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HARVARD
COLLEGE
LIBRARY

[E Popular Songs

^ELODIES

°^ Scotlan:

"With ■jJotes

I^evised (5^ Enlarged.
Glasgow

E Popular Songs

and/\eLODIES

SCOTLANI

jBKLnORAL

EBiTior

"With jJotes

G,-fAR,QUHAIV CiVAHAPV

I^cvised ^Enlarged.

JMuikWood «t(5
Glasgow

THE POPULAR

^SONGS OF SCOTLAND^

WITH THEIR APPROPRIATE MELODIES

ARRANGED BY

G. F. GRAHAM, A. C. MACKENZIE, J. T. SURENNE,
T. M. MUDIE, FINLAY DUN, H. E. DIBDIN

AND

SIR GEORGE A. MACFARREN

3Uu0nrateti b; Ccftfcal ann otiftv 0otittfi

GEORGE FARQUHAR GRAHAM/

AUTHOR OP THS ARTICLS 'MUSIC* X!f THE SEVKfTH EDITION OF THX

XNCYCLOPiCDIA BEITANXICA

SBVISED BY

J. MUIR WOOD

W/T/I ADDITIONAL AIRS AND NOTES

J. MUIR WOOD AND CO.. 42 BUCHANAN STREET, GLASGOW

WOOD AND CO., EDINDURGH
CRAMER ; CHAPPELL ; NOVELLO, LONDON

MDCCCLXXXVII

■^p^-

t/. 11,2
A

BAmm) C0UE6E UBURT

beq.e:: of

PMILIIPS BAIffT
JULf 1. 1939

HARVARD UNIVERSITY
LIBRARY

OCT 1 6 1987

PEELIMINARY NOTE.

The present volnme contains the popular songs of Scotland ; not those only which are usually sung at
the present time, for they unfortunately are few, but in addition a large number which, though now
seldom heard, ought on account of their quaintness, their wit, or the beauty of their melody, to be ever
held in remembrance. To a large extent they have been extracted from the earlier collection known as
"Wood's Songs of Scotland," edited by Creorge Farquhar Graham, whose illustrative notes were a
leading feature of the work, and who, it may be mentioned, was selected on account of his learning and
musical ability to write the article Musio in the seventh edition of the Encyclopaedia Britannica. It
is scarcely necessary to say that wherever in these notes he expressed his own opinions they have been
scrupulously adhered to in the present edition ; but quotations and remarks from other sources have had
to be reconsidered, and frequently to be set aside, in favour of more recent and accurate information.

Of all the annotators of Scottish Song the most copious was Mr. William Stenhouse, who supplied the
" niustrationa *' for Messrs. Blackwood's re-issue of Johnson's Musettm; that great repository of Scottish
music, for which Bums did so much, and which he predicted would make the publisher famous for all time.
In many ways Mr. Stenhouse was well fitted for the work which he undertook, being a zealous antiquary,
no mean musician, and indefatigable in the prosecution of his self-imposed task. Having, however, to
gather his materials from a very wide field, it ia not surprising that he should have frequently fallen into
error. David Laing and Charles Kirkpatrick Sharps — ^who in revising added considerably to his notes —
pointed out and corrected many of his literary and historical blunders, while G. Farquhar Graham did the
same in regard to many of his musical mis-statements. It is at best doubtful whether Mr. Stenhouse was
able to decipher the Lute tablature of the Skene MS. his references to it therefore are usually erroneous.
Even his quotations from the " Orpheus Caledonius " are seldom correct ; and, with regard to Playford's
"Dancing Master," he cannot have seen the rare edition of 1657 which he so often quotes, for, with two or
three exceptions, the airs he refers to are not included in it, though they are to be found in the enlarged
edition of 1718, which he probably possessed. Mr. Stenhouse had besides a notion, not uncommon in the
earlier part of the present century, that England possessed little if any true national music ; a tune
therefore which was current in both countries, he contended must be of Scottish origin, and only imported
into England since the "union of the crowns. " This belief was to some extent fostered by the want of any
collection of English airs that could be referred to ; for Ritson's is an Anthology of lyric poetry set by learned
musicians, rather than a collection of national melodies, though it does contain a small modicum of real
folk-music ; and Dr. Crotch, in his "Specimens of various styles of Music," is eqiially meagre, and often not
at all correct in his ascriptions of nationality to the tunes. In Scotland, on the other hand, during the
previous century, numerous collections had appeared, in which was included every tune well known
in Scotland, whether really Scottish or not. To these uncritical coUectiona Mr. Stenhouse was in the habit
of appealing in corroboration of his otherwise unsupported assertions, as if an error could be turned into a
truth by mere iteration. Unfortunately his erroneous opinions have by frequent quotation been so
widely spread that it may now be difficult for the actual facts to obtain a hearing.* In making this
statement, it would be manifestly unfair to Mr. Stenhouse to omit that by his zeal and perseverance he
gathered together a mass of antiquarian matter bearing on j the songs, their writera, and the incidents on
\i hich they were founded, that could not now be collected by any amount of industry : many of those from

* It is unaccoantable how so scrupoloasly accurate an editor as lir. Seott Douglas should have accepted Mr. Stenhoose's
ermnaoiis statements regarding the airs of many of Bums'a songs without making any attempt at verification. Stenhouse**
blunders are the only blot on a work otherwise excellent and beautiful, every page being marked by painstaking and good laith.

VI P&ELIMINABY NOTE.

whom ha obtained his traditional infonnation haring patted away before hit woik could be given to tha
world. Since that time mach hat come to light in regard to the national mntio of all ooontriet. In
particnlar, the publication by Mr. William Chappell, F.S.A., of that marrel of reaearch, "The Popular
Mnsio of the Olden ^me," hat not only thown the wealth of melody pottetted by England, bat hat canted
a more critical inquiry to be made into the mutic of our own country. The retult of thit hat been to thow
clearly that tome of our favourite ain are certainly Engliih, while to tome othera Northumberland may
have at good a claim as Berwick, Bozburgh, or any other of our touthem countiet. While thit may be
candidly admitted, we still assert our right to include these airs in our. Scottish collections, on account of
the beautiful poetry written for them by our own countrymen, and with which they are much more
associated than with the original English verses, now indeed known only to the antiquary. The celebrated
work already mentioned — the Scottish Musical Museum— contains a considerable number of English airs in
each of its aix volumea, while in the first half volume at least a third are not of Scottish origin ; a fact
which Johnson, the publisher, thus explains in his preface. He says, ** It was intended, and mentioned in
the Proposals, to hare adopted a considerable variety of the most musical and sentimental of the TgwglUli
and Irish songs ;*' as, however, this did not meet with general approval, it was abandoned after not a few
j^tea had been engraved for the purpose. This ought to be borne in mind when charges of ignorant
ap p ro pr i ation are brought against him. In the present work no attempt has been made to eliminate the
English airs ; they have been retained in some cases for the purpose of pointing out that notwithstanding
the Scottish words they are really English ; in others — as in "The Banks of Doon " — ^because the Scottish
poetry has saved the English air from oblivion, which its own words never could have done. In every
known instance the English origin of an air has been acknowledged ; the numerous additions which have
been made to the woric will be found, however, to be entirely Scottish ; these are' mostly modem, but
among them are a few worthy relics of the olden time, which have been gathered up after a century of
n^led

In order to maintain the previous high standard of excellence, the arrangement of the accompanimanta
to theae additiooa waa confided to that excellent musician, the late T. M. Mudie, and more recently to
A. C Mackenzie, of whose musical triumphs his country may well be proud. With regard to the notes, all
have been carefully revised, many have received considerable additions, while others have been entirely
ra-written ; datea have been scrupulously verified, and where necessary corrected. To place the aiza in
strict chronological order, however desirable it might be, is in the present state of our knowledge quite
impoasible ; but it haa been thought advisable to avoid mixing up the ancient style with the modem ; the
airs therefore wKxch are known to be old have been placed earlier in the volume than others which have
appeared at a more recent date. At the same time it should be borne in mind that first appearance in
print or manuscript cannot always be held to determine either the age or even the nationality of a tune.

Beaidea the additiooa already mentioned, a four-part arrangement of a few of our airs will be found
as an Appendix to the volume. These airs were on two occasions, by special command, sung before the
QuzDT at Balmoral by Mr. H. A. Lambeth's Select Choir. As a distinctive name, therefore, this has been
called the Balmoral Edition.

J. M. W.

January 1864.

INTRODUCTION.

Tbs plan of this Woric wia luggetted to the Publishen by a perception of the wint of a reaUj oheap
Collection of the bett Scottish Melodiei and Songi, with loitable Sjmphoniei and Aceompanimenta,
adapted to the Melodies ;* and with such information regarding the airs and the rerses as might be
interesting to the public. No work combining all these desiderata had appeared ; although no National
If elodiei hare been so long and so extensiTely popular as those of Scotland.

