
I take to be one of our oldest songs, is so modernized as
scarce to have a trace of its ancient simplicity. The simple
original air is still sung by nurses in the country, as a lullaby
to still their babes to sleep." The reader is here presented
with the original air in its ancient purity. The copy which
is inserted in Ritson's Historical Essay, is erroneous in seve-
ral particulars, as will appear obvious on comparing it with
the following
ANCIENT AIR.
i
^
a=3
3^5
^
I'll hap ye wi' my petticoat^ My ain kind dow, I'll
^m
FiFFF=P^
3^^
m
hap ye wi' my pet-ti-coat. My ain kind dow. The
eE
M=f=f
w=ft
5z:S:
wind blaws cauld, my claithing's thin^ O dearie, on me rue, And
m
hap me wi' thy petticoat. My ain kind dow.
The reader will, from this example, be enabled to form a
pretty accurate notion respecting the intrinsic value of those
modern refinements which have been made on several of the
old Scottish melodies, by comparing the above air with that
which is inserted in the Museum and other recent publica-
tions.
The song, which is adapted to the tune beginning 0 Bell^
thy looks have MlPd my hearty was written by Ramsay, and
pubhshed in the Orpheus Caledonius in 1725 ; but it is
certainly the most stupid song Ramsay ever wrote. To work
the silly burden of a nurse's lullaby to her infant, into a
grave song for a full-grown lover, seems really too absurd,
unless he held the same opinion, that
CXL. UP IN THE MORNING EARLY. 131
Old Drydeii did, and he was wond'rous wise,
3fen are but children of a larger size !
CXL.
UP IN THE MORNING EARLY.
This air is also very ancient, and has even been a favour-
ite in England for several generations, some of their old songs
being adapted to it. The verses in the Museum, beginning
" Cauld blaws the wind frae east to west," were written by
Burns.
Sir John Hawkins, in his History of Music, vol iv. relates
the following anecdote respecting this tune, which happened
in 1691, during the reign of Wilham and Mary. " The
Queen having a mind one afternoon to be entertained with
music, sent Mr Gostling to Henry Purcell and Mrs Ara-
bella Hunt, who had a very fine voice and an admirable
hand on the lute, with a request to attend her ; they obeyed
her commands, Mr Gostling and Mrs Hunt sung several
compositions of Purcell, who accompanied them on the
harpsichord. At length, the Queen beginning to grow tired,
asked Mrs Hunt if she could not sing the old Scots ballad
of " Cold and Raw T"* Mrs Hunt answered, Yes; and sung
it to her lute. Purcell was all the while sitting at the harpsi-
chord unemployed, and not a little nettled at the Queen''s
preference of a vulgar ballad to his music ; but, seeing her
Majesty delighted with this tune, he determined that she
should hear it upon another occasion ; and accordingly in
the next birth-day song, viz. that for the year 1 692, he com-
posed an air to the words May her bright example chace
vice in troops out of the land ; the bass whereof is the tune
to Cold and Raw ; it is printed in the second part of the
Orpheus Britannicus, and is note for note the same with the
Scots tune."
As Purcell's Orpheus Britannicus is not a work to be met
with in every family, and indeed is now becoming scarce, it
is presumed, that the birth-day song, to which Sir John
132
CXL. VV IN THE MORNIXG EAELY.
Hawkins alludes, will not be unacceptable to the musical
reader. It is here given exactly as it is printed in the 151st
page of the second volume of the Orpheus Britannicus, pub-
lished by Henry Playford in 1702.
eSee[
A SONG ON THE LATE QUEEN,
— p__3::^ — r^ir^ ^ ^^
^m^^^m.
w.
\==±1
May her blest ex - am - pie chase Vice in troops out
'T¥.-h^ ^ r
—z m — 9 —
^- ."cJ •--•
-t±=z^-i-4-^-
-P-Z— ---
g_j-:gzja
i^
p — ^
^E
itZP
Itzzn
E
of the land. Fly - ing from her aw - ful face^ Like
trembling ghosts, Mhen daj^'s at hand. May her he-ro
m^
3
^zrEfe^^ti^^^
(^ 4-
i
b:=sr=!>=^ixi^^=^^z^^^
£
bring us peace, Won with ho - nour in the field,
is^
^'!n3t3fc:i=3=«
^^E
£
g=z:K:izp— ^-P— ^
■ii^e-
S=:iE
And our homebred factions cease. He still our sword, and
■&^^^^^^^^^^^f
CXL. UP IN THE MORNING EARLY. 133
she our shield.
3^
Purcell, however, must have borrowed the Idea of adapt-
ing the old air as a bass part for his song from John Hihon,
who introduced the same tune into his " Northern Catch" for
three voices, beginning " I'se gae with thee, my sweet Peggy,"
printed in 1652. In this humorous catch, the tune of " Up
in the Morning early" is adapted for the third voice. This
tune was selected by Mr Gay for one of the songs in the
Beggar's Opera, beginning " If any wench Venus' girdle
wear," acted in 1728.
CXLI,
THE TEARS OF SCOTLAND.
This elegant and affecting elegy, " Mourn hapless Cale-
donia, mourn !" was written by Tobias Smollet, Esq. M.D.
the celebrated historian, poet, and physician, about the year
1746. The tune to which it was originally adapted, is that
in the Museum, which was composed by James Oswald, and
published in his Caledonian Pocket Companion, No 4, p.
14, with an asterism prefixed, to point out its being a melo-
dy of his own composition.
" Dr Blacklock," says Burns, «' told me that Smollet, who
was at bottom a great Jacobite, composed these beautiful and
pathetic verses on the infamous depredations of the Duke of
Cumberland, after the battle of CuUoden." Reliques.
CXLII.
WHERE WINDING FORTH ADORNS THE VALE.
This song was written by Robert Fergusson, the Scotti.<-h
poet, Burns' older brother in misforiune, who died at Edin-
burgh on the 16th of October, 1774, in the twenty-fifth year
of his age. In the Museum, it is adapted to the fine old air
of Cumbernauld-house, which is inserted both in Macgibbon
134 CXLII. — HERE WINDING FORTH ADORNS THE VALE.
and Oswald's Collections. The original song of Cumber-
nauld-house has escaped every research of the editor.
CXLIII.
THE HIGHLAND ROVER.
This song, beginning " Loud blaw the frosty breezes,''
was written in 1787 by Burns, and presented to Johnson for
insertion in his Museum. The Highland rover alluded to
was the young chevaUer, Prince Charles Edward Stuart.
It is adapted to the Gaelic air, called " Morag," which is the
Highland name for Marion. Burns also wrote the following
verses to the same tune.
SONG.
TuKE, " Morag."
O WHA is she that loes me.
And has my heart a keeping ?
0 sweet is she that loes me^
As dews o' simmer weeping.
In tears the rose-buds steeping.
CHOEUS.
O that's the lassie o' my heart.
My lassie ever dearer ;
O that's the queen o ivomankind.
And ne'er a ane to peer her.
If thou shalt meet a lassie.
In grace and beauty charming.
That e'en thy chosen lassie,
Erewhile thy breast sae warming.
Had ne'er sic powers alarming,
O that's the lassie, S^c.
If thou had'st heard her talking,
And thy attentions plighted.
That ilka body talking
But her by thee is slighted ;
And thou art all delighted.
O that's the lassie, S^c.
If thou hast met this fair one.
When frae her thou hast parted.
If every other fair one
But her, thou hast deserted.
And thou art broken-hearted.
O that's the lassie, ^c.
1
CXLIII. THE IHGHLAND ROVER. 135
Dr Currie, in his life of Burns, says, that our poet also
composed the following poem of Castle Gordon in September
1 787, to be sung to Morag, a Highland air of which he was
extremely fond, in testimony of his gratitude for the kind
reception he had met with from the Duke and Duchess, at
the hospitable mansion of this noble family.
Streams that glide in orient plains.
Never bound by winter's chains ;
Glowing here on golden sands.
There commix'd with foulest stains
From tyranny's empurpled bands :
These, their richly-gleaming waves,
I leave to tyrants and their slaves ;
Give me the stream that sweetly leaves
The banks by Castle Gordon.
Spicy forests, ever gay.
Shading from the burning ray
Hapless wretches sold to toil.
Or the ruthless native's way.
Bent on slaughter, blood, and spoil :
Woods that ever verdant wave,
I leave the tyrant and the slave ;
Give me the groves that lofty brave
The storms, by Castle Gordon.
Wildly here, without control.
Nature reigns and rules the whole ;
In that sober pensive mood.
Dearest to the feeling soul.
She plants the forest, pours the flood ;
Life's poor day I'll musing rave.
And find at night a sheltering cave.
Where waters flow and wild woods wave.
By bonny Castle Gordon.
These verses are certainly very fine, but the reader will
easily perceive that they do not correspond with the air of
Morag. The measure and accentuation are totally different
from the stanzas which our poet composed for the tune in
Johnson's Museum, and these points he seldom, if ever,
overlooked. We may therefore conclude, that Dr Currie
has been led into a mistake with regard to the tune, though
the verses undoubtedly are well deserving of being united to
a very fine one.
136 CXLIII.— THE HIGHLAND ROVER.
In Eraser's Gaelic Airs, lately published, is another set of
" Morag," in which the sharp seventh is twice introduced
in place of the perfect fifth, alongst with a variety of notes,
graces, and a retardando, not to be found in any of the
older sets of this air, and which indeed are equally super-
fluous as well as foreign to the genuine spirit of ancient Gaelic
melodies. Publishers of national tunes should be scrupul-
ously careful in giving nothing but the original and unso-
phisticated melody, for every person who knows any thing
of the science, can make whatever extempore variations he
pleases on the simple intervals. The French have been
justly censured for this absurd practice by Quantz, the cele-
brated music-master of Frederic the Great, King of Prussia.
Tbe Italians, on the other hand, are commended by that
eminent musician, for leaving the embellishments and graces
entirely to the judgment, taste, and feeling of the performers.
In this way, the genuine text of the melody is preserved,
and the performer is left at liberty to use what variations
his taste and judgment may suggest, without rendering the
subject dull and insipid, as if it was immutably fixed on the
barrel of a street-organ.
CXLIV.
THE DUSTY MILLER.
This cheerful old air is inserted in Mrs Crockat's Collec-
tion in 1709, and was, in former times, frequently played
as a single hornpipe in the dancing-schools of Scotland.
The verses to which it is adapted in the Museum, begin-
ning " Hey the dusty miller, and his dusty coat," are a
fragment of the old ballad, with a few verbal alterations by
Burns.
CXLV.
THE WEDDING-DAY.
Ramsay adapted one of his songs in the Gentle Shepherd
to this old Scotch melody, which was formerly called " How
can I be sad on my wedding-day." The old song begins
How can I be sad, when a husband I hae.^
How can I be sad on my wedding-day ?
CXLV.— THE WEDDING-DAY. 137
The verses in the Museum, beginning " One night as
young Colin lay musing in bed," were composed by Dr
Thomas Blacklock.
CXLVl.
I DREAM'D I LAY, &c.
This song was written by Bums when he was only seven-
teen years old, and it is among the earliest of his printed
compositions. It is adapted to a beautiful and plaintive air,
harmonized by Mr Stephen Clarke.
CXLVII.
I, WHO AM SORE OPPRESS'D WITH LOVE.
This is a fragment of an Ode, written by Alexander Ro-
bertson of Struan, addressed to a friend who was going to
sea. It was published among his other poems at Edinburgh
after the author*'s decease. In the Museum, the verses are
adapted to the air of The Lovely Lass of Monorgan, taken
from Oswald's Caledonian Pocket Companion.
cxLviir.
A COCK LAIRD, FU' CADGIE.
This very humorous old song is generally, though erro-
neously, attributed to Ramsay by his biographers. Ramsay,
indeed, did make some verbal alterations upon it ; but Wil-
liam Thomson felt no scruple in presenting it, in its original
rustic garb, to a queen of Great Britain, so late as the year
1725. As Ramsay has frequently been censured for sup-
pressing the ancient songs, and substituting his own inferior
productions in their stead, it seems but fair, in justice to his
memory, to give the reader an opportunity, by inserting the
old words here, of judging whether, or how far, such censure
is really just.
I.
A COCK laird fu cadgie,
Wi' Jenny did meet.
He haws'd her, and kiss'd her.
And ca'd her his sweet.
Gin thou'lt gae alang wi' me,
Jenny, quo he,
Thou'se be my ain leman
Jo Jenny, Jenny,
138 cxLviir.— A COCK laird, fu' cadgie.
IT.
Gin I gae alang w'l you.
Ye manna fail
To feed me wi' crowdie.
And good hackit kail.
What needs a this vanity,
Jenny ? quo he;
Are na bannocks and dribly beards
Good meat for thee ?
III.
Gin I gae alang wi' you,
I maun hae a sUk hood,
A kirtle-sark, wylie-coat.
And a silk snood.
To tye up my hair in a
Cockemonie.
Hout awa! ihou'st gane wud, I trow,
Jenny, quo he.
IV.
Gin you'd hae me look bonnie,
And shine like the moon,
I maun hae katlets, and pallets.
And camrel-heel'd shoon.
And craig-claithsj and lug-babs.
And rings twa or three.
Hout, the deil's in your vanity,
Jenny, quo' he.
V.
Sometimes I am troubled
Wi' gripes * * *
Gin I get nae stoories,
I may mysel shame ;
I'll rift at the rumple, and
Gar the wind flee.
Deil stap a cork in your * * * *
Jenny, quo he.
VI.
Gin that be the care you tak.
Ye may gae loup.
For sican a hurcheon
Shall ne'er skelp my —
Howt awa, gae be hang'd,
Lousie laddie, quo' she,
Deil scoup o' your company,
Jenny, quo' he.
Though such broad-humoured verses were formerly
thought nothing of, they would not now be tolerated in a
drawing-room ; for times change, and we are changed with
them.
139
CXLIX.
DUNCAN DAVISON.
This very humorous song was composed by Burns, although
he did not openly choose to avow it, I have recovered his
original manuscript copy of the song, which is the same as
that inserted in the Museum. It is adapted to the old tune
of YoiCll aye he welcome bacJc again, which was the title of
an old but very inferior song, both in point of wit and deli-
cacy, to that in the Museum. This lively tune was inserted,
about a century ago, in John Welsh's Caledonian Country
DanceSi book ii. p. 45. It is also to be found in Oswald's
Pocket Companion, and several other old collections.
DUNCAN DAVISON.
Written by Burns.
There was a lass, they ca'd her Meg,
And she held o'er the moor to spin ;
There was a lad that followed her.
They ca'd him Duncan Davison :
The moor was dreigh, and Meg was skeigh.
Her favour Duncan couldna win.
For wi' the rock she wad him knock.
And ay she shook the temper-pin.
As o'er the moor they lightly foor,
A burn was clear, a glen was green.
Upon the banks they eased their shanks.
And ay she set the wheel between :
But Duncan swoor a haly aith.
That Meg should be a bride the morn ;
Then Meg took up her spinning-graith.
And flang them a' out o'er the burn.
We will big a wee, wee house.
And we will live like king and queen ;
Sae blythe and merry's we will be.
When ye set by the wheel at e'en.
A naan may drink and no be drunk,
A man may fight and no be slain,
A man may kiss a bonny lass.
And ay be welcome back again.
CL.
LOVE WILL FIND OUT THE WAY.
Both the words and music of this ancient song appear in
Forbes' Cantus, printed at Aberdeen in 1662, again in 1666,
140
CL. LOVE WILL FIND OUT THE WAY.
and lastly in 1682. We shall therefore present the reader with
an exact copy of the melody, as it appears in these Collections,
which will afford him another opportunity, by comparing
it with the set in the Museum, and other modern collections,
of observing what improvements have been made on this ear-
ly melody. In the Aberdeen Cantus, the notes are lozenge-
shaped semibreves, minums, and crotchets, without any bars.
Here they are thrown into modern notation.
SONG XLV. IN FORBES'S CANTUS.
^^=?Ff=f;^f^ff-r — hrr-r^-rFFffni^
^^j;=^=t=.-±=z — ^_ii:.___._„.4:_^_r:.
Over the mountains, and un-der the caves, O-ver the
i
Rs^i
fountains, and un-der the waves, O-ver wa-ters that are
i
3
y-Tg
m
deepest, and which Neptune o-bey, O-ver rocks that are
^^
steepest, love will point out the way.
The simple melody of this fine old song is scarce discern-
ible amidst the superfluous extravagance of modern embel-
lishments.
CLI.
AH ! THE POOR SHEPHERD'S MOURNFUL FATE.
The old title, says Burns, Sour Plums of Galashiels, was
probably the beginning of a song to this air, which is now
lost. The tune of Galashiels was composed about the be-
ginning of last century, 1700, by the Laird of Galashiels'
piper ; and Mr Cromek adds, that the piper of Galashiels
was the subject of an unpublished mock heroic poem, by
Hamilton of Bangour. — Reliques. Hamilton wrote the
verses in the ]\Iuseum, and gave them to Ramsay, who pub-
lished them in his Tca-Table Miscellany in 1725. This old
CLI. AH ! THE POOR SHEPHERD'S MOURNFUL FATE. 141
tune also appears in Craig's Collection, printed in 1730, and
in those of M'Gibbon and Oswald. Mr Watts published
this song with the same tune in his Musical Miscellany, vol.
iv. London, 1731.
CLTI.
MY LOVE HAS FORSAKEN ME.
The words and music of this song were furnished by Dr
Blacklock, for Johnson's Museum, about the close of 1787.
Allan Masterton copied both for the Doctor. This song
possesses merit, but some of the lines are a little deficient in
measure, and the first part of the tune appears to have been
incorrectly taken down.
CLIII.
MY LOV'D CELESTIA.
This song was written by Alexander Robertson of Struan,
Esq. and published in an edition of his works at Edinburgh,
sine anno. In the Museum, it is adapted to a very pretty
air, called Benny Side, which is inserted in Oswald's Pocket
Companion. The editor has not been able to procure a copy
of the original song of Benny Side, Avhich may have been in
fashion in the days of Oswald.
CLIV.
THRO' THE WOOD, LADDIE.
This fine old tune is inserted in the Orpheus Caledonius
in 1725, adapted to a long ballad written by Ramsay, be-
ginning " As early I walk'd on the first of sweet May,"
which is likewise printed in his Tea-Table Miscellany. In
the Museum, the air is adapted to a song of two stanzas,
also written by Ramsay, beginning " O Sandy, why leaves
thou thy Nelly to mourn ?"
Dr Blacklock commvinicated to Mr Johnson a copy of the
original verses to the same air, which are printed in the Mu-
seum after those of Ramsay.
It ought to be observed here, that this old melody con-
sisted only of one strain, and it is so printed in Thomson's
Orpheus Caledonius. The second strain, which is only a re-
142 cLiv.— thro' the wood, laddie.
petition of the first, an octave higher, was added by Adam
Craig in 1730 ; but it could only be intended for instrumen-
tal music. Few voices have a natural compass of more than
twelve notes. When a tune exceeds this compass, the singer
has recourse to thejhlsefto, which requires great skill and
management to produce even a tolerable effect. It would be
much better, therefore, to leave out the second strain alto-
gether in singing this song, as the compass of the^r*^ is suf-
ficiently extensive, and the tune quite long enough without
any second part.
CLV.
WHERE HELEN LIES,
This old elegiac ballad, beginning " I wish I were where
Helen lies," was retouched by Burns for the Museum.
Burns confessed, however, that his alterations were far from
improving this ballad.
Helen Irvine, a celebrated beauty of the sixteenth cen-
tury, and daughter of the then Laird of Kirkconnel, in the
county of Dumfries, was beloved by two gentlemen at the
same time, who both resided in that neighbourhood. The
name of the favourite suitor was Adam Fleming, that of the
unsuccessful lover Bell of Blacket-house. The addresses of
the latter, though seconded by the friends of the lady, being
inflexibly rejected, he vowed to sacrifice Fleming to his re-
sentment. Bent on this horrid design, he watched every op-
portunity of carrying it into execution, and one evening,
while the happy pair were sitting on a romantic spot washed
by the river Kirtle, the desperate lover suddenly appeared on
the opposite bank with a loaded musket, which he levelled at
the breast of his rival. Helen, aware of his atrocious aim,
instantly threw herself before the body of her lover, and, re-
ceiving the mortal wound which was intended for him, fell
back and died in his arms. The murderer fled beyond seas,
but was closely pursued from place to place by Fleming, who
at length overtook him in the vicinity of Madrid. A furious
combat ensued, which terminated in the death of the fugitive
CLV.— WHERE HELEN LIES.
143
assassin. Fleming, on his return, went to visit the grave of
his beloved Helen in the church-yard of Kirkconnel, and
stretching himself upon it, he expired, breathing her name
with his last sigh. His remains were interred by her side.
The grave of the lovers is still pointed out, and on the tomb-
stone the inscription Hie jacet Adamus Fleming, is yet le-
gible. A sword and a cross are sculptured on the stone,
which the peasantry tell you represents the gun that shot
Helen, and the sword that killed her murderer. A heap of
stones is raised on the spot where the murder was committed,
as a lasting monument of the abhorrence which fair Helen's
contemporaries felt for the bloody deed.
There are various editions of this ballad in Pinkerton''s
Scottish Poems, Sir Walter Scotf s Border Minstrelsy, Rit-
son's Scottish Songs, and other collections, but they all differ
more or less from one another, and the several airs to which
the words have been adapted are also dissimilar. All of
them are evidently modern, and totally different from the
simple and plaintive little air to which the editor has always
heard the ballad sung in the south of Scotland. He there-
fore inserts it without further apology.
FAIR HELEN OF KIRKCONNEL.
fe4f-4r-g^^^^Pi
I WISH I were where Helen lies. For night and day on
itb-^—^ p • r--rT~f^~~p~~^ 1 — p--f-^
^i_L_| ,_-p ___.A-_J^^__.1_Ll.
me she cries; O that I were where Helen lies, On fair Kirk-
^Ee
1
i
connel lee!
O Helen ! lovely, chaste and fair,
A ringlet o' thy gowden hair
In my fond bosom I will wear.
Until the day I die.
144 CLV.— WHERE HELEN LIES.
I curst the heart that form'd the thought,
I curst the hand that fir'd the shot.
When in these arms my Helen dropt.
And died to shelter me.
Ye weel may think my heart was sair.
When down she sank and spak nae mair.
And I beheld my lovely fair
Stretch'd on Kirkconnel lee.
To foreign climes the traitor fled,
But quickly after him I sped ;
Ere lang beneath my glaive he bled,
For her that died for me.
I wish my grave were growing green.
When Kirtle rows sae smooth and sheen.
And close by Helen's might be seen
On fair Kirkconnel lee.
0 Helen fair ! O Helen chaste !
Were I wi' thee I wad be blest.
For thou liest lowly and at rest
On fair Kirkconnel lee.
Where Helen lies ! Where Helen lies !
For night and day on me she cries !
1 wish I were where Helen lies.
Who died for love of me.
Some of the peasantry allege, that Fleming was killed by
an arrow in place of a bullet. In the following passage from
a poem, written by Thomas Poyton, a pauper, after he had
read Drummond of Hawthornden's history of Scotland,
printed in the Gentlemen's Magazine for July 1783, this
branch of the traditional story is evidently alluded to.
T'other day as she work'd at her wheel.
She sang of fair Eleanor's fate.
Who fell by stern jealousy's steel.
As on Kirtle's smooth margin she sate.
Her lover to shield from the dart.
Most eagerly she interpos'd ;
The arrow traiispierc'd her fond heart.
The fair in his arms her eyes clos'd.
O Fleming, how wretched thy doom.
Thy love to see wounded to death ;
No wonder that, stretch'd on her tomb.
In grief thou surrender'st thy breath.
CLV. WHERE HELEN LIES. 145
Yet one consolation was thine.
To soften fate's rigid decree.
Thy mistress her life did resign,
A martyr to love and to thee.
CLVI.
THENIEL MENZIES' BONNY MARY.
ThI3 humorous song, as well as that which follows it
in the Museum, beginning " A' the lads of Thornie Bank,"
were composed by Burns towards the end of the year 1787.
They are adapted to the old tune, called The Ruffimis Rant.,
which is likewise the melody of " Roy's Wife of Aldivalloch."
In November 1794, Burns also composed the following-
stanzas to the same tune, in the character of a forsaken lover''s
address to his mistress.
CANST THOU LEAVE ME. /
Chorus to be sung to the first strahi of the tune.
Canst thou leave me thus, my Katy ?
Canst thou leave me thus, my Katy ?
Well thou know'st viy aching hea?-t,
And canst thou leave me thMS,for pity ?
Is this thy plighted, fond regard.
Thus cruelly to part, my Katy ?
Is this thy faithful swahi's reward.
An aching, broken heart, my Katy ?
Canst thou leave me, &c.
Farewell ! may no such sorrows tear
That fickle heart of thine, my Katy !
Thou may'st find those will love thee dear,
But not a love like mine, my Katy.
Canst thou leave me, &c.
The following reply from the lady, evidently the hand-
writing of a female, was found among the manuscripts of our
bard after his decease.
CHORUS.
Stay, my Willie, yet believe me ;
Stay, my Willie, yet believe me ;
For ah ! thou knoiu'st na every pang
Wad ivring my bosom shouldst tho%i leave me.
Tell me that thou yet art true.
And a' my wrangs shall be forgiven.
146 CI.VI. THENIEL MENZIES' BONNY MARY.
And whan this heart proves fause to thee.
Yon sun shall cease its course in heaven.
Stay, my Willie, <kc.
But to think I was betray 'd.
That falsehood e'er our loves should sunder J
To take the flow'ret to my breast.
And find the guilefii' serpent under.
Stay, my Willie, &c, ■
Could I hope thou'dst ne'er deceive.
Celestial pleasures might I choose 'em,
I'd slight, nor seek in other spheres
That heaven I'd find within thy bosom.
Stay, my Willie, &c.
Dr Currie observes, *'- It may amuse the reader to be told,
that on this occasion the gentleman and the lady have ex-
changed the dialects of their respective countries. The Scot-
tish bard makes his address in pure English : the reply on
the part of the lady, in tlie Scottish dialect, is, if we mistake
not, by a young and beautiful Englishwoman,'^' vol iv. letter
Ixiv.
CLVII.
THE BANKS OF THE DEVON.
This song was written by Burns in August 1787, and
adapted to a Gaelic melody, entitled " Banarach Donnach
B-uidh,"or " The Brown Dairy-maid." Burns himself gives
us the following account of this song : " These verses were
composed on a charming girl. Miss Charlotte Hamilton, who
is nov/ married to James M'Kitrick Adair, Esq. physician.
She is sister to my worthy friend, Gavin Hamilton of Mauch-
line, and was born on the Banks of Ayr ; but was, at the
time I wrote these lines, residing at Harveyston in Clack-
mannanshire, on the romantic banks of the little river De-
von.— I first heard the air from a lady in Inverness, and got
the notes taken down for this work (the Museum)."
In a letter to Dr Currie, printed in the life of Burns, Dr
Adam, now of Harrowgate, says, " Burns and I left Edin-
burgh together in August 1787. We rode by Linlithgow
and Falkirk to Stirling. From Stirling we went next morn-
ing; through the I'omantic and fertile vale of Devon to Har-
CLVII. THE BANKS OF THK DEVON. 147
vieston in Clackmannanshire, then inhabited by Mrs Ha-
milton, with the younger part of whose family Burns had
been previously acquainted. He introduced me to the fa-
mily, and there was formed my first acquaintance with Mrs
Hamilton's eldest daughter, to whonv I have been married
for nine years. Thus was I indebted to Burns for a con-
nexion, from which I have derived, and expect further to de-
rive, much happiness."
The author of Albyn's Anthology, printed in 1816, and
the editor of the late Collection of Highland Airs, have each
obliged us with a set of this tune, as if it had never been be-
fore published. These airs differ considerably from one ano-
ther; but the set in Johnson's Museum, which Burns ob-
tained from the lady in Inverness, is by far the best of the
three.
CLVIII.
WALY ! WALY ! UP YON BANK.
Both the words and air of this song, beginning " O waly !
waly ! up yon bank," are very ancient. In Mr Blackwood's
MSS. which were transcribed by Thomas Wode In 1566,
from a still more ancient church-music book, compiled by
Dean John Angus, Andrew Blackball, minister of Mussel-
burgh, and others, there is an humorous Yule or Christmas
medley, in which the last four lines of the first stanza of this
old song are evidently burlesqued.
In the first stanza we have the following lines :
O WALY ! waly ! love is bonnie,
A little while, M'hen it is new ;
But when it's auld it waxes cauld.
And wears away like morning dew.
The lines in the old manuscript run thus.
Hey, trollie, lollie, love is jolly,
A quhile, qvihill it is new ;
Quhen it is old it grows full cold,
Wae worth the love untrew.
There can be no doubt, therefore, that this song is at least
coeval with the reign of Mary Queen of Scots, if not earlier.
Burns mentions, that he has heard a different edition of
148 CT.VIIT. WALY ! WALY ! UP YON BAKK.
the second stanza. Instead of the four lines, beginning with
" When cockle shells," &c. the other way ran thus,
O wHEiiEFORE need I busk my head?
Or wherefore need I kame my hair ?
Sin my fause luve has me forsook.
And says he'll never luve me mair.
Arthur^'s Seat and St Anton's, or rather, St Anthony's
Well, alluded to in the song, are both in the immediate vici-
nity of Edinburgh, and so well known as to require no parti-
cular description.
CLIX.
THE SHEPHERD ADONIS.
Ramsay published this as an old song in his Tea-Table
Miscellany, ITS^. I have heard it attributed to Sir Gilbert
Elliot of Minto, Bart, but have been unable to discover upon
what authority. The verses are pretty, and characteristic
of rural innocence and love.
CLX.
DUNCAN GRAY.
It is generally reported, that this lively air was composed
by Duncan Gray, a carter or carman in Glasgow, about the
beginning of last century, and that the tune Avas taken down
from his whistling it two or three times to a musician in that
city. It is inserted both in Macgibbon and Oswald's Collec-
tions.
The comic verses to which it is united in the Museum, be-
ginning " Wearie fa you, Duncan Gray — Ha, ha, the gir-
din o't," are taken from the old song, with considerable alte-
rations, by Burns. Our poet, however, wrote another ex-
ceedingly humorous song to the same tune in December
1792, which is here subjoined.
Duncan Gray cam here to woo^
Ha, ha, the wooing o't.
On blythe yule-night, when we were fou.
Ha, ha, the wooing o't.
Maggie coost her head fu' high,
Look'd asklent and unco skeigh,
Gart poor Duncan stand abeigh ;
Ha, ha, the wooing o't.
CLX. DtraCAN GRAY. 149
Duncan fleech'd and Duncan pray'd.
Ha, ha, tlie wooing dt,
Meg was deaf as Ailsa Craig,*
Ha, ha, &c.
Duncan sigh'd baith out and in,
Grat his een baith bleer'd and blin',
Spak o' low pin' o'er a linn ;
Ha, ha, &c.
Time and chance are but a tide.
Ha, fui, &c.
Slighted love is sair to bide,
Ha, ha. Sic.
Shall I, like a fool, quo' he,
For a haughty hizzie die ?
She may gae to — France for me !
Ha, ha, &c.
How it comes let doctors tell.
Ha, ha, &c.
Meg grew sick as he grew well.
Ha, ha, &c.
Something in her bosom wrings.
For relief a sigh she brings ;
And O, her een, they spak sic things !
Ha, ha, &c.
Duncan was a lad o' grace.
Ha, ha, &c.
Maggie's was a piteous case.
Ha, ha, &c.
Duncan could na be her death.
Swelling pity smoor'd his wrath ;
Now they're crouse and canty baith.
Ha, ha, the tuooing o't.
Burns, in a letter to Mr George Thomson, dated 4th De-
cember 1792, says, " The foregoing I submit, my dear Sir,
to your better judgment. Acquit them or condemn them,
as seemeth good in your sight. Duncan Gray is that kind of
hght-horse gallop of an air which precludes sentiment. iMie
ludicrous is its ruling feature.*"
CLXI.
DUMBARTON DRUMS.
This sone is inserted in the second edition of Thomson's
o
* A well known rock in the Fiitli of Clyde, betwixt the shores of Ayrshire and
Kintyre. It is about two miles in circumference, and rises to a great licight. It
is the property of the Earl of Cassillis.
150 CLXI. DUMBARTON DKUMS.
Orpheus Caledonius, published in 1733. It also appeared
in Daniel Wright's Miscellany for December 1733, under
the title of " Dumbarton Drums, never before printed to
music." The words were inserted in the Tea-Table Miscel-
lany in 1724, but the author is unknown. Burns says, that
'* this is the last of the West Highland airs ; and from it,
over the whole tract of country to the confines of Tweedside,
there is hardly a tune or song that one can say has taken its
origin from any place or transaction in that part of Scotland.
The oldest Ayrshire reel is Stewarton Lasses^ which was
made by the father of the present Sir Walter Montgomery
Cunningham, alias Lord Lyle; since which period there has
indeed been local music in that country in great plenty.
Johnny Faa is the only old song Avhich I could ever trace as
belonging to the county of Ayr." — Reliques.
CLXIl.
CAULD KAIL IN ABERDEEN.
This beautiful air does not appear in any of our old collec-
tions, by Thomson, Craig, M' Gibbon, or Oswald. It seems
to have been modelled from the ancient tune, in triple time,
called The Sleepy Body, like that of another from the same
source, called The Ploughman. See No 165. For upwards
of half a century, however, few, if any of our tunes, have
been greater favourites with the poets than that of " Cauld
Kail in Aberdeen." Although this air, particularly when
played slow, is rather of a tender and plaintive cast, yet most
of the songs that have been adapted to it are of a very op-
posite description. The oldest song to this time that I
have met with is the following. The author is anonymous,
but the song was collected by Herd, and printed in his se-
cond volume in 1776 ; but he told me it Avas much older.
Cauld kale in Aberdeen,
And castocks in Strabogie,
But yet I fear they'll cook o'er soonj
And never warm the coc-je.
OLXII.— CAULD KAIL IN ABERDEEN,
151
The lasses about Bogie* gicht
Their limbs, they are sae clean and tight.
That if they were but girded right.
They'll dance the reel of Bogie.
II.
Wow, Aberdeen, what did you mean,
Sae young a maid to woo, sir ?
I'm sure it was nae joke to her,
Whate'er it was to you, sir ; '
For lasses now are no sae blate
But they ken auld folk's out o' date.
And better playfare can they get
Than castocks in Strabogie.
The following song, to the same tune, is likewise by an ano-
nymous author, but it is still more modern. It was printed
in Dale's Scottish Songs, and is alluded to by Burns as Ijeing
an old song.
There's cauld kail in Aberdeen,
And castocks in Strabogie,
Where ilka lad maun hae his lass.
But I maun hae my cogie.
For I maun hae my cogie, sirs,
I canna want my cogie,
1 wadna gie my three-gir'd cog
For a' the queans in Bogie.
II.
There's Johnnie Smith has got a wife
Wha scrimps him o' his cogie ;
If she were mine, upon my life,
I'd -douk her in a bogie.
For I maun hae my cogie, sirs,
I canna want my cogie ;
I wadna gie my three-gir'd cog
For a' the queans in Bogie.
III.
Twa-three todlin weans they hae.
The pride o' a' Strabogie ;
Whene'er the toturas cry for meat
She curses ay his cogie.
O wae betide the three-gir'd cog !
O wae betide the cogie.
It does mair skaith than a the ills
That happen in Strabogie.
" The Bogie, celebrated by so many bards, is a river in Aberdeenshire. II
rises in the parish of Auchindoir, and, after running through an extensive, rich,
and beautiful strath or valley, called Strathbogie, formerly one of the great divi-
sions of that county, falls into the river Dcveron, a little below the town of Huntly.
152 CLXII. CAULD KAIL IN ABEBDEEJi.
She fand him ance at Willie Sharp's^,
And what they maist did laugh at.
She brak the bicker, spilt the drink.
And tightly gowfF'd his hafFet.
0 wae betide the three-gir'd cog,
0 wae betide the cogie.
It does mair skaith than a' the ills
That happen in Strabogie,
V.
Yet here's to ilka honest chiel
Wha drinks wi' me a cogie ;
As for ilk silly whingin fool.
We'll douk him in a bogie.
For I maun hae my cogie,' sirs,
1 canna want my cogie ;
I wadna gie my three-gir'd cog
For a' the queans in Bogie.
The authors of the two foregoing excellent and humorous
ballads, though the editor has not been able to discover them,
must certainly be Avell known among the circle of their own
friends. The present Duke qf Gordon likewise wrote a very
fine song to the same air, and as Johnson preferred his
Grace's song to both its predecessors, he placed it in his Mu-
sical Museum. Since that period Mr William Reid of Glas-
gow, bookseller, has favoured us with the following verses to
the same tune, with which we shall conclude the present ar-
tide.
There's cauld kail in Aberdeen,
And bannocks in Strabogie,
But naething driv^es awa the sjileen
Sae Aveel's a social cogie.
That mortal's life nae pleasure shares
Wha broods o'er a' that's fogie :
Whene'er I'm fasht wi warldly cares
I drown them in a cogie.
Thus merrily my time I pass.
With spirits brisk and vogie.
Blest wi' my buiks and my sweet lass.
My cronies and my cogie.
Then haste and gie's an old Scots sang
Sic like as Kathrine Ogie ;
A gude auld sang comes never wrang.
When o'er a social co.iiie.
153 r
CLXIII.
FOR THE LAKE 0' GOLD.
This soug was composed by Dr Avxstin, physician in Edin-
burgh, who had courted Miss Jean Drummond of Megg-
inch, and to whom he was shortly to have been married.
But James, Duke of Atholl, having seen her, became so much
enamoured, that he made proposals of marriage, which were
accepted ; and, as Burns says, she jilted the Doctor. This
lady having survived her first husband, married the late
Lord Adam Gordon, uncle to Alexander, the present Duke
of Gordon.
Dr Austin adapted his words to the tune of an old song,
which has a similar beginning, called " For the Lak of Gold
I lost her, O ;" the melody of which is inserted in Oswald's
Pocket Companion, No iii. p. 2. There are several passages
in th^ tune, however, the very same as in that called, " I love
my Love in Secret."
The Doctor, in his song says, " No cruel fair shall ever
move my injured heart agaiyi to love ,•" but lie afterwards
married, and had a fine family of children.
OLXIV.
KATHRINE OGIE.
This fine old Scottish song, beginning " As I went furth
to view the plain,"" was introduced, and sung by Mr John
Abell, a gentleman of the Chapel-]-{oyal, at his concert in
Stationers'-hall, London, in the year 1680, with great ap-
plause. It was also printed with the music and words, by an
engraver of the name of Cross, as a single sheet song, in the
course of that year, a copy of which is now lying before me.
About twenty years after this period two editions of the tune
made their appearance in the " Pills," one of which was an
inaccurate reprint to the song as sung by Abell, which was
now called " A new Scotch Song." The other was called
" Cathrin Loggie," where the tune is adapted to very inde-
licate verses. The English transcriber, from not understand-
ing the Scottish idioms and orthography, had fallen into a
154< CLXIV.— KATHllINE OGIE.
few verbal errors ; but Ramsay, in correcting these for his
Tea-Table Miscellany, used some liberties with the text
that were not altogether warranted. A correct copy of the
old verses is therefore annexed.
I.
As I went furth to view the plain
Upon a morning early.
With May's sweet scent to cheer my brain.
When flow'rs grew fresh and fairly ;
A very pretty maid I spy'd.
She shin'd tho' it was fogie ;
I ask'd her name ; sweet sir, she sigli'd.
My name is Kathrine Ogie.
II.
1 paus'd a while, and did admire.
To see a nymph so stately ;
So brisk an air there did appear
In a country maid so neatly :
Such native sweetness she display 'd, ,
Like lilies in a bogie ;
Diana's self was ne'er array'd.
As this same Kathrine Ogie.
III.
Thou flow'r of females, beauty's queen,
Who sees and does not prize thee ;
Tho' thou are drest in robes but mean.
Yet they cannot disguise thee :
Thy mind sure as thine eyes do look
Above a clownish rogie ;
Thou art a match for laird or duke.
My bonnie Kathrine Ogie.
IV.
0 ! if I were some shepherd swain.
To feed my flocks beside thee.
And gang with thee alang the plain.
At boughting to abide thee :
More rich and happy I could be
With Kate, and crook, and dogie,
Than he that does his thousands see —
My winsome Kathrine Ogie.
V.
Then I'd despise imperial crowns.
And statesmen's dangerous stations ;
Nor fear a Monarch's slights or frowns,
And laugh at conqu'ring nations ;
5
CLXIV. KATHEINE OGIE, 155
Might I caress and still possess
The lass of whom I'm vogie.
These were but toys, I must confess,
Compar'd wi' Kathrine Ogie.
VI.
The/ates, I fear, have not ordain'd
For me so fair a creature.
Whose lovely face makes her esteem'd,
A miracle of nature.
Clouds of despair surround my love.
That are both dark and fogie ;
0 pity me ye powers above,
1 die for Kathrine Ogie !
Mr Abell, who used to sing this, and many other Scottish
songs, to his royal master Charles II., was celebrated for a
fine counter-tenor voice, and for his skill in playing the lute.
" The king," says one of his biographers, " admiring his sing-
ing, had formed a resolution of sending him and another
English musician to the carnival at Venice, in order to shew
the ItaUans that there were good voices in England." But as
the person intended to accompany him expressed an unwilling-
ness to take the journey, the king desisted from his purpose.
Abell continued in the chapel till the revolution in 1688,
when he was discharged on account of his adherence to the
Romish Communion. After this he went abroad, and
greatly distinguished himself by singing in public in several
of the towns of Germany. In some of these his receipts
were enormously great ; but, having little foresight, he lived
profusely, and entered into all the expences of a man of qua-
lity. At intervals he was often so much reduced, as to be
under the necessity of travelling through whole provinces
with his lute slung at his back, subject to all the hardships
and miseries of a strolling musician. In his rambles, he got
as far as Poland ; and, on his arrival at Warsaw, the king
sent for him to the court. Abell made some excuse to avoid
going ; but, on being told that he had every thing to fear
from the king's resentment, he apologised for his behaviour,
and received a command to attend the king the next day.
On his arrival at the palace, he was seated in a chair in the
156 CLXIV.— KATHRINE OGIE.
middle of a spacious hall, and immediately drawn up to a
great height. Soon afterwards the king and his attendants
appeared in a gallery opposite to him, and at the same time
a number of bears were let loose below. The king gave him
the choice, whether he would sing or be lowered among the
bears. Abell chose the former, and he declared afterwards,
that he never sang so well in his life as he did in his cage-
Having rambled about for many years, he return-
ed to England in 1701, and published, in London, a
Collection of Songs in several languages, with a dedication
to King William, in which he expressed a grateful sense of
his Majesty's favours abroad, but in particular of his cle-
mency in permitting him to return to his native country. Mr
Abell died about the year 1702.
William Thomson published the song of Kathrine Ogie,
with Ramsay "'s alterations, in his Orpheus Caledonius, along
with the music, in 1725. The tune appears in Adam Craig's
Select Collection of Genuine Scottish Airs, in 1730. Both
the words and music appeared in the second volume of Watts'
Musical Miscellany, in 1729- Gay selected this tune for one
of his songs in Polly, beginning " We never biame the for-
ward swain,"" printed, but not acted, in 1729- Burns had not
a favourable opinion of the song. In a letter to Mr Thom-
son, dated 14th November, 1792, he says, " I agree with
you, that the song Kathrine Ogie is very poor stuff, and al-
together unworthy of so beautiful an air. I tried to mend it,
but the awkward sound Ogie recurring so often in the rhyme,
spoils every attempt at introducing sentiment into the piece."
The poet therefore wrote a new song for this tune, the theme
of which was his favourite Highland Mary. — See remarks
on the song, No 117. In the same letter to Mr Thom-
son, enclosing this new song, Burns says, " It pleases my-
self. I think it is in my happiest manner. You will see at
first glance that it suits the air. The subject of the song is
one of the most interesting passages of my youthful days, and
I own, that I should be much flattered to see the verses set
CLXIV. KATHKINE OGIE. 157
to an air which would ensure celebrity. Perhaps, after all,
'tis the still glowing prejudice of my heart that throws a bor-
rowed lustre over the merits of the composition."
HIGHLAND MARY;
By Burns. To the tune of Kathrine Ogic.
Ye banks, and braes, and streams, around
The castle o' Montgomery,
Green be your woods, and fair your flowers.
Your waters never drumlie !
There shumer first unfauld her robes.
And there the langest tarry ;
For there I took the last fareweel
0 my sweet Highland Mary.
How sweetly bloom'd the gay-green birk !
How rich the hawthorn's blossom !
As underneath the fragrant shade
1 clasp'd her to my bosom !
The golden hours on angel wings
Flew o'er me and my dearie ;
For dear to me as light and life
Was my sweet Highland Mary.
Wi' mony a vow and lock'd embrace,
Our parting was fu' tender ;
And, pledging aft to meet again.
We tore oursels asunder ;
But, oh ! fell death's untimely frost.
That nipt my flower so early !
Now green's the sod, and cauld's the clay,
That wraps my Highland Mary !
O pale, pale now, those rosy lips
I aft hae kiss'd sae fondly !
And closed for ay the sparkling glance
That dwelt on me sae kindly !
And mouldering now in silent dust.
That heart that lo'ed me dearly !
But still within my bosom's core
Shall live my Highland Mary.
In the foregoing song, Burns has evidently imitated some
of those poets of the " olden time," who Avere more solicitous
about strength of sentiment than accuracy of rhyme.
CLXV.
THE PLOUGHMAN.
This pretty little tune, in common time, consists only of
one strain, like that of the original melody, in triple time.
158
OLXV. THE PLOUGHMAX.
called " Sleepy Body," from which it was evidently taken. A
very poor set of it is printed in Oswald's Caledonian Pocket
Companion, where it is loaded with variations. The following
set of the tune is taken from an old manuscript penes the
editor.
THE PLOUGHMAN'S WHISTLE.
-P Pi -. ->
The tune repeated for the chorus.
The humorous song in the Museum, beginning " The
Ploughman he's a bonny lad," is partly old and partly the
composition of Burns ; the three last verses, indeed, were
wholly written by him. The last verse, however, should be
deleted in future editions, as it conveys a double meaning,
and destroys the effect of a song which in every other respect is
veryfineand unexceptionable. This was one of those^K' things
which Burns hinted to Johnson might be amended if the work
were to begin again. The melody, too, in the Museum, is not
quite genuine- The leap from A to the ninth note below,
viz. G in the third bar of the first and second strains, is in-
tolerable in vocal music. The old song is here annexed. It
is taken from the second volume of Herd's Collection.
THE PLOUGHMAN,
Old verses.
The Ploughman he's a bonny lad.
And a' his wark's at leisure.
And when that he comes hame at e'en
He kisses me wd' pleasure.
Up ivi't now, my Ploughman lad,
Up wi't noiu, viy Ploughman ;
Of a' the lads that !< do sec,
Commend me to the Ploughman.
Now the blooming spring comes on.
He takes his yokhig early.
And, whistling o'er the furrow'd land.
He goes to fallow clearly.
'■ Up wi't now, ^x.
CLXV. THE PLOUGHMAN. 159
Whan my Ploughman comes hame at e'en
He's oft wet and wearie ;
Cast afF the wet, put on the dry.
And gae to bed my deary.
Up ivi't notv, S;c.
I will wash my Ploughman's hose.
And I will wash his o'erlay.
And I will make my Ploughman's bed.
And cheer him late and early.
Merry but, and merry hen,
JMerry is my Ploughman;
Of a' the trades that I do ken
Commend me to the Plough?nan.
Plough yon hill and plough yon dale.
Plough yon faugh and fallow.
Who winna drink the Ploughman's health
Is but a dirty fellow.
Merry but, S^c.
CLXVI.
TO ME WHAT ARE RICHES?
This song was written by DrBlacklock expressly for the Mu-
seum. The verses are adapted to an ancient air, called "Here's
a Health to my true Love, wherever he be ;" which tradition
reports to have been a composition of our gallant Scottish mo-
narch, James IV., who fell with the " Flowers of the Fo-
rest," on Flodden Field, in 1 513. Ritson says, " One would be
triad, however, of some better, or at least some earlier autho-
rity, as Scottish traditions are to be received with great cau-
tion.'' Every traditional story, of whatever nation, ought to
be received with caution, particularly when it is inconsistent
with common probability. That man who could take upon
him to assert, that the inhabitants of Scotland are more cre-
dulous than their southern neighbours, must have very little
knowledge indeed of the national character. If the Scottish
historians, in relating the martial achievements of a brave
prince, have thought so trivial a matter as that of his
having made an air to a song beneath their notice, does
this circumstance invalidate the tradition, or prove either
that James IV. did not, or was incapable of framing a pas-
toral little tune of sixteen bars ? I have known more than
one instance of a common blacksmith's composing far longer,
and even better ^:unes than this, although he could neither
160 CLXVI.— TO ME WHAT ARE RICHES ?
play nor read a single note. The royal family of Stuart,
fi'om first to last, were all lovers of music and poetry, and
were munificent and liberal patrons of these arts.
CLXVII.
HEY, JENNY, COME DOWN TO JOCK.
This sprightly tune is the original melody of the old and
very humorous ballad inserted in the Bannatyne Manuscript,
finished in the year 1568, entitled " Rob's Jock." The song
beginning " Jocky he came here to woo," is evidently more
modern by at least half a century ; but most of the ideas, and
many of the lines, are Hterally transcribed from the ancient
ballad. One stanza of this rather broad-humoured ditty has
been omitted, which was essential to render the ceremony of
the Bedding either legal or proper in a moral point of view,
namely, that which relates to the previous marriage of the
, parties. In the old ballad the poet informs us, that
Jock took Jenny by the hand.
And cry'd ane feast, and slew ane cock,
And made a bridal upaland ;
Now half I gotten your Jenny, quo' Jock.
This was another of those songs which were travestied by
our Grub-street friends about the year 1700. It is called
" The Scotch Wedding between Jocky and Jenny." It is
printed in the " Pills," and consists of eight verses, of which
the first and the two concluding ones will be quite enough
for the majority of our readers.
Then Jockey wou'd a wooing away.
On our feast day when he was foo ;
Then Jenny put on her best array.
When she thought Jockey Avould come to woo.
Then Jockey took Jenny by the nease.
Saying, my dear lovey, can'st thou loof me .'*
My father is dead, and has left me land.
Some fair auld houses twa or three.
Thou shalt be my lady o'er them aw ;
I doot, quod Jenny, you do me mock.
Ad ta my saw, quoth Jockey, then,
I come to woo thee, Jenny, quoth Jock.
CLXVII. HEY, JENNY, COME DOWN TO JOCK. 1(>1
This to be said after the SoNO.
Sea then they gang-'d to the Kirk to he wad. Noow they den't use
to wad in Scotchland as they wad in England ; for they gang to
the Kirk, and they take the Donkin by the Rocket, and say, " Good
morn, Sir Donkin." Says Sir Donkin, Ah Jockey, sen ater me,
ivit ia ha Jenny to be thy luadded wife ? Ah, by my lady, (quoth
Jockey) and thanks tiua lue aw my heart. Then says Sua Donkin, Ah
Jenny, sen ater me. Wit ta ha Jockey to be thy wadded loon, to have
and to hold for aver and aver, forsaking- aw other loojis, lubberloons,
black-lips, blue naeses, and aw swigg-heU'd caaves ? We aiu my heart
(quoth Jenny). Then says Sir Donkin, Ah, an these twa ben't asiueel
wadded as eer I wadded any twa in aw Scotchland, the Deel and St
Andrew part ye.
CLXVIII.
O'ER BOGIE.
The uncommonly wild structure of this melody, a copy of
which is inserted in Mrs Crockat's Music-book, written in
1709, evinces it to be of very high antiquity, and, like many
others of the oldest Scottish airs, it produces effects diame-
trically opposite to each other, from the various styles in
which it is either played or sung. When set and sung to
serious words in a soft and slow manner, it produces a most
pathetic effect. On the other hand, when adapted and sung
to humorous verses in a quick style, it becomes one of
the most cheerful songs imaginable. We may adduce the
ancient air of " Hey tuttie tattie," as another example in
support of this fact. When this melody is adapted to such a
song as " Scots Avha hae wi' Wallace bled," and the notes
are sung full, well marked, and in moderate time, it blows
the latent sparks of patriotism into a flame. But let the
same melody be adapted to such a song as " I'm wearing
awa, Jean," (written, we shall suppose, by a parent who had
lost an only daughter, and who felt, from the efltects of a slow
but consuming disease, the near approach of his own disso-
lution), and sung in a soft, slow, and pathetic style,
and what person of sensibility can refrain from shedding
tears ?
Before the days of Ramsay, the tune of " O'er Bogie" was
adapted to an old silly song, the first stanza of which ran thus :
M
162 CLxviii. — o'er bogik.
I WILL awa wi' my luve,
I will awa wi' her ;
Tho' a my kin had sworn and said,
I'll o'er Bogie wi' her.
I'll o'er Bogie^ o'er scrogie.
O'er Bogie wi' her ;
In spite o' a' my kin hae said,
I will awa wi' her.
Ramsay took four of these lines for his chorus ; but he
composed the rest of the song himself, and Thomson pub-
lished it with the music in his Orpheus Caledonius in 1725.
The other song in the Museum to the same tune, beginning
" Well, I agree, you're sure of me,*" was likewise written by
Ramsay, as a song for Jenny in his pastoral of " The
Gentle Shepherd."
Watts reprinted the song of '^ O'er Bogie," words and mu-
sic, in the fifth volume of his Miscellany, in 1731. And Gay
selected this tune for one of the songs in his musical opera
of Achilles, beginning " Observe the wanton kittens play,"
acted at London in 1733, after the author's decease.
CLXIX.
A. LASS W A LUMP O' LAND.
This comic song was written by Allan Ramsay, as a sub-
stitute for the older and more broad-humoured verses to the
same tune. Thomson preferred Ramsay's version, and
adapted it to the original melody in his Orpheus Caledonius
in 1725. This song, words and music, was reprinted by
Watts in his Musical Miscellany, vol. vi. in 1731.
CLXX.
HEY TUTTIE TATTIE.
The more ancient title of this tune was " Hey, now the
Day daws," the first line of a song which had been a very
great favourite in Scotland several centuries ago. It is quoted
by Gawin Douglas, Bishop of Dunkeld, in the prologue to
the thirteenth book of his admirable translation of Virgil into
Scottish verse, which was finished in 1513. It is likewise
mentioned by his contemporary, the poet Dunbar, and many
CLXX. HEY TUTTIE TATTIE.
163
others. This song was long supposed to be lost ; but it is
preserved in an ancient manuscript collection of poems be-
longing to the library of the College of Edinburgh, The
reader is here presented with a correct copy of this ancient
Scottish poetical curiosity, extracted from the aforesaid ma-
nuscript, united to its original melody.
HEY, NOW THE DAY DAUIS.
A very ancient Scottish Song.
^^.
5
al.,,| .,^— ZjC
m
-i
^•
Hey, now the day dauis. The jol - lie cok crauis.
gi_2^: — J : J ^ ^ « ,
« ' » iS 1-
^=zzJ=_J lL=^ =_z^
^h^
i
m
'-F=^
d^^
E— ft A
I
:£:
Now shrouds the shauis Throw na-ture ai>one; The thissel-
S^^~
^rrffff^^^'^^-^'f'^-^-
(^ -^ J^^
bz=b=t:=^=bK-^ -if^=d^dg-^l]J U ^,
cok cryis On lovers wha lyis. Now skaillis the skyis. The
ry: - —
— 1
1 1
1
1 1 r
.. J-
J
J
f
^
—a
•i
<B
#
^
■- 73- _ X.
V
nieht
a:_3g.^:
g'Qt IS near gone.
^
The fields ourflouis,
With gouans that grouis,
Quhair lilies lyk louis
Als rid as the rone.
164 CLXX. — HEY TUTTIE TATTIi:.
The turtill that treu is.
With nots that reneuis,
Hir hairtie pergeuis.
The night is neir gone.
III.
Now hairtis and hynds,
Conforme to thair kynds.
They turssis thair tynds.
On ground quhair they grone.
Now hiirclionis with hairs.
Ay passis in pairs,
Quhilk deuly declairs.
The night is neir gone,
IV.
The seson excellis,
Thrugh sweetness that sraellis •
Now Cupid compellis.
Our hairtis echone.
On Venus wha vaiks.
To muse on our maiks;
Syne sing for their saiks.
The night is neir gone.
V.
All curageous knichtis,
Agains the day dichtis
The breist-plate that bricht is.
To feght with their fone.
The stoned steed stampis.
Throw courage and crampis.
Syne on the land lampis,
The night is neir gone.
vr.
The frieks on fieldis.
That wight waponis wieldis.
With shyning bright shieldis.
As Titan in Trone.
Stiff speirs in reists.
Over cursors creists,
Ar brok on thair breists.
The night is neir gone.
VII.
So hard ar thair hittis.
Some sueyis some sittis
And some perforce flittis.
On grund quhill they grone.
Sjne grooms that gay is.
On blonks that brayis.
With swords assayis :
The night is neir gone.
CLXX. IIEY TUTTIE TATTIE. 165
Burns says, " I liave met the tradition universally over
Scotland, and particularly about Stirling, in the neighbour-
hood of the scene, that this air was Robert the Bruce's March
at the battle of Bannockburn, which was fought in 1314.
Ritson disputes the traditional account, and maintains that
the Scots had no martial music among them at this time.
He says, it was a custom among the Scots at this period,
for every man in the host to wear a little horn^ with the
blowing of which, as we are told by Froissart, they would
make such a noise as if all the devils in hell had been amongst
them. These horns, indeed, are the only music, (musical
instruments he should have said) ever mentioned by Bar-
bour."— Historical Essay on Scottish Song, p. 92.
From the numerous sculptures on the ancient abbeys and
churches throughout the kingdom, there is reason to believe
that the Scots, long before the battle of Bannockburn, had as
great a variety of musical instruments as any nation whatever.
It may, indeed, be said, that these buildings were erected by
foreign artists, who adorned the architecture with the orna-
ments of other countries, and that the appearance of musical
instruments on our abbeys and churches, is no better proof
of their existence in Scotland, than those of griffins and dra-
gons among the animal kingdom. But the evidence does not
rest entirely upon the evidence of foreign stone masons ; for, if
I remember rightly, the venerable Bede enumerates a variety
of instruments in use amongst us, and Giraldus Sylvestres
Cambrensis, Bishop of St Davids, who was preceptor to
Prince John, son and successor to Henry the Second of
England, who flourished in 11 GO, expressly informs us, that
Scotland, in his time, not only rivalled, but even, in the opin-
ion of many, far surpassed Ireland in the musical art. These
facts prove, beyond dispute, that the musical art had at-
tained to a very high state of perfection among the Scots at
this remote period. That the air of " Hey, now the Day
dauis," is not only as old, but even older than the reign of
Robert the Bruce, seems indeed to be matter of fact, as well
as a traditional story.
166
CLXX. HEY TUTTIE TATTIE.
Both Fabyan and Caxton inform us, that the Scots made
various songs in derision of the Enghsh, on the marriage of
Prince David, son of Robert the Bruce, in 1328, with Joan
of Towers, sister to King Edward. Four lines of one of
these songs are hkewise preserved by both historians, and,
from the pecuhar structure of the verse, there can scarcely
be a doubt that it was adapted to this very air, which must,
of course, have been quite a common tune over all Scotland
long before this period. Caxton says, " At that time the
Englishmen were clothed all in cotes and hodes, peynted with
lettres and with flours, full semely, with long berdes ; and
therefor the Scottes made a bile, that was fastened upon the
chirch dores of Seinte Petre, toward Stangate (in the city
of York,) and thus said the Scripture in despite of English-
men.
LONG BERDES. IVritten A. D. 1328.
^^^^iSi^^^
/ Long berdes hertheles^ Peynted hodes wytles. Gay cotes
^^
^^i"
c
^|?^£=^^^^^^^3
graceles^ Makes Englond thriftyles.
The set of this tune in Johnson's Museum is reversed.
The first strain of the air, as printed in that work, ought to
be the last, or chorus of the song, and vice versa. The first
song in the Museum, beginning " Landlady count the lawin,""
was composed by Burns, except the concluding stanza, which
was taken from the second soiig in the same Avork. The
latter song is apparently^ the production of an anonymous
versifier about the beginning of last century, when Charles
CLXX, HEY TUTTIE TAXTIE. 167
XII. King of Sweden was secretly intriguing to restore the
Stuart family to the British throne. It is here given entire.
We EL may we a' be,
111 may we never see ;
God bless the King,
And this gude company.
Chokus — Fill, Jill a bumper high,
Drain, drain your glasses dry ;
Out upon him,Jie ! Ojie !
That winna do't again.
Here to the King, sirs.
Ye ken wha I mean, sirs.
And to every honest man
That will do't again. — Chorus — Fill, fill, &c.
Here's to the Chieftains,
Of the gallant Scottish clans ;
They hae done it mair than ance.
And will do't again. — Chorus — Fill, fill, &c.
Here's to the King of Swede,
May fresh laurels crown his head ;
I Foul fa' every sneaking blade.
That winna do't again. — Chorus — Fill, fill, &c.
To mak a' things right now.
He that drinks maun fight too.
To shew his heart's upright too.
And that he'll do't again. — Chorus — Fill, fill, &c.
When you hear the pipe sounds
Tuttie, tattie, to the drums.
Up your swords and down your guns.
And at the loons again ! — Chorus — Fill, fill. Sec.
Burns also wrote an admirable patriotic song to the same
air, beginning " Scots wha hae wi' Wallace bled ;" which is
inserted in the sixth volume of the Museum, vide song 577.
Mr William Clarke, organist in Edinburgh, who harmon-
ized the melodies in that volume, adapted it to a very different
air, which, although pretty enough, does not suit the verses
so well as this old national tune.
The following beautiful and pathetic verses, to the air of
" Hei/ noxo the Day dauis^' made their appearance about the
year 1800. The ingenious author still uifknown to the
Editor.
168' CLXX. — HEY TUTTIli TATTIK.
I.
I'm wearing awa, Jean,
Like snaw in a thaw, Jean,
I'm wearing awa
To the land o' the leal.
There's nae sorrow there, Jean,
There's neither cauld nor care, Jean,
The day is ever fair
In the land o' the leal.
II.
You've been leal and true, Jean,
Your task's ended now, Jean,
And I'll welcome you
To the land o' the leal.
Then dry that tearfu' e'e, Jean,
My soul langs to be free, Jean>
And angels wait on me
To the land o' the leal.
III.
Our bonnie bairn's there, Jean,
She was baith gude and fair, Jean,
And we grudg'd her sair.
To the land o* the leal.
But sorrow's sel' wears past, Jean,
And joy's coming fast, Jean,
The joy that's aye to last
In the laud o' the leal.
IV.
A' our friends are gane, Jean,
We've lang been left alane, Jean,
We'll a' meet again
In the land o' the leal.
NoviJ^ fare yc weel, my ain, Jean,
This Avorld's care is vain, Jean,
We'll meet, and ay be fain.
In the land o' the leal.
CLXXI.
THE YOUNG LAIRD AND EDINBURGH KATY.
This song, beginning " Now wat ye wha I met yestreen/"'
was written by Ramsay, prior to the year 1724, to the fine
old Scottish air, called " Wat ye wha I met yestreen," the
first line of a very old but rather licentious ditty. Ramsay
has retained the first stanza of the older song, but it does not
unite very happily with his own verses, which were published
in theTea»Table Miscellany in 1724. The second stanza is
CLXXI. THE YOUNG LAIRD AND EDINBURGH KATi'. l69
the commencement of that part of the song which was writ-
ten by Ramsay.
O Katie J wilt thou gang wi' me,
And leave this dinsom town awhile?
The blossom's sprouting frae the tree.
And a the simmer's gaun to smile.
The mavis, nightingale, and lark ;
The bleating lambs, and whistling hynd ;
In ilka dale, green-shaw, and park.
Will nourish health, and glad your mind.
CLXXII.
KATIE'S ANSWER.
This humorous little song, beginning " My mother's ay
glowring o'er me," was also written by Allan Ramsay, as a
sequel to his " Young Laird and Edinburgh Katy." It was
first printed in the Tea-Table Miscellany in 1724. The
verses are adapted to an ancient tune, in triple time, called
A Health to Betty ^ which originally consisted of one strain,
and is printed in this simple style in Thomson's Orpheus
Caledonius, in 1725, _This tune appears to have been one
of those which were introduced into England about the
union of the crowns ; for it is one of those collected and pub-
lished by old John Playford, in his " Dancing Master,""
printed in 1657. The second strain is a modern addition.
The silly old verses begin,
O LET us swim in blood of grapes,
The richest of the city.
And solemneeze.
Upon our knees,
A health to noble Betty.
The Muses with the milk of queens
Did feed this comely creature.
That she became
A princely dame,
A miracle of nature.
The graces aU, both great and small.
Were not by half so pretty ;
The queen of love.
Thai, reigns above,
Cou'd not compare with Bettj^
&c. &c. &c.
170
CLXXIII.
RAVING WINDS AROUND HER BLOWING.
Burns informs us, that he composed these verses on Miss
Isabella M'Leod of Rasay, alluding to her feelings on the
death of her sister, and the still more melancholy death of her
sister's husband, the late Earl of Loudon. This event hap-
pened in 1786. This elegiac song is adapted to an old and
very beautiful Gaehc melody, called Macgrigair a Ruadh-
ruidh. The following elegant and spirited English version
of the Gaelic song made its appearance upwards of thirty
years ago.
MACGREGOR A RUADHRI.
I.
From the chace in the mountam
As I was retunimg-.
By the side of a fountain
Malvina sat mourning.
To the winds that loud whistl'd
She told her sad stor}^.
And the vallies re-echoed^
Macgregor a ruadhri.
II.
Like a flash of red light'ning
O'er the heath came Mac Ara,
More fleet than the roe-buck
On lofty Beinn Lara :
O, where is Macgregor.^
Say, where does he hover ?
You son of bold Calmak,
Why tarries my lover .''
III.
Then the voice of soft sorrow
From his bosom thus sounded.
Low lies your Macgregor,
Pale, mangled, and wounded !
Overcome with deep slumber.
To the rock I convey'd him.
Where the sons of black malice
To his foes have betray'd him.
IV.
As the blast from the mountain
Soon nips the fresh blossom.
So died the fair bud
Of fond hope in her bosom.
CLXXIII. RAVING WINDS AROUND HER BLOWING. ITl
Macgregor ! Macgregor!
Loud echo resounded ;
And the hills rung in pity,
Macgregor is wounded.
V.
Near the brook in the valley
The green turf did hide her.
And they laid down Macgregor
In death's sleep beside her.
Secure is their dwelling
From foes and fell slander.
Near the loud-roaring waters
Their spirits oft wander.
CLXXIV.
YE GODS ! WAS STREPHON'S PICTURE BLEST.
This song was written by William Hamilton of Bangour,
" Upon hearing his Picture was in Chloe's Breast,"" to the
old tune, called The Fourteen of October, or St Crispin's
Day. Hamilton gave Ramsay a copy of the song, who pub-
lished it in his Tea-Table Miscellany in 1724, and Thomson
published it with the music in his Orpheus Caledonius in
VM-
CLXXV.
HOW LONG AND DREARY IS THE NIGHT.
This song was written by Burns, in 1787, to a Gaelic me-
lody, which he picked up in the north of Scotland, and sent
to Johnson. In October 1794, he afterwards altered and en-
larged the song, to suit the air of Cauld Kail in Aberdeen.
The Gaelic air, however, appears, after all, to agree much
better with the plaintive subject of the song.
CLXXVI.
SINCE ROBB'D OF ALL THAT CHARMED MY VIEWS.
This song was written by Dr Blacklock, in 1787, to the
tune of " Miss Hamilton's Delight," and presented to John-
son for the Museum. The melody appears to have been
composed about the same period. The copy from which
Johnson engraved the tune is in the hand-writing of Mr Al-
lan Masterton, with some slight alterations by Mr Stephen
Clarke.
172
CLXXVII.
THE BONNIE ERLE OF MURRAY.
In December 1591, Francis Stuart, Earl of Both well,
had made an attempt to seize the person of his sovereign,
James VI. ; but his designs being frustrated, he retired to-
wards the north of Scotland. The king unadvisedly gave a
commission to George Gordon, Earl of Huntly, to pursue
Bothwell and his followers with fire and sword. Huntly,
under cover of executing that commission, took occasion to
revenge a private quarrel he had against James Stuart, Earl
of Murray, who was a relation of the Earl of Bothwell. In
the night of Feb. 7, 1592, he beset Murray's house, burnt
it to the ground, and slew Murray himself, a young noble-
man of the most promising virtues, and the very darling of
the people. — See Robertson's History of Scotland.
The following account of the murder is given by a contem-
porary writer, and a person of credit. Sir James Balfour,
Knight, Lyon King of Arms, from his manuscript of " The
Annals of Scotland," deposited in the Advocates Library at
Edinburgh : " The seventh of Febry, this zeire, 1592, the
Earle of Murray was cruelly murthered by the Earle of
Huntley, at his house in Dunibrissel, in FyfFe-shyre, and
with him Dunbar, SherifFe of Murray. It was given out,
and publickly talkt, that the Earl of Huntley was only the
instrument of perpetrating this facte, to satisfie the King's
jealousie of Murray, quhome the Queene more rashely than
wisely, some few days before, had commendit, in the King's
hearing, with too many epithets of a proper and gallant man.
The reasons of these surmises proceedit from a proclamatione
of the King, the 13 of Marche following, inhibiting the zoung
Earle of Murray to persue the Earl of Huntley, for his father's
slaughter, in respect he being wardeit (imprisoned) in the
Castell of Blacknesse for the same murther, was willing to
abide a tryall, averring that he had done nothing but by the
King's majestie's commissione, and was neither airt nor part
in the murther." — Balfour's Annals of' Scotland, MSS.
CLXXVII. — -THE EO>JNIE ERLE OF MURRAY. 173
The present Earl of Murray has now in his possession a
picture of his ancestor, naked and covered with wounds, which
had been carried about, according to the custom of that age,
in order to inflame the populace to revenge his death. If
this picture does not flatter, he well deserved the name of
The Bonny Earl, for he is there represented as a tall,
graceful, and comely personage. It is a tradition in the fa-
mily, that Gordon of Bucky gave the Earl of Murray a
wound in the face ; Murray, half expiring, said, " You hae
spoilt a better face than your awin." Upon this, Bucky,
pointing his dagger at Huntly's breast, swore, " You shall
be as deep as I ;'' and forced him to pierce the defenceless
body of Murray.— -P^rc?/.
Burns observes, that " the last verse of this old fragment
is beautiful and affecting." — Reliques.
Oh ! lang will his lady-
Look o'er the castle Downe,*
Ere she see the Earl of Murray
Come sounding through the town.
CLXXVIII.
YOUNG DAMON.
This song, beginning " Amidst a rosy bank of flowers,"
was written by Robert Fergusson the Scottish poet. In the
Museum it is adapted to the tune of " The Highland La-
mentation," which was composed by James Oswald, and pub-
lished in the third volume of his Caledonian Pocket Com-
panion, p. 24.
CLXXIX.
MUSING ON THE ROARING OCEAN.
This song was composed by Burns in 17S7, in compli-
ment to Mrs M'Lauchlan, whose husband was an ofiicer, and
at that time abroad with his regiment in India. In the Mu-
seum it is adapted to the Gaelic air of " Drumion dubh."'''
In Oswald's Pocket Companion there is a slow air in triple
time, called " Drimen Duff";"" but it is quite a different tune
from that in the Museum.
* A seat belonging to the family of Earl Moray.
174
CLXXX.
BLYTHE WAS SHE.
There are two songs in the Museum adapted to this an-
cient and cheerful Scottish melody. The first of these, "with
the exception of two lines taken from the ^chorus of the old
song, was composed by Burns in 1787, on Miss Euphemia
Murray of Lintrose, who, he says, was commonly, and de-
servedly, called " The Flower of Strathmore."
The second set of verses to the same tune in that work, is
the fine old humorous song of " Andro and his cutty Gun,""
which Ramsay published in the fourth volume of his Tea-
Table Miscellany, with some verbal alterations by himself.
Burns observes, that " this blythsome song, so full of Scot-
tish humour and convivial merriment, is an intimate favorite
at hridal-trystes and house-heatings. It contains a spirited
picture of a country ale-house, touched off with all the light-
some gayety so peculiar to the rural muse of Caledonia. — See
Select Scottish Songs, with Ohse^'vations by Burns, edited by
CromeJc, vol. ii. London, 1810." In a letter to Mr George
Thomson, dated 19th November, 1794, Burns says, " An-
dro and his Cutty Gun is the work of a master. By the
way, are you not quite vexed to think, that those men of
genius, for such they certainly were, who composed our fine
Scottish lyrics, should be unknown ? It has given me many
a heart- ache." — Burns'" Woi'Jcs, edited by Currie, vol. iv. In
Cromek's Select Songs, with Observations by Burns, he again
alludes to this song, and says, " Instead of the line ' Girdle
cakes weel toasted brown,' I have heard it sung, ' Knuckled
cakes weel brandert brown.' These oatmeal cakes are
kneaded out with the knuckles, and toasted over the red em-
bers of wood on a gridiron. They are remarkably fine, and
have a delicate relish when eaten warm with ale. On winter
nights the landlady heats them, and drops them into the
quaigh to warm the ale;
" Weel does the cannie kimmer ken
To gar the swats gae glibber down."
175
CLXXXI.
JOHNY FAA, OR THE GYPSIE LADDIE.
Popular tradition attributes the origin of this ballad to
the following circumstances : A certain Earl of Cassilis had
married the daughter of a nobleman contrary to her own
wishes, she having previously bestowed her affections on
John Faw, or Faa, a young gentleman of a very respectable
family in the neighbourhood of Dunbar. The disappointed
lovei*, not long thereafter, learned that the Earl was on a visit
to a relation in a distant county, and had left his lady at
home. Considering this to be a favourable opportunity for
obtaining the object of his affections, Faa departed for the
residence of that nobleman, accompanied with eight of his re-
tainers, all in the disguise of gypsies, and succeeded, with no
great difficulty, in carrying the lady off. The Earl, on his
return, immediately assembled some of his vassals, and pur-
sued the fugitives to the borders of England, where, being
overtaken, a battle ensued, in which Faa and seven of his ac-
complices were left dead on the spot, and the lady, Avith
Faa's only surviving companion, the supposed author of the
ballad, were taken prisoners. The Earl, having thus re-
covered his fair fugitive, built a tower in the village of May-
bole, upon which are represented the heads of Faa, and the
seven associates who fell with him, sculptured in stone be-
neath one of its turrets, and here he shut up his unfortunate
Countess for the rest of her life. It is said, that the lady,
during her confinement, wrought the history of the transac-
tion in tapestry, which is still preserved in Culzean Castle ;
and that the ford, by which she crossed the river Doon with
Faa and his party, near Cassilis House, is to this day called
the Gypsy Steps. But none of the genealogical accounts of
this noble family, that have yet appeared in print, affords the
smallest clue wdth regard to the truth or falsehood of the tra-
ditional story. Burns says, that Johnnie Faa is the only old
song which he could ever trace as belonging to the extensive
county of Ayr.
176
CLXXXII.
TO DAUNTON ME.
This tune appears in the first volume of Oswald's Caledo-
nian Pocket Companion, printed in 1740. The composer
has stolen some bars of the second part of this tune from the
old air of Andro and his Cutty Gun. The following Jacobite
verses appear in a very rare and curious little book, entitled,
" A Collection of Loyal Songs, Poems, &c." printed in the
year 1750, page 70 and 71.
A SONG.
To daunton me, to daunton me.
Do you ken the things that would daunton me ?
Eighty-eight and eighty-nine.
And a' the dreary years since syne.
With Cess, and Press, and Presbytry,
Good faith, these had liken till hae daunton'd me.
But to wanton me, but to wanton me.
Do you ken the things that would wanton me ?
To see good corn upon the rigs.
And banishment to a' the Whigs,
And right restor'd where right should be ;
O ! these are the things that wad wanton me !
But to wanton me, but to wanton me ;
And ken ye what maist would wanton me ?
To see King James at Edinbrough cross.
With fifty thousand foot and horse.
And the usurper forc'd to flee ;
O this is what maist would wanton me.
The humorous song, which is set to this air in Johnson's
Museum, beginning " The blude red rose at yule may blaw,"
was, with the exception of some lines of the chorus of the old
song, wholly composed by Burns, in 1787 ; the original copy
of it in his own hand-writing, which he sent to Johnson, is
now lying before me.
CLXXXIII.
POLWART ON THE GREEN.
Mr Chalmers claims this song, beginning at " Polwart
on the green," as the production of Allan Ramsay. —
Burns, on the other hand, asserts it to have been written
by a Captain John Drummond M'Gregor, of the family of
Bochaldie. I should rather think that Mr Burns had been
CLXXXIII. POL WART OK THE GEEEIN^ 177
misinformed ; for Mr Chalmers was at very great pains to
procure authentic infonnation relative to those songs in the
'I'' ea-Table Miscellany which were dejacto written by Ramsay,
and the Editor of the present work has a copy of the Orpheus
Caledonius in 1733, Avhere the letter R, in a pi-etty old
hand, is prefixed to this song in the index, to denote that
it was written by Ramsay. Ramsay published it in his
Tea- Table Miscellany in 1724, and the first four lines of the
first verse, and the concluding four lines of the last, are print-
ed in Italics, to show that they belonged to a much older song
to the same air. Thomson adapted Ramsay's version of the
song to the original air in his Orpheus Caledonius, in
1725. Polwarth is the name of a small village in Ber-
wickshire ; in the middle of it are two ancient thorn-trees,
a few yards distant from each other, around which, it was
formerly the custom for every newly-married pair, and the
company invited to the wedding, to dance in a ring. From
this circumstance originated the old song of " Polwarth on
the Green." The air, under the title qfPolwart on the Green^
is inserted in Mrs Crockafs book, written in 1 709, and in
Craig's Old Scottish Airs, in 1730. Gay selected this tune for
one of his songs in the opera of " Polly," beginning " Love
now is nought but art ;" printed, but not acted in 1729.
CLXXXIV.
ABSENCE.
This song, in the manner of Shenstone, beginning " Ye
rivers so limpid and clear," with the tune to which it is set
in the Museum, was written and composed in 1787, by Dr
Blacklock, and by him presented to Johnson for the second
volume of that work. The Doctor's songs in the Museum
are generally distinguished by the letter D. Burns also ob-
serves, that this song and air are both by Dr Blacklock.
CLXXXV.
I HAD A HORSE, AND I HAD NAE MAIR.
This old comic song, Avith its original music, never appear-
ed in a regular collection till Johnson gave it a niche in his
IMuseum, although the verses were published by David Herd
N
178 CLXXXV. 1 HAD A HORSE, AND I HAD NAE MATE.
;n bis Ancient and Modern Scottish Songs, vol. ii. printed
at Edinburgh in 1776.
Burns says, that the story of the ballad was founded on
fact : " A John Hunter, ancestor to a very respectable farm-
ing family, who live in a place, in the parish of Galston, (in
Ayrshire) called Barr-Mill, was the luckless hero, that had a
Jiorse, and had nae mair ; for some little youthful follies he
found it necessary to make a retreat to the West Highlands,
where hejee'dhimselftoa Highland laird; for that is the ex-
pression of all the oral editions of the song I ever heard.
The present Mr Hunter, who told me the anecdote, is the
great-grandchild to our hero." — Reliqiies.
CLXXXVI.
TALK NOT OF LOVE, IT GIVES ME PAIN.
This beautiful song, the production of a lady whose name
I have been unable to discover, is adapted to the old air of
" The Banks of Spey," which both M'Gibbon and Oswald
have inserted in their respective Collections of Scottish Tunes.
The lady's signature in the Museum is the letter M. The
original song of " The Banks of Spey" is supposed to be lost.
CLXXXVII.
O'ER THE WATER TO CHARLIE.
This Jacobite effusion, beginning " Come, boat me o'er,
come, row me o'er, come, boat me o'er to Charlie," made
its first appearance about the year 1746. The tune
is uncommonly sprightly, and Oswald gave it a place
in the fourth volume of his Caledonian Pocket Com-
panion, page 7. Mr Butler, the musician, made an ex-
cellent rondo of it for the piano-forte or harpsichord, which
has long been a favourite. The verses in the Museum were
revised and improved by Burns. The fourth number of Os-
wald's work having been printed as early as 1741, four years
before Prince Charles arrived in Scotland, it is probable that
another and a much older song, which had no relation to the
Jacobite verses whatever, was then in fashion, and that from
the similarity of the name, the same title and chorus had af-
terwards been incorporated in the Jacobite stanzas. The
CLXXXVII. — o'er the water to CHARLIE, 179
editor has also seen this tune called Shamhuy, in some print-
ed copies of it, but from what circumstance he has not yet
been able to discover. A more complete version of this song
may be seen in Hogg's Jacobite Reliques.
CLXXXVIII.
UP AND WARN A', WILLIE.
This lively Scottish tune is of considerable antiquity. It
is printed in the third volume of Oswald's Caledonian Pocket
Companion in 1741, under the title of Up and war them a\
Willie. It was originally adapted to a silly old song, begin-r
ning
Up and war them a', Willie,
Up and war them a ;
Up and sell your sour milk.
And cock aboon them a', Willie,
Up and war them a', Willie,
Up and war them a' ;
Ye'se be King of Musslebrough
And Laird of Fisherraw, WiUie.
&c. &c. &c.
The ballad, to which the air is now adapted in this Mu-
seum, was composed after the battle of SherrifTmuir or Dun-
blane, fought on the 13th of November 1715, between the
Duke of Argyle for the Government, and the Earl of Mar
for the Chevalier. Both parties claimed the victory.
The late Mr Thomas Neil, who was a carpenter, and one
of the precentors in Edinburgh, gave Burns a copy of this
song for Johnson's Museum. Neil, and his friend, the late
Alexander Macdonald, likewise a precentor in the same city,
used to sing these humorous old songs with great effect. The
writer of this article has frequently heard them both with
much pleasure, Cromek says, that the copy of the song in
Johnson's Museum contains great variations from that in-
serted in the " Select Scottish Songs, with Critical Observa-
tions by Burns," edited by Cromek himself. This assertion is
erroneous ; for both copies are now lying before me, and I do
not perceive the smallest variation in one verse, word, or letter.
Burns says, " The expression ' Up and warn a', Willie,'
alludes to the crantara, or warning of a Highland clan to
180 CLXXXVIII. UP A^D WARX A', WILLIE.
arms. Notwithstanding of this, the Lowlanders in the west
and south say, ' Up and waur them a.' " — Reliques. But
the Lowland expression has no connection with the Crannta-
tara^ or " Beam of Gathering" of the Highland chieftains ;
for the Scottish word war^ or waur, signifies to surpass or
excel another in any thing. The ballad in the Museum, in
Avhich part of the old chorus of "Up and war them a', Willie,"
is introduced, is far more modern than that old but silly song,
of which one stanza has been quoted as a sufficient specimen.
CLXXXIX.
A ROSE-BUD BY MY EARLY WALK.
This song was written by Burns in 1 787, in compliment
to Miss Jenny Cruikshank, only child of the late Mr Wil-
liam Cruikshank, one of the masters of the high-school,
Edinburgh. The air w^as composed by Mr David Sillar,
formerly merchant, and afterwards schoolmaster, at Irvine.
" He is the Davie, (says Burns) to whom I address my
printed poetical epistle in the measure of the ' Cherry and
the Slae.' " — Reliques.
cxc.
TO A BLACKBIRD.
This charming song, beginning " Go on, sweet bird, and
end my care," is the production of the same lady who wrote
" Talk not of Love, it gives me pain." — Vide Song 186, in
the Museum, The Address to the Blackbird is adapted to
the air of " The Scots Queen," in Oswald's Pocket Compa-
nion. , Mr Stephen Clarke, however, made an addition of four
bars to the first strain, in order that the melody might suit
the verses better. /^*c'*4?fVM;»-t'.i? >■%.."
CXCI.
HOOLY AND FAIRLY.
The earliest edition of this very humorous song, which
I have met with, is that in Yair's Charmer, vol. ii. printed
at Edinburgh in 1751. It is there called '< The Druken
Wife o' Gallowa," which induced Burns to consider it to be
the production of some poet in that county. About twenty
CXCI. — ^^HOOLY AND FAIRLY, 181
years ago, the late Mrs Brown of Newbattle informed nie,
that she had frequently heard the author (whose name I
have since forgotten,) sing this song, when residing with her
friend Captain Mason, at Eaglesham, in the county of Ren-
frew, She likewise told me, that the gentleman composed it
merely as Sijeu d'esprit ; for his wife was a lady of the most
amiable manners and exemplary behaviour. The following
lines, " But rants up some fool-sang, like Up your heart
Charlie^''' seem to point out that the song was composed after
the defeat of Prince Charles Edward at Culloden, on the
16th April 1746, and had found its way into Yair's Collection
not long after the date of its composition.
The tune of " Hooly and Fairly, or The Druken Wife of
Galloway,**' appears in Oswald's Pocket Companion, vol. 10th ;
but it is only a slight variation of the old melody of " Faith !
I defy thee,'' which may be seen in the 5th volume of the
same work, p. 32.
As the copy of the song inserted in the Museum was alter-
ed considerably, though I do not think improved, by Burns,
some of the best stanzas being altogether omitted, it is here
given entire from Yair's Collection in 1751.
THE DRUKEN WIFE OF GALLOWA.
Down in yon meadow a couple did tarrie.
The wife she drank naething but sack and canary ;
Tlie gudeman complain'd to her friends right early,
O ! gin my wife wad drink hooly and fairly.
CHORUS.
Hooly and fairly, Hooly and fairly,
O ! gin my luije wad drink hooly and fairly.
First she drank cromniy, and syne she drank garle.
And syne she drank my bonnie grey mairie.
That carried me thro' a' the dubs and the lairie ;
O ! gin my wife wad drink hooly and fairly.
Hooly and fairly, S;c.
She drank her hose, she drank her shoon.
And syne she drank her bonny new gown ;
She drank her sark that cover'd her rarely,
O ! gin my wife wad drink hooly and fairly.
Hooly and fairly, §;c.
Wad she drink her ain things I wad na care.
But she drinks my claiths I canna weel spare ;
182 CXCI. HOOLY AND FAIRLY.
When I'm wi' my gossips it angers me saiily ;
0 ! gin my wife wad drink hooly and fairiy.
Hooly and fairly, SjC.
My Sunday's coat she has laid it a wad ;
The best blue bonnet e'er was on my head :
At kirk and maiket I'm cover'd but barely ;
O ! gin my wife wad diink hooly and fairly.
Hooly and fairly, S^c.
My bonny white mittens I wore on my hands,
Wi' her neighbour's wife she has laid them in pawns ;
My bane-headed staiF that I loo'd sae dearly ;
0 ! gin my wife wad drink hooly and fairly.
Hooly and fairly, ^-c.
1 never was given to wrangling or strife.
Nor did I deny her the comforts of life.
For when there's a war — I'm ay for a parley ;
O ! gin my wife wad drink hooly and fairly.
Hooly and fairly, S^c.
When there's ony money she maun keep the purse ;
If I seek but a bawbee, she'll scold and she'll curse :
She lives like a queen — I scrimped and sparely ;
O ! gin my wife wad drink hooly and fairly.
Hooly and fairly, ^c.
A pint wi' her cummers I wad her allow j
But when she sits down she fiUs hersel' fu".
And when she is fu', she is unco camstairie ;
O ! gin my wife wad drink hooly and fairly.
Hooly and fairly, ^c.
When she comes to the street she roars and she rants.
Has no fear o' her neighbours, nor minds the house wants.
But rants up some fool-sang, like Up your heart, Charlie ;
O ! gin my wife wad drink hooly and fairly.
Hooly and fairly, ^c.
When she comes hame she lays on the lads,
The lasses she ca's baith bitches and jades.
And ca's mysel' ay an auld cuckold carlie ;
O ! gin my wife wad drink hooly and fairly.
Hooly and fairly, hooly and fairly,
O ! gin my wife wad di'ink hooly and fairly.
CXCII.
AULD ROB MORRIS.
This ancient comic dialogue, between a mother and her
daughter on the subject of marriage, is marked in Ramsay ""s
Tea-Table Miscellany with the letter Q, to denote that it is
CXCII. — AULD ROB MORRIS. 183
an old song with additions. But the old ballad contains
many curious and naive remarks of the daughter, on the per-
son and manners of Auld Rob, which Ramsay has evident-
ly omitted on account of their coarseness. The ballad there-
fore is much curtailed, in place of being enlarged. Thomson
published it in the same way in his Or} heus Caledonius, in
1725, and it was reprinted by Watts, in the third volume of
his Musical Miscellany, London, 1730. Auld Rob Morris
is one of Craig's select Scottish tunes, printed in his Collec-
tion the same year.
In November 1792, Burns composed the following excel-
lent verses to the old air ; in which the two first lines only
are borrowed from the old ballad :
There's auld Rob Morris, that wons in yon glen^
He's the king o' guid fellows, and wale of auld men ;
He has gow'd in his coffers, he has owsen and kine.
And ae bonnie lassie, his darling and mine.
She's fresh as the morning, the fairest in May ;
She's sweet as the ev'ning amang the new hay ;
As blythe and as artless as the lamb on the lea.
And dear to my heart as the light to the e'e.
But 0 ! she's an heiress — auld Robin's a laird.
And my daddie has nought but a cot-house and yard ;
A wooer like me manna hope to come speed ;
The wounds I must hide that will soon be my dead.
The day comes to me, but delight brings me nane ;
The night comes to me, but my rest it is gane :
I wander my lane like a night-troubl'd ghaist.
And I sigh as my heart it wad burst in my breast.
0 had she but been of a lower degree,
1 then might hae hop'd she wad smil'd upon me ; •
O, how past descriving had then been my bliss.
As now my distraction no words can express.
CXCIII.
AND I'LL KISS THEE YET, YET.
This pretty little song was written by Burns, though he
did not choose to acknowledge it. I have the original, in his
own hand-writing, now lying before me. The verses are
adapted to the fine old tune, called " The Braes of Balqu-
hiddei-," from a parish of that name, through which passes
1
184 cxciii.— AND I'll kiss thee yet, yet.
the military road from Stirling to Fort William. It appears
that this song was a great favourite of Mr Stephen Clarke ;
for at the bottom of the MS. music-sheet, where this tune is
inserted with its bass, there is a note in his hand- writing, in
in which he says, " I am charmed with this song almost as
much as the lover is with Bonny Peggy Alison. — S. C."
cxciv.
O, RATTLIN', ROARIN' WILLIE.
The two first verses are a fragment of the old song, which
does not appear to have been received into any regular col-
lection before Johnson's Museum, although the tune appears
in Oswald's Pocket Companion, vol vii. p. 9 The last stan-
za of the song was added by Burns, in compliment, as he says,
*' to one of the worthiest fellows in the world, WiUiam Dun-
bar, Esq., writer to the signet, Edinburgh, and colonel of
the Crochallan corps, a club of wits, who took that title at
the time of raising the fencible regiments." — Reliques.
cxcv.
WHERE BRAVING ANGRY WINTER'S STORMS.
BuENs says, that he composed this song " on one of the
most accomplished of women. Miss Peggy Chalmers that
was, now Mrs Lewis Hay of Forbes and Co's bank, Edin-
burgh.'"— Reliques. It is set to the tune of Neil Gow"'s Lamen-
tation for Abercairney.
The air which old Neil Gow composed on the death of Mr
Moray of Abercairney, is an excellent slow strathspey, and
is well adapted to the violin, piano forte, and other musical in-
struments ; but the melody is not at all suitable for the
voice, the leaps of eleven notes from E to A, in alt, are
entirely forbidden in vocal composition ; such sudden skips
from the natural to the Julsetto, being utterly destructive of
every good effect.
cxcvi.
TIBBIE I HAE SEEN THE DAY.
This excellent comic song beginning, " 0 Tibbie I hae
seen the day," was composed by Burns in 1776*, when he
CXCVI.— TIBBIE, I HAE SEEN THE DAY. 185
was only about seventeen years old. It is set to the charm-
inar old tune of Invercauld's Reel.
o
cxcvir.
NANCY'S GHOST.
This song, beginning Where waving pines salute the skies,
was composed by Dr Blacklock in 1787, expressly for the
Museum. It is adapted to the old air of " Bonnie Kate of
Edinburgh," from Oswald's Caledonian Pocket Companion,
vol. V. p. 5.
CXCVIII.
CLARINDA.
This song, beginning Clarinda, mistress of my soicl, was
written by Burns in 1787, in compliment to the lady, who
obtained such celebrity after the decease of our bard, in con-
sequence of the publication of " Burns' Letters to Clarinda,"
now Mrs Meiklejohn of Edinburgh. The tune was har-
monized by Mr Stephen Clarke, organist, Edinburgh ; but
his son thinks, it was composed by Mr Schetky.
cxcix.
CROMLET'S LILT.
The proper name of this ancient Scottish Song is " Crom-
leck's Lilt." Towards the close of the sixteenth century,
young Chisholm of Cromleck became much attached to Miss
Helen Murray, commonly called, " Fair Helen of Ardoch."
Helen's maternal grandfather, Murray of Strewan, was one
of the seventeen sons of Tullibardine. Her own father
Stirling of Ardoch, had, by his wife, Margaret Murray, one
of Strewan's daughters, a family of no less than thirty-one
children, of whom fair Helen was one ; and the late Mr Stir-
ling, her youngest brother, commonly styled the Tutor of
Ardoch, who died in 1715, at the extraordinary age of 111
years, was another. From these circumstances, it is obvious,
that Helen could have but small pecuniary expectations from
her family, and that her lover's affection was pure and disin-
terested. Being under the necessity of goino- to France
young Cromleck intrusted the management of his correspon-
o
186 cxcix. — ^ckomlet''s lilt.
dence with his mistress, during his absence abroad, to a
friend in the neighbourhood of Dunblane. This man, how-
ever, became deeply enamoured with Helen, and, in order to
secure her to himself, he not only secreted every letter in-
trusted to his care, but likewise artfully prepossessed the
young lady with stories unfavourable to Cromleck ; and, by
similar misrepresentations to him respecting the virtue and
affections of the lady, all connection between the lovers was
broken off. Helen remained- inconsolable, and Cromleck,
while abroad, and his mind influenced by her supposed infi-
delity, composed that affecting ballad called Cromleck's Lilt,
which, considering the period of its production, affords at
once a proof of the strength and elegance of his poetical ge-
nius, and the ardency and steadiness of his love.
The perfidious confidant, after thinking that time had suf-
ficiently softened Helen's sorrow for the loss of her former
lover, paid his addresses to the young lady himself. Helen
obstinately refused to listen to them, but being overcome by
the incessant importunities of her relatives, she at last yielded
a slow and reluctant assent. The marriage ceremony was
performed, but here her compliance ended. On attempting
to place her on the nuptial couch, she sprang from it with
horror, exclaiming, that she heard the voice of young Crom-
leck, crying, " O ! Helen, Helen, mind me !" Cromleck ar-
riving soon after, discovered the deep treachery and villany
of his pretended friend ; the marriage was annulled, and fair
Helen became the happy wife of her beloved Cromleck. Such
is the traditional story.
It is said, that James the 6th, when passing from Perth to
Stirling in 1617, paid a visit to Helen's mother, the Lady
Ardoch, who was then a widow. Her children were all
dressed and drawn up on the lawn to receive his Majesty.
On the King''s seeing this uncommon spectacle, he said,
" Madam, how many are there of them ?" " Sire,"" she jo-
cosely answered, " I only want your help to make out the
two chalders !"'"' A chalder contains sixteen bolls. The king
' CXCIX. CROMLET'S LILT. 187
laughed heartily at the joke, and afterwards ate a coUop sit-
ting on a stone in the close.
As the Tutor of Ardoch, who was the youngest son of
this extraordinary family, died in 1715, at the advanced age
of 111, he would be about thirteen years old when his Ma-
jesty visited his mother. The Tutor, when more than a
hundred, could drink a bottle of ale at a draught. His con-
versation was extremely amusing, from his great knowledge of
the history of private life.
The ballad of Cromleck's Lilt, beginning " Since all thy
vows, fair maid," is inserted in the Orpheus Caledonius, with
the music, in 1 725. The tune was selected by the Reverend
Wilham Geddes, in 1673, for one of the hymns in his Saints'"
Recreation, which was afterwards printed at Edinburgh in
1683. This hymn is entitled, " The Pathway to Paradise,
or the Pourtraiture of Piety." The words and tune of Crom-
leck's Lilt, in the Museum, were copied from the Orpheus
Caledonius. In the last stanza but one are the following
o
lines :
The courteous Red-breast, he
With leaves will cover me.
And sing my elegy
With doleful voice.
Those lines evidently refer to the fine old ballad, called
the " Babes in the Wood," which must have been written as
early as the time of James VI. The corresponding lines in
the old ballad run :
No burial those pretty babes
Of any man receives.
But llobin-red-breast jjainfuUy
Did cover them with leaves.
CO.
THE WINTER IT IS PAST.
The Editor has not yet been so fortunate as to discover
who was the author of this plaintive pastoral song ; but
there are several variations between the copy inserted in the
Museum, and the following stall edition of the ballad.
188 CO. — THE WINTER IT IS PAST.
The winter it is past.
And the simmer's come at last.
The little birds now sing on ev'ry tree j
The hearts of these are glad,
But mine is very sad.
For ray lover is parted from me.
The rose upon the brier.
By the waters running clear.
May have charms for the linnet and the bee ;
Their little loves are blest.
And their little hearts at rest,
But my lover is parted from me.
My love is like the sun.
That unwearied doth run.
Through the firmament, ay constant and true ;
But his is like the moon.
That wanders up and down.
And is ev'ry month changing anew.
All you that are in love.
And cannot it remove.
How I pity the pains that you endure ;
For experience makes me know.
That your hearts are full of woe,
A woe that no mortal can cure.
The plaintive little air to which this song is adapted, is in-
serted under the same title in Oswald's Caledonian Pocket
Companion, book 7th.
END OF PART SECOND.
[ * 189 ]
ADDITIONAL ILLUSTRATIONS.
PART IL
cii.
TRANENT MUIR.
This song must have been very popular. I have it in its
original form, as a broadside, printed at the time, with this
title, " The Battle of Preston, to the Tune of Killiecranky."
It next appeared in " The Charmer," vol. ii. p. 349, Edinb.
1751. Neither of these contains the verse, beginning
"And Caddell drest;" but in the latter copy there are some
explanatory foot-notes, in which Menteath is described as
Minister of Longformacus, Simpson, as Minister of Falla,
George Campbell, as a wright in Edinburgh, and Mr Myrie,
as a student of physic from Jamaica.
The author of this remarkably clever satirical song is
called " Mr Skirvin" by Ritson, " Mr Skirven" by Sten-
house, and '•^Alexander Skirving" by Allan Cunningham,
who says, that " besides his gift at song-making, which was
considerable, he was one of the wittiest and most whimsical
of mankind." His name was Adam Skirving, and I am
happy in being able to give some particulars of his history
from the best authority. The farm of Garleton, where he
resided for the greater part of his life, is about two miles
from Haddington, on the road to Gosford. He was a remark-
ably handsome man, free and outspoken in his manners, and
being very saving in money-matters, he left a considerable
fortune to his surviving children. He was twice married.
His eldest son by his first marriage, Archibald Skirving,
the portrait painter, who resembled him in person and
*p
190* TRANENT MUIR.
disposition, was well known in Edinburgh. The second son,
Captain Robert Skirving, also inherits his father's poetical
genius. After many years' service in the East Indies, he
returned home in the year 1806, and still survives, at Croys,
near Castle Douglas.
The following is the copy of a letter from Captain Skir-
ving, addressed to George Cleghorn of Weens, Esq., in
reply to a request for some information respecting his father,
Adam Skirving : —
" Croys, by Castle-Douglas, 29<A Oct. 1838.
" My dear Sir, — I have been favoured with the memo-
randum which you left with Major Yule on the 24th inst.,
and am quite willing to aid your views, but much fear it
will be far short of what you have been led to expect.
"My Father was born in 1719, and died in 1803; was
educated at Preston-kirk in East Lothian, where his grand-
father, after leaving Stenton, farmed Preston-mains. The
printed epitaph is as characteristic as I could make it, and
was transferred to a marble slab in the churchyard of Athel-
staneford, where his remains are deposited. The one in
manuscript is by my Brother, and was found amongst his
papers after his death, and is perhaps the more appropriate
of the two.
" Our Father was, by his own account, a bad scholar, but
became an indefatigable reader, and knew more of history,
geography, and astronomy, tlian was usual with those of
his line. His first farm was Prora, whence he moved to
Garleton, where he spent the rest of his days. He for
many years attended Leith races on horseback, during the
whole week, yet always slept at home ; was frequently out
with the Amisfield hounds ; very fond of curling ; and so
much addicted to golfing, that he generally carried a club
in his hand; always attended the Goolan club on Satur-
days, and often the Boglehill club on the Wednesdays. I
am not aware that he left any metrical manuscripts. In-
TRANENT MUIR. *19l
deed, I have heard him say, he would rather ride twenty
miles than put pen to paper. When he did write he was
extremely laconic, as witness his settlement with a person
with whom he had long trafficked, and who insisted upon
a systematic acquittance — " This day Andrew Hunter and
I counted and clear'd ; deil haed he owes me, and I owe
him as little." The elegy on the last Congalton of Con-
galton, who was a great favourite in that part of the coun-
try, was much admired. ' The battle of Preston,' which has,
I presume, given rise to this investigation, contains a line
running thus, ' The Teague was naught,' which may be
construed into a national reflection, and I could wish that
the word The were exchanged for This. By the bye, when
the rifling took place on Seton sands, your grandfather was
of the party ; and when hiring shearers a year or two after
in Linton market, he recognised the fellow who took his
watch, and demanded restitution. " Oh ! she dee'd that
same night, and I gied her till a neighbour, and he's gane
far o'er the hills, an', be Got, ye'il ne'er see her again." I
might give instances of his sprightly repartees, &c. but am
fearful of becoming tedious. My partial friend. Major Yule,
on the presumption that all Adam's sons are addicted to
rhyming, advises that I should send some specimens, and
I have actually collected a good many — not many good —
scraps, but only one in the Scottish dialect, and that you
shall have ; and were I not so lame a scribe, I might perhaps
copy out a few more. To be sure I have, from folly, or
from vanity, or in self-defence, been at the expense of having
some copies printed, and to these also, as they need not be
transcribed, you are heartily welcome. In the first place,
one of my brother's tunes, which I call the Lament, and to
which I contributed the words ; secondly, two songs set
by Mrs Skirving to a tune, which, upwards of threescore
years ago, I learnt from a ploughman, who said he had
picked it up from a travelling piper ; thirdly, a new version
of Auld Langsyne ; fourthly, a little song in manuscript to
192* - TRANENT MUIR.
the tune of, 'I'll never gae doun to the broom ony mair;'
fifthly, a ditto to a tune which runs to some plamtive words,
of which I do not remember a syllable ; and, lastly, dijeu
d esprit by my Brother. Though they should all be excluded
from the projected publication, I should like to know the
sentence pronounced by the Committee of criticism. Per-
haps some of your daughters will so far honour me as to
try them upon the piano — the Lament goes best upon the
organ.
" I have a picture of my Father in miniature by my
Brother, and which, were I in town, I might probably put
into the hands of some engraver or lithographer. My bro-
ther, David, has, or had another, a very good likeness, set
in a ring. As I have time and space I shall mention a
peculiar faculty possessed by my Father, viz. that of making
severe retorts without giving offence. A person boasting
of the wonderful qualifications of his horse, said, " It has as
good a memory as Adam Skirving." — " If, with my memory,
it has your judgment, it must be a complete beast."
" Yours, my dear sir, most respectfully,
"R. Skirving."
P. S " Lord Elcho, at the time of his marriage, re-
sided at Beanston. My father went to make his bow — was
introduced by his Lordship — deliberately took up the skirt
of his coat — looked her Ladyship in the face, and, affecting
to wipe his moo, fairly saluted her. None but himself could
have done this without giving offence."
As there is no " Committee of Criticism" to sit in judg-
ment upon Captain Skirving's communications, I shall here
add such pieces as seem to me most suitable for this work.
I. — ELEGY ON THE LAST CONGALTON OF CONGALTON.
BY THE LATE MR ADAM SKIRVING, GARLETON.
Ye Lothian lairds, in sable weeds.
With pomp the funeral grace ;
Ye poor and bare, -who nought can spare.
Put on a mournful face.
ON THE LAIRD OF CONGALTON. * 193
For Congalton lies cold in clay,
So much admired by all ;
Whose pliant parts so cheered all hearts.
He pleased both great and small. -
A neighbour and companion dear.
Could both be fou and wise ;
And who, woes me, from fault is free ? —
It was his only vice.
Of real humour, unconflned.
And wit, that flowed with ease.
Of modest mind, and temper kind.
Yet smart at repartees.
Though keen his satire, sharp his wit.
His words gave no oflPence ;
What's well designed, well ta'en we find
By every man of sense.
A husband fond, a father kind,
A friend quite free from gall ;
A friend in need's a friend indeed,
And he was so to all.
A father to the fatherless,
A master mild and just ;
From what he said he never strayed,
His promise all might trust.
Such was his character in life ;
When fate decreed his end
He died in peace, and ne'er to cease.
May bliss his shade attend.
II. — A MUSICAL JEU D'ESPRIT.
BY ARCHIBALD SKIRVING.
King, Lords and Commons, and we Rabble,
Are just the four strings of a fiddle.
On which the Premier of the day
Is, nolens volens, forc'd to play.
But as soon may he scale the moon.
As keep the said four strings in tune.
194
SKIRVING S LAMENT.
Like Walpole, Ministers have chosen
To use sweet oil in place of rosin ;
Which no doubt sav'd a world of toil.
But soon exhausted all the oil.
And now, the once sweet silver sound
Is totally in discord drown'd.
How rash a youth was Pitt, to meddle
With such a craz'd half-rotten fiddle !
Not Gow himself, with nicest twitch.
Could screw the pins to concert pitch.
The tones, harsh, grating, shrill and loud,
Ai'e all drawn from a tuneless Croiod.*
Archibald Skirving the painter, the writer of the above
lines, was a man of undoubted, but somewhat eccentric,
genius; of whom, were this a suitable place, many character-
istic anecdotes might be recorded. The following air, com-
posed by him (and here accompanied with the first two
stanzas of a song by Captain Skirving) will evince that he
possessed no inconsiderable musical skill.
skirving's lament.
The Tune by Archibald, and the words by Robert Skirving.
— ,-- i !
^^^?5
;e^3
ZCAIZs..
W-
^=r
:j=^-
Thy rest-less Fa-ther roams once more, A
:P2:
r
&^^=p^=P
¥=?-■
Sol - dier to Ben - gal ; From me he flies, for-
:ct:
t:
-^-
* 'Crowd,' signifies a fiddle, as well as a promiscuous multitude.
SKIRVING S LAMENT.
195
3
'r-F— 1»— «~FsK-^l^r^
-j ■'■J-
sakes his child, De - serts his friends and all. No
3iEEE
.m.
■^z
;fc:f=:
^-
-^
cause as - sign'd for change of mind, He
Bi3E^
}
i3-l.
ends at -tain. And not re - pent too late.
-_p
:?z:
r-
:pz!=i
Some froward fancy drives him hence.
The cause he'll not disclose ;
He sees my tears, he hears my sighs,
He laughs at all my woes :
What can't be cured must be endured,
As time and chance befall ;
I'll leave my child, I'll risk my life,
To join him in Bengal.
196* ADAM SKIRVING.
In the Farmer's Magazine, for August 1810, the follow-
ing Epitaph on Mr Skirving was communicated by " A
visiting Member of the old Gulan Club," who says, " I
lately observed a stone stuck up to his memory in the
Churchyard of Athelstaneford. The epitaph appeared to
me characteristic ; I therefore transcribed it, and herewith
send you a copy."
ADAM SKIRVING, FARMER, GARLETON,
DIED I 9th APRIL, 1803.
In figure, in feature, and powers of mind.
As perfect as most of his peers ;
As gratefully held, as serenely resigned.
Life's lease, which was eighty-four years.
With low and with lofty — frank, candid, and fair ;
Soon bargain' d, and counted, and clear'd 5 —
On folly, and vice, and imposture, severe —
Yet neither was hated nor fear'd.
With health, happy wit and good-humour endow'd.
Content in his countenance glow'd ;
Not wishing to sow where another had plough'd,
But trusting to reap as he sow'd.
The following is a copy of the not less characteristic
Inscriptions which Captain Skirving placed in the Church-
yard of Athelstaneford, at the time probably when the above
was removed. That upon his Brother may seem obscure to
those who were not personally acquainted with him in his
later years, when his peculiarities and his aversion to court
favour, by any attempt to humour the prejudices and con-
ceits of individuals, very materially affected his interests in
regard to professional employment. He died at Inveresk
on the 19th of May, 1819.
[ *197 ] ,
ARCHIBALD SKIRVING,
FARMER, MUIRTON,
ONE OF THE MOST ATHLETIC AND BEST TEMPERED
OF MEN,
LIVED ONLY 56 YEARS.
His Oldest Son, ADAM, Farmer, Garleton,
BORN, 1719 DIED, 1803.
In feature, in figure, agility, mind.
And happy wit rarely surpass'd,
With lofty or low could be plain or refined.
Content beaming bright to the last.
His first Son, and finest Semblance,
ARCHIBALD,
BORN, OCTOBER, 1749,
BY PECULIAR EXCELLENCE ATTAINED EMINENCE
AS A PORTRAIT PAINTER;
AND MIGHT HAVE LIVED IN AFFLUENCE,
HAD HE NOT AIMED AT PRIVATE INDEPENDENCE
BY SIMPLIFYING THE COMFORTS OF COMMON LIFE.
To beauty, virtue, talent, he would bow.
But claims from birth or rank would not allow ;
Kept friends and foes at nearly equal distance ;
Knew how to give, but not to take assistance.
At threescore-ten, when scarce begun to fail.
He dropt at once, without apparent ail.
The following is the character of old Mr Skirving, by
his son Archibald, to which Captain Skirving alludes in
the foregoing- letter : —
*' He possessed a most comprehensive mind, retentive
198 * ADAM SKIRVING.
memory, ready wit, and cheerful heart. Was alive to
praise ; of middle stature, and unmatched agility, with a
countenance of still superior character ; and for the sim-
plicity of his dealings, made frugality a compensation."
In a subsequent communication with which I have been
favoured, Captain Skirving says, " Yes, the Epitaph, in
the Farmer's Magazine, was removed when the other was
erected. Don't think I ever gave an opinion as to the
author of ' Hey, Johnnie Cope.'"
cii. (2.)
PROELIUM GILLICRANKIUM.
The original ballad on the Battle of Killiecrankie, fought
on the 17th of July, 1689, beginning ' Clavers and his
Highlandmen,^ was printed near the time as a broadside, or
single leaf; but the writer of it is unknown. The Latin
version, inserted in the Musical Museum, is attributed to
Herbert Kennedy, of Halleatts, Dumfriesshire, who was
appointed one of the Regents, or Professors, in the Uni-
versity of Edinburgh, in the year 1684.
CIV.
STREPHON AND LYDIA.
The author of this song, William Wallace, was the
eldest son of Thomas Wallace of Cairnhill, Esq., and was
born probably about the year 1712. He was admitted a
member of the Faculty of Advocates 16 th of February,
1734. His father died in April, 1748. In August, 1750,
William Wallace of Cairnhill, advocate, married Jean,
daughter of Archibald Campbell of Succoth, writer to the
Signet, (Scots Magazine, 1750, p, 398.) He died at Glas-
gow, 16th of November, 1763. He is to be distinguished
from William Wallace jun., who was admitted advocate
15th of February, 1752, and is described in the minutes of
the Faculty of Advocates as the son of Robert Wallace,
writer to the Signet, — no doubt the same as Robert Wallace
STREPHON AND LYDIA. * 199
of Holmston, Ayrshire, W. S., who died 24th of March
1752, aged 82. In December 1752, this William Wallace
was appointed Professor of Universal History in the Uni-
versity of Edinburgh ; and, at the time of his death, which
took place at Edinburgh, 28th of November, 1786, he was
Professor of Scots Law, one of the Assessors of the City,
and Sheriff-depute of Ayrshire. George Wallace, advocate,
about the same time, is known as the author of " Prin-
ciples of the Law of Scotland," " Thoughts on Feudal
Tenures," and " Prospects from Hills in Fife."
CXII.
HE WHO PRESUMED TO GUIDE THE SUN.
Alexander Robertson of Struan, Esq., the Chief of
his Clan, died at his house of Carey, in Rannoch, Perth-
shire, 18th of April, 1749, in the 81st year of his age. A
posthumous collection of his poems was surreptitiously
printed at " Edinburgh for Charles Alexander," 8vo, with-
out date, but published in October, 1751, when it was
announced in the Scots Magazine as being ready for subscri-
bers, price 5s. Another edition, omitting several objection-
able pieces attributed to him, was reprinted at Edinburgh
(in 1785,) 12mo. This edition contains the " History and
Martial Achievements of the Robertsons of Strowan."
cxx.
FIFE, AND a' the LANDS ABOUT IT.
Burns, like what he has remarked of himself (see No.
cm. p. 107), after stating that this song was Dr Blacklock's,
adds, " He, as well as I, often gave Johnson verses, trifling
enough perhaps, but they served as a vehicle for the mu-
sic."
CXXI.
were NA my heart light I WAD DIE.
This song appears to have been first published by Thom-
son, in his folio Orpheus Caledonius, about 1725. It is
200 * WERE NA MY HEART LIGHT I WAD DIE.
included in" the fourth volume of the Tea- Table Miscel-
lany, which was printed several years later. Lady Gri-
SELL Home, by whom it was written, was the daughter of
Sir Patrick Home, created Earl of Marchmont. She was
born at Redbraes Castle, 25th of December, 1665; was
married to George Baillie of Jarviswood, Esq., 17th of
September, 1692; and died at London, 6th of December,
1746, in the 81st year of her age. Their eldest daughter.
Lady Murray of Stanhope, wrote Memoirs of the lives and
characters of her parents — a piece of biography of the most
affectionate and interesting kind, which cannot be too much
praised. It was first made known by extracts, in the Ap-
pendix to Rose's Observations on Fox's Historical Work,
in 1809, and has since been printed entire by Thomas
Thomson, Esq., advocate, Edinburgh, 1822, 8vo.
Mr Pringle, editor of Constable's Edinburgh Magazine,
discovered a fragment of a song, supposed to be the com-
position of Lady Grisell Baillie, which he thus mentions in
that Magazine for May, 1818 : — " An interesting notice in
her daughter's Narrative, along with other circumstances,
induces us to entertain a hope, that further specimens of
her poetical talents may yet be recovered. Lady Murray
says, ' I have now a book of songs of her writing when
there (in Holland), many of them interrupted ; half writ ;
some broken off in the middle of a sentence,' &c. Such a
collection, whether altogether of her own composition or
not, would probably afford some valuable additions to the
lyric treasures by which Scotland has long been so pecu-
liarly distinguished. — We are enabled to subjoin one unpub-
lished fragment of this description, supposed to be Lady
Grisell's composition from circumstantial evidence. It
was lately discovered, in her handwriting, among a parcel
of old letters, and enclosed in one of them, written about
the time of her father's forfeiture, to her brother Patrick,
then serving with Mr Baillie in the Prince of Orange's
guards."— (P. 436.)
WERE NA MY HEART LIGHT I WAD DIE. * 201
O the ewe-bughting's bonnie, baith e'ening and morn.
When our blythe shepherds play on their bog-reed and horn •
While we're milking they're lilting baith pleasant and clear
But my heart's like to break when I think on my dear !
O the shepherds take pleasure to blow on the horn ;
To raise up their flocks o' sheep soon i' the morn ;
On the bonnie green banks they feed pleasant and free —
But, alas ! my Dear Heart ! all my sighing' s for thee !
These words have lately been adapted to an air composed
by the late Charles Sharpe of Hoddam, Esq., when he was
a youth of seven years old ; and a few copies have been
recently engraved at his son's expense, for private distri-
bution among his friends.
" It appears from the scandalous ballad concerning Lady
Murray, attributed to Lady Mary Wortley Montague, that
Lady Grisell Baillie used the broad dialect of her country
in speech as well as in song-writing." (C. K. S.)
CXXIII.
THE MILLER.
Sir John Clerk of Pennycuik, Baronet, was one of
the Barons of Exchequer in Scotland for nearly half a
century. He was appointed at the constitution of that
Court, 18th of May, 1708. Along with Baron Scrope, in
1726 he drew up an " Historical View of the Forms and
Powers of the Court of Exchequer in Scotland," which
was printed at the expense of the Barons of Exchequer for
private circulation, Edinburgh, 1820, large 4to. The song
in the Museum appeared in "The Charmer," 1751, vol.
ii. p. 291.
The only other verses attributed to Sir John Clerk are
the following lines sent to a lady of great personal beauty,
whom he courted unsuccessfully, as she became the third
wife of Alexander, ninth earl of Eglintoune.
• " Verses sent anonymously, with a flute, to Miss Susanna
Kennedy, afterwards Countess of Eglintoune, by Sir John
202 * THE MILLER.
Clerk of Pennycook, Baronet. On attempting- to blow the
flute, it would not sound j and, on unscrewing it, she found
these lines : —
" Harmonious pipe, how I envye thy bless.
When press'd to Sylphia's lips with gentle kiss !
And when her tender fingers round thee move
In soft embrace, I listen, and approve
Those melting notes, which soothe my soul to love.
Embalm'd with odours from her breath that flow.
You yield your music when she's pleased to blow ;
And thus at once the charming lovely fair
Delights with sounds, with sweets perfumes the air.
Go, happy pipe, and ever mindful be
To court the charming Sylphia for me ;
Tell all I feel — you cannot tell too much —
Repeat my love at each soft melting touch ;
Since I to her my liberty resign.
Take thou the care to tune her heart to mine."
The lady to whom these verses were sent was Susanna,
daughter of Sir j^rchibald Kennedy of Culzean, Bart., to
whom Allan Ramsay, in 1726, dedicated his " Gentle Shep-
herd." The original manuscript was sent to her ladyship
a few years later by the author, with an inscription at the
end, stating, with some degree of vanity, that it would in
after-times be considered no ordinary curiosity. It is pre-
served in the library of Sir James Boswell of Auchinleck.
Lady Eglintone, says Mr Sharpe, " was much celebrated,
not only for her extraordinary beauty, but for a manner
quite peculiar to herself in Scotland, and which was re-
membered as the ' Eglintoune manner' long after her
death." Mr John Drummond of Blair- Drummond, writes
thus from London to his brother, William Drummond of
Grange, in the year 1730, — " Lady Eglintoune has set out
for Scotland, much satisfied with the honour and civilities
shown her ladyship by the Queen and all the Royal Family ;
she has done her country more honour than any lady I
have seen here, both by a genteel and a prudent behaviour."
— (C. K. S.)
BESSY BELL AND MARY GRAY. * 203
Sir John Clerk was a man of great learning and accom-
plishments. Besides two papers in the " Philosophical
Transactions," he was the author of a tract entitled " Dis-
sertatio de quibusdam Monumentis Romanis," &c., written
in 1730 and printed in 1750, 4to. For upwards of twenty-
years he also carried on a learned correspondence with
Roger Gale, the English antiquary, which forms a portion
of the "Reliquiae Galeanse ;" in Nichols' " Bibliotheca
Topographica Britannica," 1782. Sir John Clerk died at
his seat of Pennycuik, 4th of October, 1755. One of his
younger sons was John Clerk of Eldin, Esq., distinguished
for his work on " Naval Tactics," and the father of the late
Lord Eldin, an eminent Scottish lawyer.
CXXVIII.
BESSY BELL AND MARY GRAY.
*' Bessy Bell and Mary Gray died of the plague, com-
municated by their lover, in the year 1645; — see Pennant
and the Statistical Account of Scotland. Besides the cho-
rus, ' Oh, Bessy Bell,' &c., there is another stanza of the
old song remembered in Perthshire —
. " They thought to lie in Meffen kirkyard
Among their royal kin ;
But they maun lie on Stronach-haugh,
To biek foment the sin."
(C. K. S.)
cxxx.
lady ANNE BOTHWELL's LAMENT.
" Family traditions assert, that an amour between Anne
Bothwell, sister of Lord Holyroodhouse, and a son of the
Earl of Mar, Colonel Alexander Erskine, blown up in
Dunglass Castle, 30th August, 1640, was the occasion of
this ballad. The lady's " Lament" has exercised the subtle
wits of antiquaries in the ascertainment of her pedigree.
She has been made out to be the divorced Countess of
204 * LADY ANNE BOTHWELL 6 LAMENT.
Bothwell, and also, I believe, a Miss Boswell of Auchin-
leck; but a passage in Father Hay's MS. History of the
Holy roodho use Family seems to confirm the tradition be*
yond a possibility of doubt. Recording- the children of
Bishop Bothwell, who died 1593, he tells us, ' He had
also a daughter, named Anna, who fell with child to a sone
of the Earle of Marre.' Colonel Alexander's portrait,
which belonged to his mother (now in the possession of
James Erskine, Esq. of Cambo, Lady Mar's descendant),
is extremely handsome, with much vivacity of counte-
nance, dark blue eyes, a peaked beard, and moustaches.
Ah me ! I fell, — and yet do question make.
What I should do again for such a sake.
Shakspeare.
" (From Notes to the Household Book of the Countess
of Mar.)
" The lovers were cousins ; seeing that the Bishop of
Orkney, Anna Bothwell's father, married a daughter of
John Murray of Touchadam, by Janet, a daughter of the
Lord Erskine."
" In Broom's comedy of the Northern Lass, printed
1632, Constance' sings a fragment of this song, which I
have not found verbatim in any of the entire copies : —
Peace, wayward barne ! — Oh, cease thy moan !
Thy farre more wayward daddy's gone ;
And never will recalled be
By cryes of either thee or me :
For should wee cry
Until we dye.
Wee could not scant his cruelty.
Ballow, hallow, &c.
He needs might in himselfe foresee.
What thou successively might'st be ;
And could hee then (though me foregoe)
His infant leave, ere hee did know
LADY ANNE BOTHWELl's LAMENT. * 205
How like the dad
Would be the lad.
In time, to make fond maydens glad.
Ballow, ballow," &c.
" In the same play the songs — ' A bonny bonny bird I
had,' and ' I wo' not goe to't, nor I mun not goe to't,' are
evidently Scottish." (C. K. S.)
CXXXVII.
WILLIE WAS A WANTON. WAG.
This very original humorous Song appears to have been
first printed in Ramsay's Tea- Table Miscellany, Vol. II.,
about the year 1725, and reprinted in Thomson's Orpheus,
Vol. II., in 1733. What Mr S., therefore, means by
Ramsay's judicious alterations, I do not know, as both
copies are literally the same. In Ramsay,'s, it is signed
W. W. ; and it has been attributed, I should think upon
no good authority, to a William Walkinshaw of that
Ilk. Except a younger son, of whom nothing is known,
no person of that name occurs in the genealogical ac-
counts of the family. Mr George Thomson, in print-
ing this Song in his collection, says, *' It is mentioned in
the memoranda of Burns, that this Song was written upon
Walkinshaw of Walkinshaw, near Paisley. 'Tis said,
however, by others, that the hero was Hamilton of Gil-
bertfield." This last is certainly the most probable conjec-
ture ; if William Hamilton of Gilbertfield himself was not
actually the writer of the Song.
William Hamilton of Gilbertfield, Lanarkshire, was
the second son of Captain William Hamilton of Ladyland,
and was born probably before the year 1680. Having early
embraced a military life, he was " distinguished during his
latter days by the title of The Lieutenant." His chief dis-
tinction, however, was his genius for humorous Scottish
verse, as exemplified in his contributions to the first
poetical collection published in this country, entitled, '' A
206 * WILLIE WAS A WANTON WAG.
Choice Collection of Scots Poems," by James Watson,
Edinb. 1706, 8vo, and of which two additional parts ap-
peared in 1709 and IT 11. In 1719, when residing at Gil-
bertfield on half-pay, Hamilton addressed a complimentary
poetical epistle to Allan Ramsay, in the vernacular dialect,
in which he designates himself " Wanton Willie." This
opened a rhyming correspondence ; and, when Ramsay in-
cluded their mutual epistles in his poetical works, he tells
us, that Hamilton " held his commission honourably in
my Lord Hyndford's regiment ;" and adds,
And may the stars, wha shine aboon,
Wi' honour notice real merit ;
Be to my friend auspicious soon.
And cherish aye sae fine a spirit.
Three years later, Hamilton of Gilbertfield published at
Glasgow, by subscription, " The Life of Sir William Wal-
lace;" an injudicious attempt, by adopting the vulgar dia-
lect, to add to the popularity of the fine national poem of
the Blind Minstrel. That Allan Ramsay, in publishing
his Tea- Table Miscellany, in 1724, would apply to Hamil-
ton for assistance we may safely conclude ; but none of his
contributions have been identified. Still I am inclined, to
believe, that the initials W. W. attached to this most ori-
ginal Song, " Willie was a wanton wag'^ indicate no other
person than " The Lieutenant," under his other designa-
tion " Wanton Willie." Some verses, in which he is so
styled, on the death of Lord William Hamilton (11th of
July, 1734), will be found at page *110 of these Illustra-
tions. Hamilton afterwards removed to Letterick, in La-
narkshire, where he died at an advanced age, 24th of
May, 1751.
CXXXVIII.
JUMPIN' JOHN.
" This fragment of the old song is Burns's ground-
work : —
JUMPIN' JOHN. * 207
Her daddy forbad, her minnie forbad,
Forbidden she wadna be —
The lang lad they ca' Jumpin' John
Beguil'd our bonnie Bessie." — (C. K. S.)
The Rev. George R. Gleig, in his " Family History of
England," vol. ii. p. 110, has introduced an air, respecting
which he says, " This piece of music is the air which was
played by the band at Fotheringay Castle while Mary was
proceeding to her execution. The air itself is a very touch-
ing one; and appears, from its extreme simplicity, well- ,
fitted for the rude instruments which were then in use. A
2
fortunate accident threw a copy of it in my way, and I have |
inserted it, because I see no reason to doubt the tradition
which connects it with this period in English history." —
Had the reverend gentleman observed, that the occasion on
which the air is said to have been performed was " a very
touching one," he would, have been so far correct ; but the
air itself is nothing more than the tune of " Joan's Placket" /
arranged as a march. See p. 50. of Mr Chappell's " Na- ^
tional English Airs," published at London, 1838. In addi-
tion to this circumstance, as to the identity of the air, it
may be added, that none of the contemporary accounts of /
our unfortunate Queen's execution say one word as to any
funeral procession or any piece of music having been per-
formed on the occasion.
CXLIV.
THE DUSTY MILLER.
" The old words of this song are —
Dusty was his coat.
Dusty was his colour.