Of the actual state of National Music in Scotland prior to the 16th century, authentic history a£fbrds
no distinct traces, although it appears that both poetry and music were highly esteemed in the south
and east of Scotland, and on the English Border, as far back, at least, as the 13th century. No. IIL
of the Appendix to Mr. Daunej's work upon the Skene MS., 1638, contains curious matter regarding
musical performers and teachers of music in Scotland, from 1474 to 1633. It is entitled ^ Extracts
from Documents preserved in the General Register House at Edinburgh.** 1. Extracts from the
Accounts of the Lords High Treasurers of Scotland relative to Music 2. Extracts from the Household
Book of Lady Marie Stewart, Countess of Mar, Edinburgh. 3. Extracts from Accounts of the Common
Qood of Tarious Burghs in Scotland, relative to Music-schools, &c. In these Extracts we find named
Scottish and English pipers, several harpers and darseha players, fiddlers, &c. ; with Italian and French
performers upon the lute and other instruments, also singers, male and female. The fees giren to the
performers and teachers are stated, and it is evident that music was held in high esteem, and in all
probabflity was considerably cultivated by the Court. We quote a few lines :—

*< JuL 10. 1489.— Item, to Inglis pyparis that cam to the eastd yet and playit to the King, viy Ub. TiQ a

** Apr. 19. 1490. — ^To Martin Clareecbaw, and ye toder ersehe clareschaw, at ye Eingis command, xfQ a

" Mayw — ^IQl ane ersehe harper, at ye Eingis command, xrif] a

*'ADg.l.l496.—Otffin to the harper with the a hand, ixa

^'Apr. 19. 1497.— Item^tothetwafithelaristhatsangOraystdltoyeEkig, ixa

*<Ju]y21.— To the menstraUis that playit before Monsfdoon the gate, xiiQa

** Jan. 1608.— Item, to the four Italienmenstmlis, vy lib.

"Jan. 1607.— Item, that day gifSn to divers menstrallis, schawmeris, trumpetis, taobrooeiis, fttheUris,

httaris, harpaiis, darsdiaris, piparis, extending to Ixix personis, x lib. xj a

** Feb. 16. 1608.— Item, to Wantonnes that the King fochit and gert hir sing in the QacniB ehamer^ • xiy s.**

Unfortunately, no Musical MSS. containing Scottish airs have come down to us of an earlier date than
the 17th century. We have, therefore, no positive proof of the actual existence of any of our known
airs until that time, although we have no doubt that many of them existed in a simple and rudimental
state long previously. We say in a simple and rudimental state— for we find that the ancient versions
of our airs that hare been preserved in the MSS. which we shall presently notice, differ in a remarkable
d^;ree from their modem representatives, occasionally presenting the mere rude outline which an after
age moulded into more perfect form, but more frequently disclosing melodies possessed of a charming
simplicity, which the lapse of time has altered only to destroy. In this respect the music of Scotland is
singularly at variance with a statement of Mr. Bunting, regarding National music generally, and that of
Ireland in particular. In his preface to ''The Ancient Music of Ireland," 1840, Mr. Bunting says: —
" The words of the popular songs of every countxy vary according to the several provinces and districts
in which they are sung ; as, for example, to the popular air of AtUtn^a-rooHf we here find as many dif-
ferent sets of words as there are counties in one of our provinces. But the case is totally different with
Riusie. A strain of music once impressed on the popular ear never varies. • • * * For taste in

f Tbrntunan

* 8m ToiAurr, pc 1S4.

t iBotdwMfbanAeotrtelMliBaMortiMacUAlMaMpttldto
•MMj. tat ^9tm of which WM only oo» t w U U> of moooy lUfliof : aad wo
ftiodaboMthoi^pslod. FroBthohoQaoboldbookof Jmd«V..L52S. wo
(Mn»h«MK)«Mthii^iMmap: ^thoop^flfoahllUav: Aboaof
Iho Ittlbe HlMttili fM hmiU. 80. lUrilBC

pioeo of ordBAMO mUod " Mom Xoc."
wo mail boor te mted IbM tho ItMw uo
Alto uko laio eooiMinttos tho pctettof
tboithoooil» te SeoCttahBOOij. of A
ihflUap: Mil t itlliTi irf iJt,
rttotvAi Iht ««lM •# A ihtte mS M M

VIU INTBODUCTION.

mufie ii fo unirenaly etpedallj among countiy people and in a pastoral age, and ain are so
indeed in manj instances so intuitirelj, acquired, that when a melodj has once been diTulged in anj
district, a criterion is immediately established in almost erery ear ; and this criterion being the more
iB&llible in proportion as it requires less effort in judging^ we haTe thus, in all directions and at all
times, a tribunal of the utmost accuracy and unequalled impartiality (for it is unconscious of its own
authority) goreming the musical traditions of the people, and preserring the natire ain and melodies
of erery country in their integrity, from the earliest periods." This assertion is not by any means borne
out by a comparison of the ancient ain of Scotland, as preserred in HSS., with the traditionaiy Tenions
of the same airs ; and further inquiry would incline us to the opinion that the same discrepancy exists
in the music of all countries that hare any ancient MSS. to place in juxtaposition with the modem airs
as handed down by tradition. Sufficient proof of this, in as &r as Scottish musio is concerned, will be
tound scattered through the Notes appended to the airs. To these we refer for many particulars
respecting our national music, which it is unnecessary here to repeat : we prefer occupying our limited
space with some account of the Tarious ancient MSS. which are alluded to in the course of the work,
as well as of the principal modem editions of the Songs and Melodies of Scotland.

AKCIENT SCOTTISH MANUSCRIPTS CONTAINING SCOTTISH MELODIES.

SKENE MS.^-Belongs to the library of the Faculty of Adrocates. Supposed by the eminent antiquaiy, DaTid
Laing, Esq., to haTe been written about thirty or forty years after the commencement of the seve nte e n th
century. Translated by the Editor of this work; and the translation published, with a Dissertation, &a, by
the late William Dauney, Esq., AdTocate, in one toL 4to, at Edinbur^ NoTember 1888. It contains a
number of Scottish airs, besides foreign dance-tunes. Mr. Laing say% that the coIlectioQ was fiomed by John
Skne of Hallyards, in Afid-Lothian, the second son of the eminent lawyer. Sir John Skene of CurriehilL

STRALOCH MS.— Robert Gordon of Straloch's MS. Lute-book, dated 1627-29. A small oblong 8to, at one time
in the library of Charles Barney, AIus. Doc.; then in that of the late James Chalmers, Esq., of London, after
whose death it was sold with his other books and MSS. In January 1889, it was sent hj Mr. Chalmen to
Mr, David Laing of Edinburgh, for his inspection, and by Mr. Laing to the Editor of this work, who had per-
mission to copy it. He made extracts from it, which are now in the Library of the Faculty of Adrooates^
Edinburgh. Robert Gordon of Straloch, in Aberdeenshire, was a distinguished person in his day. There is
some perplexity occasioned by the difference of designation bestowed upon this gentleman by different writers.
The late Mr. William Dauney, in the Appendix to his DisserUtion upon the Skene MS., &a, calls him Sir
Robert Gordon of Straloch, when referring to the MS. Lute-book of 1627-29. Mr. Darid Laioft in his IHus-
tradons to Johnson's Museum, does not give him the Sir; though in the^prelkoe^ p. xxL, he caUs him Sir
Robert GordozL We leam the following particulars of him from the Straloch papers, printed by the Spalding
Club, in the first Tolmne of their ItGsoellany, edited by their Secretary, John Stuart, Esq., Advocate >— Robert
Gordon was the second son of Sir John Gordon of Pitlurg, and was bom in 1680. Soon after his marriage
bk 1608, he bought the estate of Straloch, ten miles north of Aberdeen, the title arising from which he retained
through life, althougjb he succeeded to the estate of Pitlurg, by the death of his elder brother, in 1619. He
devoted himself chiefly to the study of geography, history, and antiquities; and so celebrated was he fi>r his
attainments as a geographer, that in 1641 he was requested by Charles L to undertake the execution of an
Atlas of Scotland. This he completed in 1648» with the assistanoe of his son, James Gordon, parson oi
Rothiemay. It is the ihr4luned '<TheatrumSooti8B,''---« work wMch is stiU considered one of the moetaoeurate
delineations of Scotland and its islands. Although chiefly known as a geographer and antiquaiy, Robert
Gordon was much employed in various negodations between the contending &ctions in the time of Charles I.
and the Commonwealth; in proof of which, we find among the Straloch papers letters from the Blarquis
of Argyll, George Lord Gordon, the heroic friend of Montrose, and Lord Levris Gordon, afterwards third
Msiquis of Huntly. As Sir John Gordon, his father, was knighted only by James YL, his title of course died
with him, and we do not find that his son ever received any title as a reward for his services. His testament
dated 1657, commences, " I, Mr. Robert Gordon of Straloch, considering with myself my great age," &o. He
died in August 1661.

ROWALLAN MS.— A MS. Lute-book, written by Sir William Mure of Rowallan, who died in 1657, aged 68. It
was probably vrritten about the same tfane as the Straloch MS., and was lately in the possession of Mr. lyle^
Surgeon at Airth. Its contents are chiefly foreign dance-tunes, with a veiy few Scottish tan. Sir THlliam
Mure was distinguished as a scholar and a poet See ''Historie and descent of the house of RowaBane," frocu
the original MS. by Sir William, edited by the Rev. Blr. Muir, Glasgow. 1825; and, « Aneient Ballads ami
Song^" by Thomas Lyle, 1827 '

INTRODUCTION. IX

LETDEN MS.— Belonged to the celebrated Doctor John L^en. It is now in the poesession of Mr. James Telfer,
Schoolmaster, Saughtrees, liddesdale. It is written in tablatore for the LyrapTiol, and was sent, in 1844, to
the Editor of this work, with permission to transcribe and translate firam it. The transcript he made from it,
of all the tones in tablature, is now in the Librarj of the Facnl^ of AdTocates^ Edinburgh. Its date is nnoer-
tain, but cannot be earlier than towards the close of the serenteenth ceotory, since we find in it» ''Eling James*
march to Ireland," and ** Boyne Water," both relating to events in 1690. It contains a number of Scottish
tones, some of which hsTe been referred to in the Notes of this work.

enTHBIE(r) MS.— a number of Scottish and other tones, in taUatore^ discovered by David Laing, Esq., in a
volome of Notes of Sermons preached by James Gothzie^ the Covenanting minister, who was execoted in 1661,
fiir declining the Jorisdiotion of the Ejng and CoondL See Mr. Daon^s Dissertation, pages 189-148. His
very doobtftU when these tones were written, and whether they were written by the same person who penned
the rest of the volome.

BLAIKTE MSS. — ^The late Mr. Andrew Blaikie, Engraver, Paisl^, was in possession of two volomes written in
tablatore^ each containing a nomber of Scottish airs. One of these volomes was dated 1683, and the other
1602; the latter in tablature for the Viol da Gamba. The former was lost, but contained, with few excep-
tions, only the same tones as the later volume. Both MSS. were written in the same hand. See Mr. Daoney's
Dissertation, pages 148-146.

ZROCKAT MS.— This MS. Music-book is frequently referred to by Mr. Stenhouse in his Notes on Johnson's
Museum. It is dated 1709, and belonged to a Mrs. Crockat, of whom we have not been able to learn anything.
The volume is now in the possession of Charles Eirkpatrick Sharpe, Esq.

MACFABLANE'S MSS.—" A collection of Scotch airs, with the latest variations, written for the use of Walter
M'Farlane of that ilk. By David Toimg, W.M. in Edinburgh. 1740." 8 vols, folio. Belongs to the Sode^
of the Antiquaries of Scotland. The first volume was lent many yefurs ago, and was never returned.

Besides these MSS. there are a few others, which are mentioned by Mr. Dauney, pages 146, 147, of his Disserta-
tion. One, dating about the beginning of tho eighteenth century; and another, 1706, in the possession of David
Laing; Esq.; a third, dated 1704, belonging to the Advocates' Library; and a fourth, 1715, the property of Mr.
Waterston, stationer in Edinbur^ It is probable that several old musio-bpoks in tablature may still be hidden
in the repositories of Scottish fiimilies of rank; and we would entreat the possessors of such books to rescue them
from oblivion and destruction, by sending them to some public library for preservation. We are convinced, that
many sueh books in tablature have been lost or destroyed within the last two centuries, through carelessness, and
from ignorance of their value.

PBINTED COLLECTIONS OF ANCIENT AND MODEBN SCOTTISH MELODIES.

OuB limited space prevents us from giving a complete list of these Collections. The reader will find their titles
snd dates given by Messrs. Laing and Sharpe in the Introduction to Messrs. Blackwood's edition of Johnson's
Museum, Edinbur^ 1889. We shall confine our list to a fow of. the most important modem Collections, aooom-
panied by such remarks as may seem appropriate.

JOHNSON'S BCUSEUM.- This is the earliest very extensive modem Collection of Scottish Melodies and Songs. It
was published at Edinburgh 1787-1808, and consisted of six volumes 8vo, containing 600 melodies vrith
songs adapted to them by various authors ; and among these, Robert Bums, the most distinguished of all
Scottish song-writers. A new edition of the work was published in 1889 by Messrs. Blackwood of Edin-
bur^ containing a Pre&ce and Introduction by David Lain^ Esq., and very valuable Notes and Illustrations
by hhn and by C. E. Sharpe, Esq., in addition to the Notes, &C., written by the late Mr. William Stenhouse.
The music and poetry were reprinted from the original plates engraved by Johnson. To each melody in
Johnson's Museum, there was nothing added in harmony, except a figured-bass for the harpsichord. The
harmony intended, was merely indicated in the usual vague and arbitrary manner, by the arithmetical
numerals;* and there were no introductory or concluding symphonies added to the melodies. The kind
liberality of the Messrs. Blackwood has enabled the Publishers of this work to avail themselves of those valuable
Notes and Illustrations above referred to ; and thus to render this new Collection much more interesting than
it could otiierwise have been.

NAPIER'S COLLECTION.— The next Collection of Scottish Melodies and Songs was that published by WHliam
Napier, in London, in two volumes, folio. The first volume, dedicated to the Duchess of Gordon, was published
in 1790. It contained eighty-one airs with songs, and the airs were harmonized by four pro essional mosicians.

• 8m OtihMtt'i Ely oa Mmical Oomporitlon for remarta on ttf ahmxd impwfBctfoM of flgar»d-lj»MML A. 4 C Stack, EdbitMii^ 1BS8L

X INTRODUCTION.

vli^ ]>r. 8. Arnold, William Shield, both Englinhmwi ; Thomat Caiter, an ixjahiniii; and F. H. B a rt h elam on,
a Ftvnehman, and eminent TioUnitt The hannonj coniiited of a figiired-ba» ton the haipaidiord, inih a
Tidlin aooompaniment. There were no introdnetoiy or ooncthidfag lymphoniefc The aecond Tolome was pub-
liihed in 179% defeated to the Dnehees of Tork, and contained 100 other Scottiih melodiei and aongi; the
whole of the ain harmooind bj that great oompooer Joeeph Ha jdn. In tUi, aa in the fbnt lolnme^ tiiere
wwe no vymphoniee; and tiiere was onlj a Tiolin aooompaniment printed along with the TQioe-pait» 9ad the
harpdehord>part with its ilgared-bass.

URBANTS (PIETBO) COLLECTION.— He was an Italian amger and masio4eaeher, settled fi>r some Tearsin
EdSnbori^ He died at Dublin in December 1816^ aged ($7. About the doee of last oentnry, he published
*■ A Meetion of Soots Songs, harmonised and improred, with simple and adi^yted graoee," &o. The work
extended finally to six fblio Tolomes, and contained upwards of one hundred and fiftj Scottish melodiee, with
their respectiTe songs. The Melodies were harmonixed bj Urbani, with an accompaniment for the pianoforte ;
the harmony filled up in notes for the right hand ; and the first four Tolumes hare, besides, accompaniments
for two Tiolins and a riola, all printed in icore, along with the Toioe-part. Each song has introductory and
concluding symphonies. The sixth Tolome is dated 1804. The Mooatf Tolume was entered at Stationers' Hall
in 1794 ; so that the /rti Tolume was probably published in 1792, or 1798, or eten earlier. The want of the
date of publication, in almost erery musical work, is a rery absurd omission, and often causes much difficulty
and perplexity to the musical antiquary. 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 us% fiur the first time, of introductory and concluding «ymphonios to the melo di e s.

THOMSOrrS (GEORGE) COLLECTION.— The Editor of this large and handsome work, in folio, was George
Thomson, Esq^ late of the Trustees* Office, Edinbur^i — stilHiringinawondeiftillyTigorousoldage. It^ypears
thai Mr. Thomson projected his work in 1792 — that he began his correspondence with Robert Buns in September
1792; in order to obtain songs from that remarkable man ; and that their conespcndcnoe ended in July 1796,
the month and year in which Bums died. Mr. Thomson engaged Pl^yd, Kosehidi, and Haydn, at diif ere nt
tiaea, and latterly BeethoTcn, Hummel, and Weber, to harmonise the melodies, and to compoee introductory
and concluding symphonies for them. In Mr. Thomson's wox^ the li^t-hand part tat the pianoforte was
wiitlMi by the composer, with the harmony filled up in notes, as it on^t to be played. Tfab was a great
teproTcment upon the fiirmer Tery uncertain system of figured-basses ; whidi were a kind of mnsioal short-
hand, fitted only for the use of the most skilfol harmonists snd practical nrasidans. Separate acoompamments,
&«., for Tiolin or fiute and rioloncello were added to Mr. Thomson's work. The Editor of the pr es ent Collection
lately requested BIr. Thomson to fomish him with some fnfonnatinn r eg a r din g the dates^ &a^ of the diffisrent
TolumeaofhisworiL BIr. Thomson was eo obliging as to write to him as ttOows : —

" 28th October 1847. AH that I can undertake to dc^ or whkh appears to ms necessary, is to diow you the
dale of pnblkatlQii of each Tolume or half Tohnne of my Scottish Airs and Songs, as entered at Stationers'
HaU — for which see next page — making six rdumes folio* fi>r the Toice and pxanoAnte, with separate symphonies
and accompaniments fi>r the Tiolin or fiute, and Tiokmcello ea c h Tohmie haTing an engraTod frontispiece^
beridta smaller engrared embellishments ; the symphonies and accompaniments cosnpoaed by Fleyei, Kosehich,
Bajdn, Bee t h oTe n, Hummel, and Weber ;--the songs written chiefiy, abore 100 of them, hj Bums, and the
last by OampbeQ, Sr Walter Scott, Profossor Smyth, Joanna BaiI]i^ &c

"Note of the dates of publication of Mr. George Thomson's ScottiA Airs and Songs, in six toIs. fi>Bo:—

*ToL l.--The 1st Book or half ToL of Airs and Songs, 25 in number, entered at Statknen* HaBJune 1798
2d Book of dow; together, a ToL, ...... August 1798.