Dusty was the kiss
That I gat frae the miller.
Chohus.
Hey the dusty, &c."— (C. K. S.)
208 * I DREAMED I LAY WHERE FLOWERS, &C.
CXLVI.
I DREAMED I LAY WHERE FLOWERS, &C.
The English lady was Mrs Walter Riddell ; born at
Woodley. She was sister of Mrs Banks, wife of the M.P.
of that name; and left England in April, 1788, to visit
her father who was Governor of the Caribbee Islands. On
her return, which was soon after her marriage with Captain
Riddell, she published a volume, " Voyages to the Ma-
deira and Leeward Caribbean Isles : with Sketches of the
Natural History of these Islands. By Maria R***«**."
Edinb. 1792, l-2mo, dedicated to Mr William Smellie. She
died at London, in 1812.
CLTV.
thro' the wood, laddie.
" Ramsay's verses were said to have been composed on
an amour of the Honourable Alexander Murray, son of
Alexander, fourth Lord Elibank. His political conduct
displayed a firmness which was much extolled by the mem-
bers of his own party." — (C. K. S.)
clv.
WHERE HELEN LIES.
" The period when this tragedy took place is quite
uncertain, though Stewart Lewis, in the preface to his
poem of Fair Helen, attempts to settle it. As he resided
long in the vicinity of Kirkconnel, and consequently was
well versed in the details illustrative of the ballad, his
preface, which was printed at Aberdeen, 1796, is here
given verbatim.
" ' Helen Irving, a young lady of extraordinary beauty
and uncommon qualifications, was descended from the
ancient and respectable family of Kirkconnel, in Annan-
dale, at present in the possession of Sir William Maxwell
of Springhall, Baronet.
WHERE HELEN LIES. * 209
" ' She had for some time been courted by two gentlemen,
whose names were Bell and Fleeming. Bell was proprie-
tor of Blackwood-house, " properly Blacket-house ; " and
Fleeming of Fleeming-hall, situate near Mossknow, at pre-
sent in the possession of Captain Graham.
" ' Bell one day told the young lady, that if he at any
time afterwards found her in Fleeming's company, he
would certainly kill him. She, however, had a greater
regard for Fleeming ; and being one day walking along
with him on the pleasant romantic banks of the Kirtle, she
observed his rival on the other side of the river amongst
the bushes. Conscious of the danger her lover was in, she
passed betwixt him and his enemy, who, immediately
firing, shot her dead, whilst she leaped into Fleeming's
arms, whom she endeavoured to screen from the attempts
of his antagonist. He drew his sword, crossed the river,
and cut the murderer in pieces. A cairn or heap of stones
was raised on the place where she fell, as a common memo-
rial in similar incidents from the earliest times among Celtic
colonies, and continues over Scotland to this day. She
was buried in the adjacent churchyard of Kirkconnel ; and
the poor, forlorn, disconsolate Fleeming, overwhelmed with
love, and oppressed with grief, is said to have gone abroad
for some time ; — returned, visited her grave, upon which
he stretched himself and expired, and was buried in the
same place. On the tomb-stone that lies over the grave,
are engraven a cross with a sword, and " Hie jacet Adam
Fleeming," cut on the stone alongst the north side of the
cross. Although at present there is not a person to be
found in that part of the country of the sirname of Fleeming,
yet the parish annexed to Kirkconnel still retains the name
of Kirkpatrick Fleeming. At what time the proprietors of
this name failed in the parish of Kirkpatrick Fleeming, is
not known ; and as there is no date upon the stone above
mentioned, the precise time of this event cannot be deter-
mined. It only seems highly probable either to have ter-
minated in the reign of King James V., or to have ushered
210* WHERE HELEN LIES.
in that of the unfortunate Queen Mary ; for it is commonly
said that fair Helen was aunt to Margaret of Hoddam, who
was married to Carruthers of Holmains, to whom she had
a daughter, also named Helen, who was married to Ronald
Bell of Gosebridge (now Scotsbridge) ; and by the tomb-
stone of Helen Carruthers, in Middlebie churchyard, it
appears that she died in 1626 ; so that she, who died in
1626, may, without any stretch of chronology, be granted
(grand) niece to her who lived in the beginning of Queen
Mary's reign.'
" This statement is not confirmed by the pedigree of the
Holmains family, very fully made out by Dr Clapperton
of Lochmaben ; but such traditions are generally found to
contain a considerable degree of truth.
" As the original ballad has been interpolated, and often
murdered more barbarously than its theme, I subjoin the
genuine words, which I have heard sung hundreds of times
in Annandale, but never with any additional verses. I have
endeavoured to spell the words as the singers pronounced
them.
1.
I WISH I war where Eelin lies.
For nicht and day on me she cries :
I wish I war where Eelin lies,
On fair Kirkconnel lee.
2.
Curse on the hand that shot the shot.
Likewise the gun that gae the crack ;
Fair Eelin in my arms scho lap.
And diet for love of me.
3.
0 think na ye my heart was sair
To see her lie, and speak na mair !
There did scho swoon, wi' mickle care.
On fair Kirkconnel lee.
4.
1 loutit down, my sword did draw ;
I cuttit him in pieces sma' ;
I cuttit him in pieces sma'
On fair Kirkconnel lee.
WHERE HELEN LIES. * 211
5.
0 Eelin fair, without compare,
I'll mack a garland of thy hair.
And wear the same for evermair,
Untill the day I dee.
6.
1 wish my grave war growin' green,
A winding-sheet put o'er my een,
And I in Eelin's arms lyin'
On fair Kirkconnel lee.
7.
0 Eelin chast, thou wast modest ;
War I with thee, I wad be blest ;
Where thou lies low, and tacks thy rest
On fair Kirkconnel lee.
8.
1 wish I war where Eelin lies.
For nicht and day on me scho cries ;
I wish I war where Eelin lies.
On fair Kirkconnel lee.
" The air to which these verses were sung, was totally
different from that usually printed, as well as the newer
edition by Mr Stenhouse."— (C. K. S.)
CLVIII. ♦
WALY ! WALY ! UP YON BANK.
The description of Wood's MS. given by Mr S. is not
correct ; and the lines quoted occur in a portion evidently
written at a much later date than 1566. See afterwards
the additional note to Song cccclxvi.
CLIX.
THE SHEPHERD ADONIS.
This Song appeared in the second volume of Ramsay's
Tea-Table Miscellany. When Mr S. therefore says, " I
have heard it attributed to Sir Gilbert Elliot of Minto,
Bart., but have not been able to discover upon what autho-
rity," we may safely conclude it was no sufficient authority,
212 * THE SHEPHERD ADONIS.
inasmuch as Sir Gilbert was not three years of age when it
was published by Allan Ramsay, in 1724 or 1725.
CLXI.
DUMBARTON DRUMS.
Burns was mistaken in supposing the town or castle
of Dumbarton was here meant. See Chambers's Songs,
vol. i. p. 59,
CLXII.
CAULD KAIL IN ABERDEEN.
Alexander, Fourth Duke of Gordon, to whom Mr
S. refers as the writer of this popular and humorous Song,
was born in the year 1743, and died 17th of January, 1827,
in the 84th year of his age.
In the note to this Song, Mr Stenhouse has inserted
some verses to this favourite tune, which were composed by
the late William Reid, bookseller, Glasgow. Having
been favoured by Mr James Brash of Glasgow (through
the kind application of Mr P. A. Ramsay) with some par-
ticulars of Mr Reid's history, I take this opportunity of
inserting them, as a tribute of respect to his memory. He
was remarkable for a fund of social humour, and was pos-
sessed of no inconsiderable poetical powers, with some of
the eccentricities occasionally allied to genius.
Mr Reid was born at Glasgow on the 10th of April,
1764. His parents were Robert Reid, baker in Glasgow,
and Christian Wood, daughter of a farmer, at Gartmore,
in Perthshire. Having received a good education in his
native city, he was originally employed in the type-foundery
of Mr Andrew Wilson, and afterwards served an appren-
ticeship with Messrs Dunlop and Wilson, booksellers in
Glasgow. He remained in their employment till the
year 1790, when he commenced business as a bookseller,
in partnership with the late Mr James Brash ; and, for a
period of twenty-seven years, they carried on a most
CAULD KAIL IN ABERDEEN. *213
respectable business, under the well-known firm of " Brash
and Reid." In a small publication, which they issued in
numbers, at one penny each, under the title of " Poe-
try, Original and Selected," between the years 1795 and
1798, and which forms four volumes, there are several
contributions of Mr Reid. Most of his compositions were
of an ephemeral kind, and it is to be regretted that no selec-
tion of them has ever appeared. He died at Glasgow, 29th
of November, 1831, leaving a widow, Elizabeth, daughter
of Mr James Henderson, linen printer, Newhall, and two
sons and five daughters. A notice of Mr Reid, by some
friendly hand, appeared in the Scots Times, soon after his
death, from which the following is an extract : —
" In early and mature life, Mr William Reid was also
remarkable both for vivacity, and no mean share of that
peculiar talent which, in Scotland, the genius of Burns and
its splendid and dazzling course seemed to call forth in the
minds of many of his admiring countrymen. He not only
shared in the general enthusiasm the appearance of that
day-star of national poetry elicited — but participated in his
friendship, and received excitement from his converse. In
Scottish song, and in pieces of characteristic humour, Mr
Reid, in several instances, approved himself not unworthy
of either such intimacy or inspiration. These are chiefly
preserved in a collection, entitled ' Poetry, Original and
Selected,' which appeared under the tasteful auspices of his
still surviving and venerable friend, and then partner, as
well as his own. It is now scarce, but highly valued, inde-
pendently of that circumstance. Even, however, when it
shall have altogether ceased to be known but to collectors,
many of the simple and beautiful lines of Mr Reid's earlier
compositions, and racy, quaint, and original thoughts and
expressions of his riper years will cling to the general
memory. Perhaps, of these, the humorous will be the long-
est lived."
Mr Motherwell, in his edition of Burns, inserts a Mo-
214* CAULD KAIL IN ABERDEEN.
nody on the Death of the Ayrshire Bard, by Mr Reid, who,
he says, " was a most enthusiastic admirer of Burns, pos-
sessed a rich fund of native humour, and was the author of
several poems in our vernacular dialect that merit preserva-
tion." (vol. V. p. 282.)
I may also take, this opportunity of adding a few words
respecting his partner, Mr James Brash. He was born at
Glasgow, 1st of January, 1758, and was successively an
apprentice or in the employment of the celebrated Foulises,
printers, of Robert Macnair, bookbinder, and James Dun-
can, bookseller, until he entered into partnership with Mr
Reid, as already stated, in 1790. He contributed several
pieces to the Glasgow periodicals, between 1782 and 1787,
but being of a retired disposition, he never affixed his name
to any of them. It is believed that the collection of " Poe-
try, Original and Selected," above alluded to, also contain-
ed two or three pieces of his composition. As a man of bu-
siness, he was highly esteemed for personal respectability,
strict integrity, and attention. He died at Glasgow on the
9th of October, 1835.
CLXIII.
FOR THE LACK OF GOLD.
The lady. Miss Jean Drummond, to whom this song re-
lates, was married, as second wife, to James Duke of Atholl,
7th of June, 1749. She survived the Duke, and also her se-
cond husband, Lord Adam Gordon, and died 22d February,
1795. Mr Sharpe says, " There is a portrait of this fickle
Duchess at Abercairney ; any thing but beautiful." The
author of the song, was Adam Austin, M.D., Physician in
Edinburgh, who, as stated in Mr Stenhouse's note, survived
his disappointment. His marriage is thus noticed in the
Edinburgh Evening Courant, 17th September, 1754, —
" Last night was married Miss Anne Sempill, sister of the
Right Hon. John Lord Sempill, to Dr Adam Austin." This
lady survived her husband nearly twenty years. Dr Austin
FOR LACK OF GOLD. « 215
died 28th November, 1774, and his wife 27th November,
1793. The song is printed in " The Charmer," Vol. II.
p. 7. Edinburgh: 1751. Burns says, " The country girls
in Ayrshire, instead of the line.
She me forsook for a great Duke,
say,
For AthoU's duke she me forsook ;
which I take to be the original reading."
The title of the old tune, as it occurs in a MS. dated
1692, in the possession of Mr Blaikie, Paisley, is, " For
lake of gold she left me." Oswald altered it to, " she lost
me, O."
CLXX.
HEY, TUTTIE, TATTIE.
Mr Stenhouse, as well as others, has fallen into error in
supposing that because the names of particular tunes occur
in some of the older MSS., this indicates that the airs are
similar with those now commonly known under the same
titles. The air " Hey now the Day daws," has been
usually considered as the original of " Hey, Tuttie, Tattie;"
and it has been assigned upon no better grounds than
mere conjecture, or idle tradition, to the age of Robert the
Bruce. The old air, " The Day daws," is fortunately
preserved in Gordon of Straloch's Lute Book, 1627, but
it is quite different from the air in question, so well known
from its being allied to Burns's noble words, " Scots wlia JioUe
wi' Wallace hied" See the additional note to song dlxxvii.
in vol. vi. of this Work.
The kind of hunting song, which Mr Stenhouse has
printed at p. 103, cannot be regarded as the original words
of the song or air to which Dunbar and Douglas allude, at
the beginning of the sixteenth century. It has been pre-
served in a MS. collection of the miscellaneous Poems of
Alexander Montgomery, the author of " The Cherrie and
216 * HEY, TUTTIE, TATTIE.
the Slae," and was undoubtedly written by him, perhaps not
earlier than 1580. He was a younger son of Montgomery
of Haslehead in Ayrshire, and was born probably about the
middle of the sixteenth century. He was distinguished at
least as early as 1584 for his poetical genius. See the col-
lected edition of his Poems, Edinburgh, 1821, post 8vo.
" In former times another hunting song to this ^ir,
enumerating several of the smaller lairds of the district, was
common in Annandale — from the name of the dog last men-
tioned, it must be pretty ancient : —
bridekirk's hunting.
The cock's at the crawing.
The day's at the dawing.
The cock's at the crawing.
We're o'er lang here.
Bridekirk's hunting,
Bridekirk's hunting,
Bridekirk's hunting,
The morn, an' it be fair.
There's Bridekirk and Brackenwhat,
Limekilns and Thorniewhat,
Dormont and Murray what,
An' a' will be there.
Bi'idekirk's, &c.
There's Gingler and Jowler,
Tingler and Towler,
Thy dog and my dog.
And a' will be there.
Bridekirk's, &c.
Fie, rin Nipsy,
Fie, rin Nipsy,
Fie, rin Nipsy,
Thou gangs near the hare.
Bridekirk's, &c.
BRIDEKIRK's HUNTING. *217
But bonny Nipatatie,
But bonny Nipatatie,
But bonny Nipatatie,
Thou grips the wylie hare.
Bridekirk's, &c.
" In Beaumont and Fletcher's ' Knight of the Burning
Pestle,' the lady says to Ralph —
Oft have I heard of your brave countrymen
And fertile soil, and store of wholesome food ;
My father oft will tell me of a drink
In England found, and Nipitato call'd.
Which driveth all the sorrow from your hearts."
(C. K. S.)
CLXXIV.
YE GODS ! WAS STREPHON'S PICTURE BLEST.
Tune — Fourteenth of October.
Burns, in his note to this song, says, " The title of this
air shows that it alludes to the famous King Crispian, the
patron of the honourable corporation of shoemakers. St
Crispian's day falls on the fourteenth of October, old style,
as the old proverb says —
On the fourteenth of October
Was ne'er a sutor sober."
The stately procession of King Crispian, was formerly wont
every third year to interest and amuse the inhabitants of
Edinburgh.
CLXXXI.
JOHNNY FAA, OR THE GYPSIE LADDIE.
This well-known ballad was printed, probably for the
first time, in the Tea- Table Miscellany, Vol. IV., about
the year 1733.
'' There is, or was, much of this song remembered in
Ayrshire, which never has been printed. Some stanzas go
to prove that the lady was restored to her husband, unsul-
218 * JOHNNY FAA, OR THE GYPSIE LADDIE.
lied by a gipsy embrace ; which seems to have been the
case, if she really was the person to whom tradition hath
ascribed this false step. It has been always asserted that
her maiden name was Hamilton ; now, there were only
two ladies of that name married into the Cassillis family.
Lady Jean Hamilton, daughter of the Earl of Haddington,
and Lady Susan, daughter of the Duke of Hamilton, That
the latter countess could not be the fugitive, is certain from
dates ; though the picture pointed out at Culzean as that
of the fair delinquent, and engraved in Constable's Maga-
zine, is certainly a portrait of her ; and for the other, I
have been assured that, in the Haddington family, no such
anecdote respecting John Faa was ever known. Moreover,
there is an original letter written by her husband, shortly
after her death, to the Rev. Mr Douglas, preserved in the
Wodrow Collection of MSS., which expresses a tenderness
very improbable in such a case. It is subjoined for the
reader's consideration : —
" ' For the Right Reverend Mr Robert Douglas,
Minister at Edinburgh.
" « Right Reverend,
" ' I finde it so hard to digest the want of a deare
friend, suche as my beloved yoke-fellow was, that I thinke
it will muche affect the heart of her sister, my Ladie Car-
neghie, q° had beene bothe a sister and a mother to her,
after there mother's removall. I thoght your hand, as
having relation to bothe, fit for presenting suche a potion,
seing you can prepare her before hand, if as yet it have not
come to her eares ; and howsoever it bee, your help in com-
forting may be very useful! to her. My losse is great, bot
to the judgement of us q^ beheld the comfortible close of
her dayes, shee hes made a glorious and happie change,
manifesting in her speeches bothe a full submission to the
onelie absolute Soveraine, and a sweet sense of his presence
JOHNNY FAA, OR THE GYPSIE LADDIE. *219
in mercie, applying to her selfe manie comfortable passages
of God's worde, and closing with those last words, when I
asked q*^ she was doing ; her answer was, shee was longing
to goe home. It seemes the Lorde hes beene preparing
her these manie weiks past, for shee had bene sicklie four
or fyve weekes, and the meanes which had helped others in
her estate, and were thoght in likelihoode infallible, could
not bee used ; I meane, drawing of blood : for tho' the
surgeon trayed it, he could never hit on the veine. I am,
your most affectionat friend,
' Cassillis.'
' Cassillis, Uth Dec. 1642.'
" Mr Douglas, to whom this letter was addressed, was
said to be a descendant of Mary, Queen of Scots, from an
amour she had with the youth who contrived her escape
from Lochleven. Bishop Burnet alludes to this silly piece
of scandal. Where the unlucky Queen, in all her hurries
and imprisonments, could contrive to drop such a proof of
her incontinence, must now be a prodigious puzzle to her
greatest enemies. During the Covenanting times, how-
ever, this fable was pretended to be believed.
"It is said that Lady Cassillis, in her confinement,
wrought with her needle, by way of penance one may pre-
sume, a representation of her elopement with the gipsies.
This piece is still preserved at Culzean ; but I suspect,
from what I have heard, that it is only a fragment of old
tapestry, representing a man and woman riding on a white
horse, amid a group of attendants, and re-baptized by house-
keepers, who have heard the old tradition. I remember
well that, many years ago, a portrait of Lady Sunderland,
Waller's Saccharissa, used to be pointed out in the Duke
of Hamilton's apartment in the Abbey, as the Lady Cas-
sillis who eloped with Faa. There can be no doubt about
that picture ; while the legend once attached to it supports
the tradition, that the frail Countess of Cassillis was in some
shape or other a Hamilton." — (C. K. S.)
220 * ABSENCE.
CLXXXIII.
ABSENCE.
In the note to this son^, p. 177, Mr S. says, that the
song, " with the tune to which it is set in the Museum,
was written and composed, in 1787, by Dr Blacklock, and
by him presented to Johnson, for the second volume of that
work." It was written and composed many years previously,
as both the song and air, under Blacklock's name, appeared
in the Edinburgh Magazine and Review, for February,
1774, (vol. i. p. 254.)
CLXXXVI.
TALK NOT OF LOVE.
This song, as well as the " Address to a Blackbird,"
No. CXC. was written by Agnes Craig, Mrs M'Lehose,
the lady with whom Burns, in the year 1789, corresponded
under the assumed names of Sylvander and Clarinda ; and
who still survives, in the 79th year of her age. She was
cousin-german to Lord Craig, one of the Senators of the
College of Justice ; and was born in the same year with the
poet, whose admiration has conferred on her so much cele-
brity. From No. 8 of Burns's letters to Clarinda, it appears
that the concluding lines to this song were supplied by him-
self to suit the music. He remarks that " The latter half
of the first stanza would have been worthy of Sappho. I
am in raptures with it."
CLXXXVIII.
UP AND WAR 'em A' WILLIE.
A SONG in seven stanzas of six lines, besides the burden,
beginning —
" When we went to the field of war.
And to the weaponshaw, Willie."
appeared in " The Charmer," 2d edition, 1752, vol. i. p.
61. It has the initials B. G. as the author.
UP AND WAR THEM A'. * 221
In Kay's Edinburgh Portraits, vol. i. p. 230 of the new
edition, there is a likeness of Thomas Neill, the precentor
in the Old Church of Edinburgh, who is mentioned by Mr
S. in his note, at p. 179. It was done about the year 1786,
and represents Neill singing, in character, one of his favourite
songs, — " The Old Wife." In the above work there is a
detailed account of Neill, who died at Edinburgh, 7th of
December, 1800, aged about seventy years.
CLXXXIX.
A ROSEBUD BY MY EARLY WALK.
" This song (says Mr George Thomson), was written
by Burns on Miss Jeany Cruickshank, now Mrs Hender-
son, Jedburgh, daughter of one of the masters of the High
School, Edinburgh, a friend of the bard."
The composer of the air, and himself a writer of verses,
as noticed by Mr S. at p. 180, was David Sillar, a native
of Ayrshire. He was born in the neighbourhood of Tarbol-
ton, in the year 1760, and died at Irvine, 2d of May, 1830.
He published a volume of Poems at Kilmarnock in 1789,
8vo., pp. 247. For an account of Sillar's life and writings,
see the '* Ayrshire Contemporaries of Burns," Edinburgh,
1839. 8vo.
cxc.
ADDRESS TO A BLACKBIRD.
See the preceding note, clxxxvi. — In addition to that
note, it may be mentioned that Burns' " Letters to Cla-
rinda" were first surreptitiously printed at Glasgow in 1802,
12mo; while the following extract from, a recent edition
of Burns' Works, by Mr R. Chambers, explains the origin
of the correspondence. " In December 1787, the Poet
became acquainted with Mrs M'Lehose, a young, beau-
tiful, and talented woman, residing with an infant family
in Edinburgh, while her husband was pushing his fortune
in the West Indies. She first met the Poet in the house
of a common friend in Alison's Square, Potterrow, at tea.
The sprightly and intelligent character of the lady made a
222 * ADDRESS TO A BLACKBIRD.
powerful impression on the Poet, and she was, in turn,
pleased to meet a man of such extraordinary genius. A
friendship of the intellect and the more refined sentiments
took place between them, and gave rise to a series of let-
ters from Burns, of a peculiarly ardent and eloquent charac-
ter, which afterwards found their way unauthorized into
print, through the imprudence of a friend of the lady."
CXCII.
AULD ROB MORRIS.
This air occurs in a MS. collection, dated 1692, belong-
ing to Mr Blaikie, Paisley, and is called " Jock the Laird's
Brother."
CXCVIII.
CLARINDA.
For Mrs Meiklejohn, in Mr S.'s note, read Mrs M'Le-
hose. See above.
cxcix.
cromlet's lilt.
" Mr S. gives the history of this song from Mr Ty tier's
communication to Mr Riddell, preserved by Burns, and
printed by Cromek ; but he omits the concluding notice —
' N.B. Marg. Murray, mother to these thirty-one children,
was daughter to Murray, one of the seventeen sons of Tul-
lybardine, and whose youngest son, commonly called the
tutor of Ardoch, died in the year 1715, aged 111 years.'
" The following curious document concerning the seven-
teen brothers, has never been printed : it is indorsed, ' The
Declaration of George Halley, concerning the Laird of
Tullybardine's seventeen sons — 1710.'
"At Tullibardine, the twenty-fifth day of April, one
thousand, seven hundred and ten years ; the declaration of
George Halley, in Ochterarder, what he can say of the
family of Tullibardine.
cromlet's lilt. * 223
" That the mother of the seventeen brethren was a
daughter of Colquhoun of Luss, and that her arms are with
the arms of TuUibardine, on the end of the chappie, being
a ragged cross which fills the shield.
" He says, that one of the Lairds of TuUibardine had
seventeen sons with the said daughter of Colquhoun of
Luss, who lived all to be men ; and that they waited all one
day upon their father at Stirling, to attend the King, with
each of them one servant, and their father two. This hap-
pening shortly after an act was made by King James the
Fifth, discharging any persons to travel with great num-
bers of attendants beside their own family, and having chal-
lenged the laird of TuUibardine for breaking the said act,
he answered, he brought only his own sons, with their
necessary attendants ; with which the King was so well
pleased, that he gave them small lands in heritage.
" The said George Halley also declares^ that the said
Laird of TuUibardine gave to each of his seventeen sons
some little lands in heritage, and that
"1. The eldest son succeeded his father.
" 2. The second son was killed entering in at Ochtertyre's
house, as he was making his escape from the Drummonds,
with whom they were at feud, he being single, and severals
of them pursuing him.
" 3. The third son got the lands of Strowan, of whom
the family of Strowan is come.
"4. The fourth son, as he thinks, got the lands of Tib-
bermore and Kildennie, which lies under Endermay.
" 5. A son of this family was knighted, and made one of
the Lords of the Council and Session.
"6. Another son married a daughter of the Earl of
Gowrie's, who leaped the maiden leap at Hunting Tower,*
* " The anecdote alluded to is thus told by Pennant : — ' A daughter
of the first Earl of Gowrie was addressed by a young gentleman in
the neighbourhood, much her inferior in rank and fortune; her family,
though they gave no countenance to the match, permitted him to visit
224 * crgmlet's lilt,
and is buried in the church of Tibbermore, over against the
pulpit, on the inside of the wall of the kirk, where her name
and her husband's name are.
*' 7. Another got the lands of North Kinkell.
" 8. Another got the lands of Ardbenie, of whom David
Murray of Ardbenie is come.
"9. Another of the seventeen brothers got the lands of
Ochtertyre.
" 10. Another got the lands of Coug.
"11. Another got Craigten, which belong now to Och-
tertyre.
"12. Another got the lands of Catteranoch, now called
them, and lodged him in a tower near another, in which was the young
lady's chamber, but up a different staircase, and communicating with
another part of the house. The lady, before the communicating doors
were shut, conveyed herself into her lover's apartment : but some one
of the family having discovered it, told it to her mother, who, cutting
off, as she thoug*ht, all possibility of retreat, hastened to surprise them :
but the young lady hearing the well-known footsteps of her mother
hobbling up stairs, ran to the top of the leads, and taking a desperate
leap of nine feet four inches, over a chasm *of sixty feet from the
ground, lighted on the battlements of the other tower, whence, de-
scending into her own chamber, she crept into her bed. Her mother
having in vain sought for her in her lover's chamber, came into her
room, where finding her seemingly asleep, she apologised for her un-
just suspicion. The young lady eloped the next night, and was mar-
ried. The top of the towers from and to which the lady leaped, are
still shown under the appellation of the Maiden's Leap."
'' This story was sometimes differently told : fear of an enraged father,
with a drawn sword in his hand, being assigned as the reason of the
lady's leap. An anecdote of the same kind, but still more wonderful,
was formerly current in Annandale, respecting the old Tower of Com-
longan. There, it was said, a rash young gentlewoman being surprised
in similar circumstances, her father, as the old people expressed it, coming
' rampagin up the turnpike like onie wud bear, wi' a nakit swurd in
his nieve,* she ran to the top of the castle, and leaping down to the
ground, got entrance at the front door, and was in her bed before her
sire could descend from the battlements. The feline Venus of the Egyp-
tians certainly proved propitious to those vaulting damsels. Alas, that
she was so cruel to the chaster maid of Orleans, whose true leap from
the battlements of Beaurevoir was unbroken by the pinions of Cupid,
and almost cost her her life !" (C. K. S.)
CROMLET S LILT. * 225
Ferntown. The heirs sold it to Humphrey Murray, bro-
ther to Humphrey Murray of Buehandy, who sold it again
to Mr James Murray, minister at Logierait.
"13. Another got the lands of Carshead; who were such
fighting men, they were obliged to sell their estates and go
to Ireland.
" 14. Another got the lands of Drimmie, in the parish
of Foules.
"15. Another got the lands of Kintocher, in the parish
of Foules, being four chalder of victual.
" 16. Another got the lands of Pitmanie.
"17. Another of the seventeen brethren being the Duke
of Lennox's Chamberlain at Methven ; his successor married
the heirs of Buehandy, of whom the family of Buehandy is
come.
" George Halley says, that Sir William Murray of Tul-
libardine, having broke Argyle's face with the hilt of his
sword, in King James the Sixth's presence, was obliged to
leave the kingdom. After, the King's mails and slaughter
cows was not paid, neither could any subject in the realm
be able to compel those who were bound to pay them ;
upon which the King cried out — ' O, if I had Will Murray
again, he would soon get my maills and slaughter cows ;'
to which one standing by replied — ' That if his Majesty
would not take Sir William Murray's life, he might return
shortly.' To which the King answered — ' He would be
loath to take his life, for he had not another subject like
him.' Upon which promise Sir William Murray returned,
and got a commission from the King to go to the North,
and lift up the maills and the cows; which he speedily
didj to the great satisfaction of the King, so that imme-
diately after he was made Lord Comptroller. Sir William
Murray, my Lord Comptroller's father, being in the wars."
" This account does not tally with th6 common Scottish
Peerages, nor with Nisbet's account of the Athol family ;
226 * " cromlet's lilt.
in which, however, he mentions the tradition of the seven-
teen sons {Si/st. of Heraldry, vol. ii. p. 197.)" — (C.K.S.)
cc.
THE WINTER IT IS PAST.
Cromek found the first eight lines of this song among
Burns's MSS. ; and he published it as a " Fragment" by
the Ayrshire bard, obviously unaware that the entire song
had been previously included in the present work.
ILLUSTRATIONS
OF THE
LYRIC POETRY AND MUSIC
OF
SCOTLAND.
PART III.
cci.
TUNE YOUR FIDDLES.
This song was written by the late Reverend John Skinner,
minister of the Episcopal Chapel at Longside, near Peter-
head. The author, in his letter to Mr Burns, says, that this
song was squeezed out of" him by a brother parson in the
Duchess of Gordon's neighbourhood, to accommodate a new
Highland reel for the Marquis of Huntly's birth-day.
Mr Skinner was born at Balfour in the parish of Birse,
Aberdeenshire, on the Sd of October 1721. At a very early
period he displayed an uncommon genius in acquiring a know-
ledge of the Latin, Greek, and other languages. When only
thirteen years old, he appeared as a candidate at the annual
competition in the Marischal College of Aberdeen, and gain-
ed a considerable bursary, which he enjoyed during the usual
period of four sessions in that university. Having finished
his academical studies, he was employed as a teacher of youth
till November 1742, when the congregation of Episcopalians
at Longside unanimously chose him to be their pastor. The
duties of this sacred office he discharged from that period till
his death, with such affectionate care and tender solici-
tude, as endeared him, almost beyond example, to his whole
flock. Mr Skinner died on the 16th of June 1807, in the
86th year of his age. He was the author of an "^ Eccle-
siastical History of Scotland," and of some poems, and seve-
ral excellent songs, chiefly in the Scottish language, which
were published in one volume after his decease, with a bio-
p
190 CCI.— TUNE YOUR FIDDLES.
graphical sketch of the author''s Hfe prefixed by the editor.
Mr Skinner was an eminent scholar, a faithful and pious mi-
nister, and a most worthy and honest man.
The tune to which Mr Skinner's verses are adapted in the
Museum, is called " The Marquis of Huntly's Reel,"
which was composed by the late Mr William Marshall, butler
to the Duke of Gordon. Mr Marshall played the violin very
prettily, and composed several other excellent strathspey and
reel tunes. Burns, after giving it as his opinion, that Marshall
was the first (i.e. best) composer of strathspeys of the age,
says, " I have been told by somebody, who had it of
Marshall himself, that he took the idea of his three most ce-
lebrated pieces, " The Marquis of Huntly"'s Reel,'" his
" Farewell,"" and " Miss Admiral Gordon's Reel," from the
old air, " The German Lairdie." — Reliques. Mr Marshall
must certainly have been quizzing the gentleman who gave
Burns this information, for there does not seem to be any
resemblance whatever between the " German Lairdie," (vide
Hogg's Jacobite Reliques, vol. i. p. 83.^ and Marshall's
" Marquis of Huntly's Reel," or his " Farewell." With
regard to his " Miss Admiral Gordon's Reel," it is evidently
taken from the old tune called " The Lowlands of Holland,"
(compare the tune, No 1 15, in vol. ii. of the Museum^ with No
235, in vol. iii. of the same work.) In my opinion, " The
Marquis of Huntly's Reel" is not only one of the best and
most original airs, but likewise more free from plagiarisms
than any other tune Marshall ever composed. The air in the
Museum is very injudiciously altered and curtailed. A ge-
nuine set of the tune, with the first verse of Mr Skinners
song, is therefore annexed.
TUNE YOUR FIDDLES.
Written ly the Rev. Mr Skinner. Air ly William Marshall.
^zzzr
atz:*::
Tune your fid- dies, tune them sweetly. Play the Marquis'
CCr. — TUNE YOUR FIDDLES.
191
:*=5S
^
^^R
KTzs:
^^^H
w
reel discreetly; Here we are a band completely Fitted to be
5SEEE
iE
?
lapi^
g?j=^lt=feSE
El:
jol-ly. Come, my boys, be glad and gaucie, Ev'-ry youngster
\^E
ffZTff
l=F==N
•«-: — i^
5"
IS— ••-
^— — ft^
y— r— g:
choose his lassie. Dance \\^i' life, and be not saucy, Shj^, nor melan-
;f^=f=t
3=
^^iiPl
IEI3
-■*©•
1^^
i
cho-ly. Come, my boys, be glad and gaucie, Ev'ry youngster
m^
iis^^
hr^ — ;:: ^ — tt — T ^~t':s-^ liS — ;^~r
choose his lassie, Dance wi' life, and be not saucy. Shy, nor melan-
^
S
m
=r=i^
.—^ — ^ —
cho-ly.
ffi:
E^
The rest of this excellent song will be found in the third
volume of the Scottish Musical Museum.
192
cell.
GLADSMUIR.
This beautiful poem, for it can scarcely be called a song,
beginning " As over Gladsmuir's blood-stain'd field," was
written by William Hamilton of Bangour, Esq. and set to
music by Mr William Macgibbon, who published the three
well known volumes of Scottish tunes. Gladsmuir is the
name of a parish in the county of Haddington, in the vicinity
of which the battle between Prince Charles Edward and Sir
John Cope was fought, in September 1745. The events of
this engagement are too recent to require any further remarks.
CCIII.
GILL MORICE.
The ballad of Gill Morice has every appearance of being
a true narrative of an event that happened in a remote age,
although the language mav gradually have been modernized
in descending, by oral communication, from one generation to
another. In Bishop Percy's Folio Manuscript, which, from
internal evidence, is at least as old as the reign of Queen
Elizabeth, there is an old ballad, entitled " Childe Maurice,"
in which the same incidents that occur in Gill Morice are de-
tailed, though in less polished and ruder language. A very
accurate copy of this old ballad may be seen in Jamieson's
Popular Ballads and Songs, vol. i. printed at Edinburgh in
1806. This gentleman justly observes, that the anonymous
editors of Gill Morice are not the only persons who have
studied to adorn and improve this interesting story. In
" Owen of Carron," it has received, from the chaste, elegant,
and pathetic, but diffuse pen of Langhorne, every embellish-
ment which that species of composition seems to admit of.
Home has made it the ground-work of the tragedy of " Dou-
glas," one of the most pleasingly-interesting dramatic poems
which modern times has produced ; and it has moreover been
made the subject of a dramatic entertainment, with songs, by
Mr Rannie of Aberdeen, who is well known in the musical
CCIII.— GILL MORICE. 193
world as the author of several very elegant and popular ly-
rical compositions."
Bishop Percy says, that the popular Scottish ballad of Gill
Morice was printed at Glasgow, for the second time, in 1755,
with an advertisement, stating, that its preservation was owing
to a lady who favoured the printers with a copy, as it was
carefully collected from the mouths of old women and nurses ;
and any reader that could render it more correct or complete,
was desired to oblige the public with such improvements. In
consequence of this advertisement sixteen additional verses
(lines he should have said) were produced. These lines were
for sometime handed about in manuscript, previous to their
being incoi-porated in the ballad by that learned prelate ; but
they are evidently modern interpolations. Gray, in one of his
letters on Childe Maurice, says, " I have got the old Scotch
ballad on which Douglas was founded ; it is divine, and as
long as from hence (Cambridge) to Aston. Have you never
seen it ? Aristotle's best rules are observed in it in a manner
that shews the author had never read Aristotle. It begins
in the fifth act of the play (viz. of Home's Tragedy of Dou-
glas), you may read it two-thirds through without guessing
what it is about ; and yet, when you come to the end, it is
impossible not to understand the whole story."
As Johnson, from want of room in the Museum, left out
the greater part of this very beautiful and justly celebrated
ballad, it is here inserted entire, with the sixteen lines, or four
stanzas, alluded to by Bishop Percy. These modern inter-
polations, however,' are printed in italics^ to distinguish them
from the older verses.
GILL MORICE.
An old Scottish Ballad.
Gill Mokice was an erle's son.
His name it waxed wide ;
It was nae for his great riches^
Nor yet his meikle pride.
But it was for a lady gay
That liv'd on Carron side.
194 CCIII.— GILL MORICE.
" Whar sail I get a bonny boy.
That will win hose and shoen ;
That will gae to Lord Barnard's ha'.
And bid his lady cum ?
"' And ye maun rin my errand, Willie,
And ye maun rin wi' speed ;
Whan ither boys gang on their feet
Ye saU hae prancing steed."
" Oh no ! Oh no .' my master dear !
I dar nae for my life ;
I'll no gae to the bauld baron's.
For to tryst furth his wife."
" My bird Willie, my boy Willie,
My dear Willie," he sayd.
How can ye strive against the stream .''
For I sail be obey'd."
" But 0, my master dear !" he cry'd.
In grene wode ye're your lain ;
Gie owre sic thoughts, I wald ye rede.
For fear ye should be ta'en."
" Haste, haste, I say, gae to the ha'.
Bid her cum here wi' speid ;
If ye refuse my high command,
I'll gar your body bleid.
" Gae bid her take this gae mantel,
'Tis a' gowd but the hem ;
Bid her cum to the gude green wode,
Ein by hirsell alane.
" And there it is, a silken sarke.
Her ain hand sew'd the slieve ;
And bid her cum to GUI Morice,
Speir nae bauld baron's leave."
" Yes ; I will gae your black errand.
Though it be to your cost ;
Sen ye will nae be warn'd by me.
In it ye sail find frost.
'' The baron he's a man o' micht.
He ne'er could bide to taunt.
And ye will see before it's nicht
How sma' ye'U hae to vaunt.
" And sen I maun your errand rin,
Sae sair against nny will,
I'se mak a vow and keip it true,
It sail be done for ill."
CCIII. GILL MORICE. 195
And whan he cam to broken brigg.
He bent his bow and swam ;
And when he cam to grass growing,
Set down his feet and ran.
And whan he cam to Barnard's yette.
Would neither chap nor ca' ;
But set his bent bow to his breistj
And lichtly lap the wa'.
He wald nae tell the man his errand.
Though he stude at the yette ;
But strait into the ha' he cam,
Whar they were set at meat.
" Hail ! hail ! my gentle sire and dame !
My message winna wait ;
Dame, ye maun to the gude grene wode.
Before that it be late.
" Ye're bidden tak this gay mantel,
'Tis a' gowd but the hem ;
Ye maun gae to the gude grene wode,
Ein by yoursel alane.
*' And there it is, a silken sarke.
Your ain hand sew'd the sleive ;
Ye maun gae speak to Gill Morice,
Speir nae bauld baron's leave."
The lady stamped wi' her foot.
And winked wi' her e'e ;
But a' that she cou'd say or do.
Forbidden he wadna be.
" It's surely to my bow'r-woman ;
It neir cou'd be to me."
'' I brocht it to Lord Barnard's lady,
I trow that ye be she."
Then up and spak the wylie nurse,
(The bairn upon her knee)
" If ye be cum frae Gill Morice
It's dear welcum to me."
" Ye lie, ye lie, ye filthy nurse,
Sae loud's I hear ye lie ;
I brocht it to Lord Barnard's lady;
I trow ye be nae she."
Then up and spak the bauld baron, j
An angry man was he,
He's taen the table wi' Ills foot
Sae has he wi' his knee ;
Till crystal cup and ezar dish
In flinders he gart flee.
196 cpill.— GILL MOBICE.
" Gae bring a robe of your eliding.
That hings upon the pin ;
And I'll gae to the gude grene wode.
And speak wi' your leman."
" 0 bide at hame, now Lord Bernard,
I rede ye bide at hame ;
Neir wyte a man for violence.
That neir wyte ye wi' nane."
Gill Morice sate in gude green wode.
He whistled and he sang,
" 0 what means a' the folk coming ?
My mother tarries lang."
His hair was like the threads of gold
Drawn frae Minerva s home :
His lips like roses drapping dew.
His breath was d perfume.
His brow was like the mountain sna"
Gilt by the morning beam :
His cheeks like living roses glow.
His een like azure stream.
The hoy was clad in robes of grene.
Sweet as the infant spring ;
And like the mavis on the bush,
He gart the vallies ring.
The baron to the grene wood came
Wi' meikle dule and care.
And there he spied Gill Morice
Kaiming his yellow hair.
That sweetly wav'd around his face,
That face beyond compare ;
He sang sae sweet, it might dispel
A' rage but fell despair.
" Nae wonder, nae wonder, Gill IMorice,
My lady lo'es you weel,
The fairest part of my body
Is blacker than your heel.
" Yet ne'er the less now. Gill Morice,
For a' thy great beautie,
Ye'se rew the day ye eir was born ;
That head sail gae wi' me."
Now he has drawn his trusty brand.
And slait it on the strae.
And thro' Gill Morice fair body
He gart cauld iron gae.
CCIII.— GILL MORICE. 197
And he has tane Gill Morice head.
And set it on a speir ;
The meanest man in a' his train
Has gotten that head to bear.
And he has taen Gill Morice up.
Laid him across his steid.
And brocht him to his painted bow'r.
And laid him on a bed.
The lady, on the castle wa'.
Beheld baith dale and down ;
And there she saw Gill Morice's head
Cum trailing to the toun.
" Better I loe that bluidy head,
Botand that yellow hair.
Than Lord Barnard and a' his lands.
As they lig here and there."
And she has taen GUI Morice head.
And kiss'd baith cheek and chin ;
'' I was ance as fow of Gill Morice
As the hip is o' the stane.
'* I gat ye in my father's house
Wi' meikle sin and shame ;
I brocht ye up in the gude grene wode,
Ken'd to mysel' alane.
" Aft have I by thy cradle sate.
And fondly seen thee sleip ;
But now I maun gae 'bout thy grave,
A mother's tears to weip."
And syne she kiss'd his bluidy cheik.
And syne his bluidy chin ;
" O better I loed my son Morice
Than a' my kyth and kin."
" Awa, awa, ye Ul woman.
An ill death may ye die ;
Gin I had ken'd he was your son.
He had ne'er been slain by me."
" Upbraid me not, my Lord Bernard !
Upbraid me not for shame !
Wi' that same speir, O pierce my heart !
And put me out o' pain.
" Since nothing but Gill Morice head
That jealous rage could quell.
Let that saine hand now take her life;
That ne'er to thee did ill.
198 CCIII. GILL MOmCE,
" To me nae after days nor nichts.
Will e'er be saft or kind ;
I'll fill the air wi' heavy sighs^
And greet till I be blind."
" With waefu' wae, I hear your plaint ;
Sair, sair, I rue the deid^
That eir this cursed hand of mine
Had gar'd his body bleid.
" Dry up your tears, my winsome dame^
They neir can heal the wound ;
You see his head upon the speir.
His heart's bluid on the ground.
" I curse the hand that did the deid,
The heart that thocht the ill.
The feet that bore me wi' sic speid
The comely youth to kill.
" rU ay lament for Gill Morice,
As gin he were my ain ;
I'll neir forget the driery day
On which the youth was slain."
In singing, or rather chanting, this old ballad, the two last
lines of every stanza are repeated. In 1786, I heard a lady,
then in her 90th year, sing the ballad in this manner.
From the Reliques of Burns, it would appear, that his
friend Captain Robert Riddel was of opinion, that the whole
of the foregoing ballad was a modei'n composition, perhaps
not prior to the year 1650, but he believed it might have
been taken from an old ballad, called " Child Maurice,'"
which he says is now lost, and that the beautiful plaintive
air to which it is sung was composed by Mr M'Gibbon,
the selector of a Collection of Scots Tunes. Captain Riddel
"was greatly mistaken in asserting, that " Child Maurice was
lost, as it is printed in Jamieson''s Old Scottish Songs and
Ballads several years ago. The faulty measure of some of
the stanzas of the ballad " Gill Morice," evinces, that it
must have been greatly corrupted from the ignorance of the
oral reciters. Those stanzas printed in italics, are obviously
spurious modern interpolations. They are also very silly,
and altogether unnecessary, as the story is complete without
them. The air, it is believed, was composed some centuries
CCIII. GILL MORICE. 199
before Mr M^Gibbon had existence, who died so late as Sd
October 1756. The late Mr William Tytler, Esq. of
Woodhouselee, who knew M 'Gibbon well, assured me, that
Gill Morice was one of the oldest of our melodies ; and indeed
the wild, and peculiar structure of the air, carries internal
evidence of its antiquity. This tune, which consists of one
simple strain, is not to be found in any of M' Gibbon's pub-
lications ; but it appears in Oswald's Caledonian Pocket Com-
panion, and in a Collection of Old Tunes published by Brem-
ner.
cciv.
I LOVE MY LOVE IN SECRET.
This ancient air is inserted in Mrs Crockat's MSS., written
in 1709. It also appears in the Collections of M'Gibbon
and Oswald. There are two songs to it in the Museum, the
first, beginning " My Sandie gied to me a ring," was slight-
ly altered by Burns, because it was rather inadmissible in its
original state.
The other, beginning " The smiling plains profusely gay,"
was written by Mr William Falconer, the justly celebrated
author of " The Shipwreck,"" and other poems.
Falconer was born about the year 1730, in Edinburgh,
where his father carried on the humble occupation of a hair-
dresser. At an early period, he went on board a Leith
merchantman, in which he served his apprenticeship. But
as true genius will rise superior to every obstacle, our
author, by private study and incessant application, reme-
died the defects of a very limited education, and display-
ed his poetical powers in a work published at Edinburgh
in 1751, entitled, " A Poem, sacred to the Memory of
Frederic, Prince of Wales."" This poem, though credit-
able to th6 genius of its youthful author, did not add much
to the weight of his purse. He therefore again went to sea as a
mariner, in a merchant ship named the Britannia, and continu-
ed in that situation till the unfortunate loss of this vessel, in a
violent storm off the Cape of Colonne, on the coast of Greece,
when every soul on board perished except our author and
200 dCIV. 1 LOVE MY LOVE IN SECRET.
two of the crew. On his return to Britain, he composed a
work which afforded an ample display of nautical ability,
combined with poetical merit. It was published in 1762,
under the title of " The Shipwreck, a poem in three cantos,
by a Sailor," and was inscribed to his Royal Highness Ed-
ward, Duke of York.
The favourable reception which this poem so justly ob-
tained from the public, soon raised its author from the ob-
scurity of his former situation, and being patronized by the
Duke of York, to whom he addressed an " Ode on his Se-
cond Departure from England as Rear Admiral," he was ap-
pointed purser to the Royal George, one of the finest ships
in the British Navy.
In 1764, he published a new edition of " The Ship-
wreck," greatly improved and enlarged, and in 1769 ap-
peared his " Marine Dictionary," a work extremely ingeni-
ous and useful. In the course of the same year, he was ap-
pointed purser of the Aurora frigate, bound for India, which
arrived in safety at the Cape of Good Hope. In December
1769, she left the Cape for her ulterior destination, but was
never afterwards seen or heard of. * It is generally supposed,
that she took fire at sea, blew up, and all on board perished.
None of Falconer's family are now knoAvn to exist in Edin-
burgh. A sister, who was considered as the last surviving
member, died some years ago in the charity work-house of
that city. It is to be hoped, that the inhabitants of the
Scottish metropolis will yet erect a monument to the memory
of their fellow-citizen. Falconer, whose excellence as a poet,
and worth as a man, justly merit such a tribute.
ccv.
WHEN I UPON THY BOSOM LEAN.
The words of this fine song were written by Mr John
Lapraik, late of Dalfram, near Muirkirk, in the county of
Ayr. Mr Lapraik was under the necessity of selling his
estate of Dalfram, in consequence of becoming security for
some persons who were connected with the ruinous concern
of the Ayr Bank.
CCV.— WHEN I UPON THY BOSOM LEAN. 201
*' He has often told me (says Burns), that he composed
this song one day when his wife had been fretting over their
misfoTt\ines.''''—Reliques.
This is the identical song which Burns alludes to in his
poetical epistle to J. Lapraik.
There was ae sang amang the rest,
Aboon them a' it pleas'd me best.
That some kind husband had addrest
To some sweet wife;
It thrill'd the heart-strings thro' the breast, '
A' to the life.
Burns communicated the song to Johnson, and Mr Clarke
adapted it to the air called " The Scots Recluse," one of the
earliest compositions of Mr James Oswald, who published it
in the first volume of his Pocket Companion, page 13th.
ccvi.
COLONEL GARDINER.
This song, beginning " 'Twas at the hour of dark mid-
night," is another production of Sir Gilbert Elliot of Minto,
Bart, ancestor of the present Earl of Minto. It was com-
posed as a tribute of respect to the memory of the gallant
Colonel James Gardiner, who fell at the battle of Preston-
pans, in September 1745.
Colonel Gardiner was highly esteemed even by those who
differed widely from him in their political creed. Skirvin, after
lampooning some ofthe royal officers for their cowardice, says.
But Gard'ner brave did still behave
Like to a hero bright, man ;
His courage true, like him were few
That still despised flight, man :
For king and laws, and country's cause,
In honour's bed he lay, man ;
His life, but not his courage, fled.
While he had breath to draw, man.
For a particular account of this brave soldier and pious
christian, see his Life, by the Reverend Philip Doddridge.
Mrs Richmond Inglis, one of the Colonel's daughters, wrote
a pretty poetical tale, called " Anna and Edgar," printed at
Edinburgh, in 1781, and dedicated to the Queen. It was
very favourably received.
202 CCVI. — COLONEL GARDINER.
Sir Gilbert's song is adapted to the tune of " Sawny's
Pipes," published in Oswald's Pocket Companion and other
old collections.
CCVII.
TIBBIE DUNBAR.
This little song was written by Burns, in 1789, purposely
for the Museum. The words are adapted to a Scottish jig,
called Johnny 31'Gill, from the name of its composer the
late Mr John M'Gill, musician in Girvan, Ayrshire. Mr
Hector M'Neil, author of " Will and Jean," a Poem, has also
composed a fine ballad to the same air, beginning " Come
under my plaidie," which the reader will find inserted in the
sixth volume of the Museum, page 550.
CCVIII.
JENNY WAS FAIR AND UNKIND.
This song, beginning " When west winds did blow with
a soft gentle breeze," is another production of Mr John Lap-
raik already noticed, and was likewise commvmicated by
Burns to Johnson. — See notes on Song-, No 205. The
words are adapted to the tune called " Scots Jenny,"" com-
posed by Oswald, and published in the fifth volume of his
Caledonian Pocket Companion, page 7th.
ccix.
MY HARRY WAS A GALLANT GAY.
Tune, " Highlander's Lament,
Burns says, " the oldest title I ever heard to this tune,
was ' The Highland Watch's Farewell to Ireland ;'' the
chorus I picked up from an old woman in Dunblane ; the
rest of the song is mine." — Reliques.
ccx,
THE HIGHLAND CHARACTER.
This excellent loyal Scottish song, beginning " In the
garb of old Gaul," is the composition of the late Sir Harry
Erskine of Torry, Bart. The air was composed by the late
General John Reid, Colonel of the S8th i-egiment of foot,
who has bequeathed a considerable sum for establishing a
Professorship of Music in the University of Edinburgh.
CCX. — 'THE HIGHLAND CHARACTER. 203
The tune made its first appearance in a small Collection of
Marches, Minuets, &c. composed by J. R. Esq. and dedi-
cated to the Right Honourable Lady Catharine Murray. It
is there titled " The Highland, or 42d Regiment's March."
The song is printed in Herd's Collection, 1769 and 1776.
CCXT.
LEADER HAUGHS AND YARROW.
• This song, beginning " The morn was fair, saft was the
air," set to the fine old air of " Leader Haughs and Yar-
row," is taken from Ramsay's Tea-Table Miscellany. It is
there published, anonymously, under the title of Sweet Susan,
to the tune of " Leader Haughs ;" but I have always heard it
attributed to Crawfurd, author of the song of Tweedside.
Both the old ballad of " Leader Haughs and Yarrow,"
and the tune, are said to be the composition of Nicol Burn, a
Border minstrel, who flourished about the middle of the
sixteenth century. As Thomson, in his Orpheus Caledo-
nius, gave a preference to the original verses, they are also
here inserted.
I.
When Phoebus bright the azure skies
With golden rays enlight'neth^
He makes all nature's beauties rise.
Herbs, trees, and flow'rs he quick'iieth :
Amongst all those he makes his choice.
And with delight goes thorow.
With radiant beams the silver streams
O'er Leader Haughs and Yarroiu.
II-
When Aries the day and night
In equal length divideth,
Auld frosty Saturn takes his flight,
Nae langer he abideth ;
Then Flora, queen, with mantle green.
Casts off her former sorrow.
And vows to dwell with Ceres' sel'.
On Leader Haughs and Yarrow.
III.
Pan playing on his aiten reed.
And shepherds him attending^
Do here resort their flocks to feed.
The hills and hautrhs commending.
204 CCXI.— LEADER HAUGHS A>fD YARROW.
With cur and kent upon the bent.
Sing to the sun good-morrow.
And swear nae fields mair pleasure yields
Than Leader Haughs and Yarrow. 'l
IV. ^
An house there stands on Leader-side, ;^
Surmounting my descriving, ^i
With rooms sae rair, and windows fair, '?.
Like Dedalus contriving ;
Men passing by do often cry.
In sooth it hath nae marrow.
It stands as sweet on Leader-side
As Newark does on Yarrow.
A mile below, wha lists to ride.
They'll hear the mavis singing.
Into Saint Leonard's banks she'll bide.
Sweet birks her head o'erhingmg ;
The lintwliite loud, and progne proud.
With tuneful throats and narrow.
Into Saint Leonard's banks they sing
As sweetly as on Yarrow.
VI.
The lapwing lUteth o'er the lee.
With nimble wing she sporteth.
But vows she'll flee frae tree to tree
Where Philomel resorteth :
By break of day the lark can say,
I'll bid you a good morrow,
I'll streek my wing, and, mounting, sing
O'er Leader Haughs and Yari-ow.
VII.
Park, Wanton-waws, and Wooden-cleugh,
The east and western Mainses,
The wood of Lauder's fan* enough.
The corns are good in Blainshes;
Where aits are fine and sold by kind.
That if ye search all thorow,
Meams, Buchan, Mar, nae better are
Than Leader Haughs and Yarrow.
viir.
In Burmill Bog and Whiteslade Shaws,
The fearful hare she haunteth ;
Brighaugh and Braidwoodshiel she knaws.
And Chapel-wood frequenteth ;
5
CCXI.— LEADER HAUGHS AND YARROW. 205
Yet when she irks to Kaidslie birks.
She rins and sighs for sorrow,
^ That she should leave sweet Leader Haughs,
And cannot win to Yarrow.
IX.
What sweeter music wad ye hear.
Than hounds and beagles crying ?
The started hare rins hard with fear.
Upon her speed relying.
But yet her strength it fails at length,
Nae beilding can she borrow
In Sorrel's field, Cleckman or Hags,
And sighs to be on Yarrow,
X.
For Rockwood, Ringioood, Spotty, Shag,
With sight and scent pursue her.
Till, ah ! her pith begins to flag,
Nae cunning can rescue her :
O'er dub and dyke, o'er seugh and syke.
She'll rin the fields all thorow.
Till fail'd, she fa's on Leader Haughs,
And bids farewell to Yarrow.
XI.
Sing Erslington and Cowdenknows,
Where Homes had ance commanding,
Audi Dry grange, with the milk-white ewes,
'Twixt Tweed and Leader standing.
The bird that flees throw Reedpath trees
And Gledswood banks ilk morrow.
May chant and sing, sweet Leader Haughs
And bomiy Howms of Yarrow.
XII.
But minstrel Burn cannot assuage
His grief, while life endureth.
To see the changes of this age
That fleeting time procureth ;
For many a place stands in hard case.
Where blyth fowk kend nae sorrow.
With Homes, that dwelt on Leader-side,
And Scotts, that dwelt on Yarrow.
CCXII.
THE TAILOR FELL THRO' THE BED, THIMBLE AN' A'.
This ancient and beautiful air is the March of the Corpora-
tion of Tailors. It is generally played at the annual meetings
for choosing the deacons, and other office-bearers of the so-
206
CCXII. THE TAILOE FELL THRo' THE BED, &C.
ciety. The popular air of " Logie o' Buchan," is only a
slight variation of the " Tailor's old March." The second
and fourth verses of the song were written by Burns, the rest
of it is very old.
CCXIII.
AY WAKIN, O.
The first stanza of this song, beginning " Simmer's a
pleasant time," was written by Burns, and he even made
some slight alterations on the very old fragment incorporated
with his words. As the tune in the Museum is far from be-
ing genuine, the ancient air is here inserted, with all that is
known to exist of the original verses.
AY WAKIN, OH !
^
g^^^^E
£
When I sleep I dream, When I wake I'm i-rie. Rest I can-na
^pp
i
!=:¥
£
*^ -J-
/ get. For thinkin o' my dearie. Ay wakin, oh ! Wakin aye and
i
^
^ — ~
Id
^
^
i - rie ; Sleep I canna get. For thinkin o' my dearie
Lanely night comes on,
A' the lave are sleepin' ;
I think o' my lad.
And bleer my een wi' greetin.
Ay ivakin, oh!
Wakin ay and irie ;
Sleep 1 canna get
For thinkin o my dearie
CCXIII.— AY WAKIN> OH ! 20*7
It cam in my head.
To send my luve a letter ;
My lad canna read.
And I loe him the better.
Ay tvakin, oh !
Wakin ay, and irie ;
Sleep I canna get
For thinkin o' my dearie.
In Mr George Thomson's Collection of Scottish Songs, the
air of " Ay wakin, oh I" is enlarged so as to finish on the
key-note, and the time is changed from treple to common.
The tune, however, is far better in its native wildness and
simplicity : both Tytler and Ritson were of opinion, that this
air, from its intrinsic evidence, was one of our oldest melodies,
and I see no reason to differ from them.
Burns was extremely fond of this tune. Besides the stanza
already mentioned, he composed the following affecting verses
to the same air, in May 1795.
Can I cease to care ?
Can I cease to languish.
While my darling fair
Is on the couch of anguish.
Long, long the night,
Heavy comes the morrow ;
While my soul's delight
Is on her led of sorrow.
Every hope is fled.
Every fear is terror !
Slumber, too, I dread.
Every dream is horror !
Long, long, &c.
Hear me, powers divine !
Oh ! in pity hear me !
Take aught else of mine.
But my Chloris spare me !
Long, long the night,
, Heavy comes the marroiu ;
While m,y soul's delight
Is on her bed of sorrow.
CCXIV.
THE BREAST-KNOTS.
The publisher of the Museum received this very humo-
rous ballad, beginning " There was a bridal in this town,"
1
208 CCXIV. — THE BREAST-KNOTS,
alongst with the sprightly air to which it is set, from an ano-
nymous correspondent. The verses are written in the broad
Buchan dialect ; but their author is unknown to the Editor.
The breast-knot was a fashionable piece of female dress up-
wards of a century ago, and continued to be worn to a late pe-
riod, as appears from several of Sir Joshua Reynolds' pictures,
ccxv.
BEWARE OF BONNIE ANN.
This air is the composition of Mr Allan Masterton, author
of the tune called " Strathallan's Lament," — See Notes on
Song 132, vol. ii. The verses, beginning " Ye gallants
bright, I rede you right," were written, in 1788, by Burns, in
compliment to Miss Ann Masterton, daughter of the com-
poser.
ccxvi.
THIS IS NO MINE AIN HOUSE.
This song was written by Ramsay, prior to the year 1724 ;
but he borrowed a line or two from the following old nursery
ditty.
O THIS is no my ain house.
My ain house, my ain house ;
0 this is no my ain house,
1 ken by the biggin o't ;
For bread and cheese are my door cheeks.
Are my door cheeks, are my door cheeks ;
For bread and cheese are my door cheeks.
And pancakes the riggin o't.
O this is no my ain wean.
My ain wean, my ain wean ;
0 this is no my ain wean,
1 ken by the greetie o't.
I'll tak the curchie afF my head,
AfF my head, afF my head ;
I'll tak the curchie aff my head.
And row't about the feetie o't.
In the Museum, Ramsay's verses are not set to the origi-
nal tune of " This is no my ain House," but to a very old air,
called Diel stick the Minister, from an old, but rather licen-
tious song, beginning
If ye kiss my wife,
I'll tell the minister, &c. &c.
CCXVI. THIS IS NO MY AIN l^OUSE, 209
This tune is inserted in Oswald's Caledonian Pocket Com-
panion, book vii. printed about the year 1743.
The following song was written by Burns in July 1795
to the same tune.
CHORUS.
O this is no my ain lassie,
Fair though the lassie be ;
O weel ken I my ain lassie.
Kind love is in her e'e.
I SEE a form^ I see a face^
Ye weel may wi' the fairest place : —
It wants to me the witching grace.
The kind love that's in her e'e.
O this is no, &c.
She's bonny blooming, straight and tall.
And lang has had my heart in thrall ;
And ay it charms my very saul.
The kind love that's in her e'e.
O this is no, &c.
A thief sae pawkie is my Jean,
To steel a blink by a' unseen ;
But gleg as light are lovers' een,
When kind love in the e'e.
O this is no, &c.
It may escape the courtly sparks.
It may escape the learned clarks ;
But weel the watching lover marks
The kind love that's in her e'e.
O this is no, &c.
There is a set of the tune of " Deil stick the Minister,"" in-
serted in Eraser's Gaelic airs, under the title of " Sean Truid's
Uillachan," printed in 1816, and the editor, in a note, informs
us, that the tune " is the modelling of Mr Campbell of Bud-
yet, and other Nairnshire gentlemen, formerly mentioned.
The air is of considerable antiquity, but it was formed by
them into this standard.'''' Of course we must beheve it to
be of Gaelic extraction ; but the Gaelic title will not do : It
is evidently a barbarous translation of Willie's Shantrews.
The word Shan, is a common Scottish adjective, signifying
poor or shabby, and shantrews, in the same dialect, literally
means shabby or poor-looking trowsers, a name by which
R
210
CCXVI.— THIS IS NO MY AIN HOUSE.
the tune has been known in common, with its still more ob-
jectionable title, at all our dancing-schools for many genera-
tions,
" Of Umquihile John to lie or bann,
Shaws but ill will and looks right shan.
Ye're never rugget shan nor kittle.
But blythe and gabby.
Ramsay's Poems.
As the reader may perhaps wish to see the original air of
" This is no my ain House," it is inserted from Mrs Crockat's
book, written in 1709, with the first verse of the song after-
wards written by Ramsay.
OLD AIR OF
"
THIS
IS NO
MY AIN
HOUSE
n
Tr« /-»
s-
^
^
T
.'-p—
r
"^
■yf-* ^
'
1
'• -
J
S
s
^W-^
a
.-i
<
—
^
-S^ I
L=z
jj:
-% —
:: 1
~
\^--^::^
H~
O THIS is no my ain house, I ken by the rigging o't; Since
^^B^^^P^^^
with my love I've changed vows, I dinna like the bigging o't
s — ^-T-— h f T-- ^■
a —9-
^
--4-
For now that I'm young Robie's bride. And mistress too of
his fire -side. Mine ain house I'll like to guide. And
-* -z h r-T— ^-
1
u^lt^
please me with the trigging o't.
ccxvii.
MY WIFE'S A WANTON WEE THING.
This sprightly old air is preserved in Oswald's Caledonian
Pocket Companion, and several other publications. It is
freqviently used as a dancing tune. There is only one verse
of the song in Herd's Collection. The old verses are here
subjoined. .
.h ■-:■
ccxvir. — MY wipe's a wanton wee thing. 211
My wife's a wanton wee thing.
My wife's a wanton wee thing.
My wife's a wanton wee thing-.
She winna be guided by me ;
She play'd the loon ere she was many'd.
She play'd the loon ere she was marry 'd.
She play'd the loon ere she was niarry'd,
, She'll do't again ere she die.
She sell'd her gown and she drank it.
She sell'd her gow^i and she drank it.
She row'd hersell in a blanket.
She winna be guided by me ;
She did it altho' I forbad her.
She did it altho' I forbad her;
I took a rung and I claw'd her.
And a braw gude bairn was she.
Burns composed a song of two stanzas to the same air ; but
Mr George Thomson did not approve of the second, and al-
tered it considerably, which Bums had the candour to admit
was a positive improvement.
Stanza I. hij Burns.
My wife's a winsome wee thing.
She is a handsome wee thing.
She is a bonnie wee thing.
This sweet Avee wife o' mine.
I never saw a fairer,
I neA'er lo'ed a dearer.
And niest my heart I'll wear her.
For fear my jewel tine.
Stanza II. as amended by G. Thomson.
O leeze me on my wee thing.
My bonnie blythesome wee thing;
Sae lang's I hae my wee thing,
I'll think my lot divine.
Tho' warld's care we share o't.
And may see meikle mair o't ;
Wi' her I'll blythly bear it, '
And ne'er a word repine.
CCXVIII.
LADDIE LIE NEAR ME.
The first song in the Museum, set to the fine old air of
" Laddie lie near me,'' was written by Dr Blacklock. It
begins " Hark the loud tempest shakes earth to its centre."
After the Doctor's sono- follow the old words, with one ver-
212 CCXVIII. LADDIE LIE NEAU ME.
bal alteration, as Johnson thought it more decorous that the
husband should be the prolocutor.
In September 1793, Mr Thomson transmitted to Burns a
long list of such tunes as he conceived to be deserving of
new verses, amongst which Avas the air of " Laddie lie near
me." The Bard, in answer, wrote him that " Laddie lie near
me must lie hy me for some time. I do not know the air ;
and until I am complete master of a tune, in my own singing
(such as it is), I never can compose for it. My way is : I
consider the poetic sentiment correspondent to my idea of
the musical expression ; then choose my theme ; begin one
stanza : when that is composed, which is generally the most
difficult part of the business, I walk out, sit down now and
then, look out for objects in nature around me, that are in
unison and harmony with the cogitations of my fancy and
workings of my bosom, humming every now and then the
air with the verses I have framed. When I feel my muse
beginning to jade, I retire to the solitary fire-side of my
study, and there commit my effusions to paper, swinging
at intervals on the hind-legs of my elbow-chair, by way of
calling forth my own critical strictures as my pen goes on.
Seriously this, at home, is almost invariably my way."
It was accordingly nearly two years after this period that
Burns wrote the following
SONG,
To the Tune of " Laddie lie near me"
'TwAS na her bonnie blue e'e was my ruin ;
Fair tho' she be, that was ne'er my vindoing,
'Twas the dear smile, when naebody did mind us,
'Twas the bewitching, sweet, stown glance of kindness.
Sair do I fear that to hope is denied me ;
Sair do I fear that despair maun abide me ;
But tho' fell fortune should fate us to sever.
Queen shall she be in my bosom forever.
Mary, I'm thine wi' a passion sincerest.
And thou has plighted me love the dearest !
And thou'rt an angel that never can alter.
Sooner the sun in his motion should falter.
213
CCXIX.
THE BRISK YOUNG LAD.
This very humorous song, beginning " There came a young
man to my daddie's door," previously appeared in Herd's
Collection, in 1776. The author is yet anonymous. In
Gow's Complete Repository, vol. i. the tune is strangely de-
nominated, " Bung your Eye."
ccxx,
THE GARDENER WI' HIS PAIDLE.
This fine song, beginning *' When rosy May comes in
wi' Flowers," was written by Burns purposely for the Mu-
seum. The old tune to which it is adapted is " The Gar-
dener's March," some bars of which have a considerable
affinity to the tune called " The March of Charles the 12th,
King of Sweden."
ccxxi.
BARBARA ALLAN.
This ballad is ancient. Bishop Percy had an old printed
copy in his possession, which was entitled " Barbara Allan's
Cruelty, or the Young Man's Tragedy," reprinted in the
third volume of his Ancient Songs and Ballads, at London,
in 176T. It is evidently an embellished edition of the old
Scottish ballad in the Museum, which is taken "verbatim from
that preserved in Ramsay's Miscellany in 1724. The learn-
ed prelate's copy makes the heroine's residence at Scarlet
Town^ (the city of Carlisle, perhaps;) and calls the hero
Jemmye Grove. In other respects, the story is nearly the
same in both ballads, and may possibly have had its origin from
circumstances that really occurred. Be that as it may, it has
been a favourite ballad, at every country fire- side in Scotland,
time out of memory. The strains of the ancient minstrel who
composed this song, may, indeed, appear harsh and unpo-
lished when compared with modern refinements ; neverthe-
less he has depicted the incidents of his story with such a
bold, glowing, and masterly pencil, as would do credit to any
age. A learned correspondent informs me, that he remem-
"bers having heard the ballad frequently sung in Dumfries-
214) CCXXr. BARBARA ALLAN.
shire, where it was said the catastrophe took place — that
there were people of the name of Allan, who resided in the
town of Annan — and that, in some papers which he has seen,
mention is made of a Barbara of that family — but he is of
opinion she may have been baptized from the ballad.
CCXXII.
YOUNG PHILANDER.
This old song was printed in Ramsay's Tea-Table Mis-
cellany, 1724, where it is called " Cecilia's Reflections on
herself for slighting Phflander's love," to the tune of the
" Gallant Shoemalcer-" It is followed by another song in
the same work, by way of answer, entitled " The Young
Ladies' Thanks to the repentant Virgin for her seasonable Ad-
vice." The first and third stanzas of " Young Philander,"
Anglocized by Thomas Durfey, and adapted to a tune com-
posed by Daniel Purcell, brother of Henry Purcell the
celebrated composer, were introduced in Durfey ''s Opera, en-
titled. The famous History of the Rise and Fall of Massa-
niello, acted at London 1 699. In Thomson's Orpheus Ca-
ledonius this ballad is adapted to a fine old air, called the
" Pier of Leith." In the Museum, it is set to a modernized
copy of the same turie, but the additions and alterations have
nearly destroyed the simplicity of the original, and rendered
it too long and tiresome. In Ramsay's days the ballad was
sung to the " Gallant Shoemaker," an old Scottish air,
which Charles Coffey selected from one of his songs, begin-
ing " If you would trvie courage show," in his opera called
The Female Parson, or Beau in the Suds, acted at Hay-mar-
ket Theatre, in London, in 1730.
inipLmi-^pp^^pii
Young Phi-lan-der woo'd me lang., But I Mas peevish,
. ■ K k. b
ai)(l f(jr-bad liiui ; I m ad-ua tent liis ]u\--ii)g' saug,, But
CCXXII.— YOUNG PHILANDER.
215
3cii:
^
^ji^jim
m
iatzjt
i
now I wishj I wish I had him
fczs — y
Ilk moi-niiig when I
?i
view my glass. Then I perceive my beauty's go - ing- :
^b^ — ^-^ — ^ -f * "^ F f-t-t-f- ■
&.^r:^--i— ^-^--^— i =^ -— ~ -J^-i — « -J-7 -
When the wrinkles seize the face. Then Ave may bid a-
±1 -^
/TnM-'^ (f-Cf fti/i^i
dieu to wooing.
CCXXIII.
ON A BANK OF FLOWERS.
This charming song was composed by Burns, in 1789,
for the Museum, at the request of Mr Johnson, in place of
a very indeUcate one inserted in Ramsay's Tea-Table Mis-
cellany, volume third, with the same title, and to the same
tune.
ccxxiv.
THE DAY RETURNS, MY BOSOM BURNS.
This song was likewise composed by Burns, as a tribute
of gratitude and respect to one of the happiest and worthiest
married couples in the world, Robert Riddell, Esq. of Glen-
riddill, and liis lady. " At their fire-side (says Burns) I
have enjoyed more pleasant evenings than at all the houses of
fashionable people in this country put together — and to their
kindness and hospitality I am indebted for many of the hap-
piest hours of my life." Reliques.
The tune was composed by Mr Riddell himself, and
named the seventh of November, which was the anniversary
of his mariiage. Mr Cromek, editor of the Reliques of
Burns, says, that when he visited Friar's Carse Hermitage,
(on the late Mr Riddell's estate,) so much celebrated by
Burns, he was greatly shocked to find this little spot, that
ought to have been held sacred, almost gone to decay. The
pane of glass, on which the poet had written his well-known
" Lines," was removed ; the floor was covered with straw ;
216 CCXXIV.-— THE DAY RETURNS, MY BOSOM BURNS.
the door thrown open ; and the trees, that had been planted
at the entrance to this interesting place, were broken down
and destroyed by cattle.
Such was the late proprietor. Captain Smith's neglect of
a spot, on the window of which Robert Burns had traced,
with his own hand, this tender tribute to the memory of a
departed friend.
" To Riddell, much lamented man !
This ivied cot was dear ;
Wanderer, dost value matchless worth?
This ivied cot revere !"
How different the reverence of a poor old female cottager,
living in a wretched hut in the immediate neighbourhood of
Ellisland. On being asked if she knew Burns : — " Kend
him ! Aye did I ! He was a great man for poems and mak-
ing of heuksy and the like o' that; but he's deed now, puir manr
ccxxv.
MY LOVE SHE'S BUT A LASSIE YET.
The title and the last half stanza of the song are old; therest
was composed by Burns. The cheerful air to which the verses
are adapted was also used as a dancing tune, under the name
of " Lady Badinscoth's Reel," as appears from an old MS.
copy of the tune, inserted in page 8, vol ii. of an original
edition of Macgibbon's Scots Tunes, now belonging to Mr
David Laing of Edinburgh, bookseller.
ccxxvi.
THE GABERLUNZIE-MAN.
This ballad, which for sterling humour cannot be surpass-
ed, is attributed to James V., King of Scotland, about the
year 1 524. It is related, that this monarch, when a young
man, u.sed to stroll occasionally about the country, dis-
guised as an itinerant mechanic or tinker, and to mingle
with the meanest of his subjects. These frolicsome excur-
sions often gave birth to curious adventures, which the witty
monarch made the themes of his songs and ballads, most of
which, it is believed, are now lost. He was second to none
of his age both as a poet and a musician.
CCXXVI. THE GABEULUNZIE-MAN. 217
The tune to which the verses are set in the Museum,
though ancient, is but ill adapted to the subject of the bal-
lad. I have often heard it sung ; but the singers uniformly
used the same air that goes by the name of " Muirland
Willie," which is at least as ancient as the ballad, and was,
in all probability, the very tune to which it was originally,
and still continues to be sung.
In 1782, the late Mr Callander of Craigforth published
the ballad, with literary notes, and luminous observations.
This work has now become pretty scarce.
CCXXVII.
THE CAULD FROSTY MORNING.
This fine old tune is claimed by the Irish and Scottish
Highlanders, who call it " Tha mi mo chadal," or " I am
asleep." Ramsay, about the year 1723, wrote a song be-
ginning " When innocent pastime our pleasure did crown,"
which he directs to be sung to this air. The song to which
it is set in the Museum, beginning " 'Twas past twelve
o'clock, on a cauld frosty morning," is marked with the let-
ter Z,, as being an old song with additions or corrections —
but the air deserves much better words. The tune appears
in Oswald's Collection, book iv. under the title of the
" Cold Frosty Morning."
CCXXVIII.
THE BLACK EAGLE.
This beautiful song, beginning " Hark ! yonder eagle
lonely wails," was written and composed by the learned Dr
David Fordyce, whose merits as a philosophical writer are
well known. Dr Fordyce perished by shipwreck in 1755.
See an account of his life prefixed to his Theodorus. There
is a set of the tune in the fifth book of Oswald, published in
1742, but it is not so genuine as that in the Museum.
ccxxix.
JAMIE, COME TRY ME.
This tune was composed by Oswald, and published with
218 CCXXIX.— JAMIE, COME TRY ME.
his name as the author, m the second volume of his Caledo-
nian Pocket Companion, prior to the year 1742.
The verses in the Museum were written by Burns for
that work, in the year 1789. I have never met with older
verses.
ccxxx.
MAGGIE'S TOCHER.
To its ain Time.
Ramsay, by the usual signature in his Tea-Table Mis-
cellany, the letter Z., testifies that this ballad, beginning
The meal was dear short syne, in his time was known to
be very ancient. Thomson, his contemporary, published it
with the original music in 1725.
A rich vein of genuine broad humour runs through the
whole of the old song, and the air, although in a minor key,
is remarkable both for its antiquity and sprightliness. The
note D, in the middle of the second strain, answering to the
word syne, ought to be an octave above ; for, although the
leap from the former note to its twelfth may do very well in
instrumental music, it is very unsuitable for the voice.
ccxxxi.
MY BONNY MARY.
This fine old air, called " The Silver.Tassie," was recover-
ed and communicated by Burns, who wrote the whole of this
song, beginning " Go fetch to me a pint o'' wine," with the
exception of the first four lines, which belonged to the origi-
nal verses. This song which, in the Reliques, our bard ac-
knowledges to be almost wholly his own composition, was
first introduced by him in a letter to Mrs Dunlop, (dated
17th Dec. 1788, and printed in Dr Curries edition of his
works, vol. iii.) as two old stanzas.
CCXXXII.
THE LAZY MIST.
The air and title of this song are taken from Oswald's
Caledonian Pocket Companion, volume xii. The words
CCXXXII. THE LAZY MIST. 219
were written by Burns in 1T89, on purpose for the Museum.
In his Reliques, the bard simply says, " This song is mine."
GCXXXIII.
THE CAPTAIN'S LADY,
This curious old air may be seen in Oswald's Caledonian
Pocket Companion, and other collections, under the title of
" Mount your Baggage." In the Caledonian Country-dance
Book, published about a century ago, by John Walsh of
London, it is called "The Cadie laddie." The verses in
the Museum, beginning " O mount and go," were commu-
nicated by Burns ; and although he does not acknowledge
them, I have good reason to believe they were his own. —
The old ditty begins,
I will away^ "
And I will not tarry,
I will away
And be a captain's lady.
A captain's lady
Is a dame of honour —
She has her maids
Ay to wait upon her —
To wait upon her.
And get all things ready,
I will away
And be a captain's lady.
, &c. &c. &c.
In the third volume of Gow's Complete Repository, the
reader will find the subject of this curious old melody, with
a slight variation, transformed into a strathspey, called
" Dalry-liouse."
ccxxxiv.
JOHNIE COPE.
This old air, which originally consisted of one strain, was
formerly adapted to some silly verses of a song, entitled
" Fye to the Hills in the Morning." The chorus, or burden
of the song, was the first strain repeated an octave higher.
An indifferent set of the tune, under the title of " Johny
Cope," appears in Oswald's Caledonian Pocket Companion,
volume ix. The verses in the Museum were taken Irom
220 CCXXXIV.'^JOHNIE COPE.
a sheet song, printed for A. Magowan, music-seller in Glas-
gow, interspersed with alterations and additions by Burns.
A different set of verses, to the same air, may also be seen
in Ritson's Scottish Songs, volume ii. But these two
sets are merely variations of the original satirical song, which
was written by Mr Skirven, author of the song, called " Tra-
nent Muir," inserted in the second volume of the Museum,
page 103. See the notes on that song. Both of Mr Skir-
ven's songs allude to the same event ; namely, the shameful
defeat of General Sir John Cope, at the battle of Preston,
on the 22d of September 1745, by Prince Charles Edward
and the Highland clans who followed his standard. This
information I obtained from one of Mr Skirven's relations,
and from several gentlemen who were intimately acquainted
with him.
ORIGINAL WORDS.
Cope sent a challenge frae Dunbar,
Charlie meet me an ye daur.
And ril learn you the airt o' war.
If you'll meet wi' me in the morning.
Chorus. — Hey! Jolmie Cape, are ye waking yet?
Or are. your druins a-heating yet ?
If ye tvere waking I would wait,
To gang to the coals i' the morning.
When Charlie looked the letter upon.
He drew his sword the scabbard from.
Come follow me, my merry men.
And we'll meet Johnie Cope i' the morning.
Hey ! Johnie Cope, &c.
Now, Johnie, be as good as your word.
Come let us try baith fire and sword.
And dinna flee like a frighted bird
That's chas'd frae it's nest i' the morning.
Hey ! Johnie Cope, &c.
When Johnie Cope he heard of this^
He thought it wadna be amiss
To hae a horse in readiness.
To flee awa i' the morning.
Hey ! Johnie Cope, &c.
CCXXXIV. — JOHNIE COi'E. 221
Fye now, Johnie, get up and rin,
The Highland bagpipes mak a din;
It's best to sleep in a hale skui.
For 'twill be a bluddie morning.
Hey ! Johnie Cope, &c.
When Johnie Cope to Dunbar came.
They spear'd at him, where's a' your men ?
The dell confound me gin I ken.
For I left them a' i' the morning.
Hey ! Johnie Cope, Sec.
Now, Johnie, troth, ye were na blate.
To come wi' the news o' your ain defeat.
And leave your men in sic a strait.
So early in the morning.
Hey ! Johnie Cope, &c.
In faith, quo' Johnie, I got sic flegs
Wi' their claymores and filabegs.
If I face them deil break my legs.
So I wish you a' good morning.
Hey ! Johnie Cope, &c.
CCXXXV.
I LOVE MY JEAN.
This air was partly composed by Mr William Marshal],
butler to the Duke of Gordon, by adding a second strain to
the old air, called " The Lowlands of Holland has twin'd
my Love and me," and was by him named " Miss Admiral
Gordon''s Strathspey." This song, beginning Of a' the airts
the wind can hlaw, " I composed," says Burns, " out of compli-
ment to Mrs Burns. N. B. — It was during the honey-
moon." Reliques.
ccxxxvi.
O, DEAR MOTHER, WHAT SHALL I DO?
The fragment of this old song, beginning " O, dear min-
ny, what shall I do," was transmitted in a letter from Burns
to the publisher, wherein the bard says, " Dear Sir, the fore-
going is all that remains of the old words. It will suit the
tune very well. — R. Burns,"
The other verses to the same tune, beginning " O, dear
Peggy, love's beguiling," were written by Ramsay as a song
222 CCXXXVI. 0, DEAR MOTHER, WHAT SHALL I DO ?
for Jenny in his Scottish pastoral comedy of " The Gentle
Shepherd."
The melody of this ancient song has latterly been mo-
delled into a reel tune, in common time, now called " The
Braes of Auchtertyre." — See GoWs Repository/, volume i.
page 20. The editor of the Repository, indeed, says that
the reel tune is the progenitor of the melody of the song. A
slight examination of facts, however, leads us to a very oppo-
site conclusion. The melody of the song, even in Ramsay
and M'Gibbon's days, was known to be very ancient^ whereas
the reel tune was modelled from the old air, about the year
1723, by James Crockat, son of the lady to whom the old
manuscript Music-book originally belonged, which has been
so frequently referred to in the course of this work. James
Crockat gave his reel tune the strange title of " How can I
keep my Maiden-head," which was the first line of an old in-
delicate song, now deservedly forgotten. The first attempt
to make the old tune into a reel, in the hand- writing of
James Crockat, is now in the possession of the Editor.
Bremner altered the old title, and published the tune, about
the year 1 764, under the name of " Lennox's Love to Blan-
tyre." It is now called " The Braes of Auchtertyre." Many
of our modern reel tunes, strathspeys, jigs, &c. are indeed
palpably borrowed from the subjects of our ancient vocal
melodies. Several instances of this fact have already been
pointed out in the preceding part of this work, and the
reader will find more of them in the eourse of the sequel.
The old tune of " O, dear Minny, what shall I do," has
been so loaded with modern alterations, that it can scarcely
be recognized. The following set of the tune, from an ancient
manuscript, is therefore annexed, I have adapted it to the
first stanza of the orimnal verses.
223
0 DEAR MINNY, WHAT SHALL I DO ?
SPi
3^
^^
O DEAR miu-ny, what shall I do? O dear mln-ny.
^^^^^^^1^
what shall I do? O dear mm-nj', what shall I do?
^=Jr
Daft thing-, doylt thing, do as I do. If I be black, I
^^^^^^^^^m
ira:
canna be lo'ed ; If I be fair, I canna be gude ; If I look
^
^1
lordly, the lads Avill look by nie. O dear min - iij^,
e^^B
what shall I do?
CCXXXVII.
THE LINKIN LADDIE.
This tune, together with the words adapted to it, were
transmitted by Burns to the editor of the Museum, as an
original song, and perhaps our bard really believed it to be
so. But the first strain of the melody is almost note for note
the same as that of the old air of " Hey, Jenny, come down
to Jock," and the musical reader will have no difficulty in
tracing the second strain to the latter part of the melody of
" Saw ye Johnie coming, quo' she," thrown into slow jig
time. This tune, therefore, is clearly a modern melody
compiled from these two older airs. The anonymous writer
of the Scottish words appears to have taken the hint from
one of Ophelia'^s songs in the tragedy of Hamlet.
224
CCXXXVIII.
ALLOA HOUSE.
This fine melody is the composition of Oswald, and ap-
pears in the first volume of his Caledonian Pocket Com-
panion, page 24, under the title of " Alloway House." In
the original index to that volume, there is an asterisk (*)
prefixed to the name of the tune, to denote that Oswald was
the composer. The song, beginning " The spring returns,
and clothes the green plains," was written by the late Rever-
end Dr Alexander Webster, one of the ministers of Edin-
burgh, who projected the praise-worthy scheme for providing
a fund for the Widows of the established Clergy of Scotland,
which has since been established with the most beneficial
effects. I have hitherto been unable to ascertain the locality
of this song, as the name is spelled in two different ways,
Alloway by the composer of the air, and Alloa by the writer
of the song. Alloway is a parish in Ayrshire, now of classi-
cal celebrity from its having given birth to Robert Burns,
our great national bard. But Alloa House, or the Tower of
Alloa, which is the scene of Dr Webster's song, is situated
near a village of the same name in the county of Clackman-
nan. This tower was built about the 13th century, and was,
along with the estate, exchanged by David II. in 1365, with
Lord Erskine, progenitor of the Earls of Mar, for the lands
of Stragarthney in Perthshire. It is still the favourite resi-
dence of the Erskines of Mar, who are descended of that
ancient and noble family.
ccxxxix,
CARL AN THE KING COME.
There are two songs to this old air in the Museum, the
first, beginning " Peggy, now the King's come," was written
by Ramsay for Mause, one of the characters in his Gentle
Shepherd. The second song, beginning " Carl an' the King
come," is partly old and partly modern, the second stanza
being written by Burns. The remainder of the verses are
said to have been composed during the usurpation of Crom-
CCXXXIX. CABt AN THE KING COME. 225
well. A more complete, but modernized, copy of the song,
however, may be seen in Hogg's Jacobite Reliques, vol. i.
CCXL.
THE SILLER CROWN.
This fine song was originally published by Napier as a
single sheet song, from which it was copied into the Museum ;
but neither the author nor the composer are yet known. An
excellent parody of the older verses, by a modern hand, and
set to a beautiful tune, composed by Miss Grace Corbet, is
inserted in the sixth volume of the Museum, see Notes on
song No 583, entitled " O Mary, ye'se be clad in Silk." Ur-
ban! reprinted this latter song in his Collection, under the
title of " I'll lay me down and die."
CCXLI.
ST KILDA SONG.
This song, beginning " By the stream so cool and clear,'"
is a translation, by Mr M'Donald, of a favourite Gaelic song
sung by the natives of St Kilda, the most remote of the
Western Isles of Scotland, to the same air which is inserted
in the Museum. Mr Charles Stewart reprinted the words
and music from the Museum, in the second volume of his
Vocal Miscellany, pubhshed in 1798.
CCXLI I.
THE MILL, MILL O.
This beautiful Scottish Melody is very ancient, and is in-
serted in Mrs Crockat's MSS. written in 1709. The verses
to which it was originally adapted, though still pi-eserved,
are too indelicate for insertion. It is one of those songs, with
respect to which the Reverend William Geddes, in the pre- -,
face to his Saint's Recreation, written in 1673, very pertinent- { ;
ly observes, " it is alleged by some, and that not without some 1 1
colour of reason, that many of our airs or tunes are made by '{ ^
good angels, but the lines of our songs by devils." J %
The verses adapted to the tune in the Museum, beginning '
" Beneath a green shade," were written by Ramsay as a sub-
226 CCXLII. — THE MILL, MILL O.
stitute for the old words ; and Thomson, in his Orpheus Cale-
donius, adapted Ramsay's verses to the original air, in 1725.
As Ramsay's verses were still considered by some people as
partaking too much of the rude simplicity of the olden time,
Burns endeavoured to supply the defect, in the composition
of the following exquisite Scottish ballad to the same air,
written in spring 1793.
WHEN WILD WAR'S DEADLY BLAST.
Tune— The Mill, Mill, O.
I.
When wild war's deadly blast was blawn.
And gentle peace returning,
Wi' mony a sweet babe fatherless.
And mony a widow mourning :
I left the lines and tented field.
Where lang I'd been a lodger.
My humble knapsack a' my wealth,
A poor and honest sodger.
II.
A leal light heart was in my breast.
My hand unstain'd wi' plunder ;
'And for fair Scotia, hame again,
I cheery on did wander :
I thought upon the banks o' Coil,
1 thought upon my Nancy,
I thought upon the witching smile
That caught my youthful fancy :
in.
At length I reach'd the bonny glen.
Where early life I sported ;
I pass'd the mill, and try sting thorn.
Where Nancy aft I courted :
Wha spied I, but my ain dear maid,
Down by her mother's dwelling !
And turn'd me round to hide the flood
That in my een was swelling.
IT.
Wi' alter'd voice, quoth I, sweet lass.
Sweet as yon hawthorn's blossom,
0 ! happy, happy may he be.
That's dearest to thy bosom !
My purse is light, I've far to gang.
And fain would be thy lodger,
I've serv'd my king and country lang—
Take pity on a sodger.
CCXLir. ^THE MILL, MILL O. 227
Sae wistfully she gaz'd on me,
And lovelier was than ever:
Quo' she, a sodger ance I lo'ed,
Forget him shall I never :
Our humble cot, and hamely fare.
Ye freely shall partake it ;
That gallant badge, the dear cockade,
Ye're welcome for the sake o't.
VI,
She gaz'd — she redden'd like a rose —
Syne pale like ony lily ;
She sank within my arms, and cried^,
Art thou my ain dear Willie ?
By Him who made yon sun and sky —
By whom true love's regarded,
I am the man ; and thus may still
True lovers be rewarded.
VII.
The wars are o'er, and I'm come hame,
And find thee still true-hearted ;
Tho' poor in gear, we're rich in love.
And mair we'se ne'er be parted.
Quo' she, my grandsire left me gowd,
A mailen plenish'd fairly ;
And come, my faithfu' sodger lad,
Thou'rt welcome to it dearly.
VIII.
For gold the merchant ploughs the main.
The farmer ploughs the manor ;
But glory is the sodger's prize ;
The sodger's wealth is honour:
The brave poor sodger ne'er despise.
Nor count him as a stranger j
Remember he's his country's stay.
In day and hour of danger.
Burns, in a letter to Mr George Thomson, dated June,
1793, and published in the fourth volume of Dr Currie's
edition of his works, says, " I cannot alter the disputed
lines in The Mill, Mill, O ! What you think a defect, I
esteem as a positive beauty ; so you see how doctors differ."
These lines were the third and fourth of stanza first.
Wi' mony a sweet babe fatherless.
And mony a widow mourning.
In place of these lines, Mr Thomson, in the first volume of
228 CCXLII. THE MILL, MILL O.
his Collection, and it seems by advice of William Erskine,
Esq. substituted the following :
And eyes again ivith pleasure heam'd,
That had been blear d with mourning.
These lines are much inferior to the original, and Mr
Thomson, in a late edition of the same publication, saw the
propriety of reprinting the ballad as the Bard originally wrote
it. Mr Gay selected this tune for one of his songs in " Pol-
ly," beginning " When gold is on hand it gives us com-
mand ;■" printed, but not acted, in London, 1729.
CCXLIII.
THE WAEFU' HEART.
Both the words and music of this elegant and pathetic
song were taken from a single sheet, printed at London
about the year 1788, and sold by Joseph Dale, No 19,
Cornhill, " sung by Master Knyvett." From these cir-
cumstances, I am led to conclude that it is a modern Anglo-
Scottish production, especially as it does not appear in any
of the old collections of our songs. If it be an imitation of
the Scottish style, however, it is a very successful one.
ccxLiv. ■*
LASS, GIN YE LOE ME, TELL ME NOW.
Tune — Herring and Salt.
Mr John Stafford Smith, in the first volume of his
Musica Antiqua, published at London in 1812, gives us the
following words of " A very Popular Song in the early part
of Henry the Eighth's Reign."
Joan, quoth John, when wyll this be ?
Tell me when wilt thou marrie me.
My come, and eke my calf and rents.
My lands, and all my tenements .''
Saie Joan, said John, what wilt thou doe .''
I cannot come every day to woe.
Mr Smith, in the same work, also gives the original air to
these words, with a bass of his own composition, and affirms,
that the Scots have borrowed their old song of " I canna
come ilka Day to woo," from this English source. But there
CCXLIV. LASS, GIN YE LOE ME, TELL ME NOW, 229
is not the smallest ground for such a conjecture. The old
Scottish air is totally different from the English one. The
former, which is uncommonly cheerful and lively, and ex-
tremely well-adapted to the nature and spirit of the words,
bears the marks of genuine antiquity : it commences on the
third, and ends on the fifth of the key. The latter is a stiff
and awkward tune, and is as opposite to the general style of
the old Scottish airs as night is to day. The incidents in
both songs are Hkewise totally different. The solitary line, " I
cannot come every day to woo," is no doubt nearly the same
in both copies ; but if the composer of either of these songs
did borrow a line at all, it is just as likely that the English
poetaster took his line from the old humorous Scottish ballad,
as that the minstrel who framed the latter borrowed a single
phrase from such a composition as that published so lately
for the first time by Mr Smith. Is it not absurd to affirm,
that the Scots have laid claim to an English song, which has
not the least affinity to their own Scottish song, either in
sound or in sense ?
David Herd has preserved a fragment of a song, apparent-
ly still older than that inserted in the Museum, which is here
annexed.
I HAE layen three herring a' sa't ;
Bonnie lass^ gin ze'U tak me, tell me now ;
And I hae brew'n three pickles o' ma t.
And I cannae cum ilka day to woo.
Chorus — To woo, to woo, to lilt and to luoo.
And I cannae cum ilka day to woo.
To ivoo, to ivoo, to lilt and to woo.
And I cannae cum, ilka day to woo
I hae a wee calf that wad fain be a cow ;
Bonnie lass, gin ze'll tak me, tell me now ;
I hae a grice that wad fain be a sow.
And I cannae cum ilka day to woo.
Chorus — To tvoo, to woo, to lilt and to ivoo.
And I cannae cum, ilka day to woo.
To woo, to ivoo, to lilt and to woo.
And I cannae cum ilka day to ivoo.
230 CCXLIV.— LASS, GIN YE LOE ME, TELL ME NOW.
Burns, in a letter to Mr George Thomson, dated Sept.
1798, and published in Dr. Currie's edition of his works,
vol. iv. says, " AVhat is your opinion of / hae laid a Her-
ring in Sawt 9 I hke it much." It does not appear that Mr
Thomson gave the bard any answer to his question.
CCXLV.
THE LOVER'S ADDRESS TO A ROSE-BUD.
This beautiful song, beginning " Sweet nursling of the
tears of morning," was written and composed by the late Mrs
Scott of Wauchope. Johnson told me this himself.
CCXLVI.
CEASE, CEASE MY DEAR FRIEND TO EXPLORE.
BunNs, in his Reliques, says, " This song is by Dr
Blacklock. I believe, but am not quite certain, that the air
is his too." — Reliques.
Mr Johnson informed me, that both the air and words
were composed by Dr Blacklock, on purpose for the Mu-
seum. Mr Clarke only added the bass part.
CCXLVIL
AULD ROBIN GRAY.
This masterly ballad, beginning " When the sheep are in
the fauid," is the composition of Lady Ann Lindsay, eldest
daughter of the late James, Earl of Balcarras, by his Count-
ess, Ann Dalrymple, daughter of Sir Robert Dalrymple of
Castletoun, Bart. Lady Ann was born on the 8th of De-
cember 1750, and married in 1793 to Andrew Bernard, Esq.
secretary to the colony at the Cape of Good Hope. She sur-
vived her husband, who died on the 27th October 1807,
without issue.
The tune to which the verses were originally adapted is
preserved in the Museum. It was formerly called " The
Bridegroom greets whan the Sun gangs down," which was, in
all probability, a line of an old song now lost or forgotten.
A friend informs me, that he has heard two lines of it.
But, oh ! quo' he, it's come o'er soon.
The bridegroom grat when the sun's?aed down..
CCXLVII. AULD ROBIN GRAY. 231
It is very remarkable, that such an exquisite ballad as
Auld Robin Gray should have been produced by so young
an authoress. It was written in the year 1770, when her
ladyship was only in the twentieth year of her age.
There is a beautiful English air to the same ballad, which
was composed by the Reverend William Leeves of Wrington.
This gentleman, in the preface to " Six Sacred Airs or Hymns,
intended as a domestic Sunday-evening"'s recreation," com-
posed by himself, acquaints us, that in the year 1770, when
residing with his family at Richmond in Surry, he received,
from the Honourable Mrs Byron, a copy of Lady Ann Lind-
say's verses, which he immediately set to music. He then
adds, '*> it may not be unsatisfactory to declare, which can
be done with the clearest conscience, that he never heard of
any other music than his own being applied to these inte-
resting words, till many years after that was produced to
which he now asserts an undivided claim : That his friend,
Mr Hammersley, was well acquainted with this ballad, long
before its surreptitious appearance in print ; and the still more
convincing testimony might be added of a respectable rela-
tion now residing at Bath, (12th June 1812) who was on a
visit to the author's family at Richmond when the words
were received, and the first manuscript (of the music) pro-
duced."
Mr Leeves has annexed a copy of the music, as originally
composed by him, adapted to Lady Ann's verses, at the end
of the above work, published by T. Birchall, New Bond
Street, London, in 1812. On the title-page there is an en-
graved vignette, representing Jenny seated at her spinning-
wheel in conversation with her mother. The old woman
appears in a standing postvire, supporting herself with a
crutch in one hand, and pointing towards Heaven with the
other, as if admonishing her daughter to submit with cheer-
fulness and becoming resignation to the Divine will. Jenny
seems to listen attentively to her mother's affectionate advice,
while her hand is directed to a book, which has the word
232 CCXLVII.— AULD ROBIN GRAY.
Bible on its cover, implying, no doubt, that she would hum-
bly endeavour to make that sacred volume the constant
rule of her faith and conduct. On an appropriate scroll are
the following words : —
I darna think of JamiCj,
For that wad be a sin !
Sae I'll do my best^
A glide wife to be ;
For Auld Robin Gray
Is kind to me.
There is some ingenuity in the design of this little vig-
nette. The reverend author probably intended to point out
the moral of the song, viz. a pious resignation to the decrees
of the Almighty ; but the engraving is not well executed.
The celebrated Mrs Billington was very fond of this bal-
lad, as set by Mr Leeves. She used to sing it frequently in
public, and was always rapturously encored. We shall con-
clude the remarks on this song with the following quotation :
« Mr Pinkerton, after observing, that none of the ' Scotch
amatory ballads,' as he remembers, ' are written by ladies,*"
and that the ' profligacy of manners, which always reigns be-
fore women can so utterly forget all sense of decency and
propriety as to commence authors, is yet almost unknown in
Scotland,' adds, in a note, that ' there is, indeed, of very
late years, one insignificant exception to this rule : Auld Ro-
bin Gray having got his silly psalm set to soporific music, is,
to the credit of our taste, popular for the day. But, after
lulling some good-natured audiences asleep, he will soon fall
asleep himself Little Ritson, with a becoming boldness
and indignation at the author of these ungracious and un-
gallant remarks, steps forward with his accustomed Bantam-
cock courage, and thus strikes at the hard forehead of Pin-
kerton. ' Alas ! this silly psalm will continue to be sung,
to the credit of our taste, long after the author of this equally
ridiculous and malignant paragraph shall be as completely
forgotten as yesterday's ephemeron, and his printed trash be
only occasionally discernible at the bottom of a pye. Of the
CCXLVII. — AULD ROBIN GKAY.
233
24 Scottish song-writers whose names are preserved, four,
if not five, are females; and, as poetesses, two more might be
added to the number." — See Scottish Songs, with RemarJcs by
Burns, editedbyCromeli^vol.n.p.^^. London,l8l0. From the
kindness of Miss Dundas of St Andrew's Square, in this city,
I am enabled to present the reader with a genuine copy of
the music of this celebrated ballad, from the author's own
work.
AULD ROBIN GRAY.
Words by Lady Ann Lindsay. Music by the Rev. Mr William Leeves
of Wrington.
Recti.
J^
iii|zzg=3J=jz^fZ^^
z^^:
^ ^ ^ ^
When the sheep are in the
5S5
S
ii
=E^3^
jEiEl
b-^^^
-4
(H — ^ — 1
( fauldj and a' the kye at hame^ And a' the wea-ry
^^1
i
i
m- F-
^m
SElESz|:±:^S5^iprE^
i:z3t
warld to sleep ai-e gane.
The waes 0' my
E
»' r- "■'
pzi — zg_^-_^p:_j- —
lZ=3t
heart fa' in show - ers frae my e'e^
i"-^;-j?-g;
While
i
234
CCXLVII.— AULD ROBIN GRAY.
aci
it==:i
my gude - man sleeps sound by me.
m
s
^zV.
^^^m^^^^
Si
^^^
I=SE
^-^?eE
^^^
6 5
4 3
^g^:gg^^lJc^g
Youngf Jamie lo'ed mc weel, and ask'd me for his
^V:S: 6
6 5
4 3
^^^^1^^^^
-jj — — — — — ^g; — j
bride. But, sav-ing a crown, he had naething else be-side ; To
I
6 5
4 3
i^^^^^
make the crown a pound, my Ja-mie gade to sea. And the
\^
SI
^\.. ■■■.— [—...I ■ ,. L— m,pL-,.i^-i_,«»n[—
i^
:^i^^i^^^i^^
crown and the pound were baith for me. He had nae been
6 6 k^ e 5 TT *=!
ai::
e 5
4 3
c
CCXLVII.-
15=
-AULD ROBIN GRAY,
235
^^gg^p^5i3=gSS
^^
gane a yeai* and a day, When my father brak his arm, and our
^PEEgi
^ tl b 6 6
:^
H
4+
2
* — ^
i^
qszn;!
_l ^—r-r
^
— 5t«
y covy was stown a - way ; My mi- ther she fell sick, and
I
u
s
'v.
-«->■
S3^^^^^SJ±fc&S=zE==g"-]h
« — jr
Jamie at the sea. And auld Robin Gray came a-courting to me.
i
an±33
E^
:-|:
E^
6 6 6 5
4 3
CCXLVIII.
LEITH WYND.
This song is improperly titled in the Museum. It ought
to have been called, " Were I assur'd you'd constant prove,"
Avritten by Allan Ramsay to the tune of " Leith Wynd,"
But the tune itself is in fact the identical melody of " Come,
hap me with your Petticoat," which was the homely old title
of the song. — See Remarks on the Sung No 139, in the Mu-
seum.
236 CCXLVIII. LEITH WYND.
About the year 1700, Adam Craig varied the old melody
a httle, and dignified it with the new title of " Leith Wynd,"
(a well-known street in Edinburgh), and he afterwards pub-
lished it in his Collection of Scots Tunes, dedicated to the
Lords and Gentlemen of the Musical Society in Mary's
Chapel, in the year 1730.
The verses in the Museum, beginning " Were I assured
you"'d constant prove," were written by Ramsay as a song
for Jenny and Roger, in his pastoral comedy of " The
Gentle Shepherd."
CCXLIX.
WHISTLE O'ER THE LAVE O'T.
This fine air was formerly adapted to some witty, but
indelicate verses, a fragment of which is preserved in Herd's
Collection. The humorous song in the Museum, beginning
*' First when Maggie was my care," was written by Burns
in 1789, as a substitute for the old verses.
The air was composed about the year 1720, by John
Bruce, a musician in the town of Dumfries, and Oswald
afterwards published it with variations in the last volume of
his Caledonian Pocket Companion.
CCL.
TAK YOUR AULD CLOAK ABOUT YE.
This song, beginning " In winter when the rain rain'd
cauld," had found its way into England as early as the com-
mencement of the reign of Queen Elizabeth, if not before ;
for it was a common song in Shakspeare's time, who quotes
a verse of it in the drinking scene in his tragedy of Othello,
act ii. scene iii. An English version of the song' is also in-
serted in the ancient manuscript belonging to Bishop Per-
cy, who has favoured the public with a copy of it in his
Reliques of Ancient Poetry, vol. i. p. 172, edition 1765. The
Scottish song was first printed in Ramsay's Tea-Table Mis-
cellany.
The old air is admirably adapted to the words, and is un-
doubtedly coeval with them. Many of these ancient melo-
CCL. TAK YOUR AULD CLOAK ABOUT YE. 237
dies have been preserved, and handed down from generation
to generation by oral communication alone, long before the
modern system of musical notation was perfected.
CCLI.
THE HAPPY CLOWN.
This song should have been titled " Hid from himself
now by the Dawn," written by Allan Ramsay to the tune of
" The Happy Clown."" Ramsay wrote this song for Sir
William Worthy, in his pastoral comedy of " The Gentle
Shepherd.'' The tune is inserted in Mrs Crockat's MS.
written in 1709. It was one of the airs selected by Mr Gay
for his song in the Beggar's Opera, beginning rm like a sMff ^
in the ocean tosty acted at London in 1728. But, prior to
this period, it had also been adapted to another song, begin-
ning " One evening as- 1 lost my way.
The original words of " The Happy Clown," are preserv-
ed in the Tea-Table Miscellany of 1724. As they possess
no small share of poetic merit, we here annex them.
I.
How happy is the rural clown.
Who, far remov'd from noise of town.
Contemns the glory of a crown.
And in his safe retreat.
Is pleased with his low degree.
Is rich in decent poverty.
From strife, from care and business free.
At once baith good and great !
II.
No di-ums disturb his morning sleep.
He fears no danger of the deep.
Nor noisy law, nor courts ne'er heap
Vexation on his mind ;
No trumpets rouse him to the war.
No hopes can bribe, nor threats can dare ;
From state intrigues he holds afar.
And liveth unconfin'd.
III.
Like those in golden ages born.
He labours gently to adorn
His small paternal fields of com.
And on their product feeds ;
238 CCLI. THE HAPPY CLOWN.
Each season of the wheelhig year,
Industrious he improves with care;
And still some ripened fruits appear.
So well his toil succeeds.
IV.
Now by a silver stream he lies.
And angles with his baits and flies ;
And next the silvan scene he tries
His spirits to regale :
Now from the rock or height he views
His fleecy flock or teeming cows.
Then tunes his reed, or tries his muse.
That waits his honest call.
V.
Amidst his harmless easy joys.
No care his peace of mind destroys,
Nor does he pass his time in toys
Beneath his just regard :
He's fond to feel the zephyr's breeze.
To plant and sned his tender trees ;
And for attending well his bees
Enjoys the sweet reward.
VI.
The flow'ry meads, and silent coves.
The scenes of faithful rural loves.
The warbling birds in blooming groves.
Afford a wish'd dehght.
But O ! how pleasant is this life.
Blest with a chaste and virtuous wife.
And children prattling, void of strife.
Around his fire at night.
CCLII.
DONALD AND FLORA.
This fine ballad is the composition of Hector Macneil,
Esq. author of the celebrated poem of " Will and Jean,"
and other popular works. Mr Macneil told me, that he
wrote this song to commemorate the death of his friend Cap-
tain Stewart, a gallant officer (betrothed to a young lady in
Atholl) who fell at the battle of Saratoga in America, in the
year 1777. On this unfortunate occasion, the British troops
were commanded by General Burgoyne.
The words are adapted to a fine old Gaelic air.
In the Museum, the song is printed as it was originally
written, but the author has subsequently altered and correct-
CCLII. UONALD AND FLORA. 239
ed some of the stanzas. The reader is therefore presented
with an accurate copy of this lyrical composition ; and, upon
comparing it with the copy inserted in the Scots Musical
Museum, he will be enabled to discover the late improve-
ments made on it by its author.
When merry hearts were gay,
Careless of aught but play.
Poor Flora slipt away,
Sad'nmg to Mora*^
Loose flow'd her yellow hair.
Quick heav'd her bosom bare.
As to the troubled air
She vented her sorrow.
II.
" Loud howls the stormy west.
Cold, cold is winter's blast ;
Haste then, O ! Donald, haste.
Haste to thy Flora !
Twice twelve long months are o'er.
Since on a foreign shore
You promis'd to fight no more,
But meet me in Mora.
III.
'' ' Where now is Donald dear.'''
Maids cry with taunting sneer,
' Say, is he still sincere
To his lov'd Flora ?'
Parents upbraid my moan ;
Each heart is tum'd to stone —
Ah ! Flora thou'rt now alone.
Friendless in Mora !
IV.
" Come then, 0, come away !
Donald, no longer stay.
Where can my rover stray
From his lov'd Flora ?
Ah ! sure he ne'er can be
False to his vows and me :
O Heaven ! — is not yonder he
Bounding o'er Mora !
Mora is the name of a small valley in Athole, so named by the two lovers.
240 CCLII. DONALD AND FLORA.
" Never^ ah, wretched fair !'
(Sigh'd the sad messenger,)
Never shall Donald niair
Meet his lov'd Floka !
Cold as yon mountain snow,
Donald, thy love lies low.
He sent me to sooth thy woe.
Weeping in Mora.
VI.
" Well fought our gallant men
On Saratoga's plain ;
Thrice fled the hostile train
From British glory.
But, ah ! tho' our foes did flee.
Sad was each victory :
Youth, love, and loyalty.
Fell far from Moka.
VII.
" ' Here take this love-wrought plaid,'
Donald expiring said ;
' Give it to yon dear maid
Drooping in Mora.
Tell her, O Allan tell,
Donald thus bravely fell.
And that in his last farewell
He' thought on his Flora."
VIII.
Mute stood the trembling fair.
Speechless with wild despair ;
Then, striking her bosom bare,
Sigh'd out — " Poor Flora !
Ah I Donald ! ah, well-a-day !"
Was all the fond heart could say :
At length the sound died away.
Feebly, in Mora.
CCLIII.
BY THE DELICIOUS WARMNESS.
This song was written by Ramsay, for Patie and Peggy,
in his pastoral comedy of " The Gentle Shepherd.'' The
words and music were inserted in the Orpheus Caledonius.
CO LIT.
SUN GALLOP DOWN THE WESTLIN SKIES.
Tins is another production of Ramsay, inserted in the
same comedy, and is, in fact, the chorus of the song last
1
CCLIV. SUN GALLOP DOWN THE WESTUN SKIES. 241
mentioned. The airs to No 253 and 254 appear to have
been composed expressly for Ramsay's verses, by one of his
musical friends and contemporaries, as they do not appear in
any collection prior to 1725. Both these songs were insert-
ed, without music, in the pastoral of Patie and Peggy, which
was published some years before Ramsay wrote his comedy
of the Gentle Shepherd.
CCLV.
0, WERE I ON PARNASSUS' HILL.
This song was written by Bums in 1789, on purpose for
the Museum. It is adapted to the fine plaintive tune of " My
Love is lost to me," which was composed by Oswald, and pub-
lished in the fifth volume of his Caledonian Pocket Compa-
nion, page 25. Mrs Burns is the lady alluded to by our poet.
CCLVI.
SONG OF SELMA.
The words of this song, beginning " Ullin, Carill, and
Ryno," are taken from the conclusion of the seventh book
of Temora, an epic poem, by Ossian, translated by Mac-
pherson. The music, which is extremely characteristic, was
composed by Oswald.
CCLVII.
THE CAPTIVE RIBBAND.
This song, beginning " Dear Myra, the captive ribband's
mine," is another unclaimed production of Burns. The words
are adapted to a Gaelic air, called " Robie donna gorrach," or
" Daft Robin." This air is evidently a slight alteration of the
fine old triple time tune, entitled " Earl Douglas's Lament,"
which may be seen in Oswald's Collection, book vii. page 30.
CCLVIII.
THERE'S A YOUTH IN THIS CITY.
" This air (says Burns) is claimed by Neil Gow, who
calls it the Lament for his Brother. The first half stanza
of the song is old — the rest is mine." Reliques. Mr Cro-
mek informs us, that he had a memorandum-book in his
possession, in which the venerable portrait of this national
242 ccLVin.— there's a youth in this city.
musician is thus drawn by Burns, with his usual characteris-
tic strength and expression : — " A short, stout-built, honest
Highland figure, with his grayish hair shed on his honest
social brow ; an interesting face, marking strong sense, kind
open-hearted ness, mixed with unmistrusting simplicity." —
Neil Gow was born in Strathbrand, Perthshire, in the year
1727, and died in the eightieth year of his age, at Inver,
near Dunkeld, on the 1st of March, 1807. A writer in the
Scots Magazine very justly observes, " that although Mr
Neil Gow had raised himself to independent and affluent cir-
cumstances in his old age, he continued free of every appear-
ance of vanity or ostentation. He retained, to the last, the
same plain and unassuming simplicity in his carriage, his
dress, and his manners, which he had observed in his early
and more obscure years. His figure was vigorous and man-
ly ; and the expression of his countenance spirited and in-
telligent. His whole appearance, indeed, exhibited so char-
acteristic a model of what national partiality conceives a
Scottish Highlander to be, that his portrait has been repeat-
edly copied. An admirable likeness of him was painted, a
few years ago, for the Honourable Mr Maule of Panmure,
M. P. for Forfarshire, by Mr Raeburn ; and he has been
introduced into the View of a HigJiland Wedding, by
the late ingenious Mr Allan, to whom he was requested
to sit for the purpose." The late Rev. Mr Graham, author
of The Sabbath, also published the following tributary verses
to his memory :
*' The blythe strathspey springs up, remindhig some
Of nights when Gow's old arm, (nor old the tale).
Unceasing, save when reeking cans went round.
Made heart and heel leap light as bounding roe,
Alas ! no more shall we behold that look
So venerable, yet so bl^nt with mirth,
And festive joy sedate ; that ancient garb
Unvaried ; tartan hose and bonnet blue !
No more shall beavUy's partial eye draw forth
The full intoxication of his strain
Mellifluous, strong, exuberantly rich !
No moie amid the pauses of the dance
Shall li^ repeat those measures, that, in days
ccLviii. — theee's a yoltth in this city. 243
of other years^ could sooth a falling prince.
And light his visage with a transient smile
Of melancholy joy, like autumn sun
Gilding a sere tree with a passing beam !
Or play to sportive children on the green.
Dancing at gloamin' hours, on willing cheer.
With strains unbought, the shepherd's bridal day."
British Georgics, p. 81.
CCLIX.
MY HEART'S IN THE HIGHLANDS.
The first half stanza of this song (says Burns) is old — the
rest is mine. See Reliques. The words are adapted to a
Gaelic air, called " Failte na moisg,"' or, " The Musket
Salute,*" inserted in Oswald's Caledonian Pocket Companion,
volume first, page 22.
CCLX.
JOHN ANDERSON, MY JO.
The following original words of this very ancient song
are preserved in Bishop Percy's old manuscript, written as
early, if not before the year 1560.
Woman.
John Anderson, my jo, cum in as ze gae by,
And ze sail get a sheip's held weel baken in a pye ;
Weel baken in a pye, and the haggis in a pat ;
John Anderson, my jo, cum in, and ze's get that. ;
Man.
And how doe ze, cummer ? and how doe ze thrive .'*
And how mony bairns hae ze ?
Woman.
Cummer, I hae five.
Man.
Are they to your awin gudeman .?
Woman.
Na, cummer, na —
For three of tham were gotten quhan Willie was awa.
This John Anderson, if we may rely on an uniform and
constant tradition, was, of old, the town-piper of Kelso, and
an amorous wag in his day. About the period of the Refor-
mation in Scotland, however, the last verse of the above song
was slightly altered, and transferred from a real or supposed
incident in private life, to the public tenets of the Catholic
church. Luther, Calvin, Beza, and^Knox, had already de-
monstrated and exposed the fallacy of any other sacraments
244 CCLX. JOHK ANDERSON, MY JO.
than those expressly authorized and sanctioned by Sacred
Writ, namely, baptism and the Lord''s supper. The church
of Rome, nevertheless, had introduced five additional sacra-
ments into her ritual vist. 1 , The sacrament of penitence.
2. The sacrament of confirmation. 3. The sacrament of ex-
treme unction. 4. The sacrament of ordination. And, 5.
The sacrament of marriage. These five sacraments were re-
jected by the reformed church as spurious and unauthorized.
The stanza above alluded to ran thus :
Man.
And how doe ze cummer ? and how hae ze thriven ?
And how mony bairns hae ze ?
WoTnan.
Cummer, I hae seven.
Man-
Are they to your awin gudeman ?
Woman.
Na, cummer, na ;
For Jive o' them were gotten quhan he was far awa.
Bishop Percy, and Mr Tytler, who follows the prelate's
opinion, were mistaken in asserting that the tunes to such
songs, as John Anderson — Green Sleeves — John, come hiss me
now — Maggy Lauder — Kind Robin loes me, &c. &c. original-
ly belonged to the most favourite hymns in the Latin ser-
vice, which had been burlesqued by the reformers. The
fact is quite otherwise. The ancient humorous Scottish
songs are not indebted to the Catholic church either for their
words or their music. On the contrary, the earliest Scottish
reformers called into their religious service the beautiful airs
of that kingdom, and adapted them to Godly and Spiritual
Songs, collected out qfsundrie parts of Scripture, for avoid-
ing sinne and harlotrie, in 1549. Nay, more, they even
parodied and spiritualized some of the most favourite secular
songs, such as Fll never leave thee ! — Low down in the Broom
— Up in the Morning early — Hey now the Day daws, &c. &c.
as we know, not only from the testimony of the Rev. William
Geddes, but likewise from their own " Compendious Booke."
The music of the ancient Latin service was strictly confined
to what was denominated the eight modes of the church ;
CCLX.— JOHN ANDERSON, MY JO.
245
four of which were reckoned authentic, and four plagal. —
Now almost every old Scottish tune runs counter to these
rules of church composition. Hence it may reasonably be
inferred, that many of those old melodies existed, and were
chanted by the natives of this part of the island, before the
church of Rome existed. The hymns, and indeed the whole
service of the Roman church, it will be recollected, were
written in Latin, and it may be presumed that most of the
reforming wits of that age were too imperfectly acquainted
with this language to burlesque them. A copy of the Latin
hymns set to music, which was used in the cathedral of Dun-
keld, escaped the flames at the Reformation, and is preserved
in the library of the college of Edinburgh. It consists of five
thin quarto volumes. After having perused them with the
most scrupulous care and attention, from beginning to end,
I have been unable to detect a single musical phrase that has
the smallest resemblance to any of our national tunes. The
work is just now lying on my table, having been sent to me
for examination and perusal by the very reverend Principal
Baird. I have also examined a still more extensive Roman
service-book, which formerly belonged to the abbey of Scone,
now in the Advocate's Library at Edinburgh, and do not find
one church tune having the least resemblance whatever to any
of our Scottish melodies.
The tune of "John Anderson, my Jo," though long handed
down by oral communication, was committed to paper a3
early as 1578, in Queen Elizabeth's virginal-book, which is
still preserved. Two beautiful stanzas, written by Burns in
1789 for the Museum, are adapted to the air in that work.
Since the death of our lamented bard, four additional stan-
zas have appeared in a collection, entitled " Poetry original
and selected," printed by Messrs Brash & Reid of Glasgow.
With respect to these stanzas, Dr Currie justly remarks,
" that every reader will observe they are by an inferior hand,
and the real author of them ought neither to have given
them, nor suffered them to be given to the world, as the pro-
duction of Burns."
24G
CCLXI.
AH ! WHY THUS ABANDON'D TO MOURNING AND WOE.
The words and music of this beautiful song were sent to
Johnson by an anonymous correspondent. Burns consider-
ed it to be very deserving of a niche in the Museum, and
Johnson accordingly inserted it in that work. The author
is still unknown.
CCLXII.
DEIL TAK THE WARS.
This beautiful air was early introduced into England.
Ritson says, that Durfey wrote the words, and sung them in
" A Wife for any Man." If the words really are by Durfey,
they do him little credit. But no such piece as this appears
throughout the whole Biographia Dramatica, by Baker, Reed,
and Jones, in 4 vols 8vo, London, 1812. In 1680, Dur-
fey wrote " The Virtuous Wife," a very entertaining comedy,
but not free from plagiarism, having borrowed several hints
from Marston's Fawn, and the character of Beaufort from
Palamede in Dryden's " Marriage a la Mode," and Beau-
mont and Fletcher, in 1647, wrote a very good tragi-comedy,
entitled " A Wife for a Month ;" but I have not been able
to find the song in either of these plays. Both the words
and the music appear in the first edition of the Pills in 1698,
and the tune may be seen in a Collection of Original Scotch
Tunes, published by Henry Playford the same year. Burns
was uncommonly fond of this tune. In a letter to Mr Thom-
son, printed in the fourth volume of Dr Currie's edition of
the bard's works, he says, " I am out of temper that you
should set so sweet, so tender an air, as Deil tak the Wars to
the foolish old verses. You talk of the silliness of Saw ye
my Father ? By Heavens ! the odds is gold to brass ! Besides,
the old song, though now pretty well modernized into the
Scottish language, is originally, and in the earlier editions, a
bungling low imitation of the Scottish manner by that ge-
nius Tom Durfey ; so it has no pretensions to be a Scottish
production. There is a pretty English song by Sheridan,
6
CCLXII.— DEIL TAK THE WAK9. 247
m the Duenna, to this air, which is out of sight superior to
Durfey's. It begins ' When sable night each drooping
plant restoring.' The air, if I understand the expression of
it properly, is the very native language of simplicity and
love."
Burns wrote the two following stanzas to this tune, which
he entitled " The Lover's Address to his Mistress."
Sleep'st thoUj or wak'st thou, fairest creature ?
- Rosy morn now lifts his eye.
Numbering illta bud which Nature
Waters wi' the tears o' joy.
Now thro' the leafy woods,
And by the reeking floods.
Wild Nature's tenants freely, gladly stray ;
The Imtwhite in his bower
Chants o'er the breathing flower ;
The lavrock to the sky
Ascends wi' songs o' joy.
While the sun and thou arise to bless the day.
II.
Phoebus gilding the brow o' morning,
Banishes ilk darksome shade,
Nature gladdening and adorning ;
Such to me, my lovely maid.
When absent frae my fair.
The murky shades o' care.
With starless gloom, o'ercast my sullen sky ;
But when, in beauty's light.
She meets ray ravish'd sight ;
When through my very heart
Her beaming glories dart,
'Tis then I wake to life, to light, and joy.
Burns remarks upon it, " I could easily throw this (song)
into an English mould; but, to my taste, in the simple and
tender of the pastoral song, a sprinkling of the old Scotch has
an inimitable eifect."
CCLXIII.
AWA, WHIGS, AW A.
This is undoubtedly one of our oldest melodies. I have
now lying before me a very ancient copy of it, in one strain,
entitled " Oh, silly Soul, alace !" The second strain ap-
248 CCLXIIT.— AWA, WHIGS, AWA.
pears to have been added to it, like many other of this kind,
at a much later period, by a slight alteration of the first.
The Jacobites selected this air for a song called " The Earle
of Mar's Men," and another entitled " Awa, Whigs, awa,"
a fragment of which, with two additional stanzas, namely, the
second and fourth, written by Burns, are printed in the Mu-
seum.
A more complete copy of this Jacobite song may be seen
in Hogg's Relics, vol. i. ; but it owes its perfection to mo-
dern hands. The ancient air of " Oh, silly Soul, alace r
is evidently the progenitor of the popular tune, called " What
ails this Heart of mine ?" and " My Dearie an thou die."'"'
CCLXIV.
CA' THE YOWES TO THE KNQWES.
Mb Stephen Clarke took down this song in 1787, when
Burns and he were spending an evening with the Rev. Mr
Clunie. Burns, however, added two stanzas to the song,
and made several alterations on the old verses, but not in his
happiest manner. The old verses follow :
Ca the yowes to the knowes,
Ca them where the heather growet,
Cd them where the burnie rowes,
My bonnie dearie.
Will ye gang down yon water side.
That thro' the glen does saftly glide.
And I sail row thee in my plaid.
My bonnie dearie ?
Cd the yowes, <Sfc.
Ye sail hae rings and ribbons meet.
Calf-leather shoon upon your feet.
And in my bosom ye sail sleep.
My bonnie dearie.
Cd the yowes, Sjc.
I was brought up at nae sic school.
My shepherd lad, to play the fool.
Nor sit the livelong day in dool,
Lanely and irie.
Ca' the yowes, Sfc.
CCLXIV. CA' THE YOWES TO THE KNOWES. 249
Yon yowes and lammies on the plain,
Wi' a' the gear my dad did hain,
I'se gie thee, if thou'lt be mine ain.
My bonnie dearie.
Cd the yoives, S^c.
Come weel, come wae, whate'er betide,
Gin ye'll prove true, I'se be your bride.
And ye sail row me in your plaid.
My winsome dearie.
Cd the yowes, S^c.
Although the tune is not to be found in any collection
prior to 1787, it bears internal marks of antiquity. It only
consists of one strain of eight bars, yet the air is uncommonly
wild and pleasing. In the Museum, the note C, answering
to the first syllable of the word heather, ought to be made
sharp.
Burns, in one of his letters to Mr Thomson, dated in Sep-
tember 1794, says, " I am flattered at your adopting * Ca'
the yowes to the knowes,' as it was owing to me that it saw the
light. About seven years ago, I was well acquainted with a
worthy little fellow of a clergyman, a Mr Clunie, who sung
it charmingly, and at my request Mr Clarke took it down
from his singing. When I gave it to Johnson, I added some
stanzas to the song, and mended others, but still it will not do
for you. In a solitary stroll which I took to-day, I tried my
hand on a few pastoral lines, following up the idea of the cho-
rus, which I would preserve. Here it is, with all its crudities
and imperfections on its head."