*"ToL2.— .Tte8d and 4th Books of 80 Airs and ScBgi, .... July 1799.

«TeL8.-^TU6thand8^Booksof80do^ ..... Jufyl802.

"TeL4.--The7thand8thBookaof80do^ ...... Junel80&.

« ToL &-^The 9th and 10th Books, 88 demand 82 dos August 1818-1828.

«ToL8.--TUllAandl2thBook%cf50dos September 1841.

"IpnbSshed also an edition of these Airs and Songs te8bLTols.rqjal8fUbinteBdedfisrpenaBsitemi^
wiai^for oop&es aft a lower price than the folio.** (1822.)

WHTTFS (WILUAM) COLLECTIOy.--Publishedby WQliamWhytecf EcBnbvr^ inl808,intw«TQlnmei^fofia.
TU tisl Tobns^ de di ca t ed to Lady ChartoUe Osmpb^ contained foi^y Scottish melnines. ^ »^'" " **' i bj
J os e ph Bajdn fi>r the pianoforte^ Tiothe^ and TiolcneeDo» with k te o dn ct e iy and #— >*i»in^ ^ »| A if| ^^ ^ y^^
sseilediss> The second toIubm contained twm^y-fire mekkBes, also haimenised by Haydn.

SMITHS (K A.) COIXECTTON.— This work, edited by Mr. R. A. Smith^who was fisr some years piecoitar of
St^ Qeecfe'^Chux^£dinburgh--and by eome other persons not nsaed, consists of six T<Qls.8Ta TheAdrer-
tisansnt ta T«lu8se abcUi is dated January 1824, R contains ancient and asodem ScottUi Airs and Songs.
TW aoeompanissent for the lOancforte is printed in notes as it is to be ph^yed. There are no intrndactoty or

SCOTTISH SONGS

SCOTTISH SONGS.

THE FLOWERS OF THE FOREST.

OLDAXB.

ABmiVGED BT X r. CZABAIL

AsAGxa

FTe bcATd them liU - in'

n f M f J .". .' i

at the tw* milk - in',

" m a - Iflt-ia'ba - ton dawa of day.

J' rnui. I

THS FL0WRS8 OF THI FOBBST.

At boghts in the momin*, dm blithe lads are scorning

Lasses are lanely, and dowie» and wae;
Nae daffin, nae gabbin, but sighin' and sabbin*;

Ilk ane lifts her leglin, and hies her awaj.

At e'en in the gloamin*, nae swankies are roamin*
'Bout stacks in* the lasses at bogle to play ;

But ilk maid sits drearie, lamentin' her dearie^
The Flowers of the Forest are a' wede awaj.

In har'st at the shearin*, nae youths now are Jeering
Bandsters are runkled, and lyart, or grey;

At lair or at preachin*i nae wooin' nae fleediin'.
The Flowers of the Forest are a' wede away.

Dool ibr the order sent our lads to the Border,
The English for anoe by guile wan the day;

The Flowers of the Forest that fought aye the foremost^
The prime of our land lie canld in the day.

Well hae nae mair intin' at the ewe miUdn*,
Women and bairns are heartless and wae;

Sighin* and moanin* on ilka green loaning
The Flowers of the Forest are a* wede away.

'* Tns nowsBS ov thz forest.*' The earliest known copy of this fine melody is that, in tablature, in the Skene
US., preserved in the library of the Faculty of Advocates, Edinburgh ; and which appears to have been written
in the earlier part of the seventeenth century. The copy above printed, (by permission,) is from the translatioa of
the Skene MS. made for the late Mr. William Dauney, Advocate, by the Editor of this work, and which appeared
in Mr. Dauney's Ancient Scottish Melodies. The old ballad, a lament for the disastrous field of Flodden, has been
lost, with the exception of a line or two, incorporated in Miss Elliot's verses. Its place has been well supplied l^
the two lyrics which we give in this work, adapted to the ancient and the modem versions of the air. The earliest
of tliese, that beginning *' I've seen the smiling," (see pp. 4, 5,) was written by 'Mlaa Alison Rutherfbrd, daughter
of Robert Rutherford, Esq., of Femylee, in Selkirkshire, who was afterwards married to Mr. Cockbum, son of the
then Lord Justice-Clerk of Scotland. The second in point of time was that which we have given above. It was
written by Afiss Jane Elliot, sister of Sir Gilbert Elliot of Blinto, and was published anonymously about 1755.
" From its dose and happy imitation of andent manners, it was by many considered as a genuine production of
some old but long-forgotten minstreL It did not however e8cai>e the eagle eye of Bums. ' This fine ballad,' says
he, ' is even a more palpable imitation than Hardiknute. The mannen are indeed old, but the language is of yet*
terdi^. Its author must very soon be discovered.' " — Bdiqnes, It was so ; and to Mr. Ramsay of Ochter^ji%
Sir Walter Scott, Bart, and the Rev. Dr. Somerville of Jedburgh, we are indebted for the discovery. See Black-
wood's edition of Johnson's Musical Museum, in 1839, voL L, Illnstrations, p. 64 <l uq^ and p. 122 tt Mg.* Alio
Danney's Andent Scottish Mdodies p. 152 of Dissertation, <l paaam.

• Tc «iT« tocn. fkitart reftrenee to Hmm *' niaHntUoas** wiU be abtetriattd that :-** Mi

ftfddiic tbe

eadpice

SCOTTISH 80N08.

THE FLOWERS OP THE FOREST.

AMMASnWD BT T. v. MUIMB.

I't* teen th« imi • ling of For - tune b« - gnil - ing, I've ftlt aU its & - Ttran, and

found its de - cay :

kind its ea - nti - ing. But

THB FLOWERS OF THE FOREST.

dor - ned the fore - most, With flow - en of the &ir - est, moet plea • tent and gmj, 8m

bon • nj was their bloom - iog, their scent the air per - fti - ming. But now thej are wi - ther-ed and

a' wede a - way.

Tve seen the morning with gold the hills adorning^
And the dread tempest roaring before parting daj ;

Fve seen Tweed's silver streams

61itt*ring in the snnnj beams,
Grow dmmlie and dark as they roll'd on their way.
O fickle Ibrtune I why this cruel sporting ?
why thus perplex us, poor sons of a day?

Thy firowns cannot fear me,

Thy smiles cannot cheer me,
For the Flowers of the Forest are withered away.

''Thb tlowbss ov ths torist/' In our ^ote upon the old air, we have already mentioned Bifiss Rutherfbrdv
the authoress of these verses. She was bom in 1710 or 1712 ; married Patrick Cockbum, Esq., of Ormistont in
1731, and died at Edinburgh in 1794. Sir Walter Scott recounts the following anecdote of her : — ** BIrs. Cockbom
was a keen Whig. I remember having heard repeated a parody on Prince Charles's proclamation, 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. Cockbum was returning from a visit to Ravelstone was stopped by the ffighland guard al
the West Port ; and as she had a copy of the parody about her person, she was not a littie alarmed at the oonse-
quenoes ; especially as the officer talked of searching the carriage Ibr letters and correspondence with the Whigp
in the dty. Fortunately the arms on the coach were recognised as belonging to a gentleman IkYourable to tha
eanse of the Adventurer, so that BIrs. Cockbum escaped, with the caution not to cany political squibs about hu
person in ftitnr^. In the 3d and 15th bars a simpler form of the melody is offered as worthy of consideration*

SCOTTISH sova&

WILL YE GO TO THE EWE-BUGHTS, MARION!

Bra V.

Wm yt

WILL YB GO TO THE BWK-BXJGHTS, MARION?

Jii^ J .

nae half aae sweet at

thee!

Marion's a bonnie lass,

And the blytbe blink's in her e*e ;
And fiiin wad I marry Marion,

Gin Marion wad marry me.

There's gowd in your garters,* Marion,
And silk on your white hause-bane ;

Fa* fiiin wad I kiss my Marion,
At e'en, when I come hame.

There's braw lads in Eamslaw, Marion,
Wha gape, and glow'r* wi' their e'e.

At kirk, when they see my Marion ;
But nane o' them lo'es like me.

Tre nine milk-ewes, my Marion,
A cow, and a brawny quey ;♦

111 gi'e them a' to my ^Iiurion
Just on her bridal-day.

And ye'se get a green sey* apron.