Chorus.— Ca' the yoives to the knowes,
Cd them where the heather growes,
Cd them whare the burnie rowes.
My bonnie dearie.
Hark ! the mavis' evening sang
Sounding Clouden's woods amang;*
• Cluden, or Clouden, is a river in Dunafriesrshire, which takes its rise near the
base of the Criffal mountains, and after a course of about fourteen miles falls
into the Nith, nearly opposite to Lincluden College. It abounds with excellent
trout.
250 ccLxiv. — ca' the kwes to the knowes.
Then a faixlding let us gang.
My bonnie dearie.
Cd the yoioes, SjC.
We'll gae down by Clouden side.
Thro' the hazels spreading wide.
O'er the waves that sweetly glide.
To the moon sae clearly.
Cd the 2/ owes, S^c.
Yonder Clouden's silent towers.
Where at moonshine midnight hours.
O'er the dewy-bending flowers.
Fairies dance sae cheery.
Cd the yowes, &;c.
Ghaist nor bogle shalt thou fear,
Thou'rt to love and Heaven sae dear,
Nocht of ill may come thee near.
My bonnied earie.
Cd the yowes, SfC.
Fair and lovely as thou art.
Thou hast stown my very heart ;
I can die — but cannot part.
My bonny dearie.
Cd the yowes, S^-c.
CCLXV.
SE DE M HOLLA.
A Highland Song.
The air and words of this Gaelic song, as well as the Eng-
lish translation, were copied from Sibbald's Edinburgh Maga-
zine for 1785. The same song was reprinted in " Albyn's An-
thology," published in 1816, with the following note, by Mr
Campbell, the editor of that work.
" This original Hebridean air was noted dovni from the
mouth of a young girl, a native of Lewis, by an accomplished
lady, (a namesake 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."
CCLXVI.
THE JOLLY BEGGAR.
This very humorous, though somewhat licentious ballad,
(words and music) is uniformly attributed to James V. of
CCLXVI.-— THE JOLLY BEGGAR, 251
Scotland, about the year 1534!. It is said, that he composed
it on an amour with a farmer's daughter, in whose house he
had been accommodated with a night's lodging, while strolling
about the country in the disguise of a mendicant. The laird
of Brodie, mentioned in the ballad, is understood to have
been the progenitor of the Brodies of that UK; one of the
most ancient and respectable families in the north of Scot-
land. It is of this ballad that Horace Walpole (afterwards
Lord Orford) in his Catalogue of Royal and Noble authors,
has remarked, that there is something very ludicrous in the
picture of the young girl's distress on imagining that her first
favour had been thrown away upon a beggar. King James
died 14th December 1542, in the thirty-first year of his age.
CCLXVII.
I LOE NA A LADDIE BUT ANE.
The two first stanzas of this song, in the Museum, were
written by Mr Clunie, according to the authority of Burns.
— See Currie''s Edition of Burns, vol, i. Appendix, No 2. But
in Ritson's Collection, the reader will find the letters J. D.
prefixed to the song, which is directed to be sung to the tune
of " Happy Dick Dawson." If J. D. be the initial letters
of the composer's name. Burns must have been misinformed.
The four supplementary stanzas, beginning " Let others
brag weel o' their geer," were composed by Hector Macneil,
Esq. before noticed. Mr Macneil told me this himself.
The musical reader will easily observe a striking affinity
between the Scots air and the Irish tune called " My Lodging
is on the cold Ground."
CCLXVIII.
I'LL MAK YOU BE FAIN TO FOLLOW ME.
Ramsay inserted a song, by an anonymous hand, to this
lively old tune, beginning " Adieu, for a while, my native
green plains," in the second volume of his Tea- Table Mis-
cellany ; but he omitted the original song, beginning " As
late by a soldier I chanced to pass," now inserted in the Mu-
252 CCLXVIII. I'LL MAK YOU BE FAIN TO FOLLOW ME.
seum. The tune appears in Oswald's Collection, and in many
others.
CCLXIX.
THE BRIDAL O'T.
This song was written by Alexander Ross, late school-
master of Lochlee, in the county of Forfar. Mr Ross was
born in the parish of Kincardine O'Neil, Aberdeenshire,
about the year 1700. His father, who was a farmer in that
country, gave him a suitable education, and he had the
pleasure to see it well bestowed on such a son. His first
settlement was at Birse, as parochial schoolmaster. He after-
wards removed to Lochlee, in the same capacity, about the
year 1733, and here he continued, in the centre of the Gram-
pians, almost secluded from the converse of men and books,
for the space of fifty years. Mr Ross died in May 1783.
He was an excellent Latin scholar, and a pious and worthy
man. He wrote " The Fortunate Shepherdess," a poem, in
the Scottish language, and some songs, which were published
for the author's behoof in 1768. He must have commenced
poet at an early period, for " The Rock and the wee pickle
Tow,'" is referred to in the 2d volume of Ramsay's Tea-Table
Miscellany in 1728. He is likewise the author of " The
Orphan,"" a poem, still unpublished.
The verses, beginning " They say that Jock'll speed weel
o't," are adapted to a well known Highland strathspey. In
Angus Curaming's Collection of Old Reels and Strathspeys,
it is called " Acharnac's Reel, or Bal nan Grantich ;" but in
Gow's Collection, it goes under the name of " Lucy Camp-
bell's Delight."
CCLXX.
O MERRY HAE I BEEN TEETHING A HECKLE.
The original copy of this humorous song, in the hand-
writing of Burns, is now in my hands. It seems to be a
whimsical allusion to his former occupation as a flax-dresser.
" My twenty-third year (says he) was to me an important
jera. Partly through whim, and partly that I wished to set
CCLXX. — O, MKRRT HAE I BEEN, &C. 253
about doing something in life, I joined a flax-dresser in a
neighbouring town (Irwin) to learn his trade. This was an
unfortunate affair." After informing us, that their lint- shop
took fire and was burnt to ashes, and that he was left, like a
true poet, without a sixpence, he proceeds, " to crown my
distresses, a belle Jille whom I adored, and who had pledged
her soul to meet me in the field of matrimony, jilted me with
peculiar circumstances of mortification."" — See Currie's Life
of Burns, vol. i.
The tune to which the verses are set, by direction of the
poet himself, on the top of the manuscript, is called " Boddich
na 'rabrigis, or Lord Bredalbine's March," from Daniel Dow's
Highland Airs.
CCLXXI.
A MOTHER'S LAMENT FOR THE DEATH OF HER SON.
This elegiac song, beginning " Fate gave the word, the
arrow sped," was written by Burns in 1789, and sent to
Johnson for insertion in the Museum. Burns gave him, at
the same time, positive instructions to set it to the air called
" Finlayston House," which was composed by Mr John Rid-
del, and Mr Clarke accordingly did so.
In the Reliques, Burns says, " this most beautiful tune is,
I think, the happiest composition of that bard-born genius,
John Riddel, of the family of Glencarnock, at Ayr. The
words were composed to commemorate the much lamented
and premature death of James Fergusson, Esq. younger of
Craigdarroch."
ccLxxir.
THE WHITE COCKADE.
This fragment of a Jacobite song, beginning " My love
was born in Aberdeen," was published in Herd's Collection,
vol. ii. page ITO, printed in 1770. The verses in the Mu-
seum were retouched by Burns. The alterations are indeed
few, yet they are evident improvements. A more complete
version of the song, however, may be seen in the second
volume of Hogg's Jacobite Relics. Mr O'Keefe selected
1
254
CCLXXII. THE WHITE COCKADE.
this air for one of his songs in the opera of " The Highland
Reel/' first acted at Covent Garden in 1788.
CCLXXIII.
ORAN GAOIL.
A Gaelic Song.
This is said to be an original Highland melody, and the
verses, beginning " As on an eminence I stood musing," are
said to be a correct metrical translation of the Gaelic song,
by a lady from the Highlands, who had the kindness to com-
municate them to Johnson, with the air.
The editor has never seen the original Gaelic song; but he
has no reason to doubt that there may be such a one, and
that the English version is correct enough. It may be re-
marked, however, that almost every Highland family of rank
and fortune have long- been in the habit of sending: their
children to the low country for their education, in which
music has always been one of the principal ornamental
branches. There cannot be a doubt, therefore, that the airs
peculiar to Tweedside, Ettrick, Leader, Yarrow, Gala, &c.
have long been as familiar to the Highlanders, as to the in-
habitants of those Lowland pastoral districts where they
had their origin. Many of them too, it is believed, have had
the honour of being set to Gaelic verses. That the tune in
question, however, is either of Gaelic or Irish extraction,
seems to be very doubtful. For the editor has in his posses-
sion a very old manuscript, in square notes, in which this
identical tune, or at least one so very similar to it, is inserted
under the name of " Y^ Auld Jew," of which a copy is
subjoined.
THE AULD JEW.
^
tzw-
Pt-P^-^'
S^^ii
HS^f
^^
^35
CCLXXIII. OBAN GAOIL.
255
« — i— ^
VZtZJS.
I
^— ^
:£
^
iribi
t
n
m
ffze
n.
^^S^Eil
The same tune, under the title of " The Old Jew," is
printed in Oswald's Pocket Companion, book v. published
in 1742 ; but he has corrupted the melody in several bars with
spurious interpolations, in attempting to embellish it.
In Eraser's Collection of Airs, in 1816, which we are told
are peculiar to the Highlands and the Isles, there is a new
set of this old tune, which he calls " Cuir a ghaoil dileas
tharrum do lamh," translated, Place true love thine arm
aro'dnd me, with the following note annexed : " This melody
has long been clair^ied, and by many supposed to be Irish,
the editor (Mr Fraser,) has heard many harpers play it in
Ireland ; but on hearing his peogenitor's set of it, as sung
in the Highlands, they absolutely, in spite of their national
prejudices, relinquished their own claim, considering their
own as an imperfect imitation of the original. The com-
mencement of the third part, ' Tha binneas na bilibh, chan
innis luchd cuil'e,"" ' There is melody in her voice which no
music can equal,' is beautifully expressive, and perceptibly
conveyed by the notes of the music."
These Irish Harpers have certainly been very great wags.
No fact is better understood, than that plainness and simpli-
city are the invariable characteristics of every old lyric me-
lody. Many of the most ancient only consist of one simple
strain, and very few, if any, have more than two.
Judging by this standard, the tune above inserted, as well
as that in the Museum, with their kindred Irish air, are un-
questionably old. But the same rule will not apply to the
tune as given in this modern collection, which is indeed of a
very different stamp. It consists of no less than four strains^
256
CCLXXIII,— ORAN GAOIL.
and the two last are so very florid, that Highland lasses, with
organs even more flexible than those of a Billington or a Ca-
talani, would find it a very difficult, if not an impossible mat-
ter, to sing it with any good effect. That it is not only a mo-
dern, but likewise a very clumsy fabrication, and quite fo-
reign to the nature of vocal composition, the two following
strains of it will sufficiently convince every intelligent musical
reader; although, to use Mr Fraser's own words, they may be
heautifully expressive^ and perceptibly conveyed hy the notes
of the music.
^
Ii^
g^'
=■6
iLT
m
'4U
F^ftH
^SES
The Scots have often been sneered at by their Southern
neighbours, for their credulity in matters of tradition ; and it
is much to be regretted, that attempts of this description
should ever afford them a handle for such sarcastic ebulli-
tions.
257
CCLXXIV.
SANDIB O'ER THE LEE.
^fnis song, beginning " I winna marry ony man, but
Sandie o'er the lee," is an Anglo-Scottish production. In
1776, Mr James Hook adapted the words to a new air com-
posed by himself, which was published in 1777, in a collec-
tion of songs, sung at Vauxhall Gardens by Mr Vernon, Mrs
Weichsell, Mrs Wrighten, and Mrs Warrell.
The Scots, however, have a pretty old song vinder the
same title, and the words are nearly similar to those which
Mr Hook had recourse to when he composed his air. The
following is the Scottish melody, from one of the manuscript
books which belonged to the late Mr Bremner, and after his
decease, to his successor in business, Mr Brysson :
SANDIE O'ER THE LEE. Scottish Air.
In Gow's Complete Repository, part ii. is an air en-
titled " He's ay kissing me ;" but it is quite different from
the above, as well as Hook's melodj'. The first six bars of
the second strain of Gow's tune, are in fact borrowed, note
for note, from the air of " Saw ye Johnie comin, quo she."
In Neil Gow & Son's Collection of Strathspeys, Reels, &c.
dedicated to the members of the Caledonian Hunt, there is
another tune, entitled '* Sandie o'er the Lee, or Mr Baird's
Favourite Reel," which is the old air with considerable alter-
ations.
258
CCLXXV.
TODLEN HAME.
The words of this ancient bottle song, beginning, " When
I have a saxpence under my thumb," appear in Ramsay's
Tea-Table Miscellany, and in the Orpheus Caledonius, from
whence they were copied into the Museum. Burns was of
opinion, that this was one of the best songs of the kind that
ever was composed. The ancient air, to which the verses in
the Museum are set, has been wrought into a variety of mo-
dern tunes, under different names; such as, Armstrong's
Farewell — Robidh donna gorrah — The Days o' Langsyne —
Lude's Lament — The Death of the Chief, &c.
CCLXXVI.
THE BRAES O' BALLOCHMYLE.
This song, beginning " The Catrine woods were yellow
seen," was written by Burns in 1788; and the tune was
composed by Mr Allan Masterton, who has been repeatedly
mentioned. Burns likewise wrote another very beautiful
song to the same air, beginning " 'Twas even, the dewy fields
were green." The following excerpt, from Dr Currie's Life of
Burns, will enable the reader to trace the second song to its
true source.
" The whole course of the Ayr is fine; but the banks of
that river, as it bends to the eastward above Mauchline, are
singularly beautiful, and they were frequented, as may be
imagined, by our poet in his solitary walks. Here the muse
often visited him. In one of these wanderings, he met
among the woods a celebrated beauty of the west of Scpt-
land — a lady, of whom it is said, that the charms of her
person correspond with the character of her mind. This
incident gave rise, as might be expected, to a poem, of
which an account will be found in the following letter, in
which he inclosed it to the object of his inspiration : —
CCLXXVI. THE BRAES O' BALLOCHMYLE, 259
" To Miss
"• Mossgid, ISih Nov. 1786.
" Madam,
" Poets are such outre beings, so much the children of
wayward fancy and capricious whim, that I beheve the
world generally allows them a larger latitude in the laws
of propriety, than the sober sons of judgment and prudence.
I mention this as an apology for the liberties that a nameless
stranger has taken with you in the enclosed poem, which he
begs leave to present you with. Whether it has poetical
merit any way worthy of the theme, I am not the proper
judge ; but it is the best my abilities can produce ; and, what
to a good heart will perhaps be a superior grace, it is equally
sincere as fervent.
" The scenery was nearly taken from real life, though I dare
say. Madam, you do not recollect it, as I believe you scarcely
noticed the poetic reveur as he wandered by you. I had
roved out as chance directed, in the favourite haunts of my
muse, on the banks of the Ayr, to view Nature in all the
gayety of the vernal year. The evening sun was flaming over
the distant western hills ; not a breath stirred the crimson
opening blossom, or the verdant spreading leaf It was a
golden moment for a poetic heart. I listened to the feather-
ed warblers, pouring their harmony on every hand, with a
congenial kindred regard, and frequently turned out of my
path, lest I should disturb their little songs, or frighten
them to another station. Surely, said I to myself, he must
be a wretch indeed, who, regardless of your harmonious en-
deavour to please him, can eye your elusive flights to disco-
ver your secret recesses, and to rob you of all the property
Nature gives youj your dearest comforts, your helpless nest-
lings. Even the hoary haw thorn- twig that shot across the
way, what heart, at such a time, but must have been inte-
rested in its welfare, and wished it to be preserved from the
rudely browsing cattle, or the withering eastern blast "i Such
^0 CCLXXVI. THE BEAES O' BALLOCHMYLE.
was the scene, and such the hour, when, in a corner of my
prospect, I spied one of the fairest pieces of Nature's work-
manship that ever crowned a poetic landscape, or met a;
poet's eye, those visionary bards excepted who hold commerce
with aerial beings ! Had calumny and villany taken my walk,
they had at that moment sworn eternal peace with such an
object.
" What an hour of inspiration for a poet ! It would have
raised plain, dull, historic prose, into metaphor and measure.
" The inclosed song was the work of my return home ;
and perhaps it but poorly answers what might have been ex-
pected from such a scene. Robert Burns."
I.
'TwAS even — the dewy fields were green.
On every blade the pearls hang ;
The zephyr wanton'd round the bean.
And bore its fragrant sweets alang :
In every glen the mavis sang.
All Nature listening, seemed the while.
Except where green-wood echoes rang,
Amang the braes o' Ballochmyle.
II.
"With careless step I onward stray'd.
My heart rejoiced in Nature's joy.
When musing in a lonely glade,
A maiden fair I chanc'd to spy ;
Her look was like the morning's eye.
Her hair like nature's vernal smile.
Perfection whisper'd passing by,
" Behold the lass o' Ballochmyle."
III.
Fair is the mom in flowery May,
And sweet is night in autumn mild ;
When roving through the garden gay,.
Or wandering in the lonely wild :
But woman ! Nature's darling child !
There aU her charms she does compile ;
Even there her other works are foil'd
By the bonny lass o' Ballochmyle.
IV.
O had she been a country maid.
And I the happy country swain !
Though shelter'd in the lowest shed
That ever rose on Scotland's plain ;.
4
CCLXXVI. THE BRAES o' BALLOCHMYLE, 261
Through weary winter's wind and rain.
With joy, with rapture, I would toil.
And nig-htly to my bosom strain
The bonny lass o' Ballochmyle.
V.
Then pride might climb the slippery steep.
Where fame and honours lofty shine ;
And thirst of gold might tempt the deep,
Or downward seek the Indian mine ;
Give me the cot below the pine.
To tend the flocks or till the soil.
And every day have joys divine.
With the bonny lass o' Ballochmyle.
In the manuscript book in which our poet has recounted
this incident, and into which the letter and poem are copied,
he complains that the lady made no reply to his effusions ;
and this appears to have wounded his self-love. — It may be
easily presumed, that the beautiful nymph of Ballochmyle,
whoever she may have been, did not reject with scorn the
adoration of ovir poet, though she received them with silent
modesty and dignified reserve." See Dr Currie''s Life of'
Burns, vol. i.
The above incident gave birth to the song in the Museum,
beginning " The Catrine woods were yellow seen," which
is a counter part to " The Lass of Ballochmyle." Mr Allan
Masterton, of whom notice has been taken in a former part
of this work, composed the beautiful air to which it is adapt-
ed.
N.B. Catrine, in Ayrshire, is the seat of Dugald Stewart,
Esq. formerly Professor of Moral Philosophy in the Univer-
sity of Edinburgh. Ballochmyle is the residence of Boyd
Alexander, Esq. in the same county.
CCLXXVII.
THE RANTIN' DOG, THE DADDIE O'T.
This humorous effusion of Burns, beginning " O wha
my baby clouts will buy .''" alludes to a well-known inci-
dent in his history. The verses are adapted to the old tune,
called " The East Nook of Fife," but they were originally
intended for the air of " Wliare will our G udeman lie," which
262 CCLXXVII. THE BAXTIK DOG, THK DADBIE o't.
would have suited them better. In the Reliques, Burns
says, " I composed this song pretty early in life, and
sent it to a young girl, a very particular acquaintance of
mine, who was at that time under a cloud."
CCLXXVIII.
THE SHEPHERD'S PREFERENCE.
This song, beginning " In May when the daisies appear
on the green," is another production of the worthy Dr Black-
lock. It was originally composed by him for the purpose
of filling up a corner in a small volume of poems, chiefly
written by Mr Michael Bruce, a native of Kinross-shire, a
young man of uncommon genius, and of the most flattering
hopes, but who fell an early victim to a consumption on the
6th July, 1767, in the twenty-first year of his age. This
benevolent scheme was chiefly promoted by the Very Re-
verend Dr Baird, Principal of the University of Edin-
burgh. Its object was, to rescue from oblivion such of Mr
Bruce's unpublished pieces as were sufliciently correct to meet
the public eye ; and, at the same time, to procure some small
supply for the aged mother of an ingenious youth, Mrs Ann
Bruce, who was unable to provide for herself. It may grati-
fy the reader to learn, that this object was fully accomplish-
ed. Mrs Bruce has since paid the debt of nature. She
died Sd August, 1798, in the 88th year of her age.
In the Reliques, Burns says, " this song is Blacklock's.
I don't know how it came by that name, but the oldest ap-
pellation of the air was Whistle and I'll come to you, my Lad.
It has little affinity to the tune commonly known by that
name." This single line had very probably suggested to
our bard the idea of composing the excellent song of " O
whistle, and I'll come to you, my Lad," which is inserted in
the second volume of the Museum. Vide song No 106.
CCLXXIX.
O MARY, DEAR DEPARTED SHADE.
This is the sublime and pathetic ode, beginning " Thou
ling'ring star with less'ning ray," which Burns composed in
CCLXXIX.— O MARY, DEAR DEPARTED SHADE. 263
1789, on the anniversary of Mary Campbell's death. This
interesting and amiable young girl was the early object of
our poet's affections. In one of his songs, he says, in allu-
sion to her,
''She has my heart, she has my hand.
By secret truth and honour's band ;
Till the mortal stroke shall lay me low,
I'm thine my own Highland lassie, 0."
But the unexpected and premature death of poor Mary,
prevented the intended matrimonial union between her and
the bard. The reader will find several interesting particulars
respecting this fine lyric elegy, in the notes on song 1 17, en-
titled « The Highland lassie, O."
The verses were transmitted by Burns, in a letter to John-
son, with a request that they should be set to a simple and
plaintive air, called " The Death of Captain Cook." This
was accordingly attended to.
Upon comparing the original manuscript of the ode, now
lying before me in Burns' own hand-Avriting, with the printed
copy in the Museum, I do not observe one word, or even a
single letter, changed. He must therefore have conceived the
whole of it perfectly in his mind, before he put pen to paper.
It would however appear, from Dr Currie's Life of Burns,
that he afterwards altered the title as it stands in the Mu-
seum, and called it " An address to Mary in Heaven."
CCLXXX.
HARDYKNUTE; OR, THE BATTLE OF LARGS.
At the accession of Alexander III. to the Scottish throne,
in July 1249, Orkney, Shetland, and the whole Hebrides,
or Western Islands of Scotland, were subject to the crown of
Denmark and Norway, with the exception of Bute, Arran,
and the two Cumbras. Haco, the Danish monarch, at length
laid claim to these likewise, as well as the peninsula of Kin-
tyre, on pretence, as our own historians assert, that they
formed part of the territories which had long before been
ceded to his predecessors by Donald Bayne, commonly called
6
S64 CCLXXX. HARDYKNUTE ; OR, THE BATTLE OF LARGS-
the usurper. Such ill-founded, and ridiculous pretensions,
could not for a moment be listened to by the young and
gallant Scottish monarch. Haco therefore sought to obtain
by force what he could not impetrate by fraud and intrigue.
Preparations were accordingly made by the Danes and
Norwegians for the invasion of Scotland. A large and power-
ful army was raised, and a numerous fleet, for their recep-
tion, began to assemble at Bergen. The ship that was des-
tined to convey Haco was entirely composed of oak, and
ornamented with the heads and necks of dragons overlaid
with pure gold. It contained no less than twenty-seven
benches for the rowers, and every accommodation necessary
for the king and his attendants.*
About the beginning of summer 1263, the troops were em-
barked to the number of about 25,000,-1- and the expedition
being ready to set sail, Haco assembled a council of war, at
which he declared, that " it was intended against Scotland in
the western seas, to revenge the inroads which the Scots had
made into his dominions." The signal to weigh anchor was
then given, and this mighty and splendid armament at length
left the Norwegian shore. :j:
Having touched at Orkney, where he received a consider-
able reinforcement, Haco proceeded on his expedition. Ar-
riving off Caithness, he sent a large body of his troops ashore,
who pillaged the country, levied heavy contributions on its
inhabitants, and returned on board loaded with spoil. He
q.gain set sail for the west coast of Scotland, and speedily
subdued Bute, Arran, and the adjacent isles. Having ra-
vaged the peninsula of Kintyre, and burned the hamlets of
its inhabitants, Haco despatched a squadron of sixty ships up
the Frith of Clyde to Lochlong. " When they came to the
inlet," says the Danish historian, " they took their boats, and
drew them up to a great lake, which is called Lochlomond.
In the lake were many islands well inhabited, which the Nor-
■\vegians wasted with fire."
? Danish Account. -f- HolUnshead. J Danish Account.
CCLXXX. — HAUDYKNUTE ; OE, THE BATTLE OF LARGS. 265
Emboldened by his various successes, Haco determined to
carry his arms into the heart of Scotland, Having collect-
ed his fleet, he accordingly set sail, and came to anchor off
the coast of Ayrshire. On the 1st of October 1263, a tem-
pest arose, which drove several of the ships ashore near the
village of Largs, where the van of the Scottish army had al-
ready arrived to watch the motions of the enemy. These
vessels were immediately attacked by the Scots, and defend-
ed with great gallantry by the Danes, who, being successive-
ly reinforced from their fleet, maintained their ground in
spite of every opposition.
A calm took place, which enabled Haco to land the whole
of his troops, and to push forward a considerable way into
the country. At length the main body of the Scottish army
came in sight, drawn up in order of battle. The right was
commanded by Alexander, Lord High Stewart of Scotland ;
the left by Patrick Dunbar, Earl of March ; and the centre
by King Alexander. Haco instantly prepared for the fight.
His right wing was committed to Thorgoil Gloppa, his kins-
man ; his left to Haco of Steini, his own nephew ; whilst the
main body, in which were his choicest warriors, was under
the command of Haco himself, and Nicholson his gre^t chief-
tain. Previous to the onset, both leaders employed every
argument that ingenuity could suggest, to animate and en-
courage their soldiers. The stake at issue was of the first
magnitude. With the Danes, it was conquest and military
glory. With their opponents, liberty or death.
Now began the long and bloody conflict. The gallant
Stewart, by a desperate charge, overthrew the left wing of the
Danes, killed young Haco their leader, and pursued the fu-
gitives with terrible slaughter. In the mean time, King Haco
was straining every nerve to pierce the centre of the Scottish
army, and victory for a while was doubtful. The Stewart
observing the perilous situation of his sovereign, recalled his
troops from the pursuit, and, wheeling to the left, fell upon
the rear of Haco's centre division, who, being thus furiously
26*6 CCLXXX. HARDYKNUTE ; Oil, THE BATTLE OF LAEGS.
attacked on all sides, soon gave way, and fled with trepida-
tion, leaving the field covered with the slain. The right
wing of the enemy, who had hitherto maintained the contest
with great bravery, now began to waver. Dunbar, obser-
ving this, although severely wounded, instantly charged the
enemy with unabated courage, threw them into disorder, and
put them to the flight. In this charge, Thorgoil Gloppa,
who had the command of the right wing of the Danes, also
fell. The rout now became general. The remains of the
beaten army fled in confusion towards the coast, and were
pursued with great slaughter by the victorious Scots, till
night put an end to the conflict. Haco and the wreck of his
army, having with difficulty reached their ships, weighed
anchor, and immediately set sail. But his misfortunes were
not yet ended. A short time thereafter, a violent tempest
arose, which annihilated the greater part of his fleet. Many
of his ships foundered at sea, others were dashed in pieces
against the rocks, and the helpless inmates, who had escaped
shipwreck, found no mercy from the relentless inhabitants, but
were put indiscriminately to the sword, in revenge for the cruel-
ties which the Scots had so recently suff'ered at the hands of
their invaders. Haco, with four of his ships, at length got
into Orkney. Here his disappointed and disgusted followers
began to tease him for permission to return home. To some
he gave liberty, and those who could not obtain it deserted,
or, as his historian has it, " they took leave for themselves."
In this forlorn state, Haco became a prey to violent grief
and dejection of spirits, which wasted his health, and impaired
a constitution naturally vigorous and active. Home appeared
to have lost its relish, and he continued in this solitary abode
to bewail his unhappy fate. Towards the close of the folloAV-
ing autumn, he felt symptoms of approaching dissolution.
His latter days were employed in devotional exercises, and
in drawing up instructions for his son and successor, Magnus.
About the beginning of December he became dangerously ill,
and after receiving extreme unction, took an affectionate fare--
CCLXXX. HARDYKNUTE ; OR, THE BATTLE OF LARGS. 267
Avell of his attendants. On the feast of St Lucy, speech
wholly failed him, and on the Saturday following, about
midnight, death put an end to his earthly sorrows. His body
was afterwards removed to Norway, and placed in the dormi-
tory of his royal ancestors.*
The great battle of Largs was fought on the 2d day of
October 1263. The total loss of the Danes and Norwe-
gians in this eventful expedition was computed at 20,000 men.
That of the Scots 5000. The bodies of the slain were in-
terred in deep pits, dug on purpose to receive them, and a
rude obelisk of granite was placed as a mark of distinction
at the grave of Haco of Steini,
This glorious and decisive victory not only brought to
conclusion a negotiation with Magnus IV. who, in 12G6, relin-
quished to Alexander III. of Scotland all right to the He-
brides and the Isle of Man, but likewise put an effectual stop
to the future invasions of these northern powers, whose de-
scendants, to this day, call Scotland " The grave of the
Danes."
Among the Scottish chiefs who particularly distinguished
themselves on this memorable occasion, was Sir Alexander,
the High Stewart, (and Hardykycht) of Scotland, who%as
gi-eat-grandfather to the first king of the illustrious and royal
house of Stewart. Dunbar, Earl of March, likewise behaved
with great spirit and gallantry ; and Hugh de Douglas, an-
cestor of the noble family of Douglas, had also the honour,
while yet young, to contribute to the defeat of the Danes.
This Hugh died in 1288 without issue, and was succeeded
by his brother William de Douglas, who, by the voice of
flattery, was called " Hardihood.''
Having thus given a short description of the battle of
Largs and its consequences, it may now be requisite to say
a few words with regard to the ballad of Hardyknute.
That such a celebrated personage as " Lord Hardyknute"
ever existed in Scotland, has not yet been discovered in any
* Danish Account.
268 CCLXXX. HAUDYKNUTE ; OH, THE BATTLE OF LARGS,
part of her annals ; the name, therefore, must either be ficti-
tious or corrupted. There was indeed such a person as
" Hardicanute," who succeeded his half-brother Harold on
the English throne, in 1039, and who, after a brvital and in-
glorious reign of two years, died of a surfeit at the palace of
Lambeth. But the actions of such a detestable tyrant as
Hardicanute, could never become the subject of praise for
any minstrel.
It is equally improbable that so important a battle as that
of Largs, and the actions of those gallant heroes who ob-
tained so signal a victory, remained unnoticed and unsung by
the Scottish bards of that aera. That such a ballad indeed
did exist, there seems little reason to doubt ; for Mr William
Thomson, who was one of the performers at Edinburgh
in 1695, and. afterwards settled in London, solemnly
assured both Mr Tytler of Woodhouselee and Dr Clarke,
that he had heard several stanzas of it sung long; before
its first appearance in print in 1719. Nay more, Oswald,
who was born about the beginning of last century, has, in his
Caledonian Pocket Companion, preserved the very tune. It
is here annexed. -f ■-'
HARDIE KNUTE.
?.^
9-^¥'
Jr^-
•£=•
aniazz:
-a
^E^EEiEEzi
But the history of the modern ballad of Hardyknute is
better known ; it was chiefly composed from some imperfect
fragments of the old ballad by Elizabeth Halket, second
daughter of Sir Charles Halket of Pitferran, Bart. This
lady was baptised 15th April, 1677; on the 13th June,
1696, she married Sir Henry Wardlaw of Pitreavie, in the
county of Fife, by whom she had a family. She died in
1727, and was interred in the family vault within the church
of Dunfermline.
CCLXXX. HARDYKNUTE ; OR, THE BATTLE OP LARGS. 9,69
Lady Wardlaw's improved ballad was long handed about
in manuscript among the domestic circle of her friends and
acquaintance for their amusement. It at length happened to
attract\the notice of the late Lord President Forbes and Sir
Gilbert Elliot, afterwards Lord Justice Clerk, both good
poets, and these gentlemen, conceiving the whole poem to be
a genuine production of antiquity, were at the expense of
publishing it in a small folio tract of 12 pages, in the year
1719. The secret was at length divulged, and Lady Ward-
law favoured Allan Ramsay with a new and enlarged copy,
which was printed in his Evergreen, at Edinburgh, in 1 724.
In 1781, Mr John Pinkerton gave to the world a volume
of " Scottish Tragic Ballads,'" in which a second part of the
fragment of Hardyknute first saw the light. It was now
said to be " given in its original perfection," and, with equal
truth and modesty, pronounced to be " the most noble pro-
duction in this style that ever appeared in the world." The
editor professed himself to be " indebted, for the most of the
stanzas now recovered, to the memory of a lady in Lanark-
shire," and asserted, that the common people of that province
could " repeat scraps of both parts." " A few other monu-
ments of a"ncient poetry, (he adds) are now first published
from tradition." These are, The Laird of Woodhouslee,
Lord Livingston, Binnorie, The Death of Monteith, and
/ wish / were where Helen lyes — of the forgery of which
pieces, as well as of the second part of Hardyknute, Pinker-
ton, in a subsequent publication, but not till he had been
directly accused by a letter in the Gentleman''s Magazine,
for November 1784, confessed himself guilty. " This man,
(says Ritson) is what the courtesy of the age calls a gentle-
man, and yet, to borrow his own words, if he had used the
same freedom in a private business, which he has in poetry,
he would have been set on the pillory ; and, in fact, to call
such an infamous impostor by his very worst, but true title,
were but justice to society." — Historical Essay on Scottish
Song., p. 76.
270 CCLXXX. HARDYKNUTE ; OR, THE BATTLE OF LARGS,
Ritson, however, goes too far in asserting, that even in
the Jirst part of Hardyknute, " there is not a single line
which is not stolen from some old ballad, that has the most
distant appearance of having existed before.*' There are not
only lines, but whole stanzas too, of undoubted antiquity,
and which are not to be found in the whole multifarious bal-
lads, English or Scottish, ancient or modern, that have yet
come from the press. The anachronisms which occur
in the original printed ballad, such as " Hardy knute""
for " Hardy knycht -j" Queen " Elenor ' for " Marga-
ret," her daughter, &c. tend to show that the ancient bal-
lad had been corrupted in passing by oral communication
from ancient to modern times. Lady Wardlaw was too ele-
gant and accomplished a writer to have committed such blun-
ders, had she been the author of the whole of this historical
fragment, although several of the stanzas are undoubtedly
hers.
CCLXXXI.
EPPIE ADAIR,
This pretty air appears in Oswald's Caledonian Pocket
Companion, vol. xii. under the title of " My Eppie." Burns
supplied the words for the Museum.
CCLXXXII,
THE BATTLE OF SHERRA-MOOR,
The battle of Dunblane, or Sheriff-Muir, between the
Earl of Mar for the Chevaher, and the Duke of Argyle for
Government, was fought on the 13th November, 1715. Both
sides claimed the victory.
Several songs were composed to commemorate this battle,
such as " Up and warn a', Willie," — " There^s some say
that we wan, some say that they wan." There was another
which was entitled " A Dialogue between WiU Lickladle
and Tom Cleancogue, Twa Shepherds, wha were feeding
their flocks on the Ochil-Hills on the day the battle of
Sherriff-Muir was fought. The chorus to be sung after
every verse to the tune of the Cameron's March." This
eCLXXXII. THE BATTLE OF SHERRA-MOOK. 271
dialogue, however, was written by the late Mr Barclay, the
Berean minister in Edinburgh, many years after the event to
which it alludes. It is annexed.
W. Pray came you here the fight to shun.
Or keep the sheep wi' me, man ?
Or was ye at the SherifF-moor,
And did the battle see, man ?
Pray tell whilk of the parties won ;
For weel I wat I saw them run.
Both south and north, when they begun
To pell and mell, and kill and fell.
With muskets snell, and pistols knell.
And some to hell
Did flee, man.
Fal, la, la, &c.
II.
T. But, my dear Will, I kenna still,
Whillf o' the two did lose, man;
For, well I wat, they had good skill
To set upo' their foes, man :
The red-coats they are train'd, you see— •
The clans always disdain to flee —
Wha then should gain the victory ?
But the Highland race, all in a brace.
With a swift pace, to the Whigs' disgrace.
Did put to cliace
Their foes, man.
Fal, la, la, &c.
III.
W. -Now how deil, Tam, can this be true }
I saw the chace gae north, man ;
T. But, weel I wat, they did pursue
Them even unto the Forth, man.
Frae Dunblane they ran, in my own sight.
And got o'er the bridge with all their might.
And those at Stirling took their flight ;
Gif only ye had been wi' me.
You'd seen them flee, of each degree.
For fear to die
Wi' sloth, man.
Fal, la, la, &c.
IV.
W. IMy sister Kate came o'er the hiU
Wi' crowdie unto me, man ;
She swore she saw them running still
Frae Perth unto Dundee, man :
272 CCLXXXII. THE BATTLE OF SHERRA-MOOR.
The left wing general hadna slcill,
The Angus lads had nae good will,
That day their neighbour's blood to spill ;
For fear by foes that they should lose
Their cogues o' brose, all crying woes^
Yonder them goes.
D'ye see, man;
Chorus. — Fal, la, la, &c.
T. I see but few like gentlemen
Amang yon frighted crew, man ;
I fear my Lord Panmure be slain.
Or that he's ta'en just now, man :
For tho' his officers obey.
His cowardly commons run away.
For fear the red-coats them should slay ;
The sodgers' haill make their hearts fail ;
See how they skaU, and turn the tail.
And rin to flail
And plow, man.
Fal, la, la, &c.
vr.
W. But now brave Angus comes again
Into the second fight, man ;
They swear they'll either die or gain.
No foes shall them affright, man ;
Argyle's best forces they'll withstand.
And boldly fight them sword in hand.
Give them a general to command,
A man of might, that will but fight,
.And take delight to lead them right.
And ne'er desire
The flight, man.
Fal, la, la, &c.
But Flandrekins they have no skill
To lead a Scottish force, man;
Their motions do our courage spill.
And put us to a loss, man.
You'll hear of us far better news.
When we attack in Highland trews.
And hash and slash, and smash and bruise.
Till the field, tho' braid, be all o'erspread.
But coat or plaid, Avi' corpse that's dead.
In their cold bed.
That's moss, man.
Fal, la, la, &c.
CCXCIII. THE EWIE WI' THE CBOOKIT HORN. 289
X.
Yet last ouk, for a' my keeping,
(Wha can speak it without greeting ?
A villain cam when I was sleeping,
Sta' my ewie, horn and a.
The ewie wi', &c.
XI.
I sought her upo' the morn ;
And down aneath a buss o' thorn,
I got my ewie's crookit horn.
But my ewie was awa.
The ewie wi', &c.
XII.
0 ! gin I had the loun that did it.
Sworn I have as well as said it.
Though a' the warld should forbid it,
I wad gie his neck a thra'.
The ewie wi', &c.
XIII.
1 never met wi' sic a turn
As this, sin ever I was born.
My ewie wi' the crookit horn.
Silly ewie, stown awa.
The ewie ivi', &c.
XIV.
0 ! had she deid o' crook or cauld.
As ewies do when they are auld.
It wadna been, by mony fauld, '
Sae sair a heart to nane o's a'.
The ewie wi', &c.
XV.
For a' the claith that we hae worn,
Frae her and her's sae aften shorn.
The loss o' her we cou'd hae born.
Had fair strae-death taen her awa.
The ewie wi', &c.
XVI.
But thus, poor thing, to lose her life
Aneath a bluidy villain's knife,
I'm really fley't thou't our gudewife
Will never win aboon't ava.
The ewie wi', &c.
XVII.
0 ! a' ye bards benorth Kinghorn,
Call your muses up and mourn.
Our ewie wi' the crookit horn,
Stown frae's, an' fell't an a'.
The ewie un , SiC.
290 CCXCIII. THE EWIE Wl' THE CEOOKIT HORN.
The reverend author, in a letter to Burns, dated 14th
November 1787, alluding, with great modesty, to his own poet-
ical compositions, says, " While I was young, I dabbled a good
deal in these things ; but, on getting the black gown, I gave
it pretty much over till my daughters grew up, who, being
all tolerably good singers, plagued me for words to some of
their favourite tunes, and so extorted those effusions, which
have made a public appearance beyond my expectations, and
contrary to my intentions. At the same time, I hope that there
is nothing to be found in them uncharacteristic or unbecoming
the cloth, which I would always wish to see respected."
ccxciv.
THE BLUE-EYED LASSIE.
This song, beginning " I gaed a waefu' gate yestreen,"
was written, in 1789, for the Museum. The heroine was Miss
J * * * * of Lochmaben. This lady, now Mrs R * * * * *^
after residing sometime in Liverpool, is settled with her hus-
band in New- York. The air to which the verses are adapted
in the Museum, was composed by the late Robert Riddel of
Glenriddel, Esq. It is very pretty, no doubt, but its com-
pass is beyond the reach of many singers. A slight altera-
tion of the first and two concluding bars of the second
strain would both remedy this defect and improve the melody.
ccxcv.
THE BANKS OF NITH.
This song, beginning " The Thames flows proudly to the
sea,"" is another production of Burns for the Museum. The
tune in the Museum is erroneously called " Robie donna
gorrach," in place of a new air by R. Riddel of Glenriddel,
Esq. The song was intended to depict the feelings of an in-
habitant of Nithsdale, then residing in l^ondon, reflecting
upon the innocent scenes of his youthful days on the banks
of the river Nith,
ccxcvi.
TAM GLEN.
This fine comic song, beginning " My heart is a-breaking,.
CCLXXXII.— THE BATTLE OF SHERRA-MOOR. S73
VIII.
T. Twa gen'rals frae the field did run,
Lords Huntley and Seaforth, man ;
They cry'd and run, grim death to shun,
Those heroes o' the north, man ;*
They're fitter far for book or pen.
Than under Mars to lead on men ;
Ere they came there they might weel ken.
That female hands could ne'er gain lands,
'Tis Highland brands that countermands
Argathlean bands
Frae Forth, man.
Fal, la, la, &c.
IX.
W. The Camerons scour'd as they were mad.
Lifting their neighbours' cows, man,
M'Kenzie and the Stewart fled.
Without phil'beg or trews, man ;
Had they behaved like Donald's core.
And kill'd all those came them before.
Their king had gone to France no more ;
Then each Whig saint wad soon repent.
And strait recant his covenant.
And rent
It at the news, man.
Fal, la, la, &c.
X.
T. M'Gregors they far off did stand,
Badenoch and Athol too, man ;
I hear they wanted the command.
For I believe them true, man.
Perth, Fife, and Angus, wi' their horse.
Stood motionless, and some did worse.
For, tho' the red coats went them cross,
They did conspire for to admire
Clans run and fire, left wings retire.
While rights intire
Pursue, man.
Fal, la, la, &c.
XI.
W. But Scotland has not much to say.
For such a fight as this is.
Where baith did fight and run away.
The devil take the miss is.
" The insurgents reckoned, likewise, that some noblemen and chiefs from the
north did not act so honest a part ; or at least did not shew so much courage as
the zeal they expressed or the cause required — Campbell's Life of J. D. of Argyle,
page 305.
X
§74 CCLXXXII. THE BATTLE OF SHERRA-MOOR.
That ev'ry officer was not slain
That run that day and was not ta'en.
Either flying from or to Dunblane,
When Whig and Tory, in their fury.
Strove for glory, to our sorrow
The sad story
Hush is.
Fal, la, la, &c.
This song did not quite please Burns. He thought the
author had treated the behaviour of the clans, as well as some
of their chieftains, rather too severely. Johnson, however,
who was a member of Mr Barclay's congregation, seemed
to be of opinion, that the song would do well enough, and
as he was fond of the tune, which is called " The Cam-
erons' March," and sometimes, " The Cameronians' Rant,
or Reel,'" he wished to insert it in the Museum. But Burns
promised to furnish him with a similar song for his work,
which perhaps might please him still better. He accordingly
produced the parody, beginning " O cam ye here the fight
to shun," which is inserted in the Museum.
With respect to this parody, as well as its prototype, Cro-
mek, the editor of Burns' Reliques, makes the following re-
marks. Speaking of the original, he says, " The mode of
narration is well chosen, but the poem has little other merit,
except as being a circumstantial, and a sort of gazette account
of the affair."" Doctors differ ; — the original contains many
flashes of genuine wit and keen sarcastic humour, and has a
great deal oi truth in the narrative to recommend it.
Alluding to Burns' parody of the Battle of Sherriffmuir,
Mr Cromek observes, " So fine a subject could not escape
the muse which immortalized the fight of Bannockburn,
and in the accompanying stanzas (the reader will find
them in the Museum) we have an additional proof of the ar-
dent and inexhaustible mind of Burns, which, Avhen roused in
the cause of patriotism, could invest the rudest materials
Avith the riches of its own genius Most imitations are
only foils to the original ; but here, the model is like a
tree in the bare poverty of winter, and the copy is the same
CCLXXXII.— THE BATTLE OF SHERRA-MOOR. 275
tree, warmed with the life, and clothed with the genuine ver-
dure, of spring. This is one, among innumerable instances, in
which he has displayed the versatility of his powers in new-
modelling the ancient ballads of his country —
" Nullum quod tetigit non ornavit."
This panegyric is all very fine and well ; but the reader
will not, it is believed, be displeased that Mr Barclay's origi-
nal verses are preserved, by which he has it in his power to
form a judgment of the respective merits of the two ballads
himself.
CCLXXXIH.
SANDIE AND JOCKIE.
Neither the music nor words of this song are indigenous
to Scotland. It is merely a modern travestie of part of a
pseudo Scottish song, entitled " Jenny's Lamentation," consist-
ing of five eight-line stanzas, which is inserted in Roberts'
Calliope, or English Harmony, vol. i. — London, in ] 739.
CCLXXXIV,
THE BONNIE BANKS OF AYR.
The words of this song, beginning " The gloomy night is
gathering fast," were written by Burns in 1786, and set to
music by his friend Mr Allan Masterton. " I composed this
song, (says Burns) as I convoyed my chest so far on the road
to Greenock, where I was to embark in a few days for Ja-
maica. I meant it as my farewell dirge to my native land."
—Reliques.
In a letter to Dr Moore, dated 2d August 1788, in-
serted in Dr Currie's Life of Burns, vol. i. our poet again
alludes to this song. He says, " As soon as I was master of
nine guineas, the price of wafting me to the torrid zone, I
took a steerage-passage in the first ship that Avas to sail from
the Clyde ; for
• Hungry ruin had me in the wind.'
" I had been for some days skulking from covert to co-
vert, under all the terrors of a jail; as some ill-advised people
had uncoupled the merciless pack of the law at my heels. I
had taken the last farewell of my few friends ; my chest was
276 CCLXXXIV.— THE IBONNIE BANKS OF AIR.
on the road to Greenock ; I had composed the last song I
should ever measure in Caledonia, " The gloomy Night is
gathering fast," when a letter from Dr Blacklock to a friend
of mine overthrew all my schemes, by opening new prospects
to my poetic ambition. The doctor belonged to a set of
critics for whose applause I had not dared to hope. His
opinion, that I 'vvould meet with encouragement in Edinburgh
for a second edition, fired me so much, that away I posted for
that city, without a single acquaintance, or a single letter of
introduction. The baneful star, that had so long shed its
blasting influence in my zenith, for once made a revolution to
the nadir ; and a kind Providence placed me under the pa-
tronage of one of the noblest of men, the Earl of Glericairn.
Oublie moi, grand dieu, si Jamais Je I'oublie I I need relate
no farther. At Edinburgh, I was in a new world; I mingled
among many classes of men, but all of them new to me, and
I was all attention to catch the characters and the manners
living as they rise."
CCLXXXV.
JOHN 0' BADENYOND.
This excellent song, beginning " When first I cam to be
a man,*" is another production of the Reverend Mr John
Skinner, of whom mention has been made in a former part
of this work. — See Notes on song 201. The words are
adapted to a fine old Highland strathspey.
CCLXXXVI.
FEENNET HALL.
The subject of this ballad is related by W. Gordon, in
his " History of the illustrious House of Gordon," 1726, vol.
ii. p. 135, in the following words :; —
" Anno, 1630, there happened a melancholy accident to
the family of Huntly thus. — First of January there fell out
a discord betwixt (Sir James Crichton) the laird of Fren-
draught and some of his friends, and Wilham Gordon of
Rothemay and some of his, in which WilHam Gordon was
killed, a brave and gallant gentleman. On the Other side was
5
CCLXXXVI.— FRENN:pT HALL. 277
slain George Gordon, brother of Sir James Gordon of Les-
more, and divers others were wounded on both sides. The
Marquis ofHuntly, and some other well-disposed friends,
made up this quarrel ; and Frendraught was appointed to
pay fifty thousand merks Scots, in compensation of the
slaughter ; which, as is said, was truly paid.
« Upon the 27th of September this year (1630) Fren-
draught, having in his company Robert Crichton of Condlaw,
and James Lesly, son to the laird of Pitcaple, Crichton shot
Lesly through the arm, who was carried to his father's house,
and Frendraught put Crichton out of his company. Imme-
diately thereafter he went to visit the Earl of Murray, and
on his return came to the Bog of Gight, now Castle Gordon,
to visit the Marquis of Huntly ; of which Pitcaple getting
notice, convenes about thirty horsemen fully armed and
with them marches to intercept Frendraught, and to be re-
venged of him for the hurt his son had got. He came to the
Marquis''s house, October 7. Upon which the Marquis
wisely desired Frendraught to keep company with his lady,
and he would discourse Pitcaple, who complained to him
grievously of the harm he had done his son, and vowed he
would be revenged of him ere he returned home. The Mar-
quis did all he could to excuse Frendraught, and satisfy Pit-
caple, but to no purpose ; and so he went away in a chaff,
still vowing revenge.
" The Marquis communicated all that had passed to Fren-
draught, and kept him in his house a day or two ; and even
then would not let him go home alone, but sent his son, John
Gordon, viscount of Melgum and Aboyne, with some others,
as a safeguard to him, until he should be at home (among
whom was John Gordon of Rothemay, son to him lately
slain) lest Pitcaple should lye in ambush for him.
" They conveyed him safely home, and after dinner Aboyne
pressed earnestly to return ; and as earnestly did Fren-
draught press him to stay, and would by no means part with
him that night. He at last condescended to stay, though
278 CCLXXXVI.— FRENNET HALL.
unwillingly. They were well entertained, supped merrily,
and went to bed joyful. The Viscount was laid in a room
in the old tower of the hall, standing upon a vault, where
there was a round hole under his bed. Robert Gordon and
English Will, two of his servants, were laid beside him. The
laird of Rothemay, and some servants by him, in an upper
room above Aboyne. And, above that, in another room,
George Chalmers of Noth, and another of the Viscounts
servants ; all of them lodged in that old tower, and all of
them in rooms, one above the other. All of them being at
rest, about midnight the tower takes fire, in so sudden and
fvirious a manner, that this noble lord, the laird of Rothemay,
English Will, Colin Ivat, and other two, being six in num-
ber, were cruelly burnt to death, without help or relief being
offered to be made ; the laird and lady looking on, without
so much as endeavouring to deliver them from the fury of
those merciless flames, as was reported.
" Robert Gordon, who was in Aboyne's chamber, escaped,
as ('tis said) Aboyne might have done if he had not rushed
up stairs to awake Rothemay ; and while he was about that,
the wooden passage and the lofting of the room took fire, so
that none of them could get down stairs. They went to the
window that looked into the court, and cried many times
help, for God's sake, the laird and lady looking on, but all
to no purpose. And finally, seeing there was no help to be
made, they recommended themselves to God, clasped in one
another's embraces.
"And thus perished in those merciless flames, the noble
Lord John Gordon, viscount of Melgum and Aboyne, and
John Gordon of Rothemay, a very brave youth. This vis-
count was a very complete gentleman, both in body and mind,
and much lamented by the whole country, but especially by
his father, mother, and lady, who lived a melancholy retired
life all her time thereafter. And this was all the reward the
Marquis of Huntly got for his good will to Frendraught,
CCLXXXVI.— FRENNET HALL. ^%^
says my author, Spalding, who hved not far from the place,
and had the account from eye witnesses Z"
This ungrateful villain, and inhuman murderer, was nevei*-
theless raised to the peerage by the title of James Crichton,
Viscount Frendraught, in 1642. His wife, who might have
been a fit companion for such a wretch a* Lady Macbeth,
was Elizabeth Gordon, daughter of John, Earl of Suther-
land, and near cousin to the Marquis of Huntly. Gordon
adds, " The family of Frendraught was then very opulent.
They had a great land-estate and much money ; and after
that it soon went to ruin, and was sometime ago extinct."" No
wonder.
The ballad, as printed in the Museum and other collec-
tions, is not supposed to be so old as the date of the event.
The Rev. Mr Boyd, translator of Dante, remembered a few
stanzas of an older ballad, composed, it is said, at the time,
which J. C. Walker, Esq. obligingly communicated to Mr
Ritson. They are here annexed.
The reek it rose, and the flame it flew.
And oh ! the fire augmented high.
Until it came to Lord John's chamber window.
And to the bed whei'e Lord John did lye.
O, help me, help me. Lady Frennet !
I never ettled harm to thee.
And if my father slew thy Lord,
Forget the deed and rescue me !
He looked east, he looked west.
To see if any help was nigh.
At length his little page he saw.
Who to his lord aloud did cry,
Loup down, loujj down, my master dear.
What tho' the window's dreigh and hie,
I'U catch you in my arms twa.
And never a foot from you I'll flee.
How can I loup, ye little page ?
How can I leave this window hie ?
Do you not see the blazing low.
And my twa legs burnt to my knee ?
Ritson adds, " There are some intermediate particulars,
Mr Boyd says, respecting the lady's lodging her victims in %
CCLXXXVI.— FRENNET HALL.
turret, or flanker, which did not communicate with the castle. <
This I have only from tradition, as I never heard any other
stanzas besides the foregoing." The author of the above
five stanzas, either through ignorance or design, has commit-
ted an egregious mistake, in representing the Marquis of
Huntly, Lord John's father, as the murderer of Lady Fren-
nefs husband. Sir James Crichton. la place of dying that
way, or even by the gallows, which both he and his wicked
strumpet so richly deserved, we find him twelve years there-
after elevated to the peerage by King Charles I. !
Neither is the author of the more modern ballad correct, in
supposing Lord John and John Gordon of Rothemay to
have been brothers, as in the following passage,
'^^ Full weel ye ken your husband dear
Was by our father slain."
The actual cause of Sir John and Lady Crichton of Fren-
nefs provocation appears to have been, the 50,000 merks
Scots, about L.2777 : 15 : 6 Sterling, which the Marquis of
Huntly had awarded Sir John to pay, in compensation for
the slaughter of old Gordon of Rothiemay. Poetical fictions
must always yield to historical evidence.
CCLXXXVII.
YOUNG JOCKEY WAS THE BLYTHEST LAD.
Thiib a'u", with a shght alteration, was pubhshed in Oswald's
Caledonian Pocket Companion, vol. vii. page 8, under the
title of " Jocky was the blythe^t Lad in a' our Town." The
song was marked by Johnson with the letter Z, to denote
that it was an old one with additions. But the whole of it,
excepting three or four lines, is the production of Burns.
CCLXXXVIII.
A WAUKRIFE MINNIE.
This song, beginning " Whare are you gaun my bonnie
lass," is not to be found in any collection prior to the Mu-
seum. In Burns Rehques, he says, " I picked up this old
song and tune from a country girl in Nithsdale — I never met
with it elsewhere in Scotland."
281
CCLXXXIX.
TULLOCHGORUM.
This fine song, beginning " Come gie's a sang, Montgom-
ery cried," is another production of the Reverend Mr John
Skinner ; the verses are adapted to the charming strathspey,
called The Reel of Tulhchgorum. Burns, in his Reliques,
gives us the following account of the song of Tullochgorum :
" This First of Songs is the master-piece of my old friend
Skinnee. He was, I think, passing the day at the town of
CuUen ; I think it was, (he should have said Ellon) in a
friend's house, whose name was Montgomery. Mi s Mont-
gomery observing, en passant, that the beautiful reel of Tul-
lochgorum wanted words ; she begged them of Mr Skinner,
who gratified her wishes, and the wishes of every lover of
Scottish song, in this most excellent ballad. These particu-
lars I had from the author's own son. Bishop Skinner, at
Aberdeen. Eeliques. The following is an extract of a let-
ter from Mr^ Burns to the author of Tullochgorum.—
" Reverend and venerable Sii",— Accept, in plain dull prose,
my most sincere thanks for the best poetical compliment I
ever received. (Burns here alludes to the poetical epistle he
had received from Mr Skinner.) I assure you, Sir, as a poet,
you have conjured up an airy demon of vanity in my fancy,
which the best abilities in your other capacity will be ill able
to lay. I regret, and while I live shall regret, that, when I
was north, I had not the pleasure of paying a younger bro-
ther's dutiful respect to the author of the best Scotch song
ever Scotland saw — ' Tullochgor urn's my delight !' The
world may think slightingly of the craft of song-making if
they please ; but, as Job says, * O ! that mine adversary had
written a book !' Let them try."
Mr Cromek adds the following note respecting the words
" Whig-mig-morum," which Mr Skinner introduces in the
first stanza. " Whig-mig-morum occurs in Habbie Simpson's
Epitaph. —
" Sae weiU's he keipit his decorum,
" And all the stotis of Quhip Meg morum/'
282
CCLXXXIX. — TULLOCHGORUM.
'^'Sioiis means notes of music — Quhip Meg morum, the name
of an old air ; therefore the sense is, Notes of Whip-mig-
morum."" — See Cromek's Select Scottish Songs. London,
1810.
The word Siotis, however, evidently implies certain steps
used in the dance called " Quhip-meg-morum," long since
laid aside. But the word Quhip-meg-morura, in Francis
Semple's Epitaph on Habbie Simpson, does not appear to
have any connection with Whig-mig-morum, as used in Mr
Skinner's ballad, which clearly signifies political wrangling
or controversy, and was probably coined by himself, merely
for rhyme's sake, from the term WTiig used in a jocular sense.
Let Whig and Tory all agree
To drop their Whig-mig-morum.
I have never been able to discover who framed the reel of
Tullochgorum ; but the composer has evidently taken the
subject of it from the old Scottish song tune, called " Jockie's
fow and Jenny fain," which may be seen loaded with varia-
tions in Craig's Select Tunes, printed in 1730, and the words
in Ramsay's Tea-Table Miscellany. The following is a
genuine copy of the old air, and the first stanza of the ballad.
JOCKIE'S FOW AND JENNY'S FAIN.
^4i-J-=~3~-*-
:sqz5
Jockie's fow and Jenny's fain ; Jenny was nae ill to gain
.ft » . ...
^
?=F
4^=^=1
^
I — ^ — ^ —
cue
-*■
She was couthy, he was kind, And thus the wooer tell'd his mind
.ft m. ft I , ft ft
^T
^
3t
Jenny, I'll nae mair be nice, Gie me love at o-ny price; I
PP
_ — ft
^
1
winna, prig for red or ^vhy t. Love alane can gie delight.
Ramsay wisely suppressed the rest of this old ditty, and
CCLXXXIX. — TULLOCHGORUM. 283
added three verses of his own, which were less objectionable,
and printed with the letter Q, as an old song with additions.
As the song of « Tullochgorum'' in the Museum contabs
several variations from the Rev, Author's own copy, it is
annexed, witH his last corrections.
I.
Come, gie's a sang, Montgomery cry'd,
And lay your disputes all aside.
What signifies't for folks to chide
For what was done before them :
Let Whig and Tory all agree,
Whig and Tory, Whig and Tory,
Whig and Tory aU agree.
To drop their Whig-mig-morum ;
Let Whig and Tory all agree
To spend the night in mirth and glee.
And cheerful sing alang wi' me
The Reel o' Tullochgorum.
II.
O' TuUochgorum's my delight.
It gars us a' in ane unite.
And ony sumph that keeps a spite,
In conscience I abhor him :
For blythe and cheerie we'll be a',
BIythe and cheerie, blythe and cheerie,
Blythe and cheerie we'll be a'.
And make a happy quorum;
For blythe and cheerie we'll be a'.
As lang as we hae breath to draw.
And dance, till we be like to fa'.
The Reel o' Tullochgorum.
III.
What needs there be sae great a fraise
Wi' dringing dull Italian lays,
I wadna gie our ain strathspeys
For half a hunder score o' them ;
They're dowf and dowie at the best,
Dowf and dowie, dowf and dowie,
Dowf and dowie at the best,
Wi' a* their variorum ;
They're dowf and dowie at the best.
Their allegros and a' the rest.
They canna' please a Scottish taste,
Compar'd wi' Tullochgorum,
IV.
Let wardly worms their minds oppress
Wi' fears o' want and double cess.
284* CCLXXXIX.— TULLOCHGORUM.
And sullen sots themsells distress
Wi' keeping up decorum :
Shall we sae sour and sulky sit.
Sour and sulky, sour and sulky ?
Sour and sulky shall we sit.
Like old PhDosophorum !
Shall we sae sour and sulky sit,
Wi' neither sense, nor mirth, nor wit.
Nor ever try to shake a fit
To th' Reel o' Tullochgorum ?
V.
May choicest blessings aye attend
Each honest, open-hearted friend.
And calm and quiet be his end.
And a' that's good watch o'er him ;
May peace and plenty be his lot.
Peace and plenty, peace and plenty.
Peace and plenty be his lot.
And dainties a great store o' them ;
May peace and plenty be his lot,
Unstain'd by any vicious spot.
And may he never want a groat
That's fond o' Tullochgorum !
VI.
But for the sullen frumpish fool,
' That loves to be oppression's tool.
May envy gnaw his rotten soul.
And discontent devour him ;
May dool and sorrow be his chance,
Dool and sorrow, dool and sorrow,
Dool and sorrow be his chance.
And nane say, wae's me for him !
May dool and sorrow be his chance,
Wi' a' the ills that come frae France,
Wha e'er he be that winna dance
The Reel o' Tullochgorum.
ccxc.
FOR A' THAT, AN' A' THAT.
This humorous song, beginning " Tho' women's minds,
like winter winds," was wholly written by Burns, in 1789,
for the Museum, except the two first lines of the chorus,
which are taken from the old song to the same tune.
In 1794, Burns wrote the following capital verses to the
same air, which were handed about in manuscript a consider-
able time before they appeared in print. They unfortunate-
CCXC— FOR a' that, AN' a' THAT. 285
ly came out at a period when political disputes ran very high,
and his enemies did not fail to interpret every sentence of
them to his prejudice. That he was the zealous friend of
rational and constitutional freedom, will not be denied ; but
that he entertained principles hostile to the safety of the
state, no honest man that knew him will ever venture to
maintain. In fact, what happened to Burns has happened to
most men of genius. During times of public commotion,
there are always to be found vile and dastardly scoundrels,
who, to render themselves favourites with those in power,
and push their own selfish views of interest and ambition,
are ever ready to calumniate the characters, and misrepresent
the motives and actions of their neighbours, however good,
innocent, or meritorious.
Burns introduced the verses to Mr Thomson in January
1795, with this note : " A great critic (Aikin) on songs says,
that love and wine are the exclusive themes for sono-.writ-
ing. The following is on neither subject, and consequently
is no song ; but will be allowed, I think, to be two or three
pretty good prose thoughts inverted into rhyme :"
I.
O WHA, for honest poverty.
Wad hang his head an' a' that ?
The coward-slave^ we pass him by —
We dare be poor for a' that !
For a' that, an' a' that.
Our toils obscure, an' a' that;
The rank is but the guinea's stamp.
The man's the gowd for a' that.
II.
What tho' on hamely fare we dine.
Wear hoddin gray an' a' that ;
Gie fools their silks, and knaves their wine,
A man's a man for a' that:
For a' that, an' a' that.
Their tinsel shaw, an' a' that ;
The honest man, tho' e'er sae poor.
Is king o' men for a' that.
III.
Ye see yon birkie ca'd a lord,
Wha struts and stares, an' a' that.
S86 ccxc— FOR a' that, an' a' that
Tho' hundreds worship at his word.
He's but a coof for a' that :
For a' that, an' a that.
His ribband, star, an' a' that,
The man of independent mind.
He looks and laughs at a' that.
IV.
A king can mak a belted knight,
A marquis, duke, an' a' that ;
But an honest man's aboon his might,
Guid faith he manna' fa' that 1
For a' that, an' a' that.
Their dignities, an' a' that.
The pith o' sense, and pride o' worth.
Are higher ranks than a' that.
Then let us pray, that come it may.
As come it will for a' that.
That sense and worth, o'er a' the earth,
May bear the gree, an' a' that.
For a' that, an' a' that.
It's coming yet for a' that.
That man to man, the warld o'er.
Shall brothers be for a' that.
CCXCI.
0, WILLIE BREW'D A PECK 0' MAUT.
This song was written by Burns, and set to music by
Allan Masterton, in 1789. The " Willie," who brew'd a
peck o"* maut, was Mr William Nicol of the High School,
Edinburgh; and Rob and Allan, were our poet and his
friend Masterton. The occasion of it was this ; — Mr Nicol
had purchased the farm of Laggan, in Nithsdale, by the
advice of Burns, and during the autumn vacation, 1789, he
went to look after his new purchase. Mr Masterton, who
who was at that time on a visit to Dalswinton, and our poet,
went to pay Nicol a visit, and warm his new house. " We
had such a joyous meeting," says Burns, " that Mr Master-
ton and 1 agreed, each in our own way, that we should cele-
brate the business.'"* Accordingly, Burns produced the
words, and Masterton the music. — These three honest fel-
" See Reli^uet.
cexci.- — o, WILLIE bkew'b a peck o"* maut. 287
lows, and men too of uncommon talents, are all now num-
bered with the dead.
CCXCII.
KILLIECRANKIE.*
The chorus of this song is old. The rest of it, beginning
<* Whare hae ye been sae braw, lad," was written, in 1789,
by Burns, on purpose for the Museum. This tune is men-
tioned in the Scotch Presbyterian Eloquence, written in
1692 ; as the writer tells us, that " the death of Lawderdale
and Sir George Mackenzie happened last year," viz. 1691.
CCXCIII.
THE EWIE Wr THE CROOKIT HORN.
This excellent song, beginning " O were I able to re-
hearse," is another production of the'Reverend Mr John Skin-
ner. The verses are adapted to a fine lively Highland reel,
of considerable antiquity, which received its name from a
*' Ewie" of a very different breed ; namely, the whisky-still,
with its crooked, or rather spiral, apparatus.
THE EWIE wr THE CROOKIT HORN;
With tlie Author's last Corrections.
I.
Were I but able to rehearse
My ewie's praise in proper verse,
I'd sound it forth as loud and fierce.
As ever piper's drone could blaw :
CHORUS.
The ewie lui the crookit horn,
Wha had kent her 7night hae sworn.
Sic a ewe was never born
Hereabout, nor far awa.
* Killicrankie is a noted pass in the Highlands of Athol, near the junction of
the Tummel river with that of the Garry. It is formed by the lofty mountains
impending over the river Garry, which rushes below in a dark, deep, and rocky
channel, overhung with trees that grow out of the clefts of the rock. The river
is in most places invisible to the traveller, who only hears its deafening roar ;
and where it is seen, the water appears pouring over a precipice, forming a scene
of awful magnificence. Near the north-end of this pass was fought the battle of
Killicrankie, on 27th July, 1689, in which the Dutch and English forces of King
William, under the command of General Mackay, were almost instantaneously de-
feated by the Highland clans, commanded by James Graham of Claverhouse,
(Viscount Dundee) who adhered to King James ; but Claverhouse received his
death-wound in this battle, whicli event blasted the hopes of the royal family of
Stuart.
g88 CCXCIII.— THE EWIE Wl' THE CROOKIX HORN.
II.
I never needed tar nor keil.
To mark her upo' hip or heel.
Her crookit horn did as weel
To ken her by amo* them a'.
The erne wi , &c.
in.
She never threatened scab nor rot.
But keepit ay her ain jog-trot,
Baith to the fauld and to the cot.
Was never sweirt to lead nor ca'.
The ewie wi', &c.
IV.
Cauld nor hunger never dang her.
Wind nor wet could never wrang her ;
Anes she lay an ouk and langer,
Furth aneath a wreath o' snaw.
The ewie wi, &c.
V.
Whan ither ewies lap the dyke.
And ate t'le kail for a' the tyke.
My ewie never play'd the like.
But tyc'd about the barn wa'.
The eioie wi', &c.
VI.
A better, or a thriftier beast,
Nae honest man could weel hae wist.
For, silly thing, she never mist
To hae, ilk year, a lamb or twa.
The ewie wi', &c.
VII.
The first she had I gae to Jock,
To be to him a kmd o' stock.
And now the laddie has a flock
O' mair nor thirty head ava.
The ewie wi', &c.
VIII.
I lookit aye at even for her.
Lest mishanter shou'd come o'er her.
Or the fowmart might devour her.
Gin the beastie bade awa.
The ewie wi', &c.
IX.
My ewie wi' the crookit horn,
Weel deserv'd baith gerse and com.
Sic a ewe was never bom
Hereabout, or far awa.
The ewie wi', &c.
- i
CCXCVI. TAM GLEN. 291
dear tittie," is one among many of the happy effusions of
Burns' fertile muse. In the Museum, the verses are adapted
to a very ancient air, of which the title " Tarn Glen" is all
that remains of the old song. The tune and words were
both transmitted by Burns to Johnson, expjessly for his
Museum. The verses, however, are more generally sung to
the air called " The Mucking o' Geordie's Byre,"" an excellent
set of which will be found in vol. i. p. 97, of that work.
CCXCVII.
THE DRAP O' CAPIE, O.
This comic old ballad, beginning " There lived a wife in
our gate end," was rescued from the stalls, and placed in a
regular Collection of Songs and Ballads, by David Herd,
in 1776. It contains a lively and humorous description
of the rough, but, as it would seem, very efficacious means em-
ployed by an humble villager to reclaim his unhappy spouse
from the pernicious habits of intoxication ; an advice to hus-
bands who may happen to be simiiai-ly situated ; and concludes
with an appropriate epitaph. It has long been a favourite at
every country fireside, and may be read Avith pleasure in the
closet. Nevertheless, the refined manners of modern life will
be a bar, perhaps, to its general reception in the fashionable
circle of a drawing-room. The tune to which it is adapted,
is known by the name of " The Banting Highlandman."
ccxcviii.
THE RESTORATION OF THE FORFEITED ESTATES.
This congratulatory song, on the restoration of the for-
feited estates in Scotland to their original proprietors, in
1784, is the production of the late Rev. Mr William Ca-
meron, minister of Kirknewton, near Edinburgh. The verses,
beginning " As o er the Highland hills I hied," are adapted
to the fine old an*, called " The Haughs o' Cromdale."
ecxcix.
THE CAMPBELLS ARE COMING, OHO, OHO.
In the index to the third volume of the Museum, this
song is said to have been composed on the imprisonment of
292 CCXCVIII. — THE CAMPBELLS ARE COMING, &C.
the unfortunate Mary Queen of Scots, in the castle of Loch-
leven, in 1567. The Earl of Argyle was on the queen's
party at the battle of Langside, in 1568, and, perhaps, the
tune may have been the Campbells' quick-jnarch for two
centuries past. But, nevertheless, the words of the song con-
tain intrinsic evidence, that it is not much above a century
old. In all probability it was written about the year 1715,
on the breaking out of the rebellion in the reign of George I.
when John Campbell, the great Duke of Argyle, was made
commander in chief of his Majesty's forces in North Britain,
and was the principal means of its total suppression. I
have seen the tune, however, in several old collections.
ccc.
GET UP AND BAR THE DOOR.
This exceedingly humorous Scottish ballad was recovered
by old David Herd, and inserted in his Collection, vol. ii.
If \t p. 159, anno 1776. It appears to be an amplification of
the fine old song, called " Johnnie Blunt," which will be found
in the fourth volume of the Museum, p. 376, song 365.
It is a curious circumstance, that this ballad furnished
Prince Hoare with the incidents of his principal scene in his
musical entertainment of " No Song, no Supper," acted at
Drury-Lane, London, 1790, (the music by Storace) and
since, at all the theatres of the united kingdom, with great
success. It still continues a favourite on the acting list. Mr
Hoare was also indebted to another old Scottish ballad for
several other material incidents in the same piece, namely,
" The Freirs of Berwik," wi-itten by Dunbar prior to the
year 1568, as it is inserted in the Bannatyne Manuscript, in
the library of the Faculty of Edinburgh, of that date, and
which Allan Ramsay afterwards modernized in a poem,
called « The Monk and the Miller's Wife."
END OF PART THIKD.
C * 293 1
ADDITIONAL ILLUSTRATIONS.
PART IIL
ecu.
GLADSMUIR.
William Hamilton of Bangour, Esq., is a name too
well known, although his poems are less esteemed than for-
merly, to require any detailed notice. He was born in the
year 1704, and long enjoyed life in the fashionable circles
of Edinburgh. Having involved himself in the Rebellion
of 1745, he lurked for some time in the Highlands, and at
length escaped to the Continent. After three years' exile,
he died at Lyons, 25th of March, 1 754. In the Archseologia
Scotica, vol. iii. p. 255—266, there is a minute and accu-
rate account of his life and writings, communicated by
James Chalmers, Esq. London.
Hamilton's " Ode on the Battle of Gladsmuir, 1745,"
was originally printed for private distribution, and was set
to music by Macgibbon.
cciv.
THE SMILING PLAINS.
In Ruddiman's Edinburgh Weekly Magazine, Dec.
1773, vol. xxiii. p. 306, where this song first appeared, it is
entitled " An Address to his Mistress, by the late William
Falconer, Esq." It was copied at the time into several of
the other Magazines.
ccv.
WHEN I UPON THY BOSOM LEAN.
This song, to the tune of " Johnny's Gray Breeks,"
294 * WHEN I UPON THY BOSOM LEAN.
is included in the " Poems on Several Occasions, by John
Lapraik. Kilmarnock, printed by John Wilson, 1788,"
8vo. pp. 240. The author, whom Burns styles " a very
worthy, facetious old fellow," was born at Laigh Dal-
quhram (commonly pronounced Dalfram) about three miles
from Muirkirk, Ayrshire, in the year 1727. He was thus
Burns' senior by thirty-two years. Having become in-
volved as security to some persons connected with the Dou-
glas and Heron Bank, upon its failure, in 1769, which occa-
sioned so much distress in the West of Scotland, Lapraik's
property was sold, and he himself reduced to poverty and
landed in jail. He turned farmer, but afterwards settled at
Muirkirk, where he died on the 7th of May, 1807, in the
eightieth year of his age. These particulars are derived
from an account of Lapraik, contained in the first number
of *' The Contemporaries of Burns."
Burns's admiration of this song, (which probably con-
tains a few touches by his masterly hand, where it differs
from the author's publication in 1788,) led him to cultivate
an acquaintance with Lapraik, who was encouraged to ven-
ture on printing a collection of his verses. He was a mo-
dest man, and if, as the Ettrick Shepherd characterises
him, he was "a very indifferent poet; indeed no poet at
all r he at least put forth no extravagant pretensions. In
the preface to the volume above mentioned, he states, that,
" In consequence of misfortunes and disappointments, he
was some years ago, torn from his ordinary way of life, and
shut up in retirement" (in jail ?) ; and that his poems were
composed to amuse his solitude, and with no design of pub-
lishing them. Or, as he elsewhere expresses it, in one of
his epistles to Burns, —
O, far-fam'd Rab ! my silly muse.
That thou sae praised langsyne,
When she did scarce ken verse by prose.
Now dares to spread her wing ;
Unconscious of the least desert.
Nor e'er expecting fame.
WHEN I UPON THY BOSOM LEAN. * 295
I sometimes did myself divert
Wi' jingling worthless rhyme,
When sitting lanely by myself.
Just unco griev'd and wae.
To think that Fortune, fickle joe.
Had kick'd me o'er the brae.
CCVI.
COLONEL GARDINER.
Sir Gilbert Elliot of Minto, Baronet, the writer of
these elegiac verses on Colonel Gardiner, was the eldest son
of Sir Gilbert Elliot, the second Baronet, who was one of the
Senators of the College of Justice, and Lord Justice-Clerk.
He was born in September 1722, and being educated for
the Scottish Bar, he passed as member of the Faculty of
Advocates, 10th of December, 1743. He was early dis-
tinguished by his taste for elegant literature, and long con-
tinued a leading member in the literary circles of Edinburgh.
* Mr Gilbert Elliot, younger of Minto,' married Miss Mur-
ray Kynnynmound, 15th of December 1746. (Scots Mag.
1746, p. 598). In 1754, he was elected Member of Parlia-
ment for Selkirkshire; and was again returned in 1761. In
1765, on a vacancy occurring in the representation of Rox-
burghshire he resigned his seat for Selkirkshire, and was
returned as member for his native county ; and also during
the successive Parliaments in 1768 and 1774. On the death
of his father, the Lord Justice- Clerk, in April 1766, he
succeeded to the baronetcy and estates, and was succes-
sively one of the Lords of the Admiralty, Keeper "of the
Signet, and Treasurer of the Navy. He died at Marseilles,
whither he went for the recovery of his health, in January
1777. His son, Sir Gilbert, the fourth Baronet, born in
1751, and for some time Governor- General in India, was
raised to the Peerage by the title of Earl of Minto.
In his literary character, there have not been many
acknowledged compositions of Sir Gilbert Elliot's given to
the world. He is best known as the author of the pastoral
song ' My sheep I neglected," inserted in this work, as No.
296 * COLONEL GARDINER.
xciv. In the Censura Literaria, vol. viii. p. 409, 1808,
Sir Egerton Brydges published the following lines, "found
among the papers of an eminent literary person, lately de-
ceased," and said to be written ' By the late Sir Gilbert
Elliot, Bart." The Editor adds, " I will not venture to say
that they have never been printed, before, though I do not
recollect to have met with them." The lines, however, were
printed in the Scots Magazine, October 1766, p. 543,
where they are attributed " to a person of distinction ;" but
they merit to be better known.
The occasion was the affecting one of the funeral of the
Earl and Countess of Sutherland, who died within fifteen
days of each other, at Bath. The Earl was seized with
fever, and his lady died before him, in consequence of her
unremitting care in attending him for twenty-one successive
days and nights. Their remains arrived at Edinburgh on
the 4th. of July, were laid in state for some time in the
Abbey of Holyroodhouse, and buried in one grave in the
Abbey Church, on the 9th of July, 1766.
Thoughts occasioned hy the Funeral of the Earl and
CoMw^e,s,s q/" Sutherland, at the Abbey of Holyroodhouse.
{^Composed, we have reason io believe, by a Person of distinction.']
' See where the Forth, by many a winding shore.
Still undiminish'd, holds his way ; and see
Yon Mountain hoar, a stranger to decay.
Still as of old, o'erlooks the walled City,
Her dwellings, spires, and rocky battlement ;
E'en that proud Palace, rear'd by human toil.
Still braves the stroke of Time, though long untrod
The paved court, and silent be the hall.
These all remain : yet in the mould'ring vault
Sleep Scotland's boasted Kings, their ancient line
Extinct, and all their long-descended sway
Shrunk to this little measure : O ! farewell.
Farewell, ye mighty names, for high exploits
And warlike prowess fam'd ; intreated oft.
And oft assail' d, by French or English monarch.
Such are thy triumphs, and thy victory such,
O Death, relentless ! whom no charm can soothe, —
COLONEL GARDINER. * 297
Thy valour, Bruce, nor all the civil lore
Of the first James, nor Mary's matchless bloom,
Ill-fated Queen ! Then -wipe your tears away ;
I'll weep no more : let the long funeral pass.
And darken all around : I'll weep no more. —
True, they were young ; and noble was thy birth,
O Sutherland ! and in thy manly mind.
An inmate there, was seated sweet affection.
Yet wherefore mourn? In pity Heav'n bestow'd
An early doom : lo ! on the self-same bier
A fairer form, cold by her husband's side.
And faded every charm. She dy'd for thee.
For thee, her only love. In beauty's prime.
In youth's triumphant hour, she dy'd for thee.
Bring water from the brook, and roses spread
O'er their pale limbs ; for ne'er did wedded love
To one sad grave consign a lovelier pair.
Of manners gentler, or of purer heart !
Nor man alone decays : this antique tomb,
Where mix'd with Kings they lie ; yon mountain hoar,
And rocky battlement, one awful day
Shall give to ruin ; while alone survives.
Bright and imquenchable, the vital flame.
Portion of Heav'n's own fire, which once illum'd
High-minded virtue, or with milder glow
Warm'd the pure breast of lovers and of friends.
" Mrs Richmond Inglis, the daughter of Colonel Gar-
diner, was the ' Fanny fair, all woe begone,' of Sir Gilbert
Elliot's song, which was originally set to the tune of Barbara
Allan." — (C. K. S.) This lady is numbered among the
poetesses of Scotland, having published " Anna and Edgar,
or Love and Ambition, a tale, by Mrs Richmond Inglis,
daughter of Colonel James Gardiner, who fell at the battle
of Preston, 1745. Edinburgh, 1781," 4to. " Mrs Rich-
mond Gardiner relict of Mr Lawrence Inglis, Depute-Clerk
of Bills, died at Edinburgh, 9th of June, 1795."
CCVIII.
JENNY WAS FAIR AND UNKIND.
This song, by Lapraik, occurs at p. 193, of his volume
of poems, mentioned in a preceding note. It is there di-
rected to be sung to the tune, " Lochaher no more," and
has three more stanzas than are given in the " Museum."
298 * THE HIGHLAND CHARACTER.
CCX.
THE HIGHLAND CHARACTER.
The writer of this song was Lieut.- General Sir Henry
Erskine, Baronet, but not "of'Torry," as erroneously
stated at page 202. He was the second son of Sir John
Erskine of Alva, and succeeded to the baronetcy on the
death of his elder brother. He was Deputy Quartermas-
ter-general, and succeeded his uncle, the Hon. General St
Clair, in the command of the Royal Scots, in 1762. He
was long a distinguished member of the House of Com-
mons. He died at York, when on his way to London, 9th
of August 1765. His eldest son. Sir James Erskine, who
was also in the army, assumed the name of St Clair ; and
on the death of his uncle, Alexander, Earl of Rosslyn, in
1805, he became second Earl of Rosslyn, and died in 1831.
Mr S. mentions, that this song appeared in Herd's Col-
lection, 1769 and 1776. It was previously printed in " The
Lark," 1765. A letter of Sir Henry Erskine to Mr Os-
wald of Dunikeer, chiefly relating to local improvements
in Fife, dated 23d of July 1754, is printed in Oswald's
Correspondence, p. 326. There is a scarce portrait of
him, etched by David Martin, an eminent portrait-painter
of the last centur}^
ccxx.
LEADER HAUGHS AND YARROW.
There is no evidence for giving " Minstrel Burn," the
Christian name of Nicol, or making him flourish about the
middle of the sixteenth century. His ballad, belongs to the
first half, or perhaps the middle, of the following century.
Mr S. evidently had confounded him with Nicol Burne, a
Roman Catholic priest, the author of a work called " The
Disputation concerning the Controversit Headis of Reli-
gion, holden in the realme of Scotland, &c. Imprented at
Parise, 1581." 8vo. ; and also of a scurrilous poem, en-
titled " Ane Admonition to the Antichristian Ministers in
the Deformit Kirk of Scotland, 1581." 8vo.
AY WAKIN, O. * 299
CCXIII.
AY WAKIN, O.
" Mr Stenhouse's copy of the old words seems to me
very lame and imperfect. Here follows the ballad that I
remember many people sang in my youth :
When first scho cam to toon.
They ca'd her Jess Macfarlan.
But now scho's come an' gane.
They ca' her the wanderin' darlin'.
Ay wakin'. Oh !
Wakin ay, an' wearie,
Sleep I can get nane
For thinkin' o' my dearie t
Whan I sleep, I dream.
Whan I wake I'm eerie ;
Sleep I can get nane
For thinking o' my dearie !
I took it in my head
To write my love a letter j
My lassie couldna read.
And I loed her a' the better.
Ay wakin. Oh, &c.
" I have been informed that Miss Macfarlan was a great
beauty in Edinburgh, nearly ninety years ago — but met
with a sad misfortune, which much diminished the train of
her admirers. Seated at a ball supper, on a bench, with
her back to the wall, a long crowded table before her, and
many people on each side, she was suddenly seized with a
sick qualm of the stomach, when it was almost impossible
to remove her — horresco referens — the reader must guess the
rest."— (C. K. S.)
ccxv.
BEWARE OF BONNIE ANN.
" These verses, to the tune, * Ye gallant bright,' were
written in honour of Ann Masterton, daughter of Allan
Masterton, author of the air of ' Strathallan's Lament.'
She is now (says Mr Cunningham, in 1834) Mrs Derbi-
300 * BEWARE OF BONNIE ANN.
shire, and resides in London. In her father's house the poet
passed many happy evenings."
ccxxi.
BARBARA ALLAN,
" In this note Mr S. alludes to me. Unluckily I lost the
paper I found at- Hoddam Castle, in which Barbara Allan
was mentioned. I remember that the peasantry of Annan-
dale sang many more verses of this ballad than have appear-
ed in print, but they were of no merit — containing numer-
ous magnificent offers from the lover to his mistress — and,
among others, some ships, in sight, which may strengthen
the belief that this song was composed near the shores of
the Sol way.
" I need scarcely add, that the name of Grahame, which
the luckless lover generally bears, is still quite common in
and about Annan. Grove, in Bishop Percy's copy of the
ballad, is probably a corruption of Grahame." — (C. K. S.)
The following very clever parody of ' Barbara Allan,' by
Sir Robert Murray Keith, (in 1752), is copied from a col-
lection entitled " The Caledoniad," London, 1775, 3 vols.
12mo ; which contains several other poems by the same
hand, and written about the same time.
" A Paraphrase of the first four verses of Barbara Allan ;
made on Lord D[ouglas]'s regiment receiving orders to
, march from Maestrecht to Sas van Ghent, in Dutch
Flanders. By Sir R 1 M y K -h.
It fell about the month of June,
Or in the month of July,
That Jan de Back,* in the Low Countrie,
Did use us very cruelly.
A letter by the post he sent
With news that was right dreary,
That we must march to Sas van Ghent,
Of which we'll soon be weary.
* Secretary at War.
BARBARA ALLAN. * 301
" Rise up. Rise up, young men," he said,
" 'Tis time that ye -were stepping ;
" Of the bad air be not afraid,
" Take aye the t'other chappin.
" For dinna ye mind as well as me,
" Breda, where ye were lying ;
" The lads that drank came ofi" Scot free,
" When the sober folk lay dying ?"
Sir Robert Murray Keith was the eldest son of
Robert Keith, Esq. of Murrayshall, in the county of
Peebles, and was born about the year 1732. In the Statis-
tical Account of the Parish of Prestonpans (1796), it is
stated, that among " some gentlemen of the first merit, in
their several lines of life, who were educated at the school
there, were Sir Robert Murray Keith, and his brother Sir
Basil Keith ; the last of whom, after an honourable life in
the navy, died governor of Jamaica. The first still survives,
an honovir to the coj'ps diplomatique, as a member of which
he has done eminent services to his king and country."
— (Vol. xvii. p. 81). He early entered the military pro-
fession, as appears from the following notice, in July 1747,
" Robert Keith Murray, of Murrayshall, a cornet of
Rothes's dragoons was appointed a captain in the regiment
of foot, now raising in Scotland, for the service of the States-
General." — (Scots Mag. 1747, p. 351.) He remained in
the Dutch service for some years, " greatlj'^ esteemed by his
brother officers for his skill and judgment, as well as for his
politeness and learning." It was during this period that he
wrote a number of poetical pieces, which appeared in the
above-mentioned collection, " The Caledoniad." His
verses display a rich vein of humour, and evince that he
was capable of higher exertions than such jeux d' esprit to
amuse his companions. He afterwards obtained a commis-
sion in the English army; and in 1760, we find him styled
Robert Murray Keith, Esq. commander of a battalion of
Highlanders, which distinguished themselves during the
German campaigns.
302 * BARBARA ALLAN.
He was successively employed as minister in Saxony,
" where he was greatly caressed by the ladies at the
Court of Dresden ;" and at Copenhagen, where his spirited
conduct, in rescuing the unfortunate Queen of Denmark,
(who was sister of George III.), obtained for him great
praise, and his honorary title. On a vacancy in Peebles-shire,
in 1775, Sir Robert Murray Keith of Murrayshall, K.B.,
was elected M.P. for that county. In the Town and Coun-
try Magazine, and in Ruddiman's Weekly Magazine, for
August 1772, there appeared an article, called " Memoirs of
SirR M K , and Madame P lie," which
contains some anecdotes of his private life. His sister, Miss
Anne Keith, has been noticed in these Illustrations, at p.
* 136. The following extract is made from the obituary of
the Gentleman's Magazine for 1795: — " June 22, died at
Hammersmith, in his 63d year, the Right Hon. Sir Robert
Murray Keith, K.B., one of his Majesty's most honourable
privy-council, lieutenant-general in the army, colonel of
the 10 th regiment of foot, and formerly ambassador-extra-
ordinary to the Court of Vienna. He was placed in the
diplomatic line by General, now Marshal, Conway, when
Secretary of State. Twenty-two years ago he was sent to
the Court of Vienna, and his brother. Sir Basil, was soon
afterwards appointed Governor of Jamaica. His sisters
received pensions ; and that of his father, who also had
been a foreign envoy, was increased. Sir Robert was cor-
pulent, with a short neck. He died in the arms of his ser-
vant, immediately after entertaining company at dinner.
His father. Ambassador Keith, as he was called at Edin-
burgh, died [2 1st of September 1774] almost as suddenly."
—(Gent. Mag. 1795, P. I., p. 535.)
CCXXIV.
THE DAY RETURNS.
Some notice of Mr Riddell of Glenriddell, a musical
amateur, and eminent antiquary, will be found in another
THE DAY RETURNS. * 303
part of this work. The lady to whom Burns alludes in his
note to this song (see p. 215), was the sister-in-law of his
friend Mrs Riddell, with whom he had had a quarrel, but
who visited him during his last illness. In addition to the
note respecting her at page * 208, it may be mentioned,
that her first husband was Captain Walter Riddell, a
younger brother of Glenriddell, and that, on his return
from the West Indies, he purchased a property in the
neighbourhood of Dumfries, which, in honour of his wife,
he named Woodley Park. He died at his estate in Anti-
gua, and his widow consoled herself, in March 1808, by
marrying, as her second husband, P. L. Fletcher, Esq.,
an Irish gentleman of fortune. She resided latterly at
Hampton Court, and died in 1812.
ccxxv.
MY LOVE she's BUT A LASSIE YET.
" The old title of this air was, ' Put up your dagger,
Jamie.' The words to this air are in ' Vox Borealis, or
the Northern Discoverie, by way of dialogue between
Jamie and Willie,' 1641.
Put up thy dagger, Jamie,
And all things shall be mended.
Bishops shall fall, no not at all.
When the Parliament is ended.
Which never was intended
But only for to flam thee.
We have gotten the game.
We'll keep the same.
Put up thy dagger, Jamie.
' This song,' says the author, ' was plaid and sung by
a fiddler and a fool, retainers of General Ruthven, Governor
of Edinburgh Castle, in scorn of the Lords and the Cove-
nanters, for surrendering their strong holds.' " — (C.K.S.)
304* THE BLACK EAGLE.
CCXXVIII.
THE BLACK EAGLE.
Burns correctly ascribes this song to Dr Fordyce ; but
Stenhouse, in his additions, and Allan Cunningham after
him, fall into the mistake of confounding Professor David
Fordyce with his brother, the Rev. Dr James Fordyce.
David Fordyce, who was born at Aberdeen, in March 1711,
studied at Marischal College, and was licensed to preach,
but was never ordained. In September 1742, he was ap-
pointed Professor of Moral Philosophy in Marischal Col-
lege, and was the author of some philosophical works, which
afforded the promise of his rising to eminence in the literary
world, had he not been cut oif by a premature death, on the
coast of Holland, 7 th of September 1751, when on his
return from his travels in France and Italy. (Scots Ma-
gazine, 1751, pp. 453 and 536; Chalmers' Biographical
Dictionary, vol. xiv. p. 469). His younger brother, James,
was born about the year 1720, and pursued the same aca-
demical course ; and was successively minister of Brechin,
and of Alloa, previous to his settling in London, as the
minister of a Presbyterian Chapel there. He it was who
obtained distinction for his pulpit eloquence, and who was
the writer of the song, " The Black Eagle," which gives
occasion for this note. It is printed at page 105, of
" Poems, by James Fordyce, D.D. London: T. Cadell,
1786," 12mo., with this note : " Intended for a pathetic
Air of that name, in Oswald's Collection of Scotch Tunes."
He died at Bath, 1st of October 1796, in his 76 th year.
(Chalmers' Biogr. Diet. vol. xiv. p. 470),
ccxxxi.
MY BONNY MARY.
" The first half stanza of this song is old; the rest mine."
^(Burns). " That half stanza was probably the same
with the following, which occurs near the close of a homely
ballad, printed in Hogg and Motherwell's edition of Burns,
MY BONNY MARY. * 305
as preserved by Mr Peter Buchan ; who further communi-
cates that the ballad was composed, in 1636, by Alexander
Lesly of Edinburgh, on Doveranside, grandfather to the
celebrated Archbishop Sharpe. - .
Ye'U bring me here a pint of wine,
A server, and a silver tassie ;
That I may drink, before I gang,
A health to my ain bonnie lassie.
The fact of Burns pitching upon this one fine stanza of an
old ballad, as a foundation for a new song, shows expres-
sively the apt sense he had of all that was beautiful in
poetry, and how ready his imagination was to take wing
upon the slightest command." — (Note, Mr R. Chambers).
ccxxxiv.
JOHNNIE COPE.
At page 220, the original words of this inimitable song,
are ascribed to Adam Skirving, of whom some account
has been already given. (See p. * 189). Notwithstanding
his son's silence respecting the authorship of this song, there
is no reason for calling in question Mr Stenhouse's assertion,
as the local character of the verses, and their caustic spirit
and resemblance to his " Tranent Muir," would place this
point, I think, beyond all reasonable doubt.
This song, and its lively air, have always been popular.
Mr Cunningham says, " The variations are numerous : I
once heard a peasant boast, among other acquirements, that
he could sing Johnnie Cope with all the nineteen variations."
ccxxxv.
I LOVE MY JEAN.
Burns has styled Marshall, of whose life some particulars
will be given in the Introduction to this work, " The first
composer of strathspeys of the age. I have been told by
somebody, who had it of Marshall himself, that he took the
idea of hi^ three most celebrated pieces, ' The Marquis of
306* I LOVE MY JEAN.
Huntley's Reel, His Farewell, and Miss Admiral Gordon's
Reel,' from the old air ' The German Lairdie.' "
ccxxxvi.
O, DEAR MOTHER.
"The notes of ^How can Ikeep^ §-0.,' appear in the second
of Walsh's Caledonian Country Dances, and are exactly the
same with those of ' The Wren she lies in Care's bed,' —
otherwise Lennox's Love to Blantyre, an air said to have
been composed on the considerable legacy, including Leth-
ington, the ancient seat of the Maitland family, then re-
baptized Lennox Love, which the beautiful Miss Stewart,
celebrated by Count Hamilton, bequeathed to her cousin,
Lord Blantyre.
" I have always heard, ' How can I keep,' sung to this
air. The verses, which possess considerable humour, are
to be found in a small volume, entitled ' A Ballad Book,'
printed in Edinburgh, and dedicated, by permission, to Sir
Walter Scott. On the head of ' How can I keep,' we
may observe, that the extreme indecency of the names given
in former days to fashionable dances, is scarcely now to
be believed. — Vide Walsh's Caledonian Country Dances,-
where the original jig of Nancy Dawson in particular bears
a name too gross to be repeated.! See also * The Dancer's
Pocket Companion/ Edinb. 1774. No. 16."— (C. K. S.)
CCXXXVIII.
ALLOA HOUSE.
" There is an amusing anecdote concerning the author of
' The Spring returns, and clothes the green plains,' in an
t " I believe it is not generally known that Nancy Dawson, the cele-
brated dancer, was a native of Scotland. She cut her first capers near
Kelso, where she was born, the daughter of an humble cottager. This
information I had from a lady connected with Dr Smollett. Miss
Nancy's relatives continued farmers in the same vicinity forty years
ago."— (C. K. S.)
ALLOA HOUSE. * 307
unpublished letter from the Countess of Kintore, daughter
of the Lord Grange to Lady Francis Erskine, daugh-
ter of the Earl of Mar, without date of place or year —
* Since I'm speaking of strange stories, I'll tell you one I
had wrote me from Edinburgh this week. A lady of the
name of Grahame, sister, they call her, to the Earl of Mon-
teith, threatened to shoot Sandie Webster, the minister,
for hindering Michael Menzies (Jemmy will tell you what
he is) from marrying her. Having sent Webster a letter
to that purpose on the Saturday, it made him stick his
preaching on the Sunday, on her appearing in the kirk.' " —
(C. K. S.)
Another song by Dr Webster " Oh! how could I venture
to love one like Thee" also to the same tune, " Alloa House,"
is printed in " The Charmer," vol. i. p. 214, with the signa-
ture " A. W r." It had previously appeared in the
Scots Magazine for November 1747.
Alexander Webster, D.D. was born at Edinburgh in
1707, and died there 25th of January, 1784, in the 77th
year of his age, and 51st of his ministry. An excellent
portrait of him, and a sketch of his life, appeared in the
-Scots Magazine for April 1802. See also Kay's Portraits,
vol. i. No. 10.
CCXLI.
ST KILDA DAY.
The translator, or author, of this song, is merely called
Mr Macdonald in Mr S.'s note. There is no doubt, how-
ever, in regard to the person, as the song occurs at page
123, of" The Miscellaneous Works of A. Macdonald; in-
cluding the Tragedy of Vimonda, and those productions
which have appeared under signature of Matthew Bramble,
Esq." London, 1791, 8vo.
This author, Andrew Macdonald, was the son of
George Donald, a gardener near Leith, where he was born
in the year 1757. He studied at the University of Edin-
burgh, and having received deacon's orders in the Scot-
308 * ST KILDA DAY.
tish Episcopal Church, in 1775, the Mac was prefixed to his
surname. For some time he was minister of an Episcopal
chapel in Glasgow, but the inability of the congregation to
give him any adequate support, led him to relinquish his
ecclesiastical functions ; and he finally settled in London,
as a literary character.
In Alex. Campbell's " Introduction to a History of
Poetry in Scotland," p. 317, &c., will be found an account
of Macdonald's life. He is also noticed in D' Israeli's Cala-
mities of Authors, and in Chalmers's Biogr. Diet., vol. xxi.
p. 49. Mr Chalmers says, " His works were lively, sati-
rical, and humorous, and were published under the signa-
ture of Matthew Bramble. He naturally possessed a fine
genius, and had improved his understanding with classical
and scientific knowledge; but for want of connexions in
this southern part of the United Kingdom, and a proper
opportunity to bring his talents into notice, he was always
embarrassed, and had occasionally to struggle with great
and accumulated distress. He died in the 33d year of his
age, at Kentish Town, in August 1790, leaving a wife and
infant daughter in a state of extreme indigence."
CCXLV.
THE lover's address TO A ROSE-BUD.
The authoress of this song, as stated at p. 230, was Mrs
Scott of Wauchope. She was the niece of Mrs Cockburn,
who wrote the set of the Flowers of the Forest, beginning
" I've seen the smiling ;" and the following particulars are
partly derived from a biographical sketch prefixed to a pos-
thumous volume of her poems.
Elizabeth Rutherford was born at Edinburgh in the
year 1729. Her father, David Rutherford of Capehope,
passed as advocate in 1716, and died 8th of April 1763.
" She was early taught the Latin and French languages,
and became a ready proficient in many branches of the
belles lettres." Having shown an early predilection for
THE LOVER S ADDRESS TO A ROSE-BUD. * 309
poetry, it is stated, that she was benefited by the advice of
Allan Ramsay, and that she was intimate with Dr Black-
lock, who " constantly mentioned Miss Rutherford as a
writer whose talents were superior, and whose poetry was
deserving of praise,"
" Our poetess was no less celebrated for her personal
attractions than for her intellectual endowments. The youth
who shared her affections, and with whom she was supposed
to have consented to pass the remainder of her days, was
unfortunately drowned in his passage from Edinburgh to
Ireland. The recollection of his disastrous fate clouded her
future prospects." At rather an advanced period of life,
she married Mr Walter Scott, whom her biographer styles
" a country gentleman, of considerable property in the
neighbourhood of Edinburgh." He was a farmer and pro-
prietor of Wauchope, near Jedburgh ; and it was from
thence that she dated the rhyming epistle in Scottish verse,
under the name of " The Guidwife of Wauchope- House
to Robert Burns, the Ayrshire Bard," in February 1787.
This will probably be that lady's surest claim for future
notice, as it called forth that reply in which Burns so finely
expresses the ardent feelings of his youth, —
When first amang the yellow corn
A man I reckoned was.
And wi' the lave ilk merry morn
Could rank my rig and lass.
Ev'n then, a wish, I mind its pow'r,
A wish that to my latest hour
Shall strongly heave my breast.
That I for poor auld Scotland's sake.
Some usefu' plan or beuk could make.
Or sing a sang at least.
The rough burr-thistle, spreading wide
Amang the bearded bear,
I turn'd the weeder-clips aside.
And spar'd the symbol dear.
2 A
310/ THE lover's address to a rose-bud.
Burns, in his Border Tour, May 1787, paid a short visit to
his poetical correspondent, without apparently having the
effect of increasing their mutual regard. He says, " Set
out next morning for Wauchope, the seat of my correspon-
dent, Mrs Scott. " " Wauchope Mr Scott, exactly
the figure and face commonly given to Sancho Panza —
very shrewd in his farming matters, and not unfrequently
stumbles on what may be called a strong thing, rather than
a good thing. Mrs Scott, all the sense, taste, intrepidity
of face, and bold, critical decision which usually distinguish
female authors." Burns, in short, appears not to have
been much taken with this lady. At Dunbar, mentioning
" Mrs Fall, a genius in painting," he adds, " fully more
clever in the fine arts and sciences than my friend Lady
Wauchope, without her consummate assurance of her own
abilities." Mrs Scott did not long survive this visit.
" Mrs Elizabeth Rutherford, wife of Mr Walter Scott
of Wauchope, died at Wauchope, 19th of February 1789."
(Scots Magazine, 1789, p. 104). Several years afterwards,
under the care of an anonymous editor, who dates the
volume from Northampton, there was published " Alonzo
and Cora, with other original Poems, principally Elegiac.
By Elizabeth Scot, a native of Edinburgh. To which
are added. Letters in verse, by Blacklock and Burns." —
London, 1801, 8vo, pp. 168.
CCXLVII.
AULD ROBIN GRAY.
" I had heard the two lines quoted here long ago, but
" since have met with a copy of the ballad, which, if genu-
ine, could never have been sung to the air now called ' Auld
Robin Gray.' — Lady Anne Bernard's Ballad was first pub-
lished, very lamely, in Herbert Croft's novel of Love and
Madness, in (1780), founded on the murder of Miss Rae, by
Mr Hackman, and filled with false statements, and all
manner of absurdities.
AULD ROBIN GRAY. . ^^'311
" The following little poem, attributed to Lady Anne
Lindsay, was copied from the London Monthly Magazine,
into the Scots Magazine for May 1805."— (C, K. S.)
Why tarries my love ?
Ah ! where does he rove ?
My love is long absent from me.
Come hither my dove,
I'll write to my love.
And send him a letter by thee.
To find him, swift fly !
The letter I'll tye
Secure to thy leg with a string.
Ah ! not to my leg.
Fair lady, I beg.
But fasten it under my wing.
Her dove she did deck.
She drew o'er his neck
A bell and a collar so gay.
She tied, to his wing, »
The scroll with a string.
Then kissed him and sent him away.
It blew and it rain'd
The pigeon disdained
To seek shelter, undaunted he flew.
Till wet was his wing.
And painful his string.
So heavy the letter it grew.
He flew all around.
Till Colin he found.
Then perched on his head with the prize
Whose heart while he reads.
With tenderness bleeds.
For the pigeon that flutters and dies.
Lady Anne Barnard died at her house in Berkely
Square, London, 6th of May 1825, aged seventy-five.
Her ladyship communicated to Sir Walter Scott, a revised
copy of ' Auld Robin Gray,' with two versions of a continu-
ation or second part, which he printed, in a thin 4 to volume,
and presented to the members of the Bannatyne Club, in
312* AULD ROBIN GRAY.
1824. In the preface is inserted an interesting letter from
Lady Anne, detailing the incidents that led to the compo-
sition of this V£ry popular ballad, " soon after the close of
the year 1771." The two versions of the second part form
no exception to the character of continuations in general,
as they are much inferior to the original ballad.
" Lady Anne Barnard's face was pretty, and replete
with vivacity; her figure light and elegant; her conversa-
tion lively ; and, like that of the rest of her family, pecu-
liarly agreeable. Though she had wit, she never said ill-
natured things to show it ; she gave herself no airs, either
as a woman of rank, or as the authoress of ' Auld Robin
Gray.'
" She resided many years in London with her sister,
Lady Margaret Fordyce, whose beauty had been very un-
common. When Sir W. S. projected his contribution of a
book to the Bannatyne Club, he requested Lady Anne to
allow him to republish her celebrated song, to which she con-
sented, and afterwards sent him numerous other poems by
herself and her family, which he printed in a quarto volume,
with the title of ' Lays of the Lindsays.' Unluckily, before
the book was circulated, the lady and her friends changed
their minds, and all was suppressed save the song of Robin
Gray and its continuation. When Lady Anne died, she
bequeathed to Sir Walter the sum of fifty pounds, probably
as a compensation for the expense he had incurred respect-
ing ' The Lays.' It is much to be regretted that this
volume was buried in oblivion." — (C.K.S.)
CCXLIX.
WHISTLE o'er the LAVE O'T.
" I WAS once gravely told by an old woman, that, in her
youth, a person crossing the churchyard of Glasgow in a
moonshine night, saw a male acquaintance of his own, a
sailor, who had been some time dead, and the devil dancing
round the tombstone of the former, the fiend playing'
WHISTLE o'er THE LAVE o't. *313
" Whistle o'er the lave o't," on a kit, or fiddle. She added,
that " the drum gaed through the town" the next day, for-
bidding every body to sing, whistle, or play the tune in
question." — (C. K. S.)
CCLI.
THE HAPPY CLOWN.
" The original words of this song," which Mr S, has
inserted at page 237, from " The Tea-Table Miscellany,"
were probably imitated from Sir Henry Wotton's beautiful
verses in praise of a Happy Life. — See " Reliquiae Wot-
toniana?," edit. 1685, p. 383, and Percy's Reliques, vol. i.
CCLII.
DONALD AND FLORA.
There is an old stall-copy of this ballad, with the title
" Donald and Flora. On the late misfortune of General
Burgoyne, and his gallant army." The author, Hector
Macneill, Esq., was born at Rosebank, near Roslin, 22d
of October 1746, and died at Edinburgh, 15th of March
1818. An interesting account of his life, derived from the
autobiography of the poet, appeared in Blackwood's Maga-
zine, December 1818; where it is said to be " a very
entertaining and instructive work, and which, we under-
stand, will probably be given to the public." This work,
however, remains still unpublished. The account given by
Mr R. Chambers, in his Scottish Biography, of Mr Mac-
neill's destitute circumstances, towards the close of his life,,
is far from being correct.
MY heart's in the HIGHLANDS,
" I SUBJOIN the pretty words of the old song, which was
a favourite with Sir Walter Scott, from a stall copy in my
possession.". — (C. K. S.)
314 * MY heart's in the highlands,
THE STRONG WALLS OF DERRY.
The first day I landed, it was on Irish ground.
The tidings came to me from fair Derry town.
That my love was married, and to my sad woe j
And I lost my first love by courting too slow.
Chorus.
Let us drink and go hame, drink and go hame.
If we stay any longer, we'll get a bad name ;
We'll get a bad name, and we'll fill ourselves fou.
And the strong walls of Derry it's ill to go through.
When I was in the Highlands it was my use,"
To wear a blue bonnet, the plaid, and the trews.
But now since I'm come to the fair Irish shore.
Adieu to Valendery and bonny Portmore.
Let us, &c.
O, bonny Portmore, thou shines where thou stands.
The more I look on thee, the more my heart warms,
But when I look from thee, my heart is full sore.
When I think on the lilly I lost at Portmore.
Let us, &c.
O, Donald, O, Donald, O ! where have you been ?
A hawking and hunting ; gar make my bed clean.
Go make my bed clean, and stir up the straw.
My heart's in the Highlands wherever I go.
Let us, &c
My heart's in the Highlands, my heart is not here.
My heart's in the Highlands, a chasing the deer;
A chasing the deer, and following the doe ; -
My heart's in the Highlands wherever I go.
Let us, &c.
There is many a word spoken, but few of the best.
And he that speaks fairest lives longest at rest |
I speak by experience — my mind serves me so.
But my heart's in the Highlands wherever I go.
* Due, in the original Sir W. S. has written on the margin, "use,
perhapsJ'
MY heart's in the HIGHLANDS. * 315
Let us drink and go liame, drink and go hame.
If we stay any longer well get a bad name ;
We'll get a bad name, and \^e'll fill ourselves fou.
And the strong walls of Derry it's ill to go through.
FINIS.
CCLX.
JOHN ANDERSON, MY JO.
" The verses printed by Bishop Percy belong to an-
other air, well known in Scotland, and lately much in
fashion. I never heard the country people sing more of the
soi;ig than this :
Hoo are ye, kimmer,
An' hoo do ye thrive ?
Hoo mony bairns hae ye ?
Kimmer, I hae five.
An' we're a noddin,
Nid, nid, noddin ;
An' we're a noddin
At our house at hame.
Are they a' Johnnie's bairns ?
Na, kimmer, na !
For three o' them were gotten
Whan Johnnie was awa !
An' we're a,' &c.
Cats like milk.
And dogs like broo ;
Lads like lasses.
And lasses lads too.
An' we're, &c.
(C. K. S.)
CCLXIV.
ca' the ewes to the knowes.
Burns says, " This beautiful song is in the true old Scotch
taste, yet I do not know that either air or words were in
316 * ca' the ewes to the knowes.
print before." And Cromek adds, on the authority of Mrs
Burns, that the last verse, ' While ivaters wimple to the sea,'
was written by her husband. See what he himself has said
at p. 249. " This song (says Mr / llan Cunningham) is
partly old and partly new ; what is old is very old, what is
new was written by a gentleman of the name of Pagan."
In Ayrshire, however, the song has been assigned to
a different person, named Isabel Pagan, who kept a kind
of low tippling house in the neighbourhood of Muirkirk, and
who published a small volume, " A Collection of Songs
and Poems," at " Glasgow, printed by Niven, Napier, and
Khull, Trongate," (about the year 1805?) 12mo, pp. 76.
The following lines are part of what she calls, " An Ac-
count of the Author's Lifetime :" —
I was born near four miles from Nith-head,
Where fourteen years I got my bread ;
My learning it can soon be told.
Ten weeks, when I was seven years old.
With a good old religious wife
Who liv'd a quiet and sober life, ....
But a' the whole tract of my time
I found myself inclin'd to rhyme.
When I see merry company,
I sing a song with mirth and glee.
And sometimes I whisky pree ;
But 'deed it's best to let it be.
CCLXVII.
I lo'e na a laddie but ane.
The Reverend John Clunie, whom Burns celebrated
(see page 249), for his vocal skill, and to whom he attri-
butes this song, was minister of Borthwick, Mid-Lothian.
He had been schoolmaster and precenter at Markinch, pre-
viously to his being ordained. He died at Greenend, near
Edinburgh, 13th of April 1819, in the 62d year of his age,
and the 29th of his ministry.
TOBLIN HAME. *317
CCLXIX.
THE BRIDAL O'T.
It is a mistake to suppose that Ramsay's song in the Tea-
Table Miscellany, " I have a green purse," to the tune
of " A rock and a wee pickle tow," has any reference to a
song under that title, by Ross of Lochlee. His song was
founded upon one of a much earlier date. See page 391,
and the additional Note to song ccccxxxix.
CCLXX.
O MERRY HA'e I BEEN TEITHEN A HECKLE.
" O MERRY hae I been teithen a heckle — alias, the Bob- of
Dunblaine — and now said, but I believe falsely, to be the
jig which Prince Charles Stuart danced with the Countess
of Wemyss at Holyroodhouse." — (C. K. S.)
CCLXXV.
TODLIN HAME.
The following excellent song, to this air, by Joanna
Baillie, was written for Mr George Thomson's collec-
tion of the Select Melodies of Scotland^
When white was my o'erlay as foam on the linn, *
And siller was chinking my pouches within ;
When my lambkins were bleating on meadow and brae.
As I gaed to my love in new deeding so gay :
Kind was she, and my friends were free.
But poverty parts good company.
How swift pass'd the minutes and hours of delight.
When piper play'd cheerly, and cruisy burnt bright j
And link'd in my hand was the maiden so dear.
As she footed the floor in her holy-day gear.
Woe is me ! and can it then be.
That poverty parts sic company !
We met at the fair, and we met at the kirk ;
We met i' the sunshine, we met i' the mirk ;
" Overlay, a neckcloth.
318 * TODLIN HAME.
And the sound o' her voice, and the blinks o' her ey'n.
The cheering and life o' my bosom ha'e been.
Leaves frae the tree at Martinmas flee.
And poverty parts sweet company.
At bridal and infare I've braced me wi' pride,*
The bruse I ha'e won, and a kiss of the bride ;t
And loud was the laughter gay fellows among.
When I utter'd my banter, or chorus'd my song.
Dowie and dree are jesting and glee
When poverty spoils good company.
Wherever I gaed the blyth lasses smiled sweet.
And mithers and aunties were unco disci'eet.
While kebbuck and beaker were set on the board,
But now they pass by me, and never a word !
So let it be — for the warldly and slee
Wi' poverty keep na company.
But the hope of my love is a cure for its smart ;
The spae-wife has tell'd me to keep up my heart.
For wi' my last saxpence her loof I ha'e cross'd :
And the bliss that is fated can never be lost.
Cruelly, though we ilka day see.
How poverty parts dear company.
CCLXXIX.
O MARY ! DEAR DEPARTED SHADE.
" In the table of contents, the music of this pathetic ad-
dress is said to have been composed by Miss Johnston of
Hilton. This lady, Lucy Johnston, was subsequently the
wife of Richard Oswald, of Auchincruive, Esq. Burns has
celebrated her in a song of less merit than usual : according
to Dry den,
Whate'er the did was done with so much ease.
In her alone 'twas natural to please : ~
Her motions ail accompanied with grace ;
And Paradise was open'd in her face.
* Infare, the entertainment made for the reception of a bride in the
house of the bridegroom.
t Bruse, a race at country weddings, the winner of which- has the
privilege of saluting the bride.
o mary! dear departed shade. '*319
" None who ever had the delight of seeing her in the
ball-room, giving double charms to a minuet, or dignifying
a country-dance, can question the truth of this feeble en-
comium."— (C. K. S.)
Mr Stenhouse's remark on Burns' MS., at the end of
this note, is not quite appropriate, inasmuch as he was in
the habit of sending copies of his verses to different corre-
spondents, and retaining the original draughts. Thus, for
instance, that fine song, ccxxxi., * Go fetch to me a pint
of wine,' was transmitted to Johnson, but Cromek afterwards
obtained another "among his MSS., in his own [Burns']
hand-writing, with occasional interlineations, such as occur
in all his primitive effusions." — (^Reliques, p. 412.)
CCLXXX.
HARDYKNUTE.
Elizabeth Halket, second daughter of Sir Charles
Halket of Pitferran, and wife of Sir Henry Wardlaw of Pit-
reavie and Balmule, near Dunfermline, was the authoress of
this noble ballad. She was born in April 1677; became, by
marriage. Lady Wardlaw, in June 1696, and died in 1727.
— See p. 268, or rather the Life of Allan Ramsay, by Geo.
Chalmers, prefixed to his edition of Ramsay's Poems. Lon-
don, 1800, 2 vols. 8vo. It is much to be regretted that we
have less information than could be desired respecting a per-
son who was possessed of unquestionable genius. From Mr
Chalmers's inquiries it appeared that Lady Wardlaw was the
undoubted author of Hardyknute, although her brother-in-
law. Sir John H. Bruce of Kinross, was employed in its pub-
lication; and that her friends concurred in saying that Lady
W. " was a woman of elegant accomplishments, who wrote
other poems, and practised drawing, and cutting paper with
her scissors; and who had much wit, and humour, with great
sweetness of temper." The song, or ballad, of ' Gilderoy,' is
the only other composition hitherto attributed to her ; but,
notwithstanding the great antiquity that has been claimed for
320
HARDYKNUTE.
I
" Sir Patrick Spence," one of the finest ballads in our lan-
guage, very little evidence would be required to persuade
me that we were not also indebted for it to Lady Ward-
law.
In the Museum, the well-known song ^' Ah, Chloris !
could I now but sit. To the tune of Gilderoy," is printed
under the title of ' Gilderoy ;' and in the original table of
contents, the name of " Sir Alex. Halket" is added as its
author. Ritson, by some most unusual oversight, refers to
this work as his authority for ascribing the ballad itself of
Gilderoy to Sir Alexander Halket. The original ballad,
which refers to " the arch-rebel, Patrick Macgregor alias
Gilleroy," who was executed at Edinburgh in 1636, has
been often printed and altered : — it is the copy that appears
in Percy's Reliques, Ritson's Scotish Songs, &c., wPiich
was remodelled by Lady Wardlaw.
The song in the Museum, to the tune of Gilderoy, has lat-
terly been confidently ascribed to Duncan Forbes of Culloden.
— See Culloden Papers, Chambers's Songs, vol. i. p. l,and
p. 70 of this work. It has been shown, however, at p. * 133,
that the actual author was Sir Charles Sedley, the English
dramatic poet. Since that sheet was printed I find the song
■ occurs at p. 221 of " The New Academy of Complements,
i&c. Compiled by L. B., Sir C. S., Sir W. D., and others,
the most refined Wits of this Age. London, printed for
Thomas Rooks, 1671." 18mo. The first line reads, '■'^ Ah,
Chloris ! that I now could sit ;" and it contains the following
concluding stanza, omitted in the Tea-Table Miscellany,
and in various subsequent collections of songs.
Though now I slowly bend to love.
Uncertain of my fate.
If your fair self my chains approve,
I shall my freedom hate.
Lovers, like dying men, may well
At first disorder'd be.
Since none alive can truly tell
What fortune they must see.
HARBYKNUTE. *321
To return to the immediate subject of this note. Hardy-
knute was greatly admired by Sir Walter Scott, and he
used frequently to quote passages from it. On the fly-leaf
of his copy of Ramsay's " Evergreen," 1724, in which the
ballad appeared in an amended form, he says, " Hardyknute
was the first poem I ever learnt — the last that I shall for-
get." Alluding to Pinkerton's attempt to complete this
"most spirited and beautiful imitation of the ancient bal-
lad," he remarks, " that, in order to append his own con-
clusion to the original tale, Mr P. found himself under the
necessity of altering a leading circumstance in the old bal-
lad, which would have rendered his catastrophe inappli-
cable. With such license, to write continuations and con-
clusions would be no difficult task." — (Poetical Works,
12mo edition, vol. i. p. 73). Pinkerton's imitations are
deservedly held in little estimation ; but it is somewhat
amusing to see with what indignation they were treated by
Rltson, who wound up the whole, by exclaiming, "_.Thou
write Pindarics, and be d — d^!"^^ — (Scotish Songs, 1794,
vol. 1. p. do).
CCLXXXII.
THE BATTLE OF SHERIFFMUIR.
There is some confusion in Mr Stenhouse's note on this
song. The original ballad was written before either Bar-
clay or Burns were born. Burns did little more than
abridge it, in his version^ printed in this Work. See Mo-
therwell's edition of Burns, vol. ii. p. 164-177.
The old ballad on the battle of Sheriffmuir, to the tune
" We ran and they ran," is ascribed by Burns to the Rev.
Murdoch M'Lennan, minister of Crathie, Dee-side.
(Reliques, p. 245.) It will be found in Herd's, Ritson's,
and subsequent collections, and also in Hogg's Jacobite
Relics, second series. The author, to whom it is thus
assigned, was settled as minister of Crathie, in 1749, but
he had been previously ordained. He died there 22d of
July 1783, in the 50th year of his ministry, and 32d of his
322 * THE BATTLE OF SHERIFFMUIR.
The Reverend John Barclay, tlie author of the song
printed at page 271, and founder of the religious sect named
Bereans, was born in the parish of Muthill, in the year
1734. He studied at St Andrews for the church, and was
licensed to preach 27th of September 1759, and was for
several years assistant minister of Fettercairn. It would be
out of place, however, to enter upon his subsequent history,
or to enumerate his writings, of which a very full account
will be found in Chambers's Scottish Biography, vol. i. p.
127-135, contributed by the late Mr Bower, historian of
the University of Edinburgh.
Mr Barclay died at Edinburgh, 29th of July 1 798. He
was the uncle of Dr John Barclay, the eminent anatomist,
in Edinburgh, who occasionally wrote verses : witness his
song, " A hundred years h^nce," written for the " Gymnas-
tic Club."
CCLXXXVI.
FRENNET HALL.
" A COMPLETE copy of this ballad is printed in Mr Mo-
therwell's Minstrelsy, with one small error. The second
stanza should run thus —
When steeds -was saddled and well bridled,
And ready for to ride ;
Then out it came her false Frendraught,
Inviting them to bide.
" In the Kirk Session Records of Perth, is the following
entry respecting this tragical event: — * July 8 (1631), fif-
teen shillings given by Andrew Bell, Master of Hospital,
to an Northland gentlewoman, become frantic through
tining of her husband, burnt in the place of Frendraught.' "
— (C. K. S.)
CCLXXXIx!!
TULLOCHGORUM.
This song appeared in the Scots Weekly Magazine, for
TULLOCHGORUM. • * 323
April 1776. As some account of the author is given by-
Mr S. in the note to song cci., it may be mentioned that
the " Theological Works of the late Rev. John Skinner,
Episcopal clergyman in Longside, Aberdeenshire : to which
is prefixed, a Biographical Memoir of the Author," were
printed at Aberdeen, 1809, 2 vols. 8vo. The Memoir,
which is anonymous, was written by the author's son. Bishop
Skinner of Aberdeen. It was speedily followed by the pub-
lication of " A Miscellaneous Collection of Fugitive Pieces
of Poetry, by the late Rev. John Skinner, at Longside,
Aberdeenshire, (being) Vol. III. of his Posthumous
Works." Edinburgh, 1809, 8vo.
CCXCI.
O, WILLIE BREW'd a PECK o' MAUT.
Dr Currie, in his Life of Burns, has given an account
of William Nicol, one of the masters of the Grammar High
School of Edinburgh, and the Poet's companion in . his
Tour to the Highlands. He says, " Mr Nicol was of Dum-
friesshire, of a descent equally humble with our poet. Like
him, he rose by the strength of his talents, and fell by the
strength of his passions. He died in the summer of 1797."
— (vol. i. p. 177.) Allan Masterton, the other person to
whom this first rate convivial song relates, was a writing-
master in Edinburgh, and did not long survive his com-
panions. He died in or about the year 1800.
ccxciv.
THE BLUE-EYED LASSIE.
" The heroine of this song, ' / gaed a waefiH gate
yestreen,' was Miss Jean Jeffrey, daughter of the minister
of Lochmaben. The lady, now Mrs Ren wick, after residing
some time in Liverpool, ultimately settled with her husband
in New- York, North America. Mr Riddell, of Glenriddell,
composed the air." — (Motherwell's edition of Burns, vol. ii.
p. 133.)
324 * THE RESTORATION OF THE FORFEITED ESTATES.
CCXCVIII.
THE RESTORATION OF THE FORFEITED ESTATES.
The Reverend William Cameron, died at the manse
of Kirknewton, in the 60th year of his age, and the 26th of
his ministry, on the 17th of November 1811. He was an
r assiduous, and not an unsuccessful wooer of the muses. His
.; ; first work, a Collection of Poems, printed at Edinburgh,
\ \ 1780, 12mo, was anonymous. In 1781, along with the Rev.
1 1 John Logan of Leith, and the Rev. Dr. John Morison,
1 1 minister of Canisbay, in the county of Caithness, (who
1 1 died in 1798), Mr Cameron rendered material assistance
|!in preparing the admirable collectionof Paraphrases now
I fin use in our Establishect Church-. A posthumous volume
\ p£ Poems was published by subscription. Edinburgh : 1813.
'8vo.
ILLUSTRATIONS
OF THE
LYRIC POETEY AND MUSIC
OF
SCOTLAND.
PART IV.
CCCI.
CRAIGIE-BURN WOOD.
This song, beginning " Sweet closes the evening on Craigie-
burn Wood," was written by Burns in 1790, on purpose for
the Museum. About five years thereafter, he curtailed two
verses of the original copy, and altered some of the lines.
His last edition of the song is here annexed.
Sweet fa's the eve on Craigie-burn,
And blithe awakes the morrow ;
But a' the pride o' spring's return
Can yield me nocht but sorrow.
I see the flowers and spreading trees,
I hear the wild birds singing ;
But what a weary wight can please.
When care his breast is wringing.
Fain, fain would I my griefs impart.
Yet darena for your anger ;
But secret love will break my heart.
If I conceal it langer.
If thou refuse to pity me ;
If thou shalt love another ;
When yon green leaves fade frae the tree.
Around my grave they'll wither.
The reader, by comparing the above verses with the ori-
ginal in the Museum, will be enabled to form his opinion,
how far our bard has improved the song by his latter altera-
tions.
Z
296 CCCI.™ CKAIGIE-BrR2>J WOOD.
Burns composed this song on a passion which a particular
friend of his, Mr Gillespie, had for Miss Jane Lorimer of
King-shall, in Kirkmahoe, Dumfriesshire, afterwards Mrs
Whelpdale. The young lady was born at Craigie-burn
Wood. The chorus is part of an old foolish ballad. —
Beyond thee, dearie, heyond thee, dearie ;
And O to he lying beyond thee !
O sweetly, soundly, viay he sleep,
That's laid in the bed beyond thee !
The air, called " Craigie-burn Wood," taken down from a
country girl's singing, was considered by the late Mr Ste-
phen Clarke as one of our finest Scottish tunes. At the
foot of the manuscript of the music of this song is the follow-
ing note,, in the hand-writing of Mr Clarke, There is no need
to mention the chorus. The man that wotdcl attempt to sing'
a chorus to this, beautiful air, . should have his throat cid to
prevent Iiim from doing it again ! ! " It is remarkable of
this air (says Burns), that it is the confine of that country
where the greatest part of our Lowland music (so far as from
the title, words, &c. we can localize it) has been composed.
From Craigie-burn, near Moffat, until one reaches the
West Highlands, we haysa- scarcely one slow air of any AUtu
qnity. ''''^—Ileliques. ■ •;.;-; r-'vys'
Dr Currie- informs u^^ 'that " Craigie-burn Wood is si-
tuated on the banks of the Kiver Moffat, and about three
miles distant from the village of that name, celebrated for its
medicinal waters. The woods of Craigieburn and of Dum-
crieff, were at one time favourite haunts of Burns. It was
there he met the ' Lassie wi' the lint-white locks,' and that
he conceived several of his beautiful lyrics."
cccii.
FRAE THE FRIENDS AND LAND I LOVE.
BuENs says, " I added the last four lines by way of
giving a turn to the theme of the po^m, such as it is." — J?e-
Uques. Tfhe vyhole song, however, is in his own hand- writing,
and I have reason to believe it is all his own. The versQs
CCCII. I'llAK THE FRIENDS AND LAND I LOVK. 297
are adapted to the tune of " Carron Side,'' taken from Os-
wald's Caledonian Pocket Companion, vol. viii. It is very
pretty ; but the composer of it has borrowed some passages
from the old air, called " Todlen Hame."
CCCIII.
HUGHIE GRAHAM,
According to tradition, Robert Aldridge, bishop of
Carlisle, about the year 1560, seduced the wife of Hugh
Graham, one of those bold and predatoi'y chiefs who so long
inhabited what was called the debateable land on the English
and Scottish border. Graham being unable to bring so
powerful a prelate to justice, in revenge made an excursion
into Cumberland, and carried off, infer alia, a fine mare be-
longing to the bishop ; but being closely pursued by Sir
John Scroope, warder of Carlisle, with a party on horse-
back, was apprehended near Solway Moss, and carried to
Carlisle, where he was tried and convicted of felony. Great
intercessions were made to save his life ; but the bishop, it is
said, being determined to remove the chief obstacle to his
guilty passions, remained inexorable, and poor Graham fell a
victim to his own indiscretion and his wife's infidelity. Antho-
ny Wood observes, that there were many changes in this
prelate's time, both in church and state, but that he retained
his offices and preferments during them all.
Burns acquaints us, that there are several editions of this
ballad, and that the one which is inserted in the Museum is
from oral tradition in Ayrshire, where, when he was a boy,
it was a popular song, and that it originally had a simple old
tune, which he had forgotten.— -FwZe Reliques. The copy
transmitted to Johnson is entirely in Burns's own hand-
writing.
The reader will find an edition of this ballad in the sixth
volume of Wit and Mirth, or Pills to Purge Melancholy,
printed at London in 1714. It is called " The Life and
Death of Sir Hugh of the Grime. To the tune of Chevy-
Chace." Many corruptions have crept into this copy, such
298 CCCIII. HUGHIE GRAHAM.
as Grime for Graham or Graeme ; Garland toivn for Carlisle
town, &c. Sir Walter Scott has given us another edition in his
Minstrelsy of the Border, which he obtained from his friend,
Mr W. Laidlaw in Blackhouse, that had long been current
in Selkirkshire. Mr Ritson, in his Ancient Songs, has like-
wise published this border ditty, from a collation of two old
black-letter copies, one in the collection of the late John,
Duka of Roxburgh, and another in the hands of John
Bayne, Esq. These diiferent versions of the ballad nearly
coincide with respect to the main incidents of the story. The
tune to which the verses are adapted in the Museum, may
be seen in Oswald's Caledonian Pocket Companion, under
the title of " Drimen Duff." Some of the stanzas in the
Museum have no doubt been corrected by Burns ; and the
localizing the song to Stirling in place of Carlisle, is evidently
erroneous. In other respects, however, it appears to be the
best edition of the ballad.
ccciv.
MY GODDESS WOMAN.
The words of this song were written by Mr John Lear-
mont, gardener at Dalkeith. It was sent to Burns, who
returned it to the publisher with some verbal amendments. —
Mr Learmont, in 1791, pubUshed a volume of Poems, pas-
toral, satirical, tragic, and comic; carefully corrected by
the author. Some of his pieces possess considerable poetic
merit. Mr Learmont's verses, beginning 0' mighty Nature's
handywarlis, are adapted to the tune called " The Butcher
Boy."
cccv.
JOHN, COME KISS ME NOW.
The only remains of this curious old ballad are the tune,
and the following fragment of the words, preserved by Herd.
John, come kiss me now, now, now.
Oh ! John, come kiss me now ;
John, come kiss me hy and by,
And make nae mair ado.
OCCV."^~.IOHK', COME KISS ME NOW. 299
Some will court and cotnpliment.
And make a great ado ;
Some will make of their gudeman.
And sae will I of you.
John, come kiss vie, S^'c.
In a former part of this work, see notes on song, No. 260,
entitled " John Anderson," it has been shewn that the tra-
dition, of the Reformers having borrowed several of the most
favourite hymn tunes used in the CathoUc cathedrals, and
adapted them to burlesque verses, in derision of old mother
church, is equally absurd, as it is contrary to the direct evi-
dence of the service-books themselves, which were used in
these churches. On the contrary, the Reformers not only
called into their aid some of the finest airs among the laity,
but hkewise spiritualized, or rather parodied, many of their
common songs, in order to forward their views. Of this
number was the song of John, come Mss me 7iow.
In a manuscript, " Historic of the Estate of the Kirke of
Scotland, written by an old Minister of the Kirke of Scotland,
at the desire of some of his young brethren for their infor-
matione," a, d. 1560, which was formerly in the possession
of Mr George Paton of the Custom-house, it is said, that
'' for the more particular meanes wherby came the knowledge
of God's truth in the time of great darkness, was such as Sir
David Lindseyes poesie, Wedderhurne's Psalmes and Godlie
Ballands of godlie purposes, &c." This Wedderburne, who
was likewise author of " The Complaint of Scotland," printed
in 1549, quotes several of the songs in that work, which we af-
terwards parodied in a considerable volume, published for the
second time by Andro Hart, in 1621, under the title o^ Ane
compendius Booke of Godly and Spiritual Songs, collectit out
ofsundrie partes of the Scripture, with sundrie of other Bal-
lates ; changed out of prophaine SANGEs,^r avoyding of
sinne and haoiotrie, with augmentation ofsundrie gude and
godlie ballates, not contained in the first edition. Newlie
correctict and amended by the first original! copie.
Among these ballads, John^ come Mss me now, makes his
300
CCCV.— JOHN, COME KISS ME NOW.
appearance in his penitential habit, which^ it must be admit-
ted, is not a little grotesque, although he has been stripped
of the profane dress which had promoted simie and liariotrie.
We annex, as a specimen, two stanzas of this newly-converted
godly ballad.
John, come kiss me now,
John, come kiss me now /
John, come kiss me by and by,^
And mak na mair ado.
My prophets call, my preachers cry,
John, come kiss me noiu ;
John, come kiss me by and by,
And mak na mair ado. S^c. S<;c.
The stanzas in the Museum were altered by Burns ; of the
merit of these alterations the reader will be enabled to judge,
on comparing the old fragment, quoted above, with the copy
of the song inserted in that work.
In Gow's Second Collection of Strathspeys, Reels, &c. page
8th, there is a tune called the " New-rigged Ship, or Miss
Pindlay's Delight;" the second strain of which is a mere
copy of the second part of the air of " John^ come kiss me
now," thrown into triple time.
The celebrated Wm Byrd, organist of the Chapel Royal
in 1575, well known as the author of the musical canon of
" Non nobis Domine," made fifteen learned and difficult
variations upon the air of " John, come kiss me now," which
are inserted in Queen Elizabeth's Virginal Book, MSS. 1576.
cccvr.
I'VE BEEN COURTING AT A LASS.
The words of this song were copied into the Museum
from Herd's Collection, vol. ii. page 135. The ^ author is
anonymous. The verses are adapted to the old air of " Ah
ha ! Johnie, lad, ye're nae sae kind's you sud hae been."
cccvir.
PEASE STRAE.
The words of this old rural ditty, beginning " The coun-
try swain that haunts the plain," were recovered by Herd,
CCCVII. tEASE STRAE. 301
and inserted in his valuable Collection, in 1776. The au-
thor has not yet been discovered ; but the tune has long been
a favourite reel in the Lowlands of Scotland, and is printed in
many collections.
CCCVIII.
A SOUTHLAND JENNY.
Burns, in his Reliques, observes, that " this is a popular
Ayrshire song, though the notes were never taken down
before. It, as well as many of the ballad tunes in this Col-
lection, (viz. the Museum,) was written from Mrs Burns's
voice."
It was an old song, however, in the days of Ramsay ; for
we find the very words of it, beginning " A southland Jenny
that was right bonnie," in his Tea-Table Miscellany, with
the letter Z annexed, to point out that even in his time it
was known to be old. ■ :c'.i-M'U.- ■?.' (-Vf^'
cccix.
COCK UP YOUR BEAVER.
This lively old Scottish tune, under the title of " Joh my«
cock vip thy Beaver,'' is to be found in " The Dancing- Mas-
ter," a very curious collection of Scots, English, and Irish
Tunes, published by old John Play ford of London in 1657.
It is likewise preserved in Oswald's Caledonian Pocket Com-
panion, vol. 7th, and in many other Collections.
The fragment of the ancient song, beginning " Wlren first
my dear Johnny," as preserved in Herd's Collection, is an-
nexed, to shew the improvements it received from Burns be-
fore it was inserted in Johnson's Museum.
When first my dear Johnny came to this toiun.
He had a blue bonnet that ivanted the croiun ;
But now he has gotten a hat and a feather.
Hey, my Johnny, lad, cock up your beaver :
Cock up your beaver, cock up your heaver,
Hey, my Johnny lad, cock xip your heaver ;
Cock up your beaver, and cock it nae wrang,
We'll a' to England ere it he lang.
The improved copy, all in the hand-writing of Burns, is
now before me.
302
cccx.
0 LADDIE, I MAUN LOE THEE.
Thijs is another edition of the old Scottish song, entitled
" Come hap me with thy Petticoat." See the remarks on song
No 139, beginning O Bell, thy looks have kiWd my heart.
cccxi.
O, LET ME IN THIS AE NIGHT.
This tune is very old. There is a copy of it in square-
shaped notes in a manuscript book for the Virginals, in the
Editor's possession, under the title of " The newe Gowne
made." The ballad, beginning " O let me in this ae night,"
was printed in Herd's Collection in 1776 ; but it was retouch-
ed by Burns, to I'ender it less objectionable, before Johnson
would give it a place in the Museum.
In 1795, Burns altered the old verses a second time. His
last improvements are now subjoined.
O LASSIE, art thou sleeping yet ?
Or art thou waking I would wit ?
For love has bound me hand and foot.
And I wou'd fain be in, jo.
CHORUS.
O let me in this ae night,
This ae, ae, ae, night :
For pity's sake, this ae night,
O rise and let me in, jo.
Thou hear'st the winter wind and weet,
Nae star blinks thro' the driving sleet,
Tak pity on my weary feet.
And sliield me frae the rain, joi.
O let me in, &c.
The bitter blast that round me blaws.
Unheeded howls, unheeded fa's ;
The cauldness o' thy heart's the cause
Of a' my grief and pain, jo.
O let me in. Sec.
HER ANSWER.
0 TELL na me o' wind and i-ain.
Upbraid na ine wi' cauld disdain ;
Gae back the gate ye cam again,
1 winna let you in, jo.
7
CCr.XI.— O, LET ME IN THIS AE NIGHT, SOS
I tell you now this ae night,
This ae, ae, ae, night ;
And ancefor a this ae night,
I ivinna let you in, jo.
The snellest blast at mirkest hours.
That round the pathless wand'rer pours.
Is nocht to what poor she endures
That's trusted faitUess man, jo.
/ tell you noiv, &c.
The sweetest flower that deck'd the mead,
Now trodden like the vilest weed ;
Let simple maid the lesson read.
The weird may be her ain, jo,
/ tell you now, &c.
The bird that charm'd his summer-day
Is now the cruel fowler's prey;
Let witless, trusting- woman, say.
How aft her fate's the same, jo,
/ tell you noiu, &c.
If the song, as it stands in Herd's Collection, has lost any
thing in point of wit and humour, it has at any rate gained
much in respect of elegance and modesty, by the judicious
alterations of our bard. We agree with Mr Thomson, that
Burns has displayed great address in the above song, and
that the young woman's answer is excellent, and, at the same
time, takes away the indelicacy that, otherwise would have
attached to her lover's entreaties.
Burns, in the course of the same year, produced the fol-
lowing English verses to the same air.
Tune, " Let me in this ae night,"
Forlorn, my love, no comfort near.
Far, far from thee, I wander here ;
Far, far from thee, the fate severe.
At which I most repine, love.
CHORUS.
O wert thou love but near me ;
But near, near, near me ;
How kindly thou wouldst cheer me,
And mingle sighs ivith mine, love.
Around me scowls a wintry sky.
That blasts each bud of hope and joy °,
304 CCCXI.— O, LET ME IN THIS AE KIGHT»
And shelter, shade, nor home hare 1,
Save in these arms of thme, love.
O wert thou, &c.
Cold, alter'd friendship's cruel part,
To poison fortune's ruthless dart —
Let me not break thy faithfvd heart.
And say that fate is mine, love.
O wert thou, &c.
But dreary though the moment's fleet,
O let me think we yet shall meet !
That only ray of solace sweet.
Can on thy Chloris shine, love.
O wert thou. Sec.
CCCXII.
MY TOCHER'S THE JEWEL.
Thk words of this song, " O meikle thinks my Luve o' my
Beauty," were written by Burns in 1790, for the Museum.
They are adapted to a Jig in Oswald's Caledonian Pocket
Companion, book 3d, p. 28, composed by him from the sub-
ject of an old air, in slow common time, called " The High-
way to Edinburgh." Aird of Glasgow afterwards published
the Jig in his Collection of Tunes, under the title of its parent
melody, and it was again published by Neil Gow & Son,
in their Second Collection, as " Lord Elcho's Favourite."
Burns was mistaken in asserting, in the E-eliques, that Gow,
or any of his family, claimed this melody as their own com-
position ; or even that it had been notoriously taken from
" The Mucking o' Geordie's Byre,"" for it is nothing more
than the subject of the old air of " The High-way to Edin-
burgh," thrown into treble time.
In the original manuscript of the song now lying before
me, Burns, in a note, says, " This song is to be sung to the
air, called Lord Elcho's Favourite ; but do not put the name
Lord ElcJw's Favourite above it ; let it just pass for the
tune of the song, and a beautiful tune it is.''
CCCXIII.
THEN GUDEWIFE COUKT THE LAWIN.
This song, beginning " Gane is the day, and mirk''s the
night," was written by Burns, with the exception of the chorus,
6
CCCXIII.— THEN GUDEWIFK COUNT THE LA WIN. 805
which is old. In the ReUques, he says " The chorus of this
is part of an old song, one stanza of which I recollect."
Every day my wife tells me.
That ale and brandy will ruin me ;
But if gude liquor be my dead.
This shall be written on my head— ■
O gudewtfe, emmt the lawin,
The lawin, the lawin ;
O gudewife, count the lawin,
And bring a coggie mair-
The tune to which the verses are adapted was furnished
by Burns. It seems to have been partly borrowed from the
air, called " The auld Man's Mare's dead."
cccxiv.
THE WHISTLE.
The words of this ballad, beginning " I'll sing of a
whistle, a whistle of worth," were written by Burns in the
year 1790, and transmitted, with the music, to Johnson for
insertion in the Museum, alongst with the following particu-
lars :
" As the authentic pi'ose history of the Whistle is curious,
I shall here give it. — In the train of Anne of Denmark,
when she came to Scotland with our King James the VI.
(1st May, 1590) there came over also a Danish gentleman,
of gigantic stature and great prowess, and a matchless cham-
pion of Bacchus. He had a little ebony whistle, which at
the commencement of the orgies he laid on the table, and
whoever was last able to blow it, every body else being dis-
abled by the potency of the bottle, was to carry off the
whistle as a trophy of victory. The Dane produced creden-
tials of his victories, without a single defeat, at the courts of
Copenhagen, Stockholm, Moscow, Warsaw, and several of
the petty courts in Germany ; and challenged the Scots Bac-
chanalians to the alternative of trying his prowess, or else
of acknowledging their inferiority. After many overthrows
on the part of the Scots, the Dane was encountered by Sir
Robert Lawrie of Maxwelton, ancestor of the present worthy
306 COCXIV. THE WHISTLE.
baronet of that name ; who, after three days and three nights
hard contest, left the Scandinavian under the table,
And hleiv on the Whistle his requiem shrill.
Sir Walter, son to Sir Robert beft)re mentioned, afterwards
lost the whistle to Walter Riddel of Glenriddel, who had
married a sister of Sir Walter's. — On Friday, the 16th of Octo-
ber, 1790, at Friars-Carse,the whistle was once more contended
for, as related in the ballad, by the present Sir Robert Law-
rie of Maxwelton ; Robert Riddel, Esq. of Glenriddel, lineal
descendant and representative of Walter Riddel, who won
the whistle, and in whose family it had continued ; and Alex-
ander Ferguson, Esq. of Craigdarroch, likewise descended of
the great Sir Robert ; which last gentleman carried off the
hard-won honours of the field."
The editor has been told, that Robert Riddel of Glenriddel,
Esq. one of this jovial party, composed the tune to the ballad.
cccxv.
THERE'LL NEVER BE PEACE TILL JAMIE COMES HAME.
This excellent song, beginning " By yon castle wa' at the
close of the day," was written by Burns, and set to the old
tune of " There are few good Fellows when Jamie's awa,"
inserted in Oswald's Caledonian Pocket Companion, book i.
page 20.
In the Reliques, Burns says, that this tune is sometimes
called " There's few gude fellows when Willie's awa ;" but he
had never been able to meet with any thing else of the song
than the title.
The Editor of this work has compared the original manu-
script of the song, in Burns' own hand-writing, with the
copy in the Museum, and finds it to be very correctly
printed.
cccxvi.
WHAT CAN A YOUNG LASSIE DO WI' AN AULD MAN ?
This humorous song was written by Burns, in 1790, ex-
pressly for the Museum. Dr Blacklock had likewise written
CCCXVI. WHAT CAN A YOUNG LASSIE, &C. 307
a. lone ballad to the same tune. At the foot of Burns'
manuscript is the following note: " Set the tune to these
words. Dr B's set of the tune is bad ; I here enclose a bet-
ter. You may put Dr B's song after these verses, or you
may leave it out, as you please. It has some merit, but it is
miserably long." Johnson thought the Doctor"'s song too
tedious for insertion, and therefore left it out.
The tune is very old. There is a set of it in the sixth
book of Oswald's Collection. In the third volume of the
*' Pills'" the title of the song is quoted, " What shall a
young Woman do ^vith an old Man," printed in 1703.
CCCXVII.
THE BONNIE LAD THAT'S FAR AWA.
This song, beginning " O, how can I be blythe and glad,""
is another unclaimed production of Burns. The bard's MSS.
is now before me. He took the first line, however, and even
some hints of his verses, from an old song in Herd's Collec-
tion, vol. ii. page 1 , which begins " How can I be blythe or
glad, or in my mind contented be." I have not been able to
discover the tune to which the verses are adapted in any
other collection prior to the Museum. Burns, however,
never composed any words for a song unless the tune was
quite familiar to him.
CCCXVIII.
THE AULD GOODMAN.
The words of this old song, beginning " Late in an eve-
ning forth I went," appear in Ramsay's Tea-Table Miscel-
lany 1724, and both the words and music in Thomson's
Orpheus Caledonius in 1725, from whence they were copied
into the Museum. Bishop Percy has likewise introduced
this song into his Reliques of Ancient English Poetry, vol.
iii. page 116, with the following note : — " The Auld Good-
man, a Scottish Song. We have not been able to meet with
a more ancient copy of this humorous old song than that
printed in the Tea-Table Miscellany, &c. which seems to
have admitted some corruptions." The worthy prelate, how-
308 CCCXVIII.— THE AULD GOODMAN.
ever, has omitted to point out the passages which he con-
ceived to have been vitiated.
cccxix.
0, AS I WAS KIST YESTREEN.
The fragment of this comical ditty was copied into the
Museum from Herd's Collection, 1776, vol. ii. page 226, in
which it is said to have been composed " on the late Duke of
Argyle." The song, however, is of considerable antiquity,
for the tune appears in Oswald's Caledonian Pocket Compa-
nion, book V. under the title of " O, as I was kiss'd the
streen." The old title of the air was " Lumps o' Pudding."
It appears in the Dancing-Master, printed in 1657. Gay
selected this air for one of his songs in the Beggar's Opera,
beginning " Thus I stand like the Turk," acted at London
in 1728.
cccxx.
FINE FLOWERS IN THE VALLEY.
This aneient and beautiful air, with the -fragment of the
old ballad, beginning " She sat down below a thorn," were
both transmitted by Burns to Johnson, for the Museum.
The reader will find a very different ballad, under the same
title, in Herd's Ancient and Modern Scottish Songs, begin-
nins " There were three ladies in a ha'." Both ballads, how-
ever, appear to have been sung to the same plaintive simple
melody. Herd has another fragment of a ballad, beginning
" And there she lean'd her back to a thorn," in his second
volume ; but the verses are very imperfect.
cccxxi.
I DO CONFESS THOU ART SAE FAIR.
Burns says, " this song is altered from a Poem by Sir
Robert Ayton, private secretary to Mary and Anne, Queens
of Scotland. The poem is to be found in James Watson's
Collection of Scots Poems. I do think that I have improv-
ed the simplicity of the sentiments by giving them a Scots
dress." — Reliques.
Sir Robert Ay ton's verses appear in John Play ford's
cccxxi.— I DO CONFESS Tiiou aut sae fair. 309
Select Ayres, London, 1659, folio, under the title of a " Song
to his forsaken Mistresse ; set to music by Mr Henry Lawes."
They are also printed in Ellis's Specimens of the Early English
Poets, vol. iii. page 325 ; and we shall now annex them, that
the reader may be enabled to judge of Burns' improvements.
I.
I DO confess thou'rt smooth and fair.
And I might have gone near to love thee.
Had I not found the slightest prayer
That lips could speak, had power to move thee :
But I can let thee now alone.
As worthy to be iov'd by none.
II.
I do confess thou'rt sweet, yet find
Thee such an untln-ift of thy sweets ;
Thy favours are but like the wind.
That kisseth every thing it meets ;
And since thou canst with more than one,
Thou'rt worthy to be kiss'd by none.
III.
The morning rose, that untouch'd stands,
Arm'd with her briars, how sweetly smells !
But pluck'd and strain'd through ruder hands.
Her sweet no longer with her dwells ;
But scent and beauty both are gone.
And leaves fall from her, one by one.
IV.
Such fate, ere long, will thee betide.
When thou has handled been awhile ;
Like sere flowers to be thrown aside.
And I shall sigh while some will smile,
To see thy love to every one.
Hath brought thee to be Iov'd by none.
The fine old tune, to which the Scottish version of the
song by Burns is adapted, is called '• The Cuckoo." There
was a Jacobite song to the same air, a fragment of which is
inserted in Hogg's Jacobite Relics, vol. i.
CCCXXII.
IF E'ER I DO WELL 'TIS A WONDER.
This old comic song, beginning " When I was a young-
lad,"" appears in Ramsay's Tea-Table Miscellany, and the
music is preserved in Oswald's Caledonian Pocket Compa-
310 CCCXXII.— IF E*'eB I DO WELL 'TIS A WONDER.
nion, book i. and several other old collections. From these
sources it was copied into the Museum.
CCCXXIII.
THE SOGER LADDIE.
Burns says, that the first verse of this song, beginning
" My soger laddie is over the sea," is old, and that the rest
is by Ramsay. He also adds, " the tune seems to be the
same with a slow air, called ' Jacky Hume's Lament ;' or
* The HoUin Buss ;' or, ' Ken you what Meg o' the Mill has
gotten ?' " — Reliques.
Both the words and music of this song appear in Thom-
son's Orpheus Caledonius, 1725, from whence they were
copied into the Museum. The tune must therefore have
been known long before that period by the name of " My
Soldier Laddie," which is the title prefixed to it in Thomson's
work.
This song was reprinted in the sixth volume of Watt's
Musical Miscellany in 1731.
cccxxiv.
WHERE WAD BONNIE ANNIE LIE.
This song was written by Ramsay, and printed in the
first volume of his Tea-Table Miscellany, in 1724, under
the title of " The Cordial, to the tune of Wliere shall
our Goodman ly^"" One stanza of the foolish old song runs
thus :
Where shall our goodman lie,
. I O, where shall our goodman lie ;
1 Where shaU our goodman lie,
', Till he shute o'er the simmer ?
; Tip amang the hen-bawks,
; Up amang the hen-bawks,
iUp amang the hen-bawks,
lAmang the rotten timmer.
This tune appears in Playford's Dancing Master, 1657,
under the title of " The Red House ;" and Gay selected it
for one of his songs in " Polly," beginning " I will have my
humours," printed in 1729.
311
cccxxv.
0, GALLOWAY TAM.
Bt7A}TS says, " I have seen an interlude acted at a wedding
to this tune, called < The Wooing of the Maiden.' These
entertainments are now much worn out in this part of Scot-
land. Two are still retained in Nithsdale, viz. * Silly puir
auld Glenlae,' and this one. The Wooing of the Maiden. —
Reliques.
Cromek, in his " Remains of Nithsdale and Galloway
Song," printed at London in 1810, accuses Johnson, the
original proprietor and publisher of the Museum, of ignor-
ance., in rejecting two additional verses, which he, Cromek,
has recovered and united to their fellows. These verses,
however, are palpable forgeries, and are, besides, both shock-
ingly indelicate and profane.
With regard to this tune, although it appears in Oswald's
Caledonian Pocket Companion, book 6th, printed in 1742,
our musical readers will easily perceive, that it is the old air
of " O'er the Hills and far away," changed from common into
treble time. The antiquity of it is very questionable.*
cccxxvi.
AS I CAM DOWN BY YON CASTLE WA'.
Both the words and music of this song; were transmitted
by Burns to Johnson, for the Museum. Burns, in his Re-
liques, mentions, that it is a very popular song in Ayrshire,
It does not appear in any Collection prior to the Museum.
CCCXXVII.
LORD RONALD MY SON.
The fragment of this ancient ballad, beginning " O where
hae ye been. Lord Ronald, my son," with the beautiful air to
which it is sung, were both recovered by Burns, and placed
in the Museum. In the second volume of " The Minstrelsy
of the Scottish Border," edited by Sir Walter Scott, we have
• Galloway Tarn, the hero of this song, was Thomas Marshall, a stout and
athletic Galwegian gypsey, equally celebrated for making songs, snufF-mills, and
horn spoons. Some of his descendants, it is said, still inhabit Nithsdale and Gal-
loway.
2 A
312 CCCXXVIl. — LORD RONALD, MY SON.
a more full, though evidently a more modern, version of the
ballad, under the title of " Lord Randal," which that inge-
nious and justly celebrated author introduces to his readers
with the following prefatory remarks.
" There is a beautiful air to this old ballad. The hero is
more generally termed Lord Ronald ; but I willingly follow
the authority of an Ettrick Forest copy, for calling him
Randal, because, though the circumstances are so very dif-
ferent, I think it not impossible, that the ballad may have
originally regarded the death of Thomas Randolph or Ran-
dal, Earl of Murray, nephew to Robert Bruce, and governor
of Scotland. This great warrior died at Musselburgh, 1332
at the moment when his services were most necessary to his
country, already threatened by an English army. For this
sole reason, perhaps, our historians obstinately impute his
death to poison. — See The Bruce, hook 20ih. Fordun re-
peats, and Boece echoes, this story ; both of whom charge the
murder on Edward III. But it is combated successfully by
Lord Hailes, in his " Remarks on the History of Scotland.""
There is a very similar song, in which, apparently to excite
greater interest in the nursery, the handsome young hunter
is exchanged for a little child, poisoned by his false step-
mother.
LORD RANDAL.
O, WHERE hae ye been. Lord Randal, my son ?
O, where hae ye been, my handsome young man ?
I hae been to the wild wood ; mother, make my bed soon^
For I'm weary wi' hunting, and fain wald lie down.
Where gat ye your dinner, Lord Randal, my son ?
Where gat ye your dinner, my handsome young man?
I din'd wi' my true-love, mother, make my bed soon.
For I'm weary wi' hunting, and fain wald lie down.
What gat ye to dinner. Lord Randal, my son ?
What gat ye to dinner, my handsome young man ?
I gat eels boil'd in broo ; mothei', make my bed soon.
For I'm weary wi' hunting, and fain wald lie down.
What became of your bloodhounds. Lord Randal, my son ?
What became of your bloodhounds, my handsome young man?
0 they sweU'd and they died ; mother, malce my bed soon.
For I'm weary wi' hunting, and fain wald lie down.
CeCXXVII.— LOUD RONALD, MY SON. SIS
O, I fear you are poison'd. Lord Randal, my son !
O, I fear you are poison'd, my handsome young man !
O, yes ! I'm poison'd ; mother, make my bed soon.
For I'm sick at the heart, and I fain wald lie down.
Burns observes, that " this air, a very favourite one in
Ayrshire, is evidently the original of Lochaber. In this
manner, most of our finest more modern airs have had their
origin. Some early minstrel, or musical shepherd, composed
the simple original air ; which being picked up by the more
learned musician, took the improved form it bears."— i?^-
liques. His remarks are certainly just.
CCCXXVIII.
O'ER THE MOOR AMANG THE HEATHER.
Burns says, that this song, beginning " Comin thro' the
Craigs of Kyle," is the composition of Jean Glover, a girl
who was not only a whore but also a thief; and in one or
other character had visited most of the correction-houses in
the west. She was born, I believe, in Kilmarnock. I took
the song down from her singing, as she was strolling through
the country with a slight-of-hand blackguard." — Reliques.
There are much older verses to this air than those in the
Museum, but they are rather too loose for insertion. Stewart
I^ewis, a minor Scots poet, likewise wrote some verses to the
same air, which were published, along with his poems, about
twenty years ago. The tune was published as a reel in
Bremner's Collection, about the year 1764.
cccxxix.
SENSIBILITY, HOW CHARMING !
This song was written by Burns, in 1790, for the Mu-
seum. In his manuscript, he directs Mr Clarke to set the
words to tlae tune of " CornwaUis's Lament for Colonel
Muirhead."" This is a modern air, by Mr M. S.
cccxxx.
TO THE ROSEBUD.
This song, beginning " All hail to thee thou bawmy bud,"
was written by one Johnson, a joiner, in the neighbourhood
314 CCCXXX.— TO THE ROSE-BUB.
of Belfast. The tune is evidently the progenitor of the air
called " Jocky's Gray Breeks." It indeed appears, under the
title of " Jocky's Gray Breeches," in Oswald's second volume,
published in 1742. I observe that Burns has altered the
spelling of a few words in the author's manuscript, to give
this song a little more sprinkling of the Scottish language.
cccxxxi.
YON WILD MOSSY MOUNTAINS;
This song was written by Burns for the Museum. In
his Reliques, he says, " This tune is by Oswald. The song
alludes to a part of my private history, which it is of no con-
sequence to the world to know." — Reliques. The reader, on
turning to the notes on Song No 117, entitled " The High-
land Lassie," will have no difficulty in understanding that
part of the bard's private history to which he alludes. The
tune, under the title of " Phebe," by Mr Oswald^ was pub-
lished in his fourth volume, in 1742.
CCCXXXII.
BONNIE LADDIE, HIGHLAND LADDIE.
This song, beginning '* I hae been at Crookieden," was
patched up by Burns from the fragments of an old Jacobite
effusion. In the copy transmitted to Johnson, the third line
originally stood, " There I saw some folk I ken." Burns, I
observe, has drawn his pen through this line, and written
above it, " Viewing Willie and his men."
In the Reliques, our bard, alluding to the tune of the
Highland laddie, says " As this was a favourite theme with
our later Scottish muses, there are several airs and songs
of that name. That which I take to be the oldest, is
to be found in the Musical Museum, beginning ' I hae
been at Crookieden' (a vulgar cant name for hell.) One
reason for my thinking so is, that Oswald has it in his
Collection by the name of ' The Auld Highland Laddie.'
It is also known by the name of Jinglan Johnie^ wliich is a
well-known song of four or five stanzas, and seems to be an
earlier song than Jacobite times. As a proof of this, it is
CCXXXII.— BONNIE LADDIE, HIOHLAND LADDIE. 315
little known to the peasantry by the name of < Highland
Laddie,' while eveiy body knows ' Jinglan Johnie.' The
song begins,
" Jinglan John, the meicMe man,
He met wi a lass ivas hlythe and bonnie." — Reliques.
It is now, perhaps, impossible to determine whether Burns
may, or may not, be right respecting the seniority of this
tune to its other namesakes. But in Gow's Repository, part
second, there is an air called " The Original Highland
Laddie, or the Quickstep of the gallant 42d Regiment, as
performed when that regiment was reviewed by his Majesty
at Ashford, 7th May, 1802;" and this very tune appears in
Play ford's Dancing Master, published at London in 1657,
under the title of " Cockle-Shells." From this circumstance
it would appear, that our poetical politicians, in after times,
generally adapted their Jacobite verses to such airs as were
well known and much esteemed at the time, without taking
the trouble of composing new tunes to the words. It is cu-
rious to remark, that the same air which was played before
his Majesty in 1802, must have been well known about two
hundred years before that period, when the Stewart family
succeeded to the imperial throne of Britain.
Signor Pasquali composed a new tune to the song, begin-
ning " The Lowland lads think they are fine," written by
Ramsay. This tune appears in Oswald's first book, under
the title of " The Highland Lassie." The words and air
were afterwards reprinted in " The Muses Delight," at Liver-
pool, in 1754.
CCCXXXIII.
IT IS NA, JEAN, THY BONNIE FACE,
In the Reliques, Burns says, these verses were originally
Enghsh, and that he gave them their Scotch dress. The
tune was composed by Oswald, and inserted in his Cale-
donian Pocket Companion, bookiv. p. 30, published in 1742
under the title of " The Maid's Complaint " It is certam y
one of the finest Scottish airs that Oswald ever composed.
316
CCGXXXIV.
DONALD COUPER.
This old tune is mentioned by Colonel Cleland in his
mock poem on the " Highland Host," written in 1697.
Trumpets sounded, sheens were glancing,
Some were Donald Couper dancing.
But it was current in England long before this period, as
it appears in Play ford's Dancing Master in 1 657, under the
title of Daniel Cooper. Tom Durfey, or some of his Grub-
street brethren, wrote an execrable and indecent ballad to this
tune, which is inserted in the " Pills to Purge Melancholy,
vol. V. anno. 1719," entitled " Good honest Trooper take
warning by Donald Cooper. To the tune of Daniel Coo-
per."
David Herd has preserved the following fragment of the
old song ; upon comparing which with the copy inserted in
the Museum, the reader will be enabled to discover the hu^
morous touches it has received from the pen of Burns.
Donald Couper and his man.
They've gane to the fair ;
They've gain to court a bonny lass.
But fint a ane was there:
But he has gotten an auld wife.
And she's come hirpling hame ;
And she's fa'n o'er the buffet-stool.
And brake her rumple-bane.
Sing, hey Donald, how Donald,
Hey Donald Couper ;
He's gane awa to court a vnfe,
And he's come hame without her.
The tune in the Museum has been considerably altered and
modernized. The following is a genuine copy :
DONALD COUPER. A. D. 1657.
E^gE^l^g^gl^lp^^l^Eg^
^13
^^^^^
_&:id
I
'^.
s$
317
cccxxxv.
THE VAIN PURSUIT,
This song, beginning " Forbear, gentle youth, to pursue
me in vain," is another production of the venerable Dr Black-
lock. I believe the tune is his likewise. His amanuensis
brought both the words and music to Johnson,
cccxxxvi.
EPPIE M'NAB.
The verses in the Museum, beginning " O saw ye my
dearie, my Eppie MacNab," were written by Burns as a
substitute for the old song, which, he justly observes, had
more wit than decency. The modern verses, in the poet's
own hand-writing, are now lying before me. The tune is
preserved in Oswald's Caledonian Pocket Companion, book
vi. under the title of " Apple M'Nabb."
CCCXXXVII.
WHA IS THAT AT MY BOWER DOOR ?
This tune, in old times, was known by the name of " Lass,
an I come near thee," which was the first line of the chorus
of a foolish old song.
Lass, an 1 come near thee.
Lass, an I come near thee,
I'll gar a' your ribbatis reel.
Lass, an I come near thee.
The verses adapted to this tune in the Museum were writ-
ten by Burns on purpose for that work. Mr Cromek says,
that Mr Gilbert Burns told him, " this song was suggested
to his brother by the ' Auld Man's Address to the Wi-
dow,' printed in Ramsay's Tea-Table Miscellany, which the
poet first heard sung, before he had seen that Collection, by
Jean Wilson, a silly old widow-woman, then living at Tar-
bolton, remarkable for the simplicity and nalvette of her cha-
racter and for singing old Scots songs with a peculiar energy
and earnestness of manner. Having outlived her family, she
still retained the form of family-worship ; and before she
sung a hymn, she would gravely give out the first hne of the
verse, as if sliQ had a numerous audience r-^Reliques.
S18 CCCXXXVII. WHA U THAT AT MY BOWER DOOR-?
The Auld Man's Address, above alluded to in Ramsay's
Tea-Table Miscellany, is called " The Auld Man's Best
Argument," to the tune of " Widow, are ye wakin ?" The
words and music are inserted in the fifth volume of the Mu-
seum, p. 444. The song begins, " Wha is that at my cham-
ber door ?"
CCCXXXVIII.
THOU ART GANE AW A.
The fine old Scottish tune of " Had awa frae me, Do-
nald," appears in Playford's Dancing Master^ which was
published, 1657, under the title of " Welcome home. Old
Rowley." The tune in the Museum, No 338, as well as
the words, are modernized from the old song. To enable
the reader to compare the ancient air with its modern repre-
sentatives, it is here annexed : —
HAUD AWA FRAE ME, DONALD. 1657.
i=^E=^§=^^^§^^^§fe
JCdtljE
±razf
:zs:
S
1
This tune, with considerable embellishments, was printed
in the Orpheus Caledonius, in 1725.
cccxxxix.
THOU ART GANE AWA.
New Set.
This is the same air, with the embellishments introduced
by the late Mr P. Urbani in singing the song at the concerts
in Edinburgh. This gentleman published at Edinburgh, in
two folio volumes, " A Select Collection of Original Scottish
Airs for the Voice, with introductory and concluding Sym-
phonies and Accompaniments for the Piano-Forte, Violin, and
Violoncello," a work of great merit. In the preface he in-
forms us, that having been, struck with the elegant simpli-
city of the original Scots Melodies, he applied himself for
CCCXXXIX.— THOU ART CANK AWA. 819
several years, in attending to the manner of the best Scottish
singers ; and having attached himself to that which was ge-
nerally allowed to be the best, he flattered himself that he
had acquired the true national taste. He sung, during a pe-
riod of four years, the Scots airs in the concerts of the Har^
monkal Society of Edinburgh, and for three years in the
concerts in Glasgow. In both places he received such marks
of universal applause, as convinced him that his method of
singing was approved by the best judges. — See his adver-
tisement prefixed to the work.
The writer of this article knew Urbani intimately. He
was an excellent singer, and his knowledge of Counterpoint
was very masterly and profound. In 1802, he and the late
Mr Sybold, the composer and harp-player, engaged a nume-
rous and respectable band of vocal and instrumental per-
formers from various parts of the kingdom, that the inhabi-
tants of Edinburgh and Glasgow might be gratified with
hearing some of the best Oratorios of Handel, &c. This con-
cern, although deserving of encouragement, did not succeed,
and the affairs of both contractors were ruined. Sybold died
that spring of a broken heart, and poor Urbani, after strug-
gling with his misfortunes for some time in Edinburgh, was
at length induced to settle in Ireland, where he continued
to the period of his death, in 1816.
CCCXL.
THE TEARS I SHED MUST EVER FALL.
This elegant song is the composition of Miss Cranston,
now married to Dugald Stewart, Esq. formerly Professor of
Moral Philosophy in the University of Edinburgh. Burns
acquaints us, that the song wanted four lines to make all the
stanzas suit the music, and that he added the first four lines
of the last stanza. — Reliques. The words are adapted to an
air taken from Oswald's Caledonian Pocket Companion,
book iv. page 8, entitled " Anthy, the lovely ;" but it is not
a Scottish melody. It is the composition of Mr John Bar-
ret of London, organist, a pupil of Dr Blow, M'ho set
320 CCCXL. THE TEARS I SHED MUST EVER FALL.
this air to tlie English song of " lanthe, the lovely," print-
ed in the fourth volume of the « Pills," in 1707. Gay
selected this tune for one of his songs iu the Beggar's Opera,
beginning " When he holds up his hands arraigned for life,"
acted at London in 1728.
CCCXLI.
THE BONIE WEE THING.
These verses, beginning " Bonie wee thing, canie wee
thing,"" were composed by Burns, as he informs us, on his
little idol, the charming lovely Davies. — Reliques. The
words are adapted to the tune of " The bonie wee Thing,"
in Oswald's Caledonian Pocket Companion, book ym..-—See
notes on Song No 349, entitled " Lovely Davies."
CCCXLII.
ROY'S WIFE OF ALDIVALLOCH.
Mr CuoMEK says that the words of this song were written
by Mrs Murray, spouse of Dr Murray, Bath. In the col-
lections of Thomson, Urbani, &c. they are attributed to the
pen of Mrs Grant of Carron. There may be two different
editions of this song, which is adapted to the old tune, called
" The Ruffian's Rant." " Roy's Wife" is the modern name
of the air.
Burns, in a letter to Mr Thomson, dated Sept. 1793, and
printed in the fourth volume of Dr Currie's edition of his
works, says, " I have the original words of a song for the
last air, (Roy's Wife) in the hand-writing of the lady who
composed it ; and they are superior to any edition of the
song which the public has yet seen." In another letter from
the bard to the same gentleman, dated ] 9th November, 1 794,
and published in the same work, he says " Since yesterday's
penmanship, I have framed a couple of English stanzas, by
way of an English song, to Roy's Wife. You will allow me,
that, in this instance, ray English corresponds in sentiment
with the Scottish." The reader will find the verses inserted
in the notes on Song No 156, beginning " Can'st thou leave
me thus, my Katy V
CCCXLII. BOY'S WIFE OF ALDIVALLOCH. 321
Burns continues, " Well ! I think this, to be done in two
or three turns across my room and with two or three pinch-
es of Irish blackguard, is not so far amiss. You see I am
determined to have my quantum of applause from some
body." — See his Works, vol. iv.
Dr Currie, in a note to the above song, says, " To this
address, in the character of a forsaken lover, a reply was
found on the part of the lady among the MSS. of our bard,
evidently in a female hand-writing, (which is doubtless that
referred to in Burns's letter of September, 1793.) The
temptation to give it to the public is irresistible ; and if, in
so doing, oifence should be given to the fair authoress, the
beauty of her verses must plead our excuse." The reader
will likewise find the reply by the lady, in the notes to the
same song. No 156. It begins, " Stay, my Willie, yet be-
lieve me."
There appears to be some obscurity in Dr Currie's ac-
count. The reader will observe, that Burns, in his letter,
dated September 1793, says, he had the lady's verses of
the song at that time in his possession. But Burns's English
address was not composed till 19th November 1794, up-
wards of a year thereafter. Unless, therefore, we suppose
that his verses were originally written in the Scottish dialect,
and that he subsequently gave them an English dress, it ap-
pears impossible that the lady's verses can be considered as
a reply to a song which was not then in existence.
CCCXLIII.
LADY RANDOLPH'S COMPLAINT.
The words of this song, as the editor has been informed,
were written for the Museum by Dr Blacklock. The manu-
script, however, must have been either abstracted or lost, as
it is not now among the original materials furnished to John-
son for his fourth volume. The verses, beginning " My
hero, my hero, my beauteous and brave," are adapted to the
tune of " Earl Douglas's Lament," in Oswald's Caledonian
Pocket Companion, book 7th, page 30. This beautiful
tune, however, if it be not the progenitor of the melodies of
322 CCCXLIII.— LADY RANDOLPH'S COMPLAINT.
" When I hae a sixpence under my thumb — Rohidh donna
Gorrach" &c. &c. is evidently nearly connected with them.
The song appears to have been written subsequent to the
appearance of Home's celebrated tragedy of Douglas, in
which Lady Randolph is one of the principal characters.
CCCXLIV.
COME, HERE'S TO THE NYMPH THAT I LOVE!
The words of this song are taken from Ramsay's Tea-
Tdble Miscellany^ 1724, with the letters J. W. Q. subjoined
to it. The editor has not yet learned who is the author. The
verses are adapted to the air of " Auld Sir Simon the King,"
according to the direction of their author. This tune is very
old. It appears in Playford's Dancing Master, in 1657 ;
in The Pills to Purge Melancholy, it frequently occurs with
one strain only, which undoubtedly was the original simple
melody. In Playford's second part of " Musick's Hand-
maid," published in 1689, the melody is published with vari-
ations for the Virginals, under the title of " Old Simon." It
is, perhaps, impossible to decide whether the tune is origin-
ally Scottish or English, for it has been a favourite in both
countries past the memory of man. '
CCCXLV.
THE TITHER MORN.
Burns says, " This tune is originally from the Highlands,
I have heard a Gaelic song to it, which I was told was very
clever, but not by any means a lady's song." — Reliques.
The musical reader will easily observe, that the second strain
of this Highland tune is almost note for note the same with
the second part of the air of " Saw ye Johnie comin', quo'
she." It is, however, a fine tune for all that, and was sent
by Burns to Mr Johnson, alongst with the pretty verses
adapted to it; which, it is believed, are the composition of our
bard.
CCCXLVI.
A COUNTRY LASS.
This old Scots Song had found its way into England
about the year 1700 ; for it appears in the second volume of
CCCXLVI.— A COUNTRY LASS. 323
The Pills to Purge Melancholy, printed that year. Henry
Playford, the editor and publisher of the three first volumes
of that work, had not however known the original tune, as he
directs it to be sung to the air called " Cold and Raw ;" and
to make the verses suit this tune, he has altered some of the
words, as well as the terminating letter O into A^ at the end
of every alternate line, thus :
What tho' I am a country lass,
A lofty mind I bear a ;
I think myself as good as those
That gay apparel wear a.
This alteration renders the song perfectly ludicrous, and
opposite to the intention of the old homely minstrel who com-
posed it. The song, however, is fortunately preserved in the
Tea-Table Miscellany, and directed to be sung " to its ain
tune." Thomson, in his Orpheus Caledonius, 1725, has
adapted the verses to a tune not unlike, and probably the
original melody, which Carey afterwards altered a little to
suit his song of Sally in our Alley. The fine original air, of
one simple strain, however, was recovered by Burns, and
transmitted to Johnson ; and the verses were at last adapted
to their ain tune in the Museum.
Burns likewise sent the rude fragment of the old ballad,
called " Geordie," beginning " There was a battle in the
north," which he had heard sung to the same tune.
This ballad seems to relate to George Earl of Huntly,
■who was sent on an expedition to Shetland, in 1554, by the
Queen Regent of Scotland to seize a certain person who had
proved offensive to her. He, however, returned without be-
ing successful. Upon this he was incarcerated, and his titles
and estates were forfeited. He was afterwards liberated and
restored to his dignities, and chosen to be one of the privy '
counsel to Queen Mary. — See Holinshead's Scottish Chronicle.
CCCXLVII.
AE FOND KISS BEFORE WE SEVER.
This song was written by Burns, in 1790, on purpose for
824! CCCXLVII.— -AE FOND KISS BEFORE WE SEVER.
the Museum. In his original manuscript, now before me,
he directs it to be set to the tune of " Rory DalFs Port," in
Oswald's Caledonian Pocket Companion, book viii. This
has accordingly been done by the editor, and hi& friend, Mr
Clarke.
The first couplet of this song had probably been suggest-
ed to our bard, on hearing the introductory stanza of the
English song, which begins —
One kind kiss before we partj
Drop a tear, and bid adieu.
CCCXLVIII.
AS I WAS A WAND'RING.
This beautiful Gaelic melody was obtained by Burns du-
ring his excursion in the north of Scotland, in the year 1787.
It is entitled Riiin m' eudail mo mhealladh, i. e. " My dear
did deceive me." The verses in the Museum were likewise
transmitted by Burns. They are said to be a correct Scottish
metrical version of the Gaehc song, from an English transla-
tion communicated to Burns with the original air.
A modern and a much inferior set of this tune has lately
(1816) appeared in Eraser's Collection of Original Highland
Airs, which, he says, but for him, would in all probability
have perished with his life.
CCCXLIX.
LOVELY DAVIES.
This is another production of Burns, in compliment to the
young lady (Miss Davies) formerly noticed, whose personal
and mental accomplishments have more than once been the
theme of our bard's poetical encomiums. — See notes on Song
341, entitled " The bonnie wee Thing-."' In his original ma-
nuscript, I observe that the 9th line began ^' Ilk eye she
cheers," which he afterwards altered to " Each eye it cheers ;"
and in the twenty-second line, the word humble is struck out,
and willing is substituted. The verses, beginning " O how
shall I unskilfu' try," were adapted to the tune called " Miss
Miiir^'' at his own request.
325
CCCL.
THE WEARY FUND 0' TOW.
The tune and title of this song were taken from Oswald's
Caledonian Pocket Companion, book viii. The humorous
verses were supplied by Bui-ns, on purpose for the Museum.
The bard has only altered one word in his original manu-
script, viz. suck, at the end of the third line of the second
stanza, is scored through with his pen, and souk substituted
as being more euphonical.
CCCLI.
NOW WESTLIN WINDS.
This song was written by Burns on purpose for the Mu-
seum. The words are adapted to the old air, called " When
the King came o'er the Water," which was the title of a song
composed on the battle, fought on the banks of the River
Boyne in Ireland, between William III. and his father-in-
law, James II. in 1690. King James was totally, defeated,
and afterwards retired to France, where he died in 1710.
Johnson has erroneously given the above air the name of
*' Come kiss with me, come clap with me," which is quite a
different and a much older tune. It originally consisted of
one strain, and was printed in this simple manner even so late
as 1733, in Thomson's Orpheus Caledonius, edition second.
AIR, « COME KISS WITH ME, COME CLAP WITH ME."
^hbIi^hbI Imiiibii'i ml
m
In Ramsay's Tea-Table Miscellany, one of the songs, be-
ginning " My Jocky blyth for what thou'st done," is directed
to be sung to this lively old air. Oswald added the second
strain to iL—See notes on Song No 4*15.
C:3P
S26 CCCLl.— NOW WESTLIN WIMDS.
A second strain being afterwards added to it, and adapted
to some licentious verses, it became known by the name of
*' Had I the wyte, she bade me." — See Oswald's Caledonian
Pocket Companion^ hook mi. page 20. It is now known by
the name of « The Bob of Fettercairn."" — See Gow's Third
Collection of Reels, Strathspeys, S^c.
CCCLII.
I HAE A WIFE O' MY AIN.
This old tune is taken from Oswald's Caledonian Pocket
Companion. It was formerly adapted to some trifling verses,
beginning
I HAE a wife o' my awn,
I'll be haddin' to naebody J
I hae a pat and a pan,
I'll borrow frae naebody.
The verses in the Museum were written for that work by
Bums, a few days after his marriage. " At this period (says
Dr Currie) sentiments of independence buoyed up his mind,
pictures of domestic content and peace rose on his imagina-
tion, and a few days passed away, as he himself informs us,
the most tranquil, if not the happiest, he had ever experi-
enced." In this situation he expressed his feelings in the
vigorous and energetic lines inserted in the Museum, formed
on the model of the old ballad.
cccLin.
WHEN SHE CAM BEN SHE BOBBED.
The fragment of this ancient ditty, which is preserved in
Herd's Collection, required some burnishing before it could
be presented to the subscribers for the Museum. Burns un-
dertook to make it passable, and, considering the difficulties
he had to encounter, it must be admitted, that he has per-
formed the task with great skill and dexterity. The musical
reader will scarcely require to be informed, that this spirited
air, of one simple strain, is among the oldest of our Scottish
melodies. It is preserved in the first book of Oswald's Cale-
donian Pocket Companion, with some of his own variations
CCCLIII. WHEN SHE CAM BEN SHE BOBBED. SST
upon the air. It also appears in Mrs Crockat's Manuscript
Book of Tunes, dated 1709.
CCCLIV.
O, FARE YE WEEL, MY AULD WIFE.
This fragment of a humorous old Scottish ballad, with
its original melody, was communicated by Herd. The words
were previously printed in the second volume of his Collec-
tion in 1776. They were slightly retouched by Burns for
the Museum.
CCCLV.
O, FOR ANE AND TWENTY, TAM !
This comic song, the manuscript of which is before me,
was written by Burns on purpose for the Museum. The
subject of the song had a real origin : A young girl having
been left some property by a near relation, and at her own dis-
posal on her attaining majority, was pressed by her relations
to marry an old rich booby. Her affections, however, had
previously been engaged by a young man, to whom she had
pledged her troth when she should become of age, and she
of course obstinately rejected the solicitations of her friends
to any other match. Burns represents the lady addressing
her youthful lover in the language of constancy and affection.
The verses are adapted to an old tune, called The Mou-
diewart. In the Reliques, Burns says, " this song is mine."
CCCLVI.
JOHNIE ARMSTRANG.
The frequent wars between England and Scotland, for a
series of ages, were extremely injurious to both kingdoms,
but more especially to their frontiers, which, being continually
liable to be ravaged and laid waste, afforded few or no in-
ducements for cultivating the soil. Driven from the quiet
pursuits of a pastoral life, the manners and character of the
inhabitants became totally changed : those hands that once
held the plough, or guided the scythe and the sickle, now
brandished the sword, the spear, and the battle-axe. The
peasantry, associating under the banners of their respective
328 cecLvi. — johnie akmstrang.
chieftains, formed themselves into various hostile clans, whose
interests were perpetually clashing, their principal means
of support being derived from rapine and pillage. The con-
flicts between these border septs, however, were not viewed
by their relative sovereigns in the light of national quarrels.
Much or the country they possessed was claimed by both
kingdoms, and the mutual jealousies of the two courts enabled
these marauders to plunder one another, as well as their
more peaceable neighbours, without challenge or control.
Accustomed to depend upon the sword for their liveli-
hood, and inured to every species of danger and fatigue,
they paid no respect to private property. Their ideas of
justice were suited to their mode of living. Every thing
they could seize was considered to be fair booty, and as
such they protected it at all hazards. Notwithstanding
their roving and predatory life, they, nevertheless, were ar-
dent and faithful in their attachments, and always ready to
devote themselves in revenging injuries done to their relations
and friends. When called upon to espouse the national
cause, they flocked with cheerfulness to the standard of
their sovereign, and their services in the field proved their
vast superiority over those raw troops that were raised in the
interior of the kingdom. But as the military services of
these chieftains were generally rewarded by large grants of
territories, as well as titles of honour, some of them, by de-
grees, became so powerful and arrogant as even to disregard
the royal authority.
Amongst the clans on the Scottish side, the Armstrongs
were formerly one of the most numerous and potent. They
possessed the greater part of Liddesdale and of the debate-
able land. All along the banks of the Liddal, the ruins of
their ancient fortresses may still be traced. The habitual
depredations of this border race had rendered them so active
and daring, and at the same time so cautious and circum-
spect, that they seldom failed either in their attacks or in
securing their prey. Even when assailed by superior num-
CCCLVI. JOHNIE ABMSTRANG. 3S9
bers, they baffled every assault, by abandoning their dwell-
ings, and retiring with their families into thick woods and
deep morasses, accessible by paths only known to themselves.
One of their most noted places of refuge was the Terras-moss,
a frightful and desolate marsh, so deep that two spears tied
together could not reach the bottom.
Although several of the Scottish monarchs had attempted
to break the chain which united these powerful and turbulent
chieftains, none ever had greater occasion to lower their power,
and lesson their influence, than James V. During his mi-
nority, the kingdom was torn by their dissensions, the laws
were disregarded, and even the rights of the sovereign were
deeply infringed. But no sooner did this gallant young
prince free himself from the vassalage in which he had been
held by Douglas earl of Angus, and his brother, than he be-
gan to reform the abuses in his kingdom with such spirit and
zeal, as manifested a determined resolution to suppress them.
After banishing the Douglasses, and restoring order and
tranquillity to the interior, he next directed his attention to
the due administration of justice on the Border. He accord-
ingly raised a powerful army, chiefly composed of cavalry,
" to danton the thieves of Tiviotdale, Annandale, Liddesdale,
and other parts of the country." Aware, however, that these
depredators could never be eff'ectually crushed, unless the
chieftains who protected them were properly secured, he took
the necessary precaution of forfeiting, or committing the
whole of them to ward, with the exception of Cockburn of
Henderland, and Scott of Tushielaw, commonly called the
King of the Border, who were publicly executed. About
the beginning of June 1529, the king departed from Edin-
burgh at the head of his army, and marched rapidly through
Ettrick Forest, and Ewsdale. During this expedition, John
Armstrong of Gilnockie, the hero of the ballad, presented
himself before the king with thirty-six of his followers, in
expectation of obtaining pardon. This Armstrong, as we
are told by Pitscottie, " was the most redoubted chieftain
330 eCCLVI. JOHNIE ARMSTRAN6.
that had been for a long time on the borders either of Scot-
land or England. He ever rode with twenty-four able gen-
tlemen, well horsed ; yet he never molested any Scottish
man." It is said that, from the borders to Newcastle,
every Englishman, of whatever state, paid him tribute.
Glenockie came before the king with his foresaid num-
ber, (thirty-six,) richly apparelled, trusting that, in re-
spect of this free offer of his person, he should obtain the
king's favour. But the king, seeing him and his men so
gorgeous in their apparel, frowardly turned himself about,
and bade them take the tyrant out of his sight, saying, What
wants that hiave that a Jdfig should have? John Arm-
stronof made great offers to the kino;, that he should sustain
himself with forty gentlemen, ever ready at his service, on
their own cost, without wronging any Scottish man. Secondly,
that there was not a subject in England, duke, earl, or baron,
but, within a certain day, he should bring him to his majesty,
either quick or dead. At length he, seeing no hope of fa-
vour, said very proudly, " It is folly to seek grace at a grace-
less face : But, had I known this, I should have lived on the
borders in despite of king Harry and you both ; for I know
that king Harry would down-weigh my best horse with gold
to know that I were condemned to die this day." Lindsay
of Pitscottie's History, p. 145. This execution is also no-
ticed by HoUinshead, who says, that " In the month of June
1 529, the king, with an army, went to the borders, to set order
there for better rule to be kept, and to punish such as were
known to be most culpable. And hereupon, he caused^orty-
eight of the most notable thieves, with their captain, John
Armestrang to be apprehended ; the which, being convicted
of murdei', theft, and treason, were all hanged on growing
trees, to the example of others. There was one cruel thief
among the rest, who had burned a house with a woman and
her children within it ; he was burned to death. George
Armestrang, brother to John, was pardoned, to the end he
CCCLVl. JOHNIK ARMSTRANG.
331
should impeach the residue, which he did; so they were
apprehended by the king's commandment, and punished for
their misdoings, according as they had deserved." HolUns-
head's Scottish Chronicle, vol. ii. p. 182. This historian
appears, however, to have confounded John Armstrong and
his party, with the whole other depredators who were exe-
cuted during the march.
The place where John Armstrong and his followers suf-
fered, was at Carlenrig chapel, about ten miles above
Hawick, on the high road to Langholm. They were bu-
ried in a desert church-yard, where their graves are still point-
ed out. The peasantry in these districts hold the memory
of John Armstrong in high estimation, and scruple not to
affirm, that the growing trees mentioned by the historians
withered away as a manifest sign of the injustice of the exe-
cution. They likewise assert, that one of Armstrong's at-
tendants, by the strength and swiftness of his horse, forced
his way through the ranks of the surrounding host, and car-
ried the tidings of the melancholy fate of his master and
companions to Gilnockie castle. This castle was situated
upon a rock, surrounded by the river Esk, at a place now
known by the name of the Hollows, a few miles from Lang-
holm, and its ruins still serve to adorn one of the most ro-
mantic and picturesque landscapes in all Scotland. The
very rigorous measures which were pursued by James V.,
for suppressing the unruly border clans, however, did not
produce the effects he so anxiously expected. The unfor-
tunate defection of his troops at the raid of Solway Moss, in
1541, proved, that the prompt severities he had exercised
against these septs were impolitic rather than wise ; having
soured the tempers and lessened the affections of those rest-
less but brave subjects, who had so frequently protected the
throne at the expense of their lives. This unlucky affair,
indeed, made such an impression on his mind, from the mo-
ment the intelligence of it reached him, that he became quite
dispirited and melancholy ; and, not long thereafter, ho sunk
3S2 cccLvr. — johnie abmstrang.
into an untimely grave, on 14th December, 1542, in the
33d year of his age.
Although George Armstrong of Mangerton had received
a pardon from the late sovereign, the death of his brother
John was neither to be soon forgotten, nor the descendants
of the sufferers easily to be pacified. Indeed, the hostile and
turbulent spirit of the Armstrongs was never broken or sup-
pressed, until the reign of James VI., when their leaders
Avere brought to the scaffold, their strong holds razed to the
ground, and their estates forfeited and transferred to stran-
gers. So that^ throughout the extensive districts formerly
possessed by this once powerful and ancient clan, there is
scarcely left, at this day, a single landholder of the name.
The death of this I'edoubted border hero is noticed by
Buchanan. It is likewise frequently alluded to by the writ-
ers of that age. Sir David Lindsay of the Mount, in his
" Satyre of the Three Estates," introduces a pardoner, or
knavish dealer in reliques, who, in enumerating his halie
wares, is made to say,
Here is ane coird baith grit and lang,
Quilk hangit Johne the Armestrang,
Of glide hemp soft and sound ;
Gnde haiJie peopill^ I stand ford^
Quha ever beis hangit with this coird,
Neids never to be dround !
In the '' Complaynt of Scotland," John Armestrang's dance
is also mentioned as a popular tune.
The celebrated ballad of " Johnie Armestrang," was first
published by Allan Hamsay, in his Evergreen^ in 1724, who
tells us, that he copied it from the rnouth of a gentleman of
the name of Armstrong, who was the sixth generation from
the above John. The reciter likewise informed him, that
this was ever esteemed the genuine ballad, the common one
false. By the common one, Ramsay means an English bal-
lad upon the same subject, but differing from the one he
had thus obtained in various particulars. The English
ballad may be seen in Ritson's Select Collection of English
Song?, vol. ii p. 322.
CCCLVI. JQHNIE AEMSTRANG. 33S
As the Editor of the Museum was under the necessity of
leaving out the greater part of this fine old Scottish ballad
for want of room, it is here annexed.
JOHNIE ARMSTRANG.
Sum speiks of lords, sum speiks of lairds.
And siclyke men of hie degrie ;
Of a gentleman I sing a sang.
Sum tyme caUd laird of Gilnockie.
The king he wrytes a luving letter.
With his ain hand sae tenderly.
And he hath sent it to Johnie Armstrang,
To cum and speik with him speidily.
The Eliots and Armstrangs did convene ;
They were a gallant company :
We'll ryde and meit our lawful king.
And bring him safe to Gilnockie.
Make kinnen and capon ready then.
And venison in great plenty, —
We'll welcome hame our royal king,
I hope he'll dyne at Gilnockie.
They ran their horse on the Langum 'Howm,'
And brake their speirs with meikle main ;
The ladies lukit frae their loft windows :
God bring our men lueil back again !
Quhen Johnie came before the king.
With all his men sae brave to see.
The king he movit his bonnet to him.
He weind he was a king as well as he.
IVIay I find grace, my sovereign liege,
Grace for my loyal men and me ;
For my name is Johnie Armstrang,
And subject of zours, my liege, said he.
Away, away, thou tray tor sti-ang.
Out of my sicht thou may'st sum be ;
I grantit nevir a tray tor's lyfe.
And now Til not begin ivith thee.
Grant me my lyfe, my liege, my king.
And a bony gift I will gie to thee.
Full four-and-twenty milk whyte steids.
Were a' foald in a zeir to me.
I'll gie thee all these milk whyt steids.
That prance and nicher at a speir,
With as meikle gude Inglis gilt.
As four of their braid backs dow beir.
Away, away, thou traytor, &c.
Grant me my lyfe, my liege, my king.
And a bony gift I'll gie to thee.
S34 CCCLVI. JOHNIE ARMSTKAKG.
Gude four-and-twenty ganging mills.
That gang throw a the zeir to me.
These four-and-twenty mills complete.
Sail gang for thee tluow all the zeir.
And as meikle of gude reid quheit.
As all thair happers dow to bear.
Away, away, thou traytor, &c.
Grant me my lyfe, my liege^, my king.
And a great gift I'll gie to thee,
Bauld four-and-twenty sisters sons.
Sail for thee fecht though all sould flee-
Aivay, away, thou traytor, &c.
Grant me my lyfe, my liege, my king.
And a brave gift I'll gie to thee ;
All betwene heir and Newcastle town^
Sail pay their zeirly rent to thee.
Away, away, thou traytor, &C.
Ze leid, ze leid now, king, he says,
Althocht a king and prince ze be ;
For I luid naithing in aU my lyfe,
I dare well sayit, but honesty:
But a fat horse, and a fan- woman,
Twa bonie dogs to kill a deir ;
But Ingland suld half found me meil and malt,
GLf I had livd this hundred zeir.
Scho suld have found me meil and malt.
And beif and mutton in all plentie ;
But neir a Scots wyfe could half said.
That eir I skaithd her a jiure flie.
To seik het water beneath cauld yce.
Surely it is a great folic ;
/ half asked grace at a graceless face.
But their is nanefor my men and me.
But had I kend, or I came frae hame.
How thou unkynd wadst bene to me,
I wad half kept the border syde.
In spyte of all thy force and thee.
Wist Englands king that I was tane,
O gin a blyth man waid he be !
For anes I slew his sister's son.
And on his breist-bane brak a tree.
John wore a girdle about his middle,
Imbroiderd owre with burning gold.
Bespangled with the same mettle,
Maist beautiful was to behold.
Ther hang nine targats at Johnys hat.
And ilk an worth three hundred pound :
CCCLVI. JOHNIE AHMSTEANG. 335
What wants that knave that a king suld half,
But the sword of honour and the crown?
0 quhar gat thou these targats, Johnie,
That blink sae brawly abune thy brie ?
1 gat them in the field fechthig,
Quher, cruel king, thou durst not be.
Had I my horse and my harness gude.
And ryding as I wont to be.
It sould haif bene tald this hundred zeir.
The meiting of my king and me.
God be with thee, Kirsty, my brither,
Lang live thou laird of Mangertoun —
Lang mayst thou dwell on the border-syde.
Or thou se thy brither ryde up and down.
And God be with thee, Kirsty, my son,
Quhair thou sits on thy nurses knie ;
But and thou live this hundred zeir.
Thy fathers better thoult never be.
Farweil, my bony Gilnockhall,
Quhair on Esk-syde thou standest stout,
Gif I had livd but seven zeirs mair,
I wald haif gilt thee round about.
John murdred was at Carlinrigg,
And all his galant companie ;
But Scotlands heart was never sae wae.
To see so many brave men die.
Because they savd their country deir
Frae Englishmen, nane were sae bauld ;
Quhyle Johnie livd on the border-syde,
Nane of them durst come neir his hald.
The air of this ballad, commemorating an event in 1529,
is preserved in Oswald''s Caledonian Pocket Companion, and
in Ritson's Collection of Scottish Songs, as well as in the
Museum. It would appear to be the progenitor of that
class of airs so frequently noticed under the name of Tod-
len Hame — Lament for the Chief- — Robidh donna gor-
radh, and several others. Robert Hastie, formerly town-
piper of Jedburgh, who was a famous reciter of the old
Border ballads, had a similar, but still more simple, set of the
tune than any of them. It extended only to four lines of
the poetry, in place of eight in the printed collections. The
notes, as he chanted them in my infancy, (for he really was
336
CCCLVI.— JOHNIK ARMSTBANG.
not what in modern times is termed a singer,) still vibrate in
my ear. They are annexed.
JOHNIE ARMSTRANG.
3
g^teEls
za
s
Some speiks of lords, some speiks of laii-ds. And sicklike
ggig^^ifa
F--^
men of hie degi-ie ; Of a gen-tle-man I sing a sang-, Some-
EEEill^ip^S
tyme call'd laird of Gil - nockie.
The tune called " Johnie Armstrang's Dance^'' was pro-
bably nothing more than the above artless old melody,
played somewhat quicker as a jig. Indeed many of the
ancient Scottish airs, when sung or performed slowly on an
instrument, have an exceedingly plaintive and pathetic effect ;
but when played fast, they become, with little or no variation,
very lively and cheerful dancing-tunes.
CCCLVII.
HEY, HOW, JOHNIE, LAD.
This humorous song was picked up by Herd, and placed
in his Collection of 1776. The author is anonymous. The
verses are adapted to a lively old air, which appears in Brem-
ner's Collection of Reels and Country Dances, pubhshed
in 1764, under the title of" The Lasses of the Ferry."
CCCLVIII.
LOGIE O' BUCHAN.
Considerable liberties have been taken both with the
words and music of this fine song in the Museum. It be-
gins, " O Logie of Buclian, O Logie the Laird." On turn-
ing up the manuscript transmitted to Johnson, and com-
paring it with the song, as preserved in a curious collection
which belonged to the late Mr James Sibbald, bookseller in
CCCLVIII. LOGIE O BUCHAJ?.
337
Edinburgh, now in the possession of the present Editor, he
observes, that Burns has made several aherations on the
old verses. These, however, do not always appear to be
for the better ; and the tune is evidently altered for the
worse. The original air consists of one simple strain, and
this is repeated for the chorus. It is here annexed with the
old verses, which are said to be the composition of Lady
Ann Lindsay, authoress of " Auld Robin Gray."
LOGIE OF BUCHAN.
i!
^il^lig
O Lo - GiE of Buclian, O Lo - gie the laird. They hae
MM
=3=:s=:
11^
W
m
^Vz=prT=^Ez:g3=B=gpE|z^d=g=H
ta'en a - wa Ja-mie that delv'd in the yard, Wha play'd on the
I
izza
s
_ — _— J 1
[-£"="
t—w.:r^- — '-r
— ^!^-E?
-P— -
^
~F--
— rrr
yi
^!=td_]i==— F:3
L-i:
^
U-l
L
^ t— 1±
pipe and the vi - ol sae sma'^, They hae ta'en a - wa Jamie, the
Chorus to be sung to the same notes.
He said, think nae lang, lassie, tho I gang awa ;
He said, think nae lang, lassie, tho I gang awa ;
For simmer will come lehen cavld winter's awa.
And I'll come and see thee in spite of them, a'.
3S8 CCCLVIII. LOGIE o' BUCHAN.
II.
Tho' Sandie has ousen, has gear, and has kye,
A house, and a hadden, and siller forbye ;
Yet I'd tak mine ain lad, wi' his staff in his hand.
Before I'd hae him wi' the houses and land.
Chorus. — He said, think nae lang, lassie, <Sfc.
in.
My daddie looks sulky, my minnie looks sour.
They frown upon Jamie because he is poor ;
Tho' I loe them as weel as a daughter should do.
They are no half sae dear to me, Jamie, as you.
He said, think na lang, lassie, &^c.
IV.
I sit on my creepie and spin at my wheel.
And think on the laddie that Iced me sae weel ;
He had but ae saxpence, he brak it in twa.
And he gae me the half o't, when he gaed awa.
Then haste ye hack, Jamie, and bide na awa ;
Then haste ye hack, Jamie, and hide na awa ;
For the sim,mer is coming, cauld winter's awa.
And ye' II come and see me in spite o' them a •
CCCLIX.
O, KENMURE'S ON AND AWA, WILLIE.
The hero of this ballad was the Right Honourable Wil-
liam Gordon, Viscount Kenmure, commander-in-chief of the
Chevalier's forces in the south-west of Scotland in 1715.
Having left Kenmure at the head of about two hundred
horsemen, and formed a junction with the troops under the
command of General Forster, he marched as far as Preston
in Lancashire. Here, however, his lordship surrendered
himself a prisoner at discretion, and was appointed to be con-
ducted, with many of his unfortunate followers, to London,
in 1715. Arriving at Highgate, each of the prisoners was
placed on horseback, with his arms firmly pinioned, and a
foot soldier holding the reins of his bridle. On the 9th of
that month. General Tatton, who commanded the detach-
ment, left Highgate with the prisoners, and proceeded to
London, drums beating a victorious march, and the mob
strengthening the chorus with the horrid din of marrow-
bones, cleavers, and warming-pans. In this disgraceful
CCCLIX. O, KENMURE's on and AWA, WILLIE. 839
triumph were the unhappy captives led through the streets
of the city, amidst the hootings and insults of a barbarous
rabble, and conducted to the several prisons assigned to re-
ceive them. Lord Kenmure and several other noblemen
were committed to the tower. He was afterwards tried, and
(very unjustly, as some thought) beheaded on Tower-hill,
24th February 1716.
Burns transmitted the ballad in his own hand-writing,
with the melody to which it is adapted, to Mr Johnson.
Cromek, in his " Remains of Nithsdale and Galloway Song,"
printed in 1810, has inserted three additional stanzas, which
he pretends are of equal merit and antiquity with those in
Ritson's Scottish Songs (copied from the Museum), but they
are evidently spurious and modern. They are here annexed,
however, for the reader's inspection.
There's a rose in Kenmure's cap, Willie ;
There's a rose Kenmure's cap ;
He'll steep it red in ruddle heart's blede
Afore the battle drap.
He kissed his ladle's hand, Willie ;
He kiss'd his ladle's hand ;
But gane's his ladie-courtesie.
When he draws his bludie brand.
His ladle's cheek was red, Willie ;
His ladie's cheek was red ;
When she saw his steely jupes put on.
Which smell'd o' deadly feud.
It might rather have been supposed, that the lady's cheeks
would have assumed a pale in place of a red colour, situated
as she was ; and as to the expressions, ruddie heart's blede
and ladie courtesies they seem inexplicable.
CGCLX.
BESS AND HER SPINNING WHEEL.
This song, beginning " O, leeze me on my spinning-
wheel," was written by Burns on purpose for the Museum.
The beautiful melody to which the verses are adapted was
composed by Oswald, and published in the fifth book of his
S40 CCCLX. BESS AND HEE SPINNING WHEEL.
Caledonian Pocket Companion, page 10th, under the title of
" Sweet's the Lass that loves me."
CCCLXI.
MY COLLIER LADDIE.
The words of this song, beginning " Where live ye, my
bonny lass," as well as the tune, were transmitted by Burns to
Johnson in the poet's own hand-writing. It appears in no
other collection. In the Reliques, Burns says, " I do not
know a blyther old song than this." The greater part of it,
however, is his own composition.
CCCLXII.
THE SHEPHERD'S WIFE.
This old comic song appears in Herd's Collection, vol. ii.
It contains two verses more than the copy inserted in the
Museum, which were chiefly omitted on the score of delicacy.
The pretty tune to which the words are adapted in the Mu-
seum was communicated by Burns ; but a respectable old
lady informed the Editor, that, in her early days, the verses
were usually sung to the well known air of " Bab at the
Bowster," alias " The Country Bumpkin."
CCCLXIII.
WILLIAM'S GHOST.
This fine old ballad, beginning " There came a ghost to
Margaret's door," was recovered by Ramsay, and printed in
his Tea-Table Miscellany, 1725. Both Bishop Percy and
Mr Ritson have inserted it in their respective Collections.
Ritson says, that " the two last stanzas were probably added
by Ramsay ; they are evidently spurious." The verses re-
covered by Ramsay are only a fragment of the old ballad.
The first part of it, entitled " Willie and May Margaret,"
may be seen in Gilchrist's Collection, vol. i. WilUe, the
hero of the piece, resolves to visit his sweetheart, Margaret,
contrary to the advice of his mother. He accordingly sets
out, and, arriving at her door, is peremptorily refused admit-
tance. On his return home, he is drowned in attempting to
cross the River Clyde. His ghost afterwards appears to the
GGCLXiii.— William's ghost. 841
fickle Margaret. Such are the leading incidents of the bal-
lad, which appears to have been a great favourite with our
ancestors. Several stanzas of it are interwoven with another
old piece, entitled " Clerk Saunders," printed in the second
volume of " The Minstrelsy of the Border." It is a curious
fact, that the chief incidents of Burger's celebrated German
ballad, Leonora, which has been admirably ti'anslated by Mr
Taylor of Norwich, Sir Walter Scott, and others, have evi-
dently been taken from the old Scottish ballad of " Wil-
liam's Ghost." In Oswald's Caledonian Pocket Com-
panion, book v., is an air entitled " William's Ghost," but
it is evidently modern. The tune, as inserted in Ritson's
Collection and in the Museum, is genuine.
CCCLXIV,
NITHSDALE'S WELCOME HOME.
This song, beginning " The noble Maxwells and their
powers," was written by Burns, as a tribute of respect to Mr
Maxwell of Nithsdale. The verses are adapted to an air
composed by the late Robert Riddel of Glenriddel, Esq.
The old castle of Terreagles, to which the poet alludes, is
situated in a parish of the same name, in the stewartry of
Kirkcudbright.
CCCLXV.
JOHNIE BLUNT.
This old song, beginning " There liv'd a man in yonder
glen," as well as its ancient simple air, were transmitted by
Burns for the Museum. It is said that this song is the ori-
ginal of " Get up and bar the Door," inserted in the third
volume of the Museum. — See Notes on So7ig, No 300. Tra-
dition reports, that John Blunt resided in the parish of Craw-
ford in the county of Lanark.
CCCLXVI.
THE COUNTRY LASSIE,
This song, beginning " In simmer, when the hay was
mawn," was written by Burns on purpose for the Museum.
The verses are adapted to the old air, entitled " I'he Coun-
342 CCCLXVI. THE COUNTRY LASSIE.
try Lass," which is inserted in Thomson's Orpheus Caledo-
nius, in 1725. Henry Carey, in composing the melody to
his song, " Of all the girls that are so smart," or, " Sally in
our Alley," has evidently borrowed from this tune ; as he ha's
taken the greater part of the melody of " God save the King,"
from that of " Remember, O thou man," inserted in Forbes
Cantus, printed at Aberdeen in 1666, merely by changing
the key from the minor to the major mode.
CCCLXVII.
FAIR ELIZA.
This song, beginning " Turn again, thou fair Eliza," was
written by Burns for the Museum. It is adapted to a Perth-
shire air, taken from Macdonald's Collection. In Burns'
MSS. I observe, that the original title of the song was Fair
Sabina, which was afterwards altered to Fair Eliza, for the
sake of euphony. Burns, in a note to Johnson, which is an-
nexed to the song, says, " So much for your Rabina — How
do you like the verses ? I assure you, I have tasked my
muse to the top of her performing. However, the song will
not sing to your tune ; but there is a Perthshire tune in
Macdonald's Collection of Highland Airs, which is much
admired in this country. I intended the verses to be sung
to that air. It is in page 17th, and No 112. There is ano-
ther air in the same Collection, an Argyleshire air, which,
with a trifling alteration, will do charmingly ; it is in page
20, No 133."" Rabina was a young lady to whom Mr Hun-
ter, a friend of Mr Burns, was much attached. This gentle-
man went to Jamaica, and died there shortly after his arrival.
CCCLXVIII.
FAIR ELIZA.
This is the same song as the last, adapted to the Argyle-
shire air, No 133 of Macdonald's Collection, mentioned by
Burns, with a slight variation in order to suit the words.
us
ccctxix.
MUIRLAND WILLIE.
This very humorous ballad, beginning " Hearken, and I
will tell ye how," is published in Ramsay's Tea-Table Mis-
cellany in 1724, with the signature Z, to denote that it was
then considered to be very old. It was likewise printed in
Thomson's Orpheus Caledonius with the music, in 1725.
The tune also appears in Mrs Crockafs Manuscript Collec-
tion, written in 1709, now in the Editor's possession.
Burns says, " this lightsome ballad gives a particular
drawing of those ruthless times, wJian tJiieves were rife, and
the lads went a-wooing in their warlike habiliments, not
knowing whether they would tilt with lips or launces. Willie's
durk and pistols were buckled on for this uncertain encounter,
and not for garnishing and adorning his person." — See Select
Scottish Songs, Ancient and Modetm, with Critical Observa-
tions hy Robert Burns, edited by R. II. CromeJc, vol. ii.
London, 1810.
CCCLXX.
THE WEE, WEE MAN.
We are indebted to old David Herd for recovering this
curious fragment of romantic ballad, beginning " As I was
a-walking all alone." Herd published it in his Collection,
first edition, in 1769, and Ritson copied it, with the melody,
from the Museum, in which the words and music appeared
together for the first time. It is said that Sir Walter Scott
is now in possession of a complete copy of the ballad, com-
municated to him by the late Mr Joseph Ritson.
CCCLXXI.
YE JACOBITES BY NAME.
This Jacobitical effusion is another unclaimed production
of Burns. It is adapted to an air which has always been a
favourite in the low country, and to which sevei'al of their
songs have been sung. The ballad on the celebrated pi-
rate, Paul Jones, beginning " YouVe all heard of Paul
Jones, have you not ? have you not .?" was sung to the same
2 c
6
344' CCCLXXI. — VE JACOBITES BY NAME.
tune. There is another ballad to the same air, beginning
" My love's in Germany, send him hame, send him hame,"
published as a single sheet song by N. Stewart and Co.
Edinburgh, said to have been written by a lady on the
death of an officer, 1794. The late Hector Macniell, Esq.
told me, however, that he was the author of this ballad him-
self.
MY LUVE'S IN GERMANY.
My lure's in Germany, send him hame, send him hame ;
My luve's in Germany, send him hame;
My hive's in Germany,
Fighting for royalty.
He may ne'er his Jeanie see,
Send him hame.
He's brave as brave can be, send him hame, send him hame ;
He's brave as brave can be, send him hame ;
He's brave as brave can be.
He wad rather fa' than flee.
His life is dear to nic.
Send him hame.
Your luve ne'er learnt to flee, bonny dame, bonny dame ;
Your luve ne'er learnt to flee, bonny dame ;
Your luve ne'er learnt to flee.
For he fell in Germany
In the cause of Royalty,
Bonny dame.
He'll ne'er come o'er the sea — Willie's slain, Willie's slain ;
He'll ne'er come o'er the sea — Willie's slain ;
He'll ne'er come o'er the sea.
To his luve and uin countrie ;
The warld's nae mair for me—
Willie's gane !
CCCLXXII.
THE POOR THRESHER.
This ballad, beginning " A nobleman liv'd in a village of
late," was transmitted by Burns, in his own hand-writing, to
Johnson. In a note, accompanying it, the bard says, " It is
rather too long, but it is very pretty^ and never, that I know
of, was printed before."
CCCLXXIII.
THE POSIE.
This song, beginning " O luve will venture in where it
darena wcelbc seen," was written by Hums for the Museum.
cccLxxrir.— THE rosiK. 845
In the Reliques, Burns says, " It appears evident to me
that Oswald composed his Roslin Castle on the modulation
of this air. In the second part of Oswald's, in the three first
bars, he has either hit on a wonderful similarity to, or else
he has entirely borrowed the three first bars of the old air ;
and the close of both tunes is almost exactly the same. The
old verses, to which it was sung when I took down the notes
from a country girl's voice, had no great merit. The fol-
lowing is a specimen :
There was a pretty May, and a milken she went,
Wi' her red-rosy cheeks, and her coal-black hah- ;
And she has met a young man coming o'er the bent,
"With a double and adieu to thee, lair May.
O where are you going, my ain pretty May,
Wi' thy red-rosy cheeks, and thy coal-black hair ?
Unto the yowes a milken, kind sir, she says.
With a double and adieu to thee, fair May.
What if I gang alang wi' thee, my ain pretty May,
Wi' thy red-rosy cheeks, and thy coal-black hair.''
Wad 1 be aught the wai-se o' that, kind sir ? she says,
With a double and adieu to thee, fair May.
&c. &c. Sec.
Burns, in a letter to Mr Thomson, printed in Dr Currie's
edition of B urns' Works, dated 19tli October, 1794, says,
" The Posie, in the Museum, is my composition ; the air
■was taken down from Mrs Burns's voice. It is well known
in the west country ; but the old words are trash. By the
bye, take a look at the tune again, and tell me if you do not
think it is the original from which Roslin Castlo in composed.
The second part in particular, for ihe first two or three bars,
is exactly the old air."
Burns labours under a mistake, in supposing that Oswald
composed the beautiful air of Roslin Castle. The tune did
not receive this name, until Mr Hewit, who was Dr
Blacklock's amanuensis, wrote the song of Roslin Castle, and
adapted it to the old air, entitled " The House of Glammis,
or Glaumiis Castle," in Forfai'shire, the seat of the Earl of
S4(> CCC'T.XXIII. -THE rOSIE.
Strathmore. It is printed with the old title in Macgibbon's
Collection, book ii.
Neither in the Caledonian Pocket Companion, nor in the
Forty-three Scots Airs, with Variations, dedicated to the Earl
of Bute, does Oswald himself make the least pretensions as
the composer of the air of Roshn Castle, although he prefixes
an asterisk to the other tunes which were composed by him.
Indeed he could not have claimed it without instant detec-
tion.
CCCLXXIV.
THE BANKS O' BOON.
This song, beginning " Ye baiiks and braes o' bonnie
Doon," was written by Burns for the Museum. It is adapted
to an air, formerly called The Caledonian Hunt's Delight,
which was the joint composition of Mr James Miller, Dejp-
ute teind-clerk, Edinburgh, and the late Mr Stephen Clarke,
organist in the same city. The Editor was acquainted with
all the parties, and therefore the following facts, as related
by Burns, may be depended upon. In a letter to Mr Thom-
son, dated November, 1794, the bard says, " There is an
air. The Caledonian Hunt's Delight, to which I wrote a song
that you will find in Johnson. Ye Banks and Braes o' bon-
nie Doon ; this air, I think, might find a place among your
hundred, as Lear says of his knights. Do you know the
history of the air .'' It is curious enough. A good many
years ago, Mr James Miller, writer in your good town, a
gentleman whom possibly you know, was in company with
our friend Clarke ; and talking of Scottish music. Miller ex-
pressed an ardent ambition to be able to compose a Scots air.
Mr Clarke, partly by way of joke, told him to keep to the
black keys of the harpsichord, and preserve some kind of
rhythm, and he would infallibly compose a Scots air. Cer-
tain it is, that, in a few days, Mr Miller produced the rudi-
ments of an air, which Mr Clarke, with some touches and
corrections, fashioned into the tune in question. Ritson, you
know, has the same story of the black keys ; but this account
CCCLXXIV. THE BAX'KS o' DOON. 347
Avhich I have just given you, Mr Clarke informed me of several
years ago. Now, to shew you how difficult it is to trace the
origin of our airs, I have heard it repeatedly asserted, that
this was an Irish air ; nay, I met with an Irish Gentleman,
who affirmed he had heard it in Ireland among the old
women ; v.hile, on the other hand, a Countess informed me,
that the first person who introduced the air into this country
was a baronet's lady of her acquaintance, who took down the
notes from an itinerant piper in the Isle of Man. How diffi-
cult then to ascertain the truth respecting our poesy and
music ! I, myself, have lately seen a couple of ballads sung
through the streets of Dumfries, with my name at the head
of them as the author, though it was the first time, I had
ever seen them."
Burns alludes to the following passage in Ritson's Histori-
cal Essay on Scottish song, page 102. As truth, not system,
is the object of this inquiry, the following communication,
from a very ingenious and much esteemed musical friend,
appeared too interesting to be suppressed. — " When I was
in Italy, it struck me very forcibly, that the plain chants
which are sung by the friars or priests, bore a great resem-
blance to some of the oldest of the Scottish melodies. If a
number of bass voices were to sing the air of Barbara Allan
in the ecclesiastical manner, the likeness would appear so
great to a person who is not accustomed to hear the former
frequently, that he would imagine the one to be a slight va-
riation from the other. That accident might be the cause of
original invention, the underwritten will prove, — About
twelve years ago (1782), on trying my Piano-forte, after
tuning, by putting my fingers casually (with some degree of
musical rhythm us) upon the short keys, avoiding the long-
ones, it surprised me much to hear an agreeable Scottish
melody. This is so curious and so certain, that those who
are totally ignorant of music may amuse themselve s by play-
ing the same measure and motion of any well known tune
vipon the short keys only, which, in modern instruments, are
348 CCCLXXIV.— THE BANKS o' DOON.
I made of ebony, to distinguish them from the long ones,
I which are generally made of ivory."
It remains to be observed, that the two stanzas in the
Museum are the genuine production of Burns. The original
manuscript of the song, which is written upon a slip of Ex-
cise paper, with red ink lines on the back, is now lying before
the present Editor. The two additional stanzas in the Glas-
gow Pocket Encyclopedia Song-book, beginning " O blaw
ye flow'rs your bonnie bloom," are spurious. They were
written by the late John Hamilton, Music-seller, in Edin-
burgh, as he himself informed me.
CCCLXXV.
DONOCHT-HEAD.
This charming song, beginning " Keen blaws the wind
©■"er Donocht-Head," was written by Thomas Pickering,
Esq., author of several other fine songs. Mr Thomson in-
quired of Burns if he was the author of Donocht-Head, and
received the following answer : "• Donocht-Head is not mine;
I Avould give ten pounds it were. It appeared first in the
Edinburgh Herald ; and came to the editor of that paper
with the Newcastle post-mark on it." See his letter to Mr
Thomson, dated 19th October 1794, printed in the fourth
volume of Dr Currie's edition of his works.
The verses are adapted to the fine old pathetic air, called
Gordon Castle , which was published in M'Gibbon''s Scots
Tunes, and afterwards by Oswald in his Caledonian Pocket
Companion, book 9th. X
The reader is presented with another specimen of Mr
Pickering"'s poetical talents.
A LAPLAND SONG,
By Thomas Pickering, Esq.
The snows are dissolving on Torno's rude side.
And the ice of Lulhea flows down the dark tide ;
Thy stream, 0 Lulhea, flows swiftly away.
And the snow-drop unfolds her pale beauties to-day.
Far off the keen terrors of winter retire.
And the north-dancing streamers relinquish their fire ;
CGCLXXV.— DOiroCHT-HKAD. 349
The sun's genial heat swells the bud on the tree.
And Enna chants forth her sweet warblings with glee.
The rein-deer unharness'd in freedom shall play.
And safely o'er Odin's deep precipice stray ;
The wolf to the forest recesses shall fly.
And howl to the moon as she glides through the sky.
Then haste, my fair Enna, oh ! haste to the grove.
And pass the sweet season in rapture and love.
In youth let our bosoms with ecstasy glow.
For the winter of life scarce a transport can know.
This song was arranged as a glee for three voices by Dr
Horsley, and dedicated to his friends the Misses Stapleton.
CCCLXXVI.
SIC A WIFE AS WILLIE HAD.
This very humorous song, beginning Willie Wastle dwelt
on Tweed, was written by Burns purposely for the Museum.
The words are adapted to a tune called " The Eight Men
of Moidart," which was formed into a strathspey, and pub-
lished by Bremner, in his Collection of Reels and Country
Dances, about the year 1764.
cecLxxvii.
LADY MARY ANN.
This fine song, with the very beautiful old air to which
it is adapted, were communicated by Burns. It was mo
delled by Burns from a fragment of an ancient ballad, en
titled " Craigton's Growing," still preserved in a manuscript
collection of Ancient Scottish Ballads, in the possession of
the Rev. Robert Scott, minister of the parish of Glenbuck-
et. Several old ballads, which have hitherto been consider-
ed as lost, appear in this collection.
CCCLXXVIII.
SUCH A PARCEL OF ROGUES IN A NATION.
This song, beginning " Fareweel to a' our Scottish fame,"
is likewise an unclaimed production of Burns. It is adapted
to the old air, entitled " A Parcel of Rogues in the Nation,"
which appears both in M'Gibbon and Oswald's Collections.
Dr Blacklock had also written a song to the same melody ;
350 CCCLXXVllI. SUCH A PARCEL OF ROGUES IN A NATION.
for Burns, in a note subjoined to his verses, says, / inclose
what I think the best set of the time. Dr B's words, inclos-
ed, may follow the same time- Johnson, however, omitted
the Doctor''s verses, as he had no room on th.e plate.
CCCLXXIX.
KELLY-BURN BRAES.
This comic ballad, beginning " There lived a Carle in
Kelly-burn braes," was written by Burns on purpose for the
Museum. Burns, however, modelled his ballad from an old
one suug to the same tune. Cromek, in his " Remains of
Nithsdale and Galloway song," has published the following
verses, entitled " Original of Burns' Carle of Kelly-bum
Braes."'
There was an auld man was hauding his plow.
Hey ! and the rue groiues honnie w'l thyme !
By came the devil, say, " How do you do ?"
And the thyme it is withered and rue is in prime.
It's neither your ox, nor your ass that I crave.
Hey ! &c.
But its your auld scaulding wife, man, and her I maun have.
And, &c.
Go take her, go take her, the auld carle said.
Hey ! &c.
Ye'll no keep her lang, and that I'm afraid.
And, &c.
The devil he mounted her on his back.
Hey ! &c.
And awa like a pedlar he trudged wi his pack.
And, &c.
He carried her on till he came to hell's door.
Hey ! &c.
And bade her gae in, for a bitch and a whore.
And, &c.
He placed her on his big arm chair.
Hey ! &c.
And thousands o' devils came round her to stare.
And, &c.
But ay as they at the auld carlin play'd pouk.
Hey ! &c.
She gaed them a bann, and she lent them a clout.
And, &c.
CCCLXXIX. KELLY-BUllN BllAES. 351
A reekit wee devD glowr'd owre the wa'^
Hey I &c.
SaySj help, master, help ! or she'll ruin us a'.
And, &c.
The deil he came up wi' a good brunstane rung.
Hey ! &c.
And out at the door the auld carlui he swung.
And, &c.
He hynt up the carlin again on his back.
Hey ! &c.
And awa fu' blythely he trudged wi' his pack,
And, &c.
He carried her owre an acre or two.
Hey ! &c.
Till he came to the auld man hauding his plow.
And, &c.
And ay as the auld carle ranted and sang.
Hey! &c.
In troth ray auld spunkie ye'll no keep her lang.
And, &.C.
Gude-morrow, most sadly, the auld carle said.
Hey ! &c.
Ye're bringing me back my auld wife I'm afraid.
And, &c.
I try'd her in spunks, and in caudrons I try'd her.
Hey ! &c.
And the wale o' my brunstane wadna hae fry'd her.
And, &c.
I stapped her in the neuk o' my den.
Hey ! &c.
But the vera damn'd ran whan the carlin gaed ben.
And, &c.
Sae here's a gude pose for to keep to yoursel'.
Hey ! &c.
She's nae fit for heaven, and she'll ruin a' hell.
And, &.C.
In a note annexed to the foregoing ballad, Cromek says,
" This original and highly-relieved' song, was retouched by
Burns. Yet there is reason to beheve he had not seen the
whole of the verses which constitute the present copy, as it
contains many characteristic traits that his critical taste
would have held sacred."
352 CCCLXXIX.— KELLY-BURN BRAES.
The reader, on comparing Cromek's ballad with that of
Burns' inserted in the Museum, will have no difficulty in dis-
covering that a considerable portion of Cromek's pretended ori-
ginal, as he calls it, is a contemptible modern fabrication, and
is as inferior, in point of humour, to that of Burns, as any two
compositions can possibly be. It is really too bad to affirm,
that Burns would have held sacred such abominable trash.
He was a man of a very different stamp.
CCCLXXX.
EVANTHE.
This song, beginning " When, dear Evanthe, we were
young," was written by Dr Blacklock for the Museum. The
air is likewise the Doctor's composition. The original words
and music, copied by his amanuensis, are in the Editor's pos-
session.
CCCLXXXI.
JOCKEY FOU, AND JENNY FAIN.
This song is printed in Ramsay's Tea-Table Miscellany,
who affixes the letter Q to it, to show that it was an old song
with additions. Burns added the four following lines to suit
the tune to the words.
Let love sparkle in her ee^
Let her loe nae man but me ;
That's the tocher gude I prize.
There the lover's treasure lies.
Burns, upon the manuscript sent to Johnson, has the fol-
lowing note : " These are the old words, and most excellent
words they are : set the music to them, and let Dr Black-
lock's words follow to the same tune." The air in the Mu-
seum has received some recent embellishments. See notes
on song No 298.
CCCLXXXII.
AY WAKIN', 0.
See notes upon another set of this tune, which is inserted
in the third volume of the Museum, page 222, song No 213
of that work. This set of the tune was transmitted by Ro-
bert Riddell of Glenriddell, Esq. to Mr Stephen Clarke.
353
CCCLXXXIII.
PATIE'S WEDDING.
This humorous ballad, beginning " As Patie came up
frae the glen," was published by David Herd in the second
volume of" his Collection, printed at Edinburgh in 1776.
The words are adapted to a modernized set of the air, to
which a fooUsh old ballad was sung, beginning
We'll put the sheep-head in the pat.
Horns and a thegither ;
We'll make broth of that.
And a' sup thegither ;
We'll a' sup thegither,
A' lye thegither.
We'll make nae mair beds.
Till it be warmer weather.
This curious song is inserted in the fifth volume of the Mu-
seum. See notes on song No 479.
CCCLXXXIV.
THE SLAVE'S LAMENT.
The words and music of this song, beginning It was in
sweet Senegal that my Jhes did me entlio'al, were communi-
cated by Burns for the Museum. The air, it is said, is an
original African melody.
cceLxxxv.
ORAN AN AOIG; OR, THE SONG OF DEATH.
This charming song, beginning " Farewell thou fair day,
thou green earth, and ye skies," was written in 1791 by Burns,
for the Museum. The verses are adapted to a Gaelic melody
in Macdonald's Collection of Highland Airs. In a letter ad-
dressed to Mrs Dunlop, dated EUisland, 17th December,
1791} and printed in the second volume of Dr Currie's edi-
tion of Burns' works, the bard says, " I have just finished
the following song, which, to a lady, the descendant of many
heroes of his truly illustrious line, and herself the mother of
several soldiers, needs neither preface nor apology.
" SCENE — A field of battle — Time of the day. Evening, — The wound-
ed and dying of the victorious army are supposed to join in the
following 5
354 CCCLXXXV.- — ORAN AN AOIG ; OK, THE SONG OF DEATH.
" SONG OF DEATH."
Farewell^ thou fair day^ thou green earth, and ye skies.
Now gay with the broad-setting sun !
Farewell, loves and friendships ; ye dear tender ties !
Our race of existence is run !
Thou grim king of terrors — thou life's gloomy foe !
Go, frighten the coward and slave ;
Go teach them to tremble, fell tyrant ! but know.
No terrors hast thou for the brave !
Thou strik'st the poor peasant — he sinks in the dark,
Nor saves e'en the wreck of a name !
Thou strik'st the young hero — a glorious mark.
He falls in the blaze of his fame !
In the field of proud honour — our swords in our hands.
Our king and our country to save —
While victory shines on life's last-ebbing sands —
O who could not die with the brave !
*' The circumstances that gave rise to the foregoing verses,
was looking over, with a musical friend, Macdonald's Collec-
tion of Highland Airs, I was struck with one, an Isle of
Skye tune, entitled Or an an Aoig ; or. The Song of Death,
to the measure of which I have adapted my stanzas."
Both Mr Ritson and Mr George Thomson have copied
this song from the Museum into their respective Collections.
The former has retained the original Gaelic air, but the
latter has adapted the verses to the tune of " My Lodging is
on the cold Ground." Dr Currie has pronounced this song to
be '■' worthy of the Grecian Muse, when Greece was most con-
spicuous for wisdom and valour." In a note inserted in the
first volume of Dr Currie's edition, it is said, that " the poet
had an intention, in the latter part of his life, of printing it
separately, set to music, but was advised against it. The
martial ardour, which rose so high afterwards on the threat-
ened invasion, had not then acquired the tone necessary to
give popularity to this noble song, which, to the Editor,
seems more calculated to invigorate the spirit of defence in
a season of real pressing danger, than any production of mo-
dern times.
355
CCCLXXXVI.
AFTON WATER.
This song, beginning " Flow gently sweet Afton amang
thy green braes," was written by Burns, and presented by
him, as a tribute of gratitude and respect, to Mrs Stewart
of Afton Lodge, for the notice she had taken of the bard,
being the first he ever received from any person in her rank
of life. He afterwards transmitted the verses, alongst with
the beautiful melody to which they are adapted, to Johnson,
the publisher of the Museum.
Afton is a small river in Ayrshire, a tributary stream of
the Nith. Mrs Stewart inherited the property of Afton
Lodge, which is situated upon its banks, in right of her
father.
CCCLXXXVII.
BONNY BELL.
This song, beginning Tlie smiling morn comes in rejoic-
ings is another production of Burns, who also communicated
the air to which the words are united in the Museum.
CCCLXXXVIII.
GREEN SLEEVES.
This song, beginning " Ye watchful guardians of the
fair," was written by Allan Ramsay, and printed in his
Tea-Table Miscellany, 1724. The verses are adapted to
the old tune, called Green Sleeves, and Pudding Pies, the
first line of an old licentious song. Bishop Percy says, " It
is a received tradition in Scotland, that, at the time of the
Reformation, ridiculous and bawdy were composed, to be sung
by the rabble to the tunes of the most favourite hymns in the
Latin service. Green Sleeves, and Pudding Pies, (designed
to ridicule the popish clergy,) is said to have been one of
these metamorphosed hymns. Maggy Lauder was another ;
John Anderson, my jo, was a third. The original music of
all these burlesque sonnets was very fine." See Percy's
Ancient Songs and Ballads, vol. ii. Tradition, in this in-
stance, however, is opposed to written evidence, as has been
356 CCCLXXXVIII.— GREEN SLEEVES.
fully demonstrated in the notes to " John Anderson, my Jo,"
and elsewhere. See notes on song No ^60.
The air of " Green Sleeves," originally consisted of one
strain, and was equally popular in England as in Scotland,
upwards of two centuries ago ; many of the old English ballads
being directed to be sung to this tune, which also went under
the name of " Nobody can deny." It may be seen almost in
its primitive state, under the title of The BlacksmiiJis, in
Henry Playford's Wit and Mirth, vol. i. London 1698. The
second strain, however, is at least as old as 1657, as it ap-
pears in " The Dancing-Master" of that year. John
Christopher Pepush, Muse. Doc, who, at the request of
Gay and Rich, selected and prepared the music to the
Beggar's Opera in 1727, from various ballads and country-
dance tunes then in vogue, adapted Gay's song, beginning
Since laws were made for ev'ry degree^ sung by Macheath,
to the tune of Green Sleeves.
CCCLXXXIX.
THE GALLANT WEAVER.
This song, beginning " Where Cart rins rowing to the
sea," was written by Burns for the Museum. It is adapted
to a beautiful air, communicated by himself, and selected
from the first book of Aird''s (of Glasgow) Collection, under
the title of The Weaver''s March.
The White Cart is a small river in Renfrewshire, which
takes its rise in the parish of Eaglesham, and, after passing
the town of Paisley, celebrated for its various productions o/
the loom, joins the Black Cart at Inchinnan-bridge, and
falls into the Clyde near Renfrew.
cccxc.
SLEEPY BODY.
This song is a translation of the following Latin verses,
printed in Ramsay's Tea-Table Miscellany, 1724, with the
letter Q affixed, to denote that the verses were old Avith ad-
ditions. The only addition is, the translation of the original
Latin verses into Scottish metre.
CCCXC. — SLEEPY BODY. 357
Somnolente, quaeso repente
Vigila, vivat;, me tange.
Somnolente, quaeso repente
Vigila, vive, me tange.
Cum me ambiebas,
Videri solebas
Amoris negotiis aptus ;
At factus maritus
In lecto sepitus
Somno es, baud amore, tu captus,
Thomson published the Scottish translation with the ori-
ginal tune in his Orpheus Caledonius, in 1733, and left out
the Latin verses, which were sung to the same air.
It is a curious circumstance, that Oswald, although he had
inserted this air in the third book of his Caledonian Pocket
Companion, page 17th ; yet, in his fourth book, page 7, he
has a jig to the air of The Plowman, nearly in the same
notes which constitute the melody of Sleepy Body. This
charming old air, however, is certainly deserving of much
better words than any of those, whether Latin or Scottish, to
which it has hitherto had the misfortune of being united.
cccxci.
I LOVE MY JOVIAL SAILOR.
The words and music of this song were sent anonymously
to Johnson, who thought them entitled to a place in the
Museum. They are to be found in no other work yet ex-
tant. The tune, however, seems to be nearly allied to an
air called The auld Man's Mare''s dead, which likewise
goes under the name of The Oyster Wench.
CCCXCII.
HEY CA' THRO', CA' THRO'.
This lively old air, with its humorous verses, beginning
*' Up wi' the Carles of Dysart," were communicated by
Burns to the Editor of the Museum. This song is not yet
to be found in any other publication.
CCCXCIII.
WHILE HOPELESS, AND ALMOST REDUC'D TO DESPAIR.
This plaintive song was composed, and communicated to
Johnson, by Mr R. Mundell of Edinburgh, with the air to
which the verses are adapted in the Museum.
35S
CCCXCIV.
O CAN YOU LABOUR LEA, YOUNG MAN.
In the second volume of Select Scottish Songs, with Criti-
cal Observations by Burns, edited by Mr Cromek, Burns in-
forms us, that this song, beginning I feed a man at Martin-
mas^ has long been known among the inhabitants of Niths-
dale and Galloway, where it is a great favourite. The first
verse should be restored to its original state.
I FEED a lad at Roodmass^
Wi' siller pennies three ;
When he cam harae at Martinmass,
He coudna labour lea.
O can ye labour lea, young lad ?
O can ye labour lea?
Indeed, quo' he, my hand's out.
And up his graith pack'd he.
" The old way, (says he) is the truest ; for the terms Rood-
mass is the hiring fair, and Hallowmass the first of the half
year." But the present Editor always heard the first line of
the song in these words, " I feed a lad at Michaelmas,"
which is the head hiring fair.
This old tune was modelled into a strathspey, called the
" Miller's Daughter ;"" which Shield selected for one of his airs
in the overture to Rosina ; and Gow afterwards printed the
air from that overture, under the name of " Sir Alexander
Don's Strathspey." It is now called " Auld Lang Syne."
cccxcv.
ON THE DEATH OF DELIA'S LINNET.
This elegiac song, beginning " O all ye loves and groves
lament," with the modern Scottish air to which the words are
adapted, appeared for the first time in the Museum. The
author, however, is still anonymous.
cccxcvi.
THE DEUKS DANG O'ER MY DADDIE.
This humorous ditty, beginning " The bairns gat out wi'
an unco shout," was written by Burns for the Museum.
The bard, however, has introduced two or three lines from
the old words, which it would have been better to have left
out.
CCCXCVI.— THE DEUKS DANG o'eR ivrsf DADDIE. 359
This tune was probably introduced into England about
the union of crowns in 1603; for it was well known in the
early days of old John Playford, who published it alongst
with many other Scots tunes in his Dancing Master, in 1657,
under the title of the " Buff Coat," The import of the old
Scottish name of the tune could not be generally, if at all, un-
derstood in England. Dr Pepush adapted Gay's song to
this air, beginning " Why that languish ? O, he's dead !
O, he's lost forever !" introduced in the musical opera of Polly,
or the second part of The Beggar's Opera, in 1729.
CCCXCVII.
AS I WENT OUT AE MAY MORNING.
The words and music of this old ballad were communi-
cated to Johnson by Burns, in the poet's own hand-writing.
Some of the verses seem to have been retouched by our bard ;
but it would have been better had he altered a little more of it.
CCCXCVIII.
SHE'S FAIR AND FAUSE.
Burns picked up this charming old melody in the country,
and wrote the verses to which it is so happily adapted in the
Museum. Gow has lately introduced this beautiful tune in
the third book of his Complete Repository, dedicated to the
Countess of Loudon and Moira, page 9th.
cccxcix.
THE DEIL'S AWA WI' THE EXCISEMAN.
This comic song, beginning " The Deil cam fiddlin thro"*
the town,'' was written by Burns for the Museum. The
original is written upon a slip of excise paper, ruled on the
back with red lines. It is said, that at a meeting of his bro-
ther excisemen in Dumfries, our poet, on being called for a
song, handed these verses extempore to the president upon
the back of a letter. The old name of the tune, to which the
words are adapted, was "The Hemp-dresser;" and it is publish-
ed with the genuine title in old Playford's Dancing-Master, so
frequently alluded to. It was afterwards known by the name
of " The Sun had loos'd his weary Team,"" from the first line
9 T^
360 ccoxcix. — THE deil's awa wi the exciseman.
of a comic English ballad which appeared in the first volume
of the " Pills to purge Melancholy," printed at London in
1698.
cccc.
MISS WEIR.
The words and music of this humorous song, beginning
" O love, thou delights in man's ruin," were transmitted to
Johnson for his Museum, by Burns, in the poet's own hand-
writing. It is said to be the composition of a dissenting
elei'gynian at Biggar.
END OV PART FOURTHo
[ *361 ]
ADDITIONAL ILLUSTRATIONS
PART IVo
CCCIV.
MY GODDESS WOMAN.
This song is altered and improved, from one that ap-
pears (at p. 85.) in tlie volume of Poems mentioned by Mr
Stenhouse, which wa?, printed by subscription, and has the
following title : " Poems Pastoral, Satirical, Tragic, and
Comic. By John Learmont. Carefully corrected by
the Author.
My Muse is a queer wayward wight.
And cramm'd with many a quirky flight :
She soaring whiles mounts out of sight.
Beyond the moon ;
Next dizzy 'mong the shades of night
Comes donart down.
" Edinburgh, printed for the Author, &c. 1791." 8vo. pp.
414. The dedication to " Charles Earl of Dalkeith, and
heir-apparent to his Grace Henry Duke of Buccleugh," is
dated from Dalkeith. The prefatory address to the public,
states, that " The author is a gardener by profession, and
a poet (if he deserves that appellation) by propensity ; and
labours under the disadvantage of a stinted education."
The volume includes a dramatic piece, entitled " The
Unequal Rivals, a Pastoral." In a poetical dedication, he
thus alludes to his connexion with Eskdale ; but he him-
self, it is supposed, was a native of Tweeddale.
Accept, O Eskdale, these a Bardy's lays,
Ta'en frae thy gowany glens, and cowslip braes :
* 2 E
362 * MY GODDESS WOMAN.
Accept o' this frae him — a tribute due
Unto thy bold inhabitants and you.
I on your banks attun'd my rustic strains,
Till fell misfortune drove me frae your plains.
, Tho' Fate convey me to the Snowy Isles,
Where ne'er a flower reflects the sunny smiles
To generous Eskdale I wad tune my lays ;
And lilt her grottos and her sunny braes ;
Her birken bowers, &c (p. 260.)
Before the publication of this volume, the author had obtain-
ed the situation of head gardener to the Duke of Buccleuch
at Langholm Lodge, while his namesake and relation, John
Learmont, was head-gardener at Dalkeith Palace. The
latter retired, at an advanced age, before 1806, and was
succeeded by Mr Macdonald ; while the former, who is
described as having " studied poetry more than raising gar-
den-stuff," lost his situation. After this he lived, I under-
stand, near Colinton, in the neighbourhood of Edinburgh,
where he died probably more than thirty years ago.
cccxiv.
THE WHISTLE.
" Thejie are some odd blunders in the legend of the
Whistle, which a pedigree of the Maxwelton family in my
possession enables me to mention. There was no Sir Ro-
bert Laurie of Maxwelton prior to, or during the reign of
King James the Sixth. Stephen, the third son of John
Laurie, the first of the family on record, and an inhabitant
of Dumfries, purchased the lands of Maxwelton from the
Earl of Glencairn in the year 1614. He was succeeded by
his son, John, who died in the year 1649 ; and his son and
heir, Robert, was created a baronet on the 27th of March,
1685. By his second wife, Jean Riddel, daughter of the
Laird of Minto, he had three sons and four daughters, of
whom Catharine was married to Walter Riddel of Glenrid-
dell, and Anne to Alexander Fergusson of Craigdarroch.
His son, Sir Robert, was killed, when a lad, by a fall from
THE WHISTLE. * 363
his horse in the j^ear 1702. So the story of Queen Anne's
drunken Dane may be regarded as a groundless fable, un-
less such a person came over in the train of Prince George
of Denmark, the husband of our last Queen Anne, which is
not very probable." — (C. K. S.)
V cccxxi.
I DO CONFESS THOU ART SAE FAIR.
" This is the song which Burns altered, and thought he
had ' improved the simplicity of the sentiments, by giving
them a Scots dress.' It is usually attributed to Aytoun,
and is just as likely, from its easy and graceful style, to have
been written by him as by any of his contemporaries ; but
in Watson's Collection, part iii. p. 91 (where Burns pro-
bably found it), it is anonymous ; as it also is in Play-
ford's earlier musical collection of * Select Ayres and
Dialogues, 1659.' There are a few slight variations between
the two copies which it is not necessary to specify." —
(Bannatyne Miscellany, vol. i. p. 323).
Sir Robert Aytoun, a younger son of the family of
Kinaldie in Fife, was born in the year 1570, and educated at
St Andrews. He was knighted by King James, and dying
at London, in March 1638, he was interred in Westminster
Abbey. Some account of his life, and a collection of his
Poems are contained in " The Bannatyne Miscellany,"
Vol. I. p. 299-324. Edinb. 1828, 4to.
CCCXXIV.
WHAR WAD BONNIE ANNIE LIE.
" The more modern version of this song was said to have
been composed on the beautiful Lady Anne Cochrane,
Duchess of Hamilton, who, at an early age, died in child-
bed. She is still remembered by tradition as ' bonnie
Annie ;' but her portrait at Holyroodhouse, and a cast of
her face at Hamilton, inspire no admiration of her charms.
The former, indeed, is very ill done ; and I have been told
364 * WHAll WAD BONNIE ANNIE LIE.
that the latter was taken after her death. Her Epithala-
mium and Elegy are to be found among the poems of Allan
Kamsay."— (C. K. S.)
cccxxv.
GALLOWAY TAM.
Mr Stenhouse concludes his note with expressing a
doubt as to the antiquity of this air. " Gallua Tarn,"
occurs, however, as the title of an air in Sir R. Gordon of
Straloch's MS. Lute Book, 1627.
CCCXXVII.
LORD RONALD MY SON.
'' The nursery song ran thus : —
O, WHAR ha' ye been a' day.
My bonnie wee crooden doo ?
O, I've been at my stepmither's,
Mak' my bed, mammie, noo.
An' what did scho gie to you to eat, .
My bonnie wee crooden doo ? —
Scho gied to me a wee fishie ;
Mak' my bed, mammie, noo.
An' what did scho catch the fishie in.
My bonnie wee crooden doo ?
Scho catch' d it in the gutter hole,
Mak' my bed, mammie, noo.
An' what did ye do wi' the banes o't
My bonnie wee crooden doo ?
I gied them to my little dog,
Mak' my bed, mammie, noo.
An' what did your little doggie do,
My bonnie wee crooden doo ?
It stretch' d out its head an' its feet, and dee't.
An' sae will I, mammie, noo.
" The nurse, or nursery-maid, who sung these verses (to
a very pretty plaintive air), always informed her juvenile
audience that the stepmother was a rank witch, and that
LORD RONALD MY SON. * 365
the fish was an ask (i.e. newt) which was in Scotland for-
merly deemed a most poisonous reptile. In that very-
amusing book, the Scottish Gallovidian Encyclopedia,
' ' asks" are explained ' ' newts — animals of the lizard species ;
they are always considered to have poison somewhere about
their hinnerliihs." — (C. K. S.)
cccxxviii.
o'er the muir amang the heather.
Jean Glover, to whom this song is ascribed by Burns,
and whom he describes in language sufficiently explicit, was
the daughter of a weaver in Kilmarnock. The author of the
" Contemporaries of Burns," has succeeded in collecting
some information regarding her history, from which it ap-
pears that she was born in that town, 31st of October 1758.
Having become enamoured with a strolling player who fre-
quented that part of the country at fairs, and other occasions,
she eloped with him ; and afterwards pursued an irregular
course of life, but perhaps not quite so disreputable as
Burns's words imply. She occasionally visited her native
town in company with the " slight-of-hand blackguard,"
whom Burns mentions, and whose name was Richard.
She is still remembered in that neighbourhood. " An old
woman, with whom we conversed (says the author of the
work referred to), also remembered to have seen Jean at a
fair in Irvine, gaily attired, and playing on a tambourine
at the mouth of a close, in which was the exhibition-room
of her husband the conjurer. " Weel do I remember her,"
said our informant, " an' thocht her the brawest woman I
had ever seen step in leather shoon." — P. 37.
Jean Glover pursued this vagrant course of life till the
year 1801, when she died, it is supposed, at Letterkenny
in Ireland, in the 43d year of her age.
A ballad, under the same title, " O'er the Muir amang
the Heather," by Stewart Lewis, is inserted at p. 838 of
Mactaggart's Gallovidian Encyclopedia. Lond. 1824. 8vo.
366 * THE TEARS I SHED MUST EVER FALL.
CCCXXXIV.
DONALD COUPER.
The mock poem, the " Highland Host," was printed in
1697, in a posthumous volume of Cleland's Poems, but it
must have been written at least eight or ten years earlier,
as the author, Lieut.-Col. William Clbland, was killed at
Dunkeld in August 1689, at the early age of twenty-eight.
CCCXL.
THE TEARS I SHED MUST EVER FALL.
In the Index to the Museum, " This Song of Genius" (as
Burns calls it), is assigned to " Miss C******n," and it has
been correctly attributed to Mrs Dugald Stewart; with
the exception of the first four lines of the last stanza, which
vvcre supplied by Burns to suit the music. See page 319.
This lady, Helen D'Arcy Cranstoun, was the third
daughter of the Honourable George Cranstoun, youngest
son of William Fifth Lord Cranstoun. (Douglas's Peerage,
by Wood, vol. i. p. 369). She was born in the year 1765 ;
married Professor Dugald Stewart, of Catrine, Ayrshire,
:26th of July 1790, and died at Warriston House, in the
^leighbourhood of Edinburgh, 28th of July 1838.
The following verses, I have reason to believe, were also
written by Mrs Stewart. They breathe, in graceful lan-
guage, the same strain of tender feeling, with her justly
admired song, " The Tears I shed;' and I am sure the
reader will be gratified in thus possessing another specimen
of her lyrical talents, hitherto confined to the circle of a few
private friends of that accomplished Lady.
Returning Spring, with gladsome ray.
Adorns the Earth, and smooths the deep ;
All nature smiles, serene and gay.
It smiles, and yet, alas ! I weep.
But why, why flows the sudden tear, ■^
Since Heaven such precious boons has lent.
THE TEARS I SHED MUST EVER FALL. * 367
The lives of those who life endear.
And though scarce competence, — content.
Sure when no other bliss was mine
Than that which still kind Heaven bestows.
Yet then could peace and hope'combine
To promise joy and give repose^.
Then have I wander'd o'er the plain.
And bless'd each flower that met my view ;
Thought Fancy's power would ever reign,
And Nature's charms be ever new.
I fondly thought where Virtue dwelt.
That happy bosom knew no ill.
That those who scorn'd me time would melt.
And those I loved be faultless still.
Enchanting dreams, kind was your art
That bliss bestow'd without alloy ;
Or if soft sadness claim'd a part,
'Twas sadness sweeter still than joy.
Oh ! whence the change that now alarms.
Fills this sad heart and tearful eye ;
And conquers the once powerful charms
Of Youth, of Hope, of Novelty.
'Tis sad Experience, fatal power.
That clouds the once illumin'd sky.
That darkens life's meridian hour.
And bids each fairy vision fly.
She paints the scene, how diiferent far
From that which youthful fancy drew ,
Shows joy and prudence oft at war.
Our woes increased, our comforts few.
And when, perhaps, on some loved friend
Our treasured fondness we bestow.
Oh ! can she not, with ruthless hand.
Change even that friend into a foe ?
See in her train cold Foresight move.
Shunning tlie rose to 'scape the thorn.
368* THE TEARS I SHED MUST EVER FALL.
And Prudence every fear approve.
And Pity harden into scorn.
The glowing tints of Fancy fade.
Life's distant prospects charm no more j
Alas ! are all my hopes betray'd ?
Can nought my happiness restore ?
Relentless power, at length be just.
Thy better skill alone impart ;
Give caution, but withhold distrust,
And guard, but harden not my heart.
CCCXLII.
roy's wife of ALDIVALOCH.
In some collections, this favourite song is ascribed to
Mrs Grant of Carron, and, in others, to Mrs Murray of
Bath . This difficulty has been explained by a note received
from George Thomson, Esq., the correspondent of Burns,
and Editor of the " Scottish Songs." " Mrs Grant of
Carron," says Mr T., "is the same lady who married Dr
Murray of Bath, but I know not her maiden name, nor_
whether she be- alive or dead, — dead probably, for she was
well up in years when she married the Doctor, whom I
knew well, a warm-hearted Irishman, and a very good flute
player. She was generally understood to be the writer of
" Roy's Wife," but I cannot help you to any written au-
thority for the fact. You are quite right in suspecting
traditional authorities in general. They are little to be
relied on."
Through the obliging inquiries of John P. Grant, Esq.
(son of the late Mrs Grant of Laggan), I have since
learned the following particulars respecting this lady. Her
maiden name was Grant, and she was born, near Aberlour,
on the banks of the river Spey, about the year 1745. She
was twice married, first to her cousin, Mr Grant of Carron,
■near Elchies, on the river Spey, about the year 1763; and,
secondly, to a physician in Bath, whose name is stated to
have been Dr Brown, not Murray. She died at Bath
roy's wife of aldivaloch. *369
sometime about 1814; and is not known to have written
any other song than " Roy's Wife."
In regard, however, to the name of Mrs Grant's second
husband, I cannot think there can be any question, after
■what Mr Cromek states in his " Select Scotish Songs,"
Lond. 1810. In giving the substance of an interesting con-
versation he had with that lady, he expressly terms her
" Mrs Murray (married to Dr Murray of Bath), and
authoress of the celebrated song, ' JRoy's Wife of Aldival"
loch:"— (vol. i. p. 55).
Cromek has also, in the same work, given a communica-
tion from " Mrs Murray of Bath" respecting Ross of Lochlee
(who died in 1783), and after alluding to ' his humble abode,'
, and the character of the inhabitants of that secluded dis-
trict, she says, " I speak from the experience of many
years of the early part of my life, which I had the happi-
ness of spending in the North Highlands of Scotland." —
(vol. i. p. 206.)
CCCXLVI.
A COUNTRY LASS.
*' Mr Ritson, in his Northumberland Garland, gives
what is probably the original of this ballad — the hero of
which was George Stoole, ' dwelling some time on Gate-
side Moor, and some time at Newcastle.' He was executed,
A. D. 1610."— (C.K. S.)
CCCXLVII.
AE FOND KISS BEFORE WE SEVER.
At page 358 of the music, this song is said to have been
" written for this work by Robert Burns." It was, in fact,
written by him as a kind of parting address to the lady with
whom he corresponded under the assumed name of Clarinda
(see p. 220), at the time when she meditated a trip to the
West Indies, for the benefit of her health.
Sir Walter Scott, in an article in the Quarterly Review
on Burns's Reliques, refers to this song, and says, " The
370 * AE FOND KISS BEFORE WE SEVER.
following exquisitely aifecting stanza contains the essence
of a thousand love tales :" —
Had we never loved sae kindly.
Had we never loved sae blindly,
Never met or never parted.
We had ne'er been broken-hearted.
Lord Byron also, quotes the same lines as a motto to his
" Bride of Abydos."
Burns, in his directions to Johnson, desires the words to
be set to " Rory Dall's Port," a tune included in Oswald's
and other collections. This popular air, however, is ascer-
tained to be of greater antiquity than was imagined ; as it
occurs in Gordon of Straloch's Lute- Book, written in 1627.
As these Highland Ports, are a very uncommon description
'of music, an exact copy of the air, as it occurs in Gordon's
MS., but here given in modern notation, is subjoined,
through the kind assistance of George F. Graham, Esq.
Mr Graham, in answer to a request that he would har-
monize one or other of these old Scotish airs, remarks, that
"all the best tunes in that MS. are not susceptible of any
thing like a regular and continuous harmony. By applying
to them any thing of that kind, I might attempt in vain to
exercise ingenuity while I utterly ruined the peculiar style
and character of these airs. They never were intended for
harmony — such as we find in ancient or modern elaborated
compositions. I allude especially to the Ports, which are the
wildest, most peculiar, and best of these tunes ; and certainly
Scotish, if there is any faith in national tradition. All the
best of our old Scotish melodies have been destroyed in their
true characteristics by the forced application to them of a
modern system of harmony, which belongs to. a system of
composition that has little or nothing in common with the
old and purely melodic style belonging to all the most ancient
national airs in the world ; when such a thing as artificial
harmony was not dreamed of. I have alluded strongly to
IIORY DALL S POKT.
371
this modern error in the latter part of the appendix to my
" Essay on Music."
RORY DALL S PORT.
1» f» f»
?P=^
'd^
m
JZU^^JL
r
^^^
-^^
r
f ^
SE
;pf^E
*=33*3=*
a=
^
^
WT
I -rh I II
372 * RORY ball's port.
The following remarks, suggested by this and the other
Ports contained in the Straloch MS., are from the pen of
a musical friend to whom a copy of the tunes had been
submitted.
" With respect to the tune called ' Rory Ball's Port,'
lately deciphered from Sir Robert Gordon of Straloch's
MS., it will be at once seen, that, although it bears the
same name with that given in the ' Museum,' it is totally
dissimilar from it. The former, of course, is the genuine air,
and being of a date contemporary with its author, and writ-
ten for the lute, an instrument somewhat analogous to the
harp, for which it was composed, it may be presumed to have
been but little altered from the original.
" Macdonald, in his Essay on Highland Music (p. 11),
and Gunn, in his ' Enquiry respecting the performance on
the Harp in the Highlands of Scotland' (pp. 95, et seq.),
have furnished us with some interesting particulars relative
to a blind harper, called Roderick Morison, who was gene-
rally known by the name of Rory Dall, or Blind Rory,
and whom they describe as ' the last person in this coun-
try who possessed the talents of bard and harper, of poet
and composer of music, in an eminent degree.' He is said
to have been born a gentleman, and to have lived on that
footing at Dunvegan Castle, in Skye, in the family of a
Laird of Macleod, one of the last of the Celtic proprietors
who kept up, on a liberal scale, the full retinue of the
Highland chief. Mr Macdonald, whose Essay was pub-
lished in 1781, says, that after the death of this Macleod,
the establishment was abandoned ; ' a measure which the
poor neglected bard lamented, in an excellent elegy on his
patron, which was printed in a late collection of Gaelic
poems.'