And waistcoat o' the London brown ;
And wow but ye will be Tap^rin*

Whene'er ye gang to the town

Fm young and stout, my Marion ;

Nane dances like me on the green :
And gin ye forsake me, Marion,

m e'en gae draw up uri* Jean.

Sae put on your pearlins,* Marion,

And kyrtle o' the cramasie ;^
And soon as the sun's down, my Marion,

I shall come west, and see ye

• " At the time wfatn the ladlet wore boope, they alio woie flndy embroidned gMten for exhibition ; beerase^ mp^daBj In daadi^ the

hoop often ihelred ailde, and ezpoted the leg to that height'*— B. CBAXBxaa. (See Traditioni of Edinbnrgfa, toL iL p. 57.)
s Stare. « Heifer. • A home-made woollen ctnff. * Ornaments of laoe» (JU perU, hard twisted thread.) 7

« Will tx go to thx ewb-bvghts, 2^Ia&ion ? " The song and the air appear to be both old. The song is mirked
in Ramsay*8 Tea-Table Miscellany (1724) as an old song with additions. It cannot now be ascertained who wrote
the song, or who composed the air ; but it seems very erident that the air has been hitherto wrongly giren in its
notation in all printed copies ; and there is no existing ancient MS. containing the air to which we can refer. The
printed copies of the air gire an unrhythmical melody, not suitable to the beseeching expression of the song. The
prominent word and name '* Marion," (pronounced as two syllables, **Manm^") is associated with short and jerking
notes, which, besides being iU suited to the words, throw the melody into an irregular rhythm. In the present
edition, the air is reduced to reg^ular rhythm, without changing one of the sounds of the received melody ; while
it is believed that the original melody is thus restored in its true supplicatory accentuation and emphads on the
word " Marion^^ Any good singer who tries the present set, will at once perceive the improvement in point of
expression and of rhythmical construction. As to this point, we are willing to abide by the opinion of all the best-
educated musicians of Europe. That there was extreme carelessness and ignorance on the part of the persons
who noted down our old Scottish melodies in MS. books, we are prepared to prove from the oldest MSS. of our
airs existing. In many cases appears barring at random, without the slightest regard to the true rhythm and
melodic structure of the airs ; and with no indication whatever of the relative duration of the sounds indicated by
the letters of the old tablature. In cases of this kind, rational interpretation must be used. It does not fbUow,
that because an air is wrongly noted, or tablatured, by ignorant writers, the air is wrong in its true and original
form. In Thomson's Orpheus Caledonius (1733), we find an air under the title of " Will ye go to the ewe-buohts/*
bearing a remote resemblance to the generally received air, and which a£fords a proof of the strange transforma-
tions that old Scottish melodies have undergone in passing through the hands of different editors. It la in a
pseudo-major key, while all the other old sets we have seen are minor, and is by no means so vocal or melodious
as our version, but agrees with it in rhythm.

Dean Christie, in his beautiftd volume of Traditional Ballad Aim and BaUada (1876), gives both a major and a
minor version of the melody as simg in the north to the " Lord of Gordon's three daughters," a ballad belitved
to relate to the times of Mary of Scotland.

SCOTTISH S0V08.

^^^^«

WALY, WALY.

BT C K. MC90L

:=:«3

O WALT. WALTt.

^^m

f ,/; |J-;: ^^

trnt - ty tree; But Arst it bow'df an' ijn« it hnk: And lae did mj trn«

u i ii;

=/-^^ ^-p

\j« V * — i

love to me.

walj, walj, but love be bonnie

A little time while it ia new ;
Bat when it's anld it waxes eanld,

An' Ikdes away like the momin' dew.
wherefore shoold I busk* my heid,

Or wherefore should I kame my hair ?
For my tme love has me forsook.

An* says hell nerer loTe me mair.

Now Arthur's Seat shall be my bed.

The sheets shall ne^er be press'd by me,
St. Anton's Well shall be my drink.

Since my trae love has forsaken me.
Martinmas wind, when wilt thon blaw,

An' shake the green leaves aff the tree !
0, gentle death, when wilt thon come t

For o' my life I am wearie.

> An •xriimatlftn of dlitif ATm.

Tia not the frost that freezes fell.

Nor blawin' snaw's inclemende ;
Tis not sic canld that makes me cry :

But my loTe's heart 's grown canld to
When we cam' in by Glasgow tonn.

We were a comely sicht to see ;
My loYe was clad in the black TelTet,

An' I mysel' in oramasie.'

But had I wist, before I kiss'd.

That love had been sae ill to win,
rd lock'd my heart in a case o' gold.

An' pinn'd it wi' a siller pin.
Oh, oh I if my young babe were bom.

An' set upon the nnrse^s knee^
An' I mysel' were dead an' gane.

An' the green grass growin* oTer me I

'Dran. axnnge, adora.

^Czimion.

*< WALT, WALT." In Mr. Robert Chambers' Scottish Songs, there is a Note upon *^ Waly, walj," firom whidi
we c^Te the following passage : — *' This beautiftil old song has hitherto been supposed to refer to some oiream
stance in the life of Queen Mary, or at least to some unfortunate lore a£fair which happened at her Court It ia
now disooTered, from a copy which has been foimd as forming part of a ballad in the Pepysian library at Can^
bridge, (published in Motherwell's K&nstrelsy, 1827, under the title of ** Lord Jamie Douglas,") to have been
occasioned bj the affecting tale of Lady Barbara Erskine, daughter of John ninth Earl of Mar, and wife of James
second Blarquis of Douglas. This lady, who was married in 1670, was divorced, or at least expelled from the
sodety of her husband, in consequence of some malignant scandals which a former and disappointed lover, Lowrie
of Blackwood, was so base as to insinuate into the ear of the Marquis." Her fkther took her home, and she nerer
again saw her husband. Her only son died. Earl of Angus, at the battle of Steinkirk.

The air is beautiful and pathetic. It is undoubtedly ancient, and though its date cannot be ascertained, most
be considerably older than the ballad mentioned above. The simplicity of the original has been spoiled 1^
several flourishes introduced into it by tasteless and ignorant collectors. M*Gibbon, Oswald, and others*
have much to answer for in the matter of pseudo^mbellishment of our finest old airs. We have removed
from ** Waly, walj," the absurd trappings hung about its neck by these men.

SCOTTISH aONOB.

TAK TOUR AULD CLOAK ABOUT YB.

ASmASOSD BT T. M. MCUB.

In win - ter, wh«n the rain nin'd eaold, An' froit and maw on ilk - a hill. An*

i.V i '''' l -^-j^^

Boraaa, wi' hit blasU lae banld, Wat tbreafning a' oar kya to UII9 Then BeQ, my wilis, wha

TAK YOUK AULD CJLOAK ABOUT YE.

h^^^N^^^

Cmmmie's life.

An' tak jour auld doak a • boot je.

i iTt"'' ti D ii r i j

asE^

^^3

Mj Crummie is a usefti* cow,

An' she is come o' a gude kin' :
Aft has she wet the baims's xnon',

An' I am laith that she should tyne ;
Get up, gudeman, it is fti' time,

The sun shines in the lift sae hie;
Sloth neTer made a gracious end,

Gae, tak your auld cloak about ye.

My cloak was ance a gude grey doak,

\Yhen it was fitting fbr my wear ;
But now it's scantly worth a groat.

For I hae wom't this thretty year.
Let's spend the gear that we hae won.

We little ken the day well die;
Then Fll be proud, sin' I hae sworn

To hae a new cloak about me.

In days when gude king Robert rang,

His trews they cost but half-a-croun ;
He said they were a groat o'er dear,

An' ea'd the tailor thief and loon :
He was the king that wore the oroun.

An' thou'rt a man of laigh degree ;
It's pride puts a' the country doun ;

Sae tak your auld cloak about ye.

> Law, custom, pnnlege. — Jamiopn.

Uka land has its ain lauch,^

nk kind o' com has its aiu hool :
I think the warld is a' gane wrang.

When ilka wife her man wad rule :
Do ye no see Rob, Jock, and Hab,

How they are girded gallantlie.
While I sit hurklin i' the asse ?*

Ill hae a new cloak about me !

Gudeman, I wat its thretty year

Sin' we did ane anither ken;
An* we hae had atween us twa

Of lads an' bonnie lasses ten :
Now they are women grown an' men,

I wish an' pray weel may they be ;
An' if you'd prove a gude husband.

E'en tak your auld cloak about ya.

Bell, my wife, she lo'es nae strifb.

But she would guide me, if she can ;
An' to maintain an easy life,

I aft maun yield, though Fm gudeman :
Nocht's to be won at woman's han',

Unless ye gi'e her a' the plea ;
Then HI leaye aff where I began.

An' tak my auld cloak about me.

* A»bc»— by th« fire.