" This may probably be a specimen of Rory's poetry ; but
whether that which we have here given is to be considered
as a specimen of his music, or the music of some predecessor
of the same name, is somewhat doubtful. The date of the
RORY dai.l's port. * 373
Straloch MS. is 1627, and the Rory Dall above mentioned,
is said by Macdonald to have flourished in the end of the
1 7th century. Mr Gunn also speaks of a pupil of his —
one Murdoch Macdonald, called Murdoch Clarsair, or
' the Harper,' who remained in the family of Coll in qua-
lity of harper, until the year 1734, and, if these statements
are correct, there must have been more than one Rory
Dall of musical celebrity. But as traditional information
of this nature is seldom to be depended upon with respect
to dates, it is more probable that we could never boast of
more than one of these personages, who, in the imposing
language of Mr Macdonald, ' like Demodocus, was blind,
and like him, graced his poetry with the music of the harp;'
and that the true era of the bard was the age of James VI.,
a supposition which is not irreconcileable with a circum-
stance alluded to by Mr Gunn, as having occurred after
the breaking up of his old patron's establishment, when,
about the year 1650, he says, that he accompanied the Mar-
quis of Huntley on a visit to Lude House, and there com-
posed a ' Port ' or air, which was called * Suipeir Leoid,'
or ' Lude's Supper.' Mr Gunn also speaks of another har-
per and composer, who lived in the reign of James VI. and
Charles I., called John Garves Maclean of Coll.
" We are sorry to observe that our Highland countrymen
have, for these many years, been so much engrossed in
sounding the praises and tracing the pedigrees of their
pipers, and in reviving the warlike strain of the ' piob mhor,'
that they seem to have ceased to feel any interest in the
softer, more delicate, and peaceful instrument, the harp,
and its more poetical and accomplished professors. Nor is
it easy to account for the circumstance that while so en-
lightened and powerful an association as the Highland
Society have done so much for the encouragement of pipes
and pibrochs, they should have made no attempt to revive
the practice of an instrument once in such high estimation
374 * RORY call's port.
in this country, and to which most of our ancient airs,
both Highland and Lowland, were originally adapted. A
little more, at least, might, with propriety, have been done^
and may still be accomplished, towards the recovery of the
many fine ' Luineags' and 'Ports' with which Scotland
at one time abounded, and some of which it may not yet
be too late to arrest in their progress towards oblivion. So
many years, however, have elapsed since the harp was cul-
tivated in the Highlands, that in any enquiries of this kind
we can place no faith whatever in tradition, by which we
are certain that the original airs must have been altered
and modernized ; * but must look entirely to early tran-
scripts, such as those of the Skene and Gordon MSS.
The former contains only one of the class of airs, called
' Ports,'! viz. ' Port Ballangowne,' and this happens
to be the same with the Rory Dall's Port of the Stra-
loch MS., although the particular version given in the
latter, and which is here published, differs from and is, we
think, very superior in style and character to that contained
in the Skene MS. The musical reader cannot fail to regard
it as a great curiosity. It is a precious relic of the last of
the Highland bards ; not like most of our old airs taken
down from its ancient model and rebuilt after the modern
fashion, but presented to our view, as nearly as possible,
in its original state. The Straloch MS. has also been
* " Macdonald remarks, ' There is indeed a strong likeness between
the Irish songs and the Highland luineags. Ift/ie latter are shorter
and moi'e incomplete, it seems owing to their being preserved by oral
tradition among a people who of late had no regular musicians.
Whereas the great Irish families continued to the last passionately
fond of their national peculiarities, and entertained, in their houses,
harpers that were the depositaries of their best pieces of music' "
t " Port, in Gaelic, signifies an air, either sung or played upon an
instrument ; but Mr Tytler, in his Dissertation on Scottish Music, very
correctly describes this species of composition as of the plaintive strain
and modulated for the harp. Every ' Port' which we have seen an-
swers this description."
RORY DAH,'S PORT. * 375'
the means of restoring four other ' Ports which Mr G. F.
Graham has translated, and all of these are equally remark-
able with that now mentioned, exhibiting along with the
vigorous and strongly marked features of a bygone age, not
a little of the * master's hand and poet's fire,' for which
Scotland was anciently so renowned. . The style of their mo-
dulation is particularly bold and striking, and if we were to
compare them with any music of the present day with which
we are acquainted, we would say that they reminded us
chiefly of some of the wilder and more gloomy conceptions
of Beethoven's adagios. In these particulars, and as show-
ing that the ' land of the mountain and the flood ' at one
time possessed a style of harp minstrelsy peculiarly its own,
and different from that of Ireland and Wales, these remains
are not only interesting but instructive."
I beg to subscribe t6 the above suggestion, that some
encouragement to Harp-playing, even at the expense of
what our Celtic brethren consider their national music,
would be highly worthy of the Highland Society. There
can be no dovibt, I think, that the Rory Dall who gives his
name to the Port in the Straloch MS. must have flourished
at the end of the 16th, or early part of the 17th century ;
and unless the traditionary notices are altogether erroneous,
he must have had a successor of the same name, distinguish-
ed as a harper. In " Waverley," there is mention thus made
of Roderick Morison : " Two paces back stood Cathleen,
holding a small Scottish harp, the use of which had been
taught to Flora by Rory Dall, one of the last harpers of the
Western Highlands." In a notice appended to the last edi-
tion of Macintosh's Gaelic Proverbs, p. 199, Edinburgh,
1819, 12mo., it is stated that a harper, named " Rory Dall,
lived in the family of Macleod of Macleod, in Queen Anne's
time, in tJie double capacity of harper and bard' to that
family ; and that many of his songs and poems are still re-
peated by his countrymen. But there is a Gaelic proverb.
376
RORY DALL S PORT
in that volume, " Am Port is fearr a sheinn Ruadhrigh
riamh, ghabhta seirbh dheth." The best tune Roderick
ever played, one may tire of.
As there are four other Ports contained in the Straloch
Manuscript, I avail myself of this opportunity to introduce
two of these old, wild characteristic airs, as they are likely
to possess more than common interest to persons who may
wish to examine the earlier relics of genuine Scotish melody.
The first is simply entitled
A POUT.
^£4^
d=FiJ=3:
^ 1 1 1
•^-■-^
f
r
'-^^p-i
^
iz:
ztzt
f^
-^
-&-
n
1^^=^
-^At^-^E^Uf^
^ ^i^:— ^ ^g:
=^
4j.jd^4kMJ
:-^-
«^ <f~
^
;jt^ff,frr
:^
t-^
.^
ife
?
-g=t=^
*=f»
/r\
3^
JEAN LINDSAY S PORT.
377
Two others bear a similar title ; but the following speci-
men which we have here selected, is called —
JEAN LINDSAY S PORT.
s
-©-
iz:
u
T^
I^
i
:^
^
:tz
"Cf
r=tr-
-€hr
m
1=1:
v t ci'—4-\- rr-A I — i — — 3-
— ' d- ^ ^ ' „: ~
2^
i
i£
=tr
-=^
I
-e^
On the subject of Highland airs, in general, the reader
may be referred to P. Macdonald's Collection, to Campbell's
Albyn's Anthology, two vols., to Angus Mackay's Pipe
Tunes, 1838, and to the volume entitled " An Historical
Enquiry respecting the performance on the Harp in the
Highlands of Scotland ; from the earliest times, until it was
discontinued, about the year 1734." By John Gunn,
F. A. S. E. Edinburgh, 1807, 4to.
CCCLI.
NOW WESTLIN WINDS.
" It is a mistake to say that this song was written on pur-
pose for Johnson's Museum, as it was first published in the
* 2f
378 * NOW WESTLIN WINDS.
Kilmarnock edition of Burns, 1786, before the poet had
any connexion with Johnson. It was, indeed, one of his
earliest compositions — on a girl named Margaret Thomson
at Kirkoswald See his autobiographical letter to Dr
Moore."— (Note by Mr R. Chambers).
CCCLVII.
JOHNIE ARMSTRONG. .
Mr Stenhouse, at the close of his long note on this
old popular ballad, inserts the air to which he was accus-
tomed to hear it chaunted when a youth, by Robert Hastie,
town-piper of Jedburgh. (See page 335.) At page 389,
he has also given another favourite air of the Border Musi-
cian's, as performed in his younger days. The late Mr
Alexander Campbell, editor of Albyn's Anthology, made
occasional tours to different parts of the country, partly
with the object of collecting local tunes ; and I possess a
MS. Journal by him, in 1816, when he visited Roxburgh-
shire, in which he has introduced a notice of the most eminent
Border pipers of the last century, which I may take this
opportunity to extract. As stated, it was written down
from the communication of Mr Thomas Scott at Monklaw,
(the uncle of Sir Walter Scott,) who was himself a skilful
performer.
" Monday, 21st [Oct. 1816], Mr Thomas Scott per>
formed many pieces on the pipe, two of which I noted
down ; after which, I jotted down the particulars following
regarding the best Bag-pipers of the Border, most of whom
he himself knew personally.
" A List of the best Border Bag-pipers (together with a
few particulars regarding tliem) who lived from about the
beginning of the year 1700, down till about the commence-
ment of the year 1800, noted down from Mr Walter Scott's
uncle, Mr Thomas Scott, presently resident at Monklaw,
near Jedburgh, 21st Oct. 1816 : —
JOHNIE ARMSTRONG. * 379
" 1. Walter Forsyth, piper to Mr Kerr of Littledean,
Roxburghshire : He was an excellent performer.
" 2. Walter Forsyth (son of the former) was gamekeeper
to the then Duke of Roxburghe ; the son was reckoned
likewise a good piper. The third in succession of celebrat-
ed Border pipers was,
" 3. Thomas Anderson, by trade a skinner, in Kelso. The
father and grandfather of Thomas Anderson were esteem-
ed good performers on what is called the Border or Bellows-
bagpipe. They lived about the close of the seventeenth
century.
"4. Donald Maclean, piper at Galashiels (father to the
well-known William Maclean, dancing-master in Edin-
burgh), was a capital piper, and was the only one who could
play on the pipe the old popular tune of " Sour Plums of
Galashiels," it requiring a peculiar art of pinching the
back hole of the chanter with the thumb, in order to pro-
duce the higher notes of the melody in question. He died
about the middle of the eighteenth century. Richard
Lees, manufacturer in Galashiels, has the said William
Maclean's bagpipes in his possession.
" 5. John Hastie, piper of Jedburgh, lived about the year
1720 (see his elegy). He was the first performer who intro-
duced those tunes now played in Teviotdale on the bagpipe.
Mr Thomas Scott is decidedly of opinion, that the Border
bellows-bagpipe is of the Highland (or, at any rate, the
north-east coast) origin, as all the pipers with whom he
was acquainted positively declared. This is a remarkable
fact, not generally known, and difficult of belief. The
small Northumberland bagpipe differs considerably from
the one alluded to, particularly in the mode of execution.
The successor of John Hastie, was
"6. Robert Hastie (nephew of the former). Mr Thomas
Scott, thinks that Hastie succeeded his uncle about the
year 1731 : he was reckoned a good performer.
" 7. George Syme, was supposed to have been born and
380 * JOHNIE ARMSTRONG.
bred in one of the Lothians. He was the best piper of his
titne; he knew the art of producing the high octave by-
pinching the back hole of the chanter, which was reckoned
a great improvement. He was the best piper of his day.
He lived about the middle of the eighteenth century.
*' The earliest Pipers (Mr Thomas Scott says) of th©
Scotish Border, properly speaking, were of the name and
family of Allen, who were born and bred at Yettam, in
Roxburghshire. They were all tinkers. The late James
Allen was piper to the Duke of Northumberland, and was
the best performer on the loud and small bagpipes of his
time. He being a Border-lifier, the poor fellow was caught
hold of in some of his lifting exploits, and cast into prison;
but escaping justice, and set at large, he renewed his hye-
johs, was again incarcerated, and condemned to be hanged;
which sentence was, at the solicitation of the Duchess of
Northumberland, changed to imprisonment for life. He
died in jail, at the advanced age of eighty years and up-
wards, about two months before his pardon came down
from the King: this happened in the year 1808.
" After jotting down the preceding notices respecting
the most celebrated Pipers of the Border, I took my leave
of the venerable, cheerful, intelligent, and worthy gentle-
man who so liberally made the communication, and pro-
ceeded to Jedburgh, which is within little more than a mile
from Monktoun, to deliver my letter, of introduction to
Robert Shortreed, Esq., the SheriiF-substitute of Roxburgh-
shire, the old and intimate friend of his brother sheriff,
Walter Scott."
Sir Walter Scott records, that his uncle, Mr Scott,
" died at Monklaw, near Jedburgh, at two of the clock, 27th
January 1823, in the 90th year of his life, and fully pos-
sessed of all his faculties. He read till nearly the year before
his death ; and being a great musician on the Scotch pipes,
had, when on his death-bed, a favourite tune played over to
him by his son James, that he might be sure he left him
JOHNIE ARMSTRONG. * 381
in full possession of it. After hearing it, he hummed it
over himself, and corrected it in several of the notes. The
air was that called Sour Plums iti Galashiels." — (Lock-
hart's Life of Scott, vol. i. p. 102. 12mo edit.)
It may be added that, in Kay's Portraits, vol. ii. p. 137,
there is a biographical sketch and portrait of George Syme,
one of these pipers. He was an inhabitant of Dalkeith,
and died probably about 1790. The print is dated 1789,
and has this inscription —
This represents old Geordy Sime,
A famous piper in his time.
CCCLVIII.
LOGIE OF BUCHAN.
Lady Anne Lindsay was certainly not the authoress
of this song, or ballad, which is said to have been com-
posed by George Halket, schoolmaster at Rathen, in the
year 1736 and 7. She was born in 1750. See page *311.
Mr Peter Buchan, in a little volume of " Gleanings of
scarce old Ballads," Peterhead, 1825, 12mo, has inserted this
ballad, with a minute account of the alleged author, from
which an extract follows : — " George Halket, was born
in Aberdeenshire, but in what place, or in what year, is
not certain ; he was, however, parochial schoolmaster at
Rathen, in the years 1736 and 7. He inherited a rich vein
of humour for satirical poetry ; which was dedicated, like
most of his contemporaries, to the service or aggrandize-
ment of the Jacobite party. His poetry was long familiar
to the peasants in that corner of the country, and rehearsed
and sung by them at their festivals and merry meetings
with great eclat, some of them having a religious tendency.
He is the author of the well known Jacobite song of
' Whirry Whigs awa', man,' although he contrived to father
it upon a
Will Jack
Who had Corskelly boats in tack ;
382 * LOGIE OF BUCHAN.
But who could neither read nor write,
Tho' wonderfully could indite.
Which are the lines commonly appended to most copies of
this song, and which have led people to think this William
Jack was the author. From Rathen, he was obliged to
remove to the fishing town of Cairnbulg, for having a scuffle
with Mr Anderson (who was at that time minister) in the
church upon a Sunday. He continued long in Cairnbulg,
and had a full school. It was here where ' Whirry Whigs'
was written. In the year 1750, he removed to Memsie,
&c Mr Halket died where he had spent the
most pleasant part of his life, at Memsie, in the year 1756,
and was buried within the old churchyard of Fraserburgh,
at the west end of the aisle."
CCCLIX.
O, KENMURE'S in and AWA', WILLIE.
The three stanzas quoted from Cromek, were written
by Allan Cunningham.
ccclxiii.
William's ghost.
This ballad occurs in the fourth volume of the Tea-
Table Miscellany, which was probably not printed before
1734. In June 1728, at least, Allan Ramsay advertised
the work as in three volumes {Caled. Mercury) ; and the
London edition, 1733, contains the three in one, and pro-
fesses to be " the completest and most correct of any yet
published." In the preface, Ramsay states, that in the first
two volumes, he himself had written verses for above sixty
of the songs, and that " about thirty more were done by
some ingenious young gentlemen, who were so well pleased
with my undertaking, that they generously lent me their
assistance ; and to them the lovers of sense and music are
obliged for some of the best songs in the collection." It is
WILLIAM S GHOST. * 383
to be regretted that Ramsay has not specified the names of
" the ingenious young gentlemen" to whom he was indebt-
ed, but, at the head of the Index, he mentions, that " the
Songs marked C, D, H, L, M, O, &c., are new words by
different hands ; X, the author unknown ; Z, old songs ;
Q, old songs with additions." The following is a list of
the songs thus marked. The references are to the pages
of the 1733 edition.
W. B, (Sir William Bennet of Grubet?)— Sandy and Betty, p. 157.
C. (Robert Crawfurd). 1. The Bush aboon Traquair, p. 2. — 2.
Tweedside, p. 4. — 3. The Rose in Yarrow, pr40 4. Down the Burn, ^ :'\
Davie, p. 49 — 5. My Deary, if thou die, p. 59 6. Song, Beneath a
beech's grateful shade, p. 76, — 7. Allan Water, What numbers shall the
muse repeat, p. 93 — 8. Song, One day I heard Mary say, p. 140. n .;
9. Cowdenknows, When Summer comes, p. 155.
2 C. ( Sir John Clerk?)— To Mrs A. H. on seeing her at a Con-
cert, Look where my dear Hamilla smiles, p. '19. 7< /i-
D. ( Dickson?) — An Ode, Though beauty like the Rose, p. 3.
G. ( ) — A Song, Subjected to the Power
of Love, p. 32.
H. (Hamilton of Bangour). — Song, Adieu, Ye Pleasant Sports
and Plays, Tp.\9\. There are seven other Songs by Hamilton, but
without any initials at the end.
I. H. ( Heywood?), Jamaica Song, I Toss and Tumble
through the Night, p.' 152.
I. (Attributed to King James V) The Gaberlunzie Man, p." 84,
L. ( Lauder?)— 1. To Chloe, 0,Zowe/j/iJfa2t/,p.l5 2. Song ,
for a Serenade, Teach me, Chloe, p,--17.— 3, Song, Come, Fill me a
Bumper, p, 52,
M, (Joseph Mitchell) — 1. The Promised Joy, When we meet
again, PAe/y, p,-10. — 2, A Song, Leave Kindred and Friends, Sweet ■
Betty, p. 30. — 3. Song, As Sylvia in a Forest Lay, p. 65.
D. M. (David Malloch, or Mallet) — William and Margaret, p. 148.
O. ( Oliphant?)—!, The Faithful Shepherd, When Flowery
Meadows, p. 11, 2. A Song, Celestial Muses, tune your Lyres,
p.-31.
P. ( Major Pack ?) — Song, Beauty from Fancy takes its Arms,
p,''l20,
Q. (Old Songs with additions), pages 24, 63, 88, 106, 108, 141,
164, 165, 169,170, 195,211.
384 * William's ghost.
R. ( Robertson of Struan?) — 1. To Delia, on her drawing him
to her Valentine, p. 11 . 2. Song, complaining of Absence, Ah, Chloe !
thou Treasure, p. 37.
S. R. ( ) — The Broom of Cowdenknows,
p. 14, How Myth ilk morn was I to see.
T. R. ( ) Song, Of all the Birds, whose
Tuneful Throats, p. 137.
S. ( Symmers ?) — Song, Is Hamilla then my own, p. 5.
W. ( ) — Song, Tell me, Hamilla, tell me
why, p. 33.
I. W. Q. ( ) — A Bacchanal Song, Come,
here^s to the Nymph that I love, p. 172.
W. W. ( Walkmshaw, or Hamilton? See pages 128, *205)
Willy was a Wanton Wag, p. 206,
X. (Songs by authors unknown), pages 6, 18, 38, 40, 41, 50, 51,
72, 73, 128, 130, 134, 145, 150, 204, 212.
Z. (Old Songs), pages 7, 21, 28, 64, 76, 89, 98, 119, 123, 133, 135,
138, 142, 153, 167, 181, 184, 186, 192.
Of the several contributors to the Tea- Table Miscellany,
the first place is justly due to the author of " Tweedside,"
and " The Bush aboon Traquair." At page *113, I en-
deavoured to identify him as Robert Crawfurd, the
second son of Patrick Crawfurd of Drumsoy, by his first
marriage, with a daughter of Gordon of Turnberry. Since
then, I was gratified to find that the enquiries of my friend
Mr Chalmers had led him to a similar conclusion. Mr C.
further informs me, that Patrick Crawfurd, or Crawford,
the father, died on 12th of May 1733, and his son Robert,
the song writer, nearly at the same time, according to the
following notice in a MS. obituary kept by Charles Mackie,
Professor of Civil History in the University of Edinburgh.
The notice in Professor Mackie's *' Index Funereus," is
thus stated, —
'^ Crawford (Peter) of Achenaims, May 1733."
" (Robert) son to do, May 1733."
Mr Chalmers says, " the mother of Robert having died long
before his father, Patrick Crawford married a i^econd wife.
William's ghost. * 385
Jane, the daughter of Archibald Crawford of Achinames,
whereby he acquired the estates of Achinames and Crosby.
His second wife survived him, and died in June 1740 ;
when her eldest son, Patrick Crawford, succeeded her in
the estate of Achinames, &c. He was M.P. for Ayrshire,
from 1741 till 1754 ; and for Renfrewshire, from 1761 till
1768. He died 10th of January, 1778. As he was called
old Peter Crawford, he must have died advanced in years,
and been born in the beginning of that century ; and his
half brother, Robert, the song writer, being a son of the
first marriage, was probably born at the end of the preced-
ing century, and we may suppose, was near forty years old
when he died, in 1733."
CCCLXXI.
YE JACOBITES BY NAME.
" We learn from the Scottish Gallovidian Encyclopedia,
that the song of Paul Jones, formerly so popular, was com-
posed by one Hackston, who petitioned King George the
Third for the office of laureate, subscribing himself poet
and private English teacher, parish of Borgue. Paul Jones
hath of late times burst forth as an historical hero, and a
knight of romance. I allude to his graver biography, and
the very ingenious fiction composed by Mr Cunningham —
his sister Jenny, who becomes a sort of queen in the latter
work, was chambermaid to William Kirkpatrick of Allis-
land, second son of Sir Thomas Kirkpatrick of Closeburn —
and an honest pains-taking servant, though she never
reached the dignity of a sovereign princess." — (C. K. S).
Mr Allan Cunningham ascribes the ballad on Paul
Jones, alluded to at p. 343, to " a schoolmaster in Gallo-
way." He says, that the song in the Museum was founded by
Burns on some old verses; and that " the air is very popular,
and has been compelled to bear the burthen of much indif-
ferent verse." — (Edit, of Burns, vol. iv. p. 243). I hope he
does not mean to include in this number his own fine
386 * YE JACOBITES BY NAME.
verses, which originally appeared in Cromek's Reliques of
Nithsdale and Galloway Song; and which have been hon-
oured by Sir Walter Scott, by quoting some of the lines in
the Fortunes of Nigel. They are included also in Hogg's
Collection, although it is absurd enough to consider such a
song as belonging to the Jacobite series. Let the reader,
however, judge for himself.
Hame, hame, hame, hame fain wad I be,
O hame, hame, hame, to my ain countrie !
When the flower is i' the bud and the leaf is on the tree.
The larks shall sing me hame to my ain countrie ;
Hame, hame, hame, hame fain wad I be,
O hame, hame, hame, to my ain countrie !
11.
The green leaf o' loyaltie's begun for to fa'.
The bonnie white rose it is withering an' a' ;
But I'll water't wi' the blude of usurping tyrannie.
And green it wUl grow in my ain countrie.
Hame, hame, hame, hame fain wad I be,
O hame, hame, hame, to my ain countrie I
III.
O there's naught frae ruin my country can save.
But the keys o' kind heaven to open the grave.
That a' the noble martyrs wha died for loyaltie.
May rise again and fight for their ain countrie.
Hame, hame, hame, hame fain wad I be,
O hame, hame, hame, to my ain countrie !
IV.
The great are now gane, a' wha ventured to save.
The new grass is springing on the tap o' their grave.
But the sun thro' the mirk, blinks blythe in my e'e,
" I'll shine on ye yet in your ain countrie."
Hame, hame, hame, hame fain wad I be,
Hame, hame, hame, to my ain countrie !
The following is an older version of " A favourite Song,"
not to be found in Hogg's Jacobite Reliques, transcribed
from a common stall copy, printed about the year 1780.
YE JACOBITES BY NAME. * 387
There is no mistaking their meaning ; as they evidently
refer to the year 1746, and the Duke of Cumberland.
And from home I wou'd be.
And from home I wou'd be.
And from home I wou'd be.
To some foreign country ;
To tarry for a while.
Till heaven think fit to smile ;
Bring our King from exile
To his own country.
God save our royal King,
And from danger set him free ;
May the Scots, English, and Irish,
Flock to him speedily ;
May the ghosts of the Martyrs,
Who died for loyalty.
Haunt the rebels that did fight
Against King and country.
May the Devil take the Dutch,
And drown them in the sea ;
Butcher William, and all such,
High hanged may they be ;
Curse on the volunteers,
And an ill death may they die.
Who did fight against our Prince
In his own country.
May the rivers stop and stand.
Like walls on every side ;
May our Highland laddie fight.
And Jehovah be his guide.
Dry up the river Forth, .
As thou didst the Red Sea,
When the Israelites did pass
To their own country.
Let the Usurper go home
To his own country with speed.
Even far beyond the main.
With all his spurious breed ;
Then we'll crown our lawful Prince,
With mirth and jollity ;
And we'll end our days in peace,
In our own country.
388* LADY MARY ANNE.
CCCLXXVII.
LADY MARY ANNE.
*' The words of the ballad mentioned by Mr S. as
' Craigston's growing,' are subjoined from a MS. It may
be observed that young Urquhart of Craigston, who had
fallen into the power of the Laird of Innes, was by him
married to his daughter Elizabeth Innes, and died in 1634.
—See Spalding's History, vol. 1. p. 36."— (C. K. S).
Father, she said, you have done me •wrang,
For ye have married me on a child young man.
For ye have married me on a child young man.
And my bonny love is long a growing.
Daughter, said he, I have done you no wrang.
For I have married you on a heritor of land ;
He's likewise possess'd of many a bill and band.
And he'll be daily growing.
Growing, deary, growing, growing :
Growing, said the bonny maid,
Slowly's my bonny love growing
Daughter, he said, if ye do weel.
Ye will put your husband away to the scheel,
That he of learning may gather great skill ;
And he'll be daily growing.
Growing, deary, growing, growing :
Growing, said the bonny maid,
Slowly's my bonny love growing.
Now young Craigston to the college is gane.
And left his lady making great mane.
And left his lady making great mane.
That he's so long a growing.
Growing, deary, growing, growing :
Growing, said the bonny maid,
Slowly's my bonny^love growing.
She dress'd herself in robes of green,
She was right comely to be seen ;
She was the picture of Venus the queen.
And she's to the college to see him.
Growing, deary, growing, growing
Growing, said the bonny maid,
Slowly's my bonny love growing.
LADY MARY ANNE. * 389
Then all the colligeners war playing at the ba'.
But young Craigston was the flower of them a',
He said — " play on, my school fellows a' ;"
For I see my sister coming.
Now down into the College Park,
They walked about till it was dark,
*****
And she'd no reason to compleen of his growing.
Growing, deary, growing, growing :
Growing, said the bonny maid,
Slowly's my bonny love growing.
In his twelfth year he was a married man ;
In his thirteenth year there he gat a son ;
And in his fourteenth year his grave grew green.
And that was an end of his growing.
Growing, deary, growing, growing :
Growing, said the bonny maid,
Slowly's my bonny love growing.
The song in the Museum was communicated by Burns,
who had noted both the words and the air from a lady,
in 1787, during his tour in the North of Scotland. The
old ballad upon which it is founded, was first published
by Mr Maidment, in the " North Countrie Garland,"
Edinburgh, 1824, 12mo. A traditional copy of the ballad,
as preserved in the West of Scotland, will be found in
Motherwell's edition of Burns, vol. iii. p. 42.
CCCLXXIX.
KELLY-BURN BRAES.
The original ballad, still preserved by tradition, was
much improved in passing through Burns's hands.
CCCLXXXIV.
THE slave's lament.
" I BELIEVE that Burns took the idea of his verses from
' the Betrayed Maid,' a ballad formerly much hawked about
in Scotland, of which a transcript from the stall copy is
subjoined.
390 * THE slave's lament.
Listen here awhile, a story I will tell
Of a maiden, which lately fell.
It's of a pretty maid, who was betray'd.
And sent to Virginio.
" It's on a bed of ease, to lie down when I please.
In the land of fair England, O ;
But on a bed of straw they lay me down full low.
And alas ! I'll be weary, weary, O.
Seven years I served to Captain Gulshaw Laird,
In the land of Virginio ;
And he most cruelly sold me to Madam Guy ;
And alas, I'll be weary, weary O.
He billets from the woods upon our backs doth bring ;
In the land of Virginio ;
And water from the spring upon our heads we bring.
And alas, I'll be weary, weary O.
Our master be doth stand with a lash in his hand.
Crying — ' come boys, come away' —
And we must not stay to gang, but away we do run.
And alas, I'U be weary, weary O.
Our lady goes to meat, when we have nothing to eat.
In the land of Virginio ;
At every meal of meat they lash us with a whip.
And alas! I'll be weary, weary O.
Our lady goes to walk, we must be at her back.
In the land of Virginio ;
And when the babe doth weep, we must lull it to sleep.
And alas, I'll be weary, weary O.
I have no company but the silly spider fly.
In the land of Virginio :
And down below my bed, where she works her tender web.
And alas, I'U be weary, weary O.
'Tis needless for me to think of liberty.
From the land of Virginio.
We're watch'd night and day, for fear we run away,
And alas, I'll be weary, weary O.
We are yoked to the plough, and wearied sore enough.
In the land of Virginio.
THE slave's lament. * 391
With the yoke about my neck, my back is like to break,
And alas, I'll be weary, weary O.
If it were my chance to Old England to advance.
From the land of Virginio ;
Never more would I be a slave to Madam Guy ;
And alas, I'll be weary, weary O.
" Perhaps some of my readers will be surprised to learn,
that the Slave trade was carried on here in the year 1768,
and probably later. The following Advertisement is ex-
tracted from the Edinburgh Evening Courant. Monday,
April 18, year above-mentioned.
" A Black Boy to Sell.
" To be Sold, a Black Boy, with longhair, stout made,
and well limb'd, is good tempered, can dress hair, and take
care of a horse indifferently. He has been in Britain near
three years.
" Any person that inclines to purchase him, may have
him for L.40, he belongs to Captain Abercrombie, at
Broughton.
" This Advertisement not to be repeated." — (C. K. S).
- , CCCXCIII.
WHILE HOPELESS AND ALMOST REDUC'D TO DESPAIR.
Dr Robert Mundell, the author of this Song, and of
the air to which the words have been adapted, still survives
at Closeburn, at a very advanced age, having been born in
the month of September 1758. After completing his
studies at the College of Edinburgh, where he obtained the
degree of A. M. he was, in the year 1784, appointed assist-
ant and successor to his father, Mr Alexander Mundell,
then Rector of the celebrated Grammar School and Aca-
demy at Wallace Hall, in the parish of Closeburn, Dum-
friesshire. On the death of his father, in 1791, Mr M.
succeeded to the sole charge of the Academy, and he still
continues to discharge its duties. In the course of last
392 * WHILE HOPELESS, &C.
year, the degree of LL.D. was conferred on him by the
University of Glasgow.
cccxcvi.
THE DEUKS DANG o'ER MY DADDIE.
*' Original words, from a 4to MS. Collection of Old
Songs in my possession." — (C. K. S.)
; The nine pint bicker's fa'n oflp the bink,
i And broken the ten pint cannie ;
i The wife and her kimmers sat down to drink.
But ne'er a drap gae the gudemannie.
The bairns they a' set up the cry,
) The deuks hae dung o'er my daddy" —
j " There's no muckle matter," quo the gudewife,
' I " For he was but a daidling body."
cccxcix.
THE DEIL'S AWA WI' THE EXCISEMAN.
Mr Lockhart, in his Life of Burns (Svoedit. p. 310),
has given a different account from that related at page
359 of this volume, of the circumstances under which these
clever verses were composed.
ILLUSTRATIONS
LYRIC POETRY AND MUSIC
SCOTLAND.
PART V.
CCCCI.
THE LOVELY LASS OF INVERNESS.
This song, with the exception of the first half stanza,
which is old, was written by Burns on purpose for the Mu-
seum ; the air is the composition of Oswald. It was pub-
lished in his Caledonian Pocket Companion, book i. page 9.
under the title of " The Lovely Lass of Inverness," with an
asterisk in the index, a mark which he annexed to such tunes
as were originally composed by himself.
Cromek observes, " That Burns's most successful imitation
of the old style seems to be in these verses, entitled " The
Lovely Lass of Inverness." He took up the idea from the
first half verse, which is all that remains of the old words,
and this prompted the feelings and tone of the time he wish-
ed to commemorate. That he passed some of these as the
popular currency of other years is well known, though only
discovered from the variations which his papers contain. He^
scattered these samples, to be picked up by inquisitive criti-
cism, that he might listen to its remarks, and, perhaps, se-
cretly enjoy the admiration which they excited." — ^^ee Select
Scottish Songs, Ancient and Modern, edited hy R. H. Cromek,
vol. it. jh 129.
S62
CCCCII.
A RED, RED ROSE.
Tune, " Major Graham's Strathspey."
This song, beginning " O, my luve's like a red, red rose,"
was written by Burns, and sent to Johnson for the Museum.
The original manuscript is now before me. Burns, in a note
annexed to the verses, says, " The tune of this song is in
Neil Gow's first Collection, and is there called Major
Graham. It is to be found on page 6 of that Collection.
Mr Clarke, after arranging the words of the song to the
tune of Major Graham, observes, in a note written upon the
music paper, that " once through the tune takes in all the
words, except the last four lines, so that more must be added,
or these left out." But this eminent musician might easily
have made the words suit the melody, without adding or
taking away one hne, by either repeating both strains of the
tune, or by singing each strain only once over. This was
evidently the poefs intention ; but Mr Clarke has made the
second strain twice the length of the first, and this has occa-
sioned the seeming deficiency.
CCCCIII.
Old Set— RED, RED ROSE.
This song contains the same words which Burns had in-
tended for the tune of " Major Graham," above mentioned,
including the four hnes left out in Song No 402, from the
mistake which Mr Clarke had fallen into in arranging the
melody. The verses are here adapted to a very old and
plaintive air, entitled " Mary Queen of Scots." — See thecal-
lowing' song.
cccciv.
MARY QUEEN OF SCOTS' LAMENT.
This charming and pathetic ballad, beginning " Now na-
ture hangs her mantle green," was written by Burns on pur-
pose for the Museum. It is unquestionably one of the finest
compositions of our immortal bard. With matchless skill, he
has pourtrayed the situation and feelings of this beautiful
CCCCIV. MARY QUEEN OF SCOTS' LAMENT. 363
but unfortunate queen, languishing in a miserable dungeon,
without a ray of worldly hope to cheer her afflicted soul.
Can any thing be finer than the concluding lines, in allusion
to her son, James VI. and the prospect of her own dissolu-
tion ?
My son ! my son ! may kinder stars
Upon thy fortune shine ;
And may those pleasures gild thy reign.
That ne'er wad blink on mine.
God keep thee frae thy mother's faes.
Or turn their hearts to thee ;
And where thou meet'st thy mother's friend.
Remember him for me.
O ! soon, to me, may summer-suns
Nae mair light up the morn !
Nae mair, to me, the autumn-winds
Wave o'er the yellow corn !
And in the narrow house of death.
Let winter round me rave;
And the next flowers that deck the spring.
Bloom on my peaceful grave.
The verses are adapted to the ancient air, entitled " Mary
Queen of Scots' Lament," which Burns communicated to the
Editor of the Museum, alongst with the ballad. It consists
of one simple plaintive strain, ending on the fifth of the key,
and has every appearance of being one of our earliest tunes.
ccccv.
A LASSIE ALL ALONE .
The words of this song, beginning " As I stood by yon
roofless tower," were written by Burns for the Museum.
They are adapted to a tune, called " Cumnock Psalms,''
which was also communicated by the bard. The original
manuscript is before me ; but Burns afterwards made se-
veral alterations on the song, in which the chorus was struck
out and the title entirely changed. It is here reprinted, with
his last corrections.
A VISION.
As I stood by yon roofless tower.
Where the wa'-flower scents the dewy air,
Where the howlet mourns in her ivy bovver,
And tells the midnight moon her care.
364 CCCCV. A LASSIE ALL ALOKE.
The winds were laid, the air was stilly
The stars they shot alang the sky ;
The fox was howling on the hill.
And the distant-echoing glens reply-
The stream, adowni its hazelly path.
Was rushing by the ruin'd wa's.
Hasting to join the sweeping Nith,
Whase distant roaring swells and fa's.
The caidd blue north was streaming forth
Her lights, wi' hissing eerie din ;
Athort the lift they start and shift.
Like fortvme's favours, tint as win.
By heedless chance I turn'd mine eyes.
And by the moon-beam shook to see,
A stern and stalwart ghaist arise,
Attir'd as minstrels wont to be.
Had I a statue been o' stane.
His darin' look had daunted me ;
And on his bonnet grav'd was plain.
The saci'ed posy — Libekty !
And frae his harp sic strains did flow.
Might rous'd the slumb'ring dead to hear 7
But, oh ! it was a tale of woe.
As ever met a Briton's ear !
He sang wi' joy the former day.
He, weeping, wail'd his latter times ;
But what he said, it Was nae play^
I winna ventur't in my rhymes.
Dr Currie informs us, that " The scenery so finely des-
cribed is taken from nature. The poet is supposed to be
musing by night on the banks of the river Cluden or Clou-
den, and by the ruins of Lincluden- Abbey, foimded in the
twelfth century, in the reign of Malcolm IV., of whose pre-
sent situation the reader may find some account in Pennant's
Tour in Scotland, or Grose's Antiquities of that part of the
island. Such a time and such a place are Avell fitted for
holding converse with aerial beings. Though this poem has
a political bias, yet it may be presumed, that no reader of
taste, whatever his opinions may be, would forgive its being
omitted. Our poet's prudence suppressed the song of Liber-
tie, perhaps fortunately for his reputation. It may be ques-
CCCCV. A LASSIK ALL ALONE. 365
tioned whether, even in the researches of his genius, a strain
of poetry could have been found worthy of the grandeur and
solemnity of this preparation. — Burns' WorTis, vol. iv.
ccccvi.
THE WREN'S NEST.
This nursery song, beginning " The Robin cam to the
Wren's nest,^' appears to be a parody of some fooUsh old
verses of a similar song, preserved in Herd's Collection, vol.
ii., entitled " The Wren scho lyes in Care's Bed,"" or " Len-
nox's Love to Blantyre." The reader will likewise find the
song alluded to in the fifth volume of the Museum, with its
original tune, page 497.
Mr Clarke has the following note on his manuscript of the
words and music. " The tune is only a bad set of ' John-
ny's Gray Breeks.' I took it down from Mrs Burns' singino-.
There are more words, I believe. You must apply to Burns."
But Johnson has written below Mr Clarke's observation,
" there are no more words."
'■'■■' . ''■■■ "■■■'■''"' ' ceccvii.
PEGGY IN DEVOTION.
The words inserted in the Museum to this tune, beginning
" Sweet nymph of my devotion," are by an anonymous liand.
The old verses, beginning
Peggy in devotion.
Bred from tender years.
From my loving- motion.
Still Avas called to prayers —
may be seen in Playford's PUls, first edition of volume ii.
printed at London in 1700. They are there adapted to the
same tune inserted in the Museum, entitled " The Scotch
Parson's Daughter." The old song, however, is only a
pseudo-Scottish production. It is likewise both indelicate
and profane.
CCCCVIII.
JAMIE 0' THE GLEN.
This humorous old song, beginning " Auld Rob, the
laird o' muckle land," has long been a favourite in the south
366
CCCCVIIL— JAMIE 6' THE GLEN.
of Scotland, where the Editor has heard it sung from his
earliest infancy ; but neither the author of the words nor the
composer of the tune are known. There is a striking coin-
cidence in several bars of this old air and the tune called
" O'er the Muir amang the Heather."
ccccix.
O' GIN YE WERE DEAD, GUDEMAN.
This ancient tune originally consisted of one strain. The
second part was taken from one of Oswald's variations of the
original melody, printed in the fourth volume of his Pocket
Companion. The following is a correct set of the original
melody, from a very old manuscript in the Editor's posses-
sion.
I WISH THAT YE WERE DEAD, GUDEMAN.
^SE3S
^EEEEi=5S^E
--Ef--=,EEEE;
^^ ._ \—m J. 1 .. > . _.-_j«_, — . , ^-^
-p 9 , ~ ~^^ ' r""i"^~ ■ ■■* ~" ......
^ ^« '
1 IH
?L h * S *ffffl 1
»P
?n
J 1 1
t\s> =■■ J p' r'* d O'A
.1 r
r
"JIB
J LL
J-
:.. .. 0 < 1 1
This tune must have been quite common in Scotland long
before 1549 ; for it is one of the airs to which the Reformers
sung one of their spiritual hymns, beginning
Till our g-udeman, till our gudeman,
Keip faith and love tiU our gudeman ;
For our gudeman in heuen does reigne
In gloir and bliss without ending.
The foolish old verses of the profane sang as it was called,
are annexed.
CHORUS.
/ iDish that you were dead, goodman.
And a green sod on your head, goodman,
That I might ware my widowhead
Upon a rantin Highland inan.
There's sax eggs in the pan^ goodman^
There's sax eggs in the pan^, goodman ;
There's ane to you, and twa to me.
And three to our John Highlanclman.
/ wish, &c.
CCCCIX. O GIN YE WERE DEAD, GUDEMAN. 367
There's beef into the pat, goodman.
There's beef into the pat, goodman ;
The banes for you, and the broo' for me,
And the beef for our John Highlandman.
/ loish, &c.
There's sax horse in the stud, goodman.
There's sax horse in the stud, goodman ;
There's ane to you, and twa to me.
And three to our John Highlandman.
/ wish, &c.
There's sax kye in the byre, goodman.
There's sax kye in the byre, goodman.
There's nane to you, and twa to me.
And the lave to our John Higlilandman.
/ ivish, &C.
Upon comparing the old verses with the manuscript of
this song, which Burns transmitted to Johnson in his own
hand-writing, the present Editor observes, that our poet
has made some verbal alterations, and omitted three stanzas
of the original words ; but, in their stead, he has added eight
lines of his own.
ccccx.
MY WIFE HAS TAEN THE GEE,
The author of this humorous and delightful song is un-
known. It is neither to be found in the Tea-Table Miscel-
lany of 1724, nor in Yair's Collection of 1749. It appears
in Herd's Songs, printed in 1769. The song therefore was
probably written between the years 1749 and 1769-
The verses have been adapted to different airs. The tune
in the Museum was communicated by Burns, and answers
the words extremely well, but it is evidently borrowed from
" Merry may the Maid be that marries the Miller." — See
the Museum, vol. ii. song 123. In Ritson's Scottish Songs,
the words are set to a still more modern and a very indiffer-
ent air. In Gow's Fifth Collection of Reels and Strathspeys,
page 32, is an air called " My Wife she's taen the Gee," said
to be old, and communicated by the late Alexander Gibson
Hunter, of Blackness, Writer to the Signet, Edinburgh.
The first strain of this tune precisely fits the words of the
368 ccrcx. — my wife has taen the gee.
song, and it may have been the genuine air to which the
verses were originally sung.
The following anecdote relative to this song was related
to the Editor, by a Field Officer of the Bombay establishment.
Several years ago, some British Officers had the misfortune
to fall into the hands of Tippoo Saib, who threw them into
a dungeon in Seringapatam, where they were treated with
great severity. Towards the approach of the then ensuing-
Christmas, they resolved to save a little out of the small pit-
tance allowed for their support, in order to celebrate that
natal day. With the fruits of their economy, they were
accordingly enabled to purchase some liquor ; and after their
Christmas dinner, the glass, the toast, and the song, went
cheerfully round. One of the officers, a Scotchman, when
called upon for a song, favoured his messmates with " My
Wife has taen the Gee." Next morning, Tippoo, as usual,
inquired at the officer on guard, how the prisoners had con-
ducted themselves over night? "They were very merry,
and sung several of their national songs," was the answer.
" Did you understand the import of any of them ?" Only
one. Sire, and it was all in praise of Ghee." (This is the
name of a clarified oil, made from buffalo-milk, and greatly
relished by the Asiatics.) " Have they ever had any gliee
to their rice ?'''' asked Tippoo. " No, never," replied the
officer. " Then," said Tippoo, " let them henceforth have a
suitable allowance of it daily." Accordingly, from that pe-
riod until they obtained their liberty, these officers were re-
gularly supplied with plenty of ghee, and their sufferings in
other respects were considerably mitigated,
ccccxi.
TAM LIN.
This romantic ballad or tale, beginning " O, I forbid you
maidens a"* " is of unquestionable antiquity. It has been a
favourite on the borders of Scotland time out of memory. —
The tale of the young Tamlane is mentioned in Vedder-
burn's Complaynt of Scotland, printed at St Andrews in
CCCCXI, TAM LIN. 369
1549. The air, to which the words are uniformly chanted,
had probably been used in former ages as a dancing tune,
for the Dance of Thorn of Lynn^ which seems a vai'iation of
Tam Lin, is noticed in the same work.
The ballad is likewise quoted in a Christmas or Yule
Medley, inserted in Wode's manuscript of the Psalms of
David, set to music, (the bass part) with the following doc-
quet. " Set in II 1 1 partes be an honorable man ; D^id
Peables, I. S. Noted and wreattin by me Thomas Wode,
1. December, a. d. 1566."" This part of a curious and
unique musical work, now lying before me, is at present
(1820) the property of William Blackwood, Esq. bookseller
in Edinburgh. The soprano part of the same work, written
by the same person, belonging to the College Library of
Edinburgh, has likewise been sent to the Editor for perusal,
through the kindness of Principal Baird and Dr Duncan,
junior. The reader is here presented with a few lines of
this curious old medley.
" I saw three ladies fair
Singing, hey and how, upon yon green land-a;
I saw three marinells
Sing, row rinn below, upon yon sea strand-a.
As they begoud their notts to toone.
The pyper's drone was out of toone.
Sing, Jollie Robin ; sing, Young Thomlin.
Be mirrie, be mirrie, be mirrie, be mirrie.
And twice so mirrie with the light of the moon;
Hey, hey, downe a downe ; hey, downe a downe-a."
Sir W. Scott, in his " Minstrelsy of the Border," ob-
serves, that, like every popular subject, the tale of Tam Lin
seems to have been frequently parodied as a burlesque bal-
lad, beginning " Tom o' the Lin was a Scotsman born," is
still well known ; and that he had seen it alluded to in ano-
ther ancient manuscript in the possession of John Graham
Dalyell, Esq. advocate, Edinburgh.
A fragment of this ballad, under the title of " Kerton
Ha'," ox " the Fairy Court," is in Herd's Collection, It
begins —
570 CCCCXI. TAM LIN.
She's prickt hersell, and prin'd hersel.
By the ae light o' the moon.
And she's awa to Kertonha'
As fast as she can gang.
*' What gars ye pu' the rose, Jenny ?
What gars ye break the tree ?
W^hat gars ye gang to Kertonha'
Without the leave of me ?"
" Yes, I will pu' the rose, Thomas,
And I will break the tree.
For Kertonha' shou'd be my ain.
Nor ask I leave of thee."
&c. &c. &c.
Kertonha' is a corruption of the name of Carteshaugh
near Selkirk. The ballad in the Museum, as well as the
original air, were communicated by Burns, in his own hand-
writing, to the editor of that work. This copy, with some
alterations, was afterwards reprinted in the Tales of Wonder.
Sir W. Scott, in his Minstrels^/ of the Border, has
likewise favoured the public with another edition of the bal-
lad, under the title of " The Young Tamlane ;" to which he
has prefixed a long and ingenious essay on the fairies of po-
pular superstition. Many of the stanzas in Sir W. Scott's
version, however, if not by himself, are evidently the work
of a modern hand. The language itself betrays the era of
the writer.
The scene of the ballad of Tarn Lin is laid in Selkirk-
shire. Carterhaugh is a plain at the conflux of the Ettrick
and Yarrow, about a mile above Selkirk. Sir W. Scott says,
" The peasants point out, upon the plain, those electrical
rings, which vulgar credulity supposes to be the traces of
the fairy revels. Here, they say, were placed the stands of
milk and of water, in which Tamlane was dipped, in order
to effect his disenchantment ; and upon these spots, accord-
ing to their mode of expressing themselves, the grass will
never grow. Miles Cross, (perhaps a corruption of Mary's
Cross) where fair Janet waited the arrival of the fairy train,
is said to have stood near the Duke of Buccleuch's seat
of Bowhill, about half a mile from Carterhaugh." — Min-
strelsy of the Border y vol ii. p. 178.
371
CCCCXII.
HERE'S A HEALTH TO THEM THAT'S AWA.
The words and air of this song were communicated by
Burns ; but neither of them are genuine. The words con-
sist of a verse of a Jacobite song, with verbal alterations by-
Burns himself. The tune has half a bar in the first strain
more than it should have ; and Johnson, to mend the matter,
has marked the time | in place off. A correct copy of the
words and music is annexed.
HERE'S A HEALTH TO HIM THAT'S AWAY.
'^|z^^i=:_^:5_=:!!=:5=^_=:i_ = L_^=_.^^:
^_4_J ^.-—i — ^-i_, jU_-L_t, i_.
Here's a health to him that's a - way. Here's a health to
SES
li
^^^
s
^^
k^, f=F=Fr=TF==FFT=?-?'F^ J#T^
0V-! — ti— I- — 1 — t-L r * « — / * f"-
J him that's a - - way. Here's to him that was here yestreen.
^
^
( But durst nae a - bide till day. O wlia winna drink it
S
i
*3;
^
l=B=H
* J ~J
dry ? O wha win-iia drink !t dry ? Wba wio-na driuk to the
^i^
i^^^^E!
372 ccccxri. — here's a health to them that's awa.
1
zl
*"i*:ry:z*t:
lad that's gane. Is nane o' our com - pa - ny.
S«=E
fe
5-:
Here's a health to him that's away,
Here's a health to him that's away.
Here's to him that ivas here yestreen,
But durst nae abide till day.
O let him be swung on a tree,
O let him be swung on a tree,
Wha winna drink to the lad that's gane.
Can ne'er be the man for me.
Here's a health to him that's away.
Here's a health to him that's away.
Here's to him that was here yestreen,
But durst nae abide till day. >
It's good to be merry and wise ;
It's good to be honest and true ;
It's good to be aff wi' the auld king.
Afore we be on wi' the new.
Burns left the following unfinished parody of the above
song, which was found among his papers after his decease.
Here's a health to them that's awa.
Here's a health to them that's awa ;
And wha winna wish gude luck to our cause.
May never gude-luck be their fa'.
It's gude to be merry and wise.
It's gude to be honest and true ;
It's gude to support Caledonia's cause.
And abide by the buff and the blue.
Here's a health to them that's awa.
Here's a health to them that's awa ;
Here's a health to Charlie,* the chief o' the clan,
Altho' that his band be sma'.
May liberty meet wi' success !
May prudence protect her frae evil !
May tyrants and tyranny tine in the mist.
And wander their way to the devil !
The Right Honourable Charles James Fox.
ccCcxii. — here's a health to them that's awa. S73
Here's a, health to them that's awa.
Here's a health to them that's awa ;
Here's a health to Tammie,* the Norland laddie.
That lives at the lug o' the law ! ,
Here's freedom to him that wad read.
Here's freedom to him that wad write !
There's nane ever fear'd that the truth should be heard.
But they wham the truth wad indite.
Here's a health to them that's awa.
Here's a health to them that's awa ;
Here's Chieftan M'^Leod,t a chieftan worth gowd,
Tho' bred amang mountains o' snaw.
ccccxiii.
auld langsyne.
Burns communicated this old fragment, with the third and
fourth verses written by himself, to the publisher of the
Museum. Johnson accordingly marked it with the letter Z,
which was usually put to old songs with additions or altera-
tions, in that work.
In a letter which Burns addressed to Mrs Dunlop, dated
December, 1788, he says, " Apropos is not the Scotch
phrase Auld Langsyne exceedingly expressive. There is an
old song and tune which has often thrilled through my soul.
You know I am an enthusiast in old Scotch sonsrs. I shall
give you the verses on the other sheet, as I suppose Mr Ker
will save you the postage. (Here follow the verses, as printed
in the Museum, vol. v.) Light be the turf on the breast
of the heaven-inspired poet who composed this glorious
fragment ! There is more of the fire of native genius in it
than half-a-dozen of modern English Bacchanalians. Now
I am on my Hobby-horse, I cannot help inserting two other
old stanzas, which please me mightily." Here follows the
song, beginning Go fetch to me a pint o' mine, which is in-
serted in the Museum, vol. iii. page 240., Burns, however,
in his Reliques, afterwards admits that the whole of this song.
* Lord Thomas Erskine. f M'Leod of that ilk.
374 CCeCXIII AULD langsyne.
called " The Silver Tassie," excepting the first four hnesj
was his own.
In the Reliques, published by Cromek, Burns has the fol-
lowing remark : " Ramsay, as usual with him, has taken
the idea of Auld Langsyne from the old fragment, which may
be seen in the Museum, vol. v." And, in a letter to Mr Thom-
son, dated September, 1793, he says, " One song more, and
I am done — Auld, Langsyne. The air is but mediocre ; but
the following song, the old song of the olden times, and
which has never been in print, nor even in manuscript, until
I took it down from an old man's singing, is enough to re-
commend any air."
Mr Cromek justly observes, that Burns sometimes wrote
poems in the old ballad style, which, for reasons best known
to himself, he gave the pubhc as songs of the olden time.
*' Auld Langsyne — Go fetch tome aPint o"" Wine — The lovely
Lass of Inverness" — are all proofs of this fact. He admitted
to Johnson, that three of the stanzas of Langsyne only were
old, the other two being written by himself. These three
stanzas relate to the cup, the pint stoup, and a gude willie-
waught. Those two introduced by Burns, have only rela-
tion to the innocent amusements of youth, contrasted with
the cares and troubles of maturer age. Burns brushed up
many of the old lyrics of Caledonia in a similar manner, and
several of them certainly required the pruning-hook to ren-
der them even tolerable to the present generation. Ramsay
did the same thing, and it was this that offended Ritson, the
antiquary. " Burns,"" says he, '' as good a poet as Ramsay, is,
it must be regretted, an equally licentious and unfaithful
publisher of the performances of others. Many of the ori-
ginal, old, ancient, genuine songs, inserted in Johnson's Scots
Musical Museum, derive not a little of their merit from pass-
ing thi'ough the hand of this very ingenious critic." — Histori-
cal Essay on Scottish Song.
With regard to the tune to which the verses are adapted
in Johnson's Museum, it is the original air of " Auld Lang-
CCCCXIII.— AULD LANGSYME.
375
syne," preserved in the Orpheus Caledonius of 1725, and
other old collections. As Burns had mentioned that the
old tune was but mediocre, Mr Thomson got the words ar-
ranged to an air introduced by Shield in his overture to the
opera of Rosina, written by Mr Brooks, and acted at Covent-
Garden in 1 783. It is the last movement of that overture,
and in imitation of a Scottish bagpipe-tune, in which the
oioe is substituted for the chanter, and the bassoon for the
drone. Mr Shield, however, borrowed this air, almost note
for note, from the third and fourth strains of the Scottish
strathspey in Cumming''s Collection, under the title of " The
Miller's Wedding." In Gow's First Collection, it is called
" The Miller's Daughter ;" but the strathspey itself is mo-
delled from the Lowland melody of " I fee'd a Lad at Michael-
mas."— See Notes on So7ig No 394, Gow also introduced
the air, as slightly altered by Shield, in his Collection of
Reels, &c. book i. and gave it the name of " Sir Alex-
ander Don's Strathspey," in compliment to his friend, the
late Baronet of Newton-don, in the county of Roxburgh,
who was both a good violin-player, and a steady patron 'of the
musical art.
As the latter air has, in a great measure, supplanted the
proper tune of " Auld Langsyne," it is here annexed.
AULD LANGSYNE.
An old Scotdt drinking Song,, •with additions ly BURNS.
Tune — " I fee'd a lad at Michaelmas."
i
— $:x:
:i<-r
^:
±z±
Should auld acquaintance be forgot. And ne-ver brought to
\^^
^_^
1=^:^
e±5e;
;=i::::s:
mind? Should auld acquaintance be forgot. And days o' lang-
£Efe|E;gS^^E;|^feEE
i
2 E
376
CCCt'XIII, AULD LAlilGSYNE.
Sl^Sli^ii^^-l=i
syne. For auld langsyne, my dear. For auld langsyne. We'll
^E5
1
m
fc=i2=^
1^=^^^
tak a cup o' kindness yet. For auld langsyne.
m
m
(EE
i
-^
And surely you'll be your pint-stowp !
. And surely I'll be mine !
And we'll tak a cup o' kindness yet.
For auld lang syne.
For auld, 4*c.
We twa hue run about the braes,
And pu'd the gowans fine ;
But ive've ivandei-'d mony a tueary foot
Since auld lang syne.
For auld, i^c.
We twa hae paidl'd in the burn
Fro7n morning sun till dine ;
But seas between us b?-aid hae 7-ow'd
Since auld lang syne.
For auld, &jc.
And there's a hand my trusty frere.
And gie's a hand of thine.
We'll tak a right gude-willy waught.
For auld lang syne.
For auld lang syne, my dear.
For auld lang syne ;
We'll tak a cup o' kindness yet.
For auld lang syne.
This song has been very happily arranged as a glee, for
four voices, by Mr William Knyvett, of London.
ccccxiv.
LOUIS, WHAT RECK I BY THEE ?
Burns, in the Rellques, says, " These words are mine."
He likewise commvmicated the fine old air to which the verses
/^ ^/CcdcxW;— foUIS, WHAT REGK I BY THEE ? 377
are adapted. This is another pi*oductioii of our bard in
praise of his " Jean," afterwards Mrs Burns.
ccccxv.
HAD I THE WYTE? SHE BAD ME.
This old song partook too freely of the broad humour of
the former age to obtain admission into the Museum, until
Burns pruned it of some of its luxuriances. The old verses
omitted are perhaps still too well known. The tune was ori-
ginally called " Come kiss wi' me, come clap wi' me," and
consisted of one strain, viz. the first. The reader will find it
in its native simplicity in the Orpheus Caledonius, as well as
in a former part of this work. See Notes on Song No 351.
The second strain is added in Oswald's Caledonian Pocket
Companion, book vii. page 20, and the tune is there entitled
" Had I the wyte she bad me."
ccccxvi.
THE AULD MAN HE CAM OVER THE LEA.
The words and music of this song were communicated by
Burns as an ancient fragment, for the Museum. It is an
humorous parody of the old song, entitled " The Carl he cam
o'er Craft." The tune is said to be very old.
CCCCXVII.
COxMIN THRO' THE RYE.— 1st Skt.
This song was written by Burns. The air is taken from
the third and fourth strains of the strathspey called " The
Miller's Daughter." See Gow's First Collection.
CCCCXVIII,
COMIN THRO' THE RYE.— 2d Set.
The words and music of this song, beginning " Gin a
body meet a body," are parodied from the first set, which was
published as a single sheet song before it was copied into the
Museum. Mr John Watlen, musician and music-seller, for-
merly in Edinburgh, now in London, afterwards altered the
first strain of the former tune a little, and published it with
the new words. His edition had a considerable run.
378
CCCCXIX.
THE DUKE OF GORDON HAS THREE DAUGHTERS.
" There is a song," says Burns, " apparently as ancient
as the Ewe-hughts Marion^'' which sings to the same tune,
and is evidently of the North. It begins, " The Lord o' Gor-
don had three daughters."" — Reliques- The words of the
ballad are no doubt sometimes sung to the air of Ewe-hughts
Marion, in the south of Scotland ; but it is owing to their
ignorance of the original air to which the ballad is uniformly
sung in the North. Mr Clarke took down the air as it was
chanted by a lady of his acquaintance, and thus restored the
ballad to its original tune. The words and music first ap-
peared together in print in the Museum. Ritson has insert-
ed the ballad in his Collection of Scottish Songs ; but, as he
did not know the tune, he has left a blank space for the music
in his work.
Alexander, third Earl of Huntly, was succeeded, in 1523,
by his grandson Alexander, Lord Gordon, who actually had
three daughters. I. Lady Elizabeth, the eldest, married to
John, Eai'l of Athol. II. Lady Margaret, married to John,
Lord Forbes. III. Lady Jean, the youngest, married Jirst
to James, Earl of Bothwell, from whom she was divorced in
1568 ; she married, secondly, Alexander, Earl of Sutherland,
who died in 1594; and surviving him, she married, thirdti/.
Captain Alexander Ogilvie, son and successor of Sir Walter
Ogilvie of Boyne, who died in 1606 without issue.
The first hne of the ballad, as quoted by Burns, is evi-
dently more correct than that inserted in the Museum or in
Ritson's Collection, for the dukedom of Gordon was not
created till the year 1684. Johnson has omitted eighteen
verses of the ballad for want of room, but the reader will find
the whole of it in Ritson's Scottish Songs,
ccccxx.
YOUNG JAMIE, PRIDE OF A' THE PLAIN.
This beautiful song is another unclaimed production of
Burns. The Avords are adapted to the plaintive and well
known air, entitled '< The Carlin o' the Glen."
3T9
CCCCXXI.
OUT OVER THE FORTH, &c.
This song was written by Burns, and adapted to the air
entitled " Charles Gordon's welcome Home.'" It was after-
wards reprinted in his Reliques, by Cromek.
At the end of the song, Burns has the following note : —
" The inclosed tune is a part of Gow's ' Charles Gordon's
welcome home ;' but I do not think the close of the second
part of the tune happy. Mr Clarke, on looking over Gow's
air, will probably contrive a better."
Mr Clarke has retained Mr Gow's tune, but at the close of
the second strain he has attended to the hint given him by
the bard.
CCCCXXII.
WANTONNESS FOR EVERMAIR.
This bagatelle was written, and communicated by Burns.
Clarke tho.ught it worthy a place in the Museum, that the
tune might be preserved, which is ancient, and deserving of
better lines than those furnished by the bard.
coecxxiii.
THE HUMBLE BEGGAR.
This fine old humorous ballad, beginning " In Scotland
there liv'd a humble beggar," was recovered by David Herd,
and printed in his Collection. The tune was communicated
to Johnson by the late Mr Robert Macintosh, musician in
Edinburgh, who obtained it from an old acquaintance that
used to sing this ballad with great glee. Mr James Johnson,
on sending the air to be arranged, wrote Mr Clarke the fol-
lowing note : " Sir, — The above is the exact tune taken down
by Mr R. Macintosh. It is a very funny song, and sought
after by many. — J. J."
CCCCXXIV,
THE ROWIN'T IN HER APRON.
This ancient fragment, beginning " Our young lady's a
hunting gane," with its original air, were recovered by Burns,
and transmitted in his own hand-writino; to Johnson for the
380 CCCCXXIV. THK KOWIN't IK HEB APKON.
Museum. The scene is laid in the stewartry of Kirkcud-
bright. The old castle of Terreagles stood on the banks of
the Nith, near its junction with the Cluden,
ccccxxv.
THE BOATIE ROWS — 1st Set.
Burns informs us, that " the author of this song, begin-
ning ' O weel may the boatie row,' was a Mr Ewen of Aber-
deen. It is a charming display of womanly affection ming-
ling with the concerns and occupations of life. It is nearly
equal to There's nae lucJc about the house.'''' — Reliques.
This fine ballad is set to three different tunes in the Mu-
seum. The first four bars of the air, No 425, are taken from
the tune called " Weel may the Keel row," and all the rest
from the tune of " There's nae Luck about the House." The
words, however, are seldom sung to this mongrel melody.
ccccxxvi.
THE BOATIE ROWS — 2d Set.
Tins air to the same words was inserted by desire of Mr
Clarke, who wrote the following note under the manuscript
of the music : — *' You must take this, as the other music is
printed already in a former volume."" This tune, however,
has never become a favourite with those who sing the ballad.
CCCCXXVII.
THE BOATIE ROWS 3d Set.
This fine modern air is the genuine tune of the ballad.
Some years ago it was arranged as a glee, for three voices, bv
Mr William Kny vett of London, and has deservedly become
very popular.
CCCCXXVIII.
CHARLIE HE'S MY DARLING.
This Jacobite song, beginning " 'Twas on a Monday
morning,"" was communicated by Burns to the editor of the
Museum. The air was modernized by Mr Clarke. The
reader will find a genuine copy of the old air in Moggy's Ja-
cobite Reliques, vol. ii. p. 93.
381
CCCCXXIX.
AS SYLVIA IN A FOREST LAY.
This song is taken from Ramsay's Tea-Table Miscellany of
1724, where it is marked with the letter M, which is the ini-
tial letter of its composer's surname, viz. David Malloch, Esq.
when he was a tutor in the family of Mr Home. The verses
are adapted to the tune called «.« The Maid's Complaint,"
which was composed by Oswald, and published in the fourth
book of his Caledonian Pocket Companion, p. 40. The last
two bars of the second strain were improved by Mr Stephen
Clarke, as the reader will perceive upon comparing the air in
the Museum with Oswald's tune. Mallet's verses were pub-
lished in the Orpheus Caledonius, to the air of " Pinkie
House."
ccccxxx.
THE LASS OF ECCLEFECHAN.
This humorous song, beginning " Gat ye me, O gat ye
me," is a production of Burns'. It is adapted to a fine old
lively air, communicated by Burns, which is well known
by the name of " Jack o' Latin,'' printed, with variations, in
Oswald's Caledonian Pocket Companion, and several other
collections. Ecclefechan is a well-known village in Dum-
fries-shire.
ccccxxxi.
THE COUPER O' CUDDY. ;;, ,
This humorous song, beginning " We'll hide the couper
behind the door," is another production of Burns. He directs
it to be set to the well-known dancing tune called " Bab at
the Bouster.'' At the end of his manuscript he writes, " This
tune is to be met with every where." If the delicacy of this
song had been equal to its wit, it would have done honour to
any bard.
CCCCXXXII.
WIDOW, ARE YE WAKING ?
This song, beginning " Wha is that at my chamber door ?"
was written by Ramsay, and printed in his Tea-Table Miscel-
382 ccccxxxii. — WIDOW, are ye waking ?
lany, 1724. It is there entitled " The Auld Man's best Ar-
gument,'" and is directed to be sung to the tune of " Widow
are ye wakin," a hcentious but witty old song, long anterior
to the days of Ramsay. The Editor is in possession of a very
old copy of this tune, but it is nearly the same as that in the
Museum.
CCCGXXXIII.
THE MALTMAN.
This is another production of Ramsay. It possesses un-
common humour, but a sort of double meaning runs through
the verses, and renders them somewhat liable to objection.
The lively old air to which the words are adapted appears in
Oswald's Caledonian Pocket Companion,
ccccxxxiv.
LEEZIE LINDSAY.
This beautiful old air was communicated by Burns. The
stanza to which it is adapted, beginning " Will ye go to the
Highlands, Leezie Lindsay," was written by Burns, who in-
tended to have added some more verses, as appears from the
following memorandum, written by Johnson on the original
manuscript of the music. " Mr Burns is to send words ;""
but they were never transmitted. He appears to have had
the old fragment of the ballad called Leezie Baillie in view,
when he composed the above stanza. See Notes on Son^
No 456. A large fragment of the old ballad of Leezie Lind-
say^ however, may be seen in Jamieson's Popular Ballads and
Songs, vol, ii.
ccccxxxv.
THE AULD WIFE AYONT THE FIRE.
The genuine air inserted in the Museum likewise appears
in Crockat's Manuscript Music Book, written in 1709, under
the title of " The old Wife beyond tlie Fire." It would there-
fore seem, as if Ramsay had softened down an older and less
Scotified song, preserving as much of the spirit and broad
humour of the original as might appear consistent with the
manners and taste of the times in which he lived. His bio-
grapher, however, attributes the whole of the song to Ram-
CCCCXXXV. — THE AULD WIFE AYONT THE FIRE. 383
say ; but Ramsay himself marks this song with the letter Q,
to shew that it was an old song with additions. The tune,
under the title of " Set the old Wife beyond the Fire," was
printed in John Walsh's Caledonian Country Dances.
ccccxxxvi.
FOR THE SAKE 0' SOMEBODY.
The whole of this song, as printed in the Museum, begin-
ning " My heart is sair, I darna tell," was written by Burns,
except the third and fourth lines of stanza first, which are
taken from Ramsay's song, under the same title and to the
same old tune, which may also be seen in Oswald's Caledo-
nian Pocket Companion. To this w^ork. Burns, in a note
annexed to the manuscript song, refers Johnson for the
music.
Ramsay's verses are in the shape of a dialogue between a
lover and his sweetheart ; but they possess very little merit.
The old air consists of one simple strain, ending on the third
of the key. The second strain is merely a repetition of the
first. It is probable, that the melody had been originally
adapted to a much older set of verses than those of Ramsay,
and that the old song consisted of stanzas of four, in place of
eight lines each.
ccccxxxvii.
THE CARDIN O'T.
These verses, beginning " I coft a stane o' haslock woo',"
were written by Burns, whose original manuscript is at pre-
sent before the Editor. The words are adapted to a lively
old Scotch measure, called " Salt Fish and Dumplings."'
CCCCXXXVIII.
THE SOUTERS O' SELKIRK.
Mr Tytler, in his ingenious " Essay on Scottish Music,''
alluding to the fragment of this old song, beginning " Up
wi' the Souters o' Selkirk," has the following remarks : —
" This ballad is founded on the following incident : Previous
to the battle of Flodden, the town-clerk of Selkirk conducted
a band of eighty souters^ or shoemakers of that town, who
joined the royal army ; and the town-clerk, in reward of his
384- ccccxxxviii, — thk ,souters o' Selkirk.
loyalty, was created a knight-banneret by that prince. They
fought gallantly, and most of them were cut off. A few who
escaped, found, on their return, in the forest of Lady wood
edge, the wife of one of their brethren lying dead, and her
child sucking her breast. Thence the town of Selkirk ob-
tained for their arms, a woman sitting upon a sarcophagus,
holding a child in her arms ; in the back ground a wood ;
and on the sarcophagus the arms of Scotland."
" For all this fine story (says Ritson, in his Historical Es-
say on Scottish Song, p. 34.) there is prohably no foundation
whatever. That the souters of Selkirk should, in 1513,
amount to fourscore fighting men, is a circumstance vitterly
incredible. It is scarcely to be supposed, that all the shoe-
makers in Scotland could have produced such an army, at a
period when shoes must have been less worn than they are at
present." He then proceeds to acquaint us, that Dr John-
son was told at Aberdeen, that the people learned the art of
making shoes from Cromwelfs soldiers ; that tall boys run
without shoes in the streets ; and, in the islands, even the
sons of gentlemen pass several of their fii'st years with naked
feet. " Away then (says Ritson) with the fable of The
Souters of SelMrTc T
It is matter of deep regret to observe, that some men of
education, and even of very superior abilities, are occasionally
betrayed into error and inconsistency, by allowing their minds
to get entangled in the mazes of national and unmanly preju-
dice. Several instances of this fact, with regard to Scotland,
disfigure the writings of Dr Johnson and Mr Joseph Ritson.
In other respects their literary labours are exceedingly meri-
torious and valuable. These erudite and very ingenious au-
thors have not scrupled to affirm, that the natives of North
Britain are more prone to believe in absurd and extravagant
traditions than any other nation whatever ; that the Scots
had no shoes until Cromwell's soldiers taught the people to
make them ; and that all Scotland could scarcely have mus-
tered an army of eiwlity shoemakers at the battle of Flodden.
CCCCXXXVni.— THE SOUTERS o' SELKIRK. 385
In short, Scotland seems to have appeared to them in the
same Ught as it did to another EngUshman, who expresses his
ideas of the country in the following curious lines : —
Bleak are thy hills, 0 North !
And barren are thy plains ;
Bare-leg'd are thy nymphs.
And bare a— are thy swains.
But a candid and patient inquirer will neither permit himself
to be deceived by vague assertion, nor will he degrade his
chai-acter by a similar mode of retaliation, which, though
easy, can never benefit the cause of truth. Sober reflection
will convince every man, that the Omniscient Author of our
existence has adapted every animal to the element it is des-
tined to inhabit. Nor has he denied to mankind, wherever
situated on the habitable globe, the means and the ingenuity
of accommodating their dress in conformity to the nature of
the climate. Amongst all the nations that inhabit the bleak
and barren regions of the north, however rude or unciviUzed,
none have yet been discovered that were destitute of the ne-
cessary habiliments for protecting every part of the body from
the inclemency of the weather. Nor was Scotland an excep-
tion to this rule until the days of Cromwell. On the con-
trary, it appears that the Scottish legislature, at an early pe-
riod, directed its attention to the manufacturers of shoes, who
had attained such skill in their profession, as to render their
goods an object of foreign commerce. It was even found ne-
cessary to prohibit the export both of the raw and of the ma-
nufactured material : " Sowters sould be challenged, that they
bark lether, and makes shoone otherwaies than the law per-
mittes ; that is to say, of lether quhere the home and the eare
are of ana like length. They make shoone, buites, and other
graith, before the leather is barked (tanned)." — Chalmerlan
Air, c. 22. Again, by the fourth Parliament in the reign of
James IV. who fell at Flodden, cordoners (i. e. shoemakers)
are prohibited, under a severe penalty, from taking custom
from such of their own craft as come to the weekly markets.
386 CCCCXXXVIII.— THE SOUTERS o'* SELKIRK.
except what was wont by old lazv. Barked hides (i. e. tanned
leather) and made sJioes, are among the Ust of articles which
were prohibited to be exported by act of the fourth parlia-
\ ment held in the reign of James VI, c, 59.
^ Now, these ordinances were all made long before Cromwell
was born. Away, then, with the fable of CromwelPs soldiers
first teaching the inhabitants of Scotland to make shoes. It
seems evident, that the Doctor had never been an eye-witness
of the dress of the peasantry in Scotland during the rigours
of winter ; nor had Ritson been more fortunate in viewing
any procession of the shoemakers in a royal Scottish burgh on
the day of St Crispin, a festival long celebrated in Scottish
song. That eighty souters were capable of making shoes for
a population of nearly two millions of inhabitants, is indeed
so very absurd as to require no serious refutation.
It may be observed, en passant^ that the epithet of " The
Souters of Selkirk" does not exclusively mean those members
of the incorporation who are actually shoemakers by profes-
sion. This appellation is given to the burgesses of Selkirk,
whether shoemakers or not ; and it appears to have originated
from the singular custom observed at the admission of a new
member, a ceremony which is on no account dispensed with.
Some hog-bristles are attached to the seal of his bui'gess
ticket ; these he mvist dip in wine, and pass between his lips,
as a tribute of his respect to this ancient and useful fraternit3^
Sir Walter Scott himself has the honour of being one of their
number.
That the once populous and important royal burgh of Sel-
kirk was pillaged and laid waste by the English, in revenge
of the signal bravery displayed by its " Souters"" in battle ;
and that James V. the succeeding monarch, testified his gra-
titude for their loyalty and valour, as well as his compassion
for the sufferings of its surviving inhabitants ; are facts that
can be fully elucidated. Thus, on the 4th Mai'ch 1536, that
prince, on the narrative that the greater part of Selkirk had
been laid waste, and destroyed by war, pestilence, fire, &c. he
CCCCXXXVIII.— THE SOUTERS o' SELKIUK. 387
erects it of new into a royal burgh, with all the privileges an-
nexed to such corporations. On the 20th of June 1536, the
same prince, " for the gude, trew, and thankful service done
and to be done to ws be owre lovittis, the baillies, burgesses,
and communite of our burgh of Selkirk, and for certaine othir
reasonable causis and considerationis moving ws, be the ten-
nor hereof, grantis and gevis license to thame and their
successors to ryfe out, breke, and teil yeirlie ane thousand
acres of thair common landis of our said burgh, in what part
thairof they please, for the policy, strengthing, and bigging
of the samyn ; for the wele of ws and of lieges repairand
thairto, and defence againis owre auld innemyis of Ingland
and otherwayis ; And Will and Grantis that thai sail nocht
be callit, accusit, nor incur ony danger, or skaith thairthrow,
in thair personis, landis, nor gudis, in ony wise in time cuming,
Nochtwithstanding ony owre actis or statutis maid or to be
maid in the contrair in ony panys contenit tharein, anent the
quhilkis we dispens with thame be thir owre letters : With
power to occupy the saidis landis with thare awne gudis, or to
set thame to tenentis as thai sail think maist expedient for the
wele of our said burgh ; With free ishe and entrie, and with
all and sindry utheris commoditeis, freedomes, asiamentis, and
richtis pertinentis whatsumever pertenying, or that rychtuisly
may pertene thairto, perpetually in tyme cumming, frelie,
quietlie, wele, and in peace, but ony revocation or agane call-
ing whatsumever. Gevin under owre signet, and subscrivit
with owre hand, at Striveling, the twenty day of Junii, the
yeir of God ane thousand five hundreth and thretty six yeris
and of owre regne the twenti thre yeir." Here follows ano-
ther grant by that prince, dated about nine weeks after the
one that has just been narrated : " We, understanding that
owre burgh of Selkirk, and inhabitants thairof, continualie
sen the Field of Flodoune has been oppressit, heriit and owre
run be theves and traitors, whairthrow the hant of merchan-
dice has cessit amangis thame of langtyme bygane, and thai
heriit thairthrow, and we defraudit of owre custumis and
388 CCCCXXXVllL— THE SOUTEllS o'' SELKlfiX.
dewties : Thaibfor, and for divers utlieris resonable causis
and considerationes moving ws, be the tenor heirof, of owre
kinglie power, free motive and autorite ryall, Grantis and
Gevis to thame and thair successors, ane fair day, begynand at
the feist of the conception of owre Lady next to cum aftere
the day of the date hereof, and be the octaves of the sammyn
perpetually in time cuming ; To be usit and exercit be thame
als frelie in time cuming, as ony other fair is usit or exercit be
ony utheris owre burrowis within owre realme ; payand yeir-
lie custumis and dewties, aucht and wont, as effeiris, frelie,
quietlie, wele, and in pece, but ony revocation, obstakill, im-
pediment, or agane calling whatsumever. Subscrivit with
owre hand, and-gevin under owre signet, at Kirkcaldy, the
secund day of September, the yeir of God ane thousand five
hundreth and thretty sex yeiris, and of owre regne the twenty
three yeir."
The Royal Charter, confirming the three foregoing deeds,
and ratifying them in the most full and ample manner, is
dated at Edinburgh the eighth day of April 1538, and is pre-
served in the records of the burgh of Selkirk.
William Brydon, the town-clerk of Selkirk, who led " the
Souters' to the field of battle, was knighted for his gallant con-
duct at Flodden, This fact is ascertained by many deeds still
extant, in which his name appears as a notary-public. John
Brydon, a citizen of Selkirk, his lineal descendant, is still
alive, and in possession of the sword of his brave ancestor.
A standard, the appearance of which bespeaks its antiquity,
is still carried annually, on the day of riding their common,
by the corporation of weavers, by a member of Avhich it was
taken from the Englisli in the field of Flodden. This the
Editor has often seen. Thus every circumstance of the tradi-
tional story is corroborated by direct evidence.
That the ballad, a corrupted fragment of which is inserted
in the Museum, relates to the eventful battle of Flodden, the
Editor, who was born and educated in the neighbourhood of
Selkirk, has not the smallest doubt. The late Mr Robert-
ccccxxxvin.-— THE soutkhs o' sklkirk. 389
son, minister of Selkirk, indeed mentions, in his statistical
account of the parish, that the song.
Up wi' the Souters of Selkirk,
And down with the Earl of Home —
was not composed on the battle of Flodden, as there was no
Earl of Hume at that time, nor till long after ; but that it
*' arose from a bet betwixt the Philiphaugh and Hume fami-
lies ; the Sottters (or shoemakers) of Selkirk against the men
of Hume, at a match of football, in which the Souters of Sel-
kirk completely gained, and afterwards perpetuated their vic-
tory in that song." The late Andrew Plumraer, Esq. of
Middlestead, who was sheriff-depute of the county of Selkirk,
and a faithful and learned antiquarian, in a letter to the late
Mr David Herd, dated 13th January 1793, says, " I was
five years at school at Selkirk, have lived all my days within
two miles of that town, and never once heard a tradition of
this imaginary contest till I saw it in print."
" Although the words are not very ancient, there is every
reason to believe that they allude to the battle of Flodden,
and to the different behaviour of the souters and Lord Hume
upon that occasion. At election dinners, &c. when the Sel-
kirk folks begin to get fou (merry), they always call for mu-
sic, and for that tune in particular. At such times I never
heard a Souter hint at the football, but many times speak of
the battle of Flodden." — See Scott's Border Minstrelsy^ vol.
iii. p. 118.
Neither Mr Robertson nor Mr Plummer, however, appear
to have heard or seen any more than three or four lines of
the song, otherwise not a doubt could have been entertained
on the subject. The words, as well as the genuine simple
air of the ballad, both of which have been shockingly muti-
lated and corrupted, are here restored, as the Editor heard
them sung and played, by the border musicians, in his younger
days. The original melody is a bag- pipe tune, of eight dia-
tonic intervals in its compass ; a bass part has therefore been
added, in imitation of the drone of that instrument.
390 CCCCXXXVIII. THE SOUTERS o' SELKIRK.
THE SOUTERS 0' SELKIRK.
Lively.
^
E5E
£
5
^
Up wi' the Souters o' Selkirk, And down wi' the fazart Lord
m.
*
^
i:d?i
£
£
/ Hume, But up wi' il-kabraw callant That sews the single-soal'd
SE
I
£
-©-—
/^a-
£
f33E^
shoon; And up wi' the lads o' the Forest, That ne'er to the
^E
l^l^ig
E^^E^
£
trt
y I l- ~^
E3
:^=ff
i
\ Southron wad yield. But deil scoup o' Hume and his menzie. That
g
fee
1
stude sae abiegh on the field.
II.
Fye ! on the green and the yallow.
The craw-hearted loons o' the Merse ;
But here's to the Souters o' Selkirk,
The elshin, the lingle, and birse.
Then up wi' the Souters o' Selkirk,
For they are baith trusty aiid leU ;
And up wi' the lads o' the forest —
And down wi' the ^lerse lo the deil.
391
ccccxxxtx.
THE ROCK AND A WEE PICKLE TOW.
There is a very old set of verses to this tune, but they
are rather coarse for insertion. A copy of the tune, under
the title of " A Scottish March,"" appears in John Playford's
Musick's Hand-Maid, pubhshed in 1678; but the second
strain contains a redundant bar, which spoils the measure.
It is reprinted, with all its imperfections, in Smith's Musica
Antiqua, vol. ii. p. 175. The tune is annexed.
A SCOTTISH MARCH. 1678.
£4^t5-B£^^^^^^^^
^^i^a^i^^S
P^^^f^ii^g^
^^-p-pif-JiSyjg^
Ramsay wrote new words to the same air, beginning " I
hae a green purse wi' a wee pickle gowd,"" printed in his
Tea-Table Miscellany in 1724. Mr Alexander Ross, for-
merly schoolmaster at Lochlee in the county of Forfar, like-
wise wrote a song on the old model, beginning " There was
an auld wife had a wee pickle tow,"" in which he has incorpo-
rated several lines of the original verses with those of his own
composition, and has spun out the song to nineteen stanzas of
eight lines each. The reader who may wish to peruse the
whole of Mr Ross's song, which possesses considerable merit,
although it is by far too long to be inserted in this work, will
find it annexed to his beautiful poem of " The Fortunate
Shepherdess," first printed at Aberdeen in I7G8. The verses
in the Museum are an abridgment of Ross's song, it is be-
lieved by himself, and are taken from Herd's Collection in
1776.
392
CCCCXL.
TIBBIE FOWLER O' THE GLEN.
Although the Editor has heard this old song from his
earUest infancy, he never saw a correct copy of it in print till
it was inserted in the Museum. An imperfect fragment ap-
pears in Herd's Collection of 1776. Ramsay has a song in
his Miscellany, in 1724, to the same tune, but it is not in his
best style. It begins " Tibby has a store of charms," and is
entitled " Genty Tibby and Sonsy Nancy," to the tune of
" Tibby Fowler in the Glen." Since the publication of the
Museum, two modern stanzas have appeared in some copies
of the old song ; but they are easily detected. For instance,
In came Frank wi' his lang legs,
Gard a' the stair play clitter clatter ;
Had awa, young men, he begs.
For, by my sooth, I will be at her.
Fye upon the filthy snort.
There's o'er mony wooing at her ;
Fifteen came frae Aberdeen ;
There's seven and forty wooing at her.
Fye upon the filthy snort of the man that could write such
nonsense. It is really too bad to disfigure our best old songs
with such unhallowed trash.
Cromek, in his " Nithsdale and Galloway Song," tells us,
*' that in the trystes of Nithsdale there are many variations of
this curious song ;" and he accordingly presents his readers
with a medley, which he " picked up from a diligent seai'ch
among the old people of Nithsdale." But any person, by
glancing at Cromek's medley, will at once discover his verses
to be modern, and totally destitute of the exquisite humour
of the original. Indeed, this author unfortunately betrays his
own secret ; for, after having amused us with his sham verses,
he presents his readers with " The old words," which are co-
pied, without the slightest alteration or acknowledgment, from
Johnson's Museum.
393
CCCCXLI.
ON HEARING A YOUNG LADY SING.
The air as well as the words of this song, beginning " Blest
are the mortals above all," were composed by the late Mr
Allan Masterton of Edinburgh, the mutual friend of Burns
and the present Editor. He is the Allan, who is celebrated
in the song of " Willie brew'd a Peck o' Maut," mentioned
in a former part of this work. Mr Stephen Clarke, in a note
subjoined to the manuscript of the music, says to Johnson,
" The words and music of this song are by Mr Allan Mas-
terton. You must get the rest of the words from him."
Johnson did so.
CCCCXLII.
THERE'S THREE GUDE FELLOWS AYONT YON GLEN.
The title and tune are all that remain of the old song,
which is taken from Macgibbon's First Collection of Scots
Tunes, p. 18. Oswald afterwards printed it under the new
title of " There's Three Good Fellows down in yon Glen," in
the fifth book of his Caledonian Pocket Companion, p. 1 .
The four lines in the Museum, beginning " Its now the
day is daw'ing," introduced in the solo, were hastily penned
by Burns at the request of the Publisher, who was anxious
to have the tune in that work, and the old words could not
be discovered. The word^' in is erroneously printed j^m
in the Museum. This beautiful old air, however, well merits
a better set of verses than those in the above-mentioned
work.
CCCCXLIII.
THE WEE THING, OR MARY OF CASTLE-CARY.
This charming ballad, beginning " Saw ye my wee thing,
saw ye my ain thing," was written by Hector Macneil, Esq.
author of the celebrated poem of " Will and Jean," and
several other esteemed works'. It first appeared in a perio-
dical publication, entitled " The Bee," printed at Edinburgh
in May 1791. Mr Macneil informed the writer of this ar-
ticle, that the tune to which his song is adapted in the Mu-
seum is the genuine melody that he intended for the words.
39i
CCCCXLIV.
0 CAN YE SEW CUSHIONS ?
The words and music of this nursery song were commu-
nicated by Burns to the publisher of the Museum, in which
it first appeared in print ; but the bard has left us no hints
respecting the history of the song. The late Mr Urbani of
Edinburo-h, an excellent musician and composer, who was
very fond of the melody, afterwards introduced it, with new
accompaniments by himself, in the second volume of his val-
uable Collection of Scottish Songs. Since that period it has
always been a favourite. I have heard another verse of this
ditty : It runs —
I've placed my cradle on yon holly top.
And aye as the wind blew, my cradle did rock ;
O hush a ba, baby, O ba lilly loo,
And hee and ba, birdie, my bonnie wee dow.
Hee O ! wee O !
What unU I do wi' you, S^c.
CCCCXLV.
THE GLANCING OF HER APRON.
This ballad, beginning " In lovely August last,"" was
originally composed by Mr Thomas D'Urfey, in imitation of,
and introduced by him as, a Scottish song, in his comedy of
" The Fond Husband, or the Plotting Sisters," acted at Lon-
don in 1676 with great applause. Mr John Playford after-
wards published it with the music in the second volume of
his Choice Ayres and Songs, London 1679- It was again
printed in Henry Playford's first volume of " Wit and
Mirth" in 1698. Allan Ramsay reprinted it in his Tea-
Table Miscellany in 1724, as an old song with additions.
Bamsay's additions, however, are neither more nor less than
alterations of some words in the original song, of which
Durfey, from his ignorance of the Scottish dialect, seems nei-
ther to have understood the spelling nor the sense. At the
request of Johnson, Burns brushed up the three first stanzas
of Ramsay's version, and omitted the remainder for an ob-
vious reason,
CCCCXLV. THE GLAJCCIKG OF HEB APRON.
395
With regard to the tune, to which the words were origi-
ginaJly adapted, it is evidently a florid set of the old simple
air of " Willie and Annet,'' which has lately been published
in Albyn's Anthology, under the new title of " Jock of
Hazledean, a ballad written by Sir Walter Scott. As the
curious reader may wish to compare both tunes ; they are
here annexed, note for note, with the first stanza of their
respective verses.
WILLIE AND ANNET.
3
S
?
<•= — r
Liv'd ance twa hi-vers in yon dale. And they luv'd i - ther
m&
^m
m
3
*
nzfc
£
£
4 *
Ji-: — tf
m
weel; Frae ev'ning late to morning; aire. Of luving luv'd their
^r-E±=fT=rt^i^
5
1—, 'i-
#•— ^
^
-e^
fill. Now, Willie, gif you luve me well. As sae it seems to me. Gar
Ti — g-T-^tr|--^-|-:r4-f^--f7f-(^r-iYF^^
(__1 — r I. J — _J — l:. — L
^
^
^m
£
-g- — IT
build, gar build a bonnie schip. Gar build it spec - di - lie.
1
^
396
CCCCXLV.— THE GLANCING OF HER APRON,
IN JANUARY LAST,
An Anglo-Scottish Song in Durfey's Fond Husband, 1676, rcjjrinted in
Playford's " Choice Ayres,'" Book Second, London, 1679.
m
^^^
In Ja-nu-a--i-y last^ on Munnonday at morn. As
^dilj.
i
EE
T-n-rll
'^^
^F^
%
L I a - long the fields did pass. To view the winter's corn, I
^E
l^^S
3=13
HiZS.
m
It
a
a
diz
leaked me be - hind, and I saw come ore the knough, Yan
-tLlt P -
:^;
s — e— fl-.
■£l
1
^-*«^--e
Jzz^d^^^
glenting in her apron, with bonny brent brow.
;^-p-:g--p
M&
S
az:
The tune to which Durfey's song, as altered by Burns for
the Scots Museum, is adapted, was taken from Thomson's
Orpheus Caledonius (1725,) where the whole verses, as alter-
ed by Ramsay, may likewise be seen. They have since been
reprinted in Herd's Collection, and several others.
CCCCXLVI.
O WALY, WALY!
This is merely the first verse of the old song inserted in
th& second volume of the Museum, page 166, adapted to a
different set of the air. With regard to this tune, the Edi-
CCCCXLVI O WALY, WALY ! 397
tor observes the following note on the back of the original
manuscript of the music, in the hand-writing of Mr Clarke,
addressed to the publisher. — " If you choose to print this
song, it is right ; but the alterations are little from the other,
and much to the worse in my opinion. I took it down at
the late Glenriddel's desire, and put the bass as it now stands ;
but I thought you had had enough of the poor Captain's
variations before."
CCCCXLVII.
SHE SAYS SHE LO'ES ME BEST OF A'.
This song, beginning " Sae flaxen were her ringlets," was
written by Burns for the Museum. The words are adapted
to an Irish tune, entitled OnagJCs Waterfall. Respecting
this tune. Burns, in a letter to Mr Thomson, dated Sept.
1794, says, " The air is charming, and I have often regret-
ted the want of decent verses to it. It is too much, at least
for my humble rustic muse, to expect that every effort of
her's shall have merit ;" still I think, that it is better to have
mediocre verses to a favourite air than none at all. On this
principle I have all along proceeded in the Scots Musical
Museum, and as that publication is at its last volume, I in-
tend the following song to the air above-mentioned, for that
work." [Here follows the song as printed in the Museum.]
CCCCXLVIII.
THE BONNIE LASS THAT MADE THE BED TO ME.
Burns wrote this amatory ballad in imitation of the olden
style. His model was an old ballad, which tradition affirms
to have been composed in an amour of Charles II. with a
young lad}"^ of the house of Port-Letham, whilst his Majesty
was skulking about Aberdeen in the time of the usurpation.
It begins —
There was a lass dwalt in the north,
A bonnie lass of high degree ;
There was a lass whose name was Nell,
A blyther lass you ne'er did see.
O, the bed to me, the bed to me.
The lass that made the bed to me ;
399 CCCCXLVIII. THE BONNIE LASS THAT MADE THE BED.
Blythe and bonnie and fair was she.
The lass that made the bed to me.
&c. &c. &c.
A corrupted version of this ballad, under the title of " The
Cumberland Lass," may be seen in Playford's " Wit and
Mirth,"" vol. ii. first edition, London 1700 ; but neither the
air nor the words (although the sense is retained) are genu-
ine. Had the delicacy of this old ballad been equal to its
humour, the writer of this article, who has frequently heard
it in his youth, would gladly have inserted it in this work ;
but it is inadmissible, and even Burns' first draught of the
imitative verses are not altogether unobjectionable. Of this
the bard was afterwards fully sensible, and it is one of those
pieces, which, in his letter to Johnson, he says might be
amended in a subsequent edition. The following version of
the ballad contains the last alterations and corrections of the
bard.
Whan winter's wind was blawing cauld.
As to the North I bent my way.
The mirksome night did me enfauld,
I knew na whare to lodge till day.
A charming girl I chanc'd to meet.
Just in the middle o' my care.
And kindly she did me invite.
Her father's humble cot to share.
Her hair was like the gowd sae fine.
Her teeth were like the ivorie.
Her cheeks like lilies dipt in wine.
The lass that made the bed to me.
Her bosom was the drifted snaw.
Her limbs like marble fair to see ;
A finer form nane ever saw.
Than her's that made the bed to me.
She made the bed baith lang and braid,
Wi' twa white hands she spread it down.
She bade " Gude night," and smiling, said
" I hope ye'U sleep baith saft and soun'."
Upon the morrow, whan I raise,
I thank'd her for her courtesie ;
A blush cam o'er the comely face
Of her that made the bed to me.
rcccxi.viir. — the bonnie lass that made the bed. 899
I clasp 'd her waist, and kiss'd her syne ;
The tear stude twinklhig in her ee ;
0 dearest maid, gin ye'll be mine.
Ye ay sail mak' the bed to me.
The air, to which the verses in the Museum are adapted,
was communicated by Burns, and is reputed to be very
ancient. The musical reader will observe a remarkable
coincidence between the first four bars of this tune and the
well-known air of " Johnnie Cope." They may possibly be
productions of the same minstrel.
CCCCXLIX.
SAE FAR AWA.
This song, beginning " O sad and heavy should I part,"
was written by Burns for the Museum. The words are
adapted to a Scots measure, or dancing tune, printed in
Aird's Collection, under the title of "Dalkeith Maiden
Bridge." The bard's original manuscript of the sono- is at
present in the Editor's possession. Johnson has committed
a mistake in printing the seventh line of the first stanza,
which mars the sense. In place of '* Gin body strength"
it should be " Gie body strength," as in the manuscript.
CCCCL.
PUT THE GOWN UPON THE BISHOP.
This is a mere fragment of one of these satirical and fre-
quently obscene old songs, composed in ridicule of the
Scottish Bishops, about the period of the reformation. The
tune and title are preserved in the Collections of Macgibbon,
Oswald, and several others.
CCCCLI.
Hallow Fair THERE'S FOUTH O' BR AW JOCKIES AND JENNYS.
This humorous song was written, and communicated by
Robert Ferguson to David Herd, who published it after the
poet's decease, in the second volume of his Collection, in 1776.
Hallow Fair is held annually at Edinburgh, after the win-
ter Sacrament in November. The verses in the Museum
are adapted to an old tune called " Wally Honey," taken
400 CCCCLI. — HALLOW FAIR, &C.
from Oswald's Caledonian Pocket Companion, Book vii,
page 6.
CCCCLII,
I'LL NEVER LOVE THEE MORE.
This song, beginning " My dear and only love I pray,""
was written by James Graham, the celebrated Marquis of
Montrose, whose great bravery, military talents, and fidelity
to his sovereign, Charles I. during the latter period of his
reign, place him on a level with the most renowned heroes of
antiquity. In his latter days, however, like his royal master,
he experienced a sad reverse of fortune. After a gallant but
fruitless resistance against Colonel Strachan, an officer of the
Scottish Parliament, he took refuge in a remote part of the
estate of Macleod of Assint ; but Macleod basely betrayed
and delivered him up to General Leslie, his most bitter enemy.
After a mock trial, for what was called treason, he was con-
demned to death by the very Parliament who had acknow-
ledged Charles as their lawful king, and under whose com-
mission and orders he had acted. This gallant nobleman was
accordingly executed at Edinbui-gh, with every mark of in-
dignity and revenge that the malice and cruelty of his ene-
mies could suggest, on the 21st May 1650.
The verses in the Museum, though abundantly long for
any ordinary song, are only the Jirst part of Montrose's bal-
lad ; but the curious reader will find the whole of it in Wat-
son''s Collection, Book iii. printed at Edinburgh in 1711,
or in Herd's Collection, so often referred to, in 1776.
The words in the Museum are adapted to the ancient tune
of « Chevy Chace."
CCCCLIII.
MY FATHER HAS FORTY GOOD SHILLINGS,
Mr Ritson informs us, that there is an old English bal-
lad, in the black letter, entitled " The Maiden's sad Com-
plaint for want of a Husband ; to the new west country tune,
or, Hogh, when shall I be married ? By L. W. ;" the first,
second, and fifth stanzas whereof (for there are fourteen in
CCCCLIII. — MY FATHER HAS FORTY GOOD SHILLINGS. 401
all) are either taken from, or have given rise to, the present
song. To enable the reader to judge for himself, Mr Ritson
annexes the following stanzas, which are copied from his
work.
0 WHEN shall I be married,
Hogh, be married ?
My beauty begins to decay :
'Tis time to find out somebody,
Hogh, somebody,
Before it is quite gone away.
My father hath forty good shUlings,
Hogh, good shillings.
And never a daughter but me :
My mother is also willing,
Hogh, so tuilling.
That I shall have all if she die.
My mother she gave me a ladle,
Hogh, a ladle.
And that for the present lies by :
My aunt she hath promised a cradle,
Hogh, a cradle.
When any man with me does lie.
Fi'om the peculiar metre of the third and sixth lines of the
second stanza, however, the old black letter ballad quoted by
Ritson would appear to have been originally of Scottish ori-
gin, for the word die is never pronounced dee in England as it
is in Scotland ; and, moreover, the old tune, which is well
known in Scotland, had eluded every research of this diligent
antiquarian.
CCCCLIV.
OUR GOODMAN CAME HAME AT E'EN.
The words of this extremely curious old ballad were re-
covered by David Herd, and printed in his Collection in 1 776.
Johnson, the publisher of the Museum, after several unavail-
ing researches, was at length informed, that an old man of
the name of Geikie, a hair-dresser in the Candlemaker-row,
Edinburgh, sung the verses charmingly, and that the tune
was uncommonly fine. Accordingly, he and his friend Mr
Clarke took a step to Geikie's lodgings, and invited him to an
402 CCCCLIV. — -OUR GOODMAN CAME HAME AT i:''S'S.
inn to crack a bottle with them. They soon made him very
merry ; and on being requested to favour them with the song,
he readily complied, and sung it with great glee. Mr Clarke
immediately took down the notes, and arranged the song for
the Museum, in which work the words and music first ap-
peared together in print. Mr Anderson, music engraver in
Edinburgh, who served his apprenticeship with Mr Johnson,
informs me, that Geikie died about four days after the tune
was taken down.
Ritson copied the words from Herd's into his own Collec-
tion ; but he could not discover the music when that work was
printed in 1794.
CCCCLV.
SIR JOHN MALCOLM.
This curious, ironical, and burlesque old song, beginning
*' O keep ye weel frae Sir John Malcolm," was recovered by
Yair, and printed in the second volume of his " Charmer" in
1751. It also appears in Herd's Collection in 1776. The
tune is to be found in Aird's Collection, and several others.
It is evidently the same melody with that called " O fare ye
weel my auld Wife." See the song. No 354, in the fourth
volume of the Museum.
The song is said to have been composed on a former Ba-
ronet of Lochoro and his friend Mr Don, who, it is alleged,
rather annoyed their bottle companions with the history of
their adventures after the glass began to circulate.
CCCCLVI.
MY BONNY LIZAE BAILLIE.
This old ballad appears in Herd's Collection in 1776, with
the following introductory stanza, which was omitted in the
Museum.
" Lizae Baillie's to Gartantan gane
To see her sister Jean,
And there she's met wi' Duncan Graeme,
And he's convoy 'd her hame."
The charming old simple melody of one strain, to which
the verses are adapted in the Museum, was communicated by
Burns. It is the genuine original air of the song, which has
long been a favourite at every farmery's fireside in Scotland,
The words and music never appeared together in print, bow-
ever, until the publication of the Museum. Many other
beautiful old airs, and fragments of their original words, still
remain uncollected, but continue to be handed down from
one generation to another by oral communication. Several
of these are well deserving of publication.
CCCCLVII.
THE REEL OF STUMPIE.
This fine lively old reel tune wanted words, and Burns
supplied the two stanzas, beginning " Wap and row the feetie
o't," inserted in the Museum. The tune may be found in the
Collections of Aird, Gow, and many others. The Reel of
Stumpie was formerly called *' Jocky has gotten a Wife," and
was selected by Mr Charles Coffey for one of his songs, be-
ginning " And now I am once more set free," in the opera of
** The Female Parson, or Beau in the Suds," acted at Lon-
don 1730.
CCCCLVIII.
I'LL AY CA' IN BY YON TOWN.
This song, as well as the other, beginning " O watye wha's
in yon town," were both written by Burns for the Museum,
the original manuscript of which are in the Editor's possession.
Both of the songs were composed in honour of " His Jean,"
afterwards Mrs Burns. They are adapted to the fine old air
called " I'll gang nae mair to yon Town," which was the first
line of an old ballad that began thus —
'' I'll gang nae mair to yon town,
O, never a' my life again ;
I'll ne'er gae back to yon town
To seek anither wife again."
The tune appears in Oswald's Caleddnian Pocket Compa-
nion under the title of " I'll gae nae mair to yon Town," and
in Aird's First Book it is called " We'll gang nae mair to yon
Town." This air was introduced as a rondo, with variational
404 ccccLviii.— I'll ay ca' in by yon town.
in a Violin Concerto, composed by the late Mr Girolamo Sta-
bilini, and performed by him at Edinburgh with great ap-
plause. It has likewise been arranged as a lesson, with va-
riations for the piano-forte, by Butler, and several other mu-
sicians.
CCCCLIX.
WILL YE GO AND MARRY, KATIE ?
This ballad was furnished by Burns for the Museum.
The words are adapted to an old reel, printed in Bremner's
Collection in 1764, entitled " Will ye go and marry, Kettie ?"
At the foot of his manuscript. Burns, in a note to Johnson,
says, " You will find this tune in Neil Gow's, and several other
Collections. The bard alludes to Gow's Second Collection of
Strathspeys, Reels, &c. in which the tune appears under the
name of " Marry Ketty."
CCCCLX.
BLUE BONNETS,
This fine old pastoral air appears in the modern part of
Mrs Crockat's Manuscript Music-book, dated 1 709, under the
title of " Blew Bonnetts." It is also printed in Macgibbon
and Oswald's Collections.
As the old words could not be found, Burns wrote two
songs to the tune ; the first begins " Wherefore sighing art
thou, Phillis ?" and the second, " Powers^celestial ! whose pro-
tection." Both songs are printed in the Museum. In a note
to Johnson, Burns says, " Tee Macgibbon's Collection, where
you will find the tune. Let this song follow, ' Wherefore
sighing art thou, Phillis ?' "
In any future edition of the Museum, the title of the song
should be " Wherefore Sighing," or " Powers Celestial,''
Avritten by Burns to the tune of " Blue Bonnets ;" because
the present title has no relation whatever to the words of ei-
ther of the songs.
CCCCLXI.
THE BROOM BLOOMS BONNY.
This fragment of an ancient song, beginning " Ifs whi&-
CCCCLXI. THK BROOM BLOOMS BONNY. 405
per'd in parlour, it's whisper 'd in ha," together with the ele-
gant original little air of one strain, to which the words are
adapted, were recovered by Burns, and transmitted to John-
son for his Museum. This song is to be found in no other
work.
CCCCLXII.
THE RANTIN LADDIE^
This old ballad, beginning " Aften hae I play'd at cards
and the dice," as well as the original air, were also communi-
cated by Burns to the publisher of the Museum. The chasm
which appears near the conclusion of the ballad ought to be
filled up, by restoring the two following lines :—
As to gar her sit in father's kitchen neuk.
And balow a bastard babie.
Johnson, in place of the word hahw^ (that is, to hush or sing
to sleep), has printed it belozv. This error destroys the sense,
and should therefore be corrected.
CCCCLXIII.
THE LASS THAT WINNA SIT DOWN.
The humorous song, beginning " What think ye o' the
scornfu' quine ?" was written and composed by the late Mr
Alexander Robertson, engraver, Edinburgh, who for a long
time played the music bells of the High Church in that city.
He likewise for many years engraved most of the landscapes
which embellished the Edinburgh Magazine. The words
are adapted to the " Orchall Strathspey" in Aird's Collection,
vol. iii. p, 193.
CCCCLXIV.
O MAY, THY MORN.
This song was written by Burns for the Museum. The
air was likewise communicated by the bard; but it is evidently
a slight variation of the ancient tune called " Andro and his
Cutty Gun," inserted in a former part of the work. Burns'
manuscripts of the music and words are in the Editor's pos-
session.
4oa
CCCCLXV.
MY MINNIE SAYS I MANNA.
This air is taken from Oswald's Caledonian Pocket Com-
panion, where it is inserted under the title of " My Mother
says I maun not." Dr Pepush arranged this tune as the me-
lody of one of Gay's songs in « The Beggar's Opera," 1728,
to be sung by Polly, beginning " I like a ship in storms was
tost." Another English song, to the same tune, appears in
the sixth volume of the Pills, edited by T. Durfey, in 1719-
The words in the Museum are only a fragment of the old
Scottish song, which is rather a coarse one, and on that ac-
count Johnson would not insert any more of it. The air,
however, well merits good verses.
CCCCLXVI.
THE CHERRIE AND THE SLAE.
Tune. — " The Banks of Helicon.''''
This very singular ballad, beginning " About ane bank,
with balmy bewis," was MTitten by Captain Alexander Mont-
gomery, who is denominated by Lord Hailes, as " The ele-
gant author of the Cherrie and Slae." This ballad was
written prior to the year 1568, as it is inserted in the Banna-
tyne Manuscript, compiled of that date, now in the Advo-
cates' Library, Edinburgh. Captain Montgomery mai'ried
the youngest daughter o£ Hugh, third Earl of Eglinton.
His poetical talents procured him the patronage and friend-
ship of his sovereign James VI. who was pleased to notice
some of his verses, and this ballad in particular, in a work
published by its royal author in 1584, under the title of
" The Essayes of a Prentise in the Divine Art of Poetry.
The period of Mongomery's death is uncertain, though it is
supposed he died about the year 1600. Most of his poetical
compositions are preserved in the Bannatyne Manuscript.
There is, likewise, a manuscript volume of his poems in the
College Library of Edinburgh.
The ingenious Mr Tytler, in his " Dissertation on Scot-
tish Song," observes, that the Cherrie and the Slae, as well
6
CCCCLXVI THE CHERUIB-AND THE SLAE. 407
as a poem of Sir Richard Maitland of Letbington, father of
the famous Secretary Maitland, ancestor of the Earls of Lau-
derdale, is directed to be sung to the tune of '* The Banks j
of Helicon," " This must have been a well-known tune," I
he continues, " upwards of two hundred years ago, as it was |
sung to such popular words ; but it is now lost. It cannot |
exist in other words, as the metrical stanza of ' The Cherrie \
and the Slae' is so particular, that I know of no air at this
day that could be adapted to it."
Mr Tytler, however, was not correct in asserting the tune
to be lost, for it is preserved in several old manuscripts. In
one of the volumes of Thomas Wode's manuscript of the
Psalms of David, set to music in four parts by Andrew
Blackball, Andrew Kemp, Dean John Angus, and others, |
in the College Library of Edinburgh, Avhich was mostly
transcribed between the years 1560 and 1566 (as is instruct-
ed by another volume of the same work, belonging to Mr
Blackwood, bookseller in Edinburgh), the counter-tenor part
of this tune is inserted near the end, under the title of
'^ About the Bankis of Helicon — Blakehall ;" and in another
manuscript of the same peiiod, now in the Editor's posses-
sion, there is a copy of the tenor part of the tune, under the
same title.
This Andrew Blakehall (or Blackball, for his name is j
variously spelled), appears to have been an eminent musician.
Several of his " Gude ballats" are inserted in the manuscripts
alluded to. He is designated " Minister of God's word at *
Mussleburgh." The transcriber, Thomas Wode, styles him-
self " Vicar of Sanctandrous."" Another copy of the tune
" About the Bankis of Helicon," is preserved in a manuscript
which formerly belonged to the Rev, Mr Cranstoun, minister
of Ancrum, Roxburghshire, and afterwards to Dr John
Leyden. A printed copy of the music likewise appears in
Campbell's Introduction to the History of Poetry in Scot-
land, Edinburgh 1798, and another in Sibbald's Chronicle
of Scottish Poetry, vol. iii, Edinburgh 1802. These two
2 a
408
CCCCLXVI. THE CHERRIE AND THE SLAE.
printed copies agree with the old manuscript almost note for
note, but the tune in the museum is that handed down by
oral communication. The reader is here presented with a
genuine copy of the music, in modern notation, but crotchets
and quavers are substituted for the lozenge-shaped minums
and crotchets in the manuscript, and bars are introduced for
dividing the measure, which are omitted in the ancient copies.
TPIE BANKS OF HELICON.
From a MS. in 1566.
\ schein ; Or if the la-dies that did lave Their bo-dies by your
^t
Ee~
?:
Eg
r
^
m
t
:=i
brim. So scimlie Aver, or yet so suave, So beau- ti- ful or
^
^^^^^^
CCCCLXVI. THE CHERUIE AND THE SLAE.
409
S—t
?
P=*
ti~-^-^
( trim. Con-tem - pill, ex - em -pill Tak by her proper port, Gif
S
^
^&
^^jljjl
^^^m
f 0 - - ny, sa bo - nie, Amang you did resort.
p I r J f \-u^fW^
ai
No, no. Forsuith was never none
That with this perfect paragon.
In bewtie might compair.
The Muses wald have given the gree
To her, as to the A per see,
And peirles perle preclair.
Thinking with admiration
Her persone so perfyte.
Nature in hir creatioun.
To form hir tuik delyte.
Confess then, express then
Your nymphes and all thair race.
For bewtie, of dewtie
Sould yield and give hir place.
This poem was probably composed on the beautiful but
unfortunate Mary Queen of Scots. It would exceed our
limits to give the whole words, consisting of nine additional
stanzas in the same hyperbolic style ; but th^ original is pre-
served in the Pepys' Collection in the University of Cam-
bridge. The poem may also be seen inPinkerton's Maitland
Collection, and in Sibbald's Chronicle of Scottish Poetry,
with the Musical Notes, vol. iii. p. 185 et seq.
CCCCLXVII.
AS I CAME O'ER THE CAIRNEY MOUNT.
The first stanza of this song is old, the second stanza was
written by Burns, and Johnson, accordingly, marked it with
the letter Z, to shew that it was an old song with addition*
410 CCCCLXVII. — AS I CAME o'eR THE CAIRNEY MOUNT.
or alterations. The words are adapted to an air taken from
Oswald's Caledonian Pocket Companion, book i, page 12th,
entitled " The Highland Lassie."
In the Reliques, Burns says, " Another Highland Laddie
is also in the Museum, vol. v. which I take to be Ramsay's
original, as he has borrowed the chorus ' 0 my bonnie High-
land lad, &c.' It consists of three stanzas, besides the chorus,
and has humour in its composition ; — it is an excellent, but
somewhat licentious, song. It begins.
As I cam o'er the Cairney mount,
And down amang the blooming heather, &c.
This air, and the common Highland Laddie^ seem only to
be different sets.''''
Our bard, however, was mistaken in supposing the air of
this song to be Ramsay's original Highland Laddie. The
Highland Laddie, to which Ramsay's words and the old
chorus are adapted, is printed in The Orpheus Caledonius,
1725. It consists of one simple strain, as has been mentioned
in a former part of this work, and is now annexed.
THE AULD HIGHLAND LADDIE.
i — W*^
-^~ « — ■ — ^ j^ 0 « — I — « 1 — o '*'5~'~'8
O MY bon-nic bon-nie High-land lad-die, ,0 my
^m
^f^
3EX*
^^
bonnie bonnie Highland lad-die; When I was sick, and like to
S
£
?
die. He row'd me in his Highland plaidy,
^sa^=PS^^
x=:5
CCCCLXVII. AS I CAMK o'eH THK CAIUNEY MOUNT. 411
The verses wr tten by Ramsay are inserted in the first
volume of the Museum, pages 22, and 23 ; but the reader*
upon comparing the airs of the old " Highland Laddie," and
" As I came o'er the Cairney Mount," will easily see that
they are quite different tunes.
CCCCLXVIII.
THE HIGHLAND LADDIE.
This song, beginning " The bonniest lad that ere I saw,""
was compiled by Burns i'rom some Jacobite verses, entitled
'* The Highland Lad and Lawland Lassie,'' printed in the
celebrated " Collection of Loyal Songs, Poems, &c. 1750."
The original verses are annexed ; and, upon comparing these
Avith the words in the Museum, the reader will at once dis-
cover the share that Burns had in this remodelled song.
THE HIGHLAND LAD AND LAWLAND LASSIE.
(a dialogue.)
Tune.—" Jfthou'ltphy me fair play.""
1.
The cannons roar and trumpets soundj
Bonnie lassie, Lawland lassie.
And a' the hills wi' Charles resound,
Bonnie Lawland lassie.
Glory, honour, now invite,
Bonnie lassie, Lawland lassie,
For freedom and my king- to fight,
Bonnie Lawland lassie.
2.
In vain you strive to sooth my pain,
Bonnie laddie. Highland laddie,
With that much long'd for glorious name.
Bonny Highland laddie.
I too, fond maid, gave you a heart,
Bonnie laddie. Highland laddie.
With which you now so freely part,
Bonnie Highland laddie.
3.
No passion can with me prevail,
Bonnie lassie, Lawland lassie.
When king and country's in the scale,
Bonnie Lawland lassie.
Though this conflict in my soul,
Bonnie lassie, Lawland lassie,
Tells me love too much does rule,
Bonnie Lawland lassie.
412 CCCCLXVIII.— THE HIGHLAND LADDIE.
4.
Ah ! dull pretence — I'd sooner die.
Bonny laddie. Highland laddie,
Than see you thus inconstant fly,
Bonnie Highland laddie ;
And leave me to th' insulting crew,
Bonnie laddie. Highland laddie,
Of Whiggs to mock for trusting you,
Bonnie Highland laddie.
5.
Tho', Jenny, I my leave maun take,
Bonnie lassie, Lawland lassie,
I never will my love forsake,
Bonnie Lawland lassie.
Be now content — no more repine,
Bonnie lassie, Lawland lassie.
For James shall reign, and ye'se be mine,
Bonnie Lawland lassie.
6.
While thus abandon'd to my smart,
Bonnie laddie. Highland laddie.
To one more fair ye'll give your heart,
Bonnie Highland laddie ;
And what still gives me greater pain,
Bonnie laddie. Highland laddie.
Death may for ever you detain,
Bonnie Highland laddie.
7.
None else shall ever have a share,
Bonnie lassie, Lawland lassie,
But you and honour, of my care,
Bonnie Lawland lassie.
And death no terror e'er can bring,
Bonnie lassie, Lawland lassie.
While I am fighting for my king,
Bonnie Lawland lassie.
8.
The sun a backward course shall take,
Bonnie laddie, Highland laddie,
Ere ought thy manly courage shake,
Bonnie Highland laddie.
My fondness shall no more controul,
Bonnie laddie, Highland laddie.
Your generous and heroic soul,
Bonnie Highland laddie.
9.
Your charms and sense, your noble mind,
Bonnie lassie, Lawland lassie,
Wou'd make the most abandon'd kind,
Bonnie Lawland lassie.
CCCCLXVIII. — THE HIGHLAND LADDIE. 413
For you and Charles I'd freely fight,
Bonnie lassie, Laiuland lassie,
No object else can give delight,
Bonnie Lawland lassie.
10.
Go, for yourself procure renown,
Bonnie laddie, Highland laddie.
And for your lawful king his crown,
Bonnie Highland laddie.
And when victorious, you shall find,
Bonnie laddie, Highland laddie,
A Jenny constant to your mind,
Bonnie Highland laddie.
Another Jacobite song, to the same tune, appears in the
work just quoted, which we also annex for the gratification of
such as are curious in these matters.
"IF THOU'LT PLAY ME FAIR PLAY."
1.
If thou'lt play me fair play,
Bonnie laddie. Highland laddie,
Another year for thee I'll stay,
Bonnie Highland laddie.
For a' the lasses hereabouts,
Bonnie laddie. Highland la ddie,
Marry none but Geordie's louts,
Bonnie Highland laddie.
2.
The time shall come when their bad choice,
Bonnie laddie. Highland laddie.
They will repent, and we rejoice,
Bonnie Highland laddie.
I'd take thee in thy Highland trews,
Bonnie laddie. Highland laddie,
Before the rogues that wear the blues,
Bonnie Highland laddie.
3^
Our torments from no cause do spring,
Bonnie laddie. Highland laddie.
But fighting for our lawful king,
Bonnie Highland laddie. '
Our king's reward will come in time,
Bonnie laddie. Highland laddie.
And constant Jenny shall be thine,
Bonnie Highland laddie.
414 CCCCLXVIII. THE HIGHLAND LADDIE.
4.
There's no distress that earth can bring,
Bonnie lassie, Lawland lassie.
But I'd endure for our true king,
Bonnie Lawland lassie.
And were my Jenny but my own,
Bonnie lassie, Lawland Iassie>
I'd undervalue Geordie's crown,
Bonnie Lawland lassie.
The air to which the foregoing songs are adapted is very
spirited. It appears without a name in Oswald's Caledonian
Pocket Companion, book i. page 36, under a slow air called
" The Highland Laddie." But the old appellation of the
air was " Cockle Shells," and was known in England during
the usurpation of Cromwell, for it is printed in Playford's
" Dancing Master," first edition, in 1657. The Jacobites,
as has already been observed, composed no new tunes, but
adapted their songs to such airs as were well-known favourites
of the public.
In the Reliques, Burns, alluding to this tune, says, " a-
nother Highland Laddie, also in the Museum, vol. v. is the
tune of several Jacobite fragments. One of these old songs
to it only exists, as far as I know, in these four lines :
" Whare hae ye been a' day,
Bonnie laddie, Highland laddie,
Down the back o' Bell's brae,
Courtin' Maggie, courtin' Maggie."
CCCCLXIX.
CHRONICLE OF THE HEART.
This ballad, beginning " How often my heart has been
by love overthrown,"" was written by the Hev. Dr Thomas
Blacklock. The verses are adapted to the tune called
" Gingling Geordie," which seems to be an old Highland
pibroch. Indeed, it has such a striking resemblance to the air
published in Oswald's Caledonian Pocket Companion, under
the title of " Pioberachd Mhic Dhoniul," and lately reprint-
ed with variations in Albyn's Anthology, vol. i. with the
title of « Pibroch of Donald Dubh," that there can scarcely
be a doubt as to the locality of tlie air.
415
CCCCLXX.
WILT THOU BE MY DEARIE ?
This charming little song was written by Burns for the
Museum. It is adapted to the first strain of an old strath-
spey, called " The Souter's Daughter." Burns, in a note
annexed to the words says, " tune The Souter's Daughter
N. B. — It is only the first part of the tune to which the
sons: is to be set."
The Souter s Daughter is printed in Bremner's Collection
of Reels, in 1764. It also appears in Niel Gow and Son's
Collection, and in several others.
CCCCLXXI.
LOVELY POLLY STEWART.
This song, beginning " O Lovely Polly Stewart," was
written by Burns for the Museum. The words are adapted
to an old favourite tune, called " Miss Stewart's Reel," to
which some Jacobite verses, written about the year 1748,
were adapted when the tune received the new name of
" You're Welcome Charlie Stewart." These verses were
printed in the Collection of Loyal Songs, Poems, &c. 1750,
and are now annexed to give the reader an idea of the spirit
of those times.
CHORUS.
You're welcome, Charlie Steivart,
You're welcome, Charlie Stewart,
You're welcome, Charlie Stewart,
There's none so right as thou art.
Had I the power as I've the will,
I'd make thee famous by my quill.
Thy foes I'd scatter, take, and kill.
From Billingsgate to Duart.
You're welcome, S^c.
Thy sympathising complaisance
Made thee believe intriguing France ;
But woe is me for thy mischance !
Which saddens every true heart.
You're luelcome, S^c.
Hadst thou CuUoden battle won.
Poor Scotland had not been undone.
Nor butcher'd been with sword and gun
By Lockhart and such cowards.
You're welcome, <Sfc.
416 CCCCLXXL— LOVELY POLLY STEWART.
Kind Providence, to thee a friend,
A lovely maid did timely send.
To save thee from a fearful end.
Thou charming Charlie Stewart.
You re welcome, Sjc.
Great glorious prince, we firmly pray.
That she and we may see the day.
When Britons all with joy shall say.
You're welcome Charlie Stewart.
You're welcome, S^c.
Though Cumberland, the tyrant proud.
Doth thirst and hunger after blood.
Just Heaven will preserve the good
To fight for Charlie Stewart.
You're welcome, S^c.
When e'er I take a glass of wine,
I drink confusion to the swine ;
But health to him that will combine
To fight for Charlie Stewart.
You're welcome, <Sfc.
The ministry may Scotland maul.
But our brave hearts they'll ne'er enthrall ;
We'll fight like Britons, one and all.
For liberty and Stewart.
You're welcome, S^c.
Then haste, ye Britons, and set on
Your lawful king upon the throne ;
To Hanover we'll drive each one
Who will not fight for Stewart.
You're welcome, <Sfc.
CCCCLXXII.
THE HIGHLAND BALOW.
This curious song, beginning " Hee balow, my sweet wee
Donald," is a versification, by Bums, of a Gaelic nursery
song, the literal import of which, as well as the air, were com-
municated to him by a Highland lady. The bard's original
manuscript is in the Editor's possession.
Cromek, in his " Select Scottish Songs," vol. i. p. 73, has
copied this song without acknowledgment from the Museum ;
and he thus introduces it to his readers : — " The time when
the moss-troopers and cattle-drivers on the borders began
5
CCCCLXXII. THE HIGHLAND BALOW. 417
their nightly depredations, was the first Michaelmas moon.
Cattle-stealing formerly was a mere foraging expedition ; and
it has been remarked, that many of the best families in the
north can trace their descent from the daring sons of the
mountains. The produce (by way of dowry to a lord's
daughter) of a Michaelmas-moon is proverbial ; and, by the
aid of Lochiel's lanthorn, (the moon,) these exploits were the
most desirable things imaginable. Nay, to this day a High-
lander, that is not a sturdy moralist, does not deem it a very
great crime to lift (such is the phrase) a sheep now and then.
If the reader be curious to contemplate one of these heroes in
the cradle, he may read the following Highland balow or nur-
sery song. It is wildly energetic, and strongly characteristic
of the rude and uncultivated manners of the Border Islands.'*
Hee, balow, my sweet wee Donald,
Picture of the great Clanronald ;
Brawlie kens our wanton chief
Wha got my young Highland thief.
Leeze me on thy bonnie cragie.
An thou live, thou'll steal a nagie;
Travel the country thro' and thro'.
And bring hame a Carlisle cow.
Thro' the lawlands, o'er the border,
Weel, my babie, may thou furder —
Heriy the lowns o' the laigh countrie.
Syne to the Highlands hame to me.
CCCCLXXIII.
AULD KING COUL,
This humorous old ballad appears in Herd's Collection, in
1776, under the title of « Old King Coul." The version in
the Museum was furnished by Burns. It is, however, almost
verbatim the same as Herd's copy. Auld King Coul was the
fabled father of the giant Fyn M'Coule. The following ac-
count of this latter personage is given by Hector Boetius,
as translated by Bellendyne : — " It is said, that Fyn Mac-
CouLE, the sonne of Coelus, Scottisman, was in thir days
(of Kyng Eugenius, fiith century) anc man ofhugesta-
418 CCCCLXXIII. AULD KING COUL.
ture, of seventeen cubits hycht. He was ane gret hunter,
rycht terrybill for his huge quantitie to the pepyll, of quhom
ar mcmy vulgar fahyllis amang us^ nocht unlyke to thir fa-
byUis that ar rehersit of Kyng Aethuee. But becaus his
dedis is nocht authorist by autentic authoris, I will rehers
nathyng thairof, bot declare the remanent gestis of Kyng
EUGENIUS."
Bishop Lesley's account (anno 1570) is in these words : —
" Multorum opinio est, Finnanum quondam, Coeli filium,
nostra lingua Fyn-Mac-Coul dictum, ingentis magnitudinis
virum, ea tempeste (A. D. 430) apud nostras vixisse, et tan-
quam ex veterum gigantum stirpe exortum."
The reader will find a curious description of the great Fyn
MacCoule and his gigantic wife, in Sir David Lindsay's in-
terlude of the Droichs. It is the very quintessence of absur-
dity. The following verse of it may suffice. Of Fyn Mac-
Coule, it is said —
He had a wyfe was mekile of clift,
Hir held was heichar nor the lyft ;
The hevin rerdit when she wad rift ;
The lass wes nathing schlender.
Scho spatt Loch Lowmond with her lippis ;
Thunder and fire flawght flew fra her hippis,
Quhan scho was crabbit, the sone-thol'd clippis.
The feynd durst nocht offend her.
The well-known English song of " Four-and-twenty Fid-
dlers all in a Row," which first appeared in the sixth volume
of the " Pills," in 1712, is evidently a parody of this bal-
lad of Auld King Coul.
CCCCLXXIV.
THE RINAWAY BRIDE.
This comic song, beginning " A laddie and a lassie dwelt
in the south countrie," is preserved in Yair's Collection, vol.
ii. Edinburgh, 1751, and in Herd's Collection, 1776. The
lively air to which the words are adapted, was communicated
to Mr Clarke by a gentleman from Roxburghshire, who sung
the song with great humour and spirit.
419
CCCCLXXV.
BANNOCKS O' BEAR-MEAL.
This fine old tune was originally called " The Killogie ;"
but the words beginning " A lad and a lassie lay in a Killo-
gie," are inadmissible. In 1688, I^ord Newbottle, eldest son
of William Ker, Earl of Lothian, afterwards created Earl of
Ancram and Marquis of Lothian, wrote a satirical song on
the Revolution, which was adapted to the same air. It was
called " Cakes of Crowdy." A copy of this curious produc-
tion may be seen in the first volume of Hogg's Jacobite Re-
liques. Another song to the same tune, beginning " Ban-
nocks of bear-meal and bannocks of barley," is still sung, but
it possesses little merit. Burns wrote the stanzas in the Mur-
seum in the Jacobite style, in which he interwove the latter
title of the song with the new words.
Cromek, in his " Nithsdale and Galloway Songs,"" has the
following remark : — " In the Scots Musical Museum there
is but one verse and a half preserved of this song. One is
surprised and incensed, to see so many fine songs shorn of
their very best verses for fear they should exceed the bounds
of a page. The editor (Cromek) has collected the two last
heart-rousing verses, which he believes will complete the
song." Here they are :
And claw'd their back at Falkirk's fairly,
Wha but the lads wi' the bannocks of barley ?
Wha, when hope was blasted fairly.
Stood in ruin wi' bonnie Prince Charlie,
An' 'neath the Duke's bluidy paws dreed fu' sairly,
Wha but the lads wi' the bannocks o' barley ?
If Cromek, or his Nithsdale friends who furnished him with
the old songs for that work, had only looked into the Mu-
seum, they would have observed, that the chorus is repeated
to the^r*^ strain of the air, and the two remaining hnes to
the last, — so that Burns' words are quite complete, and re-
420 CCCCLXXV. BANNOCKS O' BEAEMEAL.
quire the tune to be sung twice over. Nay more, they would
have discovered that there was plenty of room on the plate,
had Burns chosen to write a verse or two more. It is there-
fore to be hoped, for the credit of our bard, that his verses
will never be united to the trash that Cromek has endeavour-
ed to palm upon the country as the remnant of what he calls
a heart-rousing old song.
It is a curious fact, that Oswald has inadvertently copied
the air twice in his Caledonian Pocket Companion. In the
third volume of that work, it is printed under the title of
« Bannocks of Bear-meal ;"" and, in the sixth volume, it
again appears under the name of " There was a Lad and a
Lass in a Killogie," from the first line of the old indelicate
words alluded to.
CCCCLXXVI.
WAE IS MY HEART.
This simple old air of one strain was recovered by Burns,
and transmitted to the Editor of the Museum, alongst with
the three beautiful stanzas written by himself, to which the
tune is adapted. The original manuscripts of the melody,
and Burns' verses to it, are in the possession of the Editor.
CCCCLXXVII.
THERE WAS A SILLY SHEPHERD SWAIN.
This old ballad was taken from Herd's Ancient and Mo-
dern Songs, vol. ii. Edinburgh, 1776. In the third volume
of Playford's Wit and Mirth, first edition, in 1702, there is a
ballad, beginning " There was a knight, and he was young,"
in which, though the hero is of higher degree than the silly
shepherd swain in the Scottish ballad, yet the leading inci-
dents, and even some of the stanzas, are so similar, that the
one must have been borrowed from the other. For instance,
There was a knight^ ^nd he was young,
A riding along the way, Sir,
And there he met a lady fair
Among the cocks of hay, Sir.
CCCCLXXVII.— THEKE WAS A SILLY SHEPHERD SWAIN. 421
So he mounted her upon a milk-white steed
Himself upon another ;
And then they rid upon the road
Like sister and like brother.
And when she came to her father's house.
Which was moated round about. Sir,
She stepped straight within the gate.
And shut this young knight out, Sir.
If you meet a lady fair
As you go by the hill. Sir,
If you will not when you may.
You shaU not when you will. Sir.
The English ballad is adapted to the old Scottish tune cal-
led « Boyne Water."
CCCCLXXVIII.
KIND ROBIN LOES ME.
The words of this song, beginning " Robin is my only
jo," are taken from Herd's Ancient and Modern Songs, print-
ed in 1776. There is a much older set of verses to the same
air, however, but they are not quite fit for insertion.
In the " Scotch Presbyterian Eloquence," which was writ-
ten in the year 1692, it is said, that Mr James Kirkton, in
October last, preaching on hymns and spiritual songs, told
the people — there be four kinds of songs — -profane songs, ma-
lignant, allowable, and spiritual songs ; as,
My mother sent me to the well —
She had better gane hersell ;
For what I gat I darna tell.
But kind Robin loes me.
This author of the Presbyterian Eloquence, however, was
incorrect in giving these four lines as a verse of " Kind
Robin loes me," for the three first lines belong to an old
song called " Whistle o'er the Lave o't," which may be seen
422 ' ccccLxxvm. — kind robin loes me.
in Herd's Collection above referred to. The old words of
*' Kind Robin loes me" begin thus :
Hech hey ! Robin, quo' she.
Heck hey ! Robin, quo' she,
Hech hey ! Robin, quo' she,
Kind Robin loes me.
Robin, Robin, let me be
Until I win the nourrice fee ;
And I wUl spend it a' wi' thee.
For kind Robin loes me.
&c. &c. &c.
The following beautiful verses to the same tune, which is
one of our best melodies, were published in the " Vocal Ma-
gazine," printed by Charles Stewart and Co. at Edinburgh
in 1798.
1.
Come all ye souls devoid of art.
Who take in virtue's cause a part.
And give me joy of Robin's heart.
For kind Robin lo'es me.
O happy, happy was the hour
And blest the dear delightful bow'r,
■ Where first I felt love's gentle pow'r.
And knew that Robin lo'ed me.
2.
O witness ev'ry bank and brae !
Witness, ye streams, that thro' them play !
And ev'ry field and meadow gay.
That kind Robin lo'es me !
Tell it, ye birds, from ev'ry tree !
Breathe it, ye winds, o'er ilka lea !
Ye waves, proclaim from sea to sea.
That kind Robin lo'es me !
3.
The winter's cot, the summer's shield.
The freezing snaw, the flow'ry field.
Alike to me true pleasures yield.
Since kind Robin lo'es me.
For warld's gear I'll never pine.
Nor seek in gay attire to shine ;
A kingdom's mine if Robin's mine.
The lad that tndy lo'es me.
4S3
CCCCLXXIX.
WE'LL PUT THE SHEEP HEAD IN THE PAT,
This is merely a fragment of an old silly ballad, which
was printed in the sixth volume of " Wit and Mirth," Lon-
don 1712. It consists of six stanzas, beginning " Poor San-
dy had marry 'd a wife ;" but they are not worth the tran-
scribing.
CCCCLXXX.
HERE'S HIS HEALTH IN WATER.
This short song, of two stanzas, beginning " Although my
back be at the wa'," was written by Burns. The words are
adapted to a tune, called " The Job of Journey Work," in
Aird's Collection, vol. iii. The song has a jocular allusion
to the situation of Mrs Burns previous to her marriage with
the bard. See Curries Life of Burns, vol. i.
CCCCLXXXI.
THE MAID GAED TO THE MILL.
This foolish song was copied from Herd's Collection, and
adapted to the old air of " John Anderson, my Jo." Many
similar double-meaning ditties occur in Playford's Wit and
Mirth, and Herd's version seems to have been compiled from
one of them.
CCCCLXXXII.
SIR PATRICK SPENS;
This fine old ballad, beginning " The King sits in Dum-
fermline town," has been a favourite in Scotland for many
generations. Bishop Percy, in his " Reliques of Ancient
English Poetry," vol. i. printed in 1765, published a copy
of it under the title of " Sir Patrick Spence, a Scottish bal-
lad, from two M.S. copies transmitted from Scotland." " In
what age (continues this learned editor) the hero of this bal-
lad lived, or when this fatal expedition happened, that proved
so destructive to the Scots nobles, I have not been able to
2 H
424 CCCCLXXXII. SIR PATRICK SPENS.
discover ; yet am of opinion that their catastrophe is not al-
together without foundation in history, though it has escaped
my observation.'' Percy's Reliques, vol. i. p 71.
Though history is silent respecting some incidents of the
ballad, uniform tradition is not. Alexander III. of Scotland,
(whose favourite residence was at Dunfermline,) having the
misfortune, before his decease, to lose his queen and all his
children, assembled a parliament at Scoone in 1284, when it
was settled, that, in the event of his death, the crown of Scot-
land should descend to his grand-daughter Margaret, styled
by historians, " The Maid of Norway," who was the only
child of Eric, King of Norway, by his Queen Margaret,
daughter of Alexander III. Anxious to see his grand-
daughter and successor, he despatched one of his ablest sea-
captains. Sir Patrick Spens, to Norway, accompanied by se-
veral Scottish nobles, to fetch the young princess to Scotland.
King Eric, however, after various procrastinations, refused
to allow his daughter to embark, and Sir Patrick Spens, on
returning, at a late season of the year, from this fruitless ex-
pedition, was shipwrecked in a hurricane off the coast of
Scotland, and all on board perished.
In the mean time, Edward I. of England conceived the
idea of marrying his eldest son, Edward Prince of Wales, to
the heiress of Scotland, a measure equally agreeable to Alex-
ander and the Scots nobles ; for by this marriage the two king-
doms would have been united, and those bloody and destructive
wars, which afterwards desolated both kingdoms for three cen-
turies, would, in all probability, never have taken place; but
Providence had otherwise decreed it. Alexander III. being
accidentally killed by a fall from his horse near Petty cur, the
Scottish parliament despatched Sir David Wemyss and Sir
Michael Scott on a second expedition, to receive their young
queen, but the death of the Maid of Norway totally ruined
a scheme concerted between England and Scotland, which
CCCCLXXXII.—- SIB PATRICK SPENS. 425
might have been productive of the most beneficial conse-
quences to both kingdoms.
" It is somewhat remarkable (says Arnot, in his History of
Edinburgh) that there are but three celebrated captains
mentioned in Scottish story, Sir Patrick Spens, Sir Andrew
Wood, and Andrew Barton, of whom the two first perished
in storms, the last in a naval engagement with the English."
Scotland, indeed, appears to have been almost destitute of a
navy at this period ; nor did the habits of the people, in these
times, dispose them to follow maritime affairs. Hence the
insufficiency of their ships, their ignorance of naval tactics,
and the liability to shipwreck in rough seas. Even so late as
the reign of James III. it was enacted, " That there be nae
schip fraughted out of the realm, with ony staple gudes, frae
the feast of Simon's and Jude's day, unto the feast of the
purification of our lady, called Candlemas,"" (that is to say,
from the 28th of October to the 2d of February thereafter,)
under the penalty of .£'5. And this penalty was raised to
.^20 in the reign of his grand-son James V. What a miser-
ably picture of the state of the naval tactics and commerce of
Scotland in these days !
Bishop Percy informs us, that " in some modem copies,
instead of Sir Patrick Spens, hath been substituted the name
of Sir Andrew Wood, a famous Scottish admiral, who flour-
ished in the time of Edward IV. but whose story has nothing
in common with this ballad. As Wood was the most noted
warrior of Scotland, it is probable that, like the Theban
Hercules, he hath engrossed the renown of other heroes.*"—
Percy's Reliques.
The copy of the ballad in the Museum is exactly the same
as that inserted in the Reliques of Ancient English Poetry,
which has been elegantly translated into the German lan-
guage by Professor Herden, in a work entitled the " Volk
Leider.-'' It has since been printed, with additions, in Sir
Walter Scotfs Minstrelsy of the Border, vol. i.
-iSG
CCCCLXXXIII.
THE WREN, OR LENNOX'S LOVE TO BLANTYRE.
This old Nursery Song, beginning " The wren scho lies
in care's bed," was taken from Herd's Ancient Songs and
Ballads, The words are adapted to the beautiful air called
" Lennox's Love to Blantyre," which is frequently played as
a dancing-tune. This tune is modelled from the air called
" O dear Mother what shall I do."
CCCCLXXXIV,
GUDE WALLACE.
This old ballad, commemorating some real or supposed
achievements of " the hero of Scotland," was recovered by
Burns, and transmitted, alongst with the melody (taken down
from oral communication) to the publisher of the Museum.
The bards MSS, of the music and the words are in the pos-
session of the editor.
That the heroic Sir William Wallace of Ellerslie, near
Paisley, was the subject of many songs and ballads, though
now, perhaps, irrecoverably lost, cannot be doubted ; for some
of them are expressly referred to as evidence of this historical
fact in Fordon's Scotichronicon, vol. ii. page 176. That in
the Museum, beginning " O for my ain king, quo' gude Wal-
lace," is the only baUad relating to the actions of this hero
that the Editor has either met with or heard sung. It is,
however, evidently imperfect, and has no doubt suffered
greatly, in passing, by oral recitation, from one generation to
another* The leading incidents of the ballad are neverthe-
less corroborated by a similar account in Blind Henry the
Minstrel's Metrical Life of the Acts and Deeds of Wallace,
book V,
Many of the adventures and exploits related by this an-
cient minstrel, however, have been reckoned apocryphal, and
even apparently supernatural. The destruction of the early
historical records of Scotland unfortunately leaves the truth or
CCCCLXXXIV,— GUDE WALLACE.
falsehood of these traditional relations in a great measure un-
decided. But we have sufficient evidence to convince us, that
Wallace possessed uncommon strength and activity of body ;
a constitution capable of enduring the most severe privations
and fatigue ; a mind at once firm, bold, and energetic ; he
not only delivered his country from the oppression and tyran-
ny of Edward I., but likewise made severe retaliations on the
dominions of that monarch. He became the scourge and
terror of the English, who watched every opportunity to de-
stroy him. Notwithstanding his eminent and glorious ser-
vices in behalf of Scotland, he was, at length, treacherously
betrayed by his countryman, Sir John Menteith, and de-
livered into the hands of the relentless and cruel Edward,
who basely murdered the gallant hero, in the year 1303. —
All these facts are on record, and it is not quite fair to dis-
regard traditional relations, in so far, at least, as they do not
appear inconsistent with probability. Indeed, many other
equally miraculous exploits of the Scottish hero have been
handed down by tradition, and are still current among the
peasantry in England, with whom Wallace could scarcely bo
thought to be a favourite.
CCCCLXXXV.
THE AULD MAN'S MARE'S DEAD.
The words and air of this comic old song were composed
by Patrick Birnie of Kinghorn, a celebrated musician and
rhymer of his day. It is probably as old as 1660. Ramsay,
in one of his poems printed in 1721, entitled " Elegy on
Patie Birnie," says.
Your honour's father, dead and gane,
For him he first wad make his mane.
But soon his face cou'd make ye fain.
When he did sough ;
O wiltu, wiltu, dot again ?
And gran'd and leugh.
428 CCCCLXXXV.— THE AULD MAN's MAHE'S DEAD,
This sang he made frae his ain head.
And eke, " The auld man's mare's dead—
The peats and turfs and a's to lead ;"
O fy upon her!
A bonny auld thing this indeed,
An't like your honour.
CCCCLXXXVI.
THE WINTER OF LIFE.
This song was written by Burns for the Museum. It
begins " But lately seen in gladsome green." He likewise
communicated the plaintive air to which his verses are
adapted. It is apparently borrowed from the English tune
of Chevy-Chace, in Dale's Collection.
CCCCLXXXVII.
GOOD MORROW, FAIR MISTRESS.
Thk words of this song were taken from Herd's Ancient
and Modern Songs in 1776. The original air, which is real-
ly beautiful, was communicated to Mr Clarke by a gentle-
man who sung the song with much pathos and feeling.—
Mr Ritson copied the words into his Collection, and left
blank lines for the music, as he was unable to discover the
genuine air. The words and music first appeared together in
the Museum, but the song is known to be pretty ancient.
CCCCLXXXVIII.
THE HAUGHS OF CROMDALE.
This popular Scottish ballad, beginning " As I came in
by Auchindown,"" was long hacked about among the stalls
before it found its way into any regular collection. Ritson
published it with the musical notes in his Scottish Songs, in
1794, and he subjoins the following paragraph with regard to
it : " No notice is taken of this battle in the history of Mon-
trose's wars, nor does any mention of it elsewhere occur.
The only action known to have happened at Cromdale, a
village in Inverness-shire, was long after Montrose's time."
This explanation, however, is neither accurate nor satisfac-
tory. Cromdale is an extensive parish, nearly equally situ-
CCCCLXXXVIII. THE HAUGHS OF CROMDALE. 429
ated in the counties of Inverness and Moray. Its length is
fully twenty, and its breadth, in some places, nearly twelve
miles. Though the appearance of the country is somewhat
bleak, and the soil in general thin and arid, yet the haughs,
or low grounds, on the banks of the river Spey are very fer-
tile. In this parish, the covenant forces at first obtained a
slight advantage over the Highlanders, but were soon there-
after routed with great slaughter.
With respect to the ballad, it seems either to have been
written at a later period than the events which it is intended
to record took place, or else, it has been imperfectly transmit-
ted by oral communication. The old name of the tune, as
appears from a manuscript of it in the Editor's possession,
was " Wat ye how the Play began Y' and this is likewise the
title of it in Oswald's Caledonian Pocket Companion. Be-
sides, the troops which were raised by the Lords of the Cove-
nant to oppose Montrose were not styled Cromwell's men,
as they are denominated in the last stanza of the ballad, al-
though that appellation not long thereafter came to be be-
stowed on the parliament armies which combated the royal
forces.
But to return to the ballad. After taking Dundee by
assault, the Marquis of Montrose delivered up that ill-
fated town and neighbourhood to be pillaged by his fero-
cious and blood-thirsty troops. The approach of the " Army
of the Covenant," however, under the command of Generals
Baillie and Urrey, put a stop to these ravages, and compelled
Montrose to retreat upwards of sixty miles, and to take shel-
ter amongst the mountains of Perthshire. Baillie and Urrey
having afterwards imprudently divided their forces, the latter
pushed forward his division to Cromdale, where he surprised
and routed some Highlanders under the command of Alexan-
der M'Donald, a firm royalist, and staunch adherent of Mon-
trose, from his earliest career. As soon as Montrose obtained
intelligence of this event, and of the separation of the Cove-
nant forces, he commenced a most rapid and dexterous march
430 CCCCLXXXVIII. THE HAUGHS OF CROMDALE.
from Loch Katrine to the heart of Inverness-shire, and on the
4th May 1645, having come up with the troops under the com-
mand of Urrey at the village of Auldern,he defeated them with
prodigious slaughter, although his forces scarcely amounted to
the half of those of his opponent. Baillie, who was a veteran
and skilful officer, now advanced to Strath bogie to revenge
Urrey's defeat ; but he experienced a similar disaster, the
greater part of his men being left dead on the field in tlie
vicinity of Alford. Encouraged by tliese briUiant successes,
Montrose now descended into the low country, and fought
another bloody and decisive battle near Kilsyth, where 6000
covenanters fell under the Highland claymores. These
splendid victories at length opened the whole of Scotland to
Montrose, and Charles I., as a reward for his services, ap-
pointed him Captain-general and Deputy-governor of that
kingdom, upon which he summoned a Parliament to meet at
Glasgow, on the 29th October 1645. But neither Charles
nor Montrose were destined long to enjoy the fruits of these
victories, for the former had the misfortune to be brought to
the scaffold by his rebellious subjects, on 30th January 1649,
and Montrose, after having been defeated by General Leslie
at Philhphaugh, in the county of Selkirk, and afterwards
by Colonel Strachan in the county of Ross, shared a similar
fate at Edinburgh, on the 21st May 1650.
In excuse for the Scots, it must be remembered, that the
bloody battle of Kilsyth, where 6000 brave but inex-
perienced soldiers fell a sacrifice while fighting for their re-
ligion, the freedom of conscience, and the liberties of their
country, combined with the cruelties which Montrose had
committed on the inhabitants of Dundee and in various
other parts of Scotland, were still fresh in the minds of his
antagonists. Nor was Montrose himself fi-ee from the guilt
of murder and apostacy. For, at first he joined the cove-
nanters, and in his zeal forced the inhabitants of Aberdeen
to take the covenant ; he even crossed the Tweed in 1640,
CCCCLXXXVIIl. — THE HAUGHS OF CROMDALK. 431
and routed the vanguai'd of the Kings's cavalry. Yet, in
1643, he abandoned the religious tenets he had sworn to ad-
here to, espoused the royal cause, and delivered up the
town of Aberdeen to destruction and pillage, in order to ex-
piate the very principles which he himself had formerly im-
posed upon them. Montrose was undoubtedly one of the
most able and brave generals that ever existed, but his me-
mory will ever be tarnished by the horrid acts of cruelty i
and oppression which he exercised on his unfortunate coun- *
trymen.
CCCCLXXXIX.
NO DOMINIES FOR ME, LADDIE.
This humorous ballad, beginning " I chanc'd to meet an
airy blade," was copied from Yair's Charmer, vol. ii. p. 347,
printed at Edinburgh in 1751. It also appears in Herd's
Ancient and Modern Songs. Ritson likewise inserted it in
his Collection in 1 784, and left blank lines for the music, as
he could not discover the tune. But the late James Bal-
four, Esq. accountant in Edinburgh, who was a charming
singer of Scottish songs, obligingly communicated the ori-
ginal melody, which enabled the publisher of the Museum to
present both the words and music to the public for the first
time in that work.
The Editor is credibly informed, that this ballad was writ-
ten by the late Rev. Mr Nathaniel Mackay, minister of
Cross-Michael, in the stewartry of Kirkcudbright.
ccccxc.
THE TAILOR.
This jocose effusion of Burns, beginning " For weel he
kend the way, O," was written on purpose for the Museum.
The words are adapted to an old reel tune in Bremner's Col-
lection, 1764, entitled " The Drummer." This tune was
selected by Mr O'Keefe, for one of his songs in the comic
432 CCCCXC. THE TAILOR.
opera of " The Poor Soldier," which was first acted in Co-
vent Garden in 1783. It begins, " Dear Kathleen, you no
doubt."
ccccxci.
THE WEE WIFEIKIE.
This exquisitely comic and humorous Scottish ballad, be-
ginning '* There was a wee bit wifeikie, and she gaed to
the fair," was written by Dr Alexander Geddes, a catholic
clergyman, author of Lewie Gordon, and several other poet-
ical pieces of merit.
The words of the song are adapted to a Highland strath-
spey composed by the same author, but it is evidently mo-
delled from the tune called " The Boatie rows." Dr Geddes
likewise altered the old air of " Tarrie Woo," to suit the
words of his " Lewis Gordon."
ccccxcii.
THERE GROWS A BONNIE BRIER-BUSH IN OUR KAlL YARD.
This song, with the exception of a few lines, which are
old, was written by Burns for the Museum. It is according-
ly marked with the letter Z, to denote its being an old song
with additions. Burns likewise communicated the air to
which the words are adapted. It is apparently the progeni-
tor of the improved tune, called " For the lake of gold she's
left me," to which Dr Austin's words are adapted, and
which the reader will find inserted in the second volume of
the Museum. — Vide Song- No 163.
CCCCXCIII.
COULD AUGHT OF SONG DECLARE MY PAINS.
This song was also written by Burns for the Museum.
He took the tune from Oswald's Caledonian Pocket Com-
panion, book vii. page 17th, where it is inserted under the
title of " At setting Day."
But it is not a genuine Scottish melody ; for the air was
composed by the late Samuel Howard, Mus. Doctor, to the
5
CCCCXCIII.— COULD AUGHT OF SONG, &C. 433
verses which Allan Ramsay wrote as a song for Peggy in his
pastoral comedy of " The Gentle Shepherd," beginning
At setting day and rising morn.
With soul that still shall love thee,
I'll ask of Heaven thy safe return.
With all that can improve thee.
^ &c. &c. &c.
Ramsay directed his verses to be sung to the fine tune of The
Bush ahoon Traquair, which is unquestionably far superior to
Dr Howard's air, although the latter, with Ramsay's words,
became a very popular song in England, and was frequently
sung by Mr Lowe, at Vauxhall, with great applause. Tliis
Anglo- Scottish song was printed in Robart's " Caliope, or
English Harmony," vol. ii. London 1739, and again in ano-
ther work, entitled " The Muse's Delight," printed at Liver-
pool in 1754.
The anonymous editor of the work entitled " Musical Bio-
graphy," printed at London in 2 vols 8vo, 1814, informs us,
that Dr Howard, " who was educated at the Chapel Royal,
was not more esteemed for his musical talents than he was be-
loved for his private virtues, being ever ready to relieve dis-
tress, to anticipate the demands of friendship, and to prevent
the necessities of his acquaintance. He was organist of the
churches of St Clement Danes and St Bride. His ballads
were long the delight of natural and inexperienced lovers of
music, and had at least the merit of neatness and facility to
recommend them. He preferred so much the style of music
of his own country to that of any other, that nothing could
persuade him out of a belief that it had not then been excelled.
He died at his house in Norfolk-street, in the Strand (Lon-
don) on the 13th of July 1782, and was succeeded in his si-
tuation of organist of St Clement's by Mr Thomas Smart,
and that of St Bride's by Mr Thomas Potter, the son of the
flute-maker of that name." — Mus. Biog. vol. ii. p. 200.
434
CCCCXCIV.
O DEAR! WHAT CAN THE MATTER BE?
The Editor has not yet been able to discover the author of
the words, or the composer of this air. Johnson copied the
song from a single sheet, published by Messrs Stewart & Co.
music-sellers, South Bridge, Edinburgh, which is entitled
" The favourite duet of O dear, what can the matter he T'
It appears to be an Anglo-Scottish production, not many yeajrs
anterior to the publication of the Museum, and is still a fa-
vourite.
ccccxcv,
HERE'S TO THY HEALTH, MY BONNIE LASS.
This song was written by Burns for the Museum. The
words are adapted to a beautiful strathspey tune, called " Lag-
gan Burn," which Burns communicated along with another
air to the same words, that Mr Clarke might have the option
of adopting either of the two he pleased.
The Editor, on looking into the manuscript of the music,
observes the following note to Johnson, in the hand-writing
of Mr Clarke : " This song must have a verse more or a verse
less. The music intended for it was so miserably bad, that I
rejected it ; but luckily there was a tune called ' Laggan
Burn' on the opposite side, which will answer very well, by
adding a verse or curtailing one. I know that Burns wilj
rather do the former than the latter.
" P. S. When I wrote the above, I did not observe that
there was another verse on the opposite page."
There is a striking resemblance between this tune of " Lag-
gan Burn" and "Lady Shaftsbury's Strathspey," composed
by Mr Nathaniel Gow, and pubUshed in his Third Collection,
page 15.
occcxcvi.
JENNY'S BAWBEE.
The old words of this song, beginning " And a' that e^er
my Jenny had," were copied from Herd's Ancient and Mo-
dern Songs, Edinburgh 1776, and are adapted to their ori-
ccccxcvi. — jenny's bawbee. 435
glnal air, which has long been a favourite dancing tune. The
following humorous verses, to the same air, do credit to the
pen of their ingenious author, Alexander Boswell of Auchin-
leck, Esq. M. P.
I MET four chaps yon birks amang,
Wi' hinging lugs and faces lang ;
I speer'd at neebour Bauldy Strang,
Wha's they I see?
Quo' he, ilk cream-fac'd pawky chiel
Thought he was cunning as the diel.
And here they cam awa to steal
Jenny's bawbee.
The first, a captain to his trade,
Wi' skull ill-lin'd, but back weel clad,
March'd round the barn and by the shed.
And pap'd on his knee :
Quo' he, " My goddess, nymph, and queen.
Your beauty's dazzled baith my een ;"
But deil a beauty he had seen
But Jenny's bawbee.
A lawyer niest, wi' blethrin gab,
Wha speeches wove like ony wab.
In ilk ane's corn ay took a dab.
And a' for a fee :
Accounts he ow'd through a' the town.
And tradesmens' tongues nae mair cou'd drown.
And now he thought to clout his gown
Wi' Jenny's bawbee.
A norland laird niest trotted up, ,
Wi' bawsend naig and siller whup.
Cried, " There's my beast, lad, had the grup.
Or tie't till a tree :
What's gowd to me, I've walth o' Ian',
Bestow on ane o' worth your han' ;"
He thought to pay what he was awn
Wi' Jenny's bawbee.
Dress'd up just like the knave o' clubs,
A THING cam niest (but Ufe has rubs,)
Foul were the roads and fou the dubs.
And jaupit a was he.
He danc'd up, squintin through a glass.
And grinn'd, " I' faith a bonnie lass !"
He thought to win, wi' front o' brass,
Jenny's bawbee.
436 ccccxcvi. — jenny's bawbee.
She bade the laird gae kaim his wig.
The soger no to strut sae big.
The lawyer no to be a prig ;
The fool cried, " Tehee !
I kent that I could never fail !"
But she prin'd the dishclout to his tail.
And sous'd him wi' a water-pail.
And kept her bawbee.
CCCCXCVII.
IT WAS A' FOR OUR RIGHTFU' KING.
This is another production of Burns, in allusion to " the
royal family of Stuart,"" and the unfortunate fate of many of
its adherents. The beautiful air to which his verses are
adapted, consisting of one strain, was also communicated by
the bard. Mr Hogg had been informed by some person,
who thought this an old song, that it was written by a Cap-
tain Ogilvie, who was with King James at the battle of the
Boyne, and was afterwards killed on the banks of the Rhine
in 1695.
ccccxcvin.
THE HIGHLAND WIDOW'S LAMENT.
This pathetic ballad, of eight stanzas, beginning " Oh ! I
am come to the low countrie," was wholly composed by Burns
for the Museum, unless we except the exclamation Ochon,
ocJion, ochrie ! which appears in the old song composed on
the massacre of Glencoe, inserted in the first volume of the
Museum. — Vide Song No 89-
Burns likewise communicated the plaintive Gaelic air, which
he obtained from a lady in the north of Scotland, and of which
he was remarkably fond. The bard's own manuscripts, both
of the words and of the music, are in the present Editor's
possession. Burns, it is observed, had misplaced some of the
bars in the melody, which Mr Clarke has rectified in the Mu-
seum. The words and music first appeared in print in the
fifth volume of that Avork.
Burns never could reflect on the unnecessary and indis-
criminate severities which the Duke of Cumberland exerci-
CCCCXCVIII. THE HIGHLAND WID0W**3 LAMENT. 487
sed on the vmfortunate inhabitants of the Highlands after
the battle of Culloden (fought on the 16th April 1746), but
his heart thrilled with sensations of the deepest detestation
and horror. In the month of May following, the Duke ad-
vanced as far as Fort Augustus, where he encamped, and
sent off detachments to ravage the whole country. " The
castles of Lovat, Glengary, and Lochiel, were destroyed ;
the cottages were burnt to the ground ; the cattle driven
away ; and the wives and children of the hapless rebels, if
spared from conflagration and the sword, were driven out to
wander, houseless and without food, over the desolate heath.
So alert were these ministers of vengeance in the execution of
their office, that in a few days there was neither house, cottage,
man, nor beast, to be seen within the compass of jifty miles ;
all was ruin, silence, and desolation." — Simpsons Hist, of
Scotland. The keen sensibility which these barbarities ex-
cited in the feeling and susceptible mind of Burns, gave rise
to several exquisite ballads from his versatile pen, in allu-
sion to these horrid times of butchery and havoc. *' The
Lovely Lass of Inverness ;" " It was a' for our rightfu'
King ;" " The Highland Widow's Lament ;" and several
other of his songs, in the Museum, are proofs of this fact.
The present ballad, however, like many others of our
great bard, has had the misfortune to be disfigured since its
first publication, by three additional verses of a modern poet-
aster, who has neither paid regard to the vieasure of the ori-
ginal stanzas, nor to the melody to which they were adapted.
Cromek, as usual, first set the example, in his " Nithsdale and
Galloway Song," and he has since been copied by later pub-
lishers of Scottish songs. The interpolated verses are an-
nexed, to enable the reader to distinguish the old lines from the
spurious.
" I HAE nocht left me ava,
Ochon, ochon^ ochrie !
But bonnie orphan lad-weans twa.
To seek their bread wi' me.
438 ccccxcviir.— THE highland widow's lament.
I hae yet a tocher band,
Ochon, ochon, ochrie !
My winsome Donald's durk and bran',
Into their hands to gie.
There's only ae blink o' hope left.
To lighten my auld ee.
To see my bairas gie bludie crowns
To them gar't Donald die ! ! !"
These fabricated stanzas are no more to be compared with
the fine verses of Burns, than the daubings of a sign-painter
with the pictures of Raphael.
ccccxcix, '
GLOOMY DECEMBER.
This charming and pathetic song, beginning " Ance mair
I hail thee, thou gloomy December," was written by Burns for
the Museum. The words are adapted to a plaintive, slow air,
which was also communicated by the bard. This song was
originally intended for the air, " Here awa, there awa"*, bide
awa', Willie," which would have answered it far better ; but, as
that tune had been printed in a former part of the Museum,
Johnson wished another for the sake of variety.
D.
EVAN BANKS.
This fine song, beginning " Slow spreads the gloom my
soul desires," was likewise written by Burns for the same
work. The words are adapted to a slow air, taken from
Oswald's Caledonian Pocket Companion, book i. page 18, en-
titled, " Green grows the Rashes," but it is evidently the
same tune as " Gude Night and Joy be wi' you," slightly
varied.
Evan is a small river in Dumfries-shire, in the parish of
Moffat, which takes its rise at Clydesnan, very near the
source of the Clyde.
END OF PART FIFTH.
[ *439 ]
ADDITIONAL ILLUSTRATIONS.
PART V.
CCCCI.
THE LASS OF INVERNESS.
This subject has been finely treated by Mr Allan Cun-
ningbam, in a pathetic song called " The Lovely Lass of
Inverness," which first appeared in Cromek's Reliques of
Nithsdale and Galloway Song.
ccccix.
O GIN YE WERE DEAD, GUDEMAN.
" The concluding stanza of this Song is,
Then round about the fire wi' a rung she ran,
An round about the fire wi' a rung she ran.
An round, &c.
Saying — * Hand awa' your blue breeks frae me, gudeman.' "
(C. K. S.)
CCCCXI.
TAM LIN.
" The name of Walter de Lynne is to be found in Rag-
man's Roll. This Walter," says Nisbet, " is without doubt
the ancestor of the Lynnes of that ilk, a little ancient fa-
mily in Cuningham, but lately extinct." — The Christian
name of Thomlyne occurs also in several old Romances.
" On the subject of such poetical names, it may be men-
tioned here, that Tristram was the ancient appellation of
the Earl of Howth's family, till it was changed, owing to a
signal victory gained by one of the chiefs on St Laurence's
day." {Vide Pedigree of the Earls of Howth, in the Irish
Peerage.)
*2 I
440 * TAM LIN.
" It is remarkable that none of our Scotish ballads con-
tains the names, or is founded on any incident to be met with
in the collections of Ossianic poetry, as far as I have ever
observed; this cannot easily be accounted for; as many
picturesque stories are set forth in these poems, which prob-
, ably, if the whole be not a dream, must have been familiar
to the Scotish Lowlanders." — (C. K. S.)
The account given of Wood's MS. 1566, at pages 369,
407, &c., is not quite accurate. The volume quoted as " Mr
Blackwood's MSS." is now in my possession, and is unques-
tionably an interesting relique of its kind, although of less
antiquity than Mr S. has assigned to it. The Medley
which he quotes, was not written by Wood in 1566, but
has been, inserted, along with various miscellaneous airs,
by a different hand, probably between 1600 and 1620.
The Medley itself is contained along with the " Pleugh
Song," in the second edition of the " Cantus, &c," printed at
Aberdeen, 1666. See the Introduction to the present work.
CCCCXIII.
AULD LANGSYNE.
In Watson's Collection of Scots Poems, Part III.
Edinb. 1711. 8vo, there is a poem entitled " Old Long-
syne," written about the middle of the 17th century. It
contains ten stanzas, divided into two parts, of which the
first and sixth stanzas may serve as a specimen. It is prob-
ably an English ballad, and founded upon one of an earlier
date.
Should old Acquaintance be forgot-
And never thought upon.
The flames of love extinguished.
And freely past and gone ?
Is thy kind heart now grown so cold
In that loving breast of thine,
That thou canst never once reflect
On Old-long-syne ?
AULB LANGSYNE. *441
If e'er I have a house, my Dear,
That truly is call'd mine.
And can afford but country cheer.
Or ought that's good therein ;
The' thou wert Rebel to the King,
And beat with wind and rain.
Assure thyself of welcome Love,
For Old-long-syne.
CCCCXXV.
THE BOATIE ROWS.
Burns has attributed this Song to a person whose death
was thus announced in the Obituaries of the time.
" Oct. 21, 1821— Died at Aberdeen, in the 80th year of
his age, John Ewen, Esq., who was a most useful member
of society, and one of the most respectable public charac-
ters of that place for more than half a century. His exer-
tions in favour of charitable institutions, and for every in-
dividual case of distress that came under his notice, were
zealous and unremitting ; his conduct, as connected with
public affairs, was strictly disinterested; while his great
information on subjects of general interest, merited, upon
all occasions, the respectful attention of the community.
Strangers visiting Aberdeen, who very frequently had in-
troductions to Mr Ewen, will long recollect his assiduous
and polite attentions. Though not a native of Aberdeen,
he had long been regarded as one of her most eminent citi-
zens. With the exception of various sums left to the pub-
lic charities of Aberdeen, he has bequeathed the bulk of his
property (perhaps L. 15, 000 or L. 16,000) to the Magis-
trates and Clergy of Montrose, for the purpose of founding
an Hospital, similar to Gordon's Hospital of Aberdeen, for
the maintenance and education of boys." — ( Scots Magazine,
1821, p. 620.)
This bequest gave rise to a protracted litigation, in the
course of which, the conduct of " this respectable pub-
lic character," in his family settlements, appeared in a very
442 * THE BOATIE ROWS.
singular point of view. He was not, however, a person of
so much note as to make it worth while to state all the par-
ticulars ; but the following notice has been kindly commu-
nicated by James Maidment, Esq., Advocate, who was one
of the counsel employed.
" John Ewen was born in Montrose — he was of humble
origin, and his parents had not the means of giving him
almost any education. His frugality and industry having
early in life enabled him to scrape together a few pounds,
he went to Aberdeen in 1760, and set up a small hardware
shop for the sale of goods.
" From 1760 to 1766, Mr Ewen was not particularly
prosperous, but in the last-mentioned year, he bettered his
circumstances by marrying Janet Middleton, one of the
two daughters of John Middleton, yarn and stocking-maker,
Aberdeen, and of Elizabeth Mac-Kombie, his wife. In
right of this lady, whose father was then dead, Mr Ewen
became possessor of one-half of the property (chiefly herit-
able) of his deceased father-in-law. On the 27th Dec.
1766, a postnuptial contract of marriage was entered into
between the husband and wife, by which she conveys to
her husband her place of the heritage, which consisted of
certain tenements in Aberdeen, a bond for L.lOO, and cer-
tain furniture valued at L.43, 7s. He, in return, conveyed
to her, in case of her surviving him, all his moveable ef-
fects ; but declaring, that if a child or children be alive at
the dissolution of the marriage by Ewen's death, that, in
that case, her right should be restricted to one-half of the
furniture, and an annuity of L.IO per annum. In case of
his survivance, and there being issue, he became bound to
give them all his property, heritable or moveable, which he
might die possessed of.
" Mrs Ewen did not long survive after giving birth
to a daughter. This young lady married in 1787. As Mr
Ewen's parsimony effectually prevented him making any
suitable provision on this occasion, and as his son-in-law had
THE BOATIE ROWS. * 443
only the fortune of a younger brother, the newly-married
pair resolved to leave Scotland, and try their fortune in a
foreign clime. This circumstance, perhaps, originally in-
duced the father to think of devoting his accumulations to
the endowment of an hospital ; however, as the conditions
of the marriage-contract with Miss Middleton necessarily
fettered him, he resolved to endeavour to procure a dis-
charge of the provisions in the deed, upon payment of
small sura of money. This he M'as enabled to effect, and
he thereupon became absolute and unlimited master of pro-
perty, real and personal, of considerable value.
" Ewen died in Oct. 1821, never having taken a second
wife, and leaving behind him a very ample fortune, which
on deathbed he devised to trustees for the purpose of en-
dowing an hospital at Montrose, upon a similar footing
with that of Gordon's at Aberdeen. This settlement was
challenged by his daughter ; and after various conflicting
decisions, was, to the satisfaction of every one, finally set
aside by the House of Peers, on the 17th Nov. 1810, on
the clear legal ground,' which had been very superficially
considered in the Court below, that the deed was void, in
consequence of its uncertainty diXiA. want of precision both as
to the sum to be accumulated by the trustees before they
were to commence building the hospital, and as to the
number of boys to be educated in it when built."
A full report of this lawsuit is contained in Wilson and
Shaw's " Cases decided in the House of Lords on Appeal
from the Courts of Scotland," vol. iv. p. 346-361.
In the Museum, three different sets of this popular air
are given. The following verses, written by Joanna Bail-
lie, for Mr Thomson's Collection, are here copied from
that work, which is enriched with several others by the
same lady. She has imbibed so much of the true character
and feeling of our older lyric poetry, that it is matter of re-
gret she had not directed herself more to this branch of
composition.
444 * THE BOATIE ROWS.
O swiftly glides the bonny boat.
Just parted from the shore ;
' And to the Fisher's chorus note.
Soft moves the dipping oar.
His toils are borne with happy cheer?
And ever may they speed.
That feeble age and helpmate dear.
And tender bairnies feed.
We cast our lines in Largo bay.
Our nets are floating wide.
Our bonny boat with yielding sway^
Rocks lightly on the tide :
And happy prove our daily lot, -
Upon the summer sea ;
And blest on land our kindly cot
Where all our treasures be.
The Mermaid on her rock may sing.
The Witch may weave her charm.
Nor Water-sprite nor eldrich thing
The bonny boat can harm.
It safely bears its scaly store
Thro' many a stormy gale.
While joyful shouts rise from the shore.
Its homeward prow to hail.
We cast our lines in Largo bay, &c.
CCCCXXIX.
AS SYLVIA IN A FOREST LAY.
This song, as stated at page 381, appeared in Ramsay's
Tea- Table Miscellany, The following passages in a letter
of Malloch's, dated Dreghorn, 10th Sept, 1722, seems to
refer to that collection, which is usually considered to have
been first published in 1724. " I saw Captain Hamilton
(of Gilbertfield) some time ago in Edinburgh. He has
made public his Life of Wallace ; and, at the same time, so
far sunk his character with people of taste, that he is thought
to have treated his hero as unmercifully as did Edward of
old. *Tis the fate of Wallace to be always murdered. Mr
Ramsay, again, aspires no higher than humble Sonnets at
present. He has published several collections of Scotch
AS SYLVIA IN A FOREST LAY. * 445
Songs, and wonderfully obliged the young creatures of both
sexes ; the men, by giving them an opportunity of letting
the world see they are amongst the number of those Quos
(Bquus amavit Apollo ; and the women, by making public
those pretty love-songs, where their sparkling eyes, rosy
cheeks, and snowy breasts, are so tenderly described. His
Miscellany Songs are wrote hy various hands. These are
the present entertainments in town."
The above is an extract from one of a series of original
letters by Malloch, addressed to Professor Ker of Aber-
deen, between the years 1720 and 1727. It is to be regret-
ted that he has not described more particularly the vari-
ous hands " that wrote these Miscellany Songs." See
page *383, — Malloch's letters, which are printed in '^ The
Edinburgh Magazine or Literary Miscellany" for 1793,
contain a number of curious literary notices, including some
particulars of his own life.
Mr Stenhouse has, not only in this place, erroneously as-
cribed, " As Sylvia in a forest lay," to Malloch, or Mallet,
but in a former note, at page 58, he has very superfluously
inserted the whole of the song verbatim, (also calling it one
of Mallet's earliest compositions,) overlooking, I presume,
the circumstance that it occurred in this volume of the Mu-
seum. The author of the song was Joseph Mitchell, a
countryman of Mallet's, who, like him, had proceeded to
London to better his fortune. He was the author of one
or two dramatic pieces, as well as poems, and has been no-
ticed by Mr S. at pages 54 and 59. See also an account
of his life in Chalmers's Biographical Dictionary, vol. xxii.
p. 204.
That Mitchell was the author of this song is indubitable,
as it is contained with some variations, under the title of
" Sylvia's Moan," in vol. ii. p. 236, of the collection of his
" Poems on Several Occasions," Lond. 1729, 2 vols,
large 8vo.
Another song by Mitchell, well known as " the Duke of
446 * AS SYLVIA IN A FOREST LAY.
Argyle's Levee," has been usually attributed to Lord Bin-
ning-. The following letter on the subject, was written, I
believe, by Sir David Dalrymple, Lord Hailes, and is copied
from the Edinburgh Magazine for April 1786.
" The ballad known under the name of ' Argyle's Levee'
has been often printed, and Lord Binning has been held
out to the public as its author.
" It is fit that the public should at length be undeceived.
That Lord Binning was the author of that satirical ballad,
is reported on no better authority than a vague popular
rumour.
*■' To this I oppose, first, the mild character of that young
nobleman, who was a wit indeed, but without malice. Se-
condly, the assertion of his brother, who told me, that Lord
Binning, before he went to Naples, where he died, solemnly
declared, that it was not he, but one Mitchell, the author of
a book of poems, who wrote that ballad.
" Should any person wish to know who it is who gives
you this information, he shall be satisfied on leaving his
address with you. I do not choose to let my name be seen
in a magazine ; but I am ready to satisfy the curiosity of
any person who wishes to be satisfied, at the expense of
giving up a popular opinion,
" Give me leave to add, that the notes subjoined to the
ballad, are incorrect and unsatisfactory. It would be easy
for me to explain the obscure passages in it ; but it would
be a task equally disagreeable and useless, to point out the
meaning of obsolete scandal."
Charles Hamilton, Lord Binning, the eldest son of
Thomas sixth Earl of Haddington, was born in the year
1696. He served as a volunteer, along with his father, at
the battle of . Sherrifi"muir, 13th of November 1715. A
song in praise of ^milius, supposed to be written by him
while a youth, in his own commendation, contains a jocular
allusion to his father's terror during that conflict with the
AS SYLVIA IN A FOREST LAY. * 447
rebels. Lord Binning is allowed to have had a fine genius
for lyric poetry, and was much beloved for his amiable dis-
position. He married Rachel, daughter of George Baillle
of Jerviswood, by his wife Lady Grissel Baillie.
It is singular that his much admired pastoral Song,
" Ungrateful Nanny," should not have found a place in the
Musical Museum. It is no doubt full of conceits somewhat
unsuited to such a composition; but there are not many
pastorals of that age superior to it for elegance of expres-
sion and easy flow of verse ; and if ladies and gentlemen
will assume the character of shepherdesses and shepherd's,
they will not incur any disgrace should they indite such
strains as the following song.
-UNGRATEFUL NANNY.
Did ever swain a nymph adore.
As I ungrateful Nanny do ?
Was ever shepherd's heart so sore ?
Was ever broken heart so true ?
My cheeks are swell'd with tears, but she
Has never shed a tear for me.
If Nanny call'd, did Robin stay.
Or linger when she bid me run ?
She only had the word to say.
And all she ask'd was quickly done :
I always thought on her, but she
Would ne'er bestow a thought on me. '
To let her cows my clover taste.
Have I not rose by break of day ?
When did her heifers ever fast.
If Robin in his yard had hay ?
Though to my fields they welcome were,
I never welcome was to her.
If Nanny ever lost a sheep,
I cheerfully did give her two :
Did not her lambs in safety sleep,
Within my folds in frost and snow ?
Have they not there from cold been free,
But Nanny still is cold to me.
448 * AS SYLVIA IN A FOREST LAY.
Whene'er I climb'd our orchard trees.
The ripest fruit was kept for Nan ;
Oh, how those hands that drown'd her bees
Were stung ! I'll ne'er forget the pain.
Sweet were the combs as sweet could be
But Nanny ne'er iook'd sweet on me,
If Nanny to the well did come,
'Twas I that did her pitcher fill ;
Full as they were I brought them home.
Her corn I carried to the mill :
My back did bear her sacks, but she
Would never bear the sight of me.
To Nanny's poultry oats I gave,
I'm sure they always had the best ;
Within this week her pigeons have
Eat up a peck of peas at least :
Her little pigeons kiss, but she
Would never take a kiss from me.
Must Robin always Nanny woo ?
And Nanny still on Robin frown ?
Alas, poor wretch ! what shall I do.
If Nanny does not love me soon ?
If no relief to me she'll bring,
I'll hang me in her apron string.
Lord Binning died at Naples, the 27th of December
1732, O.S., in his 36th year, whither he had gone, with
some of his relations, for the sake of his health.
An epitaph on Lord Binning, by Hamilton of Bangour,
occurs in his Poems, p. 82, edit. 1760, 12mo.
ccccxxxix.
THE ROCK AND THE WEE PICKLE TOW.
Alexander Ross was born on the 13th of April 1699,
in the parish of Kincardine O'Neill, Aberdeenshire ; and
passed through a regular course of study at Marischal Col-
lege, where he took his degree of A.M. in th6 year 1718.
In 1726 he was appointed schoolmaster of Lochlee, in the
THE EOCK AND THE WEE PICKLE TOW. * 449
county of Angus ; and in this secluded and romantic sj)ot
he continued in the humble discharge of that office during the
long period of fifty-six years. He died on the 20th of May
1784, in the eighty -sixth year of his age. His principal
work, " Helenore, or the Fortunate Shepherdess," a pas-
toral tale, was first published at Aberdeen, 1768, 8vo, and
has passed through several editions. To the latest edition,
printed at Dundee, 1812, small 8vo, there is prefixed a
minute and interesting account of the author's life, by his
grandson, the Rev. Alexander Thomson, minister of Len-
trathen. It is to be regretted, however, that Ross's mis-
cellaneous poems had not been added to the volume.
CCCCXL.
TIBBIE FOWLER O' THE GLEN.
Mr R. Chambers, in his collection of " Scottish
Songs," has the following note on this song : " Said to have
been written by the Rev. Dr Strachan, late minister of
Carnwath, although certainly grounded upon a song of
older standing, the name of which is mentioned in the Tea-
Table Miscellany. The two first verses of the song ap-
peared in Herd's Collection, 1776. There is a tradition at
Leith, that Tibbie Fowler was a real person, and married,
sometime during the seventeenth century, to the represen-
tative of the attainted family of Logan of Restalrig, whose
town house, dated 1636, is still pointed out at the head of
a street in Leith, called the Sheriif-Brae. The marriage
contract between Logan and Isabella Fowler is still extant,
in the possession of a gentleman resident at Leith. — See
Campbell's History of Leith, note, p. 314." (vol. ii. p.
378.)
Unfortunately, we cannot rely on the above appropria-
tion of this song, for the simple reason, that there was no
Dr Strachan, minister of Carnwath, during at least the last
three hundred years.
450 * WALY, WALY.
CCCCXLVI.
WALY, WALY.
In his previous note on this pathetic song-, at page 147,
Mr Stenhouse has quoted some lines from Wood's MS.;
but that portion of the MS. was written long subsequent
to 1566. See Note ccccxi. at page * 439.
" In the West country (says Burns), I have heard a
different edition of the second stanza. Instead of the four
lines beginning, ' When Cockle-shells,' &c., the other way
ran thus : -
* O wherefore need I busk my head,
Or wherefore need I kame my hair.
Sin' my fause love has me forsook.
And says, he'll never luve me mair !'"
Reliques, p. 245.
CCCCLI.
HALLOW FAIR.
Robert Fergusson, the eminent but unfortunate pre-
cursor of Burns, was born at Edinburgh on the 17th of
October 1750. He received part of his elementary edu-
cation at Dundee, and, with the view of coming out for the
Church, he was sent to pursue his studies at St Andrew's.
Circumstances having occurred to make him change his
views, he came to Edinburgh, and was chiefly employed in
copying law-papers in the office of the Commissary-clerk.
At the same time, he became a stated contributor of verses
to Ruddiman's Weekly Magazine, while hi« convivial talents
led him to indulge too much in idle society. He died on the
16th of October 1774, aged twenty-four, at the time of life
when it might have been expected that the brilliant pro-
mises of his youthful genius would have been realized. - It
is a beautiful and an affecting incident in Burns's life, that
one of his first acts, after he himself had acquired any de-
gree of public fame, was to raise a humble monument to
Fergusson's memory, by erecting at his own expense a
HALLOW FAIR. * 451
headstone over his grave, in the Canongate churchyard. It
is certainly not creditable to the literature of Scotland,
that no decently printed edition of his Poems has ever ap-
peared.
It may be noticed, in proof of Fergusson's early celebrity,
that some of his songs were sung at the Theatre- Royal,
Edinburgh, while he himself subsisted as a drudge by copy-
ing deeds, at about twopence a page. The following is the
title and the names of the actors in the English Opera of
Artaxerxes, as performed at Edinburgh, in 1769.
" Artaxerxes, an English Opera, as it is performed at
the Theatre-Royal, Edinburgh. The Music composed by
Tho. Aug. Arne, Mus. Doc. with the addition of Three fa-
vourite Scots airs. The words by Mr R. Fergusson.
Edin. printed by Martin and Wotherspoon, 1769." r2mo. —
The performers were : — Artaxerxes, Mr Ross — Artabanes,
Mr Phillips — Arbaces, Mr Tenducci — Rimenes, Mrs
Woodman — Mandane, by **** — Semira, Miss Brown. —
The actress whose name is left blank, was Madame Ten-
ducci.
CCCCLVL
MY BONNIE LIZZIE BAILLIE.
" The heroine of this song was a daughter of Baillie of
Castle Carey, and sister, as it is said, to the wife of Mac-
farlane of Gartartan. A MS. copy of the verses, of some
antiquity, commences thus :" — (C. K. S.)
It was in and about the Martinmass,
When the leaves were fresh and green,
Lizzie Baillie's to Gartartan gane.
To see her sister Jean.
She was nae in Gartartan
But a little while.
When luck and fortune happen'd her.
And she gaed to the Isle.
When she gaed to the bonny Isle,
She met wi' Duncan. Grahame ;
452 * THE BROOM BLOOMS BONNY.
Sae bravely as he courted her.
And he convoy'd her hame.
My bonnie Lizzie Baillie, &c.
CCCGLXI,
THE BROOM BLOOMS BONNY,
" Is now printed complete in Mr Motherwell's collection
of Scotish ballads, p. 90."— (C. K. S.)
The following verses to this air, are by Captain Skir-
viNG, to whom I have been indebted for other communi-
cations.
To THE Tune of '' TU never gae down the Broom.^'
He courted her kindly, consent was avow'd.
The hawk soars high, but the lure's in his e'e ;
Her interest procured him a kirk well endow'd.
But it's hard to divine what we're destined to dree.
He found one more wealthy, although somewhat old.
The hawk soars high, but the lure's in his e'e ;
The kirk was secure ; lo ! he grasp'd at the gold.
But it's hard to divine what we're destined to dree.
Her friends, much incensed, have recourse to the law.
The hawk soars high, but the lure's in his e'e ;
The wise say 'tis safer to baud than to draw.
But it's hard to divine what we're destined to dree.
The last now is first, but she's caught by a knave.
The hawk soars high, but the lure's in his e'e ;
The first may at last come in peace to her grave.
But it's hard to divine what we're destined to dree.
CCCCLXIII.
THE LASS THAT WINNA SIT DOUN.
Mr Alexander Robertson, Engraver, who rang the
music-bells of this city for many years, and was the writer of
this song, died at Edinburgh, 22d of September 1819.
The following notices of him are derived from the Council
Registers, On the 14th of December 1785, Alexander
THE LASS THAT WINNA SIT DOUN. * 453
Robertson, residenter in Edinburgh, was appointed joint
rinffer of the music-bells. From an act, 15th of March
1809, it would seem that the whole office had then devolved
on him, for it is ordered that he draw the whole salary. On
the 13th of October 1819 (three weeks after his decease),
sundry petitions for the vacant office were laid before the
Council ; and, on the 1 7 th of November following, the Coun-
cil ordered a quarter's salary to be paid to John Menzies,
engraver, "to enable him to defray the expense of the
funeral of Alexander Robertson, late performer on the
music -bells." His original coadjutor, as ringer, was a
Mr John Hay, the son of a Scots merchant, settled at
Dantzic (See Kay's Edinburgh Portraits, vol. ii. p. 129.)
It is well known that there is a very complete set of music-
bells in St Giles's church, and the old custom of playing
on them daily between the hours of one and two o'clock, is
still kept up, although that hour of dinner, and the practice
of merchants and tradesmen in the town then shutting up
their shops, are completely changed. As stated at page
405, Robertson continued for many years (at least from
1783 to 1799) to engrave the views of gentlemen's seats
which adorn the pages of the^ Edinburgh Magazines, in a
style that quite suited the literary department of these peri-
odicals.
CCCCLXVI.
THE CHERRIE AND THE SLAB.
The verses in the Museum, are merely the first four
stanzas of " The Cherrie and the Slae," the well-known
poem, by Captain Alexander Montgomery; whereas, Mr
S., in his note at p. 406, describes them as a " very singular
ballad," evidently imagining them to be something quite
difi"erent. Neither are these verses contained in Bannatyne's
MS., which has only a few of the minor compositions by
Montgomery, and which undoubtedly were inserted in the
454 * THE CHERRIE AND THE SLAB.
MS. at a later period than 1568, when the greater part of
the volume was written. In fact, there is no evidence of this
elegant and accomplished poet having written any thing
prior to 1584 ; and as " The Banks of Helicon," which is
preserved in Sir R-Maitland's MSS. is anonymous, it has
been attributed to him only by conjecture. A collected
edition of Montgomery's Poems, most of which, with the
exception of " The Cherrie and the Slae," and " The Flyt-
ing," had remained unpublished, appeared in one vol. at
Edinburgh, 1821, small 8vo.
" There is an admirable portrait of Lady Margaret
Montgomerie, Countess of Winton, the supposed heroine
of ' The Cherrie and the Slae,' in the possession of Mr
Hay of Drummelzier." — (C. K. S.)
The MS. containing the air " The Banks of Helicon,"
which Mr S. (at p. 407) mentions as having belonged to the
Rev. Mr Cranstoun and to Dr Ley den, was presented by
the latter to Mr Heber ; and, since the dispersion of his
princely collection, it has found a place of repository in the
Advocates' Library.
Mr S. further says that this song, " The Banks of
Helicon," " was probably composed on the beautiful but un-
fortunate Mary Queen of Scots ;" but there is no evidence
for such a supposition. It was, indeed, composed during
her life, which is more than can be asserted of the once
popular song, " Ye meaner beauties of the Night," in-
serted by Allan Ramsay, in his Tea-table Miscellany, as a
song, " said to be made in honour of our Sovereign Lady
Mary, Queen of Scots." Mr R. Chambers, in his " Scot-
tish Songs," (vol. ii., p. 562), improving upon this title,
adds, " said to have been written by Lord Darnley, in praise
of the beauty of Queen Mary, before their marriage ." It
was in fact written by Sir Henry Wotton, " on his mis-
tress, the Queen of Bohemia," probably thirty years after
that Queen's grandmother, the unfortunate Mary, had
been beheaded. (Reliquise Wottonian3e,p. 381, Lond. 1685,
Svo.)
THE HIGHLAND LADDIE. * 455
CCCCLXVII.
THE HIGHLAND LADDIE.
Among Burns's communications for the Musical Museum,
he sent the following verses of a well-known Jacobite Song,
but of which Johnson did not avail himself. The Song
itself is printed in Hogg's Jacobite Relics, vol. i. p. 146,
under the title, " What murrain now has ta'en the Whigs,"
although a better set might have been found. In Burns's
MS., the verses are entitled —
THE GERMAN LAIRDIE.
What merriment has ta'en the Whigs,
I think they ha'e gaen mad, sir,
Wi' playing up their Whiggish jigs.
Their danein' may be sad, sir.
CHORUS.
Sing, heedle liltie, teedle liltie
Andum, tandum, tandie ;
Sing fal de dal, de dal, lal, lal.
Sing howdle lUtie dandie.
The Revolution principles
Has put their heads in bees, sir.
They're a' fa' en out amang themsels,
Deil tak the first that grees, sir.
Sing heedle, &c.
CCCCLXIX.
CHRONICLE OF THE HEART.
Dr Thomas Blacklock, the author of this Song, had
been a frequent contributor to the Museum, but he was
dead some years before this volume appeared. His life has
been so often written, that it may suffice to mention that
he was born at Annan in the year 1721, and lost his sight
by the smallpox in infancy ; that he studied for the Scotish
church, and was licensed to preach in 1759 ; but his blind--
ness proved the means of preventing his settlement as a
parochial minister : and that after this time he continued to
reside in Edinburgh, devoting the remainder of his life to
*2k
456 * • CHP-ONICLE OF THE HEART.
literary pursuits, and was much respected. In 1766, the
degree of Doctor of Divinity was conferred on him by
Marischal College, Aberdeen. He died at Edinburgh in
July 1791, in the seventieth year of his age.
CCCCLXXIII.
AULD KING COWL.
It is a mistake to attribute the Interlude of the Droich's
i (or Dwarf's) part of the Play, quoted at p. 418, to Sir
I David Lyndsay. — See Dunbar's Poems, vol. ii. p. 410.
CCCCLXXV.
BANNOCKS O' BEAR-MILL.
In this note, and in a variety of other places, Mr Sten-
house has referred to the volume published by Robert H.
Cromek, under the title of " Reliques of Nithsdale and
Galloway Song," London, 1810, 8vo, and has usually coup-
led such references with remarks not altogether called for.
Mr S. might have known, that the volume which is so
often the subject of his abuse, consisted, in fact, almost
wholly of verses written by Mr Allan Cunningham, who,
in a very harmless way, had imposed on Mr Cromek's cre-
dulity. The success that attended his " Reliques of
Burns," had induced Cromek to glean what he considered
the neglected minstrelsy of that district ; and various cir-
cumstances at the time, led his friend to rather an extensive
manufacture of traditional Songs and Ballads ; but few
persons were deceived as to the genuineness of such pre-
tended originals. See an article in Blackwood's Maga-
zine, vol. vi. p. 314. Mr Cromek himself was much es-
teemed for his enthusiastic attachment to the Fine Arts.
Mr Cunningham, in a letter of a late date, says, " I loved
Xhe man much : he had a good taste, both in Poetry and
Painting, and his heart was warm and kind : I have missed
him much." He died at Lon(;lon, 14th of March 1812,
aged about forty-five. He was the publisher, by subscrip-
BANNOCKS O' BKAR-MILL. * 457
tion, of the large and splendid edition of Blair's Grave, with
original designs by Blake, in 1808. This edition was again
published, or re-issued, by Ackermann of the Strand,
London, with a short memoir of Mr Cromek prefixed, but
I have not been able to see a copy of that new edition in
Edinburgh.
CCCCLXXXII.
SIR PATRICK SPENCE.
This ballad has usually been regarded as one of the oldest
in the series of Scotish Historical Ballads., In referring to
it in a former note (see p. * 320), I forgot that it was in-
cluded in this work ; but I shall now take the liberty of add-
ing a few more words respecting it. That the ballad was in-
tended to embody some remote event in Scotish history,
is quite evident ; and it would have been difficult to fix on
a more poetical incident than it presents, although not
strictly adhering to historical facts. Had the ballad really
possessed any claims to such high antiquity as would fix its
composition near to the epoch of Margaret, the " Maiden of
Norway," on whom her grandfather, Alexander the Third,
had devolved the Crown of Scotland before the close of the
thirteenth century, it is hardly conceivable that it should
never have been heard of till it was sent to Bishop Percy,
in 1765, by some of his correspondents in Scotland, along
with other traditional ballads of still more questionable an-
tiquity. Since his time, it has been printed in a hundred
different shapes, generally with some additional verses or
improvements " fortunately recovered," &c., but most of
which improvements are palpable interpolations.
On referring to Finlay's " Scottish Historical and
Romantic Ballads," vol. i. p. 46, Edinb. 1808, I find the
following remark : " The present editor,, however, cannot
think that the ballad, as it is, has a claim to such high
antiquity. Indeed, the mention of hats and cork-heeled
shoon, would lead us to infer that some stanzas are inter-
458 * SIR PATRICK SPENCE.
polated, or that its composition is of a comparatively modern
date." Bishop Percy also remarks (vol. i. p. 81, note), that
" an ingenious friend thinks the author of Hardyknute has
borrowed several expressions and sentiments from the fore-
going and other old Scottish songs in this collection." It
was this resemblance, with the localities Dunfermline and
Aberdour, in the neighbourhood of Sir Henry Wardlaw's
seat, that led me to throw out the conjecture, whether this
I smuch admired ballad might not have been written by Lady
i iWardlaw herself, to whom the ballad of " Hardyknute" Is*
inow universally attributed.
I The ballad, accompanied with two different sets of the
j air, will also be found in the second volume of Campbell's
I I Albyn's Anthology.
I Coleridge, at the commencement of one of his Odes,
I thus alludes to " Sir Patrick Spence," after quoting as a
I motto, the lines " Late, late, yestreen."
Well ! if the Bard was'weather-wise, who made
The grand old ballad of Sir Patrick Spence ;
This night, so tranquil now, will not go hence
Unroused by winds, &c.
CCCCLXXXIV.
GUDE WALLACE.
This is another ballad of an alleged antiquity, the cor-
rectness of which may reasonably be doubted. I am per-
suaded it is merely an altered or abridged copy of one
that appeared in a common chap form, along with some
Jacobite ballads, printed about the year 1750. The follow-
ing is a copy of the ballad in question, which seems, in
fact, to be only a passage in Blind Harry the Minstrel's
poem modernized, (Book V.)
ON AN HONOURABLE ACHIEVEMENT OF SIR WILLIAM
WALLACE, NEAR FALKIRK.
" Had we a king," said Wallace then,
" That our kind Scots might live by their own.
GUDE WALLACE. * 459
But betwixt me and the English blood
I think there is an ill seed sown."
Wallace him over a river lap,
He look'd low down to. a linn ;
He was not war of a gay lady,
Was even at the well washing.
'* Well mot ye fare, fair Madam," he said,
" And ay well mot ye fare ; and see !
Have ye any tidings me to tell,
I pray you'll show them imto me ?"
I have no tidings you to tell.
Nor yet no tidings you to ken ;
But into that hostler's house
There's fifteen of your Englishmen :
And they are seeking Wallace, then.
For they've ordained him to be slain ;
O, God forbid ! said Wallace then.
For he's o'er good a kind Scotsman.
But had I money me upon.
And ev'n this day, as I have none.
Then would I to that hostler's house.
And ev'n as fast as I could gang.
She put her hand in her pocket.
She told him twenty shillings o'er her knee :
Then he took oflp both hat and hood.
And thank'd the lady most reverently.
If e'er I come this way again.
Well paid money it shall be ;
Then he took off both hat and hood.
And he thank'd the lady most reverently.
He lean'd him two-fold o'er a staff.
So did he three-fold o'er a tree ;
And he's away to the hostler's house.
Even as fast as he might dree.
When he came to the hostler's house.
He said. Good-ben, quoth he, be here.
An English captain being deep load.
He asked him right canker'dly.
Where was you born, thou crooked carle,
And in what place and what country ?
'Tis I was born in fair Scotland,
A crooked carle although I be.
The English captain swore by th' Rood,
We are Scotsmen as well as thee.
And we are seeking V/allace, then
To have him, merrv we should be.
460 * GUDE WALLACE.
The man, said Wallace, ye're looking for,
I seed him within these days three,
And he has slain an English captain.
And ay the fear'dgr the rest may be.
I'd give twenty shillings, said the captain.
To such a crooked carle as thee.
If you would take me to the place
Where that I might proud Wallace see.
Hold out your hand, said Wallace then.
And show your money and be free.
For tho' you'd bid an hundred pound,
I never bade a better bode.
He struck the captain o'er the chafts.
Till that he never chewed more.
He stick' d the rest about the board.
And left them all a sprawling there.
Rise up, goodwife, said Wallace then.
And give me something for to eat,
For it's near two days to an end
Since I tasted one bit of meat.
His board was scarcely well covered.
Nor yet his dine well scantly dight.
Till other fifteen Englishmen
Down all about the door did light.
Come out, come out, said they, Wallace then.
For the day is come that ye must die ;
And they thought so little of his might.
But ay the fear'der they might be.
The wife ran but, the gudeman ran ben.
It put them all into a fever ;
Then five he sticked where they stood.
And five he trampled in the gutter.
And five he chased to yon green wood.
He hanged them all out o'er a grain ;
And 'gainst the morn at twelve o'clock
He dined with his kind Scottish men.
Bower, the continuator of Fordun, thus mentions the cir-
cumstance of Wallace's exploits being frequently celebrated
in verse : — " Post enim conflictum de Roslyn, (A.D. ]298.)
Wallace, ascensa navi, Franciam petiit ; ubi quanta probitate
refulsit, tarn super mare a piratis quam in Francia ab Anglis
perpessus est discrimina, et viriliter se habuit, 7ionnulla car-
jnina, tam in ipsa Francia quam Scotia, attestantur." (vol. ii.
p. 176.)
THE AULD man's MARK's DKAl). *46l
CCCCLXXXV.
THE AULD man's MARE's DEAD.
There is an admirable portrait of Patie Birnie, the
famous fiddler of Kinghorn — a face full of comic humour
and indicative of g-enius — at Leslie House. It is supposed
to have been painted by Aikman, who died in 1731 ; and
the old head of Patie, with Ramsay's lines, is also said to
have been etched by Aikman from his own drawing in red
chalk, which was sold at a sale in Edinburgh a few years
ago.
CCCCLXXXVIl.
GOOD-MORROW, FAIR MISTRESS.
" This fragment seems to be part of an English ballad,
called ' The Duchess of Newcastle's Lament," — it begins,
There is not a taylor in all London town
Ciin shape Newcastle's fair lady a gown.
Her belly's turn'd big and her face pale and wan ;
She's fallen with child to her own servant man.
• • • • «
Thou worst of all women, thou emblem of strife,
I took thee a servant and made thee my wife, &c.
(C. K. S.)
CCCCLXXXIX.
NO DOMINIES FOR ME, LADDIE.
This song has been variously attributed. The following
extract respecting it, is copied from Buchan's " Gleanings
of Scarce Old Ballads," Peterhead, 1825, 12mo:—
" The author of this excellent song," says Mr B., "was
the Rev. John Forbes, Minister at Deer, Aberdeenshire.
This eccentric character was born at Pitnacalder, a small
estate near Frazerburgh, of which his father was proprietor.
From the name of his paternal spot, he was commonly
designated Pitney, and better known by that appellation
than that of his office. In. his younger years, and before
462* NO DOMINIES FOR ME, LADDIE.
he was appointed incumbent at Deer, he wrote the well-
known song of ' Nae Dominies for me, Laddie,' which seems
to be a picture of himself drawn from real life, and which he
took the greatest delight in singing, and hearing sung.
" He was a rigid Presbyterian, and said by some to
possess the gift of prophecy. Many curious anecdotes are
told of him. He died in 1769, and was buried in the
churchyard of Old Deer, where a plain stone is placed to
his memory, bearing the following appropriate inscription :
' Dedicated by Mrs Margaret Hay, widow, to the memory
of John Forbes of Pitnacalder, M.A., Minister of Deer,
who died anno 1769, in the 81st year of his age, and the
52d of his ministry. With a manly figure he possessed the
literature of the scholar, the elocution of the preacher, and
the accomplishment of the gentleman. As a pastor, his
character was distinguished by piety, virtue, and entire
devotion to the cause of Christ. Beloved by his relatives,
respected by his acquaintances, venerated by the body of
his people ; his life was useful, and his end was peace.' "
The ballad has been preserved in the form of a broad-
side, printed apparently about the year 1740. Mr Sten-
house, in his note at page 431, states, that he was credibly
informed it " was written by the late Rev. Mr Nathaniel
M'Kay (M'Kie), Minister of Crossmichael, in the stew-
artry of Kirkcudbright." The above account seems, how-
ever, the most probable ; but it may be added, that the
Rev. Nathaniel M'Kie, Minister of Crossmichael, was
a writer of verses. About the middle of the last century,
John Gordon of Kenmure, Esq., commonly called Lord
Kenmure, addressed a letter in verse to the Rev. Nathaniel
M'Kie, challenging him to a game at curling. This rhym-
ing epistle, with the answer by Mr M'Kie, also in verse,
and Lord Kenmure's rejoinder, are preserved in a volume
entitled, " Memorabilia Curliana Mabenensia," p. 95.
Dumfries, 1830, 8vo.
Mr M'Kie died at his manse of Crossmichael, 26th of
NO DOMINIES FOR ME, LADDIE. * 463
January 1781, in the 66th year of his age, and 42d of his
ministry. (Scots Mag. 1781, p. 55.)
ccccxci.
THE WEE WIFEIKIE.
Alexander Geddes, LL. D., the author of this song
and of " Lewis Gordon," No. lxxxvi,, is mentioned by Mr
S. in his note on the latter song, at p. 90. Of this singular
person, a detailed biography was published under the title of
" Memoirs of the Life and Writings of the Reverend Alex-
ander Geddes, LL.D. By John Mason Good." London,
1803, 8vo. Geddes was born in the county of Banff, in
the year 1737. Being destined for the Roman Catholic
Church, after a preliminary education at Scalan, a seminary
in the Highlands, he spent six years in the Scots College at
Paris, and returned to Scotland, where he officiated as a
priest in different parts of the country. The University of
Aberdeen, in 1780, conferred on him the degree of Doctor
of Laws ; and at this time he removed to London, where
he remained till his death, which took place on the 26 th
of February 1802, in the 65th year of his age.
Dr Mason Good has given a very graphic description of
his person and manners, on being first introduced to this
learned but eccentric character. It may be here quoted : —
" It was about this period, the year 1793, I first became
acquainted with Dr Geddes. I met him accidentally at
the house of Miss Hamilton, who has lately acquired a just
reputation for her excellent Letters on Education : and I
freely confess that, at the first interview, I was by no means
pleased with him. I beheld a man of about five feet five
inches high, in a black dress, put on with uncommon negli-
gence, and apparently never fitted to his form : His figure
was lank, his face meagre, his hair black, long, and loose,
without having been sufficiently submitted to the operations
of the toilet — and his eyes, though quick and vivid, spark-
464 * THE WEE WIFEIKIE.
ling at that time rather with irritability than benevolence.
He was disputing with one of the Company when I entered,
and the rapidity with which, at this moment, he left his
chair, and rushed, with an elevated tone of voice and un-
courtly dogmatism of manner, towards his opponent, in-
stantaneously persuaded me that the subject upon which
the debate turned was of the utmost moment. I listened
with all the attention I could command ; and in a few
minutes learned, to my astonishment, that it related to no-
thing more than the distance of his own house in the New
Road, Paddington, from the place of our meeting, which
was in Guildford Street. The debate being at length con-
cluded, or rather worn out, the doctor took possession of
the next chair to that in which 1 was seated, and united
with myselfand a friend who sat on my other side, in dis-
coursing upon the politics of the day. On this topic we
proceeded smoothly and accordantly for some time ; till at
length, disagreeing with us upon some point as trivial as
the former, he again rose abruptly from his seat, traversed
the room in every direction, with as indeterminate a paral-
lax as that of a comet, loudly, and with increase of voice,
maintaining his position at every step he took. Not wish-
ing to prolong the dispute, we yielded to him without
further interruption, and, in the course of a few minutes
after he had closed his harangue, he again approached us,
retook possession of his chair, and was all playfulness, good
humour, and genuine wit." (p. 302.)
CCCCXCII.
THERE GROWS A BONNIE BRIER BUSH.
"Mr Robert Chambers has written an excellent song
to this air, only to be found in a volume of his poetry not
printed for sale — by his permission it is here inserted." —
(C.K.S.)
THERE GROWS A BONNIE BRIER BUSH. * 465
YOUNG EANDAL.
Young Randal was a bonnie lad, when he gaed awa'.
Young Randal was a bonnie lad, when he gaed awa' ;
' Twas in the sixteen hundred year o' grace and thretty-twa.
That Randal, the Laird's youngest son, gaed awa'.
It was to seek his fortune in the High Germanie,
To fecht the foreign loons in the High Germanie,
That he left his father's tower o' sweet Willanslee,
And mony wae friends i' the North Countrie.
He left his mother in her bower, his father in the ha'.
His brother at the outer yett, but and his sisters twa.
And his bonnie cousin Jean, that look'd owre the Castle wa'.
And, mair than a' the lave, loot the tears down fa'.
" Oh, whan will ye be back," sae kindly did she spier,
" Oh, whan will ye be back, my hinny and my dear ?"
" Whenever I can win eneuch o' Spanish gear.
To dress ye out in pearlins and silks, my dear."
Oh, Randal's hair was coal-black when he gaed awa'.
Oh, Randal's cheeks were roses red, when he gaed awa'.
And in his bonnie ee, a spark glintit high.
Like the merrie, merrie look, in the morning sky.
Oh, Randal was an altert man whan he came hame,
A sair altert man was he, whan he came hame ;
Wi' a ribbon at his breast, and a sir at his name.
And grey, grey cheeks, did Randal come hame.
He lichtit at the outer yett, and rispit wi' the ring,
And down came a ladye to see him come in.
And after the ladye came bairns feifteen —
" Can this muckle wife be my true love, Jean ?"
" Whatna stoure carl is this," quo' the dame ;
" Sae gruff and sae grand, and sae feckless and sae lame ?"
" Oh, tell me, fair madam, are ye bonnie Jeanie Grahame ?"
" In troth," quo' the ladye, " sweet sir, the very same."
He turned him about, wi' a waeful ee.
And a heart as sair as sair could be ;
He lap on his horse, and awa' did wildly flee.
And never mair came back to sweet Willanslee.
466 * THERE GROWS A BONNIE BRIER BUSH.
Oh, dule on the poortith o' this countrie, *
And dule on the wars o' the High Germanie,
And dule on the love that forgetfu' can be —
For they've wreck'd the bravest heart in this hale countrie.
The mention of Dr Austin's name in this note, furnishes
an opportunity of adding to the notice at page 214, that
Adam Austin received his degree of M.D. at Glasgow,
15th of May 1749 ; that he was licensed to practise, by the
Royal College of Physicians at Edinburgh, 7th of August
1753; and that he was admitted a Fellow of the College,
3dof August 1762.
CCCCXCIX.
GLOOMY DECEMBER.
These pathetic verses were addressed by Burns to Cla-
rinda, otherwise Mrs M'Lehose. — See Mr Cunningham's
edit, of Burns, vol. iv. p. 330.
CCCCXCVII.
IT WAS a' for our RIGHTFU' KING.
" These verses were not entirely, if indeed at all, the
composition of Burns ; one stanza at least belongs to a bal-
lad, very common formerly among the Scotish hawkers,
called bonny Mally Stuart. I give it entire from my stall
copy.
1.
The cold winter is past and gone.
And now comes on the spring.
And I am one of the King's life-guards.
And I must go fight for him, my dear.
And I must go fight for my king.
2.
Now since to the wars you must go,
One thing, I pray, grant me.
It's I will dress myself in man's attire.
And I will travel along with thee, my dear,
And I will travel along with thee.
IT WAS a' for our RIGHTru' KING. * 467
3.
I would not for ten thousand worlds
That my love endanger'd were,*
The rattling drums and shining swords
Will cause you great sorrow and woe, my dearj
Will cause you great sorrow and woe.
4.
I will do the thing for my true love
That she will not do for me ;
It's I'll put cuffs of black on my red clothes.
And mourn till the day I die, my dear.
And mourn till the day I die.
5.
I will do more for my true love
Than she will do for me ;
I wUl cut my hair, and roll me bare.
And mourn tiU the day I die, my dear.
And mourn till the day I die.
6.
So farewell my father and mother dear,
I'll bid adieu and farewell ;t
Farewell my bonny Mally Stuart,
You're the cause of all my woe, my dear.
You're the cause of all my woe.
7.
When we came in to Stirling town.
As we all lay in camp ;|
By the King's orders we were drawn.
And to Germany we were sent, my dear,
And to Germany we were sent.
8.
So farewell bonny Stirling town.
And the maids therein also.
And farewell bonny Mally Stuart,
You're the cause of all my woe, my dear.
You're the cause of all my woe.
* Probably this should be, " That my love were endangered so."
t Probably, " I'll bid farewell and adieu !"
X " Tent," perhaps.
468 * IT WAS a' for our rightfu' king.
9.
She took the slippers off her feet.
And the cockups off her hair.
And she has taken a long journey.
For seven long years and mair, my dear.
For seven long years and mair.
10.
Sometimes she rode, sometimes she gaed.
Sometimes sat down to mourn ;
And aye the o'er word of her tale.
Shall I e'er see my bonny laddie come ? my dear,*
Shall I e'er see my bonny laddie come ?
11.
The trooper turn'd himself about.
All on the Irish shore ;
He has given the bridle reins a shake.
Saying, adieu for evermore, my dear.
Saying, adieu for evermore !
" The ballad, as it appears in the Museum, was much
admired by Sir Walter Scott ; he was delighted to hear it
sung by his daughter, Mrs Lockhart." — (C. K. S.)
EVAN BANKS.
Johnson committed a mistake in affixing the name of
Burns to this song, and various editors of his works, by
trusting to this, have fallen into a similar mistake. Currie,
aware of this error, withdrew it in his second edition. But
Cromek in the " Reliques," having given the song anew in
Burns's name. Sir Walter Scott, in an article in the Quar-
terly Review on that volume, says, " Mr Cromek ought to
have known that this beautiful song was published by Dr
Currie in his first edition of Burns's works, and omitted in
all those which followed, because it was ascertained to be
the composition of Helen Maria Williams, who wrote it at
" " Shall I e'er see my bonny lad return ?"
EVAN BANKS. * 469
the request of Dr Wood. Its being found in the hand- writ-
ing of Burns occasioned the first mistake, but the correction
of that mistake leaves no apology for a second." (vol. i.
p. 34.)
Helen Maria Williams was born in the North of Eng-
land in 1762. In the earlier part of her life she published
various poems which attracted notice at the time when such
writers as Hooke, Hayley, Seward, and Pye, flourished,
and were in vogue. She resided at Paris during the time
of the French Revolution, devoting herself to literary pur-
suits, and was best known by her " Letters written from
France, &c." She was also the translator of Humboldt's
Personal Narrative. She died at Paris in December 1827.
[ *393 ]
The delay that has occurred in printing- these additional
sheets, enables me to present the reader with some further
Notes and Illustrations to the first four volumes.
ramsay's tea-table miscellany.
At pages *108 and *382, I endeavoured to ascertain the
dates of publication of the several volumes of this popular
collection, so intimately connected with the history of lyric
poetry in Scotland. That the work, as Ramsay complains,
was pirated, is certain ; and I have since met with an
edition dated "^ Dublin : Printed for E. Smith ; and sold
by the Booksellers of Great Britain and Ireland, 1729."
3 vols, in one, 12mo, pp. 334.
To an advertisement in the Caledonian Mercury, Feb-
ruary 20th, 1735, Ramsay has added what follows as a
postscript : — " N. B. Some spurious editions of the Col-
lections of Scots Songs having been published, most un-
correct, on bad paper, and sold cheaper than the right
Edinburgh edition, in 3 vols. That purchasers may be
better served and cheaper, these are to advertise, That
now Mr Ramsay sells his 3 vols., handsomely bound, at
4 sh., or separately, at 1 sh. 6d. each vol. ; and his Poems,
in 2 vols. 8vo. bound, at 7sh., and either of them separately
at 3 sh. 6d." — Of this small edition I have lately met with
Vol. i, " the Seventh edition," and Vol. iii. " the Second
edition," both dated " Edinburgh, printed for, and sold by
Allan Ramsay," 1738, 18mo.
That the collected edition of the work, in 1740, was then
first enlarged with a fourth volume, we learn from the fol-
lowing advertisement in the Caledonian Mercury, July 1 7th,
*2 G
394* MRS SCOTT OF DUMBARTONSHIRE.
1740 : — " This day is published, neatly printed in a pocket
volume, the Tenth Edition, being the completest and most
correct of any yet published, with the Addition of one hun-
dred and fifty songs, The Tea- Table Miscellany ; or a
Collection of the most choice Songs, Scots and English.
By Allan Ramsay. Printed for A. Millar at Buchanan's
Head, in the Strand, and sold by him, &c. ; and by the
Booksellers in Edinburgh, Glasgow, Dumfries, Aberdeen,
Berwick, and Newcastle."
These additional 150 Songs form the 4th vol., of which a
separate edition was likely printed at the time. The eleventh
edition, London 1750, 4 vols, in one, 12mo, and the sub-
sequent ones, are merely reprints of each other.
It may likewise be here noticed, that some time between
1724 and 1730, there was published in six parts, " Musick
for Allan Ramsay's Collection of Scots Songs. Set by
Alexander Stuart, and engraved by R. Cooper. Vol. First.
^ ^' C Edinburgh, printed and sold by Allan Ramsay," pp. 154,
small oblong 8vo. It contains the tunes of seventy-one
songs, selected from the first volume of that Collection,
and no second volume ever appeared. Each of the six
parts is inscribed to a lady of rank or beauty by Ramsay.
MRS SCOTT OF DUMBARTONSHIRE.
The very capital song, beginning ' The grass had nae
freedom of growing,^ by this lady, to the tune of '' Woo'd
and married an' a'," which Mr Stenhouse has inserted at
page 6, occurs, with some variations, in " The Charmer,"
vol. ii., edit. 1782, p. 316. It is also contained in Mr
Mansfield's MS. volume of Poems. I regret not having
succeeded in obtaining any very exact information regard-
ing the lady by whom it was written.
" In the third volume of Humphrey Clinker, there is an
amusing account of an old gentleman, nicknamed the
Admiral, with a long beard, who terrified Humphrey while
WILLIAM DUDGEON. * 395
at Cameron. This was a Mr Scott, descended from a
family that once enjoyed large landed property in Dumbar-
tonshire. His son, or grandson, married a Miss Yule ;
and then possessed a small estate called Woodside. The
race is now extinct.
" The last Mrs Scott lived to a great age. I am
informed by a lady who knew her well, that she had no
talent for writing songs. This is all I can say about the
matter."— (C. K. S.)
SKENE'S MAN.USCRIPT.
That Stenhouse completely mistook the age of this
manuscript, in his note at page 18, &c., has been shown at
page * 11 0. The work there alluded to, has since been pub-
lished under the following title, and has excited much inte-
rest in the musical world : — " Ancient Scotish Melodies,
from a Manuscript of the Reign of King James VI. With
an Introductory Enquiry, illustrative of the History of the
Music of Scotland, by William Dauney, Esq., F.S.A.,
Scot." Edinburgh, 1838, 4to. Mr Dauney conceives that
the separate parts of Skene's MS. were written at different
times. I should think there could not have been any great
interval in the time of writing ; and, upon again examining
the MS., I have some doubts whether it should not be
considered as ten years subsequent in date either to 1615
or 1020.
WILLIAM DUDGEON.
The author of the popular song, " The maid that tends
the goats," at p. 40, and in other collections, is, by mistake,
called Robert Dudgeon. For the following notice of the
poet, I am indebted to Mr James Miller, author of
" St Baldred of the Bass," and other poems, who states that
his informant was Andrew Howden, Esq., farmer, Law-
head, near Tyninghame, an intimate friend of Dudgeon,
and himself a writer of songs.
396 * WILLIAM DUDGEON.
" Mr William Dudgeon, author of « The maid that
tends the goats,' was born at Tyninghame village. East
Lothian, where his father, Mr John Dudgeon, possessed
a farm, the property of the Earl of Haddington. His
mother, Miss. Ainslie, was aunt to Mr Robert Ainslie,
W.S., Edinburgh, the friend of Burns. Besides the above
song, which obtained its popularity from a Mr Kilpatrick
having it sung upon the stage by some vocalist at the
time, he was the author of various others, although it is
not known that any of them appeared in print. His talents
were varied and conspicuous. He was taught by a Mr
Gibson, matheriiatical teacher, Dunbar, (who afterwards
removed to Perth,) along with John Rennie, the celebrated
civil engineer, both of whom Gibson considered the two
best scholars he ever taught. He excelled as a painter
and a musician. Some specimens of his drawings are in
possession of his only surviving brother, James Dudgeon,
which give proof of his genius in that line. As a musician,
the violin in his hands gave an expression to ' Auld Robin
Gray,' and others of our old Scotish airs, which are still
remembered with pleasure. To these proofs of his genius
was added another valuable quality, of abstracting his
mind from the refined to the useful arts of life ; for he
proved himself to be a most correct, successful, and exem-
plary farmer. In this line his father placed him in a farm
in the neighbourhood of Dunse, upon a lease of thirty
years. The farm was extensive, and a large proportion of
it in a state of nature. He gave it the rural appellation
of Primrose-hill, and lived to improve it to a high degree.
To the regret of his friends, he was arrested by death in the
midst of prosperity, when approaching to the mature age of
sixty, about twenty-three years ago. [He died 28th of
October 1813.] His remains repose in the churchyard of
Prestonkirk, where his ashes mingle with those of a
respectable race of progenitors.
" Burns, the poet, when on his Border tour in May
JOHN MAYNE. * 397
1787, ill company with the late Mr R. Ainslie, W.S.,
Edinburgh, visited Berrywell, near Dunse, the residence
of the father of Mr Ainslie, who was land-steward to Lord
Douglas in Berwickshire. Here the subject of our present
notice was introduced to Burns, who, with his usual hasty
discrimination of character, made the following observation
in his journal : — ' Mr Dudgeon, a poet at times — a worthy
remarkable character — natural penetration — a great deal of
information, some genius, and extreme modesty.' "
JOHN MAYNE. "
Since the note at page *116 was printed, I find that the
author, shortly before his death, published a revised and
enlarged edition of " The Siller Gun, a poem in five can-
tos." London, 1836, 12mo, in which Mr Mayne not only
gives the history of that poem from its embryo state of
twelve stanzas, printed at Dumfries on a quarto page in
1777, accompanied with a number of interesting notes re-
specting some of the remarkable characters about Durrifries
in his younger days ; but he has likewise mentioned that
his beautiful song, " Logan Water," was vvritten and cir-
culated in Glasgow about the year 1781, and alluded to
the other circumstances stated by Mr Stenhouse at p. 423.
In addition to the two stanzas there printed, the following
is given.
At e'en, when hope amaist is gane,
I dander dowie and forlane.
Or sit beneath the trysting-tree
Where first he spak o' love to me.
O ! could I see thae days again.
My lover skaithless, and my ain ;
Revered by friends, and far frae faes.
We'd live in bliss on Logan braes.
Mr Allan Cunningham having kindly applied in my
name to his friend W. H. Mayne, Esq. (the son of the
Poet,) for some points of information, that gentleman, who
holds an official situation in the India- House, says, —
398 * JOHN MAYNE.
" If Mr Laing will also refer to the Gentleman's Maga-
zine for May 1836, pages 556 and 7, he will find a brief
memoir of the author written with much kindly feeling. To
this I beg to add for his further information the following
dates : —
1st, Born at Dumfries, 26th March 1759.
2d, Under an engagement with Messrs Foulis of the
Glasgow University Press, from 1782 to 1787.
3d, Visited London apparently for the first time, 1785.
4th, Settled in London, 1787.
5th, Died in his house, No. 2, Lisson Grove, South,
14th March 1836.
6th, Buried in the family vault, Paddington church-
yard, 21st March 1836.
" I would just add, that at the end of the fourth para-
graph of the Notice in the Gentleman's Magazine, the
words, ' Greathead, near that city,' intended to designate
the residence of my grandfather and his family, near Glas-
gow, should be ' at the Head of the Green near that city.'
— W. H. Mayne."
THERE S NAE LUCK ABOUT THE HOUSE.
At page *1 18, it should have been noticed that this Song
occurs in Herd's Scottish Songs, 1776, vol. ii. p. 152 ;
" The Nightingale," Edinburgh, 1778, p. 321 ; " The
Charmer," vol. ii., edit. 1782, p. 304; " The Goldfinch,"
Edinb. 1782, p. 170, and in other collections. A copy of it
is also contained in the MS. volume written about 1780,
which is mentioned in vol. vi. page 529.
More has been written and said respecting the author-
ship of this Song than it perhaps merits ; but I feel much
inclined to support the claims of Jean Adams. Before it
was admitted into the several collections of Songs just
noticed, there is no doubt that it obtained a wide circula-
tion in the West, in the common form of a stall-ballad.
there's nae luck about the house. *399
One copy, for instance, printed at Glasgow not later than
1774, gives it in its probably original rude state, with some
additional verses, which were struck out when the song re-
ceived its present amended form. The " Answer," being
the Song entitled, *' Nae luck about the house when our
Gudewife's awa," (see No. dxcv. in the present collec-
tion,) was printed also at the same time.
PINKY HOUSE
The Song " As Sylvia in a Forest lay," which Mr
Stenhouse inserts in his note at p. 58, is the same as
Song ccccxxix. in the Musical Museum ; but in both
places he erroneously attributes it to Mallet, instead of
Joseph Mitchell, the undoubted author. See the additional
note, page *444.
MRS COCK BURN.
Some additional particulars concerning this lady may be
here introduced. Mr Freebairn, styled " Professor of the
French," in 1727, published at Edinburgh a tract, entitled
" L'Eloge d'Ecosse, et des Dames Ecossoises," in which
all the rank and beauty of the time pass in review, and are
described in the most glowing terms. He sums vip the whole
by an enumeration of the very young ladies, as follows : —
" Mais, O Ciel ! quelle foule de jeunes Beautez que le
Terns n'a pas encore meuries ne vois-je pas paroitre en les
aimables personnes de Madamoiselles Peggie Campbell,
Murray, Pringle, Drummond, &c., &c., [nineteen others are
named,] et Alice Rutherfurd. Voici une charmante
et nombreuse troupe, dont 1' Amour va bientot combatre tous
ceux, qui renoncent a sa souverainte. Les petits Cupidons
sont de jour en jour, occupez a forger des traits, et a polir
leur charmes naissantes, dont elles remporteront bientot
une victoire complete, sur les coeurs memes les plus re-
belles."
400 * MRS COCKBURN.
Miss Alice Rutherfurd, who closes this galaxy of beauty
among " les Dames Ecossoises," was married in 1731, ac-
cording to the extract from the parish register given at
p. *129, (for which I ought to have acknowledged my
obligations to Mr Chambers.) The following is an ex-
tract of a letter from a lady to Charles K. Sharpe, Esq., in
reference to Mrs Cockburn.
" Her Christian name was Alicia. She lived for many
years before her death in Crighton Street. She had a
pleasing countenance, and piqued herself upon always dress-
ing according to her own taste, and not according to the
dictates of fashion. Her brown hair never grew grey ; and
she wore it combed up upon a toupee — no cap — a lace hood
tied under her chin, and her sleeves puffed out in the fashion
of Queen Elizabeth, which is not uncommon now, but at
that time was quite peculiar to herself."
The following " Characters " of Mrs Cockburn are now
first printed. The first is by herself; the second was
written by Andrew Pringle, (a son of Pringle of Hain-
ing,) one of the Senators of the College of Justice under
the title of Lord Alemore. He was raised to the Bench
14th June 1759, and died at Hawkhill, near Edinburgh,
14th January 1776.
THE CHARACTER OF MRS C N, BY HERSELF.
Born with too much sensibility to enjoy ease ;
With high ideas of perfection, which I cannot attain ;
With understanding enough to feel I have too little.
Some strong beats from my heart misguide my head,
And I yield more to impulse than to reason.
More guided by compassion than by duty.
More hurt by pride than by remorse ;
Experience hath taught me to conceal my errors.
But neither the Bible hath taught me to amend them.
Nor David Hume to be easy under them.
If I am never to be better and happier than I am,
I had better never been.
MRS COCKBURN. *401
ANOTHER OF THE SAME, BY LORD A E.
Born with too much fickleness ever to enjoy the present ;
With the highest ideas of perfection, to which I have fully attained ;
With so much understanding that I can get no improvement.
And trusting too much to my head misguided my heart,
I am moved more by whimsie than by reason.
More guided by passion than by duty ;
Too much supported by pride to yield to remorse ;
Hypocrisy has enabled me to conceal my errors.
But neither hath the Bible taught me to dread a future state,
Nor David Hume to be indifferent about it.
As I can neither be better nor happier than I am,
I must be shocked at the thought of not to be.
Mrs Cockburn died at Edinburgh on the 22d (not the
24th, as stated at p. *122) of November 1794. In her
latter will and testament, which was " given up by Mark
Pringle, Esq. of Clifton, and Alexander Keith, W. S.,"
her executors, and confirmed 23d of January 1795, she is
there styled " Mrs Alison Cockburn, relict of Mr Patrick
Cockburn, Advocate. This, independent of other proofs,
places beyond doubt the mistake Sir Walter Scott fell into by
calling her Catharine. But it confirms his statement in an-
other particular, as to the bequest to his mother. " I promised
Mrs Walker [Walter] Scott my emerald ring : with it she
has my prayers for her and hers ; much attention she and
her worthy husband paid me in my hours of deepest distress,
when my son was dying." It appears that Mrs Cockburn
left property to the amount of L.3800, the bulk of which
went to two nieces, Anne Pringle and Mrs Simpson. She
mentions some of her poorer relations in affectionate terms,
and leaves them small annuities ; and frequently alludes to
her son who died in 1780. A lock of her hair was enclosed
for two hair-rings for " my earliest and most constant and
affectionate friends, Mrs Keith of Ravelston and her brother
William Swinton." Also a ring with Sir Hugh Dalrymple's
[see p. *127] hair, intended for Mrs Dalrymple, is now to
be given to her son Sir Hugh D., for whom Mrs C, has
402* MRS COCKBURN.
great affection. She desires that her sister Fairnillie, if she
outlives her, " may have twenty pounds for mourning, be-
sides the ring already mentioned ; and also I leave her the
charge of my favourite cat." She gives some directions
about her funeral, and seems to have written an epitaph for
herself, as she adds, " Shorten or correct the Epitaph to
your taste."
In a MS. collection of Songs belonging to Thomas
Mansfield, Esq., written about the year 1780, " by a Lady
residing in Edinburgh, and an intimate friend of Mrs Cock-
burn," is the following Song in burlesque of Prince
Charles's Manifesto. It has no author's name affixed, but
my friend Mr R. Chambers, who had the use of that manu-
script, has ascribed it to her, (Scottish Songs, p. 586,) and
it evidently is the parody to which Sir Walter Scott alludes
in his recollections of that lady. See vol. i. p. 124* of the
present work.
THE pretender's MANIFESTO.
To the Tune, Clout the Caldron.
1.
Have you any laws to mend ?
Or have you any grievance ?
I am a Hero to my trade,
And truly a most leal Prince.
Would you have war, would you have peace.
Would you be free of taxes ?
Come chapping to my Father's door.
You need not doubt of access.
2.
Religion, laws, and liberty.
Ye ken, are bonny words, sirs ;
They shall be all made sure to you,
If ye'll fight wi' your swords, sirs.
The nation's debt we soon shall pay.
If yc'U support our right, boys j
THE FLOWERS OF THE FOREST. * 403
No sooner we are brought in play.
Then all things shall be tight, boys.
3.
Ye ken that, by an Union base.
Your ancient Kingdom's undone.
That all your ladies, lords, and lairds.
Gangs up and lives at London.
Nae langer that we will allow.
For crack — it goes asunder.
What took sic time and pains to do ;
And let the world wonder.
4.
I'm sure, for seven years and mair.
Ye 've heard of sad oppression ;
And this is all the good ye got
O' the Hanover succession.
For absolute power and popery.
Ye ken it's a' but nonsense,
I here swear to secure to you.
Your liberty of conscience.
5.
And, for your mair encouragement.
Ye shall be pardon'd byganes ;
Nae mair fight on the Continent,
And leave beliind your dry-banes.
Then come away and dinna stay.
What gars ye look sae laundart ?
I'd have ye run, and not delay.
To join my Father's standard !
THE FLOWERS OF THE FOREST.
This fine old air is fortunately preserved in the " Skene
Manuscript," and is mueli superior, in its original simpli-
city, to the common sets of the air, I have much plea-
sure in being enabled to insert it in this place, as harmo-
nized by George Farquhar Graham, Esq., by the kind per-
mission of Mr Dauney, from the volume recently published}
which is mentioned above at page 'SOS.
404*
THE FLOVVEKS OF THE FOREST.
$
I've
pp.
<o
/O,
e
^l~
:=!:
j i"lTJ=ii
Jtfltz±liz2
Sym.
3d:
zi
S^^
[jT-r^crTx
f— HV-— N
#
g
« •■
heard them lilt - incj at the Ewe milk - ms,
f-
gi£
:p:
-«
:l^=!t
■j=^j=iL-Tgzzg
1
IIEZDC
3tZ=^
Lass - es a' lilt ing be - fore dawn of day.
■d « 4-
tr— s
•- ^
sm
^^
THE FLOWERS OF THE FOREST.
*405
«. " 1*^" — ^ V-| ^^— V- f^^ .
^
Now there's a moan - ing on il - ka green loan - ing,
p=*i=i?i=s
^
::£
The Flow'rs of the Fo - rest are a' wede a - way.
-$ 1 S: — ■»«-
:^
^
^
n
-e-
^J=^
TZ.
-a-
t'f^
''t^'^^h^h
n
m.
pp.
W
-©-
f7\
/T\
-e-
406 * JAMES OSWALD.
JAMES OSWALD.
Mr Stenhouse, in his Note at page 95, and in other
places, has incidentally fallen into an error regarding the
date of Oswald's Collections. The volumes of " The
Caledonian Pocket Companion" were not published at
Edinburgh in 1740, 1742, &c., as he repeatedly asserts, but
at London, perhaps not before 1756. The work noticed
in the Scots Magazine, November 1742, is a less compre-
hensive one, in two thin parts, entitled " A Collection of
Curious Scots Tunes," folio. — Some account of Oswald's
publications will be given in another part of this work —
See Introduction, p. xlviii.
James Oswald, whose name is entitled to honourable
mention as a composer, and an editor of our National Me-
lodies, first appears as a Teacher of Dancing at Dunferm-
line. He probably held the office of " Music-master of Dun-
fermline and Precentor," which was advertised as vacant
12th of January 1736. We find, at least, that shortly before
that time, Oswald had removed to Edinburgh, where he
taught both music and dancing. After remaining in Edin-
burgh for a few years, he left Scotland in 1741, and set up
a music-shop in London ; w^here he seems to have remained
the rest of his life.
On the occasion of Oswald's leaving Edinburgh, the
following poetical Epistle was addressed to him. It was
printed in the Scots Magazine for October 1741 ; and as
it contains some interesting particulars regarding his com-
positions, whilst it shows in what respect Oswald was held
in this country, it was thought worthy of insertion in this
place. It has no author's name, but it might be ascribed
to Allan Ramsay,
AN EPISTLE.
Dear Oswald, could my verse as sweetly flow
As notes thou softly touchest with the bow,
While all the circling fair attentive hing
On ilk vibration of thy trembling string.
JAMES OSWALD. * 407
I'd sing how thou wouldst melt our souls away
By solemn notes, or cheer us wi' the gay.
In verse as lasting as thy tunes shall be,
V As soft as thy new polish'd Danton me.
But wha can sing that feels wi' sae great pain
The loss for which Edina sighs in vain ?
Our concert now nae mair the Ladies mind ;
They've a' forgot the gait to Niddery's wynd.
^1 Nae mair the Braes of Ballandine can charm,
J, Nae mair can Forthas Bank our bosoms warm,
Nae mair the Northern Lass attention draw,
y. ^ Nor Pinky-house gi' place to Alloa.
■ O Jamie ! when may we expect again
To hear from thee, the soft, the melting strain.
And, what's the loveliest, think it hard to guess.
Miss St — t or thy Lass of Inverness ? ,/
ir When shall we sigh at thy soft Cypress-grove,
So well adapted to the tale of love ?
When wilt thou teach our soft Vidian fair
To languish at a false Sicilian air ;
Or when some tender tune compose again.
And cheat the town wi' David Rizo's name ?
Alas ! no more shall thy gay tunes delight.
No more thy notes sadness or joy excite.
No more thy solemn bass's awful sound.
Shall from the chapel's vaulted roof rebound.
London, alas ! which aye has been our bane.
To which our very loss is certain gain.
Where our daft Lords and Lairds spend a' their rents.
In following ilka fashion she invents.
Which laws we like not aft on us entails.
And where we're forc'd to bring our last appeals.
Still envious of the little we had left.
Of Jamie Oswald last our town bereft.
'Tis hard indeed — but may you now repent
The day that to that spacious town you went.
If they thy value know as well as we.
Perhaps our vanish'd gold may flow to thee.
If so, be wise ; and when ye' re well to fend.
Return again and here your siller spend.
Mean-while, to keep our heavy hearts aboon,
O publish a' your works, and send them soon.
We'll a' subscribe, as we did for the past.
And play while bows may wag or strings can last.
Farewell — perhaps, if you oblige us soon,
I'll sing again to a new fav'rite tune.
408* JAMES OSWALD.
On the title of Oswald's Airs for the Seasons, published
in four separate parts, they are said to have been " printed
for the Author, and sold at his Musick-shop in St Martin's
Churchyard." The privilege of publishing these Airs, for
the usual term of fourteen years, is dated 23d of Oct. 1747.
At a later period we " learn that Mr James Oswald was
appointed Chamber Composer to his Majesty." (Gentle-
man's Magazine, January 1761, p. 44.) The time of his
decease has not been ascertained.
MISS GRAHAM.
In the notices given of this lady at page *141, &c., I
omitted to add, that she died at Edinburgh in April 1805,
in the eighty-second year of her age. — Instead of the words,
near of the top of page *144, (" derived probably from
Stenhouse's note at page 101,") read, (according to Sten-
house's note at page 101, derived probably from Cromek's
Select Scotish Songs, vol. i. p. 161.)
GALA WATER.
The following local version of this favourite song
(No. Gcxv.) is given from the MS. collection already men-
tioned, as written about 1780.
1.
Out o'er yon moss, out o'er yon muir.
Out o'er yon bonny bush of heather,
O all ye lads wha e'er ye be.
Shew me the way to Gala Water.
Bra, bra lads o' Gala Water,
Bonny lads o' Gala Water,
The Lothian lads maun ne'er compare
Wi' the bra lads o' Gala Water.
2.
At Nettlie-flatt we will begin,
And at Halltree we'll write a letter.
GALA WATER. *409
We'll down by the bower and take a scour.
And drink to the lads o' Gala Water.
Bra', bra', &c.
3.
There's Blindlie and Torwoodlie,
And Galashiels is meikle better.
But young Torsonce he bears the gree.
Of a' the Pringles on Gala Water.
Bra', bra', &c.
4.
Bucklaw is a bonny place.
But Appletree-leaves is meikle better.
But Cockle-ferry bears the gree,
Fra ilka laird on Gala Water.
Bra', bra', &c.
5.
Lords and lairds come here to woo.
And gentlemen wi' sword and dagger.
But the black-eyed lass o' Galashiels
Wad ha'e none but the gree o' Gala Water.
Bra', bra', &c.
6.
Lothian lads are black wi' reek.
And Tiviotdale lads are little better.
But she's kilted her coats aboon her knee.
And gane wi' the lad o' Gala Water.
Bra', bra', &c.
7.
Tho' corn rigs are good to see.
Yet flocks o' sheep are meikle better.
For oats will shake in a windy day
When the lambs will play in Gala Water.
Bra', bra', &c.
8.
Adieu Sour-plumbs in Galashiels,
Farewell my father and my mother !
For I'll awa' wi' the black-hair'd [herd ?] lad,
Wha keeps his flocks on Gala Water.
*2h
410* JOHNIE FAA, OR THE GIPSIE LADDIE.
Bra', bra' lads o' Gala water,
Bonny lads o' Gala water,
Let them a' say what they will.
The gree gaes aye to Gala Water.
When copying out this Song, I was not aware that Mr
Robert Chambers had inserted it in his collection of Songs,
p. 592. But such local ditties, I think, possess more than
usual interest, and are worthy of being printed oftener
than once. Mr C. observes in his note, " If this song be
(what it probably is) the first song written to the tune of
Gala Water, we must conclude that the celebrity of that
district in song and music, has been entirely owing to the
charms of ae honnie lass. So much may one person do for
a country."
JOHNIE FAA, OR THE GIPSIE LADDIE.
The following verses to this tune (No. clxxxi,) are pre-
served in the same MS. I do not recollect meeting with
them in any other collection.
1.
The Coopers they came to Lord Cassillis at Colzean,
With their hoops all tight and ready,
From London they came down, baith the black and the brown.
And they wanted to gie him a lady.
2.
Your Lordship, we pray, may not say us nae.
For it's now full time you was girded.
Quoth the Earl, Faith my dears, so great are my fears.
In conscience I'd rather be yearded.
JOHN BRUCE.
At pages lOQ and 236, the airs, " Whistle o'er the lave
o't," and " Whistle and I'll come to you, my lad," have
been attributed to John Bruce, a fiddler in Dumfries. Mr
Mayne, author of " The Siller Gun," has introduced him
among other worthies, (edit. 1836, p. 45.) —
^.^7'
LASS GIN YE LOO ME TELL ME. * 41 I
To hear John Bruce exert his skill,
You'd never grudge anither gill, &c.
In the Notes on that poem, he has given an account of
Bruce, from which we learn, that he was born at Braemary
that he was actively engaged in the Rebellion of 1745,
but was taken prisoner, and for a time confined in Edin-
burgh Castle. He afterwards settled at Dumfries, where
he spent the remainder of his days. " He is supposed,
'Sj by Burns (says Mr Mayne,) to have been the composer
of the favourite Scots air of ' Whistle o'er the lave o't.' I ^
This opinion is altogether erroneous ; for, although John
Bruce was an admirable performer, he never was known as
a composer of music. The air in question was composed
long before he existed."
SIR HENRY ERSKINE.
To the notice given at page 298*, it maybe added, that
Sir Henry Erskine was member of Parliament for many
years ; and that, in 1756, he lost his rank in the army for
his conduct, by opposing the importation of the Hanove-
rian and Hessian troops. After the accession of George III.,
in November 1760, he was restored to his rank in the army,
and appointed Colonel of the 67th regiment of foot.
" Major- General Sir Henry Erskine, Bart., only survi-
ving son and representative of Sir John Erskine of Alva,
deceased, and M. P. for the boroughs of Anstruther, was
married at Edinburgh, 25th of April 1761, to Miss Jenny
Wedderburn, only daughter of Lord Chesterhall, de-
ceased."
LASS GIN YE LOO ME TELL ME.
Mr Chambers, in his Scottish Songs, p. 134, has attri-
buted this song to James Tytler, of whom some notice has
been given at pages 73 and 134.*
412* EWIE Wl' THE CROOKED HORN.
The following version of this popular Song (No.
ccxLiv.) occurs in Mr Mansfield's manuscript volume of
Songs.
\ 1-
; I ha'e a cow, I ha'e a calf,
Lass, gin you lo'e me, tell me now,
A braw new bonnet, but an a new staff.
An' I canna come every day to woo.
■f
I 2.
I ha'e a mark tyed up in a rag.
Lass, &c.
It lyes in the chimney for faut of a bag.
An' I, &c.
; • 3.
-: I've a wie bit cheese lyes up in the shelf,
I Lass, &c.
I An' I cannae eat it a* myself,
I An' I, &c.
\
1 4.
! I've a wee bit lairdship down i' the Merse,
Lass, &c.
The ninth part of a goose's girss.
An' I winna come every day to woo.
THE EWIE Wl' THE CROOKED HORN.
The Song under this name, inserted as No. ccxciii. in
the Musical Museum, is sufficiently well known. I am not
certain whether the author, the Rev. John Skinner, might
not have been indebted for the idea of his song to the fol-
lowing silly enough verses, which are here printed from the
above manuscript volume.
1.
Ewie wi' the crooked horn, may you never see the morn.
Ilka day ye steal my corn, ewie wi' the crooked horn ;
A' the ewes come hame at even, a' the ewes come hame at even,
A' the ewes come hame at even, crooked hornie bydes awa'.
Ewie wi' the crooked horn, &c.
WILLIAM MARSHALL. *413
2.
Ilka ewie has a lambie, ilkie ewie has a lambie.
Ilka ewie has a lambie, crooked hornie she has twa,
Ewie wi' the crooked horn, may you never see the morn.
Ilka day, &c.
3.
A' the ewes gies milk eneugh, a' the ewes gies milk eneugh,
A' the ewes gies milk eneugh, but crooked horn gies maist ava',
Ewie wi' the crooked horn, &c.
ALLAN MASTERTON.
This intimate friend of Burns is mentioned slightly at
page 323 *. The Town- Council of Edinburgh, on the 26th
of August 1795, elected Dugald and Allan Masterton, and
Dugald Masterton, jun., to be joint writing-masters in the
High School, in the room of George Paton, dismissed. In
little more than five years, the office had become vacant ;
and on the death of Dugald Masterton (27th of September
1800,) the last survivor, Allan Dow, was appointed his suc-
cessor, 8th of October 1800.
WILLIAM MARSHALL.
Having been favoured with the use of an interesting MS.
Memoir of Marshall, in the possession of Joseph Mac-
Gregor, Esq., Accountant, Edinburgh, 1 avail myself of
the privilege of extracting the following notices of that com-
poser, who passed through life much esteemed for his per-
sonal respectability as well as genius.
William Marshall, a celebrated composer of Scotish
airs and melodies, and no less eminent as a performer on
the violin, was born at Fochabers, in the county of Banff,
the 27th of December 1748, o. s. He was almost wholly
self-taught, and was early distinguished for skill in practi-
cal mechanics, as well as musical genius. When about
twelve years of age, he entered the service of the Duke of
414* WILLIAM MARSHALL.
Gordon, and was first employed at Fochabers under the
house-steward, and became a general favourite. *' The
consequence was, that he was soon advanced to the situa-
tion of butler and house-steward, and continued to fill that
station, and to take the management of the whole family
establishment, for nearly thirty years, much to the satisfac-
tion of the family ; and whether at Gordon Castle, or during
their winter residences at London, Edinburgh, at water-
ing-places, or elsewhere, Mr Marshall always attended
them. Hence opportunities were afforded him of much
intercourse with the world, and of cultivating and improv-
ing those various talents with which nature had so freely
gifted him." " Judging from his letters, (says Mr Mac-
Gregor,) he appears to have been well educated, as in com-
position as well as beautiful penmanship, they would do
credit to persons of much higher pretension."
" His talent for music," the Memoir continues, " rapidly
developed itself; and in the cultivation of it, he was much
encouraged by all the family of Gordon, all of whom pos-
sessed a fine taste for music, and were enthusiastic admirers
of Mr Marshall's productions. Among his first musical com-
positions, were ' The Duke of Gordon's Birth-day,' ' The
Bog of Gight,' ' The Marquis of Huntly's Strathspey,'
' Miss Admiral Gordon,' ' The Marquis of Huntly's fare-
well,' ' Johnie Pringle' (afterwards called ' Miss Jane
Stewart of Pittyvaich,') &c. &c. Two of these airs have
been immortalized by the Scotish Muse, viz. — ' The Mar-
quis of Huntly's Strathspey,' by the humorous and lively
verses adapted to it by the venerable and reverend John
Skinner, author of ' Tullochgorum,' and ' Miss Admiral
Gordon's (now Mr Forbes of Seaton) Strathspey,' by
Burns's beautiful and greatly admired song ' Of a' the
airts the wind can blaw.'
WILLIAM MARSHALL. *415
" The correctness of Marshall's ear was unrivalled, and
his style of playing strathspeys and reels lively and in-
spiring, while his fine taste and peculiarly touching manner
of executing the slow and more plaintive Scotish airs and
melodies, delighted all who heard him.
" At the age of twenty-five, Mr Marshall married Jane
Giles, a very respectable and then good-looking woman,
by whom he had a family of five sons and a daughter.
About the beginning of the year 1790, owing to the deli-
cate state of his health, he was obliged to relinquish his
situation at Gordon Castle, and retired for a short time to
a small farm in the neighbourhood of Fochabers. The
same year, he removed to the now extensive farm of Keith-
more, belonging to the Duke of Gordon, in the lordship
of Auchendown, and parish of Mortlach, where he entered
keenly into the spirit of farming. He was shortly there-
after appointed factor or land-steward to his Grace, over a
very extensive range of his estates in BaniF and Aberdeen-
shires, comprehending the districts of Cabrach, Auchen-
down, Glenlivat, Strathaven, and Strathdown, &c. This
situation he filled with fidelity and honour till the year
1817, continuing during the whole of this long period in
the fullest confidence of his noble constituent, and idolized
by the tenantry for his strict integrity and adherence to
his word and promises, and for the many acts of kindness
they received at his hands, for he was a sincere friend to
them all."
Mr Marshall died at Newfield Cottage on the 29th May
1833, aged eighty-five ; and his wife died at the same place,
and at the same age, on the 12th December 1825.
A Collection of Marshall's " Airs and Melodies," was
published (by subscription) in May 1 822, but many of them
had appeared in a detached form before the close of the last
416* THOU ART GANE AWA.
century. The volume contains 176 tunes; and it was fol-
lowed by a supplement of about 74 additional tunes. Messrs
Robertson, music-sellers, Edinburgh, before Marshall's death,
purchased the copyright of the whole of his Tunes, with the
view of publishing a complete and uniform edition of his
works. It would undoubtedly add very much to the inter-
est of such a collection, if Mr MacGregor were prevailed
on to draw up a memoir of the composer, for which, I
believe, he is in possession of very copious materials, as
well as of a considerable number of Marshall's original
letters.
REV. MURDOCH MACLENNAN.
In the notice at page *321 — instead of the words, he
died " in the 50th year of his ministry, and 32d of his age,"
read, " and 8 2d of his age."
THOU ART GANE AWA'.
This Song, included in this work as No. cccxxxix.
occurs with a slight variation in stanza third in " The
Charmer," vol. ii. p. 194. Edin. 1782. It is likewise in-
cluded, with several variations, in Mr Mansfield's MS.,
beginning, " Thou'st run awa', thou'st run awa'."
KELSO RACES.
Not having had an opportunity at the time to collate the
verses on " Kelso Races," which are printed at page 529,
I find it necessary to point out the following corrections : —
Line 14, " Tall Archibald;"—!. 18, " any old Jew ;"—
I. 22, " bett on ;"— 1. 34, " Sir John Fantocini" (in the
margin) " Sir John Nisbet ;" and 1. 42, " bravely to blaw."
ILLUSTRATIONS
LYRIC POETEY AND MUSIC
SCOTLAND.
PART VI.
" DI.
MY PEGGY'S FACE.
This song was written by Burns in 1787, for the second vo-
lume of the Museum, but having been mislaid, it did not make
its appearance till the publication of the last volume of that
work. In a letter, inclosing the song and the fine air to which it
is adapted, the bard thus addresses Mr Johnson : " Dear Mr
Publisher, I hope, against my return, you will be able to tell
me from Mr Clarke if these words will suit the tune. If they
don't suit, I must think on some other air, as I have a very
strong private reason for wishing them in the second volume.
Don't forget to transcribe me the list of the Antiquarian mu-
*ic. Farewell. R. Burns." Burns alludes to the manu-
script music in the library of the Antiquarian Society, Edin-
burgh.
Mr George Thomson has inserted this song in the third
volume of his Collection; but the name of the heroine, in
place of " Peggy," is changed for that of " Mary," and the
words are directed to be sung to the tune called *' The
Ewie Avi' the Crooked Horn." These alterations, however, do
not appear to be for the better. It Avill generally be found,
that the tune which the poet himself had in view when com-
posing a song, if not superior, is, at least, more in unison
2i
440 DI. — MY PEGGY'S FACE.
with the sentiments expressed, than any other that can be se-
lected.
DII.
MY BOY TAMMY.
This fine ballad, beginning " Whar hae ye been a' day,
my boy. Tammy ?" was written by Hector Macneill, Esq.
It first appeared in a magazine, printed at Edinburgh in
1791, entitled " The Bee," which was conducted by his
friend Dr James Anderson. It has since been printed in the
author's poetical works, and has deservedly become a favour-
ite with the public. Miss Duncan (afterwards Mrs David-
son) the celebrated actress, used frequently to sing this bal-
lad on the stage with great applause.
The melody, to which the words are adapted, is very an-
cient and uncommonly pretty. The old song, however, was
quite puerile ; the Editor has often heard it sung by old
people, when he was a boy, and he still remembers some of
the verses. One of them ran thus :
Is she fit to soop the house.
My boy. Tammy ?
Is she fit to soop the house.
My boy, Tammy ?
She's just as fit to soop the house
As the cat to tak' a mouse ;
And yet she's but a young thing
New come frae her mammy.
Another verse contained a very singular sort of puzzle :
How auld's the bonnie young thing.
My boy. Tammy }
How auld's the bonnie young thing.
My boy. Tammy?
She's twice six and twice seven.
Twice twenty and eleven ;
And yet she's but a young thing
Just come frae her mammy.
Dili.
RED GLEAMS THE SUN.
This song was written by Robert Couper, Esq. M. D.
author of two volumes of poetry, chiefly in the Scottish Ian-
jrtll.i^flED GLEAMS THE SUN. 44l
guage, printed at Inverness in 1804, and dedicated to the
late Jane, Duchess of Gordon. The title of the isong, in the
Doctor's works, is " Kinrara, — tune, " Niel Gow.'"
In the Museum, the song has accordingly been set to the
beautiful strathspey, called " Niel Gow," which was composed
by Mr Macintyre, the musician, in honour of the late fa,ther
of Scottish ball music, Niel Gow of Dunkeld. Kinrara
Lodge was the summer residence of the late Duchess of
Gordon.
DIV.
0, STEER HER UP, AND HAUD HER GAUN.
Ramsay wrote a bacchanalian song to this ancient tune,
and printed it in his Tea-Table Miscellany, 1724. He very
properly suppressed the old song, enough of which is still but
too well known. The first four hues of the song in the Mu-
seum were taken from Ramsay's, and the rest of it was writ-
ten by Burns for that work. Johnson has made a mistake
in copying the fifth line of the second stanza. It should be
** Ne'er break your heart for ae rebute," as in the manu-
script.
DV.
WHEN I GAE'D TO THE MILL.
This song was copied from Herd's Ancient and Modern
Songs, printed in 1776. It is adapted to a tune, which Os-
wald, in his Caledonian Pocket Companion, book ix. calls
" The Birth of Kisses," which was probably the original
title of the song. The author's name has not yet been dis-
covered.
DVI.
WHAR ESK ITS SILVER CURRENT LEADS.
This beautiful song, according to the information of the
publisher of the Museum, was written by Mr Carey. It is
adapted to a very beautiful and plaintive old air, called " I'll
never see him more," printed in the sixth book of Oswald's
Caledonian Pocket Companion, p. 16. This tune is omitted
in the Index of Oswald's work.
442 DVI. — WHAR ESK ITS SILVER CURRENT LEADS.
Mr 'Carey's song, five years after its appearance in the
sixth volume of the Museum, which was pubUshed on the
4th of June 1803, appeared, for a second time, in the fourth
number of Mr George Thomson's Collection, printed in
1808, with the following alterations, which are evident im-
provements. In place of the 8th, 10th, and 12th hues in
the Museum, read, as in Mr Thomson's edition,
I deck'd my pleasing peaceful bower— line 8th.
A modest sweet and lovely flower — line 10th.
To grace and chear my bonnie bower — line 12th.
Mr Thomson says the author is unknown, and that
" The Esk here alluded to, after passing the romantic banks
of RosLiN, winds for several miles through a variety of scene-
ry singularly beautiful." There are, at least, six rivers of
that name in Scotland, whose banks are all particularly ro-
mantic, and there is not one line in the song that fixes the lo-
cality to the Esk which washes the ruins of Roslin Castle.
Mr Thomson directs the words of Carey's song to be sung
to the " Braes of Ballochmyle," a song written by Burns,
set to music by A. Masterton, and published in the second
volume of tlie Museum, page 285, in the year 1790..
DVII.
THO' FOR SEVEN YEARS AND MAIR.
This poetical dialogue between two rustic lovers, was
written by Ramsay to the tune of ^' I'll never leave thee,"
and printed in his Tea-Table Miscellany in 1724. Some
lines of the ancient song of " I'll never leave thee," however,
are interspersed here and there in Ramsay's production.
The editor of the Orpheus Caledonius, having preferred
Crawfurd's song, beginning " One day I heard Mary say,"
to the same air, published it in that work in 1725.
Mr John Watt, in the fourth volume of his " Musical
Miscellany," printed at London in 1730, published Ram-
say's song, adapted to the tune of " A Lad and a Lassie lay
in a Killogie," which was afterwards called " Bannocks o'
Bear Meal, and Bannocks o' Barley," under the following
1
DVn.— THO' FOR SEVEN YEARS AND MAIR. 443
title, " A dialogue between Jenny and Nelly, to the tune of
I'll never leave thee." As Crawfurd's song to the genuine
air, was published in the first volume of the Museum, page
92, Johnson adapted the same tune that Watt had selected
for Ramsay's dialogue, which suits the words nearly as well
as the proper tune of " I'll never leave thee" would have
done.
DVIII.
ROW SAFTLY, THOU STREAM.
This beautiful song, entitled " Captain O'Kaine," was
written by the late Mr Richard Gall, a young man of the
most promising poetical talents, and author of several songs
in the sixth volume of the Museum. The tune is certainly
Irish.
Richard Gall was born at Linkhouse, near Dunbar, in the
month of December 1776- At an early period he was sent
to the school at Haddington, where he soon acquired a pro-
ficiency in reading, writing, and arithmetic. On leaving
school, his parents placed him under the charge of a relation,
to learn the trade of a house-carpenter ; but, ere long, he
felt such antipathy to the occupation that he left it. He
was next placed with a respectable builder and architect, to
acquire a knowledge of his profession. After a trial of this
new line of business however he found it nearly as disagree-
able to him as the other ; he therefore gave it up also, and
went to Edinburgh, to which city his father and mother had
recently removed.
Soon after his trrival in the Scottish metropolis, he was
bound apprentice to Mr David Ramsay, a respectable printer,
and publisher of the Edinburgh Courant. This mode of life
proved quite congenial to the feelings of young Gall, In-
deed, the attention and friendship which his worthy master
showed him on every occasion, attached him so strongly to
his employer, that after the expiration of his indenture, he
continued in the service of that gentleman during the rest of
his Ufe.
44^
Drill. EOW SAFTLY, THaU STKEAJVt.
Whilst in this situation Gall employed his spare hours in
acquiring various branches of education, and in wooing Sco-
tia's muse. His poetical efforts soon began to attract consi-
derable attention, and procured him the friendship and cor-
respondence of several literary characters, amongst whom
were Burns and Macneill. About the beginning of 1801, an
abscess broke out in his breast, which, notwithstanding every
possible care and the best medical assistance, put a period to
his existence on the 10th of May 1801, in the 25th year of
his age.