*' Tak youb attld cloak about ts." England and Scotland have each a version of this ballad, but there
is this great distinction between them, that while the latter has been sung time out of mind, the former has
long ceased to be a living thinff. Indeed it may be doubted whether it ever was generally known. Surely
if once spread among the people, so excellent a song would have been heard of in some way. Yet we do
not find a line of it, nor an allusion to it in the large collections of black-letter broadsides — tiie Roxburgh,
Bagford, and others — ^nor yet in the Drolleries of the Restoration ; not even in D'Urfey's Pills and the
numerous ''Merry Musicians" and other song-books of Queen Anne and the early Georges. With the
exception of one stanza embalmed in Othello, all knowledge of the ballad in England hiul entirely dis-
appeared ; and but for the accidental preservation of Bishop Percy's folio MS., an English version of it
could not have been even surmised. That it was not printed in Scotland before 1728 is quite true, but
as it was not known in England either then or for a century before, it must have been floating about in
Scotland probably from the times of James vl, handed down by tradition, and of course modernized in the
process. Late aa is the date of Allan Ramsay's version, it is nearly forty years earlier than that which
Bishop Percy printed in the Belujues. He there points out that the folio MS. copy is not without cormp-
tions, but that these had been removed by the aid of the Scottish edition. These corruptions chiefly alluae
to going to court ; they spoil the story, and their faulty rhymes show they are mere interpolations. As
a oomparisoD of the two versions would require more space than we have here at command, we close with
a quotation from Mr. Ebeworth, the highest authority upon such subjects : — " Tak thy auld cloak about
thee, claimed as being Scottish, scarcely possesses external evidence to warrant the assertion. That it was
originally a northern song, >.e. one that was sung and popular in the northern counties of England and
the southern counties of Scotland there need be no question. In literature and folklore, in ballad leg«Mls
and romances, the whole of the ancient Northumbria held common property."

SCOTTISH SONOS.

^^^^^^^^^*if*^^^m^^^^0^^^ *» '

THE SOUTEES 0' SELKIRK.

▲BftASOBD BT mLAT OOII*

[L-AinLM

Souten o' Sel - kirk. And down wi* the Earl o* Home ; And her* is to

±:

rP-ftl^ o

■^-h

+-^

It'i np wi' the Son • ten o* Sd • kirk. For they an btith tnw • tr and

r^=^

^TTi*-

SI2

TU£ S01;T£RS O' SETiKIHK.

And up wi' the Udi o' the

For - est,' And down wi' the

It's fye upon jellow and yellow,

And fye upon jellow and green ;
But up wi' the true blue and scarlet,

And up wi' the single sol'd sboon.
It's up wi' the Souters o' Selkirk,

For they are baith trusty and leal;
And up wi' the men o' the Forest,

And down wi' the Merse to the deU.
1 SelkixlBBhize. othtrwiM called Ettiick Forat

1 mitres are made fbr noddles,

But feet they are made for shoon.
And fkme is as sib to Selkirk,

As licht is true to the moon.
There sits a souter in Selkirk,

Wha sings as he draws his thread.
There's gallant souters in Selkirk,

As lang's there's water in Tweed.
• Berwkkihin, otiMTwiteoAOcdthe H«

** Tbm Soutibs o' Selkirk." Mr. Steohouse quotes as follows from Sir Walter Scott : — " The song relates to the
iktal battle of Flodden, in which the flower of the Scottish nobility fell around their soTereigny James TV, The
tndent' and received tradition of the burgh of Selkirk affirms, that the citizens of that town distinguished them-
aelyes by their gallantry on that disastrous occasion. Eighty in number, and headed by their town-clerk, they
Joined their monarch on his entrance into England. James, pleased with the appearance of this gallant troop,
knighted the leader, William Brydone, upon the field of battle, from which few of the men of Selkirk were destined
to return. They distinguished themselres in the conflict, and were almost all slain. The few surviyors, on their
return home, found, by the side of Lady-Wood Edge, the corpse of a female, wife to one of their fidlen comrades,
with a child sucking at her breast. In memory of this latter eyent, continues the tradition, the present arms <rf
the burgh bear, a female, holding a child in her arms, and seated on a sarcophagus, decorated with the Scottish
lion; in the back-ground a wood." See Border Minstrelsy. Sir Walter Scott and Mr. Stenhouse, by documen-
tary eyidence, refhte Ritson's assertion that the Souters of Selkirk could not, in 1518, amount to eighty fighting
men; and also Dr. Johnson's Aberdeen story, that the people learned the art of making shoes from Cromwell's
soldiers. Scottish Acts of Parliament are quoted relative to ** Sowters " and **oordoners," t.^., shoemakers, and
the manufacture and exportation of boots and shoes, long before Cromwell was bom. Also, it is shown that the
appellation of ** Souters " is given to the burgesses of Selkirk, whether shoemakers or not, *< and appears to have
originated ftt)m the singular custom observed at the admission of a new member, a ceremony wliich is on no ac*
count dispensed with. Some hog-bristles are attached to the seal of his burgess ticket ; these he must dip in wine^
and pass between his lips, as a tribute of his respect to this ancient and useful fraternity." — Stenhouse. Mr.
Maidment, in an exhaustive review of the whole of the evidence (Scottish Ballads, 1868, i. 117), agrees with
Sir Walter Scott that the ** Souters" were present at Flodden^ and that the song relates to that rather than to
any football match, "for which neither place nor period can be assigned."

The air has all the rough energy of the Border. It is not found in any Scottish collection earlier than that of
Adam Craig, 1730 ; Playford, however, gives it as a " Sooteh Hornpipe " in Apollo's Banquet, 1690.

SCOTTISH 80508.

O THOU BEOOMl THOU BONNIE BUSH 0* BBOOMt

AIB, ^'TBJt UBOOM & tME OCfWOEMKMOWEL

= 63

— &}

j; j'j ^j^J:^_uj ^ 1 1 I J I

thoa and ft— - dom flourUhM ay, Where Soo - tia*t loiit ere freel

O TUOU BBOOM ! THOU BOKKIU BUSH O' BROOM!

•s^^^^^h *%^^^»'^^^^r^r^r>^>^v

thoa broom, thoa bon - nie, bon - nie broom!

When wilt thou, thou bonnie bush o' broom.

Grow on a Ibrdgn strand ?
That I may think, when I look on thee,

I'm still in loTed Scotland !

Bat ah ! that thought can nerer more be mine

Though thou beside me sprang,
Nor though the Untie, Scotia's bird,
• Should foUow wi' its sang

Thy branches green might wave at e'en,
At mom thy flowers mi^t blaw ;

But no to me, on the Cowdenknowes,
Nor yet by Ettrick-shaw.

thou broom, thou bonnie bush o' broom I
Sae sweet to memory ;

1 maast could weep for days gane by

When I think ou days to be.

*' The broom o' the Cowdenknowes." This is a yery ancient and beautiful air of one strain. The
sonff, to which the tune was originally united is, with the exception of the chorus, supposed to be lost.
Wiw regard to the melody given in this work, it is necessary to remark that in the Orpheus Caledonios
(1725) and the older Scottish collections the air begins on the second note of the scale, while in Playford's
Dancing Master (1651) it begins on the fifth, and in Watt's Musical Miscellany and some other works, on
the keynote itself. There is no doubt that the commencement on the second of the scale brin|;8 out a more
pathetic expression, and a passage more characteristic of some peculiarities of Scottish national melody.
That commencement has therefore been adopted in this work, while the more usual commencement has not
been rejected, but is given at the ninth measure, where a second, and, in our opinion, more modem version
of the air begins. The last two measures are an addition sometimes introduced to make the air end on the
tonic or keynote. The beautiful verses here given to the air are by Robert GilfiUan — (1849).

Mr. Chappell (Pop. Music of the Olden Time) suggests that the air is probably the same as "Brume on
hill,'* which Laneham, in his letter written on Queen Elizabeth's visit to Kenilworth, 1575, mentions as one
of Captain Cox's "Bunch of ballads." But as there is no extant copy of "Brume on hill,*' evidence of
identity is meanwhile wanting. The same name is given in The (Domplaynt of Scotland (1549) to one of
the songs sung in parts by the shepherds and their wives ; from which we think it may be inferred that
" Brume on hill " was a setting of the words in the scholastic style of the time, rather than a melody.
Among other proofs that the air is T^gl'^b^ Mr. Chappellpoints out that the oldest song to ^t is a black-
letter broadside (Roxburgh Ballads, i. 190), called "The Lovely Northern Lass," but the title adds, " To a
pleasant Scotch tune called The broom of (Ik>wdenknows ;'* and the burden or refrain is —

" With oh ! the broom, the bonny bonny broom. The broom of the Cowdenknowes,'*
which clearly shows that though the English ballad is really the earliest song extant to the air, yet there
was a still earlier Scottish song which supplied the refrain ; for we cannot suppose an English ballad- writer
to hare known anything of the Cowdenknowes. The air as given by Playford, 1651, is so tame, so common-
place, that it seems impossible to believe that version could ever have enjoyed any popularity with ballad-
singers. Its sole redeeming bit of character is that it closes on the second of the key, " like a Scotch tune
that never comes to cmy reasonable ending^** to quote an opinion of that notable housewife, ^Lrs. Poyser.

flUUTTIRB SOVOa.

t^^0^f*^^^m^^0^f^0^0ttam^t^

I'LL NEVER LEAVE THEE.

4pnAwn«n BT T. IL MUSB.

▲irnAim
omt

I'LIi SKTBB LBATE THER.