During his last illness, although unable from weakness to
hold a pen, he committed several of his poems to paper, writ-
ten with a black lead pencil. Mr Stark, in his Biographkc^
Scotica, justly observes, that « Of all the writings of Mr
Gall, the tendency is uniformly virtuous. But this is not
their only merit. A rich vein of poetry pervades them ;
the sentiments are striking ; the language simple and unaf-
fected."
Mr Gall's Poetical Works were lately published in a neat
volume 12mo, by Messrs Oliver & Boyd, with a Life of the
Author, elegantly written, by the Rev. Alexander Stewart.
DIX.
AS I WENT O'ER THE HIGHLAND HILLS.
This is the well-known ballad of " Peggy Bawn," which
has long been a favourite at the firesides of the peasantry of
Scotland, although it does not appear to have been honoured
with a place in any regular collection until the publication of
the Museum. The air is said to be Irish, ,but the ballad it-
self is unquestionably of Scottish origin. The tune, how-
ever, IS very pretty. It was made into an excellent rondo,
with variations for the piano-forte or harpsichord, by Butler
the organist, which has had a considerable run. The author
of the words and music has not yet been discovered.
445
DX.
0, CHERUB CONTENT.
This beautiful song was written by Thomas Campbell,
Esq. author of the Pleasures of Hope, Gertrude of Wyo-
ming, and many other excellent poems. The words are
adapted to the favourite Irish air, called Coolun. Mr Camp-
bell evinced considerable abilities, both as a poet and a scho-
lar, at a very early period of life. The present Editor recol-
lects of having read a poem, called " The Choice of Paris,"
written by Mr Campbell, when he was a boy at the high-
school of Glasgow. Mr Campbell entered that seminary on
10th October 1785.
uxi.
AS V^^ALKING FORTH TO VIEW,
This ballad was printed in Ramsay''s Tea-Table Miscel-
lany in 1724, with the letter Q annexed, to denote that it was
an old song with alterations. It is entitled " Omnia vincit
amor,*" i. e. " Love conquers all."
In Skene's music manuscripts, written in the reign of
James VI. of Scotland, there is an air with the same Latin
title inserted in book sixth, after " Lady Rothemayes Lilt."
The original ballad must therefore have been a favourite
long before the year 1600. It seems to have been set to
various tunes, for in Oswald's Caledonian Pocket Compa-
nion, book viii. there is a slow air, in common time, entitled
" Omnia vincit amor," which is quite different from the air
in Skene's MSB. as well as that in the Museum. But the
Editor is of opinion, that neither the airs published by Os-
wald nor Johnson are so old as the words.
DXII.
THE BATTLE OF HARLAW.
This old ballad, beginning " Frae Dunideir, as I cam
throuch," gives a very minute and faithful account of the
cause and issue of the battle of Harlaw, fought on the 24th
day of July 1411, between Donald, Lord of the Isles^ and
the Earl of Mar, son of Robert, Duke of Albany, Regent
446 DXJI. THE BATTLE OF HARLAW.
of Scotland, during the captivity of his nephew, James I.
King of Scots. Harlaw, where the battle took place, is situ-
ated in Garioch, a district in Aberdeenshire. The royal
army on this occasion were completely victorious ; Donald's
forces being defeated with great slaughter.
" The Battel of Hayrlaw'' is quoted as one of the " sweet
sangis," in Wedderburn's " Complain te of Scotlande," printed
in 1549; but, so far as we know, no printed edition of this
celebrated ballad has yet been discovered, prior to that in
Ramsay's Evergreen, published at Edinburgh in 1724, from
an ancient manuscript copy. The late Lord Hailes seemed to
have entertained some doubts of its being a genuine produc-
tion of the 15th century; because Ramsay did not scruple
on some occasions to retrench, or substitute verses of his own
for originals of the ancient poetry which he collected. The
present ballad, however, is so very different from the style
and structure of every production of Ramsay, and bears
such evident and strong marks of antiquity, that, making al-
loAvance for some verbal alterations which may, perhaps,
have been substituted for a few of the more ancient and ob-
solete words, there can scarcely remain a doubt of its ge-
nuine authenticity. Indeed, Ritson, who in general had
little or no faith in any of the Scottish traditions, thus ex-
presses himself Avith regard to this ballad. " The Battel of
Hayrlaw," (mentioned by Wedderburne) is presumed to be
the fine poem printed in the " Evergreen," which, with sub-
mission to the opinion of the late Lord Hailes, may, for any
thing that appears either in or out of it to the contrary, be as
old as the 15th century."
In Drummond of Hawthornden's mock-heroic poem, Avhich
was edited, with notes and illustrations, by Bishop Gibson
in 1691, mention is made of a bagpipe tune, called the Battle
of Harlaw —
" Interea ante alios dux Piper Laius heros,
Precedens, rnagnamque gerens cuvi burdine pijpam,
Jncipit Haklaii cunctis sonare Battellum."
DXIL— THE BATTLE OF HARLAW.
447
The present Editor is in possession of a folio manuscript of
Scots tunes of considerable antiquity, wherein this pibroch is
inserted under the title of the " Battle of Hardlaw." It is
nere annexed :
BATTLE OF HARDLAW. A Pilrocfu
__^ g»,,... •' -l-P--= P-' - -T-P-'-A- f>'...— •• ...
i=^E-SE-E=;=r=iffi|;E;;==2Et:==;=-
^^fe&lia
Mr Ritson conjectures, that this ballad must have been
sung to a very slow air ; but none of these long ballads were
sung in adagio time. It seems highly probable, that this
ballad was chanted to the first strain of the old pibroch,
which contains the whole air, and suits the measure of the
stanza. The other strains of this wild pibroch are evidently
mere variations of the theme or first strain.
As Johnson was under the necessity of curtailing this fine
old historical ballad, on account of the limited size of his
sixth volume, it is here reprinted from Ramsay's Evergreen,
1724.
THE BATTLE OF HARLAW.
Frae Dunideir as I cam throuch,
Doun by the hill of Baiiochie,
Allangst the lands of Garioch,
Grit pitie was to heir and se.
The noys and dulesvnn hermonle,
That evir that driery day did daw,
448 DXII. THE BATTLE OF HARLAW.
Cry and the cor3nioch* on hie,
" Alas, Alas ! for the Harlaw !"
II.
I marvlit what the matter meint.
All folks were in a fieiy fairy, t
I wist not quha was fae or friend,
Zit quietly I did me carrie :
But sen the days of auld King Harrie,;}:
Sic slauchter was not hard or sene ;
And thair I had nae tyme to tairy.
For bissiness in Aberdene.
III.
Thus as I walkit on the way.
To Inverury as I went,
I met a man, and bad him stay.
Requesting him to mak me 'quaint
Of the beginning and the event
That happenit thare at the Harlaw ;
Then he entreated me tak tent.
And he the truth sould to me schaw
IV.
Grit Donald of the Yles did claim
Unto the lands of ROss sum richt.
And to the Governour he came.
Them for to half gif that he tnicht;
Quha saw his interest was but slicht.
And thairfore answerit with disdain ;
He hastit hame baith day and nicht.
And sent nae bodword § back again.
V.
But Donald richt impatient
Of that answer Duke Robert gaif,
He vow'd to God Omnipotent
All the hale lands of Ross to haif,
Or ells be graithed in his graif :
He wald not quat his richt for nocht.
Nor be abusit lyk a slaif.
That bargane sould be deirly bocht.
• Corynoch, i. e. a funeral dirge, or lament for the dead.
•}■ Bustle and confusion.
% Whilst our Malcolm IV. was on the Continent with Henry II. of England,
Somerled, Thane of Argyle, who aspired to the throne of Scotland, raised a for-
midable rebellion in the north, which was fortunately quelled by the Earl of
Angus, commander of the royal army, who defeated Somerled's forces with im-
mense slaughter. It is a singular coincidence, that Donald, Lord of the Isles, like-
wise took the opportunity of urging his claim to the lands of Boss, during the ab-
sence of his Sovereign ; James I. being, at this period, a captive in England.
§ Reply, or message.
DXII.— THE BATTLE OF HARLAW.
VI.
Then haistylie he did command
That all his weir-men should convene.
Ilk ane well harnisit frae hand
To meit and heir quhat he did mein ;
He waxit wraith and vowit tein,
Sweirand he wald surpryse the north,
Subdew the brugh of Aberdene,
Merns, Angus, and all Fyfe to Forth.
VII.
Thus with the weir-men of the Yles,
Quha war ay at his bidding bown.
With money made, with forss and wyles.
Right far and neir, baith up and down.
Throw mount and muir, frae town to town,
Alangst the land of Ross he roars.
And all obeyit at his bandown,
Evin frae the north to suthren shears.
VIII.
Then all the countrie men did yeild.
For nae resistans durst they mak.
Nor offer battil in the field.
Be forss of arms to beir him bak ;
Syne thay resolvit all, and spak
The best it was for their behufe.
They sould him for thair chiftain tak,
BeUeving well he did them lufe.
IX.
Then he a proclamation maid.
All men to meet at Inverness,
Throw Murray-Land to mak a raid
Frae Arthursyre unto Spey-ness ;
And, furthermair, he sent express.
To schaw his collours and ensenyie
To all and sindry, mair and less,
Throuchout the boundis of Boyn and Enyie.
X.
And then throw fair Strathbogie land.
His purpose was for to pursew.
And quhasoever durst gainstand.
That race they should full sairly rew.
Then he bad all his men be trew.
And him defend by forss and slicht.
And promist them rewairds anew.
And mak them men of mekle mlcht.
450 DXII.— THE BATTLE OF HARLAW.
Without resistans^ as he said.
Throw all these parts he stoutly past,
Quhair sum war wae, and sum war glaid.
But Garioch was all agast ;
Throw all these fields he sped him fast.
For sic a sicht was nevir sene.
And then forsuith, he langd at last
To see the bruch of Aberdene.
XII.
To hinder this prowd enterprise,
The stout and michty Erie of Mar,
With all his men in arms did ryse.
Even frae Curgarf to Craigyvar,
And down the syde of Don richt far,
Angus and Mearns did all convene.
To fecht, or Donald cam sae nar.
The ryall bruch of Aberdene.
XIII.
And thus the martial Erie of Mar,
Marcht with his men in richt array.
Before the enemie was aware.
His banner bauldly did display ;
For Weil eneuch they kend the way.
And all their semblance weil they saw,
Withoutin dangir or delay.
Came haistily to the Harlaw,
XIV.
With him the braif Lord Ogilvy,
Of Angus Sheriff principal ;
The Constabill of gude Dunde,
The vanguard led before them all ;
Suppose in number they were small.
They first richt bauldlie did pursew.
And maid their faes befor them fall,
Quha then that race did sairly rew.
XV.
And then the worthy Lord Saltoun,
The strong undoubted laird of Drum,
The Stalwart laird of Lawriestoune,
With ilk thair forces all and sum ;
Panmuir with all his men did cum ;
The Provost of brave Aberdene,
With trumpets and with tuick of drum.
Came shortly in their armour scheue.
DXIII'— THE BATTLE OF HARLAW. 451
xvr.
These, with the Erie of Mar, came on
In the reir-ward richt orderlie.
Their enemies to set upon.
In awful manner hardily ;
Togither vowit to live or die.
Since they had marchit mony miles,
For to suppress the tyrannic
Of doubted Donald of the Yles,
XVII.
But he in number ten to ane,
Richt subtilie alang did ride.
With Malcolmtosh and fell Maclean,
With all their power at their syde ;
Presumeand on their strength and pryde.
Without all feir of ony aw,
Richt bauldlie battill till abyde
Hard by the town of fair Harlaw.
XVIII,
The armies met, the trumpet sounds.
The dandring drums aUoud did tuik,
Baith armies byding on the bounds.
Till ane of them the field sould bruik ;
Nae help was thairfor, nane wad jouk,
Ferss was the fecht on ilka syde.
And on the ground lay mony a bouk
Of them that there did battill byd.
With doutsum victorie they dealt.
The bludy battill lastit lang ;
Each man his nibour's forss there felt.
The weakest aft-times gat the wrang ;
There was nae mowis there them amang,
Naething was hard but heavy knocks.
That echo maid a dulefull sang,
Thairto resounding frae the rocks.
XX.
But Donald's men at last gaif back.
For they war aU out of array.
The Erl of Mar's men throw them brak,
Pursewing shairply in thair way,
Thair enemys to tak or slay.
Be dint of forss to gar them yield ;
Quha war richt blyth to win away.
And sae for feirdness tint the fray.
DXII. — THE BATTLE OF HARLAW,
xxr.
Then Donald fled, and that full fast.
To mountains hich for all his micht.
For he and his war all agast.
And ran till they war out of sicht ;
And sae of Ross he lost his richt,
Thoch mony men with him he brocht.
Towards the Yles fled day and nicht.
And all he wan was deirlie bocht.
xxn.
This is (quod he) the richt report
Of all that I did heir and knaw,
Thoch my discourse be sumthing short
Tak this to be a richt suthe saw.
Contrair God and the King's law,
Thair was spilt mekle Christian blude.
Into the battil of Harlaw :
This is sum, sae I conclude.
XXIII.
But zit a bonny whyle abide.
An I sail mak thee clearly ken,
Quhat slauchter was on ilka syde.
Of Lowland and of Highland men ;
Quha for thair awin haif ever bene,
Theselazie lowns micht weilbe spaird,
Chessit lyke deirs into thair den.
And gat thair wages for rewaird.
XXIV.
Malcolmtosh of the clan heid chief,
Maclean with his grit hauchty heid.
With all thair succour and relief
War dulefully dung to the deid ;
And now we are freid of thair feid
And will not lang to come again
Thousands with them without remeid
On Donald syd, that day war slain.
XXV.
And on the uther syd war lost.
Into the field that dismal day.
Chief men of worth (of mekle cost).
To be lamentit sair for ay ;
The Lord Saltoun of Rothemay,
A man of micht and mekle main.
Grit dolour was for his decay
That sae unhappylie was slain.
DXIi. THE BATTLE OF HABLAW. 453
XXVI.
Of the best men amang them was
The gracious gude Lord Ogilvy,
The sheriff-principal of Angus
Renownit for trutia and equitie.
For faith and magnanimitie ;
He had few fallows in the feUd
Zit fell by fatal destinie^
For he nae ways wad grant to zield.
XXVII.
Sir James Scrimgeor of Duddop^ knicht.
Grit Constabill of fair Dundee,
Unto the duleful deith was dicht.
The King's chief banner-man was he,
A valiant man of chevalrie,
Quhais predecessors wan that place
At Spey, with gude King William frie,
'Gainst Munay and Macduncan's race.
XXVIII.
Gude Sir Alexander Irving,
The much renownit laird of Drum,
Nane in his days was better sene,
Quhen they were semblit all and sum.
To praise him we sould not be dumra.
For valour, witt, and worthy ness.
To end his days he there did cum,
Quhois ransom is remeidyless.
XXIX.
And there the knicht of Lawriston
Was slain into his armour schene ;
And gude Sir Robert Davidson,
Quha Provost was of Aberdene ;
The knicht of Panmuir, als was sene,
A mortal man in armour bricht.
Sir Thomas Murray, stout and kene.
Left to the world thair lost gude nicht.
There was not sin King Keneth's days
Sic strange intestine cruel stryf
In Scotland sene, as ilk man says,
Quhair mony liklie lost thair lyfe ;
QuhUk made divorce twene man and wyfe^
And mony children fatherless,
Quhilk in this realm hath been full ryfe.
Lord help these lands, our wrangs redress !
454 DXII.— THE BATTLE OF HAE.LAW,
XXXI.
In July, on Saint James his even'.
That four-and-twenty dismall day.
Twelve hundred ten score and eleven
Of Zeirs sen Chryst, tne suth to say ;
Men will remember, as they may,
Quhen thus the verite they know.
And mony ane may mourn for ay
The brim battill of the Harlaw.
In the reign of Henry the II. of England, Scotland was torn
by intestine broils and insurrections. This was occasioned
by the servile conduct towards that monarch, both by Mal-
coM, and his brother and successor William, kings of Scot-
land, which disgusted and enraged the Scottish chiefs. Du-
ring the reign of William, Donald, another Lord of the Isles,
likewise invaded Scotland, and committed horrid ravages in
the counties of Ross and Murray. This person was a pro-
genitor of the Donald mentioned in the ballad, and claimed
the crown in right of Duncan, the bastard King of Scots.
This circumstance is alluded to in stanza xxvii. On the
5th July 1187, however, Roland, the gallant hero of Gal-
loway, decided the fate of the older Donald, who was slain in
an accidental rencounter of a foraging party, and the greater
part of his followers were put to the sword.
The wild melody, to which the ballad of Harlaw is adapt-
ed in the Museum, is evidently the progenitor of the old
Highland Pibroch formerly mentioned. The second stanza -
is merely a slight alteration of the first.
DXIII.
O BOTHWELL BANK, THOU BLOOMEST FAIR.
This song was written by Mr John Pinkerton, the historian,
who is a native of Edinburgh. The words are adapted to a
fine modern air, which was composed by Mr Fergus, organist
of the Episcopal Chapel, Glasgow.
In 1783, Mr Pinkerton published this song, alongst with
several other pieces, as genuine old Scottish reliques. The
forgery of these poems, however, being detected by a gen-
tleman, who directly accused Mr P. by a letter inserted in
DXIII.— O BOTHWELL BANK, THOU BLOOMEST FAIR. 455
the Gentleman's Magazine, for November 1784. Our his-
torian confessed himself guilty. In palliation of his conduct,
he pleads his youth and purity of intention ; professing that
the imposition was only intended to give pleasure to the
world, *' All which, (says the satirical Ritson,) it is to be
hoped he has found some charitable person to believe !"
Ritson's Essay on Scottish Song, p. 77.
Burns makes tne following remark on this song : *' This
modern tiling of Pinkerton's could never pass for old, but
among the sheer ignorant. What poet of the olden time, or
indeed of any time, ever said or wrote any thing like the
line —
" Without ae flouir his grave to crown."
" This is not only the pedantry of tenderness, but the
very bathos of bad writing." See Select Scottish Songs, with
Critical Remarks by Burns; edited by Cromek. 2 vols.
London. 1810.
It is neither the Editor's intention to palliate imposition,
nor defend poetry that is really bad ; but he is of opinion,
that a slight alteration of the second stanza is all that the
song requires to render it unexceptionable. Indeed Burns,
in one of his letters, (see vol. iv. letter No 28, in Dr Currie's
edition,) afterwards admits, that " Mr Pinkerton, in his
what he calls ancient ballads, many of them, though notori-
ous, are heautiful enough forgeries."
DXIV.
WEE WILLY GRAY.
This comic little song, intended for the nursery, was written
by Burns. It is adapted to the lively tune, called, " Wee
Totum FoggP the first line of a much older ditty of the
same description, which Burns must have had in view when
he wrote the words for the Museum. It began.
Wee Totum Fogg
Sits upon a creepie ;
Half an ell o' gray
Wad be his coat and breekie.
456 DXIV. — WEE WILLY GRAY.
These old tunes — Wee Totum Fogg — The Dusty Miller-^
Go to Berwick, Johnnie — Mount your Baggage — Robin
Sliure m Har''est — Jockey said to Jenny, ^c. ^c, have been
played in Scotland, time out of mind, as a particular species
of " the double hornpipe^ The late James Allan, piper to
the Duke of Northumberland, assured the present Editor,
that this peculiar measure originated in the borders of Eng-
land and Scotland. Playford has inserted several of them
in his " Dancing Master," first published in 1658. Some
modern imitations of this old style appear in Gow's Repo-
sitories, and several other collections of Scotch tunes.
DXV.
LAMMINGTON RACES.
This ballad, beginning " When the days they are lang,'*
commemorates a horse-race of Lammington, in the county of
Lanark. It possesses considerable humour ; and the tune tp
which it is adapted is lively enough ; but aWjeux d^esprit, of
a local or personal nature, generally cease to be interesting
when the original characters are no more. The song was
written by Mr Macaulay, an acquaintance of Mr Johnson ;
but the composer of the air is unknown.
DJiVI.
THE BANKS OF THE DEE.
This charming song, beginning " 'Twas summer, and
softly the breezes were blowing," was written by the late John
Tait, Esq. writer to the signet, and some time judge of the
Police Court, Edinburgh. It is adapted to the Irish air
called Langolee. This song has often, though erroneously,
been attributed to the Rev. Mr John Home, author of the
tragedy of " Douglas." It was inserted in Wilson's Collec-
tion of Songs, printed at Edinburgh 1779, with some addi-
tional stanzas written by Miss Betsy B — s ; but the lady's
verses are far inferior to the original. Mr Tait's sons was
written in 1775, on the departure of a friend for America to
join the British forces, who were at that time endeavouring
" to quell the proud rebels" of Columbia ; but the issue of
DXVl.— THE BANKS OF THE DEE. 457
that contest was very different from the anticipations of the
bard. The Americans, after a long and arduous contest,
proved ultimately successful ; and their independence was
acknowledged, on the part of Great Britain, by a treaty of
peace ratified in 1783.
Burns, in one of his letters to Mr George Thomson, dated
7th April 1793, says, " The Banks of the Dee is, you know,
literally Langolee, to slow time. The song is well enough,
but has some false imagery in it ; for instance,
" And sweetly the nightingale sung from the tree."
*' In the first place, the nightingale sings in a low bush, but
never from a tree ; and in the second place, there never was
a nightingale seen or heard on the banks of the Dee, or on
the banks of any other river in Scotland, Exotic rural
imagery is always comparatively flat."
The justice of these remarks appears to have been admit-
ted by Mr Tait ; for in a new edition of the song, retouched
by himself, thirty years after its first appearance, for Mr
Thomson's Collection, and published in the fourth volume of
that work, the first half stanza is printed thus —
'TwAS summer, and softly the breezes were blowing.
And sweetly the wood-pigeon coo'd from the tree.
At the foot of a rock, where the wild-rose was growing,
I sat myself down on the banks of the Dee.
The only other corrections and alterations are as follow—
Stanza II. line 5,
For lotid roaring, read rude roaring.
Stanza II. line 8,
For And left me to stray 'niongst these once loved willows,
Read And left vie to wander 'mongst these once loved luillows.
Stanza III. line 2,
For dear shepherd, read dear Jarnie.
DXVII.
SCENES OF WOE AND SCENES OF PLEASURE.
This elegant and pathetic song was written by Mr Richard
Gall, who has already been noticed in a former part of this
458 DXVII. SCENES OF WOE AND SCENES OF PLEASUEE.
work. — Vide Notes on Song No 508. The air to which it is
adapted was composed by Mr Allan Masterton, who has also
been often mentioned in the course of the present Editor's
remarks.
The following particulars respecting this song are extracted
from Mr Stark's Sketch of the Life of Richard Gall, printed in
the Biographia Scotica, at Edinburgh, 1805. " One of Mr
Gall's songs in particular, the original of which I have by me,
has acquired a degree of praise, from its having been printed
amongst the works of Burns, and generally thought the pro-
duction of that poet. The reverse, indeed, was only known
to a few of Mr Gall's friends, to whom he communicated the
verses before they were published. The fame of Burns stands
in no need of the aid of others to support it ; and to render
back the song in question to its true author, is but an act of
distributive justice, due ahke to both these departed poets,
whose ears are now equally insensible to the incense of flat-
tery or the slanders of malevolence. At the time when the
* Scots Musical Museum' was published at Edinburgh by
Mr Johnson, several of Burns's songs made their appearance
in that publication. Mr Gall wrote the song entitled ' Fare-
well to Ayrshire,' prefixed Burns' name to it, and sent it ano-
nymously to the publisher of that work. From thence it has
been copied into the later editions of the works of Burns. In
publishing the song in this manner, Mr Gall probably thought,
that under the sanction of a name known to the world, it
might acquire that notice, which, in other circumstances, it
might never have obtained, but have been doomed to waste
its sweetness in the desart air.''''
The particulars mentioned in the preceding extract by Mr
Stark, who was intimately acquainted with Mr Gall, (both of
them being employed in the same printing-office,) may be re-
lied upon as being correct. The manuscript of the song, in
the hand-writing of Mr Gall, is in the possession of the
Editor
459
DXVIII.
GO TO BERWICK, JOHNNY.
HiTsoN says, he " has heard gravely asserted hi Edhiburo-h,
that a foolish song, beginning
Go, go, go.
Go to Berwick, Johnny ',
Thou shalt have the horse.
And I shall have the poney,
was actually made on one of Sir William Wallace the Scot-
tish hero's marauding expeditions ; and that the person thus
addressed was no other than his Jldus Achates, Sir John
Graham. — Historical Essay on Scottish Song, p. 26. The
writer of this note, ^however, can safely aver, that he never
heard such an assertion from the lips of any Scotsman, nor
ever saw such an allegation in print, till he met with Ritson's
Essay. That gentleman must certainly have been imposed
upon by the gravity of some wag. The silly old verses are
usually chanted by nurses to divert their little ones, and
have not the smallest allusion either to Wallace or Graham.
The words, which are adapted to the old air in the Mu-
seum, were written by the late Mr John Hamilton, music-
seller in Edinburgh, who contributed several songs to the
same work. Oswald published the air, with variations, in his
Caledonian Pocket Companion. It has since been arranged
as a rondo for the piano-forte, by various masters.
DXIX.
'TWAS AT THE SHINING MID-DAY HOUR.
This burlesque parody of Mallet's beautiful ballad of
" William and Margaret," was written by Allan Ramsay for
the fourth volume of his Tea-Table Miscellany, where it
made its first appearance under the title of " Watty and
Madge." The words are adapted to a fine old tune, called
The Maid in the Mill, taken from the seventh volume of
Oswald's Caledonian Pocket Companion, p. 27.
The reader will find Mallet's ballad of William and Mar-
garet, adapted to a fine air composed by the late Mr Stephen
460 Dxix. — ^'twas at the shining mid-day hour.
Clarke, in the sixth volume of the Museum. — Vide Song N&
536. In the second edition of the Orpheus Caledonius^
printed in 1733, Mr William Thomson, the editor of that
work, adapted Mallet's ballad to the old tune of Chevy Chace.
DXX.
HAVE YOU ANY POTS OR PANS ?
This humorous song was written by Allan Ramsay, and
published in his Tea-Tablc Miscellany 1 724, as a substitute
for the words of the old song called " Clout the Cauldron."
The original tune is printed in the first volume of the Mu-
seum, p. 24, with some curious Scoto-Gaelic verses. — See the
Notes on that Song, No 23.
In the sixth volume of the Museum, Ramsay's verses are
adapted to the favourite strathspey, called " Cameron has got
his Wife again."
DXXI.
NOW BANK AND BRAE ARE CLOTHED WITH GREEN.
This fine Scottish pastoral song was written by Gall, and
is printed in his poetical works. The words are adapted to
a very beautiful tune, called " Cassilis Banks."
" Girvan's fairy -haunted stream,*" is a well known river in
Ayrshire, which rises in the parish of Dailly, and after
meandering through the district of Carrick, pours its waters
into the Irish Channel at the ancient village of Girvan, to
which it gives its name.
DXXII.
AE DAY A BRAW WOOER.
This humorous song was written by Burns in 1787, for
the second volume of the Museum ; but Johnson, the pub-
lisher, who was a religious and well-meaning man, appeared
fastidious about its insertion, as one or two expressions in it
seemed somewhat irreverent. Burns afterwards made several
alterations upon the song, and sent it to Mr George Thom-
son for his Collection, who readily admitted it into his se-
cond volume, and the song soon became very popular.
Johnson, however, did not consider it at all improved by the
DXXII. AE DAY A BBAW WOOER. 461
later alterations of our bard. It soon appeared to him to
have lost much of its pristine humour and simplicity ; and
the phrases which he had objected to were changed greatly
for the worse. He therefore published the song as originally
written by Burns for his work. In order to enable the reader
to judge how far Johnson was, or was not correct, both edi-
tions of the song are here annexed.
FIRST EDITION.
Ae day a braw wooer came down the lang glen, |
And sair wi' his love he did deave me ;
But I said there was naething I hated like men ;
The deuce gae wi' him to believe me !
A weel stockit maUen himsel o't the laird.
And bridal afFhan' was the proffer; |
I never loot on that I kend or I card, |
But thought I might get a waur offer. {
He spak o' the darts o' my bonnie black een, j
And said for my love he was diein' ; ,j
I said he might die when he liket, for Jean ; j
The gude forgie me for liein !' |
But what do ye think, in a fortnight or less, j
(The deil's in his taste to gae near her,) j
He's down to the castle to black cousin Bess, |
Think, how the jade I could bear her. |
An' a' the niest ouk as I fretted wi' care, ]
I gaed to the tryst o'Dalgarnock ; i,
And wlia but my braw fickle wooer was there, j
Wha glowr'd as if he'd seen a warlock. |
Out oure my left shouther I gled him a blink, f
Lest neighbours shou'd think I was saucy, }
My wooer he caper'd as he'd been in drink, I
And vow'd that I was his dear lassie. I
f
I spier'd for my cousin, fu' couthie and sweet, ';
An' if she had recover'd her hearin' ? i
And how my auld shoon fitted her shauchel't feet ? I
Gude saf us how he fell a swearin' ! I
He begg'd me for gudesake that I'd be his wife, I
Or else I wad kill him wi' sorrow ; ;
And just to preserve the poor body in life,
I think I will wed him to-morrow.
7 I
462 OXXII. AE DAY A DRAW WOOF.K.
SECOND EDITION.
Last May a braw wooer cam down the lang glen^
And sair wi' his love he did deave me.
I said there was naething I hated hke men ;
The deuce gae wi'm, to believe me, believe me.
The deuce gae wi'm, to believe me.
He spak o' the darts o' my bonnie black een.
And vow'd for my love he was dying ;
I said he might die when he lik'd, for Jean,
The Lord forgie me for lying, for lying.
The Lord forgie me for lying !
A weel-stockit mailen himsel for the laird.
And marriage afF-hand were the proffers ;
I never loot on that I kend it or car'd.
But thought I might hae waur offers, waur offers.
But thought I might hae waur offers.
But what wad ye think ? in a fortnight or less,
(The deil tak his taste to gae near her)
He's up the lang loan to my black cousin Bess,
Guess ye how, the jad ! I could bear her, could bear her.
Guess ye how, the jad ! I could bear her.
But a' the niest week, as I fretted with care,
I gaed to the tryst of Dalgarnock,
And wha but my fine fickle lover was there !
I glowr'd as I'd seen a warlock, a warlock,
I glowr'd as I'd seen a warlock.
But owre my left shouther I gae him a blink.
Least neebors might say I was saucy ;
My wooer he caper'd as he'd been in drink.
And vow'd I was his dear lassie, dear lassie.
And vpw'd I was his dear lassie.
I spier'd for my cousin, fu' couthy an' sweet.
Gin she had recover 'd her hearin.
And how her new shoon fit her auld shackl't feet.
But, Heavens ! how he fell a swearin, a swearin.
But, Heavens ! how he fell a swearin.
He begged, for gudesake ! I wad be his wife.
Or else I wad kill him wi' sorrow :
So e'en to preserve the poor body in life,
I think I maun wed him to-morrow, to-morrow,
I think I maun wed him to-morrow.
These alterations, in general, are certainly far from being
in the happiest style of Burns. Indeed he appears to have
DXXII. AE DAY A BRAW WOOER. 463
been in bad health and spirits when he made them ; for, in
the letter inclosing the song, he says, " I am at present
quite occupied with the charming sensations of the tooth-
ach, so have not a word to spare.""
Dr Currie likewise informs us, that the third line of the
fourth stanza, in the manuscript sent to Mr Thomson, runs
*' He up the Gateslack to my black cousin Bess ;" but Mr
T. objected to this word, as well as to the word Dalgarnoch
in the next verse. Burns repHed as follows :
" Gateslack is the name of a particular place ; a kind of
passage up among the Lauther hills, on the confines of this
county (Dumfries-shire) . Dalgarnock is also the remains of
a romantic spot near the Nith, where are still a ruined church
and a biu-ial ground. However, let the first line run, " He
up the lang loan,'''' &c.
Dr Currie remarks, that " It is always a pity to throw out
any thing that gives locality to our poet's verses."
It only remains to be observed, that this song is adapted
to the tune called The Queen of the Lothians, the name of
a curious old ballad, which is produced in the sixth volume
of the Museum, and inserted after the modern verses by Burns.
DXXIII.
GUDEEN TO YOU, KIMMER.
This comic song was corrected by Burns. The greater
part of the verses, however, are taken from the old satirical
song formerly sung to that tune of " John Anderson my Jo."
See the notes on that song, No 260. The words are adapted
to the old tune of "We're a' nid noddin in our House at hame."
DXXIV.
IN BRECHIN DID A WAB8TER DWELL.
This is only a fragment of a long ballad frequently heard
at country firesides, entitled " The Brechin Weaver." It
possesses some traits of humour, though not of the first or-
der. The specimen in the Museum is certainly quite enough.
The tune to which the ballad is chanted, however, is very
pretty.
464
DXXV.
WILLY'S RARE AND WILLY'S FAIR.
This ancient fragment, with its original air, was copied
from Thomson's Orpheus Caledonius. London, 1725. The
editor has often heard the following additional stanza, though
it is omitted by Thomson.
She's taen three links o' her gowden locks ;
That hung down lang and yallow.
She's tied them about sweet Willy's waist.
And drawn him out of Yarrow.
This poetical relique of some ancient and long forgotten
minstrel, has given rise to two beautiful modern ballads.
The first of these, entitled, " The Braes of Yarrow," was
written in imitation of the ancient Scottish manner, and in-
scribed to Lady Jane Home, by Wilham Hamilton of Ban-
gour, Esq., prior to the year 1724.- It is printed in Ram-
say's Tea-table Miscellany of that date ; and in the following
year, Thomson published it adapted to the old tune of one
strain in his Orpheus Caledonius. The first half stanza of
Bangour's ballad, beginning, " Busk ye, husk ye, my honny
ionny bride,'''' is all that remains of the old song, called " The
Braes of Yarrow.'''' Ramsay has also preserved the first half
stanza of the original verses, in the song which he wrote to
the same tune. See the first volume of the Museum, page
65, The other ballad, of " The Braes of Yarrow," was writ-
ten by the late Rev. Mr John Logan, one of the ministers of
Lelth. It begins,
Thy braes were bonny. Yarrow stream !
When first on them I met my lover.
Thy braes how dreary. Yarrow stream !
When now thy waves his body cover.
Both these ballads may be seen in the poetical works of
their respective authors, and in various other collections of
poetry. It appears, on comparing Bangour's ballad, as in-
serted in the Tea-table Miscellany, and the Orpheus Caledo-
Dxxv. — willy's rare axd willy's faik. 465
nius, with a later version in the author"'s poetical works, that
he had made some slight corrections on the earlier edition.
It remains to be observed, that in the year 1777, the words
of this ancient song received some alterations and additions
from the pen of an Englishman, which were set to a beautiful
modern air, composed by Mr James Hook of London. This
Anglo- Scottish production was sung by Mrs Wrighten at
Vauxhall with much applause in the summer of 1777, and
was published among the other Vauxhall songs of that year.
It has since been frequently reprinted.
Dxxvi.
MY DADDY LEFT ME GEAR ENOUGH.
This humorous old ballad was taken from Thomson's
Orpheus Caledonius, printed with the music in 1 725, under
the title of " Willie Winkie's Testament." The enumeration
of the testator's goods and effects is extremely comic. This
curious ballad appears to have been unknown to Ramsay, as
it is omitted in the Tea-Table Miscellany.
DXXVII.
STERN WINTER HAS LEFT US.
First Set.
This ballad was copied from Yair's Charmer, vol. ii. print-
ted at Edinburgh in 1721. The original air, under the title
of " Jocky and Jenny," is inserted in the Jifth volume of
Oswald's Caledonian Pocket Companion, p. 31.
This appears to have been a very popular song, both in
England and Scotland, about the middle of the last century,
for the verses, although adapted to a different air from that
in Oswald's Collection, are printed in the " The Muses De-
light" at Liverpool in 1754, under the title of " Jocky and
Jenny, a dialogue sung by Mr Lowe and Miss Falkner."
In the Museum this ballad is adapted to two tunes. The
first set a Gaelic air. The other is an Irish melody.
466
DXXVIII.
STERN WINTER HAS LEFT US.
Second Set.
This is the ballad Jocky and Jenny, above noticed, adapt-
ed to the Irish tune called Kitt^ Tyrell^ Johnson had
heard the ballad sung to both tunes, and being unable to de-
cide which was best, he inserted them both that the singer
might choose for himself. This ballad has therefore been
adapted to four different tunes. The original Scottish air is
in Oswald ; the English air. in the " Muses Delight ;" and the
Irish and Gaelic tunes the in Museum.
DXXIX.
AH, MARY ! SWEETEST MAID, FAREWELL.
This charming pastoral dialogue, between Willie and Mary,
was written by Alexander Boswell of Auchinleck, Esq. M. P.
It was originally published as a single sheet song, by Messrs
Gow & Shepherd, music-sellers in Edinburgh. Mr Na-
thaniel Gow tells me, it was at his particular request that Mr
Boswell furnished him with the words. The verses are
adapted to the beautiful slow strathspey tune called " The
Maid of Isla," which was communicated to Mr Gow by the
late Colonel John Campbell of Shawfield and his Lady.
DXXX.
ANNA THY CHARMS MY BOSOM FIRE.
This sweet song of two stanzas was"Vritten by Burns, and
published in the Edinburgh- edition of his Poems in 1787.
It is adapted to a very beautiful and plaintive air composed
by Oswald, and published in the first volume of his Ca-
ledonian Pocket Companion, under the title of " Bonny
Mary.'\
DXXXI.
THY CHEEK IS 0' THE ROSE'S HUE.
This beautiful song, which is another of the productions
of the late Mr Richard Gall, was written at the earnest re-
quest of Mr Thomas Oliver, Printer and Publisher, Edin-
burgh, an intimate acquaintance of the author's. Mr Oliver
DXXXI.— THY CHEEK IS O^ THE ROSE"'s HUE. 467
heard it sung in the Pantomime of Harlequin Highlander, at
the Circus, and was so struck with the melody, that it dwelt
upon his mind ; but the only part of the words he recollected
were,
My love's the sweetest creature.
That ever trode the dewy green ;
Her cheeks they are like roses,
Wi' the op'ning gowan wet between. —
And having no way of procuring the verses he had heard, he
requested Mr Gall to write words to his favourite tune. Our
young bard promised to do so ; and in a few days presented
him with this elegant song, in which the title of the tune is.
happily introduced at the close of every stanza.
DXXXII.
O AY MY WIFE SHE DANG ME.
This humorous song was written by Burns for the Mu-
seum. The old air to which his verses are adapted, origi-
nally consisted of one strain, but Oswald made two variations
to it, and published them with the old melody in his Cale-
donian Pocket Companion, book vi. p. iv. under the title of
" My wife she dang me.*" The tune in the Museum is com-
posed of the original melody, and the first of Oswald's varia-
tions. I have heard several of the old verses sung, but they
are of such a nature as to render them quite unfit for inser-
tion.
DXXXIII.
COME UNDER MY PLAIDY.
This fine ballad is another production of my late friend,
Hector Macneill, Esq. who has frequently been noticed in the
course of this work. It is adapted to a lively air called
" Johny M'Gill," after the name of its composer, Mr John
M'Gill, who was a musician in Girvan, Ayrshire. Burns
likewise wrote some verses to the same tune, which are in-
serted in the third volume of the Museum. Vide Notes on
Song No. 207.
4G8
DXXXIV.
COME FOLLOW, FOLLOW ME.
Neither the words nor music of this excellent old ballad,
entitled " The Fairy Elves," are of Scottish origin, although
it has long been a favourite in Scotland. The poetry is at-
tributed to Christopher Marlow, and the melody to John
Dowland, both Englishmen. The former was an eminent
dramatic. poet, and the latter a celebrated musician, in the reign
of Queen Elizabeth. Marlow fell a victim to jealousy, the
most torturing passion of the human breast ; he was stabbed
in a brothel, by a fellow whom he found with his mistress, and,
notwithstanding the best medical care and attention, died
soon after, in 1593.
Mr Gay, author of " The Beggar's Opera,*" wrote the fol-
lowing words to the same old tune in another musical opera
of his, called " Achilles," printed with the music prefixed to
each song by John Watts of London, in 1733, after the
author's decease.
Air. — Fairy Elves.
O guard your hours from care.
Of Jealousy beware ;
For she with fancied sprites.
Herself torments and frights ;
Thus she frets, and pines, and grieves.
Raising fears that she believes.
Bishop Percy published an edition of the Fairy Elves in
1765, taken from an old black letter copy, under title of
*' The Fairy Queen."" The ancient set of the air and that in
the Museum are very similar.
DXXXV.
LORD THOMAS AND FAIR ANNET.
Bishop Percy, who pubhshed this fine old Scottish bal-
lad in his Reliques of Ancient English Poetry in 1765, from
a manuscript transmitted to him from Scotland, observes, that
it seems to be composed (not without improvements) out of
two ancient English ones. The fijrst of these is entitled " A
DXXXV.— LORD THOMAS AND FAIR ANNEX. 469
tragical Ballad on the unfortunate Love of Lord Thomas
and Fair Ellinor ; together with the Downfall of the Browne
Girl." The second is " Fair Margaret's Misfortunes, or
Sweet William's frightful Dreams on his Wedding Night ;
with the sudden Death and Burial of these noble Lovers."
The learned Prelate likewise acquaints us, that although the
latter ballad was picked up on a stall, he considers it to be the
old song quoted in Fletcher's comedy of " The Knight of the
Burning Pestle." This old play, as appears from the dedi-
cation prefixed to the first edition in 4to., printed at London,
1613, was written in 1611, and was not well received when
acted on the stage. The reader will find some further obser-
vations on the ballad of " Sweet WiUiam and Fair Margaret,"
in the notes on the following song, No 536.
Upon comparing these ballads with each other, viz. Lord
Thomas and Fair Ellinor — Fair Margaret and Sweet Wil-
liam— Lord Thomas and Fair Annet — the present Editor,
notwithstanding the conjecture of the learned Prelate, is of
opinion, both from the difference in the structure of the stan-
zas, the language and the incidents of the several pieces, that
they were composed by different hands, although it may be
difficult now to decide which of the three was first written.
It is very possible, that the ballads themselves are, compara-
tively speaking, only modernized abridgments of ancient me-
trical romances, familiar among all the nations of Europe ma-
ny ages ago. These romances, in their turn, likewise appear
to have been derived from Asiatic sources, and were gradu-
ally introduced into the western world, by successive min-
strels, for the amusement of the great. As a full investiga-
tion of these facts, however, would lead us into a field by far
too wide for the nature of this work, we are constrained to
return to the ballad now under consideration.
In the year 1806, Mr Robert Jamieson published a Col-
lection of Popular Ballads and Songs from tradition. Manu-
scripts, and scarce Editions, among which is a ballad entitled
" Sweet Willie and Fair Annie," which he took down from
470 DXXXV.— LORD THOMAS AND FAIR ANNEl'.
the recitation of Mrs W. Arnot of Aberbrothick, who, it is
said, learned it when a child from an elderly maid-servant.
The leading incidents of Mr Jamieson's ballad are very simi-
lar to those of the earlier edition of " Lord Thomas and Fair
Annet ;" but the name of the hero is changed from Lord
Thomas to Sweet Willie, who is represented as " the heir Oj
Duplin town," the residence of the Earl of Kinnoul in Perth-
shire. Several of the stanzas in Mr Jamieson's ballad are
likewise admitted to have been altered and supplied by him-
self. But neither these alterations, nor interpolations, nor the
changing of the scene from the borders to Perthshire, appear
to have improved the original ballad. It only remains to be
observed, that, in the Scots Museum, the ballad of " Lord
Thomas and Fair Annet" is adapted to the tune called " The
Old Bard," preserved in Oswald's Caledonian Pocket Com-
panion, book xii.
DXXXVI.
WILLIAM AND MARGARET.
This excellent ballad, beginning " 'Twas at the silent so-
lemn hour," was written, in 1723, by David Mallet, Esq. a
native of Edinburgh, editor of Lord Bolingbroke's Works, and
author of several popular poems and dramatic works. It ap-
peared in several of the newspapers a short time after it was
written, as well as in various periodical publications. Bam-
say printed it in his Tea-Table Miscellany, with the signa-
ture D. M. the initials of the author, in 17S4 ; and William
Thomson, who erroneously conceived it to be very old, copied
it into his Orpheus Caledonius, where it is adapted to the
well-known tune of Chevy Chace. Mallet afterwards re-
touched and improved the ballad. The reader will easily
discover the improvements which the author made on this fine
poem, upon comparing the copy in the Museum with that
in Ramsay's Tea-Table JMiscellany, or any of the early edi-
tions.
Mallet, in a note prefixed to the ballad printed in the edi-
tion of his Poems, 3 vols Svo. London, 1759, informs us, that
DXXXVI. WILLIAM AiVD MAIiaARET. 471
^' in a comedy of Fletcher, called The Knight of the Burn-
ing Pestle, old Merrythought enters repeating the follow-
ing verses :
" When it was grown to dark midnight.
And all were fast asleep.
In came Margaret's grimly ghost.
And stood at William's feet.
" This (he continues) was probably the beginning of some
ballad commonly known at the time when that author wrote
(1611) ; and it is all of it, I believe, that is any where to be
met with. These lines, naked of ornament, and simple as they
are, struck my fancy ; and, bringing fresh into my mind an
unhappy adventure much talked of formerly, gave birth to
the following poem, which was written many years ago."
The unhappy adventure, here alluded to, was a circum-
stance that occurred in real life. A young lady, whose hand
had been scornfully rejected by her infamous seducer, when
in a weak state of health, fell, in consequence, into a fever ;
*' and, in a few days after, (says Mallet,) I saw her and her
child laid together in one grave." See the Plain Dealer, No
36 and 46 — a periodical paper, published by Mr Aaron Hill
in 1724, and afterwards reprinted in 2 vols 8vo.
Thus far concerning the origin of Mallet's fine poem, which
Bishop Percy pronounces to be " one of the most beautiful
ballads in our own or any language." Mr Ritson likewise
observes, that " we have many songs equal no doubt to the
best of those written by Hamilton of Bangour, or Mr Thom-
son ; though it may be questioned whether any English writ-
er has produced so fine a ballad as William and Margaret, or
such a beautiful pastoral as Tweedside." Historical Essay
on Scottish Song, p. 78.
Mr Mallet was mistaken in supposing the old ballad, quot-
ed by Fletcher in 1611, to be lost. It is preserved in the
Collections of Bishop Percy and Mr Herd. A more faith-
ful copy, however, will be found in Ritson's Ancient English
2l
47:2 DXXXVI. WILLIAM AND MARGARET.
Ballads ; for the worthy Prelate has used some freedom with
a few of the verses.
In the Museum, the ballad of William and Margaret, by
Mr Mallet, is adapted to a beautiful slow melody, which
was composed by the late Mr Stephen Clarke of Edinburgh,
organist.
DXXXVIl.
WHAT AILS THE LASSES AT ME ?
This humorous song, in the broad Buchan dialect, begin-
ning " T am a young bachelor, winsome," was written by
Alexander Ross, author of the songs called " A Rock and a
wee pickle Tow," " The Bridal o't," &c. See the Notes on
Songs No 269 and 439 of the Museum. In that author's
works, printed at Aberdeen in 1768, the song of " What
ails the Lasses at me," and " Jean Gradan's answer,"
are directed to be sung to the tune of " An the Kirk
wad let me be ;" but as this air was inserted in the first
volume of the Museum, (vide Song No 58,) entitled " Fye
let us a' to the Wedding," Mr Johnson made choice of
another lively Scots air, which answers the words extremely
well.
DXXXVIII
THE SUN IN THE WEST.
This pathetic sonnet is another production of Mr Richard
Gall. The beautiful air to which the words are adapted, is
supposed to be of Gaelic origin.
DXXXIX.
SCROGGAM.
This humorous and eccentric song, beginning " There
was a wife wonn'd in Cockpen," was written by Burns for
the Museum. There is another, and a very old song, to the
same air, but it is quite inadmissible.
Cockpen is the name of a parish in the county of Edin-
burgh, of which the Earl of Dalhousie is patron.
473
DXL,
O, TELL ME, MY BONNY YOUNG LASSIE.
This fine pastoral dialogue was written by Hector Mac-
neill, Esq. author of several songs in the Museum. Mr
Macneill informed the present Editor, that he picked up the
air, to which his verses are united in the Museum, during a
trip to Argyleshire, and being very fond of the tune, he
wrote the words for it con amore.
The late Mr Graham of Gartmore wrote a song, which has
a similar burden with that of Mr Macneill's. It was print-
ed in Mr Scott's Minstrelsy of the Border, under an idea
that it was as old as the reign of Charles I. The chorus
runs —
Then tell me how to woo thee^ love !
O tell me how to woo thee !
For thy dear sake nae care I'll take,
Tho' ne'er another trow me.
But the two songs, in other respects, have no similarity,
and the respective measures of the stanzas require them to be
adapted to very different tunes.
DXLI.
O, MARY, TURN AW A.
This song was written by the late Mr R. Gall. His
verses are adapted to the beautiful old air of " My Dearie,
an thou die."
The second song, to the same tune, beginning " What
ails this heart of mine," is the production of the late Miss
Blamire of Carlisle. Both of these songs are excellent.
DXLII.
0, GUDE ALE COMES.
This humorous drinking song, with the exception of the
chorus, which is old, was written by Burns. It is adapted
to the tune, called " The Bottom of the Punch-bowl," which
appears in Oswald's First Collection, and in many others.
474
DXLITI,
ROBIN SHURE IN HAIRST.
The tune and title of this song are ancient, but the rest is
by Burns. In Oswald's Caledonian Pocket Companion,
book fifth, page 11th, the air, with variations, is inserted
under the title of " Robin shear'd in Her'st," but the old
words of the song are probably now lost.
The tune, in some modern collections, is called " Bobbing
John," but erroneously, for that is the name of a very old
English air, printed in Playford's ' Dancing Master,' in the
time of f , or six quavers in the bar, so far back as 1657, and in
all the subsequent editions of that work. It is quite different
from the Scottish air. Mr Robert Jamieson of Edinburgh,
however, in his Popular Ballads and Songs, printed in 1806,
has written a very humorous song to the tune, under its mo-
dern title. It follows :
BOBBING JOHN.
Hey, for Bobbing John,
Kittle up the chanter !
Bang up a strathspey
To fling wi' John the ranter,
Johnnie's stout an' bald.
Ne'er could thole a banter,
Bien in byre an' fald.
An', lassies, he's a wanter.
Back as braid's a door ;
Bow-hough'd, like a felly ;
Thick about the brands.
And o'er the breast an' belly.
Hey, for Bobbing John !
Kittle up the chanter !
Queans are a' gane gyte
To fling wi' John the Ranter,
Bonny 's his black ee,
Blinkin', blythe, an' vogie,
Wi' lassie on his knee.
In his nieve a cogie ;
Syne the lad will kiss.
Sweetly kiss and cuddle ;
Cald wad be the heart
That cou'd wi' Johnnie wJddle.
DXLIII.-— ROBIN SHirilE IN UAIKSt, 475
Sonse fa' Bobbing John ;
Want and wae gae by him ;
There's in town or land
Nae chiel doesna envy him.
Flingin to the pipe.
Bobbin to the fiddle,
Knief was illca lass
That could wi' Johnnie meddle.
DXLIV.
MAGGIE LAUDER.
This comic ballad, beginning " Wha wadna be in love
wi' bonny Maggie Lawder ?" was written by Fi-ancis SempJe
of Beltrees, Esq. in the county of Renfrew, about the year
1642. This fact is stated on the joint authorities of two of
his descendants, viz. the late Mr Semple of Beltrees, who
died in 1789, and his relation, the late Mr Semple of Edin-
burgh.
In the fifth number of the " Paisley Repository," the
editor of that work has communicated the following addi-
tional information respecting the author of this favourite song:
" Anecdote of Francis Semple of Beltrees, author of
The Banishment of Poverty — some Epitaphs in Penny-
cooke's Collection of Poetical Pieces, and the songs of * She
rose and loot me in,' and ' Maggie Lawder.' "
" When Cromwell's forces were garrisoned in Glasgow,
the city was put under severe martial law, which, among
other enactments, ordained * That every person or persons
coming into the city must send a particular account of them-
selves, and whatever they may bring with them, unto the
commander of the forces in that place, under the penalty of
imprisonment and confiscation, both of the offender's goods
and whatever chattels are in the house or houses wherein the
offender or offenders may be lodged.' &c.
" Francis Semple and his lady set out on a journey to
Glasgow, accompanied by a man-servant, some time in 1651,
or a little after that, to visit his aunt, an old maiden lady, his
father's sister, who had a jointure of him, which he paid by
half-yearly instalments.
r
476 DXLIV. MAGGIE LAUDER.
" When he came to his aunt's house, which was on the
High-street, at the hell of the brae, now known by the name
of ' The Duke of Montrose's Lodging, or Barrcll's Ha',' his
aunt told him, that she must send an account of his arrival
to the captain of Cromwell's forces, otherwise the soldiers
would come and poind her moveables. Francis replied,
' Never you mind that ; let them come, and I'll speak to
them.' * Na, na,' quoth his aunt, ' I maun send an account
o' your coming here.' — ' Gie me a bit of paper,' says Francis,
* and I'll write it myscl.' Then taking the pen, he wrote as
follows :
Glasgow, — —
Lo (loon near by the City temple.
There is ane lodf'-'d wi' auntie Scmple,
Francis Seniple of Beltrees,
His consort also, if you please ;
There's twa o's horse, and ane o's men.
That's quarter'd down wi' Allan Glen.
Thir lines I send to you, for fear
O' poindin of auld auntie's gear,
Whilk never ane before durst stear.
It stinks for stalcness I dare swear.
(Signed) Francis Semple.
Directed ' To the commander of the guard in Glasgow.' "
When the captain received the letter, he could not un-
derstand it, on account of its being written in the Scottish
dialect. He considered it as an insult put upon him, and, like
a man beside himself with rage, he exclaimed, ' If I had the
scoundrel who has had the audacity to send me such an in-
sulting, infamous, and impudent libel, I would make the vil-
lanous rascal suffer for his temerity.' He then ordei'cd a
party of his men to go and apprehend a Francis Semple, who
was lodged with a woman of the name of Semple, near the
High Church, and carry him to the provost. Mr Semple
was accordingly bi'ought before the provost, and his accuser
appealed with the insulting, infamous, and impudent
libel against him. It was read ; but it was impossible
for the provost to retain his gravity during the perusal ; nay,
DXLIV. MAGGIE LAUDKll.
477
tlie captain himself, after hearing an English translation of |
the epistle, could not resist joining in the laugh. From that ;
moment he and Beltrees became intimate friends, and he
often declared, that he considered Semple to be one of the
cleverest gentlemen in Scotland. On no account would the
captain part with Beltrees during his residence in Glasgow.
The time, therefore, that Francis intended to have passed
with the old lady his aunt, was humorously spent with the
captain and the other officers of Cromwell's forces, who kept
him in Glasgow two weeks longer than he otherwise would
have staid.
It seems probable, that these officers of Cromwell had in-
troduced two of Semple's songs into England before the pe-
riod of the Restoration ; for they were both printed, and well
known in England, in the reign of Charles II. the words and
music being engraven by Thomas Cross. Henry Playford
afterwards introduced the song of " She rose and let me in,"
in his " Wit and Mirth,"" vol. i. printed at London in 1698.
Gay introduced the air of Maggie Lauder in his musical
oipera, of Achilles, printed in 1733. The same air had pre-
viously been used for a song, called Sally's New Ansxoer, set to
the tune of'Mogey Lauther, a sort of parody on Carey's Sally
in our Alley, as Avell as for a song in the Quaker's Opera,
written by Thomas Walker, and acted at Lee and Harper's
Booth in Bartholomew Fair, anno 1728.
The following continuation of the ballad, by a modern
hand, appeared in the Pocket Encyclopaedia of Songs, printed
at Glasgow, 2 vols 12mo, 1816. It possesses considerable
merit.
The cantic spring scarce rear'd her head.
And whiter yet did blaud her.
When the Ranter cam to Anster lair.
And spier'd for IMaggy Lander ;
A snug wee honse in the East Green,
Its shelter kindly lent her ;
Wi' cantie ingle, clean hearlh-stane,
Meg welcom'd Hob the Raultr !
478 DXLIV.— ^MAGGIE LAUDEB
Then Rob made bonnie Meg his bride.
And to the kirk he ranted ;
He play'd the auld " East nook o' Fife/'
And merry Maggie vaunted.
That Hah himsel' ne'er play'd a spring.
Nor blew sae weel his chanter, J '
For he made Anster town to ring ;
And wha's like Rob the Ranter !
For a' the talk and loud reports
That ever gaed against her,
Meg proves a true and faithfu' wife.
As ever was in Anster ;
And since the marriage knot was tied,
Rob says he coudna want her ;
For he loes Maggy as his life.
And Meg loes Rob the Ranter.
Anstruther, easier and wester, is the name of two adjacent
royal burghs in the county of Fife. The scene of the ballad,
however, is laid in easier Anstruther, where a fair is held on
the first Tuesday after the 11th of April, another on the 5th
day of July, and a third on the 12th day of November an-
nually. This burgh has lately acquired an additional cele-
brity, from the excellent poem of Anster Fair, by Mr Wil-
liam Tennant, (late schoolmaster of Lasswade, now Professor
in the Institution at Dollar.)
The learned editor of the Reliques of Ancient English
Poetry (Bishop Percy) says, it is a received tradition in Scot-
land, that, at the time of the Reformation, Maggie Lawder
was one of those ridiculous songs composed to be sung by the
rabble to the tune of a favourite hymn in the Latin service,
and that the original music of all these burlesque sonnets was
very fine. The absurdity of this notion has already been
delected in a former part of this work. — Vide Notes on Song
No 260 of the Museum.
The service-book used in the cathedral of Dunkeld was,
till lately, supposed to be the only work of this kind that had
escaped the flames at the period of the Reformation in Scot-
land ; but this conjecture was incorrect. The service-book
used in the abbey of Scone has likewise been discovered, and
DXLIV.-— jMAGGIE laudeu. 479
is now deposited in the library of the Faculty of Advocates,
Edinburgh. It is a very large folio volume, and very neatly
written. From a Latin docquet inserted in the work,* it ap-
pears to have been compiled by Mr Robert Carver, a canon
of Scone, in the twenty-second year of his age, and in the
sixth year after his initiation into holy orders. The Editor
has carefully examined this book from beginning to end, and
can safely aver, that there is not one air that has the smallest
resemblance to Maggy Lauder, or to any other secular Scots
tune in the whole compass of the work. The chaunts, hymns,
and antiphones, are all, as usual, in the Latin tongue.
DXLV.
A COGIE OF ALE AND A PICKLE AIT-MEAL.
This song was written in 1797, by Andrew Sheriffs, A. M.
author of the Scottish pastoral comedy of " Jamie and Bess,"
printed at Edinburgh in 1790, and other poems. The Edi-
tor was present when Mr Sheriffs sung this song on the Edin-
burgh stage, at his own benefit ; on which occasion the au-
thor's pastoral comedy above-mentioned was performed by
some of his friends who were natives of Edinburgh. Mr
Sheriffs received a classical education at Aberdeen, and was
for a considerable time one of the editors of " The Aberdeen
Chronicle." In 1798 he went to reside in London ; but the
writer of this article has heard nothing of him since that pe-
riod. Mr Sheriffs had the misfortune to be lame from his
infancy.
The melody was composed by the late Mr Robert Macin-
tosh, musician in Edinburgh. Mr Macintosh afterwards went
to London, where he continued till his death, in February
1807. He published three Collections of Scottish Reels and
Strathspeys, and composed many of the best of them himself.
He was an excellent violin player.
* " Composuit Dominns Rdbcriiis Carver Canonictis de Scona, Anno Domini
1513, et cetaiis suce Anno 22, nec non ingrcssus suce religionis anno 6to, ad honorem
Dei et Sancti Michxlis."
480
DXLVI.
THE DUMFRIES VOLUNTEERS.
This song, beginning " Does haughty Gaul invasion
threat ?" was written by Burns in 1795, and transmitted to
Johnson for insertion in his Museum. The charming tune,
to which the words are adapted, was composed by Mr Ste-
phen Clarke, organist.
It was originally published as a single sheet song, a con-
siderable number of which were transmitted to Mr Burns, to
be distributed among the Dumfries Volunteers, of which corps
he was a member. Burns, on receipt of the pacquet, wrote a
letter to Johnson, which is printed in his Reliques, wherein
he says, " Thank you for the copies of my Volunteer ballad.
Our friend Clarke has indeed done weU ! 'tis chaste and beau-
tiful. I have not met with any thing that has pleased me so
much. You know I am no connoisseur ; but that I am an
amateur, will be allowed me."
DXLVII.
HE'S DEAR TO ME.
This sweet little pastoral made its appearance about the
year 1796, as a single sheet song, written by a gentleman.
His name, however, the Editor has not yet learnt. The
melody is very pretty, and appears to belong to the ancient
class of Scottish airs of one simple strain, such as the " Braw
braw Lads of Gala Water," to which indeed it bears a strong
resemblance.
DXLVIII.
THE BLUE BELLS OF SCOTLAND.
This song appears to be a parody of another written by
Mrs Grant of Laggan, beginning " O where, tell me where,
is your Highland laddie gone ?" on the Marquis of Huntly's
departure for Holland with the British forces under the com-
mand of the gallant Sir Ralph Abercrombie, in 1799. The
words are adapted to a modern Scottish air.
481
DXLIX.
COLIN CLOUT.
This fragment of a very fine pastoral ballad, beginning
" Chanticleer wi' noisy whistle," was communicated by Mr
Gall. The Editor recollects having seen the whole of the
ballad in that gentleman's hands, and perhaps the manuscript
may yet be recovered. It well deserves to be printed. The
author is anonymous.
The words are adapted to a fine melody, which was com-
posed by the late Mr Stephen Clarke.
DL.
'TIS NAE VERY LANG SINSYNE.
This humorous ballad was copied from Herd's Collection,
printed in 1776, where it is inserted under the title of " My
Heart's my ain." It does not appear in the Tea-Table Mis-
cellany, and may therefore have been composed subsequently
to the year 1724. The author is unknown.
The words are adapted to the tune of " We'll kick the
world before us,"" from Oswald's Caledonian Pocket Compa-
nion, vol. xi.
DLL
O, ONCE I LOV'D A BONNIE L/ SS.
This song was the earliest that Burns ever wrote; or, as
the bard terms it, the " first time he committed the sin of
rhyme." It was written in the autumn of 1773. In a letter
to Dr Moore, dated 2d August 1787, Burns says, " You
know our country custom of coupling a man and a woman
together in the labours of harvest. In my fifteenth autumn
my partner was a bewitching creature, a year younger than
myself. My scarcity of English denies me the power of
doing her justice in that language ; but you know the Scot-
tish idiom — she was a bonnie, sweet, sonsie lass. In short,
she altogether, unwittingly to herself, initiated me in that
delicious passion, which, in spite of acid disappointment, gin-
horse prudence, and book- worm philosophy, I hold to be the
first of human joys, our dearest blessing here below ! How
482 DLL O, ONCE I LOv'd A EONNIE LASS.
she caught the contagion, I cannot tell : you medical people
talk much of infection from breathing the same air, the touch,
&c. ; but I never expressly said I loved her. Indeed, I did
not know myself why I liked so much to loiter behind with
her, when returning in the evening from our labours ; why
the tones of her voice made my heart-strings thrill like an
Eolian harp ; and particularly, why my pulse beat such a fu-
rious rattan, when I looked and fingered over her little hand,
to pick out the cruel nettle stings and thistles. Among her
love-inspiring qualities, she sung sweetly ; and it was her fa-
vourite reel (/ am a Man unmarried) to which I attempted
giving an embodied vehicle in rhyme. I was not so presump-
tuous, as to imagine that I could make verses like printed
ones, composed by men who had Greek and Latin ; but my
girl sung a song, which was said to be composed by a small
country laird's son, on one of his father's maids, with whom
he was in love ! and I saw no reason why I might not rhyme
as well as he ; for, excepting that he could smear sheep and
cast peats, his father living in the moor-lands, he had no more
scholarcraft than myself. Thus with me began love and
poetry, which at times have been my only, and, till within
the last twelve months, my highest enjoyment."
This song was originally intended to have been sung to
the old reel tune, called / am a Man unmarried^ with the
foolish chorus of Tal lal de ral, iSfC. repeated at the end of
each verse. Burns afterwards gave up this idea, and had it
set to the beautiful slow melody in the Museum, which he
picked up and transmitted to the publisher of that work :
it is said to be very ancient.
DLII.
WHEN I THINK ON MY LAD.
This song was written by Ramsay, as a substitute for the
indelicate old Scots song, called " Jumping John." Ramsay
published it in his Tea-Table Miscellany, under the title of
" Her Daddy forbad, her Minny forbad," in 1724. But as this
tune, with new words by Burns, had been inserted in the second
DLII. WIIEX I THINK ON MY LAD. 483
volume of tlie Museum (vide Song No. 138), Johnson made
choice of another air for Ramsay's words, taken from Oswald's
Caledonian Pocket Companion, book'viii. entitled Hark, the
Cock croxv'd. Neither Oswald nor Johnson, however, seem
to have been aware that this was an English tune, composed
by Mr Jeremiah Clarke of London, organist, and published
by Henry Playford, with the original words, in the first
volume of his Wit and Mirth, in 1698. The English
song begins.
Hark ! the cock crow'd, 'tis day all abroad.
And looks like a jolly fair morning' ;
Up Roger and James, and drive out the teams ;
Up quickly and carry the corn in.
The old Scottish tune of Jumping John^ was an early
favourite in England. In " Playford's Dancing Master,"
1657, it is printed with the name of " Joan's Placket," the
title of a parody upon, and equally indelicate as the old
northern words. In the year 1686, Lord Wharton wrote a
satirical song to the same tune, beginning " Ho! broder
Teague, dost hear de decree," which contributed in no small
degree towards the great Revolution in 1688. In this song,
his Lordship introduced, as the burden or chorus, the words
of distinction which had been used by the Irish papists in
their horrid massacre of the protestants in 1641, viz. Lilli-
burlero and Bullen-a-lah. It was written on occasion of
James II. having nominated General Talbot, newly created
Earl of Tyrconnel, to the lieutenancy of Ireland. Talbot
was a furious papist, and had recommended himself to his
bigotted master by his arbitrary treatment of the protestants
in the preceding year, when only lieutenant-general, and
whose subsequent conduct fully justified his expectations and
their fears. The violences of his administration may be seen
in any of the histories of these times. Bishop Burnet, allud-
ing to the ballad which had been written by Wharton, says,
that it " made an impression on the (king's) army that can-
not be imagined by those that saw it not. The whole army.
484- DLII. — WHEN I THINK ON MY LAD.
and at last the people both in the city and country^ were
singing it perpetually. And perhaps never had so slight a
thing so great an effect." Ritson, in alluding to the same
ballad observes, " what an astonishing effect these vulgar
and despicable rhapsodies had upon the temper of the times ;
we may, in some measure, conjecture from the brags of that
unprincipled character, Lord (afterwards Marquis of) Whar-
ton, who was wont to boast, that by the most foolish of them
all (Lilliburlero) he had rhymed the king out of his domi-
nions. Historical Essay on National Song, p. 62. See also
Notes on Song No. 138 of the Museum. This old Scots tune
of Jumping Joan, having acquired the new title of Lilliburlero
from Wharton's ballad, has erroneously been, by many, sup-
posed to be an Irish air.
DLIII.
THE FIENT A CRUM OF THE SHE FAWS.
This ancient song, beginning Return hameward my
heart again, was recovered by Ramsay, and printed in his
Tea-Table Miscellany in 1724, with the letter Z, to denote its
antiquity. The tune to which the verses are adapted is like-
wise known by the name of The Spinning Wheel, but it is
essentially different from the air called " The Spinning
Wheel," in Oswald's Caledonian Pocket Companion, book ix.
The author and composer are unknown.
DLIV.
MY LADY'S GOWN THERE'S GAIRS UPON'T.
This sgnglwas written for the Museum by Burns, in 1788.
The words m*e adapted to a well-known strathspey, or reel
tune, composed by the late Mr James Gregg, an eminent
teacher of dancing in Ayrshire. Gregg composed the strath-
spey, called " Gregg's Pipes,'" and many other excellent
dancing tunes. He had a taste for painting, mechanics, and
natural history ; made and improved telescopes ; he was also
skilled in the mathematics, and was frequently employed as a
land-surveyor. He taught dancing, until, by old age, he
could scarcely see his pupils, or hear the tones of his own
1
DLiv — MY lady's GOWN there's gairs upon't. 485
violin. He died, regretted by all who knew him, in Novem-
ber 1817, at a very advanced age.
Johnson long hesitated to admit this song into his Museum ;
but, being blamed for such fastidiousness, he at length gave
it a place in that work.
DLV.
MAY MORNING.
This little song, beginning " The nymphs and shepherds
are met on the green," was communicated to Johnson by an
anonymous hand. It is adapted to an old strathspey tune,
which is very pretty.
DLVI.
DINNA THINK, BONNIE LASSIE, I'M GAUN TO LEAVE THEE.
Hector Macneill, Esq., informed the Editor that he
wrote the whole of this song except the last verse, which the
late Mr John Hamilton, music-seller in Edinburgh, took the
liberty to add to it, and to publish as a sheet song. " It was
on this account, (Mr Macneill added,) that I did not include
this song in collecting my poetical works for the uniform
edition in two volumes, which has been given to the public."
For a similar reason he omitted another song, likewise writ-
ten by him, beginning My love's in Germany, send him
hame, send Mm hame.
The song of Dinna tJiink Bonnie Lassie, is adapted to a
dancing tune, called Clunie''s Reel, taken from Gumming
of Granton's Reels and Strathspeys.
DLVII.
O, GIN I WERE FAIRLY SHOT O' HER I
This old song received some additions and corrections
from the pen of Mr John Anderson, engraver of music in
Edinburgh, who served his apprenticeship with Johnson,
the publisher. The air, under the title of Fairlie Shot of
Her, appears in Mrs Crockafs Manuscript Music-book, so
that the tune is very old. It is also preserved in Oswald's
Caledonian Pocket Companion, and various other collections.
This tune was selected by Mr O'Keefe for one of his songs
486 DLVII.— O, aiN I WEEK FAIRLY SHOT o' HER !
for " Shelty" in the Highland Reel, beginning, " Boys,
when I play, cry O Crimini," acted at Co vent Garden in
1788.
DLVIII.
HEY! MY KITTEN, MY KITTEN.
This humorous nursery song was written, about the be-
ginning of the last century, by the celebrated Dean Swift.
The words are adapted to the old Scottish air, called
Whip Her below the Couring-, which is inserted in the
Crockat Manuscript, and was printed in The Dancing
Master, by Playford, under the name of Yellow Stock-
ings, in 1657. This tune has been a great favourite, time
out of mind, in both kingdoms. The old Scots song is in-
admissible, for an obvious reason; but there are several
humorous English ones to the same tune, such as " Madam
Fig's Gala," &c., of considerable merit.
DLIX.
SWEETEST MAY, LET LOVE INSPIRE THEE.
This petit morceau, words and music, was communicated
by Burns. The tune is very simple and sweet, yet the cri-
tical reader will easily discover that Burns, in this instance,
has parodied the first verse of the old song of There's my
Thumb ril ne'er beguile Thee. It begins —
My sweetest May,* let love incline thee,
T' accept a heart which he designs thee ;
And as your constant slave regard it, '
Syne for its faithfulness reward it.
'Tis proof a-shot to birth or money.
But yields to what is sweet and bonny.
DLX.
AilGYLE IS MY NAME.
This ballad is universally attributed to John Campbell, the
renowned Duke of Argyle and Greenwich, whose uncorrupt-
ed patriotism and military talents, justly entitled him to be
ranked among the greatest benefactors of his country. He
* May, i. e. Maid.
DLX. ARGYLE IS MY NAME. 487
died on the 4th of October 1 743, in the sixty-third year of his
age.
Old David Herd published a copy of this ballad in his
Ancient and Modern Scottish Songs in 1776, under the title
of Bannocks o' Barley Meal, with two additional stanzas ;
but these were rejected in the Museum, on account of their
being both spurious and indelicate. The tune is of Gaelic
origin.
Alexander Boswell of Auchinleck, Esq., M.P., altered and
abridged this old ballad for Mr Thomson's Collection, vol.
iii., published in 1801.
DLXI.
AN I'LL AWA TO BONNY TWEEDSIDE.
This song was written by Allan Ramsay, and published
in his Tea-Table Miscellany, A.D. 1726. He directs it to
be sung to the tune of We'll a' to Kelso go. In the Museum,
the words have accordingly been adapted to this lively old
air, which is also preserved in Oswald's Caledonian Pocket
Companion, book vi. p. 11. The old song of We''ll cC to
Kelso go, is supposed to be lost.
DLXII.
GENTLY BLAW, YE EASTERN BREEZES.
This song was written by Mr John Anderson, engraver of
music in Edinburgh . It is adapted to a very ancient and
beautiful air, entitled O gin my Love zvere but a Rose, from
the first line of an old but rather indelicate song, still well
known. Two verses of the old song were retouched by a
modern hand, and printed in Herd's Collection, in 1776. —
The reader will find them in the sixth volume of the Mu-
seum (vide Song 594) ; but they are there adapted to a dif-
ferent tune, taken from Gow's Collection, called Lord Bai-
gcmies Delight.
DLXIII.
IN YON GARDEN FINE AND GAY.
Mr Anderson, author of the last song, informed the Edi-
2 M
488 DLXm. IN YON GARDEN LINE AKD GAY.
tor, that the words and music of this were taken down from
the singing of Mr Charles Johnson, father of Mr James
Johnson, tlie publisher of the Museum. The song was ac-
quired by old Johnson in his infancy, and he was then in-
formed that it was very ancient. From the simplicity of the
air, which consists of one strain, and the structure of the
words, there can be no doubt of the correctness of the old
man's information.
DLXIV.
THE POOR PEDLAR.
This humorous ballad, beginning " There was a noble
lady so fair," has been a favourite among the peasantry of
Scotland time out of mind. But the strain of double mean-
ing, which runs through many of the verses, must ever prove
a bar to its reception in the more polished circles of modern
society.
DLXV.
YOU ASK ME, CHARMING FAIR.
This beautiful song was written by William Hamilton of
Eangour, Esq. The composer of the charming melody, to
which the verses are united, has hitherto escaped the research-
es of the Editor.
DLXVI.
O, KEN YE WHAT MEG C THE MILL HAS GOTTEN ?
This humorous old song was retouched by Burns in 1788,
and sent to the publisher of the Museum, with directions to
unite it to the old air called Jaclcey Hitme's Lament. This
was accordingly done.
Mr Burns, about five years thereafter, made several al-
terations on the first copy of his song, which he transmitted
to Mr George Thomson, with the following introduction :
" Do you know a fine air called Jackie Hume's Lament 9
I have a song of considerable merit to that air. I'll enclose
you both the song and tune, as I had them ready to send to
Johnson's Museum."
DLXVI. O, KEN YE WHAT MEG O' THE MILLj &C. 489
It had escaped the bard's recollection, that the original
draught of the song, as well as the air, had been sent to the
publisher of the Museum long before this period, and that
he had altered his intention of having the second edition of
the song set to the air of Jackie Hume's Lament ; for, in Dr
Currie's edition of Burns'" Works, we find that it is directed to
be sung to the air of 0 honnie Lass will ye lie in a Barrack.
The song, with Burns' last alterations, is annexed for the
reader's perusal.
MEG 0' THE MILL.
Air—" 0, bonnie Lass will ye lie in u Barrack."
O KEN ye what Meg o' the mill has gotten.
An' ken ye what ]\Ieg o' the mill has gotten ?
She has gotten a coof wi' a claut o' siller,
, And broken the heart o' the barley miller.
The miller was strappin, the miller was ruddy,
A heart like a lord, and a hue like a lady ;
The laird was a widdiefu' bleerit knurl ;
She's left the guid fallow and ta'en the churl.
The miller he hecht her a heart leal and loving ;
The laird did address her wi' matter mair moving,
A fine pacing horse, wi' a clear-chained bridle,
A whip by her side, and a bonnie side-saddle.
\.
O wae on the siller, it is sae prevailing !
And wae on the love that is fixed on a mailen !
A tocher's nae word in a true lover's parle.
But, gie me my love, and a fig for the warl' !
DLXVII.
HOW SWEET IS THE SCENE AT THE DAWNING OF MORNING.
This fine song is another of the productions of the late
Mr Richard Gall. The original manuscript is in the hands^
of the Editor. The words are adapted to the fine old air,
called " The Humours o' Glen."
DLXVIII.
SURE MY JEAN IS BEAUTY'S BLOSSOM.
This song was also written by Mr Gall. The original
manuscript of it is likewise in the possession of the Editor.
The words are adapted to a very pretty modern air, Avhich
was communicated by Mr Gall himself
490
DLXIX.
HOW SWERT THIS LONE VALE.
This song was written by the Honourable Andrew Erskine,
brother of Thomas late Earl of Kellie, an eminent violin
performer and musical amateur. Burns admired this song
very much. In a letter addressed to Mr George Thomson,
dated 7th June, 1793, he says, " Mr Erskine's songs are
all pretty, but his IjOne Vale is divine.'"
The verses are adapted to a favourite Gaelic melody.
DLXX.
JOCKEY'S TA'EN THE PARTING KISS.
This charming song was written by Burns for the Museum.
It is adapted to the ancient air called 5onn?*g Lassie tak a Man,
which is also preserved in Oswald's Caledonian Pocket Com-
panion. The old song is supposed to be now lost-
DLXXI.
WHAT'S THAT TO YOU.
This is one of Thomas Durfey's Anglo-Scottish produc-
tions, with some alterations by Allan Ramsay. Durfey's
verses were printed with the music in Playford's Wit and
Mirth, vol. iii. first edition, London, 1702. Some of them
are veiy indelicate, and even the copy re-touched by Ram-
say, and printed in the Tea-Table Miscellany, in 1724, is not
altogether free from objections on the same score. Ramsay
directs the song to be sung to the tune of " The Glancing of
her Apron f but this tune being already inserted in a former
volume of the Museum, Johnson got the words adapted to a
modern Scots air. Mr James Hook of London, about thirty
years ago, composed a beautiful melody to the modernized verses.
DLXXII.
LITTLE WAT YE WHA'S COiMING.
This Jacobite ballad was written about the time of the
rebellion in 1715. Its old title was " The ChevaUer's Mus-
tor-Roll, 1715." The author, of course, is anonymous.
The Duny wastles (Dhuine Uasal, Gaelic) were tlie High-
bLXXtl. Lll'TLE WAT YK ^VlTA'S COMING, 49l
land lairds or gentlemen. The Earls of Wigton, Niths-
dale, Carnwath, and Derwentwater ; the Visjcount Kenmurc,
and Thomas Foster, Esq. M.P. for Northumberland, and
commander-in-chief of the Chevalier's English forces; the
Earl of Widdrington and Lord Nairn are the personages aU
luded to in the third stanza of the ballad. The names in the
other Verses are either those of particular clans, or such as
are applicable to all.
The old tune, to which the Words are adapted, was former-
ly called " Fiddle Strings are dear. Laddie,"" from the first
line of an ancient, though now almost forgotten song, i It
began—
Piddle strings are dear, laddlc;,
Fiddle strings are dear, laddie.
An' ye break your fiddle strings.
Ye se get nae mair the year, laddie.
The sarfie tune, in Gow's and other recent collections, Is
called Tail Toddle, but from what cause the Editor has been
unable to discover. The old tune, called " Cuttyman and
Treeladle," which is mentioned by Ramsay in the canto which
he added to the ancient poem of " Christ's Kirk on the
Green," has a considerable resemblance to " Fiddle Strings
are dear. Laddie." Both airs seem to have been composed
about one period, if not by the same minstrel,
DLxxiir.
O LEAVt; NOVELS, YE MAUCHLINE BELLES,
Tins humorous but friendly advice to the ladies of
Mauchline, a town in Ayrshire, on the dangers arising from
an indiscriminate use of novels, was written by Burns in 1785,
The Rob Mossgiell in the ballad was our bard himself, who
has substituted the name of his farm in place of his own sur-
name. The words are adapted to a favourite Scots measure,
or dancing tune.
DtXXIV.
O LAY THY LOOF IN MINE, LASS.
This song was written by Burns for the Museum. It 19
492 DT-NXIV. O, LAV THY I.OOF IN MINE, LASS.
adapted to the Tavourite old tune, called The Cordzmmer's
March) which, in former times, was usually played before
that ancient and useful fraternity, at their annual procession
on St Crispin's day. The tune is also preserved in Aird's
first volume of Select Airs, and other collections,
DLXXV.
SAW YE THE THANE O' MEIKLE PRIDE.
This ballad, entitled " Duncax, a fragment," was written
by Henry Mackenzie, Esq. author of The Man of
jr^eeling) and many other well-known and justly esteemed
)rks. It was a juvenile composition; but when the late
J -r Blacklock first heard the author's father read the manu-
script of this poem and that of " Kenneth," as his son's com-
positions, he predicted that the young poet would, in his more
advanced years, make a distinguished and respectable figure
in the republic of literature ; a prediction which has been
most amply verified,
Johnson, the pubhsher of the Museum,, has omitted seve-
ral stanzas of the ballad for want of room, but the reader
will find the whole of it in Mr Mackenzie's works, printed at
Edinburgh in 1612, or in Herd's Collection in 1776, and in
various other publications.
The tune to which the words are united in the Museum
is, perhaps, one of the sweetest melodies, in the minor mode,
that ever Avas played or sung. The composer's name has
hitherto eluded every research that the Editor has made.
DLXXVI.
GO, PLAINTIVE SOUNDS.
This song was written by William Hamilton of Bangour,
Esq. Mr William Shield of London set the words to a tune
of his own composition, which is printed in Ritson's Collec-
tion of Scottish Songs, London 1794. In the Museum the
words are united to a fiile modern Scottish air.
493
DLXXVII.
BRUCE'S ADDRESS TO MIS ARMY.,
This justly celebrated and patriotic song, beginning " Scots
wha hae wi' Wallace bled," was written by Burns on the 1st
of August 1793. The following account of its origin, from
the pen of his friend Mr Syme, is very interesting.
On the 30th of July 1793, Mr Syme and our bard set out
on horseback from the hospitable mansion of Mr Gordon of
Kenmure, for Gatehouse, a village in the stcwartry of Kirk-
cudbright. " I took him (says Mr Syme) by the moor-road,
where savage and desolate regions extended Avide around.
The sky was sympathetic with the wretchedness of the soil ;
it became louring and dark. The hollow winds sighed, the
lightnings gleamed, the thunder rolled. The poet enjoyed
the awful scene — he spoke not a word, but seemed rapt in
meditation.
" What do you think he was about ? He was charging
the English army along with Bruce at Bannockburn, He
was engaged in the same manner on our ride home from St
Mary's Isle, and I did nOt disturb him. Next day (2d July
1793) he produced me the following Address of Bruce to his
Troops, and gave me a copy for Dalzell." (Here follows the
song.)
In the month of September following. Burns transmitted
another copy of the song to Mr George Thomson, accompa-
nied with a letter, in which he says, " I have shewed the air
(meaning He9/ now the Day dawis, or, as it is sometimes called,
I(r^/ tutti taitie) to XJrham, M'ho was higlily pleased with it ^
a T begged me to make soft verses for it ; but I had no idea
of giving myself any trouble on the subject, till the accidental
recollection of that glorious struggle for freedom, associated
with the glowing ideas of some other struggles of the same
nature, not quite so ancient, roused my rhyming mania."
Mr Thomson, on receiving the song, wrote Mr Burns to
the following effect : " Your heroic ode is to me the noblest
composition of the kind in the Sc<)ttish language. I hap-
494 DLXXVII. BRUCE'S ADDRESS TO HIS ARMY.
pened to dine yesterdaywith a party of your friends, to whom
I read it. They were all charmed with it, entreated me to
find out a suitable air for it, and reprobated the idea of giving
it a tune so totally devoid of interest or grandeur, as " Hey
tutti taitie." Assuredly, your partiality for this tune must
arise from the ideas associated in your mind by the tradition
concerning it ; for I never heard any person, and I have con-
versed again and again with the greatest enthusiasts for Scot-
tish airs — I say, I have never heard any one speak of it as
worthy of notice." Mr T. then proceeds to inform the bard,
that he had fixed on the tune of Lewie Gordon for the words ;
but this tune required an elongation of the last line of each
verse, to make the words and music agree together.
This unfortunate criticism obhged Burns to lengthen and
alter the last line of every stanza, to suit the newly-suggested
air, which, instead of improving, manifestly injures the simple
majesty of the original. That the old air was susceptible of
stirring up or assuaging the passions, according to the differ-
ent styles in which it may be played or sung, was at one
glance obvious to Urbani, than whom no better judge of
these matters ever lived. The tune has also been a favourite
of Messrs Braliam, Incledon, Sinclair, and the best singers
throughout the united kingdom. To us, indeed, it appears
impossible, that any person, who is endowed with the smallest
portion of musical taste, can listen to the song of " The Land
of the Leal,"" without feeling the most tender emotions of pity,
or hear " The Bruce's Address to his Troops," without par-
taking of that patriotic flame that glowed in the breasts cf jiis
gallant ancestors. Mr Thomson, however, after some \ <■
reflection, has himself become a convert to the united sense of
the public. In a late edition of his third volume, in which
• the tune of " Hey tutti taitie" is happily adapted to the ori-
ginal words of Burns, he observes, that " the poet originalh/
intended this noble strain for the air just mentioned ; but, on
a suggestion from the editor of this work, who then thought
' Lewie Gordon' a fitter tune for the words, they were united
DLXXVII. — BRUCE'S AbDilESS TO HIS ARMY.
495
togetherj and published in the preceding volume, page 74.
The editor, however, having since examined the air* Hey
tutti taitie' with more particular attention, frankly owns, that
he has changed his opinion, and that he thinks it much better
adapted for giving energy to the poetry, than the air of
' Lewie Gordon.' "'''
As the tune of " Hey now the Day dawis" was inserted in
the second volume of the Museum, (vide Song No 170, and
the obsei-vations upon it in a former part of the present work)
Johnson requested Mr William Clarke, the organist, to set
Burns' song to a simple ballad tune which he sent him. It is
undoubtedly pretty, but by no means calculated to give ade-
quate expression to the bold and energetic sentiments of the
bard. Some people too, having got by rote the altered edi-
tion of this poem, sing it to the old air ; but they are obliged
to distort the tune, to make it suit the lengthened lines. For
these reasons, we shall now present the reader with the words
and air in their original simplicity, according to the first in-
tention of the bard.
KING ROBERT THE BRUCE'S ADDRESS TO HIS ARMY,
AT THE BATTLE OF BANNOCKBURN, 24^A JunC 1314,
As originally written by Burns,
To the tune q/"" Hey now the Day daivis."
"^T^^^
i
^E^
g
4:xEz
J Scots wha liae Avi' Wallace bled, Scots wham Bruce has
^
£
E
Vr
f«~t
^^^
m.
m
KZIK
af-ten led. Welcome to your go-ry bed. Or to vie -to - ry.
=g=»^
:l
iHii
;iH
490
DLXXVir.— BRUCTi'S ADDUESS TO HIS ARMY.
^^i^^
Now's the day, and now's tlie how. See the front of bat -tie lovv'r.
E
^
^
1
^m
-9 "^ — — s>
See approach proud Edward's pow'r. Chains and sla - ve
-ry.
BE
1
Wha will be a traitor knave,
Wha can fill a coward's grave,
Wha sae base as be a slave.
Let him turn and flee !
Wha for Scotland's king and law
Freedom's sword will strongly draw.
Freemen stand or freemen fa'.
Let him follow me !
By oppression's woes and pahis !
By your sons in servile chains !
We will drain our dearest veins.
But they shall be free.
Lay the jiroud usurper low !
Tyrants fall in every foe !
Liberty's in every blow !
Let us do, or die !
DLXX^^II.
FAREWELL YE FIELDS AND MEADOWS GREEN.
This song, entitled " Miss Forbes' Farewell to Banff,"
was written by the late Mr John Hamilton, music-seller in
Edinburgh. It is adapted to a favourite air, composed by
Mr Isaac Cooper of Banff, musician.
The musical reader will observe a considerable similarity
between this air and the tune of Shannon's Jloxvery Banl^:Sf
which, though generally supposed to be an Irish melody, was
composed by Mr James Hook of London, organist, in 1783,
and sung by Mrs Kennedy, at Vauxhall, with much applause.
49?
DLXXIX.
THE BLIND HARPER.
This fine old ballad, beginning " O heard ye of a silly
harper," with its original melody, Avas recovered by Burns,
and transmitted to Johnson for his Museum.
Mr Ritson, in his Historical Essay on Scottish Song, al-
ludes to this ballad in the following Avords : " The Reverend
Mr Boyd, the ingenious translator of ' Dante,' had a faint re-
collection of a ballad of a Scotch minstrel who stole a horse
from one of the Henrys of England."
In Mr Scott's Minstrelsy of the Border, we have another
edition of the same ballad, under the title of " The Lochma-
ben Harper," but it is not so complete as the copy in the Mu-
seum. The fourth, fifth, and eighteenth stanzas of the ori-
ginal ballad are omitted in Mr Scott's edition. The follow-
ing stanza, however, is substituted for the eighteenth :
Now all this while, in merry Carlisle,
The harper harped to high and low.
And the fiend thing dought they do but listen liim to.
Until the day began to daw.
Mr Scott has the following verse at the end of his edition,
which is not in the original :
Then aye he harped, and aye he carped,
Sae sweet were the harpings he let them hear;
He was paid for the foal he had never lost.
And three times o'er for the gude gray mare.
In Mr Scott's copy, the scene is laid at Carlisle, and the
warden of that city is substituted for King Henry himself.
-DLXXX.
MY NANNIE, 0.
Tins song, beginning " Behind yon hills where riv'lets
row," was written by Burns, and printed in the second edi-
tion of his Poems, at Edinburgh, in 1787. The first line of
the song, as originally written, was " Behind yon hills where
Stinchar flows," but Burns afterwards inserted the word
Lugar, the name of another river in the county of Ayr, in
preference to the former, as being more agreeable to the ear.
498
bLXJiX.— MY :KrANNiE, o.
Burns directs the song to be sung to the tune of " My
Nannie, O." This fine air is inserted in the first volume of
the Museum, with the Words by Allan Ramsay. — Vide Sojig
No 88. In order to avoid a repetition of the same tune, Mr
William Clarke adapted the verses by Burns to a favourite
modern melody, composed by Mr Thomas Ebdon of Dur-
ham, organist.
DLXXxt.
GO FROM MY WINDOW, LOVE, DO.
This fragment of an ancient ballad, with its melody, was
Recovered by Burns, and transmitted to Johnson for the Mu-
seum. It is all that remains, we believe, of one of those
secular songs that were parodied about the dawn of the Re-
formation in Scotland, and printed by Wedderburne in
1549) under the title of " Ane compendious Booke of Godly
and Spirituall Songs, collectit out of sundrie partes of the
scripture, with sundrie of other ballates, changed out of pro-
faine sanges, for avoiding siniie and harlotrie." The Editor,
howevel", has met with a far more ancient, and, he thinks,
more genuine set of the melody than that communicated by
Burns, which he shall now annex with the first vei'se of Wed*
derburne's parody.
Ej^^5Ez5"^^|E£fcl|
Who is at my window, who, who ? Go from my window, goe^
RgfF
^
Who call - is there, so lilie a stranger ? Go
S^^rfJi^^^
DLXXXL— -GO FllOM MY WINDOW, LOVE, DO. 499
« — 4
from my window, go.
Wedderburn''s parody must have been well known in Eng-
land early in the reign of Elizabeth, for a new tune was made
to it by J. D. i. e. John Dowland, which is still preserved
in a work called " An Instruction to the Orpharion," print-
ed at London by William Barley, in 1596. Dowland con-
tributed " Mrs Winter's Jump," and several other airs, to this
work ; but his tune of " Go from my Window, goe," is alto-
gether different from the ancient Scottish melody.
DLXXXII.
THE RAIN RINS DOWN THRO' MIRRYLAND TOWN.
This old Scottish ballad was published by Bishop Percy,
under the title of " The Jew's Daughter," in his Reliques
of Ancient Poetry, printed at London in 1765. The manu-
script was sent to him from Scotland.
The bishop observes, that " the ballad is probably built
upon some Italian legend, and bears a great resemblance to
the Prioresse's Tale in Chaucer ; the poet seems also to have
had an eye to the known story of Hugh of Lincoln, a child
said to have been murthered there by the Jews, in the reign
of Henry III. The conclusion of this ballad appears to be
wanting : what it probably contained, may be seen in Chau-
cer. As for MiRRYLAND-TowN, it is probably a corruption
of Milan (called by the Dutch Meylandt) Toun ; since the
Pa is evidently the river Po." — Percifs Reliques.
The story of Hugh of Lincoln, a boy about eight years
old, being murdered by the Jews, and of the child's body
having been discovered in a well by his disconsolate mother,
with the punishments inflicted on that dispersed and perse-
cuted people, are circumstantially narrated by Mathew Paris,
But Bishop Percy observes, that " the supposed practice of
500 DLXXXII. THE RAIN RINS DOWN, &C.
the Jews, in crucifying, and otherwise murdering. Christian
children out of hatred to the religion of their parents, hath
always been alleged in excuse for the cruelties exercised up-
on that wretched people, but -vyhich probably never happened
in a single instance. For, if we consider, on the one hand,
the ignorance and siipprstition of the times when such stories
took their rise, the virulent prejudices of the monks who re-
cord them, and the eagerness with which they would be
catched up by the barbarous populace as a pretence for plun-
der ; on the other hand, the great danger incurred by the
perpetrators, and the inadequate motives they could have to
excite them to a crime of so much horror, we may reasonably
conclude the whole charge to be groundless and malicious."
There are various editions of this ballad. That in the
Museum, which was taken from Percy's Reliques, volume
first, is merely a fragment. A more perfect copy was pub-
lished by Mr Jamieson in his Ancient Ballads and Songs,
printed at Edinburgh in 1806. It was taken doAvn, verha-
tivi, from the recitation of Mrs Brown of Falkland, wife of
the reverend Dr Brown. Another edition of the ballad, un-
der the title of " Sir Hugh," appears in Gilchrist's Scottish
Ballads, vol. i. page 210. Edinburgh, 1814. But the fol-
lowing edition, communicated by an intelligent antiquarian
correspondent, appears to be the most complete version yet
obtained.
SIR HUGH OF LINCOLN,
An old Scottish Ballad.
The rain rins down thro' merry Lincoln,
Sae does it down the Pa ;
Sae rin the lads o' merry Lincoln^
Whan they play at the ba'.
Four and twenty bonnie young boys
Were playing at the ba'.
With sweet Sir Hugh of Lincohi town,
The llower amang them a'.
DLXXXII. THE llAIN KINS DOWN, &C, 501
He kick'd the ba' wi' his right foot.
And stopt it wi' his knee.
And thro' and thro' the Jew's window
He gard it quickly flee.
Sir Hugh hied to the Jew's castle.
And walk'd it round about.
And there he saw the Jew's daughter.
At a window lookuig out.
" Cast down the ba' to me, fair maid ;
Cast down the ba' to me :"
*' I winna cast down the ba," she said,
" Till you come up to me."
" How will I come up ?" said sweet Sir Hugh,
" How can I come up to thee ?
For as ye did to my father dear.
The same ye'll do to me."
" Come In Sir Hugh, my dear Sir Hugh,
And ye sail get the ba' ;"
" I winna come in, I canna come in.
Without my play-fere's a,"
Then outen came the Jew's daughter.
The sweet Sir Hugh to wirv;
She powd the apples red and white.
And wyl'd the young thing in.
She has wyl'd him thro' ae dark dark room,
Sae has she done thro' twa :
She has wyl'd him to anither room.
The mirkest o' them a*.
Then she has ta'en a sharp pen-knife.
That hung down by her gair.
And she has twin'd Sir Hugh o' his life ;
Ae word he never spake mair.
She laid him on a dressing-board,
Whar she did aften dine ;
And then she took his fair body.
And drest it like a swine.
And first came out the thick thick blood.
And syne came out the thin.
And syne came out the bonnie heart's blood.
There was nac life left in.
502 ^ DLXXXII. THE RAIN lllNS DOWN, &C. '
She rowd him in a cake of lead,
Bade him lie still and sleep :
She cast him in a garden well.
Was fifty fathom deep.
When bells were rung, and mass was sung,
An' a* the bairns came hame ;
Then ilka lady had her young son.
But lady Helen had nane.
She wrapt her mantle her about.
And sair sair gan she weep.
Till she came to the Jew's castle.
When all were fast asleep.
" My bonnie Sir Hugh, my pretty Sir Hugh,
I pray thee to me speak ;"
" O lady rin to the deep draw-well.
Gin ye your son wad seek."
Then she ran to the deep draw-well.
And knelt upon her knee ;
" My bonnie Sir Hugh, my sweet Sir Hugh,
I pray thee speak to me."
" The lead is wond'rous heavy, mither.
The well is very deep ;
A keen pen-knife sticks in my heart.
But, mither, dinna weep."
Gae hame, gae hame, my mither dear.
Prepare my winding-sheet.
And at the back o' merry Lincoln,
It's there we twa sail meet.
Now lady Helen is gane hame.
Made him a winding-sheet.
And, at the back o' merry Lincoln
The dead corpse did her meet.
And a the bells o' merry Lincoln,
Without men's hands were rung ;
And a' the books o' merry Lincoln,
Were read without men's tongue.
Was never heard in Christantie,
By woman, chyld, or man.
Sic selcouth sounds at a burial.
Sen Adam's days begari.
DLXXXir. — THE EAIN RINS DOWN, &C.
503
Though the foregoing ballad is Scottish, yet, in all pro-
bability, it has been derived from a still more ancient English
tragic ballad ; for the scene of it not only lies in England,
but the English tune to which it was sung is also known.
It is very diiFerent fi-om the Scottish melody, and seems even
more appropriate to the melancholy catastrophe of the poem.
For the satisfaction of the reader, we shall annex the English
air, from Mr Smith's " Musica Antiqua," vol. i. folio 65.
THE JEW'S DOCHTER.
The rain riiis doou tliro' mirrylaud toun, Sae does it doon the
3
:E
-t)«
iss
azzz
V
JEE
m^
^rz^drrit — w
Pa ; Sae does the lads o' mir - ry - land toun. When
^^5
M
faAi^ggg
P th-
2E
)'
they play at the ba'. Then out and cam the Jew's dochter. Said,
J
i^^^S^
t-
« — -J
^
4-^-^—4-
( Will ye come in and dine ? I win - na come in, I
5^^
^^^S
m
^
ang
can-na come in. Without my playferes nine
^
P
isi:
S^
)i N
^
■-SJ
504
DLXXXIII.
CAULD IS THE E'ENING BLAST.
This short song was written by Burns for the Museum.
It is adapted to an old Scottish air, called « Peggy Ram-
say," Avhich, in several bars, resembles the tune of " O'er
Bogie." The ancient words, adapted to the tune of Peggy
Ramsay, began —
Bonny Peggy Ramsay,
As ony man may see.
Has a bonny sweet face.
And a gleg glintin ee.
The old song is witty, but indelicate. A corrupted copy
of it was inserted in the third volume of Henry Playford's
Pills, published at London in 1704, who directs it to be sung
to the tune of " The Suburbs of London," which is totally
diflFerent and very inferior to the original Scottish air.
DLXXXIV.
O, TURN AWAY THOSE CRUEL EYES.
The author of this song is unknown to the Editor. It is
adapted to an old air, called " Be Lordly, Lassie," from
the first line of a silly old nursery song, beginning —
Be lordly, lassie^ be lordly.
Be lordly, lassie, be lordly ;
Put a hand in each side
And walk like a bride,
Your mither bids you be lordly.
DLXXXV.
0, MARY, YE'S BE CLAD IN SILK.
This song is only slightly altered from the original words
of " The Siller Crown," which the reader will find in the
third volume of the Museum. — Vide Song No 240.
This new version of " The Siller Crown" first appeared
in Urbani's Collection of Scottish Songs, adapted to a beauti-
ful modern Scottish air, composed by Miss Grace Corbett
of Edinburgh when she was only eleven years old. Both
the words and new melody were copied into the sixtli volume
of the Museum, by Urbani's permission.
505
DLXXXXVI.
THERE WAS A BONNIE LASS.
This song was written by Burns. The words are adapt-
ed to the tune of a favourite slow march.
DLXXXVII.
NO CHURCHMAN AM I.
This is another production of Burns. It was published
in the second edition of his poems, printed at Edinburgh in
1787. The words are adapted to a beautiful tune, called
" The Lazy Mist," from the last volume of Oswald's Cale-
donian Pocket Companion. Several modern songs, such as
" Prepare, my dear Brethren," — " Honest Dermot," &c.
have been united to this fine old air.
DLXXXVIII,
THE HIGHLANDER'S LAMENT.
This song, beginning " A soldier for gallant achievements
renowned," is a fragment of a larger poem, supposed to have
been written by an anonymous hand after the battle of Cul-
loden, in 1746. The tune is said to be a Gaelic melody.
DLXXXIX.
THERE'S NEWS, LASSES, NEWS !
This humorous song was retouched by Burns from a very
ancient one, called " I winna gang to my Bed until I get a
Man." It is adapted to the lively old original air, which may
be considered one of the earliest specimens of Scottish
Reels. It appears in Skene's MSS. circa, 1570, under the
title of / winna gang to my Bed till I sud die. ; ^•^i4.vj.4'^i, ;i
DXC.
HARD IS THE FATE OF HIM WHO LOVES.
This elegant pastoral song was written by James Thom-
son, Esq. the well-known author of " The Seasons," " The
Castle of Indolence," and many other excellent poems, The
composer of the plaintive air, to which the words are suited,
is not known. The bass part was added by Mr William
Clarke.
506
DXCX.
YE MUSES NINE, O LEND YOUR AID!
This song, entitled The Highland King, made its appear-
ance soon after the publication of The Highland Queen, by Mr
Macvicar, to which it was intended as an answer. Vide Song,
No 1. vol. i. of' the Museum. It was printed as a sheet song,
and did not appear in any regular collection until the publi-
cation of Wilson's « St Cecilia," at Edinburgh in 1.779.
The author of the song, as well as the composer of the melo-
dy, have hitherto escaped the Editor's researches.
DXCII.
NELLY'S DREAM.
This song, beginning Bright the moon aboon yon moun-
tain, was written by the late Mr John Hamilton, music-sel-
ler in- Edinburgh. He published it with the music as a sheet
song, and it was copied into the Museum by his permission.
Mr Hamilton furnished several other songs for the same
work.
Dxcm.
O THAT I HAD NE'ER BEEN MARRIED.
The first verse of this song is old ; the second was written
by Burns for the Museum. The Bard likewise communica-
ted the beautiful old air to which it is united.
In a letter to Mrs Dunlop, dated 5th December, 1795,
Burns introduces the original lines to her notice, with the fol-
lowing prefatory remarks : " There had much need be ma-
ny pleasures annexed to the states of husband and father ;
for, God knows ! they have many peculiar cares. I cannot
describe to you the anxious sleepless hours these ties fre-
quently give me. I see a train of helpless little folks, me
and my exertions all their stay ; and on what a brittle thread
does the life of man hang ! If I am nipt off at the command
of fate, even in all the vigour of manhood as I am — such
things happen every day ; — gracious God ! what would be-
come of my little flock ! 'Tis here that I envy your people
of fortune. A father on his death-bed, taking an everlasting
leave of his children, has indeed woe enough ; but the man
DXCIII. 0 THAT I HAD NE'eR BEEN MARRIED. 507
of competent fortune leaves his sons and daughters independ-
ency and friends ; while I but I shall run distracted if I
think any longer on the subject !
" To leave talking of the matter so gravely, I shall sing
with the old Scots ballad —
" O THAT I had ne'er been married,
I would never had nae care ;
Now I've gotten wife and bainis —
They cry, crowdie ! evermair.
Crowdielance — crowdie! — twice—
Crowdie ! three times in a day ;
An ye crowdie ony mair,
Ye'U crowdie a' my meal away."
DXCIV.
0 GIN MY LOVE WERE YON RED ROSE.
This fragment is copied verbatim from Herd's Collection,
printed in 1776. Burns had a high opinion of its poetical
merit. In a letter to Mr Thomson, he says, " Do you know
the following beautiful little fragment in Witherspoon's Col-
lection of Scots Songs ?
AiE. — " Hughie Graham."
" 0 GIN my love were yon red rose
That grows upon the castle wa'.
And I mysel' a drap o dew.
Into her bonnie breast to fa' !
Oh ! there, beyond expression blest,
I'd feast on beauty a' the night :
Seal'd on her silk-saft faulds to rest.
Till fley'd awa' by Phoebus' light.
" This thought is inexpressibly beautiful, and quite, so far
as I know, original. It is too short for a song, else I would
forswear you altogether, unless you gave it a place. I have
often tried to eke a stanza to it, but in vain. After balancing
myself, for a musing five minutes, on the hind-legs of my el-
bow-chair, I produced the following :
" O WERE my love yon lilac fair,
Wi' purple blossoms to the spring ;
And I a bird to shelter there.
When wearied on my little wing ;
508 DXCIV. 0 GIN MY LOVE WERE YON RED ROSE.
How wad I mourn when it was torn
By autumn wild and winter rude !
But I wad sing on wanton wing
When youthfu' May its bloom renew'd."
" These verses are very far inferior to the foregoing, I
frankly confess ; but if worthy insertion at all, they might be
first in place, as every poet, who knows any thing of his trade,
will husband his best thoughts for a concluding stroke." — -
Burns' Works.
Mr Thomson paid attention to this hint in arranging the
old and new words ; but, in place of the air of " Hughie
Graham," (the music and words of which old ballad are
printed in the fourth volume of the Museum, vide Song No
303), he has adapted the song to a Gaelic or Irish melody ;
for it is claimed by both nations. This melody, in Gow's
Second Collection, is called Ceanu dubh dileas, and in Era-
ser's Highland Airs, Cuir a ghaoil dileas tharrum do lamli^
i. e. " Place, true Love, thine arms around me." All these
three sets of the tune differ, in some notes, from each other,
as well as from the Irish set of the same air, printed in the
Irish Melodies.
In the Museum, the words of O gin my Love were yon red
Rose, are united to a strathspey tune, printed in Gow"'s Fourth
Collection of Reels, &c. under the title of " Lord Balgonie's
Favourite, a very old Highland tune," which was afterwards
published under the new title of " Gloomy Winter's now awa,"
from the first line of a beautiful Scots song adapted to that
air, written by the late Mr Robert Tannahill of Paisley.
This strathspey, however, has lately been claimed as a modern
production by Mr Alexander Campbell, the editor of Albyn''s
Anthology. In the first volume of that work, Mr C. says
he composed this strathspey in the year 1783, and in ] 791, or
1792, he published and inscribed it to the Rev. Patrick Mac-
donald of Kilmore. The writer of this article has made a di-
ligent search for this production, but has met with no copy to
decide the question between Messrs Gow and Campbell. But
DXCIV.— 0 GIN MY LOVE WERE YON RED ROSE. 509
the reader, on comparing the air of Burns' song of " O lay
thy Loof in mine, Lass," (vide No 574 of the Museum), which
was taken from Aird's First Collection, and has been known
time out of mind by the name of" The Cordwainer's March,""
will observe a striking similarity between it and the disputed
composition.
But the proper air of " O gin my Love were but a
Rose," is neither the Strathspey in question, nor Hughie
Graham, nor the Gaelic or Irish Melody before alluded
to. Both the words and air of this old song are still very
well known. The first four lines of it, as printed in Herd's
Collection, only are genuine ; the other four, though beauti-
ful, are comparatively modern. The strain of double mean-
ing, that runs through the whole of the eight verses of the old
song, prevents their insertion in the present work ; but the
tune to which they are uniformly sung, is that which Mr
Anderson has selected for his song of Gently blow ye East-
ern Breezes, printed in the sixth volume of the Museum.
Vide Song No. 562.
DXCV.
THERE'S NAE LUCK ABOUT THE HOUSE, WHEN OUR GOOD-
WIFE'S AW A.
This very humorous modern ballad is a parody of the
celebrated poetic tale, called The Wife of Auchtermuchty,
which tradition affirms to have been composed by a priest of
the name of Moffat, in the reign of James V. A manuscript
copy of the original, which is preserved in the Bannatjne
Manuscript of 1 568, in the Advocates' Library, Edinburgh,
corroborates the traditional account, for the signature " quod
Moffat^"" is actually subjoined to that copy. This curious old
ballad is printed in Herd's Collection 1776, and in several
others. But the most perfect edition is that in Blackwood's
Edinburgh Monthly Magazine for April 1817.
The name of the author of the parody has not yet been
discovered ; but the writer has evidently meant it to be an
answer to the beautiful ballad of. There's nae LucJc about
510 Dxcv.— there's nae luck about the house, he.
the House when our Gudeman's awa^ which was written by
William Julius Mickle, Esq., the ingenious translator of
The Lusiad. It is printed in the first volume of, the
Museum. Vide Song, No 44. The beautiful tune to which
Mickle's ballad was adapted, would have suited the parody
equally well ; but Johnson united the latter to a sprightly
modern tune for the sake of greater variety.
DXCVI.
WILLIE AND ANNET.
This old Border ballad was inserted in Herd's Collection
in 1776. In the Museum the words are adapted to an air in
the new series of The Vocal Magazine, published at Edin-
burgh, by the late Mr James Sibbald, in 1803. In that work
the air is said to have been " communicated by a lady in
Orkney.'' But the old Border melody is much better adapted
to the words. Vide notes on Song No 482, of the Museum.
DXCVII.
O MALLY'S MEEK, MALLY'S SWEET.
This song was written by Burns for the Museum. He
also communicated the air to which it is united ; but it is evi-
dently borrowed from the fine old Lowland melody of
Andro and his cutty Gun.
XCVIII.
TELL ME, JESSY, TELL ME WHY.
This song was written and published by the late Mr John
Hamilton, music-seller in Edinburgh, by whose permission it
was inserted in the Museum.
DXCIX.
I CARE NA FOR YOUR EEN SAE p-LUE.
This song was also written and published by Mr John Ha-
milton, before it appeared, by his permission, in the Museum.
DC.
GOOD NIGHT AND JOY BE WI' YOU A'.
This beautiful tune has, time out of mind, been played at
the breaking up of convivial parties in Scotland. The prin-
cipal publishers of Scottish music have also adopted it, as their
DC. GOOD NIGHT AND JOY BE Wl' ^OU a\ 511
farewell air, in closing their musical works. Macgibbon placed
it at the end of his third and last volume of Scottish Airs, pub-
lished in 1 755. Oswald closed the fourth volume of his Ca-
ledonian Pocket Companion with the same air. Oswald pro-
bably then thought it would be the last volume of his work,
but he afterwards found materials for no less than eigJit
more. Mr James Johnson followed the same example, in
closing his sixth and last volume of the Scots Musical Mu-
seum.
There are two songs adapted to this air in the Museum.
The first is said to have been composed by Thomas Arm-
strong, the night before his execution for the murder of Sir
John Carmichael of Edrom, warden of the middle marches
on the Border of Scotland. The warden was murdered 16th
June 1600, and Armstrong suffered on 14th November
1601. It is by no means certain that these verses are the
original words.
This tune was a particular favourite with Burns, who
wrote the second song, beginning Adieu ! a heartwarm
Jbnd adieu! In one of his letters, he says, " Ballad-
making is now as completely my hobby-horse, as ever fortifi-
cation was Uncle Toby's ; so I'll e'en canter it away till I
come to the limit of my race, (God grant that I may take
the right side of the winni ng-post !), and then, cheer-
fully looking back on the honest folks with whom I have
been happy, I shall say or sing, * Sae merry as we a' hae
been !' and raising my last looks to the whole of the human
race, the last words of the voice of Coila shall be, ' Good
night and joy be wi' you a' ? Worhs, vol. iv. Burns here
calls himself the Voice of Coila, in imitation of Ossian,
who styles himself the Voice of Cona. Coila, or Kyle, is the
middle bailiewick of Ayrshire.
The second song was printed in Burns's Works, at Edin-
burgh in 1787. It is there entitled " The Farewell to the
Brethren of St James''s Lodge, Tarbolton, tune, Good Night
and Joy be wi' you a'." Burns became a member of this
512 DC. GOOD NIGHT AND JOY BE Wl' YOU a'.
lodge of Freemasons, after his family removed to the farm of
Lochlea, in the parish of Tarbolton, Ayrshire." During this
period (says his brother Gilbert,) he became a Freemason,
which was his first introduction to the life of a boon com-
panion. Yet, notwithstanding these circumstances, and the
praises he has bestowed on Scotch drink, (which seem to
have misled his historians,) I do not recollect, during these
seven years, nor towards the end of his commencing author
(when his growing celebrity occasioned his being often in
company,) to have ever seen him intoxicated, nor was he at
all given to drinking." — Life of Burns.
We shall conclude these remarks with the following mas-
terly song, to the same tune, written by Alexander Boswell
of Auchinleck, Esq. M."P. It is entitled " The old Chef-
tain to his Sons," and conclude the fourth volume of Mr
George Thomson's Collection of Scottish Songs.
Good night, and joy be wi' ye a'.
Your harmless mirth has cheer'd my heart ;
May life's fell blasts out-o'er ye blaw !
In sorrow may ye never part !
My spirit lives, but strength is gone.
The mountain fires now blaze in vain :
Remember, sons, the deeds I've done.
And in your deeds I'll live again !
When on yon muir our gallant clan,
Frae boasting foes their banners tore.
Who show'd himsel a better man.
Or fiercer wav'd the red claymore ?
But when in peace — then mark me there,
When thro' the glen the wanderer came,
I gave him of our hardy fare,
I gave him here a welcome hame.
The auld will speak, the young maun hear.
Be canty, but be good and leal ;
Your ain ills ay hae heart to bear,
Anither's ay hae heart to feel ;
So, ere I set, I'll see you shine,
I'll gee you triumph ere I fa' ;
My parting breath shall boast you mine,
Good night, and joy be wi' ye a'.
FINIS.
Oliver ^ Boyd, Piinlas.
[ 513 ]
ADDITIONAL ILLUSTRATIONS.
PART VL
Dill.
RED GLEAMS THE SUN.
This Song was afterwards inserted by the author in his
collection of " Poetry chiefly in the Scotish Language. By
Robert Couper, M. D." Inverness, 1804, 2 vols. 12mo.
He was the author of other lyrical pieces. One of these,
written " to a beautiful old Highland air," called Geordy
Agam, is inserted in Campbell's Albyn's Anthology, vol. ii.
p. 23. The author states, that he wrote this song at
the request of L. G. G. (Lady Georgiana Gordon, now
Duchess of Bedford), and that it alludes " to her noble
brother (the Marquis of Huntley), then with his regiment
in Holland. A few days after it was written, and to the
author's great uneasiness, the news arrived of his being
wounded, from which he is not yet recovered."
Dr Thomas Murray, in his Literary History of Gallo-
way, p. 247, refers to a MS. Life of Dr Couper, " com-
municated by his accomplished friend, John Black, Esq.,
Wigton. On applying to Dr Murray, I was favoured with
the following abstract of the memoir : —
" Robert Couper was born at Balsier, parish of Sor-
bie, Wigtonshire, of which farm his father was tenant, on
the 22d September 1750. He entered a student in Glas-
gow College in 1769. He studied at first for the Scotish
Church ; but Kis parents having died, and his patrimony
being small, if any thing at all, he accepted of an office as
tutor in a family in the State of Virginia, America, where he
2o
514 RED GLEAMS THE SUN.
meant to take orders to enter the Episcopal Church as a
clergyman. The date of his going to America is not given.
But he returned in 1776, owing to the breaking out of the
war of Independence. He returned to the College of Glas-
gow, and having studied medicine, and taken his diploma
as a surgeon, (date not known,) he began practice at New-
tonstewart, a village of 2000 inhabitants, in his native
county. While at Glasgow, he had gained the friendship
of Dr Hamilton, professor of midwifery, on whose recom-
mendation to the Duke of Gordon, Couper settled in Foch-
abers (I am informed, in 1788), as physician to his Grace.
Previously to going there, and preparatory to it, he had
obtained the degree of M. D. from the College of Glas-
gow, to ' prevent people, no wiser than himself, from dic-
tating to him.' At this time, that is, shortly after settling
in Fochabers, he married Miss Stott, daughter of the Rev.
Ebenezer Stott, minister of the parish of Minnigaif, Kirk-
cudbrightshire. He left Fochabers in 1806. He died in
Wigton on the 18th January 1818. He was F. R. S. E."
DVI.
WHERE ESK ITS SILVER CURRENT LEADS.
The author of this Song was David Carey, who was
known during the earlier part of this century as "an elegant
poet and agreeable novelist." He was a native of Arbroath,
and he died at his father's house, in that town, after a pro-
tracted illness, on the 4th of October 1824, in the forty-,
second year of his age. A brief but interesting biographical
notice, and a list of his various works, will be found in the
Scots Magazine, for November 1824, p. 637.
DVIII.
ROW SAFTLY, THOU STREAM.
The collection of Poems and Songs, by Richard Gall,
(the author of this and other Songs in the present volume
of the Museum,) which is mentioned by Mr S. at page 444,
now SAFTLY, THOU STREAM. 515
bears the date " Edinburgh, from the press of Oliver and
Boyd," 1819. 12mo.
DX.
O CHERUB CONTENT.
This early production of a poet who has attained such
high distinction as the author of " The Pleasures of Hope,"
is not contained in the collected edition of his Poems.
Thomas Campbell, Esq., is a native of Glasgow, and
was born in the year 1777, as, I think, he stated two
years ago, at a public dinner given him in this place. His
" Hohenlinden," " Ye Mariners of England," and other
compositions, rank him as a lyric poet of the first order.
DXII.
THE BATTLE OF HARLAW.
This well-known ballad, or poem, is probably not older
than the latter part of the 16th century. There was an
edition printed in the year 1668, which Ramsay prob-
ably copied, when he inserted the poem in " The Ever-
green," 1724.
DXIII.
O BOTHWELL BANK.
This Song was evidently, or rather avowedly, founded
upon an interesting incident related in Verstegan's " Resti-
tution of Decayed Intelligence," first published at Ant-
werp, 1605.
In Pinkerton's Select Scotish Ballads, vol. ii. p. 131.
Lond. 1783, where this Song first appeared, it consists of
three stanzas, disfigured by an affected use of obsolete
words. The first stanza is descriptive, and runs thus : —
On the blyth Beltane, as I went
Be mysel attonr the green bent,
Wharby the crystal waves of Clyde
Throch saughs and hanging hazels glyde.
There sadly sitting on a brae,
I heard a damsel speak her wae.
The other two verses are given in the Musical Museum,.
516.
O BOTHWELL BANK.
some of the words being modernized, and two lines added to
suit the music. Pinkerton's imitations of our old ballad
poetry, were not happy. In the account of his writings
given in Chambers's Lives of Eminent Scotsmen, we meet,
indeed, with the following astounding assertion respecting
his publication of Ancient Scotish Poems, from Sir Richard
Maitland's MSS. — " Pinkerton maintained that he had
found the Manuscript in the Pepysian Library at Cam-
bridge ; and, in his correspondence, he sometimes alludes
to the circumstances with very admirable coolness. The
FORGERY WAS ONE OF THE MOST AUDACIOUS RECORDED In'
THE ANNALS OF TRANSCRIBING. Time, placc, and cir-
cumstances, were all minutely stated — there was no mys-
tery." (vol. iv. p. 102.) I confess my ignorance of what is
here meant by " the Annals of Transcribing," unless, per-
chance, it may have some allusion to the learned Mr
Penny, the " Historian of Linlithgowshire," whose accu-
racy and minute research were so highly commended by his
literary executors in 1831, although, it must be admitted,
that the merit of his work consists wholly in the accuracy
with which he transcribed that portion of Chalmers's " Cale-
donia," which relates to the Shire. In regard to Pinkerton,
it would have been strange had he pretended any " mys-
tery" where there was none; as the MSS. in question
may be seen in the Pepysian Library to this day. Some
half century after this, it is as probable that the future
biographer of Mr Robert Chambers shall attribute to him
all Burns's Poems, contained in his late comprehensive
edition of that poet, as that any one should have given Pin-
kerton the credit of having written the poems by Henry-
son, Dunbar, and the other old Scotish Makers, contained
in Maitland's Manuscript Collections, from which Pinker-
ton's Selections, printed in 1782, were copied. Aftei: all,
it ought to be added, that the contributor of the article in
Chambers's Work, merely improves upon the similar blun-
dering statement that appeared in Nichols's Literary Il-
lustrations, &c., vol. V. p. 670.
O BOTHWELL BANK, 517
John t^iNKERTON was born at Edinburgh, 17th of Feb-
ruary 1758, and died at Paris, 10th of March 1825, at
the age of sixty-seven. With all his insufferable petulance
and conceit, (not to mention other failings,) he was un-
questionably a man of learning and research^ and he render-
ed very important services to the history and early litera-
ture of his native country, by several of his publications.
DXV.
LAMINGTON RACES.
This Song is attributed, at page 456, to " Mr Macaulay,
an acquaintance of Mr Johnson," the publisher of the Mu-
seum. I have not ascertained who this Mr M. was ; but it
is not improbable that he was the same with James Mac-
aulay, printer in Edinburgh, the author of a volume of
" Poems on various subjects, in Scots and English." —
" Edinburgh, printed for and sold by the Author, Print-
ing-office, Castlehill, 1790," 12mo. pp. 300.
DXVI.
THE BANKS OF THE DEE.
This Song was long and deservedly popular. As stated
at page 456, it was written in 1775, and it appeared in
several collections. In " The Goldfinch," Edinb. 1782, it
is accompanied " With additions by a Lady," being four
stanzas, no doubt the same that Mr S. notices as contain-
ed in Wilson's collection, 1779, and there said to be by
" Miss Betsy B— s."
The author of " The Banks of the Dee," was John
Tait, Esq., who had been an assiduous wooer of the muses
in his younger days. Besides the frequent contributions to
the Poets' Corner, signed J. T— t, consisting of elegiac and
other verses, which appeared in Ruddiman's Edinburgh
Weekly Magazine for 1770," and subsequent years, he pub-
lished anonymously, the " Cave of Morar," " Poetical
Legends," and some other poems, in a separate form. Mr
518 THE BANKS OF THE DEE.
Tait passed as Writer to the Signet, 21st November 1781.
In July 1805, when the new system of police was intro-
duced into Edinburgh, he was appointed Judge of Police,
and he continued to preside in that Court till July 1812;
when it was again remodelled by Act of Parliament, and
the decision of Police cases replaced in the hands of the
Magistrates of the City. (See Kay's Portraits, vol. ii. p.
147.) He died at his house in'Abercrombie Place, 29th of
August 1817. (Scots Mag. 1817, p. 99.)
DXXV.
willy's rare and willy's fair.
This song is contained in the second volume of the
Orpheus Caledonius, 1733, and not in the first volume,
1725. So likewise is Hamilton's ballad, " The Braes of
Yarrow." This favourite theme in Scotish Song, has
obtained additional celebrity by the verses of our great
English Poet, Mr Wordsworth, who to his " Yarrow Un-
visited," in 1803, " and Yarrow Visited," in 1814, again
honoured this much favoured stream by his " Yarrow Re-
visited," in 1831.
DXXIX.
AH ! MARY ! SWEETEST MAID, FAREWELL.
This song was included in a small volume of " Songs,
chiefly in the Scottish dialect. Edinburgh, 1803," 8vo,
published anonymously, in which the songs were given in
a more correct form, in consequence of several of them
having been printed " without the Author's permission, and
with alterations, which he did not consider as improve-
ments." The author of this and two other songs in this
volume, (See pages 435 and 512,) Sir Alexander Bos-
well of Auchinleck, was the eldest son of the biographer
of Johnson, and was born 9th of October 1775. He suc-
ceeded to his paternal estate in 1795, and was created a
Baronet in 1821. At a time when party politics ran high,
ah! MARY ! SWEETEST MAID, FAREWELL. 519
his disposition to satirical writing unfortunately involved him
in a dispute, which was the occasion of that fatal duel, 26th
of March 1822, that cut off in the prime of life, a gentleman
of much natural genius and high acquirements, only a few
days after having performed the last sad offices to his brother
James, the friend of Malone, and the editor of Shakspeare.
Some affecting lines, written on the death of his brother, were
found in Sir Alexander's pocket-book after his own death.
Sir A.'s love of literature was exemplified by the republica-
tion of many rare and curious works, for private circulation,
from his press at Auchinleck, of which a full list is given
by Mr Martin, in his " Bibliographical Catalogue of Books.
Privately printed." Lond. 1834, 8vo.
DXXXVI.
WILLIAM AND MARGARET.
'* A GENTLEMAN of Universal erudition lately showed me
a MS. copy of the above, with a notice prefixed, that it
was composed on — ' Sharp, and Gregory's Daughter,' —
most probably a descendant of Archbishop Sharp, and a
lady of the learned house of Gregory, for some time settled
at St Andrew's.
" I may mention here, that Mallet's song, ' A youth
adorned with every art ' — was composed on the ill-fated
loves of Lady Jean Hume, daughter of Alexander, seventh
Earl of Home, and Lord Robert Kerr, killed in the bloom
of youth, and extraordinary personal attractions, at the
battle of Culloden. Susanna Kennedy, Countess of Eglin-
toune, used to sing this pretty ballad, and relate its origin;
she was well acquainted with both the parties.
" The music of this song was composed by Oswald."
(C. K. S.)
The editor of Andrew Marvell's works, Lond. 1776, in the
Preface (vol. i. p. xx), refers to a MS. volume of " Mar-
vell's Poems, some written with his own hand, and the rest
copied by his order," among which was a copy of this
520 WILLIAM AND MARGARET.
well-known ballad. He accordingly claimed it for Mar-
veil, charging Mallet with gross plagiarism. " I am
sorry this truth (he adds) did not appear sooner, that the
Scots Bard might have tried to defend himself; but now
the jackdaw must be stripped of his stolen plumage, and
the fine feathers must be restored to the real peacock."
Notwithstanding this bold assertion, (and, upon the same
grounds, he claims for Marvell some undoubted composi-
tions by Addison,) it is perfectly evident that the MS. he
refers to, must have contained a number of pieces transcrib-
ed forty years subsequent to Marvell's death Allan Ram-
say wrote a poetical address to Mr David Malloch on his
departure from Scotland (Poems, vol. ii. p. 402), in which
he specially mentions " his tender strains," in this ballad of
William and Margaret.
Gibbon, in the Memoirs of his own life, mentions, that
about the time when he professed himself a Roman Catholic,
he had resided for some time with Mallet, " by whose
philosophy I was rather scandalized than reclaimed." There
are some curious anecdotes respecting his irreligion, in
Davies's life of Garrick.
DXL.
O TELL ME, &C.