Lifb*8 storms may mdel j blow.
Laying hope and pleasure low :
I'd ne'er deeeire thee;
I coold nerer, nerer leare thee !

Ne*er till my cheek grow pale,
And my heart-pohes fkil.
And my last breath grieye thci^
Can I eTer, erer leave thee !

Til vevek l£at* thsb." This beautiftil air is imqnestionably Tery old. Sibbald (Chronicle of Scottish
Poetry, toL iiL p. 276) is of opinion that the modem Tersion of it is a little eormpted, and thai the original air
was intended to be snng to one of Wedderbume's Spiritoal Ballads, (before 1549,) beginning, —

** Ah ! my love ! leif me not .*
Leif me not ! leif me not !
Ah ! my lore, leif me not.
Thus mine alone !"

Although Mr. Stenhouie agrees in this opinion, we doubt whether its truth can be established by any exist-
ing eridence. (See " Low doun in the broom/') Mr. Stenhouse's words are : — '* This (Sibbald't) opinion
appears to be correct, for tMs identical tune is mentioned in Qeddes' ' Saint's Recreation, ' written in 1678, as
appears from the approbations of the Rct. William Kaitt, and the Rer. William Colfill, Primar of the College of
Edinburgh, both of which are dated in August 1673. This work was afterwards printed in 1688. Sereral of Geddes'
pious socgs are directed to be sung to popular tunes, and he Tindicates the practice in the following words : — ' I
bare tbo precedent of some of the most pious, grave, and zealous dit-ines in the kingdom, who, to very good purpose,
have composed godly songs to the tunes of such old songs as these, The bonnU hrof m, ni never leave thee, We*U all
gopuU ihe Jiadder, and such like, without any challenge or disparagement' '* 8ee Museum Illustrations, toL i.
pp. 98, 94. In Mr. William Daun^y's Dissertation, p. SS. there \n a longer qaotation from Geddes. The following
passage of that quotation is too curious to be omitted : — ** It is alleged by some, and that not without some colour
of reason, that many of our ayres or tunes are made by good angels, but the letters or lines of our songs by derils.
We choose the part angelical, and leare the diabolical." The set of the air which we publish is chiefly taken from
that giyen by Francis Peacock, No. 15 of his ** Fifty fliTourite Scotch Airs," dedicated to the Earl of Errol, and
printed in London about 1776. It is, in our opinion, much superior to the ordinary rersions, which hsTs been
corrupted by the insertion of embellishments sJtogether destructire of the beauty and simplicity of the ancient
melody. Peacock was a dancing-master in Aberdeen, and a good player on the riolin and riolonoello. As the
words usually sung to the air do not conform to it in their accentuation, and re<)uire besides an addition to the
second strain, at Tariaaco with the rhythm, we haTc substituted other words written for this work bj a Criand of
the publishart.

SCOTTISH SOKOS.

•>^^^^^^^^^,

*•*%

BONNIE WEB THING.

AiiAiioiD wt J. T. tumnan.

f =108

AsDAsns
Ajfsttuom).

Fine.

would wear thee in m/ bo - som, Lett my jew - el I ihcold tine.

#■

i i i i i ' 4 ^ 1

1 — r

^14^

■«-

^ •T7 I

r ^ r r

■:t

Wieh - ftil - ly

look

and Ian • gnish.

In that bon • nie

BONNIE WEE TIIINQ.

10' FinUh icitii the first strain.

In the ibUowiog ttanu the firtt four lines are nmg to the lecond part of the air, and the burden or eboroi to thefint part

THt and grace, and love and beauty,

In ae constellation ahine I
To adore thee is my doty.

Goddess of this soul o' mine.
Bonnie wee thing, cannie wee things

LoTely wee thing, wert thou mine ;
I wad wear thee in my bosom,

Lest my Jewel I should tine.

" BoN5ii WEB THiNO." Mr. Steuhouse informs us that ** These Terses, beginning * Bonnie wee thing, cannie
wee thing,' were composed by Bums, as he informs us, on his littU idol, the charming lotdy Datia, — Rdiquu,
The words are adapt^ to the tune of ' The bonnie wee thing,' in Oswald's Caledonian Pocket Companion, book
▼liL" See Museum Illustrations, toL It., p. 320. In the MS. Lute-book of Sir Robert Gordon of Straloch, dated
1627-9, there is a tune called ** Wo betyd thy wearie bodie," which contains the rudiments of the air, ** Bonnie
wee thing." That lute-book was sent to the Editor in January 1839, in order that he might translate and tran-
aeribe from it what he pleased. The original has disappeared since the sale of the library of the late Mr. Chalmers
of London, to whom it belonged. What the Editor transcribed from it he has sent to the Library of the
Faculty of Adyocates, Edinburgh, for preservation.

We subjoin a translation of the air *' Wo betyd thy wearie bodie," abore alluded to : —

ifi^r:rl!rrl

r i' ri'' r f

SCOTTISH SONGS.

AN THOU WERE MY AIN THING.

moderatx

WITH MUCH

Fexuno.

EzE

▲RBAXOED B7 A. a MACXISZZX.

1. An thon wert my

'^^^^m m

thing, I would Ioto thee, I would love thee ; An thou were my

F=f

r f

a=t

&-t=f

zJztQ =i

CTtB,

Fini time only,

■\ <^

zj-^-i-'^— 3

C7o«e of every ttanza.

•in thing. How dear - ly would I

loTe thee. 1. Then ^ lore thee.

Symphimy c^Ur each ttamcL

l8t, 2d, 3d, and 4th times.

Lcuttime,

1 Continue from the top of next page, where all the other tUnas beHn.

AN THOU WBBB MY AIN THING.

■«^k^b^h/%^^^^ .

„ f appaasioncUa,

1. I would clasp thee in my arms. Then I 'd secnro thee from all harms, For a -

2. race divine thou needs must be. Since no - thing earth - Ij e - quals thee ; * With

^^^^

•c^

ritard.

a tempo.

Finisli with the refrain, w.

bove [all] mor-tals thou hast charms, Hoir dear - Ij do I

an - gel pi - ty look on me/ Who on - I7 lives to

love
love

thee,
thee.

a tempo.

To merit I no claim can make,
But that I love, and for thy sake
What man can do I *11 undertake.
So dearly do I love thee.
An thou were, eta

The gods one thing peculiar have.
To ruin none whom they can save.
Oh ! for their sake support a slave.
Who ever on shall love thee.
An thou were, etc.

My passion, constant as the sun,
Flames stronger still, will ne'er have done.
Till fate my thread of life have spun,
Which breathing out I '11 love thee.
An thou were, etc.

** An thou WEBB MT Ais THiKO." The earliest known version of the air has been found in the Straloch
MS., written by Robert Grordon in 1627. It consists of a single strain of eight bars, and has two florid
variations. Like many of the airs given in these old lute-books, it is stiff and unvocal ; this may be partly
attributed to its having been written for an instrument where harmony is a feature quite as much as
melody, and partly to the taste, or want of taste, of the writer. A century later (1725) we find a better
version in the Orpheus Caledonius. So old did Thomson, the editor of that work, believe the air to be,
that he ascribes its composition, as well as that of six other tunes, to David Hizzio. He withdrew this
statement in his second edition ; but such is the vitality of the absurd fiction, that we occasionally find it
gravely quoted even in our own times. There is not a shadow of proof that Hizzio either did or could
compose anything. If he did, it would be in the style of France or Italy, and it may be doubted whether
Queen Mary herself would have appreciated any other music. We must not forget that she quitted
Scotland when little more than five years of age, and returned Queen-Dowager of France, a widow of
nineteen, with all her tastes formed, and every association and recollection connected with a more civilized
country than her own.

The words appeared in Ramsay's Tea-Table Miscellany in 1724. The letter X is affixed to them, but the
author remains unknown. Ramsay added several stanzas, but they are never sung.

SCOTTISH 80N08.

JOHN ANDERSON, MY JO.

= 96

Amdastm

A PZACBB&

AUUHOID BT T. K. MUDOL

qnent, Your locks were like the

Ten, Tour bon • nie brow

M- ^4 - JH

* siometimes aong, "Bat now yon 're tnminf aold, John.'

JOHN ADTDBBSON, UT JO.

^^^^^^^^^^^kmmmmm •^m^mi^mm ^ m^'^^^^m^^ ^' ^^m^^m

John Anderson, my jo, John,
We clamb the hill thegither,

And monj a canty* day, John,
We're had wi' ane anither ;

1 High, ttnlg^t, smooth.

• 3aJd.

Now we maun totter down, John,
But hand in hand well go,

And well sleep thegither at the foot,
John Anderson, mj jo.

s Cbeeiftil, h^py.