The song by Mr Graham of Gartmore need not be
quoted here, from a work so well known as the Minstrelsy
of the Scottish Border. When first published by Sir
Walter Scott, he considered it to be a traditional version of a
song of the age of Charles I. ; and he afterwards remarked,
that the verses " have much of the romantic expression of
passion common to the poets of that period, whose lays
still reflected the setting beams of chivalry." Curious
enough, however, in a collection published by John Ross,
Organist in Aberdeen, the song is given as written " by
Mr Jeffreys." There is no reason, however^ to doubt, that
Sir Walter was correct in subsequently assigning it to Mr
O TELL ME, &C. 521
Graham, of whom the following is a brief notice, obligingly-
communicated by Sir John Graham Dalyell, Kt., who is
his nephew on the mother's side. (See Douglas's Peerage,
by Wood, vol. i. p. 639.)
" Robert Graham of Gartmore, was the son of Nicol
Graham of Gartmore, by Lady Margaret Cunningham,
eldest daughter of William, twelfth Earl of Glencairn.
After discharging the office of Receiver- General of the
Revenue of the island of Jamaica, he returned to Scotland
on the decease of his elder brother, William, and succeeded
his father in his estates, in the year 1775 : and, on the de-
mise of John, the last Earl of Glencairn, he succeeded to
the estates of Finlayston. Mr Graham was a man of refined
taste, and of a patriotic disposition ; he warmly encouraged
the reform so long projected of the royal boroughs, and re-
presented the county of Stirling in Parliament (in 1794).
Having been elected Rector of the University of Glasgow,
he bestowed some testimony of liberality in its favour,
which he was the better enabled to do from his ample for-
tune. Mr Graham married first, a sister of Sir John Tay-
lor, baronet, by whom he had two sons and two daugh-
ters. Secondly, a lady alike beautiful and amiable, Eliza-
beth, eldest daughter of Thomas Buchanan of Leny; whose
son, the late Dr Francis Hamilton Buchanan,^ was recog-
nised as chief of the family of Buchanan." — Mr Graham of
Gartmore died the 11th of December 1797.
DXLI.
WHAT AILS THIS HEART OF MINE.
In the Scots Magazine, for February 1803, there is in-
serted another excellent song, entitled " The Nabob. By
the late Miss Blamire, Carlisle," to the tune of Auld
Langsyne. It begins,
When silent time, with lightly foot
Had trode on thirty years,
I sought again my native land
With many hopes and fears :
522 ; WHAT AILS THIS HEART OF MINE.
Wha kens gin the dear friends I left
May still continue mine.
Or gin I e'er again shall taste
The joys I left langsyne.
Miss Susannah Blamire was a native of Cumberland,
and was born at Thackwood-nook, in the parish of Sowerby.
She died at Carlisle in 1795, aged 49, and lies interred
at Roughton Head, near Rose Castle. Her nephew, Wil-
liam Blamire, Esq., lately one of the Members of Parlia-
ment for Cumberland, possesses the patrimonial estate
called The Oakes, a beautiful property about three miles
from Carlisle ; and Rose Castle is possessed by her aunt.
For this information I am indebted to Patrick Maxwell,
Esq., who is forming a collection of her poems. Mr M.
adds, that " Miss Blamire was very affable to the poor and
the peasantry about her, and that she was generally ad-
dressed in their provincial manner by the title of Miss
Sukey"
DXLIII.
ROBIN SHURE IN HAIRST,
" ' Written for this work, by Robert Burns.' This is
probably wrong ; or Burns suppressed the last stanza, to
be found in the stall copies, besides substituting *' three
goose feathers and whittle," for the indecent line in the
third : it is likely that he only altered the song for the
Museum, making it applicable to himself as an author, by
the three goose quills and the pen-knife. The last stanza
begins :
" Now I'm Robin's bride, free frae kirk fo'ks bustle,
Robin's a' my ain, wi's, &c., &c., &c." — (C. K. S.)
DXLIV.
MAGGY LAUDER.
The late Mr William Motherwell had made some collec-
tions for an edition of the Poems attributed to the Semples
OF Beltrees. As his papers are still in the hands of his
MAGGY LAUDER. 523
friend, Mr P. A. Ramsay, it is to be hoped that the pro-
ject will not be abandoned.
My good friend, William Ten n ant, Esq., the author
of the inimitable poem of " Anster Fair," mentioned at page
478, as then newly appointed Teacher, or Professor of
Languages in Dollar Academy, has since (in 1835) ob-
tained higher and more congenial preferment, as Professor
of Oriental Languages in St Mary's College, St Andrew's —
an appointment alike honourable to the patrons and to
himself, as the reward of learning and genius A short
Memoir of Professor Tennant is prefixed to Chambers's late
edition of " Anster Fair," Edinb. 1838, 8vo.
" In former times, the singers of this ditty used to in-
form their audience that Maggie was at last burnt for a
witch ; I could never find her name in any lists of Satan's
Seraglio which I have had an opportunity of inspecting.
" Some amusing verses were said to have been composed,
to this air, by a very eccentric person, Lady Dick of Pres-
tonfield : before the reader peruses them, a short account
may be given of the reputed authoress. She was the daugh-
ter of Lord Royston, a Lord of Session, son of the Earl
of Cromarty, and the wife of Sir William Dick, with whom
she did not live on the best of terms, having a high spirit,
much satirical wit, and no children to endear their conjugal
union. Her strange fancies and frolics were well remem-
bered fifty years ago ; and that with considerable spleen, as
she made herself many enemies by the lampoons she was in
the habit of composing. Among her other odd freaks, she
took it into her head to enact the she-Petrarch to Sir Peter
Murray of Balmanno, whose perfections she celebrated in
several other copies of verses, besides the subjoined song —
two of these have been printed in a small ballad book, de-
dicated to Sir Walter Scott. There seems to have been
nothing criminal in her admiration, as she made no secret
of her poetical effusions — but those whom she had offended
by poems of a different stamp, were naturally eager enough
524 MAGGY LAUUER.
to put the worst constructions on her mirth, and pretended
to take seriously what was only meant in jest. Lady Dick
died in the year 1741. There is a half-length portrait of
her at Prestonfield, not handsome, and ill painted. Her
Adonis, Sir Peter, married in 1751, Anne, daughter of
Alexander Hay of Drummelzier." — (C. K. S.)
Tune.— M.XOGY Lauder.
On Tweedside dwells a gallant s-wain.
The darling o' the women ;
Whene'er he makes his entering bow.
With joy their eyes are swimming,
Tho' gallant he, yet snug his heart.
He only plays with Cupid,
For as Minerva guides the youth
He never can be stupid.
Tho' gallant he, yet snug his heart.
He only plays with Cupid,
For reason tames his passions ; thus
He never can be duped.
O, when he dances at a ball.
He's rarely worth the seeing ;
So light he trips, you would him take
For some aerial being !
- While pinky winky go his een.
How blest is each bystander ;
How gracefully he leads the fair.
When to her seat he hands her !
While pinky winky go his een.
How blest is each bystander !
More conquests he is said to make
Than e'er did Alexander.
But when in accents saft and sweet
He chants forth Lizzy Baillie,
His dying looks and attitude
Enchant ; they cannot fail ye.
The loveliest widow in the. land.
When she could scarce disarm him,
Alas, the belles in Roxburghshire
Must never hope to charm him.
O happy, happy, happy she.
Could make him change his plan, sir.
MAGGY LAUDER. 525
And of this rigid bachelor
Convert the married man, sir.
O happy, and thrice happy she
Could make him change his plan, sir.
And to the gentle Benedick,
Convert the single man, sir.
How could the lovely Roman give
To Michael all her beauty.
When Peter's such a worthy saint.
To whom she owed her duty !
How could the lovely Roman let
That Michael take possession ;
Nor angel he, nor saint, nor yet
An embryo Lord of Session.
The lady to whom the above verses are assig^ned, was
Anne Mackenzie, daughter of the Hon. Sir James Macken-
zie, a Senator of the College of Justice, under the title of
Lord Royston (and third son of George, first Earl of Cro-
martie), by Elizabeth, daughter of Sir George Mackenzie
of Rosehaugh, Lord Advocate in the reign of Charles the
Second. As stated above, she became Lady Dick by mar-
riage. In the Scots Magazine for September 1741, (p.
431,) where her death is recorded, she is simply styled
" The Lady of Sir William Dick of Corstorphine."
DXLV.
A COGGIE OF ALE.
Andrew Shirrefs, A. M., was a bookbinder in Aberdeen.
Burns, in the notes of his Northern Tour, mentions having
seen him, and calls him " a little decrepid body, with some
abilities." He is best known as the author of " Jamie
and Bess, or the Laird in Disguise, a Scots Pastoral
Comedy, in imitation of the Gentle Shepherd." It was
first printed at Aberdeen, 1787, 12mo, and was frequently
performed at different theatres in the country. In the de-
dication " To the Honourable the County Club of Aber-
deenshire," the author says, " he never was, and probably
526 A COGGIE OF ALE.
never will be, without the limits of their county." As
stated, however, at page 479, Shirrefs migrated to the
South in 1798, but whether he spent the rest of his life
at London, and when or where he died, I have not been
able to ascertain.
DXLVIII.
THE BLUE BELLS OF SCOTLAND.
" Mr Ritson, in his ' North Country Chorister,' gives
the older words of this ballad, beginning — ' There was a
Highland laddie courted a Lowland lass' — and adds, ' this
song has been lately introduced upon the stage by Mrs
Jordan, who knew neither the words nor the tune ;' but
there is another set of words, probably as old, which I
transcribed from a 4to collection of songs in MS. made by
a lady upwards of seventy years ago.'" — (C. K. S.)
O, fair maid, whase aught that bonny bairn,
O, fair maid, whase aught that bonny bairn ?
It is a sodger's son, she said, that's lately gone to Spain,
Te dUly dan, te dilly dan, te dilly, dilly dan.
O, fair maid, what was that sodger's name ?
O, fair, &c.
In troth a'tweel, I never speir'd — the mair I was to blame.
Te dilly dan, &c.
O, fair maid, what had that sodger on ?
O, fair, &e.
A scarlet coat laid o'er wi' gold, a waistcoat o' the same.
Te dilly dan, &c.
O, fair maid, what if he should be slain ?
O, fair, &c.
The king would lose a brave sodger, and I a pretty man.
Te dilly dan, &c.
O, fair maid, what if he should come hame ?
O, fair, &c.
The parish priest should marry us, the clerk should say amen.
Te dilly dan, &c.
THE BLUE BELLS OF SCOTLAND. 527
O, fair maid, would ye that sodger ken ?
O, fair, &c.
In troth a'tweel, an' that I wad, among ten thousand men.
Te dilly, &c.
O, fair maid, what if I be the man ?
O, fair, &c.
In troth a'tweel, it may be so ; I'se baud ye for the same.
Te dilly dan, te dilly dan, te dilly, dilly dan.
The song, by the late Mrs Grant, referred to at p. 480,
is too well known to be quoted in this place. This lady,
Anne Macvicar, was born at Glasgow in 1755, was mar-
ried to the Rev. James Grant, minister of Laggan, in 1779,
whom she survived many years, and died at Edinburgh, 7th
of November 1838, in the 84th year of her age. A detail-
ed notice of her life and writings, which originally appear-
ed in the Edinburgh newspapers, will be found in the
Gentleman's Magazine for January 1839, p. 97.
DLIII.
THE FEINT A CRUM OF THEE SHE FAWS.
This ancient song. Return hameward, &c., says Mr S.,
was revised by Allan Ramsay, and printed in the Tea- Table
Miscellany, 1724. It was likewise included in " The
Evergreen," by Ramsay, who had used undue freedoms in
altering the original verses, which were the production of
Alexander Scott, a poet who flourished about the middle
of the sixteenth century, and who has been styled the Ana-
creon of Scotland. See edition of Scott's Poems, p. 100.
Edinb. 1821, small Svo.
DLVII.
O GIN I WERE FAIRLY SHOT O' HER.
John Anderson, music-engraver, the writer of this and
of some other verses, in the last part of the Museum, is, I
am informed, still living in Edinburgh.
528 ARGYLE IS MY NAME.
DLX.
ARGYLE IS MY NAME.
*' This song is older than the period here assigned to it —
and if the name of Maggie is to be trusted, can only apply
to the first Marquis of Argyle, whose wife was Lady Mar-
garet Douglas, daughter of the Earl of Morton. He was
so very notorious a coward, that this song could have been
made by nobody but himself, unless to turn him into ridi-
cule."—(C. K. S.)
DLXIX.
HOW SWEET THE LONE VALE.
The Honourable Andrew Erskine, was the third son
of Alexander, fifth Earl of Kellie, by his lady, who was a
daughter of Dr Pitcairne. He was born about the year
1739, and having embraced a military life, he held a lieu-
tenant's commission in the 71st regiment of foot, as early,
at least, as 1759. On its being reduced in 1763, he ex-
changed from halt-pay into the 24th regiment of foot, then
quartered at Gibraltar. Previous to this, he had carried
on a kind of literary correspondence, in verse as well as
prose, with James Boswell of Auchinleck, Esq., which,
with that most insatiable desire for notoriety which cha-
racterised him, were published by the latter, at London,
1763, 8vo, in order, as it was expressed, to gratify " Curi-
osity, the most prevalent of all our passions." Whether
the publication of these letters, in " their present more
conspicuous form,'' raised the character of the writers in
public estimation, we need not stop to enquire. Both of
them were likewise principal contributors to Donaldson's
collection of " Original Poems, by Scots gentlemen."
Edin. 1760 and 1762, 2 vol. 12mo. Mr Erskine's " Town
Eclogues," and other poems, appeared at a later date. He
died suddenly, in the neighbourhood of Edinburgh, about
the end of September 1793, much lamented. Mr George
HOW SWEET THE LONE VALE. 529
Thomson sent Burns an account of his death, as appears
from Burns's reply, dated Oct. 1793, but the letter itself
was not published by Dr Currie.
His eldest brother, Thomas Alexander, sixth Earl of
Kellie, born 1st of September 1732, who was so distin-
guished for his musical genius, was also an occasional writer
of verses. His brother Andrew, in 1762, alludes to some
poems written by Lord Kellie ; as in a letter to Boswell,
he says, " Donaldson tells me that he wants thirty or
forty pages, to complete his volume; pray, don't let him
insert any nonsense to fill it up," (an advice that was alto-
gether disregarded ;) " but try John Home, and John
R[ ^?], who I hear is a very good poet; you may also
hint the thing to Mr N[airne?], and to my brother Lord
K[ellie], who has some excellent poems by him." The
following Song, I have been assured on good authority,
was written by Lord Kellie. It seems, at least, to have
been written by some one not a professed dealer in rhyme.
It is now first printed from a MS. Album, containing
Songs and Poems, written before the year 1 780, in the pos-
session of Thomas Mansfield, Esq. of Scatwell.
KELSO RACES.
Tune — Logan Water.
1.
You have heard of our sweet little races at Kelso ;
Of the riders and horses, and how they all fell so,
Of Dirleton ' and Kelly Sir John — and, what's still more.
The famed clerk of Green- Cloth, Sir Alexander Gilmore.
2.
Of Dukes there were two, of Duchesses one.
As sweet a dear woman as e'er blest a man ;
Of mien most engaging, how finely she dances.
With her sister-in-law, full of mirth. Lady Frances. -
• Nisbet of Dirleton.
^ Lady Frances Scott, afterwards Lady Douglas of Bothwell.
2 p
530 KELSO RACES.
3.
His Grace of Buecleugh would have been most extatic.
But, alas, he was seized with a fit of sciatic.
As he could not attend to make us all mellow.
He left t'other Duke,^ a clever little fellow.
4.
Of Nabobs a pair, their names shall have strait.
Take Archibald Swinton, and fat Thomas Rait,
As fine jolly fellows, I'm sure to the full.
As ever set their faces to the Great Mogul.
5.
The bald-pated Knight* soon had them in view,
And set at these Nabobs like an old Jew ;
Quoth he to himself, I think I with ease,
Could plunder these Indians of all their rupees
6.
Gentlemen, says he, will you bet on a horse,
I'll lay what you please, without any remorse ;
If that does not suit, I'U do what you list.
Perhaps you would choose a rubber at whist.
7.
Down sat the great dupes, and with them a Peer —
Lord ! how the bald Knight did joke and did jeer ;
The Nabobs and Peer he left not a groat.
And even condescended to steal a arreat-coat.
Young Nisbet comes next, whom they call Maccaroni, ^
The sweet youth whom he and we think so bonny.
That whene'er he appears, the ladies cry bless us,
I vow and protest he's a perfect Narcissus.
9.
My dearest sweet girls, pray tell me what mean ye.
Cries his spruce little cousin, Mr John Gantoucini ; ^
Pray look at me, a'n't I a fine little man,
A trig dapper fellow, deny it who can ?
10.
O' my drunken friend Jock, I'll tell you a story O, '^
He had of his own a complete oratorio ;
^ Probably the Duke of Roxburghe. * (In MS.) Sir John Paterson.
« Nisbet of Dirleton. « Mr John Nisbet. 7 (In MS.) M'Dowell,
KELSO RACES.. 531
Three hours after midnight his concert begun.
Where he drank and he danced and he had all his fun.
11.
His company consisted of Mr Stewart Shaw,
My Lord Percy's piper who travels to Blair, (?)
An Irish dear joy, two captains of foot.
And Lord North ^ the waiter who danced so stout.
12.
Melvina appeared next like a bright star.
She stole the heart of a young man of war.
Of all her solicitors she lives but for one.
And solicitor Dundas 9 is the happy man .
13.
The great little Percy came down from the border.
To keep us poor Scotch a little in order ;
He nothing remarkable did, but we hope
Next year when he's steward, he'll take his full scope.
14.
There were many more besides, well I wot.
Sir Gilbert 'o and Lady, Miss Bell Elliot :
There was sweet Anne Scott, and Lady Diana,"
And bold Mrs Ker, like any hyena.
15.
I cannot pass by were I ever so brief.
That loveliest of girls, Miss Jeany MoncriefiF :
To Kelso she came with uncle beau Skeene,
Whose person is always so neat and so clean.
16.
There was fat Sandy Maxwell as big as a tun,
A fine laughing fellow in whom there's much fun :
Sir William Lorrain, Jack Askew, and Selby,
As fine jolly bucks as e'er pint bottle fell by.
17.
There was John Scott of Gala, and Wat Scott of Harden,
Who they say is possessed of many a farthing ;
8 See Kay's Portraits of Edinburgh Characters.
9 Dundas of Arniston, afterwards Lord Chief Baron.
If* Sir Gilbert Elliot of Minto, his lady, and sister Isabella.
" Lady Diana Hume, who married Walter Scott of Harden, Esq.
532 KELSO RACES.
And numbers more over — but I'm in a hurry,
I had almost forgot sweet Peter Murray. "
18.
We laught and we danced, and we sat up all night,
A thing, I confess, in which I delight.
But I very dear my pleasure did earn.
For I was obliged to return to Blanearn.
On the subject of Lord Kellie's musical genius, it may
be sufficient to refer to the elegant collection of his Minuets,
published by Charles Kirkpatrick Sharpe, Esq., Edinburgh,
1836, 4to. The Hon. Henry Erskine, (brother of the
late Earl of Buchan,)in an unpublished poem, written about
the year 1772, has paid the following compliment to his
Lordship's musical genius. It is entitled " The Musical
Instruments, a Fable," — when the claims of the Fiddle, to
pre-eminence, are thus stated : —
'Twas he that still employ'd the master's hand.
Follow' d obsequious by the list'ning band.
Nay, swore that Kelly learnt from him his art
To rule, with magic sounds, the human heart.
DLXXV.
SAW YE THE THANE O' MEIKLE PRIDE.
In the collected edition of Mr Mackenzie's Works, (vol.
viii. p. 1,) printed at Edinburgh, 1808, 8 vols. 8vo, the
author gives this account of the ballad : —
" DUNCAN : A FRAGMENT, FROM AN OLD SCOTS MANU-
SCRIPT.
" The following ballad was an almost extempore pro-
duction, written when I was a mere lad, in imitation of the
abrupt and laconic description of the ancient Scottish
ballad, some of which had been collected and published at
that time. It was sent, under the above title, to the editor
of The London Chronicle, who published it without any
'2 Sir Peter Murray, vide page *523.
SAW YE THE THANE o' MEIKLB PRIDE. 533
comment ; and such was the state of politics at the time,
that some of his readers objected to the first line,
Saw ye the Thane o' meikle pride,
as applying personally to Lord Bute, who used to be known
by that appellation. It was afterwards inserted in Clark's
(Herd's) Collection of Ancient Scottish Ballads, as genuine,
though one should have thought the imitation w^as so inar-
tificial as might have saved it from the sin of forgery."
Mr Mackenzie dates it 1762. It was also inserted in
the Edinburgh Advertiser, April 1764, No. 575. This
copy contains the following lines, omitted in the above
edition, but which, as necessary for the sense, should be
restored. They come in before the last verse, at page 6.
Wou'd then my uncle force my love,
Whar love it wou'd na be ?
Or wed me to the man I hate ?
Was this your care of me ?
Can these brave men, &c.
Henry Mackenzie, Esq., best known by the title of his
most popular work, as " The Man of Feeling," was born
at Edinburgh, in August 1745, where he died on the 14th
of January 1831, at the venerable age of 86. An excel-
lent sketch of his life, by Sir Walter Scott, is included
in his Miscellaneous Prose Works, vol. iv. Edin. 1834,
12mo.
DLXXVII.
bruce's address to his army.
In the additional note to song clxx., at page *215, it is
stated that Gordon of Straloch's MS. Lute Book, 1627,
preserves the old tune, " The Day Dawis," but that it bears
no resemblance to that air, (under any of its different titles
of " Hey, now the day daws," " Hey, tuttie, tattie," or
" The land of the leal,") which, on mere conjecture, has
been assigned to the age of Robert the Bruce. The
earliest reference to any of these tunes is by Dunbar, who
alludes to the common minstrels of the town of Edinburgh,
534
BRUCE S ADDRESS TO HIS ARMY.
(that is, to the town's pipers), in the reign of James the
Fourth, as having only two hackneyed tunes, which were
played, no doubt, at an early hour, to rouse the inhabitants
to their daily occupations.
Your commone Menstralis has no tone.
But " Now the day daws," and " Into June."
It is very probable that there might have been two dif-
ferent airs under that name ; at least the following air,
which is here subjoined from Gordon's Manuscript, 1627,
has more the character of an artificial tune, than of a simple
melody, and it is not unlikely that it may have been com-
posed by some of the musicians at the Scotish Court du-
ring the minority of James the Sixth, to suit Montgomery's
Song, the words of which the Reader will find in this work
at page 163.
THE DAY DAWIS.
THE IIAIN RINS DOWN THRO' MIRRYLAND TOWN. 535
DLXXXII.
THE RAIN RINS DOWN THRO' MIRRYLAND TOWN.
A CURIOUS volume has been lately published at Paris,
containing, along with an Anglo-Norman ballad of the 13th
century, on Hugh of Lincoln, the various Scotish or Eng-
lish ballads on the same subject, reprinted from the collec-
tions of Percy, Pinkerton, Jamieson, Gilchrist, and Mother-
well. It is entitled, " Hugues de Lincoln : Recueil de
Ballades x\nglo-Normande et Ecossoises relatives au meurtre
de cet Enfant commis par les Juifs en M.CC.LV. Public
avec une Introduction etdes Notes, par Francisque Michel."
Paris, 1834, 8vo.
The Anglo-Norman ballad is a great curiosity, and cor-
responds more closely with the notice that occurs in
Matthew of Paris, and other old English historians, than
with the more poetical cast of this tragical incident in the
Scotish ballads. It begins —
Ore oez un bel chanson
Des Jues de Nichole, qui par treison
Firent la cruel occision
De un enfant que Huchon ont nom.
DLXXXIX.
there's news, lasses, news !
In this Note, for Skene's MS. circa 1570, read circa
1620.
DXC.
HARD IS THE FATE, &C.
In would be superfluous to give any account of a person
so well known as the author of " The Seasons." The
most minute and accurate life of the poet with which I am
acquainted, is that prefixed to the elegant edition of his
Poetical Works, in the Aldine series of English Poets,
London, 1830, 2 vols. 12mo.
James Thomson was born at Ednam, in Roxburghshire,
536 HARD IS THE FATE, &C.
11th of September 1700, and died at London, 27th of
August 1748. The following is an extract from a letter
written by David Malloch, or Mallet, from London in
1727, soon after the appearance of Thomson's " Winter."
It was addressed to Professor Ker of Aberdeen, and gives
a curious account of the estimation in which Thomson was
held by his college companions at Edinburgh : —
" Sir, — I beg leave to take notice of a mistake that runs
through your last letter, and that was occasioned by your
not understanding a passage in mine. The copy of verses
that I sent you, was, indeed, written by me, and I never
intended to make a secret of it ; but Mr Thomson's ' Win-
ter' is a very different poem, of considerable length, and
agreeing with mine in nothing but the name. It has met
with a great deal of deserved applause, and was written by
that dull fellow whom Malcolm calls the jest of our club.
The injustice I did him then, in joining with my compa-
nions to ridicule the first imperfect essays of an excellent
genius, was a strong motive to make me active in endea-
vouring to assist and encourage him since ; and I believe I
shall never repent it. He is now settled in a very good
place, and will be able to requite all the services his friends
have done him, in time. The second edition of his poem
is now in the press, and shall be sent to you as soon as
published. You will find before it three copies of recom-
mendatory verses, one written by Mr Hill, the second by a
very fine woman, at my request, and the third by myself.
Since all this is so, I will say nothing of your suspecting
me of insincerity, a vice which I am very free from."
Thomson's earliest printed verses occur in a volume en-
titled " The Edinburgh Miscellany," vol. I. (no second
volume ever appeared). Edinburgh, 1720, 12mo.
Since the previous notes regarding Malloch or Mallet,
were printed, a search has been made in the parochial
registers of Crieif (from 1692 to 1730), where he is said
to have been born in 1700. It appears, however, that
HARD IS THE FATE, &C. 537
his baptism was not registered. The names of various
children of Charles and Donald Malloch's, in the neigh-
bourhood of Crieff, occur, including a David, in 1712.
This obviously was not the poet ; but it appears that his
father " James Malloch, and Beatrix Clark, his wife," were
brought before the Kirk-Session of Crieff, in October and
November 1704, for profanation of the Lord's day, "by
some strangers drinking and fighting in his house on the
Sabbath immediately following Michaelmas." On the 12th
of November, " they being both rebuked for giving enter-
tainment to such folks on the Sabbath-day, and promising
never to do the like, were dismissed,"
DXCII.
GO TO BERWICK, JOHNNY.
John Hamilton, who contributed various pieces to the
Museum, was for many years a Musicseller at No. 24,
North Bridge street, Edinburgh. He was much employed
also as a teacher of music, and I have been told that it
was one of his fair pupils, connected with an ancient family,
whom he married, to the no small indignation of her friends.
He died at Edinburgh, in September 1814.
In the Scots Magazine for November 1814, the follow-
ing notice occurs : — Sept. 23d, " Died in the 53d year of
his age, after a lingering and painful illness, John Hamil-
ton, late Musicseller, in this city, author of many favourite
Scots Songs, and composer of several Melodies of consider-
able merit."
DXCIV.
O GIN MY LOVE WERE YON RED ROSE.
To the two verses inserted in this Note, the one old, the
other by Burns, this song has been enlarged, by the addi-
tion of the following beautiful lines, written by John Rich-
ardson, Esq., for Mr George Thomson's Collection.
538 O GIN MY LOVE WERE YON RED ROSE.
O were my love yon violet sweet.
That peeps frae 'neath the hawthorn spray.
And I mysel' the zephyr's breath,
Amang its bonnie leaves to play ;
I'd fan it wi' a constant gale.
Beneath the noontide's scorching ray ;
And sprinkle it wi' freshest dews.
At morning dawn and parting day.
As Mr Stenhouse alludes, at page 508, to Tannahill's
fine Song-, " Gloomy Winter," I may take this opportunity
to mention, that an interesting Memoir of that unfortunate
Bard has recently appeared, by Mr Philip A. Ramsay, pre-
fixed to " The Poems and Songs of Robert Tannahill,
a revised and enlarged edition, with Memoirs of the author,
and of his friend, Robert A. Smith." Glasgow, 1838,
12mo. Tannahill was born at Paisley, 3d of June 1774,
where he died, 17th of May 1810, in the thirty-sixth year
of his age. Robert Archibald Smith, usually styled
' of Paisley,' to whose musical skill Tannahill was indebted
for much of the celebrity which his songs enjoyed, was born
at Reading, 18th of November 1780. His father, origin-
ally a weaver from Paisley, had been settled at Reading
for a number of years, but at length he returned to Paisley
with his family in 1800. Here Robert continued during
the best period of his life, and had so distinguished himself
by his musical attainments, that so early as 1812, we find
he was strongly urged to settle in Edinburgh as a teacher
of music. This appears from a friendly letter addressed to
him by Mr John Hamilton, Musicseller, with which I have
been favoured by Smith's biographer. It was not until
August 1823, on receiving an invitation from the Rev. Dr
Thomson to conduct the music in St George's Church, that
he came hither ; and I believe he had only occasion to la-
ment his not having done so at an earlier period of life. He
died at Edinburgh, very sincerely regretted, 3d of January
1829, in the 49th year of his age, and lies interred in St Cuth-
O GIN MY LOVE WERE YON RED ROSE. 539
bert's burying-ground. His " Scottish Minstrel," 1821-
1824, 6 vols., and his various other musical publications, are
well known and esteemed ; he also enriched the music of
his country by many original melodies of great simplicity
and beauty ; and above all, the services that he rendered to
Sacred Music, by his professional skill and good taste,
as well as by his original compositions, will long continue
to have a beneficial influence on the Psalmody and Sacred
Music of the Church of Scotland.
The late William Motherwell, who projected the
publication of the volume which his friend Mr Ramsay
has so well performed, was a native of Glasgow, and born
13th of October 1797. Besides his " Minstrelsy, Ancient
and Modern," Glasgow, 1827, small 4to, his edition of
Burns, and various other republications, he was the author
of a small volume of original " Poems, Narrative and Lyri-
cal," Glasgow, 1832, 12mo, which remains as a pleasing
memorial of his poetical genius. He was for many years
resident in Paisley, officially connected with the Sheriff-
Clerk's Office, but latterly settled in his native place (as
editor of the Glasgow Courier Newspaper), where he died
in the prime of life, 1st of November 1835.
DC.
GOOD-NIGHT AND JOY BE Wl' YOU A'.
The following beautiful stanzas, by Joanna Baillie,
written for this air, appeared in Mr Allan Cunningham's
" Songs of Scotland," vol. IV. p. 212, from whence they
were copied, by his son, Mr Peter Cunningham, into one
of the most elegant and judicious selections of the kind
that has appeared, under the title of " Songs of England
and Scotland." Lond. 1835. 2 vols. 12mo.
GOOD-NIGHT, GOOD-NIGHT !
The sun is sunk, the day is done.
E'en stars are setting, one by one ;
540 GOOD-NIGHT AND JOY BE Wl' YOU A*.
Nor torch nor taper longer may
Eke out the pleasures of the day ;
And, since, in social glee's despite,
It needs must be. Good-night, good-night !
The bride into her bower is sent.
The ribald rhyme and jesting spent ;
The lover's whispered words, and few.
Have bid the bashful maid adieu ;
The dancing floor is silent quite.
No foot bounds there. Good-night, good-night 1
The lady in her curtained bed.
The herdsman in his wattled shed.
The clansmen in the heather' d hall.
Sweet sleep be with you, one and all !
We part in hope of days as bright
As this now gone. Good-night, good-night !
Sweet sleep be with us, one and all ;
And if upon its stillness fall
The visions of a busy brain.
We'll have our pleasures o'er again.
To warm the heart, and charm the sight ;
Gay dreams to all ! Good-night, good-night !
INDEX
SONGS OR AIRS CONTAINED IN THE
MUSICAL MUSEUM.
VoL I, contains pages 1-101 Vol. IV. contains pages 311-413
- — 102-208 _ V. _ 414-516
« _ 209-310 — VI. _ 517-620
— II.
— III.
Page.
Absence, . .191
A cock laird, fu' cadgie, 153
A cogie of ale, and a pickle ait
meal, .... 564
A country lass, , . 356
Ae day a braw wooer, . 538
Ae fond kiss, &c., . . 358
Afton water, . . . 400
Ah ! Mary, sweetest maid, 546
Ah ! the poor shepherd's
mournful fate, . . 158
Ah ! why thus abandon'd, , 270
A lass wi' a lump o' land, 177
A lassie all alone, . . 418
Allan water, ... 43
Alloa house, . . . 246
A mother's lament for the
death of her son, . 280
And I'll kiss thee yet, . 201
An Gille dubh ciar dhubh, 135
An I'U awa' to bonny Tweed-
side, .... 580
Anna, thy charms my bosom
fire, .... 547
An thou wert my ain thing, 2
A red, red rose, . . 415
A red, red rose (old sett), 416
Argyll is my name, . . 578
A rosebud by my early walk, 197
As I cam down by yon castle
wa', .... 336
As I came in by Auchindoun, 308
As I came o'er the Cairney
mount, . . . 480
Page,
As I lay on my bed on a
night, . . . 601
As I was wand'ring, . 359
As I went o'er, &c., . 525
As I went out ae May morning, 410
A southland Jenny, . 318
As Sylvia in a forest lay, . 441
As walking forth, . . 526
Auld King Coul, . . 486
Auld langsyne, . . 26
Auld langsyne, . . 426
Auld Robin Gray, . . 256
Auld Rob Morris, , . 200
Auld Sir Symon the King, 354
A waukrife minnie, . 298
Awa', whigs, awa', , . 272
Ay waukin', O, . . 222
Ay waking oh, . . 396
B.
Banks of Spey, . . 1 94
Bannocks o' bear meal, . 489
Benny side, . . .160
Bess and her spinning-wheel, 371
Bess the gawkie, . . 4
Bessy Bell and Mary Gray, 134
Bessy's baggies, . . 31
Beware, o' bonnie Ann, . 224
Bhannerach dhon na chri, 163
Bide ye yet, ... 98
Birks of Aberfeldie, . 116
Blink o'er the burn, sweet
Betty, . . ' . 52
Blue bonnets, . . 473
Blythe Jockie, ... 23
INDEX.
Page.
Blytlie Jockie, young and gay, 30
Blythe was she, . . 187
Bonny Barbara Allan, . 230
Bonnie Bell, . . .401
Bonny Bessy, . . 31
Bonny Christy, . . 61
Bonny Dundee, . . 100
Bonny Jean, ... 55
Bonnie Kate of Edinburgh, 205
Bonnie laddie, Highland laddie, S42
Bonnie May, . . . 113
Braes of Ballenden, . 93
Braes of Balquhidder, . 201
Bravr, braw lads of Gala wa-
ter, .... 131
Bruce's address to his army, 596
Busk ye, busk ye, . . 65
By the delicious warmness of
thy mouth, . . .262
Cameronian rant, . . 290
Captain Cook's death, . 288
Carle an the king come., 248
Carle an the king come (old
words), . . . 248
Carron side, . . . 312
Ca' the ewes to the knowes, 273
Cauld frosty morning, . 236
Cauld is the evening blast, 603
Cauld kail in Aberdeen, 170
Cease, cease, my dear friend,
to explore, . . . 254
Charlie he's my darling, 440
Chronicle of the heart, 482
Clarinda, . . .206
Clout the caldron, . . 24
Cock up your beaver, . 319
Colin Clout, . . .568
Colonel Gardener, • . 214
Come follow, follow me, 552
Come, here's to the nymph
that I love, . . . 354
Come kiss wi' me, come clap
wi' me, . . . 363
Come, let's hae mair wine in, 12
Come under my plaidie, . 550
Comin' thro' the rye (1st sett), 430
Comin' thro' the rye (2d sett), 43]
Corn riggs, ... 94
Could aught of song, . 509
Country lassie, . . 376
Craigie-burn wood, . . 311
Cromlet's lilt, . . 207
Page.
Cumbernauld house, . 149
Cumnock psalms, . . 418
D.
Dainty Davie, . . 34
Deil tak the wars, . . 270
Dinna think, bonny lassie, 574
Donald and Flora, . . 261
Donald Couper, . . 344
Donocht-head, . . 388
Down the burn Davie, . 75
Drap o' capie, O, . . 306
Druimon dubh, . . 187
Dumbarton's drums, . 169
Duncan Davison, . . 156
Duncan Gray, . . 168
Dusty miller, . . 151
E.
Earl Douglas' lament, . 352
East nook of Fife, . . 286
Eppie Adair, . . . 290
Eppie M'Nab, . .346
Ettrick banks, . . 82
Evan banks, . . . 516
Evanthe, . . .394
F.
Failte na miosg, . . 268
Fair Eliza, . . 378
Fair Eliza, . . .379
Fairest of the fair, . . 33
Farewell, ye fields, . . 597
Fife and a' the lands about it, 125
Finlayston house, . . 280
Fine flowers in the valley, 331
For a' that, an' a' that, 300
For lack of gold, . . 171
For the sake o' somebody, 448
Fourteenth of October, , 182
Frae the friends and land I
love, . . .312
Freicedan (M.), , . 102
Frennett hall, . . 296
Fy gar rub her o'er wi' strae. 1 7
G.
Gaelic air, . . . 183
Gaelic air, . . . 266
Gaelic air, . . . 378
Gaelic air, . . . 379
Gaelic air, . . . 399
Gae to the ky wi' me Johnny, 142
Galashiels, . . .158
Galloway Tam, . . 336
INDEX.
Ill
Page,
Gently blaw, &c„ . . 581
Geordie, an old ballad, 337
Get up and bar the door, 310
Gilderoy, ... 67
Gill Morrice . .212
Gingling Geordie, . 482
Gladsmuir, . . . 210
Gloomy December, . ' 513
Good-morrow, fair mistress, 302
Good-night and joy be wi'
you a*, ... 620
Go, plaintive sounds, . 393
Go to Berwick Johnny, . 334
Go to the ewe bughts, Marion, 86
Gow's (Neill) lamentation for
Abercairney, . . 203
Green grow the rashes . 78
Green sleeves, . . 402
Gudeen to you, kimmer, 540
Gude Wallace, . . 498
H
Had I the wyte she bad me, 427
Hallow E'en, . ,143
Hallow Fair, . . .462
Hamilla, . . . Ill
Hap me wi' thy petticoat, 146
Happy Clown, . . 260
Hard is the fate of him who
loves, . . , 610
Hardy Knute, or the battle
of Largs, . . . 289
Have you any pots or pans, 336
Her absence will not alter me, 72
Here awa', there awa', . 58
Here's a health to my true
love, . .174
Here's a health to them that's
awa', .... 423
Here's his health in water, 494
Here's to thy health, mybonnie
lass, . . . .511
He's dear dear to me, &c., 366
He stole my tender heart away, 29
He who presumed to guide the
sun, .... 115.
Hey ca' thro' . . 405
Hey how, Johnie lad, . 368
Hey, Jenny, come down to Jock, 173
Hey my kitten, my kitten, 377
Hey, tuttie, tatti, . , 173
Highlander's lament, . 218
Highland laddie, . . 431
Highland laddie (new set), 22
Page.
Highland lamentation, 186
Highland song, . . 274
Hooly and fairly, . 199
How long and dreary is the
night, . . .183
How sweet is the scene, 586
How sweet this lone vale, 588
Hughie Graham, . . 312
I.
lanthy the lovely, . . 107
I care na' for your e'en sae
blue, .... 619
I do confess thou art sae fair, 332
I dream'd I lay, &c., . 153
If e'er I do weel it's a wonder, 332
I had a horse and I had nae
mair, . . .193
I ha'e a wife o' my ain, . 364
I'll ay ca' in by yon town, 470
I'll mak' you be fain to follow
me ... . 277
I'll never leave thee, . 92
I'll never love thee more, 464
I lo'e na a laddie but ane, 276
I love my Jean, . . 244
I love my jovial sailor, . 404
I love my love in secret, 213
I'm o'er young to marry yet, 110
In Brechin did a wabster
dwell, . . .541
Invercauld's reel, . . 203
In yon garden, &c., . 582
Irish air, . . . 458
It is na, Jean, thy bonnie face, 343
It was a' for ourrightfu' King, 513
I've been courting at a lass, 316
I who am sore oppressed with
love, .... 154
I wish my love were in a mire, 41
J.
Jamie, come try me, . 238
Jamie Gay, ... 15
Jamie o' the glen, . 420
Jenny's bawbie, . . 512
Jenny dang the weaver, 133
Jenny Nettles, . . 53
Jenny was fair and unkind, 217
Jocky fou, and Jenny fain, 395
Jocky said to Jenny, . 62
Jockey's ta'en the parting kiss, 589
John Anderson my jo, . 269
John, come kiss me now, 315
John Hay's bonny lassie, 68
IV
INDEX.
Page.
Page.
John o' Badenyond,
294
Lucky Nancy,
34
Johnny Macgill,
216
Lucy Campbell,
278
Johnny and Mary, .
101
Johnie Armstrang,
367
M.
Johnie Bhint,
376
M'Gregor of Roro's lament.
181
Johnie Cope,
242
M'Pherson's farewell.
117
Johnny Faa, or the gipsie
Maggy Lauder,
99
laddie,
189
Magie's tocher.
238
Johny's gray breaks.
28
Marquis of Huntly's reel.
209
Jumpin' John,
145
Mary of Castlecary,
454
Mary Queen of Scots lament.
417
K.
Mary Scot,
74
Kate of Aberdeen,
36
Mary's dream.
38
Katherine Ogie,
171
May- Eve, or Kate of Aberdeer
1, 36
Katy's answer.
180
May morning,
574
Kellyburnbraes,
392
Merry ha'e I been teethin' a
Killiecrankie, .
303
heckle.
279
Kind Robin loes me.
492
M. Freicedan,
Miss Admiral Gordon's Strath-
102
L.
spey, ....
244
Laddie lye near me.
226
Miss Hamilton's delight.
183
Laddie lye near me (old
Miss Muir,
360
words),
227
Miss Weir,
413
Lady Bothwell's lament.
135
Morag, ....
150
Lady Mary Ann,
390
Muirland Willie,
380
Lady Randolph's complaint.
352
Musing on the roaring ocean,
187
Lass gin ye lo'e me tell me now
,253
My ain kind dearie 0,
50
Leader hanghs and Yarrow
220
My apron dearie.
94
Leander on the bay.
27
My bonny Mary,
240
Leezie Lindsay,
446
My boy Tammy,
518
Leith wynd,
250
My collier laddie.
372
Let me in this ae night.
320
My daddy left me, &c.,
542
Let ithers brag weel.
276
My dearie, if thou die.
83
Lewis Gordon,
87
My dear Jockey,
16
Little wat ye wha's coming.
591
My father has forty good shil-
Lizae Baillie,
469
lings.
465
Liv'd ance twa lovers in yon
My goddess woman.
314
dale.
616
My Harry was a gallant gay.
218
Lochaber,
96
My heart's in the Highlands,
268
Loch Eroch side,
78
My joe Janet,
114
Logan water
42
My lady's gown there's gairs
Loggan burn.
511
upon't,
573
Logie o' Buchan,
368
My loved Celestia,
160
Lord Breadalbine's march,
279
My love has forsaken me.
159
Lord Ronald my son.
337
My love is lost to me.
264
Lord Thomas and fair Annetj
553
My love she's but a lassie yet.
234
Louis, what reck I by thee.
427
My Mary, dear departed shade
,288
Lovely Davies,
360
My minnie says I manna.
478
Lovely lass of Monorgan,
154
My Nannie, 0,
89
Lovely Polly Stewart,
485
My Nannie, 0, .
600
Love is the cause of my
My Peggy's face.
517
mourning,
111
My tocher's the jewel,
322
Love wiU find out the way.
157
My wife has ta'en the gee.
422
Low down in the broom.
91
My wife's a wanton wee thing
,226
INDEX.
N.
Page
Nae luck about the house, 61.5
Nancy's ghost, . . 205
Nancy's to the greenwood gane, 50
Nelly's dream, . . 612
Nithsdale's welcome hame, 375
No churchman am I, . 606
No dominies for me, laddie, 504
Now bank an' brae, . 537
Now westlin' winds, . 363
O.
O as I was kist yestreen, 330
O ay, my wife she dang me, 549
O Bothwell bank, . . 529
O can ye labor lea, young man, 407
O can ye sew cushions, . 456
O cherub content, . . 526
O dear mother what shall I do, 245
O dear ! what can the matter
be, ... . 510
O'er Bogie, . . . 175
O'er the hills and far away, 62
O'er the moor to Maggy, 56
O'er the muir amang the hea-
ther, . . . 338
O'er the water to Charlie, 1 95
O fare ye weel, my auld wife, 365
O for ane and twenty, Tam, 366
O gin I were fairly shot of her, 576
O gin my love were yon red
rose, .... 614
O gin ye were dead, gudeman, 421
O gude ale comes, &c., . 561
O heard ye e'er of a silly blind
harper, . . . 598
Oh ono chrio, . . 90
Oh open the door. Lord Gre-
gory, ... 5
O Kenmure's on and awa'
Willie, . . .370
O ken ye what Meg o' the mill
has gotten, . . 585
O laddie, I maun lo'e thee, 320
O lay thy loof in mine, lass, 593
O leave novels, &c., . 592
O Mally's meek, Mally's sweet, 617
O Mary turns awa', . 560
O Mary, ye's be clad in silk, 605
O May, thy morn, . . 477
O mither dear, . . 133
On a bank of flowers, . 232
On a rock by seas surrounded, 1 07
On hearing a young lady sing, 453
Page
On the death of Delia's linnet, 408
On the restoration of the for-
feited estates, 1794, . 308
O once I loved, . . 570
Orananaig, . . . 399
Oran Gaoil, . . .282
O saw ye my father, . 77
Oscar's ghost, . . 71
O steer her up and baud her
gaun, . . . 520
O tell me, my bonny, &c., 558
O that I had ne'er been mar-
ried, . . . .613
O turn away those cruel eyes, 604
Our goodman came hame at
e'en, .... 464
Out over the Forth, &c., 434
O wat ye wha's in yon town, 471
O were I on Parnassus' hill, 264
Patie's wedding, . . 396
Peasstrae, . . . 316
Peggy, in devotion, . 419
Peggy, I must love thee, 3
Pinky house, ... 57
Pol wart on the green, . 191
Powers celestial, whose pro-
tion, . . . 473
Prselium Gillicrankianum, 105
Put the gown upon the bishop, 462
R.
Rattlin' roarin' Willie, . 202
Raving winds around her
blowing, . . .181
Rinn m'eudail mo mhealladh, 359
Red gleams the sun, . 519
Return hameward, . 572
Robie donna gorach, . 305
Robin shure in hairst, . 562
Rock and a wee pickle tow, 450
Rory Ball's port, • . 358
Roslin castle, . . 9
Row saftly, thou stream, 524
Roy's wife of Aldivalloch, 352
Ruffian's rant, . . 164
Sae far awa', . . . 461
Sae merry as we twa ha'e been, 60
Sandy and Jockie, . . 292
Sandie o'er the lee, . . 283
Sawnie's pipe, . . 214
2q
VI
INDEX.
Saw ye Johnnie cummin', quo'
she, .... 10
Saw ye nae my Peggy, . 1 2
Saw ye the Thane, . 594
Scenes of woe and pleasure, 533
Scots queen, . . 198
Scots Jenny, . . 217
Scroggam, , . . 558
Sensibihty, how charming, 339
Seventh of November, . 233
She rose and let me in, . 84
She says she lo'es me best of a', 458
She's fair and fause, , . 411
Sic a wife as Willie had, 389
Since robb d of all that charm'd
my views, . . .183
Sir John Malcolm, . . 468
Sir Patrick Spence, . . 496
Sleepy body, . . . 404
SongofSelma, . .123
Song of Selma, . . 265
Stay, my charmer, can you
leave me ? . . . 135
Stern winter has left us, . 544
Stern winter has left us (2d
sett), .... 545
St Kilda Song, . . 250
Strathallan's lament, . 138
Strephon and Lydia, . 107
Such a parcel of rogues in a
nation, . . . 391
Sure, my Jean, . . 587
Sweet Annie frae the sea-beach
came, ... 85
Sweetest May,
5718
Tak your auld cloak about ye, 258
Talk not of love, it gives me
pain, .... 194
Tam Glen, . . .306
Tam Lin, . . .423
Tarry woo, ... 45
Tell me, Jessie, tell me why, 618
The auld goodman, , 328
The auld man, . . 429
The auld man's mare's dead, 500
The auld wife ayont the fire, 446
The auld yellow-haired laddie, 128
The banks o' Doon, . 387
The banks of Forth, . 76
The banks of Helicon, . 478
The banks of Nith, -: . 305
The banks of the Dee, . 532
Page
The banks of the Devon, 165
The banks of the Tweed, 6
The battle of Harlaw, . 528
The battle of Sherra Muir, 290
The beds of sweet roses, 8
The birks of Aberfeldy, . 115
The birks of Abergeldie, 115
The birks of Invermay, 73
The black eagle, . . 237
The blathrie o't, . . 34
The blue bells of Scotland, 566
The blue-eyed lassie, . 304
The blythsome bridal, . 58
The boatie rows (1st sett), 438
The boatie rows (2d sett), 438
The boatie rows (3d sett), 438
The bonie banks of Ayr, 293
The boniest lass in a' the warld, 111
The bonny brucket lassie, 69
The bonny Earl of Murray, 185
The bonny grey-eyed morn, 80
The bonie lad that's far awa', 328
The bonie lass made the bed
to me, ... 460
The bonny Scotsman, . 13
The bonny wee thing, . 351
The braes o' Ballochmyle, 285
The breast knots, . . 222
The brisk young lad, . 228
The bridal o't, . . 278
The broom blooms bonie, 474
The broom of Cowdenknows, 70
The bush aboon Traquair, 81
The butcher boy, . . 314
The Campbells are comin', 309
The captain's lady, . . 242
The captive riband, . . 266
The cardin' o't, . . 449
The carle he came o'er the
craft, .... 141
The carlin of the glen, . 433
The cherry and the slae, 478
The coUier's bony lassie, 48
The cooper o' Cuddy, . 442
The day returns, my bosom
burns, .... 233
The deil's awa' wi' th' excise-
man, .... 412
The deucks dang o'er my
daddie, . . . 409
The Duke of Gordon has three
daughters, . . .431
The Dumfries volunteers, 565
The ewie wi' the crooked horn, 302
INDEX.
VU
Page
The flowers of Edinburgh, 14
The flowers of the Forest, 64
The gaberlunzie man, , 234
The gallant weaver, . 403
The gardener wi' his paidle, 229
The gentle swain, . . 28
The glancing of her apron, 457
The Gordons has the guiding
o't, . . . .107
The happy marriage, . 20
The haws of Cromdale, 502
The Highland balou, . 486
The Highland character, . 218
The Highland king, . ib.
The Highland laddie, . 22
The Highland lassie O, . 121
The Highland queen, . 1
The Highland widow's lament, 514
The Highlander's lament, 608
The humble beggar, . 435
The jolly beggar, . . 274
The joyful widower, . 99
The lass of Ecclefechan, 442
The lass of Livingston, . 18
The lass of Peaty's mill, . 21
The lass that winna sit down, 476
The last time I came o'er the
moor, .... 19
The lazy mist, . . 241
The linkin laddie, . . 246
The lovely lass of Inverness, 414
The lover's address to a rose-
bud, . . . .254
The lowlands of Holland, 1 1 8
The maid's complaint, . 115
The maid gaed to the mill, 494
The maid in bedlam, . 46
The maid in bedlam, . 47
The maid of Selma, . 119
The maid's complaint, . 115
The maid that tends the goats, 40
The maltman, . . . 445
The miller, . . .129
The mill, mill, O, . . 250
The moudiewort, . . 366
The mucking o' Geordie's byre, 97
The northern lass, . . 122
Then guidwife count the law-
in', ... 323
Theniel Menzies' bonie Mary, 114
The ploughman, . . 173
The poor pedlar, . . 582
The poor thresher, . 384
The posie, . . .386
The Queen o' the Lothians
cam cruisin' to Fife, . 539
The rain rins down, . 602
The rantin dog the daddie o't, 286
The rantin laddie, . . 474
The reel o' Stumpie, . 470
There grows a bonie brier
bush, . . .508
There'll never be peace till
Jamie comes hame, . 326
There's a youth in this city, 266
There's my thumb, I'll ne'er
beguile you, . . 6Q
There's nae luck about the
house, ... 44
There's news, lasses, news, 609
There's three gude fellows
ayont yon glen, . . 454
There was a bonie lass, . 606
There was a silly shepherd
swain, . . . 490
There was a wee bit wiflSkie, 506
The rinaway bride, . 488
The rowin't in her apron, 437
The Scots recluse, . 214
The shepherd Adonis, . 167
The shepherd's preference, 286
The shepherd's wife, . 372
The siller crown, . 249
The slave's lament, . 398
The soger laddie, . . 334
The song of death, . . 399
The souters o' Selkirk, 450
The sun in the west, . 557
The taylor, . . .505
The taylor fell thro' the bed, 221
The tears I shed, . . 350
The tears of Scotland, . 147
The tither morn, . . 355
The toast, . . . 12
The turnimspike, . . 24
The vain pursuit, . 344
The waefu' heart, . . 252
The wanking of the fauld, 88
The weary pund o' tow, 362
The wedding-day, . . 151
The wee thing, . , 454
The wee wee man, . 382
The whistle, . . 324
The white cockade, . 281
The winter it is past, . 268
The winter of life, . . 501
The wren, or Lennox's love
to Blantyre, . . 497
Vlll
INDEX.
The wren's nest, . . 419
The yellow-hair'd laddie, 127
The young- Highland rover, 150
The young laird and Edin-
burgh Katie, . . 179
The young man's dream, 131
This is no mine ain house, 225
Tho' for seven years, . 522
Thou art gane awa', . 348
Thou art gane awa' (new sett), 348
Tliro' the wood laddie, . 161
Thy cheek is o' the rose's hue, 548
Tibbie Dunbar, . . 216
Tibbie Fowler, , . 452
Tibbie, I ha'e seen the day, 203
'Tis nae very lang sinsyne, 569
To a blackbird, , .198
To daunton me, . . 190
Todlin hame, . . 284
To the rosebud, . . 340
To the weaver's gin ye go, 106
Tranent muir, . . ]03
Tullochgorum, . . 298
Tune your fiddles, . . 209
'Twas at the shining mid-day
hour, .... 534
Tweedside, ... 37
Twine weel the plaiden, . 32
U.
Up and warn a', Willie, . 195
Up in the morning early, 147
W.
Wae is my heart, . . 490
Waly, waly, . . . 166
Waly, waly (a different sett), 458
Wantonness for ever mair, 435
Wap at the widow, my laddie, 1 30
Water parted from the sea, 39
Wee Willie Gray, . . 530
We'll put the sheephead in
the pat, , . . 493
Were na my heart light, I wad
die, . ... 126
Wha is that at my bower door, 347
Wha wadna be in love, . 562
Whar Esk its silver streams, 522
What ails the lasses at me, 556
What can a young lassie do wi'
an auld man, . . 327
What's that to you, . 590
What will I do gin my hoggie
die, . . . . 139
When absent from the nymph
I love, ... 54
When Guilford good our pilot
stood, . . .102
When I gaed to the mill, 521
When I think on my lad, 570
When I upon thy bosom lean, 214
When she cam ben she bobbed, 364
When the days they are lang, 530
Where braving angry winter's
storms, . . . 203
Where Helen lies, . . 163
Where wad bonie Annie lie, 335
Where winding Forth adorns
the vale, . . . 149
While hopeless, &c., . 406
Whistle an' I'll come to you,
my lad, . . .109
Whistle o'er the lave o't, 258
Why hangs that cloud ? 143
Widow, are ye waking? . 444
William and Margaret, . 554
William's ghost, . . 374
Willie brewed a peck o' maut, 301
Willy's rare and Willy's fair, 542
Willy was a wanton wag, 144
Will ye go and marry, Katie, 472
Wilt thou be my dearie, 484
Within a mile of Edinburgh
town, .... 49
Woe's my heart that we should
sunder, . . .137
Woo'd and married and a', 10
Y.
Ye gods, was Strephon's pic-
ture blest, . . . 182
Ye Jacobites by name, . 383
Ye Muses nine, O lend your
aid, .... 611
Ye're welcome, Charlie Stew-
art, . . . . 485
Yon wild mossy mountains, 340
You ask me, charming fair, 584
Young Damon, . . 186
Young Jamie, pride of a' the
plain, . . . .433
Young Jockey was the bly tliest
lad, . . . .297
Young Philander, . . 230
INDEX
OF THE
MUSICAL AIRS INSERTED IN THE
ILLUSTRATIONS.
Page
Ancient air,
130
A Port, .
. *376
A Scottish march.
. 391
Auld langsyne.
375
Auld Robin Gray, .
233
Ay wakin', oh !
206
B.
Battle of Harlaw,
447
Bruce's address to his armj
r, 495
C.
Cold and Raw,
132
Come kiss with me, .
325
Donald Couper,
D.
F.
316
Fair Helen of Kirkconnell, 143
G.
Green grows the rashes, *138
H.
Hap me with thy petticoat, 130
Hardie Knute, . . 268
Hand awa' from me, Donald, 318
Here's a health to him that's
awa', . . . .371
Hey, now the day dawis, 1 63
Hey, now the day dawis,
(2d sett), . . .495
Highland laddie, . . 410
Page
I.
I kist her while she blusht, 139
In January last, . . 396
I wish that ye were dead,
gudeman, . . . 366
Jean Lindsay's port, . *377
Joan's placket, . . 129
Jockie's fow, and Jenny's fain, 282
Johnie Armstrang, . . 336
Jumpin Joan, . . 129
L.
Logie of Buchan, . . 337
Long berdes hertheles, . 166
Love will find out the way, 140
M.
May her blest example chace, 132
My dearie, an' thou die, 86
O.
O dear minny, what shall I
do? . . . .223
Oh Nancy, wilt thou go with
me,
Oran Gaoil,
Over the mountains.
Ports (Highland),
R.
Rory Dall's Port,
30
256
140
^371
*371
INDEX.
Page
s.
The Jew's dochter.
503
Sandie o'er the lea,
257
The ploughman's whistle.
158
Scots wha hae wi' Wallace
The rain rins down.
503
bled, ....
495
The souters of Selkirk,
390
Skirvlng's lament.
n94
This is no mine ain house.
210
T.
The auld Highland laddie,
Tune your fiddles.
190
410
W.
The auld Jew,
254
Who is at my window ?
498
The banks of Helicon,
408
Willie and Annet,
395
The day dawis.
163
The day dawis, (2d sett),
495
Y.
The day dawis, (3d sett).
*534
Young Philander,
214
The flowers of the Forest,
*403
INDEX
OF THE
FIRST LINES OF THE SONGS IN THE
MUSICAL MUSEUM.
About ane bank with balmy
bewis, . . , 478
A cock laird fu' cadgie, . 155
A cogie of ale and a pickle
ait meal, . . . 564
Adieu! a heart warm fond
adieu, . . . 620
Adieu, ye streams that smooth-
ly glide ... 64
Ae day a braw wooer, . 538
Ae fond kiss and then we
sever, . . . 358
A friend o' mine came here
yestreen, . . . 422
Aften hae I play 'd at the cards
and the dice, . . 474
Ah ! Chloris could I now out
sit, . . . 67
Ah, Mary, sweetest maid, fare-
well, . . . 546
Ah ! sure a pair was never
seen, . . . 23
Ah! the poor shepherd's
mournful fate, . . 158
Ah ! why thus abandon'd to
mourning and woe, . 270
A laddie and a lassie, . 488
A lass that was laden'd with
care, . . . 60
All hail to thee, thou bawmy
bud, . . .340
Allan by his grief excited, 125
All lovely on the sultry beach, 107
Altho' I be but a country lass, 356
Altho' my back be at the wa', 494
Amidst a rosy bank of flowers, 186
Ance mair I hail thee, thou
gloomy December, . . 515
And are ye sure the news is
true? . . . 44
And a' that e'er my Jenny had, 512
And gin ye meet a bonny
lassie, . . . 17
And I'll o'er the moor to
Maggy, ... 56
And ye shall walk in silk attire 249
An' I'll awa to bonny Tweed-
side, . . . 580
An' I'll kiss thee yet, yet, 201
Anna, thy charms my bosom
fire, .... 547
A nobleman lived in a village
of late, . . .384
An' O for ane and twenty Tam,366
An' O my Eppie, . . 290
An thou were my ain thing, 2
Argyll is my name, . 578
A rosebudby my early walk, 197
As down on Banna's banks I
stray'd, . . . ■ 47
As from a rock past all relief, 3
As- 1 came by Loch Erroch's
side, ... 78
As I came down by yon castle
wa', . . . 336
As I came in by Auchindown, 502
As I came o'er the Cairny
mount, . . . 480
xu
INDEX.
As I lay on my bed on a night, 601
As I stood by yon roofless
tower, . . . 418
As I was a-waiking all alone, 382
As I was a-walking onemorn-
ing in May, . . 8
As 1 was a-wandering ae
midsummer e'enin, . 359
As I was walking by yon river
side, . . . 56Q
As I went o'er the Highland
hills, . . .525
As I went out, ae May morn-
ing, . , .340
As I went over yon meadow, 97
As Jamie Gay gang'd blythe
his way, ... 15
As late by a sodger I chanced
to pass, . . , 277
As o'er the Highland hills I
hied, . . .308
A soldier for gallant achieve-
ments renoun'd, . . 608
As on an eminence I stood a-
musing, . . 282
As on the banks of Tweed I
lay reclined, . , 6
A Southland Jenny that was
right bonie, . . 318
As over Gladsmuir's blood-
stain'd field, . . 210
As Patie cam up frae the
glen, . . .396
As Philermon and Phillis to-
gether did walk, . . 162
As Sylvia in a forest lay, 441
As walking forth to view the
plain, - . .171
As walking forth to view the
spring, . . . 526
A' the lads o' Thornie bank, 164
At Polwarth on the green, 191
Auld Rob Morris that wins
in yon glen, . . 200
Auld Rob the laird o' muckle
land, . . . 420
Awa, Whigs, awa', . 272
Ay waking O, waking ay
and wearie, . . 396
B.
Balow, my boy, lie still and
sleep, . . .135
Bannocks o' bear meal, . 489
Page
Behind yonhills where riv'lets
row, . . . 600
Beneath a green shade, a
lovely young swain, . 93
Beneath a green shade I fand
a fair maid, . . 250
Bessie's beauties shine sae
bright, . . . 31
Betty, early gone a-maying, 66
Blest are the mortals above
all, .... 453
Blest as the immortal gods
is he, . . . 41
Blythe, blythe and merry was
she, . . . . 187
Blythe Jocky, young and gay, 30
Blythe young Bess to Jean
did say, ... 4
Bonny lassie, will ye go, 1 1 5
Bonny lassie, will ye go, 116
Bonie wee thing, canie wee
thing, . , .351
Braw, braw lads o' Gala
water, . . . 131
Bright the moon aboon yon
mountain, . . .612
Busk ye, busk ye, my bonny
bride, ... 65
But lately seen in gladsome
green, '. . . 501
By a murmuring stream a fair
shepherdess lay, . . Ill
By Pinky House oft let me
walk, ... 57
By smooth winding Tay, 68
By the delicious warmness of
thy mouth, . . 262
By the stream so cool and
clear, . . . 250
By yon castle wa' at the close
of the day, . . 326
C.
Carl an the king come, . 248
Ca' the yowes to the knowes, 273
Cauld blaws the wind frae
east to west, . . 147
Cauld is the e'enin blast, 603
Cease, cease my dear friend
to explore, . . 254
Chanticleer, wi' noisy whistle, 568
Clarinda, mistress of my soul, 206
Come boat me o'er, come row
me o'er, . . .195
INDEX.
XlU
Page
Come, follow, follow, . 532
Come, fy ! let us a' to the
wedding, ... 58
Come, gies a sang, Montgom-
ery cried, . . . 298
Come, here's to the nympli
that I love, . . 354
Comin thro' the craigs o'
Kyle, . . . 338
Comin thro' the rye, poor
body, . . . 430
Come, let's hae mair wine in, 12
Come under my plaidy, . 550
Could aught of song declare
my pain, , , . 509
D.
Dear Myra, the captive rib-
and's mine, . . 266
Dear Roger, if your Jenny
geek, . . . 17
Deil tak the wars that hurried
Willy frae me, . . 270
Does haughty Gaul invasion
threat, . . . 565
Down the burn, and through
the mead, . . . 101
Dumbarton drums beat bonie
O, .... 169
Farewell, thou fair day, thou
green earth, and ye skies, 399
Farewell to a' our Scottish
fame, . . .391
Farewell to Lochaber, and
farewell my Jean, . 96
Farewell, ye dungeons dark
and strong, . . 117
Farewell, ye fields an' mea-
dows green, . . 597
Fate gave the word, the arrow
sped, . . . 280
First when Maggy was my
care, . • . 258
Flow gently, sweet Afton, a-
mong thy green braes, 400
Forbear, gentle youth, to pur-
sue me in vain, . . 344
For ever, fortune, wilt thou
prove, ... 42
For lake o' gold she's left
me O, . . . 171
For weel he kend the way O, 503
Page
Frae Dunidier as I cam
through, . . . 528
Frae the friends and land I
love, . . . .312
From Roslin castle's echoing
walls, ... 9
Fu' fain wad I be Jamie's lass, 478
G.
Gane is the day and mirk's
the night, . . 323
Gat ye me, O gat ye me, 442
Gently blaw, ye eastern
breezes, . . .581
Gie me a lass wi' a lump o'
land, . . . 177
Gill Moricewasan earle's son, 212
Gin a body meet a body, 431
Gin I had a wee house, and a
canty wee fire, . . 98
Gin living worth could win
my heart, . . . 252
Go fetch to me a pint o' wine, 240
Good morrow, fair mistress, 502
Go on, sweet bird, and soothe
my care, . . ,198
Go, plaintive souuds, . 595
Go to Berwick, Johnny, . 534
Grahamius notabilis coegerat
montanos, . . .103
Gudeen to you, kimmer, 540
H.
Had I a heart for falsehood
fram'd, ... 47
Had I the wyte, had I the
wyte, . . . 427
Happy's the love which meets
return, ... 74
Hard is the fate of him who
loves, . . . GIO
Harken and I will tell you
how, . . . 380
Hark! theloudtempestshakes
earth to its centre, . 226
Hark ! yonder eagle lonely
wails, . . . 237
Have ye any pots or pans, 536
Hear me, ye nymphs, and
every swain, . . 81
Hee, balou, my sweet wee
Donald, . . .486
Her daddie forbad, her min-
nie forbad, . . 145
XIV
INDEX.
Page
Here awa, there awa, here
awa, Willie, . . 58
Here's a health to them that's
awa, .... 425
Here's to the king, sir, . 178
Here's to thy health, mybonie
lass, . . . .511
Herseil be Highland shentle-
man, ... 24
He -who presum'd to guide
the sun, . • .115
Hey, Donald, how Donald. 344
Hey how, my Johnie lad, 368
Hey ! my kitten, my kitten, 577
Hey the bony, hey the bony, 222
Hey the dusty miller, . 151
Hid from himself now by the
dawn, . . .260
How blest has my time been, 20
How blythe was I each morn
to see, ... 70
How long and dreary is the
night, . . .183
How often my heart has by
love been o'erthrown, . 482
How pleasant the banks of the
clear winding Devon, . 165
How sweet is the scene at the
dawning o' morning, . 586
How sweet this lone vale, 588
How sweetly smells the sim-
mer green, . . . 61
I am a young bachelor, win-
some, .... 556
I am my mammy's ae bairn, 110
I care na for your een sae
blue, .... 619
I chanced to meet an airy
blade, . . .504
I coft a stane o' haslock woo, 449
I do confess thou art sae fair, 332
I dream'd I lay where flowers
were springing, . . 153
I gaed a waefu' gate yestreen, 304
I had a horse and I had nae
mair, .... 193
I hae a wife o' my ain, . 364
I hae been at Crookieden, 342
I hae laid a herring in saut, 253
I'll ay ca' in by yon town, 470
I lo'e nae a laddie but ane, 276
I love my jovial sailor, . 404
I married with a scolding wife, 99
In April when primroses paint
the sweet plain, . . 127
In Brechin did a wabster
dwell, . . . .541
In comin' by the brig o' Dye, 164
In lovely August last, . 457
In May when the daisies ap-
pear on the green, . 286
In Scotland there lived a hum-
ble beggar, . . 435
In summer when the hay was
maun, . • . 376
In the hall I lay at night, 119
In the garb of old Gaul, 218
In winter when the rain rain'd
cauld, . . .258
In yon garden fine and gay, 582
I sing of a whistle, a whistle of
worth, . . .324
It fell about the Martinmas
time, .... 310
It is na, Jean, thy bonnie face, 343
It is night, I am alone, . 123
It's up wi' the souters o' Sel-
kirk, .... 450
It's whisper'd in parlour, 474
It was a' for our rightfu'
king, . . . .513
It was in and about the Mar-
tinmas time, . . 230
It was in an evening sae saft
and sae clear, . . 113
It was in sweet Senegal, 398
I've been courting at a lass, 316
I who am sore oppress'd with
love, .... 154
I wUl awa' wi' my love, . 175
I winna marry ony man but
Sandy o'er the lea, . 283
Jamie, come try me, . 238
Jenny's heart was frank and
free, .... 28
Jockey fou and Jenny fain, 395
Jockey he came here to woo, 175
Jockey met with Jenny fair, 62
Jockey said to Jenny, . 62
Jockey's ta'en the parting
kiss, .... 589
John Anderson, my jo, John, 269
INDEX.
K.
Page
Keen blaws the wind o'er
Donoclit head, . . 388
L.
Landlady, count the lawin', 178
Lang hae we parted been, 227
Late in an evening forth I
went, .... 328
Leander on the bay, . 27
Leave kindred and friends,
sweet Betty, . , 52
Let ithers brag weel o' their
gear, .... 276
Little wat ye wha's coming, 591
Lived ance two lovers in yon
dale, .... 616
Look where my dear Hamilla
smiles, . . . Ill
Lord Thomas and fair Annet, 553
Loud blaw the frosty breezes, 150
Louis, what reck I by thee, 427
Love never more shall give
me pain, ... 83
Love's goddess in a myrtle
grove, ... 55
M.
Mourn, hapless Caledonia,
mourn, . . .147
My bonny Lizie Baillie, 469
My daddy is a canker'd carle, 91
My daddy left me gear enough, 542
My dear and only love, I pray, 464
My father has forty good
shillings, . . . 465
My Harry was a gallant gay, 218
My heart is a breaking, dear
titty, . . , .306
My heart is sair, I dare na tell, 448
My heart's in the Highlands, 268
My heart was ance as blythe
and free, . . .106
My hero, my hero, my beau-
teous, my brave, . . 352
My Jeany and I have toil'd, 590
My Jockey is the blithest lad, 25
My laddie is gane far away
o'er the plain, . . 16
My lady's gown there's gairs
upon't, . . . 573
My loved Celestia is so fair, 160
My love has forsaken me, 159
My love she's but a lassie yet, 234
Page
My love was born in Aber-
deen, . . . .281
My love was once a bonny lad, 14
My mither's ay glowran o'er
me, . . . .180
My Patie is a lover gay, 94
My Peggy is a young thing, 88
My Peggy's face, my Peggy's
form, . . . .517
My Sandy gied to me a ring, 2 1 3
My sheep I've forsaken, . 94
My soger laddie is over the sea, 334
My wife's a wanton wee thing, 226
Musing on the roaring ocean, 187
N.
Nae gentle dames, tho' ne'er
so fair, . . . 121
No churchman am I for to
rail and to write, . . 606
No more my song shall be, ye
swains, ... 1
No repose can I discover, . 131
Now bank and brae are
claith'd in green, . . 537
Now smiling Spring again
appears, ... 28
Now Nature hangs her
mantle green, . . 417
Now wat ye wha I met ye-
streen, . . .179
Now westlin winds and
slaughterin' guns, . 363
O.
O all ye luves and groves la-
ment, .... 408
O an ye war dead gudeman, 421
O as I was kist yestreen, . 330
O ay my wife she dang me, 549
0 Bell, thy looks have kill'd
my heart, . . .146
O Bessy Bell and Mary Gray, 134
O Bothwell bank, thou bloom-
est fair, . . . 529
O cam ye here the fight to
shun, .... 290
O can ye labor lea, young man, 407
O can ye sew cushions, . 456
O cherub content, . . 526
O dear minnie what shall I do, 245
O dear Peggy, love's beguil-
ing, ... - 245
O dear! what can the matter be, 510
INDEX.
Page
O dinna think, bonnie lassie, 574
O fare ye weel, my auld wife, 365
Of a' the airts the wind can
blaw, . . . .244
O for my ain king, quo' gude
Wallace, . . .498
O gae to the kye wi' me,
Johnie, . . . 142
O Galloway Tam cam here
to woo, . . . 336
O gin I were fairly shot o' her, 576
O gin my love were yon red
rose, .... 614
O gude ale comes, . . 561
O heard ye of a silly Harper, 598
Oh ! I am come to the low
countrie, . . . 514
Oh open the door. Lord Gre-
gory, .... 5
O how can I be blythe and
glad, .... 328
O how shall I unskilfu' try, 360
Oh ! send Lewis Gordonhame, 87
Oh was not I a weary wight, 90
O I forbid you, maidens a', 423
O I hae lost my silken snood, 32
O John, come kiss me now, 315
O keep ye weel frae Sir John
Malcolm, . . .468
O Kenmure's on an' awa',
Willie, . . .370
O ken ye what Meg o' the
mill has gotten, . . 585
O ladie, I maun lo'e thee, 320
O Lady Mary Ann looks o'er
the castle wa', . . 390
O lay thy loof in mine, lass, 593
O leave novels, ye Mauchlin
belles, . . .592
O leeze me on my spinning
wheel, . . .371
O let me in this ae night, 320
O Logie o' Buchan, O Logie
the laird, . . .368
O lovely maid, how dear's
thy power, ... 42
O lovely Polly Stewart, . 485
O love, thou delights in man's
ruin, . . . .413
O luve will venture, . 386
O Mally's meek, Mally's
sweet, . . .617
O Mary,turn awa that bonny
face, .... 560
Page
O Mary, ye's be clad in silk, 605
O May, thy morn was ne'er
sae sweet, . . . 477
O meikle thinks my love o'
my beauty, . . . 322
O merry hae I been teethen a
heckle, ... 279
O merry may the maid be, 129
O mighty Nature's handy-
work, . . . 314
O mither dear, I 'gin to fear, 133
O Molly, Molly, my dear
honey, . . .132
O mount and go, . . 242
O my love's like a red, red
rose, .... 415
On a bank of flowers in a sum-
mer day, . . .232
O Nannie, wilt thou gang wi'
me, .... 33
On a rock by seas surround-
ed, ... . 107
One day I heard Mary say, 92
One morning very early, one
morning in the Spring, 46
One night as young Colin lay
musing in bed, . . 151
One night I dream'd I lay
most easy, . . . 131
On Etrick banks ae summer's
night, ... 82
O once I lov'd a bonnie lass, 570
O sad and heavy should I
part, .... 461
0 Sandy, why leaves thou thy
Nelly to mourn, . . 161
O saw ye Jenny Nettles, 53
O saw ye my dearie, my Eppie
M'Nab, . . .346
O saw ye my father, . 77
O see that form that faintly
gleams, . . . 71
O steer her up and had her
gaun, . . . 520
O tell me, my bonny young
lassie, .... 558
O that I had ne'er been mar-
ried, ... .613
O that I were where Helen
lies, , ... 163
O this is no my ain house, 225
O turn away those cruel eyes, 604
Our auld King Coul was a
jolly auld soul, . . 486
INDEX.
XVH
Page
Our goodman came hame at
e'en, . ... 466
Our lords are to the moun-
tains gane, . . . 312
Our young lady's a-huntlng
gane, .... 437
Out over the Forth, I look to
the North, . . . 434
O waly, waly, up yon bank, 1 66
O waly, waly, up yon bank, 4.58
O wat ye wha's in yon town, 471
O weel may the boatie row, 438
O were I able to rehearse, 302
O were I on Parnassus' hill, 264
O wha my babie clouts will
buy, .... 286
O whar did ye get that
hauver meal bannock, . 100
O what had I ado for to
marry, . . .199
O when she cam ben she bob-
bit, . ... 364
O where and O where does
your Highland laddie
dwell, . . .566
O where hae ye been. Lord
Ronald my son, . . 337
O where wad bonnie Annie
lie, . . . .335
O whistle, an' I'll come to you
my lad, . . . 109
O Willie brew'd a peck o'
maut, . . .301
O wilt thou go wi' me, sweet
Tibbie Dunbar, . . 216
P.
Pain'd with her slighting
Jamie's love, . . 18
Peggy, now the king's come, 248
Powers celestial, whose pro-
tection, . . .473
Put the gown upon the
bishop, . . . 462
Q.
Quite over the mountains, 157
R.
Rattlin, roarin Willie, . 202
Raving winds around her
blowing, . . . 181
Red gleams the sun on yon
hill tap, . . .519
Page
Return hameward my heart
again, . . . 572
Robin is my only joe, . 492
Robin shure in hairst, . 562
Row saftly thou stream, . 524
Roy's wife of Aldivalloch, 352
Sae flaxen were her ringlets, 458
Saw ye Johnnie cummin' quo'
she, .... 10
Saw ye my wee' thing, . 454
Saw ye nae my Peggy, . 12
Saw ye the thane o' meikle
pride, . . . 594
Scenes of woe and scenes of
pleasure, . . . 533
Scots wha hae wi' Wallace
bled, . . . .596
Se do mhoUa mholla mholla, 274
Sensibility how charming, 339
She's fair and fause that caus'd
my smart, . . .411
She sat down below a thorn, 331
She took me in and set me
down, . . . 188
Should auld acquaintance be
forgot, ... 26
Should auld acquaintance be
forgot, . . . 426
Simmer's a pleasant time, 222
Since all thy vows, false maid, 207
Since robb'd of all that
charm'd my view, . 184
Sir John Cope trode the north
right far, . . . 242
Sleepy body, drousy body, 404
Slow spreads the gloom my
soul desires, . • 516
Some spieks of lords, some
spieks of lairds, . . 367
Speak on, speak thus and still
my grief, . . .137
Stately slept he east the
wa', .... 289
Stay my charmer, can you
leave me, . . .135
Stern winter has left us, . 544
Sun, gallop down the westlin
skies, .... 263
Sure my Jean is beauty's blos-
som, .... 587
Sweet Annie frae the sea-
beach came, . . 85
xvm
INDEX.
Sweet closes the evening on
Craigieburn wood, . 311
Sweetest May, let love inspire
thee, .... 578
Sweet nursling of the tears of
morning, . . . 254
Sweet nymph of my devo-
tion, .... 419
Sweet sir, for your courtesie, 1 14
Talk not of love, it gives me
pain, .... 194
Tarry woo, O tarry woo, 45
Tell me Jessy, tell me, . 618
The auld man he came over
jI%o the lea, . . . -^^■
' The auld man's mare's dead, 500
The auld wife beyond the fire, 446
The blude red rose at Yule
may blaw, . . .190
The bonniest lad that e'er I
saw, .... 484
The bonny bracket lassie, 69
The bonny grey-eyed morn-
ing, .... 80
The bride cam out of thebyre, 10
The Campbells are comin', 309
The carl he cam o'er the
craft, . . . 141
The Catrine woods were yel-
low seen, . . . 285
The Chevalier being void of
fear, .... 103
The collier has a daughter, 48
The country swain that haunts
the plain, . . . 316
The day returns, my bosom
burns, .... 233
The Deil cam fiddlin thro'
the town, . . . 412
The deucks dang o'er my
daddy, . . .409
The Duke of Gordon has
three daughters, . .431
The fields were green, the
hills were gray, . . 29
The gloomy night is gath'ring
fast, . . . .293
The gypsies cam to our gude
lord's yett, . . 189
The king sits in Dunfermline
toune, . . . 496
The lass of Peaty 's Mill, . 21
Page
The last time I came o'er the
moor, .... 19
The Lawland lads think they
are fine, ... 22
The Lawland maids gang
trig and fine, . . 23
The lazy mist hangs from the
brow of the hill, . . 241
The love that I hae chosen, 118
The lovely lass of Inverness, 414
The maid's gane to the mill
by night, . . » 494
The maltman comes on Mon-
onday, . . . 445
The meal was dear short
syne, . . .238
The moon had climb'd the
highest hill, . . 38
The morn was fair, saft was
the air, . . . 220
The night her silent sable
wore, .... 84
The night is my departing
night, . . . .620
The noble Maxwells and
their powers, . . 375
The nymphs and shepherds
are met on the green, . 574
The ploughman he's a bonie
lad, . . . .173
The queen o' the Lothians
cam cruisin to Fife, . 539
The pawkie auld earl came
over the lea, . . 234
The rain rins down thro'
Merryland toune, . 602
The robin came to the wren's
nest, . . . .419
There came a ghost to Mar-
garet's door, . . 374
There came a young man to
my daddie's door, . 228
There grows a bonie brier
bush, . . . .508
There lived a carl in Kelly-
burn braes, . . . 392
There liv'd a man in yonder
glen, . . . . 376
There liv'd a wife in our gate
end 306
There Nancy's to the green-
wood gane, ... 50
There's a youth in this city,
it were a pity, . . 266
INDEX.
XIX
Page
There's cauld kail in Aber-
deen, .... 170
There's fouth of braw Jockies
and Jennies, . . 462
There's news, lasses, news, 609
There's nought but care on
every hand, . . 78
There's three gude-fellows, 454
There was a battle in the
north, . . . 375
There was a bonie lass, . 606
There was an auld wife had a
wee pickle tow, . . 450
There was anee a may, . 126
There was a jolly beggar, 274
There was a lass, they ca'd her
Meg, .... 156
There was a noble lady, . 582
There was a silly shepherd
swain, . . . 490
There was a wee bit wiflBkie, 506
There was a wife wonn'd in
Cockpen, . . . 558
The shepherd Adonis, . 167
The shepherd's wife cries o'er
the knowe, . . . 372
The silver moon's enamour'd
beams, ... 36
The smiling morn, the breath-
ing spring, ... 73
The smiling plains profusely
gay, . . _ . . 213
The smiling spring comes in
rejoicing, . . , 401
The spring time returns, . 246
The sun in the west, . 557
The tailor fell thro' the bed,
thimble an a', . . 221
The tears I shed must ever
fall, .... 350
The Thames flows proudly, 305
The tither morn when I for-
lorn, .... 355
The weary pund, the weary
pund, .... 362
The widow can bake, . 130
The winter it is past, . 208
The wren scho lyes in care's
bed, . . . .497
The yellow hair'd laddie sat
on yon burn brae, . 1 28
They say that Jocky '11 speed
weelo't, . . .278
Page
Thickest night, surround my
dwelling, . . . 138
Tho' cruel fate should bid us
part, .... 122
Tho' for seven years and
mair, . . . 522
Thou art gane awa, thou art
gane awa, . . . 348
Thou ling'ring star, with
less'ning ray, . . 288
Though distant far from
Jessy's charms, . 72
Tho' women's minds like win-
ter winds, . . . 300
Thy cheek is 0' the rose's hue, 548
Thy praise I'll ever celebrate, 274
Tibbie Fowler o' the glen, 452
Tibbie, I hae seen the day, 203
'Tis nae very lang sinsyne, 569
To fly like bird from grove to
grove, ... 25
To me what are riches en-
cumber'd with care, . 174
Twa bonie lads were Sandy
and Jockey, . . 292
'Twas at the hour of dark
midnight, . . .214
'Twas at the shining midday
hour, . . , _ 534
'Twas at the silent solemn
hour, .... 554
'Twas in that season of the
year, .... 9
'Twas on a Monday morning, 440
'Twas past ane o'clock in a
cold frosty morning, . 236
'Twas summer and softly the
breezes, . . . 532
'Twas within a mile of Edin-
burgh town, . . 49
Tune your fiddles, tune them
sweetly, . . . 208
Turn again, thou fair Eliza, 378
U.
Ullin, Carril and Ryno, . 265
Up amang yon clifiy rocks, 40
Up and warn a' Willie, . 195
Up wi' the carls of Dysart, 405
W.
Wae is my heart, and the
tear's in my e'e, . . 490
XX
INDEX.
Page
Waes me that e'er I made
your bed, . . . 246
Wantonness for ever mair, 435
Wap and row, wap and row, 470
Water parted from the sea, 39
Weary fa' you, Duncan Gray, 168
Wee Willie Gray, . . 530
We'll hide the cooper behind
the door, . . . 442
Well, I agree, ye're sure o' me, 176
We'll put the sheep-head in
the pat, . . .493
Were I assured you'd constant
prove, . • . . 257
Wha is that at my chamber
door, .... 444
Whare are ye gaun my bony
lass, .... 298
Whare Esk its silver current
leads, . . .522
Whare hae ye been sae braw,
lad, .... 302
Whare live ye, my bonie lass, 372
Whar hae ye been a' day, my
boy Tammy, . - 518
Wha's that at my bower door, 347
What beauties does Flora dis-
close, .... 37
What can a young lassie, 327
What numbers shall the
Muse repeat, . , 43
What think, ye o' the scorn-
fu' quine, . . . 476
What will I do gin my hog-
gie die, . . .139
What words, dear Nancy, will
prevail, . . .140
Wha wadna be in love wi'
bonny Maggy Lauder, . 562
When absent from the nymph
I love, ... 54
When, dear Evanthe, we were
young, . . . 394
When first I came to be a
man, .... 294
When first my brave Johnie
lad, . . . .319
When first my dear laddie
gaed to the green hill, . 128
When Frennet castle's ivy'd
. -wall, • ... 296
When Guilford good our pilot
stood, . . .102
When I gaed to the mill my
lane, .... 521
When I have asixpence under
my thumb, . . . 284
When I think on my lad, 570
When I think on this warld's
pelf, .... 34
When I upon thy bosom lean, 214
When I was a young lad my
fortune was bad, . 332
When Januar wind was blaw-
ing, .... 460
When merry hearts were gay, 261
When rosy May comes in wi'
flowers, . . . 229
When summer comes, the
swains on Tweed, . 71
When the days they are
lang, . . . .530
When the sheep are in the
fauld, . . .256
When trees did bud, and
fields were green, . 75
When west winds did blow, 217
Where braving angry win-
ter's storms, . . 203
Where Cart rins rowin to the
sea, . . . .403
Wherefore sighing art thou
Phillis, . . .473
Where waving pines salute
the skies, . . . 205
Where winding Forth adorns
the vale, . . .149
While fops in saft Italian
verse, ... 34
While hopeless and almost
reduced to despair, . 406
While some for pleasure
pawn their health, . 89
Why hangs that cloud upon
thy brow, . . . 143
Willie was a wanton wag, 144
Willie Wastle dwalt on
Tweed, . . .389
Wilt thou be my dearie, . 484
Will ye gang o'er the lea-rig, 50
Will ye go and marry, Katie, 472
Will ye go to the ewe-bughts,
Marion, ... 86
Will ye go to the Highlands,
Leezie Lindsay, . . 446
Willy's rare and Willy's fair, 542
INDEX. XXI
Page Page
With broken words and Ye rivers so limpid and clear, 191
downcast eyes, . . 1 37 Ye sylvan pow'rs that rule
the plain, ... 76
Y Ye watchful guardians of the
Ye banks and braes o' bonnie Fair, .... 302
Down, . . . 387 Yon wild mossy mountains, 340
Ye gales that gently wave the You ask me, charming fair, 584
sea, . . . 13 Young Jamie pride of a' the
Ye gallants bright I red you plain, . . . 433
right, . . . 224 Young Jockie was the blyth-
Ye gods was Strephon's pic- est lad, . . . . 297
ture blest, . . .182 Young Peggy blooms our
Ye Highlands and ye Law- boniest lass, . . 79
lands, . . .185 Young Philander woo'd me
Ye Jacobites by name give an lang, .... 230
ear, . . . . 383 Yousing of our goodraan frae
Ye Muses nine, 0 lend your hame, . ., . 614
aid, .... 1
Ye Muses nine, O lend your
aid, .... 611
2r
INDEX
OF THE
FIRST LINES OF SONGS OR POEMS,
INSERTED IN THE ILLUSTRATIONS.
A cock laird fu' cadgie, . 137
Ae day a braw wooer came
down the lang glen, . 46 1
Ae simmer night, on Logan
braes, ... 42
Ah ! my love ! leif me not, 93
Alas, my son, you little know, 101
All health be round Balcarras'
board, . . . *128
And from home I wou'd be, *387
As I came in by Fisherrow, 122
As I stood by yon roofless
tower, . , . 363
As I went forth to view the
plain, , . . 152
As Sylvia in a forest lay, 58
As the gentle turtle-dove, 55
Astrea, why so pale and sad, *119
At gloamin, if my lane I be, 53
At setting day and rising
morn, . . . 433
Awake, my love, with genial
ray, ... 80
B.
Balow, my boy, lie stUl and
sleep, . . 124
Behind yon hills where Lugar
flows, . . 91
Behold, my love, how green
the groves, . . 79
Be lordly, lassie, be lordly, 504
Blink o'er the burn, sweet
Betty, . . 55
Page
Bonny Peggy Ramsay, 504
Born with too much fickle-
ness, &c. . . *401
Born with too much sensibili-
ty, &c. . . *400
Braw, braw lads of Gala
Water, . . 121
Bra', bra' lads o' Gala Wa-
ter, .... *408
But are ye sure the news is
true, . . . *117
By Logan's streams that rin
sae deep, . .42
C.
Can I cease to care ? . 207
Canst thou leave me thus,
my Katy ? . . 145
Ca' the yowes to the knowes, 248
Cauld kale in Aberdeen, 150
Come all ye souls devoid of
art, . . 424
Come, gie's a sang, Mont-
gomery cry'd, . 283
Come, take your glass, the
northern lass, . . 118
Cope sent a challenge frae
Dunbar, . . 220
D.
Dead as a door-nail, . *146
Dear Oswald, could my verse
as smoothly flow, . *406
Declare, ye banks of Helicon, 408
INDEX.
Page
Did ever swain a nymph
adore, . . . *447
Donald Couper and his man, 316
Down in yon meadow a cou-
ple did tarrie, . . 181
Duncan Gray cam here to
woo, . .148
Dusty was his coat, . *207
E.
Every day my wife tells me, 305
Ewie wi' the crooked horn, *412
F.
Farewell, thou fair day, thou
green earth, and ye skies, 354
Father, she said, you have
done me wrang, . *388
Fiddle strings are dear, laddie, 491
Forlorn, my love, no comfort
near, . . . 303
Frae Dunideir as I cam
through, . . 447
From the chase in the moun-
tain, . . . 170
G.
Gil Morice was an erle's son, 193
Gin ye meet a bonnie lassie, 16
Go, go, go — Go to Berwick,
Johnny, . . 459
Good- night, and joy be wi'
ye a', . . . 512
Great William of Nassau,
who saved us from Rome, 13
H.
Had I the power as I've the
will, . . .415
Had we never loved sae
kindly, . . . *370
Hame, hame, hame, &c. *386
Hark! now the drums beat
up again, . . • 64
Hark ! the mavis' evening
sang, . . . 249
Harmonious pipe, how I en-
vye thy bliss, . . *202
Have you any laws to mend, "402
He courted her kindly, . *452
Hee, balow, my sweet wee
Donald, . . 417
Her daddy forbad, her minny
forbad, . . *207
Page
Here awa, there awa, wan-
dering Willie, . 60
Here is the glen, and here
the bower, . . 14
Here's a health to him that's
away, . . 371
Here's a health to them that's
awa, . . 372
Hey for bobbing John, . 474
Hey, now the day dawis, 163
Hech hey ! Robin, quo' she, 422
Hoo are ye kimmer, . *315
How can I be sad on my
wedding day, . . 136
How happy is the rural
clown, . . 237
Husband, husband, cease
your strife, . . 112
lanthe lovely, the joy of her
swain, . .108
I do confess thou'rt smooth
and fair, . . 309
I feed a lad at Roodmass, 358
If those who live in shep-
herds' bowers, . • 79
If thou'lt play me fair play, 413
I ha'e a cow, I ha'e a calf, *412
I hae a wife o' my ain, . 326
1 hae layen three herring in
saut, . . 229
I'll clip, quo' she, yere lang
grey wing, . . 81
I'll gang nae mair to yon
town, . . 403
I'll hap ye wi' my petticoat, 130
ril rowe thee o'er the lea rig, 53
I'm o'er young to marry yet, 110
I'm wearing awa, Jean, . 168
In figure, in feature, and
powers of mind, . *196
In January last, . 396
I saw three ladies fair, . 369
I see a form, I see a face, 209
It fell about the month of
June, . . *300
I've heard them lilting at the
ewe-milking, . . 67
I've heard them lilting, *146
I've seen the smiling of for-
tune beguiling, . 63
I was born near four miles,
&c. ... *316
XXIV INDEX.
I will awa' wi' my luve, 162 My wife's a ■wanton wee
I will away, . . 219 thing, . . . 211
I wish I were where Helen My wife's a winsome wee
lies, ... 143 thing, . . . 211
I wish I war where Eelin
lies, . . . *210 N.
I met four chaps yon birks Nancy's to the Assembly
amang, . . . 435 gone, . . . *124
It was in and about the Mar- No wonder that Apollo left, *134
tinmas, . . . *451
I wish that you were dead, O.
goodman, . . 366 O Brother Sandie, hear ye
the news ? . . 12
J. O dear, minny, what shall I
Joan, quod John, when wyll do ? . . . . 223
this be ? . . . 228 O fair maid, &c., . . *326
Jockey's fou, and Jenny's O far-famed Rab ! my silly
fain, ... 282 muse, . . . *294
John Anderson, my jo, cum O gin my love were yon red
in as ye gae by, . 243 rose, . . , 507
John, come kiss me now, 298 Oh, Nancy, wilt thou go with
with me, . . 30
K. O ken ye what Meg o' the
Ken ye wha supped Bessy's mill has gotten ? , 489
haggles ? . . 28 O let us swim in blood of
King, Lords and Commons, * 1 93 grapes, . . . 169
O Logan, sweetly didst thou
L. glide, ... 43
Last May a braw wooer cam 0 Logie of Buchan, O Logie
doun the lang glen, . 462 the laird, . . 337
Listen here awhile, a story I O lassie, art thou sleeping
will tell, . . *384 yet? . . . 302
Lived ance twa luvers in yon O my bonnie, bonnie High-
dale, . . . 395 land laddie, . . 410
Lizae Baillie's to Gartartan On the blythe Beltane, . *515
gane, . . , 402 On Tweedside dwells a gal-
Long berdes hertheles, . 166 lant swain, . . . 524
Look behind and you shall O, open the door, love Gre-
see, . . . *127 gory, . . . *107
Look up to Pentland's tow'r- O swiftly glides the bonny
ing tap, ... 16 boat, . . . *444
O the ewe-bughting's bon-
M. nie, . . . *201
May her blest example chase, 132 O, this is no my ain house, 208
My dad die's a delver of O, this is no my ain house, 210
dykes, ... 99 Out o'er yon moss, out o'er
My luve murnis for me, for yon muir, . . *408
me, . . .93 Over the mountains, and un-
My hive's in Germany, send der the caves, . 140
him hame, . . 344 O waly! waly! love is bonnie, 147
My mother sent me to the 0 were my love yon violet
well, . . .421 sweet, . . . 538
My sweetest May, let love 0 wha for honest poverty, 285
incline thee, . . 486 O wha is she that lo'es me, 134
INDEX.
XXV
O whar hae ye been a' day, *364
O when shall I be married, 401
O where hae ye been. Lord
Randal, my son, . 312
O whistle, and I'll come to
you, my lad, . . 109
O Willie, weel I mind I lent
you my hand, . . 32
P.
Peace, wayward barne, *204
Peggy in devotion, . 363
Pray, came you here the
fight to shun? . 271
Put up thy dagger, Jamie, ''^303
R.
Returning spring, with glad-
some ray, . . *366
Sawney was tall and of noble
race, ... 96
Saw ye my Maggie, . 8
Scots wha hae wi' Wallace
bled, ... 495
See where the Forth, &c. *296
Should auld acquaintance be
forgot, . . . 375
Should auld acquaintance, &c.*440
Since cruel hearted fate, *135
Sleep'st thou, or wak'st thou,
fairest creature, . 247
Some speiks of lords, some
speiks of lairds, . 333
Stay, my WiUie, yet believe
me, . . . 145
Streams that glide in orient
plains, . . . 135
Sweet fa's the eve on Craigie-
burn, ... 293
The canons roar and trum-
pets sound, . . 411
The cantie spring scarce
rear'd her head, . 477
The cock's at the crawing, *216
The cold Winter it is past, *466
The collier has a daughter, 52
The Coopers they came, . 410
The Elphin Knight sits on
yon hill, . . 63
The first day I landed, . *314
The grass had nae freedom o'
growing, . . 6
The lovely moon had climbed
the hill, ... 39
The mucking o' Geordie's
byre, . . . 100
The nine pint bicker's fa'n,
&c. . . . *392
Then Jockey wou'd a wooing
away, . . . 160
The ploughman he's a bony
lad, . . .158
The rain rins down through
merry Lincoln, . 500
The rain rins doon through
Mirryland toun, . 503
The reek it rose, and the
flame it flew, . . 279
There is not a tailor in all
London town, . . *461
There's a rose in Kenmore's
cap, Willie, . . 339
There's auld Rob Morris,
that wons in yon glen, 183
There's braw, braw lads on
Yarrow braes, . 121
There's cauld kail in Aber-
deen, . . . 151
There's nae luck about the
house, ... 49
There was a lass dwelt in the
north, . . . 397
There was a lass, they ca'd
her Meg, . . 139
There was a knight and he
was young, . . 420
There was an auld man was
hauding his plow, . 350
There was a pretty may, and
a milkin' she went, . 345
The snows are dissolving on
Torno's wild shore, . 348
The sun is sunk, the day is
done, . . . ., 539
The winter it is past, . 188
Thickest night surrounds my
dwelling, . . 126
Thy braes were bonny, Yar-
row stream, . . 464
Thou hast left me ever,
Jamie, ... 6
Thy restless father roams
once more, . . *194
XXVI
INDEX.
Tillielute, tillielute, &c. *109
To daunton me, to daimton
me, . . . 176
To your arms, to your arms,
my bonny Highland lads, 10
Tune your fiddles, tune them
sweetly, . . . 190
' Twas even — the dewy fields
were green, • . 25
'Twas even — the dewy fields
were green, . . 260
'Twas naher bonnie blue een
was my ruin, . . 212
U.
Up and war them a', Willie, 179
Up wi' the souters o' Selkirk, 390
W.
"W ee Totum Fogg, . 455
Weel may we a' be, . ] 67
We'll put the sheep-head in
the pat, . . . 353
We're a' dry wi' drinking o't, 82
Were I but able to rehearse, 287
Whan winter's wind was
blawing cauld, . 398
What merriment has ta'en the
Whigs, . . . *-455
When absent from the nymph
I love, ... 56
When first my dear Johnny
came to this toun, . 301
When first she cam to toun, *299
When I sleep I dream, . 206
When I think on this warld's
pelf, ... 32
Page
When I was in my se'en-
teenth year, . . 27
When Maggie and I were
acquaint, . . 36
When merry hearts were ga.y,.2^ Z^ '
When Phoebus bright the
azure skies, . . 203
When silent Time, with light-
ly foot, . . .521
When steeds were saddled, -*319
When the sheep are in the
fauld, . . . 233
When white was my o'erlay,* 317
When wild war's deadly blast
was blawn, . . 226
When you came over first frae
France, . . . 11
Where got'st thou that haver-
mill bonack, . . 102
Who is at my window, who,
who, . . . 498
Why tarries my love, . *311
Ye banks, and braes, and
streams around, . 153
Ye'll bring me here a pint of
wine, . . . *305
Ye Lothian lairds, in sable
weeds, . . . *192
You have beard of our sweet
little races at Kelso, . 529
Young Philander woo'd me
lang, . . . 214
Young Randal was a bonny
lad, .... •465
You will think it, my duck,
for the fault I must own, 20
GENEEAL INDEX
ILLUSTRATIONS.
[*^t* The Names of the Scotish Lyric Poets, specimens of whose Songs
are contained in the Musical Museum, are printed in Capital Letters.'}
A.
Abell, John, of the Chapel Royal,
153, 155.
Aberdeen Cantus ; a Collection of
Songs, &c., 1662, 1666, and
1682, 140. See also Introduc-
tion.
Adams, Jean, (Died 1765,) 46,
*m, *398.
Aird's Musical Collections for the
Violin, 403,423.
Anderson, John, music engraver,
Edinburgh, {Alive 1839,) 485,
487, 527.
Anderson, Thomas, piper in Kelso,
*379.
Armstrong, John, old ballad, and
historical notices, 327, 333.
Arne, Thomas Augustine, Mus.
Doct., song by, 40.
Austin Adam, M.D., {B. 1726?
D. 1774,) 153, *214, *466.
Aytoun, Sir Robert, {B. 1570,
D. 1638,) 308, *363.
B.
Baillie, Lady Grisell, (B. 1665,
D. 1746,) 119, *200.
Baillie, Miss Joanna *317, *443,
*444, 539.
Barclay, Rev. John, {B. 1734,
D. 1798,) 271, *322.
Barnard, Lady Ann, vide Lindsay.
Barrett, John, organist, 319.
Battishill, Jonathan, 34.
Beattie, James, D.D., {B. 1735,
D. 1803,) 45, 108.
Berg, Mr, 14.
Berwick, Friars of, an old Scotish
poem, attributed to Dunbar, 292.
Biggar, Dissenting clergyman at,
song attributed to, 360.
Binning, Charles Hamilton, Lord,
(B. 1696, D. 1732,) *447.
Birnie, Patrick, fiddler at King-
horn, (jF/owr. 1700,) 427, *461.
Blacklock, Thomas, D. D., {B.
1721, D. 1791,) 94, 119, 127,
137, 141, 159, 171, 177, *199,
211, 230, 276, 317, 321, 352,
414, »455.
Blamire, Miss, of Carlisle, (Died
1795, aged about 36, not 49, as
stated at p. 521.)
Border Bag-pipers, Notices of
*378-*381.
Boswell, Sir Alexander, of
Auchinleck, Bart., {B. 1775, D.
1822,) 435, 466, 512, 518.
Boswell, James, of Auchinleck,
528.
Bothwell, Lady Ann, '203,
Brash, James, bookseller, Glasgow,
*214,
xxvm
GENERAL INDEX.
Bremner, Robert, musician, 110,
313, 336, 349.
Bruce, John, musician, Dumfries,
109, 236, *410.
Bruce, Michael, (5. 1746,Z>, 1767,)
262.
BRYCE,Rev. Alexander, (5. 17 14,
D. 1786,) *76, *137, *138.
Buchan, Peter, Gleanings of Bal-
lads, quoted *381, *461.
Burn, Minstrel, a Border poet and
musician, 203, *298.
Burn, Nicol, a Roman Cathohc
priest, '298.
Burns, Robert, (B. 1759, D.
1796,) 5, 14, 25, 43, 60, 79, 83,
91, 102-105, 107, 109-118,
121, 123, 126, 131, 134, 135,
137, 139, 142, 145-148, 157,
158,166,170-185,202,206-221,
224, 226, 236, 241-248, 253,
258, 262, 274, 275, 280. 284-287,
290, 291, 295,296,300, &c. &c.
he. passim.
Byrd, William, organist, 300.
Cameron, Rev. William, {B.
1751, J). 1811,) 291, *324.
Campbell, Alexander, 250, 508.
Albyn's Anthology, quot-
ed passim.
Extract from M.S.
Journal, *378.
Campbell, Thomas, {Alive 1839,)
445 515.
Carey, David, {B. 1782, D.
1824,) song by, 441, 514.
Carnegie, James, of Balnamoon,
Song attributed to, *140.
Carter, Thomas, 30.
Cassillis, Earl of. Letter on the
Death of his Lady, in 1642,
*218.
Chalmers, Alexander, Biographical
Dictionary, quoted *304, *308,
Chalmers, George, edition of Allan
Ramsay's Poems, 176, *319.
Chalmers, James, account of
Hamilton of Bangour, *293.
Chambers, Robert, song of Young
Randal, *465.
— Scottish Songs, quoted
passim in Addit. Illust.
Chambers' Biographical Dictionary,
quoted 137, 516.
. edition of Burns, quoted
*221.
Chappell's National English Airs,
quoted *207.
Clarinda, Mrs M'Lehose, vide
M'Lehose, Mrs,
Burns' s Letters to, 221,
*369.
Clarke, Jeremiah, organist, Lon-
don, 83, 84, 483.
Clark, Stephen, organist, Edin-
burgh, 127, 184, 185, 346, 393,
401, 434, 472, 480, 481.
Clark, William, organist, Edin-
burgh, 167, 495.
Cleland, Lieut.-Col. William, 316,
*366.
Clerk, Sir John, of Penicuik*
Bart., {B. 1680 ? D. 1755,) 120,
*201,*202.
Clunie, Rev. John, {B. ]757,I>.
1819,) 251.
CocKBURN, Alicia Rutherford,
Mrs, 149, 150, * 122, *130, *399-
*402.
Cockburn, Catharine Trotter, Mrs,
*130.
Cockburn, Catharine Rutherford,
Mrs, 149, 150, n27, *149.
Cooper, Isaac, musician, Banff, 496.
Corbet, Miss Grace, 504.
Coupee, Robert, M.D., (5. 1750,
B. 1818,) 440, 513..-
Craig, Adam, musician, Edinburgh,
57.
Craig, Agnes, vide M'Lehose, Mrs.
Cranstoun, Helen Darcy, vide
Stewart, Mrs Dugald,
Crawfurd, Patrick, of Auchinames,
«113-*115.
Crawfurd, Robert, {B. 1 695 ?
D. 1733,) 36, 45, 74, 78, 85,
86, 94, 1 1 1 , 203, * 1 1 3, *384, *385.
Crawfurd, William, [Robert] vide
supra.
Crokat, James, 222.
Crokat, Mrs, 222.
Cromek, R. H., Reliques of Burns,
quoted pa ssi?n .
■ Remains of Nithsdale and
Galloway Song, 350, 352, 358,
392, 419, 437.
GENERAL INDEX.
XXIX
Gumming, Angus, of Granton, 78,
252, 485.
Cunningham, Allan, (J&el839,)
82, *116, *144, *382, "385,
*439, *456.
Cunningham, John, 34.
Cunningham, Peter, Collection of
Songs, 539.
Currie, Dr, edition of Burns's
Works, quoted passim.
D.
Dale's Collection of Scots Songs,
81, 151.
Dalrymple (Sir D.) Lord Hailes,
Letter respecting the ballad
" Argyle's Levee," *445.
Dalrymple, Sir Hew, of North Ber-
wick, *127.
Dalyell, Sir John G., communica-
tion respecting Mr Graham of
Gartmore, 521.
Dauney, William, Ancient Scotish
Melodies, from Skene's MS.,
*110, *395, *403.
Dick, Lad}', of Prestonfield, 523-
525.
Douglas, Reverend Robert, *218,
*219.
Drummond, Miss Jean, afterwai-ds
Duchess of Athole, 153, *214.
Dowland, John, 468, 499.
Dudgeon, Robert, 40, *395.
Dudgeon, William,(J5. 1753 ?i).
1813,) 40, *395, *397.
Duncan Gray, vide Gray.
Dunbar, William, the Scotish poet,
162.
Durfey, Thomas, 246, 394, 490.
, Pills to Purge Melancholy,
c^otedi passim,
E.
Ebdon, Thomas, organist, Dur-
ham, 498.
Eglinton, Susanna, Countess of,
*202.
Elliot, Sir Gilbert, of Minto,
Bart. {B. 1722, D. \111,) 96,
148, 201, *140, '211, *295,
'296, *297.
Elliot, Miss Jane, of Minto, (B.
1727, D. 1805,) 67, *130-""132.
Erskine, Honourable Andeew,
{B. 1739? D. 1793,) 490, 528.
Erskine, Major-Gen. Sir Henry,
Bart., {B. 1720? D. 1765,) 202,
*298,*400.
Erskine, Honourable Henry, 532.
Ewen, John, merchant, Aberdeen,
{B. 1741, D. 1821,) -*380,
*441-*443.
F.
Falconer, William, (JB. 1730,
D. 1769,) 199, *293.
Fergus, Mr, organist, Glasgow, 454.
Fergusson, Robert, {B. 1750, D.
1774,) 53, 121, 133, 173, 399,
*450, *451.
Finlay's (John) Scottish Ballads,
quoted, *457.
Forbes, Duncan, of Culloden,
Lord President, {B. 1684, D.
1747,) 34, 70, 111, *133, *320.
Forbes, Rev. John, *46l.
Fordyce, David, 217, *304.
FoRDYCE, James, D.D., (i5. 1720?
B. 1796,) 217, *304.
Forsyth's (Walter) Border Pipers,
*379.
Eraser, Thomas, musician, 5, 6.
Eraser's (Captain) Collection of
Gaelic Airs, 136, 209, 255.
Freebairn, Mr, his Eloge d'Ecosse,
quoted *399.
G.
G, (B,) song by, *220.
Gall, Richard, (jB. 1766, Z>.
1801,) 443, 457, 460-466, 472,
473, 488, 489, 515.
Gay, John, Songs to Scottish Airs,
in his Beggar's Opera, 52.
Geddes, Alexander, D.D., {B.
1737, D. 1802,) 90, 432, *463.
Geddes, Rev. William, Saint's Re-
creations, 93, 94.
Gilderoy, aHighland freebooter, 7 1 ,
*320.
Gleig's, Rev. G. R., History of
England, quoted *207. , __
Glover, Jean, (B. 1758, D.
1801,) 313, *365.
Good's (Dr Mason) Life of Geddes,
quoted ^463.
XXX
GENERAL INDEX.
Gordon, Alexander, Fourth Duke
OF, {B. 1743, D. 1827,) 152,
*212.
Gordon, Sir Robert, of Straloch,
his MS, Lute Book, 1627, *103,
138-»140, *215, *333.
Gow, Neil, musician, 241,
Neil and Nathaniel, Musical
Collections, quoted passim.
Graham, Dougal, {B. 1724? D.
1779,) *110, *111.
Graham, George Farquhar, Esq.
Old Airs harmonized or decy-
phered by, *139, "^371, *376,
*377, *408, 534.
Graham, James, British Georgics,
quoted 242.
Graham, Miss Jenny, of Dumfries,
(B. ]724,D. 1805,) 101, *141-
*144, *408.
Graham, Robert, of Gartmore, (J5.
1750, D. 1797,) 473, 521.
Gray, Duncan, 148.
Green, Maurice, 88.
Gregg, James, teacher of dancing,
Ayrshire, 484.
Grant, Mrs, of Carron. afterwards
Mrs Dr Murray, of Bath, {B.
1744?i>. 1814?) 320, *368,*369.
Grant, Mrs Anne, of Laggan, (^B.
\lb5, D. 1838,) 527.
Gunn, John, on the Harp, quoted
*373, *377.
H.
Hackston, schoolmaster, *385.
Halket, Sir Alexander, of Pitferran,
*133, *320.
Halket, Elizabeth, vide Ward-
law, Lady.
Halket, George, *381.
Hamilton, Janet, (Mrs Moore,)
19, 20.
Halley, George, Account of the
Murrays of Tullibardine, *222.
Hamilton, John, musicseller,
Edinburgh, (B. 1761, D. 1814,)
459, 485, 496, 506, 510, 537.
Hamilton, Lord William, Lament
for his Death, *135.
Hamilton, William, of Bangour,
{B. 1704, D. 1734,) 128, 140,
171, 192, 488, 492, *293.
Hamilton, Capt. William, of
Gilbertfield, (J5. 1 680? Z). 1731,)
•135, *205, *206, *444.
Hardyknute, 263, *319.
Hastie, John, Border piper, *379.
Hastie, Robert, town piper of Jed-
burgh, 335, *379.
Haydn, Joseph, Mus. Doct. 121.
Herd, David, Collection of Scot-
tish Songs and Ballads, quoted
passim.
Hewitt, Richard, 5, *108.
Hilton's Northern Catch, 1632,
quoted 133.
Hoadley, John, LL.D,, 89.
Hogg's Jacobite Relics, quoted/)as-
sim.
Home, Miss Anne, vide Hunter,
Mrs.
Home, Grisell, vide Baillie, Lady
Grisell.
Home, John, 436.
Howard, Samuel, Mus. Doct. 432,
433.
Hugh of Lincoln, Ballads respect-
ing, *490, 535.
Hunter, Anne Home, Mrs, {B.
1742, D. 1821,) 67, *132, •133.
I.
Inglis, Mrs Richmond, *297.
J.
James the Fifth, King of Scot-
land, {B. 1511, D. 1542,) 216,
250
Jamieson, Robert, Popular Ballads
and Songs, 469, 474, 500.
Jeffreys, Mr, 520.
Jenny Nettles, tradition respecting,
*120.
Johnson, Charles, 488.
Johnson, James, publisher of the
Scots Musical Museum, 274,
passim,
Johnson, Mr, 313.
Johnston, Miss, of Hilton, after-
wards Mrs Oswald, *318.
K.
Keith, Anne Murray, {B. 1736,
D. 1818,) 75, *129, *136.
GENERAL INDEX.
Keith, Sir Robert Murray, Bart.,
{B. 1732, X>. 1795,) »300,*302.
Kenmure, Gordon, Viscount of,
338.
Kellie, Thomas Alexander, Earl of,
529-532.
Kennedy, Professor Herbert, 107,
*198.
Kennedy, Susanna, vide Eglinton,
Countess of.
Kintore, Countess of, *307.
Kirkconnell, Helen of, tradition
respecting, *209, *211.
Knyvett, William, 376.
L.
Lapraik, John, {B. 1717, D.
1807,) 200, 202, *294, *297.
Lawries of Maxwelton, *362.
Learmont, John, {B. 1765? D.
1810,) 298, *361, 362*.
Leeves, Reverend William, air by,
231.
Lesly, Alexander, of Doveran, bal-
lad attributed to, *304.
Lewis, Stewart, poem on fair Helen
of Kirkconnell, *208, *365.
Lindsay, Lady Anne, Lady Bar-
nard, {B. 1750, D. 1825,) 230,
337, *310, "312.
Lockhart's (J. G.) Life of Burns,
quoted '392.
Logan, Reverend John, (^. 1748,
D. 1788,) 68,464.
Lowe, Reverend John, {B. 1750,
D. 1798,) 37, ni6.
M.
Macauley, Mr, 456, 517.
Macaulay, James, 517.
Macdonald, Andeew, (B. 1757,
D. 1790,) 225, *307.
Macdonald, Patrick, collection of
Highland tunes,^372, *374.
Macfarlan, Miss, *299.
Macgibbon, William, musician,
Edinburgh, 192, 198, 199.
Macgill, John, musician, Girvan,
Ayrshire, 202, 467.
Macgregor, Captain John Drum-
mond, 176.
Macgregor, Joseph, Esq. com-
munication respecting Marshall,
*413.
Mackay, Rev. Nath. vide M'Kie.
Mackenzie, Henky, (B. 1745, JD.
1831,) 492, 532, 533.
M'Kie, Rev. Nathaniel, (B. 1715,
n. 1781,) 431, ^462. , ^,
Macintyre, Robert, musician, Ed- /f>^ ^Hf.clt^e't^
inburgh, 379, 441,. 479, „_ ^Jj Y -' 7 ^
Maclean, Donald, border piper, \^
*379.
M'Lehose, Agnes Craig, Mrs,
(JB. 1759, alive 1839,) 178, 180
*220, *221, *222.
M'Lennan, Rev. Murdoch, *321,
*416.
Macneill, Hector, {B. 1746, B.
1818,) 238, 251, 344, 393, 440,
467, 473, 485, *313.
Macpherson, James, {B. 1738, D.
1796,) 241.
Mactaggart's Gallovidian Encyclo-
pedia, quoted *118, *365.
Macvicar, Mr, (Flour. 1760,) 1,
*105.
Maigh, David, 78.
Mallet, or Malloch, David, {B.
1700, B. 1765,) 58, 75, 381,
470, *399, *444, *445,520, 536.
Mansfield, Thomas, Esq., MS.
Collection of Songs, quoted *402,
*408, *410, *412, *416, 529.
Marlow, Christopher, 468.
Marshall, William, musician, 115,
190, 221, *305, *413-*416.
Marvell, Andrew, 519.
Mary Queen of Scots, *207.
Mary Scott, the Flower of Yarrow,
vide Scott.
Masterton, Allan, Writing-mas-
ter, Edinburgh, airs composed
by, 126, 208, 258, 275, 286,
*323, 393, *413, 442.
Masterton, Miss Ann, afterwards
Mrs Derbishire, *299.
Mayne, John, (B. 1759, D. 1836,)
25, 42, *116, *397, *398.
Michel, M. Francisque, publication
of Hughes de Lincoln, 535.
Mickle, William Julius, (jB
1734, B. 1788,) 45, ni6, *117.
Miller, James, Depute - Teind-
Clerk, 346. A /^-^v^ 'rfSzO
Mitchell, Joseph/ (^. 1684, B.
1734,) 54, 59, *399, *444, *446.
XXXll
GENERAL INDEX.
Montgomery, Captain Alex-
ander, {Flour. 1384,) ^IGS,
*2\5, 406, *453.
Montrose, James, Marquis of,
{B. 1612, Z>. 1650,) 400, 429.
Morison, Roderick, blind harper,
vide Rory Dall.
Moore, Edward, 19,
Motherwell, William, 539.
^— Edition of Burns,
quoted passim in Addit. Ulust.
Muiehead, James, D.D., {B.
1740, D. 1808,) 3, *106.
MuNDELL, Dr Robert, {B. 1758,
Alive 1839,) 357, *391.
Murray, Lady, of Stanhope, *200.
Murray, Anne Keith, vide Keith.
Murray, Mrs, of Bath, vide Grant,
Mrs, of Carron.
Murray, Sir Robert Keith, vide
Keith.
Murraj', Dr Thomas, Literary His-
tory of Galloway, quoted 513.
Murrays of TuUibardine, family of.
*222,
N.
Napier, Mark, his Partition of the
Lennox, quoted *121.
Neill, Thomas, precentor, *221.
Newbattle, Lord, Song attributed
to 4)9.
Nico'll, William, 286, *323.
O.
Oswald, James, musician, 95, 176,
346, *105, *406-*408.
Musical Collections, quoted
passim..
Airs composed by, passim
173, 201, 202, 205, 314, 315,
325, 339, 361, 466.
Poetical Epistle to, in 1741,
*406.
P.
Pagan, Isabel, *316.
Pasquali, Signor, 315.
Percy, Thomas, DD., Bishop of
Dromore, 30, *315.
Phillips, Ambrose, 41.
Pickering, Thomas, 348.
PiNKERTON, John, (^. 1758, D.
1825,) 454, *32I, 515, 516.
Playford's, John, Dancing-master,
1657, quoted 113,129, 169,301,
308, 315, 316, 318, 322, 359.
Musick's Handmaid,
1678, quoted 391.
. Choyce Ayresand Songs,
1679, quoted 394, 396.
Wit and Mirth, 1698-
1703, quoted 3, 394, 398, 400.
Poe, Mr, 51.
Pringle, Andrew, Lord Aleraore,
*400.
Pringle, Thomas,*200.
Purcell, Henry, 132.
R.
R. S., Song by, 74.
Ramsay, Allan, {B. 1686, D.
1757), Songs, &c. by, 2, 9, 15,
16, 17, 18, 21, 22, 23, 28, 56,
57, 58, 62, 68, 85, 90, 91, 96,
98, 119, 120, 122, 125, 127, 130,
137, 141, 161, 162, 168, 169,
176, 208, 221, 224, 225, 236,
237, 240, 310, 381, 382, 442,
459, 460, 482, 490.
Tea- Table Miscellany, 1724-
1740, quoted passim.
Authors of Songs in, and edi-
tions of that work, *108, *382-
*384, *393.
, MS. of the Gentle Shepherd,
^'■202,
Reid, General John, 202, 203.
Ramsay, Philip A., edition of Tan-
nahiil's Poems, 538.
Reid, William, Bookseller, Glas-
gow, (B. 1764, B. 1831,) 53,
152, *212.
Richardson, John, 537.
Riddell, John, musician, 253.
Riddell, Maria Woodley, Mrs, (B.
1778? B. 1812,^ 215, *208,*303.
Riddell, Robert, ' of Glenriddell,
290, 306, 341, *302, *323.
Rizzio, David, Scotish airs attributed
to, 1, 10, 36, *105.
Robertson, Alexander, of Stro-
wan, (B. 1670, Z>. 1749,) 113,
137, 141, *199.
Robertson, Alexander, engraver
and musician, Edinburgh, (B.
1750?Z>. 1819,) 405, *452.
GENERAL INDEX.
XXXUl
Robertsoa^ Calliope, 1 739, quoted
118.
Rory Dall, (or Roderick Morison,)
the blind harper, 324, *372-
*376.
Ross, Alexander, of Lochlee, (-S.
1700, D. 1783,) 252, 391, 472,
*317, *448.
Rutherford, Catharine [Alicia], vide
Cockburn, Mrs.
Rutherford, Elizabeth, vide Scott,
Mrs, of Wauchope.
S.
S. M., air by, 313.
Schetky, Mr, violoncello player, 40,
185.
Scott, Alexander, {Flour. 1568,)
527.
Scott, Elizabeth Rutherford, Mrs,
of Wauchope, {B. 1729, D.
1789,) 230, *308.
Scott Mrs, of Dumbartonshire,
{Flour. 1780,) 6, *394,
Scott, Mary, the Flower of Yarrow,
36, 37, 77, 78, n 15.
Scott, R., of Biggar, 111.
Scott, Thomas, of Monklaw, No-
tices of Border Pipers, *378-
*380.
Scott, Sir Walter, Bart., (5. 1772,
B. 1833,) Border Minstrelsy,
quoted 2yassim.
Recollections of Mrs Cock-
burn, authoress of the Flowers
of the Forest, *123 — mistake re-
garding her name, *129, *401.
Scott, Sir William, of Thirlstane,
{B. 1670? i>. 1725,) *121.
Sedley, Sir Charles, song by, com-
monly attributed to President
Forbes, *133, *320.
Selkirk, Souters of, tradition re-
specting, 386.
Semple, Francis, of Beltrees,
{Flour. 1650,) 87,* 121, 475,522.
Sharpe, Charles K., Esq., Ballad-
Book, *306.
Edition of Lord Kelly's
Minuets, 532.
Sheridan, Richard Brinsley, 22, 51.
Shirrefs, Andrew, (F/owr, 1787,)
479, 525.
Shield, WilUam, musical composer,
24, 375.
Sibbald, James, bookseller, Edin-
burgh, * 141, 510.
Sillar, David, {B. 1760, JD.
1830,) 180, *221.
Sim, Reverend Johii, 47.
Skene, John, Musical Manuscript,
{circa 1615,) 18, 61, *1]0, 125,
*395, 445, 505.
Skinner, Rev. John, {B. 1721,
D. 1807,) 189, 276, 281, 283,
287, *323, *412.
Skirving, Adam, farmer, {B. 1719,
I). 1803,) 105, 220, -*189, *192,
*305.
Skirving, Archibald, portrait-pain-
ter, {B. 1749, B. 1819,) *193,
*194.
Skirving, Captain Robert, Letter
respecting his Father, *190;
verses by, *193-*198.
Smith, John Stafford, his Musica
Antiqua Anglicana, 228, 391,
503.
Smith, Robert A., musician, 538,
539.
Smollett, Tobias, M.D., {B.
1721, B. 1774,) 133.
Spence, Sir Patrick, ballad of, 423,
*320, *457.
Southerne, Thomas, song by, 56.
Strachan, Dr, Carnwarth, *449.
Stewart, H. D. Cranstoun, Mrs
DuGALD, {B. 1765, B. 1838,)
319, *366.
Stuart, Alexander, music to Ram-
say's Tea - Table Miscellany,
*394.
Sutherland, Earl and Countess of.
Lines on their Funeral, by Sir
G. Elliot, -*296.
Swift, Dean Jonathan, 486.
Sybold, Mr, harp-player, 419-
Syron, George, a negro, song by, 51 .
Syme, George, piper, *379, *381.
Tait, John, Writer to the Signet,
{B. 1752? B. 1817,) 456, *5j^7. /
Tannahill, Robert, Edition of his
Poems, with Life by P. A.
Ramsay, 538, 451.
XXXIV
GENERAL INDEX.
Tenducci, Ferdinando, a celebrated
'- singer, 4, *107, *451.
Tennant, Professor William, 478,
523.
Thomson, George, Correspondence
with Biirns, quoted passim.
' Collection of Scottish
Songs, quoted *317, *444, 487,
512, 337.
Thomson, James, {B. 1700, D.
1748,) 42, 79, 505, 535, 536.
Thomson, William, Orpheus Cale-
donius, 1725-1733, quoted pas-
sim.
Tytlee, James, {B. 1747, D.
1805,) 73, 83, 98, 100, 122, 134,
*41].
Tytler, William, of Woodhouselee
1, 3.
U.
Urbani, P., Collection of Scots
Songs, 318, 394.
Urquhart of Craigston, *388.
V.
Vane, Lady, Lament on the Death
of her Husband, Lord W. Ham-
ilton, *135.
W.
Walkinshaw, William, 128, *203.
Wallace, Sir William, ballads on,
426, *458-*460.
Wallace, William, of Cairn-
hill, (S. 1712? i). 1763,) 108,
*198.
Walsh's Caledonian Country
Dances, 219.
Watlen, John, 377-
Wardlaw, Elizabeth Halket,
Lady, ot Pitrevie, (-B. 1677, D.
1727,) 72, 268, *319, *458.
Watts 's Musical Miscellany, 1729-
1731, quoted 119,162.
Watson's Collection of Scots
Poems, 1706-1711, quoted ^as-
sim.
Webster, Alexander, D.D.,(5.
1707, D. 1784,) 224, *307.
Williams, Helen Maria, song by,
attributed to Burns, *468.
Wood, Thomas, of St Andrews,
Musical Manuscripts, 1566, &c.,
147, 369, 407, *440.
Wotton, Sir Henry, song by, *454.
Wordsworth, William, Poems on
Yarrow, 518.
Whyte, William, Collection of
Scottish Songs, 121.
Y.
Yester, John Lord, (i?. 1645,
D. 1713,) 36, * 112.
Young, Alexander, of Harburn,
Esq., communication respecting
Miss Jenny Graham, *143.
FINIS.
EDINBURGH : FEINTED BY BALLANTYNE AND HUGHES, PAUL'S WORK.
Live Music Archive
Librivox Free Audio
Metropolitan Museum
Cleveland Museum of Art
Internet Arcade
Console Living Room
Books to Borrow
Open Library
TV News
Understanding 9/11