"John AlNDSRSON, mt jo.*' This air must be very old. It occurs under the same name in the Skene
MS. ; but the set there given (see No. 7 of Mr. Dauney's edition of that MS.) differs considerably from
the modem sets. In the latter, the first two bars throw the air at once into a minor key, and the next
two bars pass to the subtonic of that key ; while the former has a remarkable vagueness of key in the first
two bars of the melody. This vagueness of modulation in the set given in the Skene MS. savours of some
old Romish Church chant, and seems to attest the greater antiquity of that set. The air is thus shown
to have been known and popular in Scotland under its present name for two centuries and a half, yet
there seems to be a doubt whether it did not come to us from the South, and originally as a quick tune.
If so, it has suffered no damage in the transplanting. In the first edition of Playford's Dancing Master
<1651), it appears as Paul's Steeple, a name which Mr. Chappell connects with the destruction by lightning
of that tallest of spires in 1561, and also with a ballad written on the occasion, which, ho says, " seems
intended for the tune. " The words of this ballad can no doubt be sung to the air, but it requires a good
deal of the ballad-singer's coaxing to do so. The tune was also, and perhaps more generally, known in
England under the name of "The Duke of Norfolk," from a song frequently sung at harvest-homes, and
which is shown to have existed at least as early as 1620. The version given by Mr. Chappell (Popular
Musio of the olden time, 120), though far from being identical with that of the Skene MS., yet bears so
great a resemblance to it, that no musician would deny they had sprung from the same source. As to the
assertions that the words of John Anderson are to be found in Bishop Percy's ancient MS., and that the
tune is in Queen Elizabeth's Virginal Book, they are equally unfounded. Mr. Stenhouse first made these
statements, and his copyists have repeated them without examination.

The stanzas written by Bums for Johnson's Museum in 1789, are those which we give to the air. Other
additional stanzas have been published ; upon which Dr. Currie makes the following just observation : —
" Every reader will observe that 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 production of Bums. " It is certainly
far short of literary honour and honesty in any man to attempt to pass off, upon public credulity, bis own
spurious verses as the x^roduce of a great poet. Bums has suffered much injustice of this kind.

SCOTTISH SON-OS.

AY WAKIN', 01

AXSAHOCD ST T. K. XVHI.

ralL

?E=:f=

J^^j\ > ^ Jl

A/ wa • kin', 01 Wa • Idn' ay, an' ear • ia; Slaap I can • na gat For

iarj^aj

ro/Z.

^ ' ff * ~^ - 1? ^

■^^

B-c-i ^^ .'Wj-4

A' tha lava^ are aleep - in', I think on my bon - nia lad. An' blear' my can wi' greet -in'.*

AY WAKIS', Ol

:i=»^

link - In' nn mj d«tr - It. Aj wm - tin', 1

Ay wakin', 1 *c,
Wh«n I ileep I dre&m,

Wlien I w»k« I 'm eerie ;
Bert I CAiina get

For thinkin' o' my dauie.
A.J wakin', 1

Ay mJcin', ! to.
Sinuner '■ a pletMut time,

Flowert of every colour j
The water mm o'er the hmgh.

And I long for my tme lover.
Ay wi,kin', 1

" At VAKxa*, f AHui Caimiiighui], in his Songs of ScoUaad, toL IL p. ZSl, imjw of " Ay wkUh', f—
" Thia Mng it tha work of MTCral hftoas, ud thCFQgh tome of It i* very tndent, It hu bcsD m often touched and
retonched, th»t it ia not saay to ihow where tha old ends or the new commences. Mort of the chonu it certainlj
old, Mtd part of tha aecond Terse." Tha woida we have adopted are part of thou ^Tcn by Mr. otenhoose, in toL
lit pp. 206, 207 of the Mnaennit, ai " all that is known to esiit of the originil Teraea." We gin >bo the fooT linea
added by Boms to the old words. They offer tome variety to the singer, who moat, however, repeat, befbte
and after them, the tour lines, " Ay wakin', 1" £c., tn order U> anit the mnsio. Hi. Stenhonse ^vet also a
veraioD of what he coUa " the ancioit air," thongb be does not tell ns where ha fbnnd it, and, consMpiently, offen
no proof of hia asaertion. Ha aayi : " In Mr. Qeorga Thomson's Collec^aD of Scottish Songs, the air of ' Ay
wakin', 1 * ia enlarged ao as to flniah on the key note, and the time changed from triple to common. The tlmt^
however, la fiir better in its native wildness and simplicity : both Tytler and Ritson were of opinion that this air,
from its intrinsic evidence, was one of onr oldest melodies, and I tee no reason to differ from them." The form
which tha air has sasnnied within the lost thirty years hat now taken poettstion of the popular ear, and we aball
not try (o displace it. Tbe latter part of tha air mutt remind the reader of the oooelntlon of " Qal* Water,"
whioh will be fonnd in a fhtore page. In May 1TS6, Bnma wrote fbr Mr. George Thornton a aong " On Chlorb
being ill," to the tone " Ay wskin', O," beginuiDg — "Long, long the night," and which appears in an altered
torm in Mr. 0. Thomson's Collection. — The following is what Mr. Stenhonse gives aa ■*the ancient air:" —

^ ir J J i f i J I , I 'II I

SCOTTISH S05GS.

ALAS! THAT I CAM' O'EE THE MUIK

fseo

Ajcdastz.

bind

left my lore, an'

. w»' I

■^ f^^i j^l ; 1 1— 8 =;

coUavoee^ I f P

7 J =?^

J — i!^i J —

I ff*

alas! that I cam' o'er thb xuik.

riUn.

•oogbt a rieb • tr dear • W, Wha'i &um Co me, an'

DOW.

a • Ia»I Vm

Une - ly, wao, an'

e« - rie!*

Oh warldly gear !* how monj tows,
How mony hearts je're broken!

The want o' 700, the wish to hM^
LeaT8 room for nae loTe-token !

Ton bljthesome lark that 'boon' his nest

His hymn o' lore is singin',
Nao warldly thocht has he ; the lift*

Is but wi' trae loTe ringin*.

had I bnt my tme Ioto tacn,
Mj bonnie lore, tho' pnJr ;

This day I wadna sae lament
That I cam' o'er tho mnir I

1 now maun dree* the fhte 0' them

Wha'd sell their lore for gain ;
BUon tine* trae lore for dreams 0* gowv^
An' Uto an' dee alane t

• WmUIl

*AbOT%

" Alas ! that I cam' o'm tsb MrnL" '* This air is of undoubted antiquity. Bums says, ' Ramsaj fooad
the first line of this song, which had been preserred as the title of the charming air, and then composed tho rsit
of the Tcrses 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 oouTey any idea at all, they will generally be fond
to be quite in the spirit of the air.' — Burnt* Reliquts. This coajecture of Bums turns out to be amazingly eor-
rect" See Museum Illustrations, toL L pp. 18, 19. ** It appears, howerer, that Ram^iy was scarcely so for-
tunate [as to recoTer the first line of the old song.] What he found was something much less poetical — * The last
time I came o'er the muir' — but a poor substitute for the impassioned ejaculation, * Alas ! that I cam* o'er the
muir ;' and therefore not rery inspiring to the genius of the poet, who has certainly not educed firom it any tl»iwg
more than a Tcry namby-pamby sort of ditty." — Dauney's *' Ancient Scottish Melodies," p. 253. Referring to
the Skene MSS., Mr. Stenhouse says, ** In these collections, the identical tune of ' The last time I cam' o'er tho
muir,' occurs no less than twice, and one of the sets commences with the two first lines of the old son^

* Alace ! that I came o'er the moor,
And left my Iotc behind me'" — ibid. pp. 18, 19.
Here there are two mistakes. We hare found the air in this MS. only omu, and Tery fkr from being ** identical **
with tho tune in Johnson's Museum, upon which BIr. Stenhouse's Note was written. This, with sereral othit
rcfcrcnoes which Mr. Stenhouse makes to tunes in the Skene MS., prores that be could not translate any of tbite
tunes in Tablature, although he writes as if he had read and understood them.

Mr. Dauney's judicious remark on Allan Ramsay's song has induced the Publisher)! to gire to the air
whieh have been written for tliis work by a friend.

SCOTTISH SOKOa.

WAB'S MB FOR PRINCE CHARLIR

AIB« ''THE GTFSIB LADDtC*

▲BBAKOSD BT T. IL XUSIB.

P =60

ASDAXTB.

^ I >

aye tlie o*€r - com« o' bit aang Was ** Wm's me for Prince Char • lie ! ** Oh !

when I heerd the bon • nie, bon-nie bird, The tears cam' drmp • pin' rare - ly,

* • ^ ' ^ -I pa — , — ^— J — ^ J I . i.

WAB 8 MB FOB PRdfCE CHARLIE.

•^^^^^^^^^^^^^^^

Qaotb I, *' Mj bird, my bonnie, bonnie bird.

It that a sang ye borrow,
Are these some words ye'Te learnt by heart.

Or a lilt* o' dool an' sorrow ?"
Oh I no, no, no," the wee bird sang,
** Fre flown sin' momin* early.
But sio a day o' wind an* rain —

Oh I wae*s me for Prince Charlie t

" On bills that are, by right, his oin.

He roTes a lonely stranger.
On eTery side he*s pressed by want.

On erery side is danger ;
Testreen I met him in a glen.

My heart maist burstit fairly.
For sadly changed indeed was he-*

Oh I wae's me for Prince Charlie !

** Dark night cam* ol, tiw

Loud o*er the HUsATi'-xalf^
An* where was*t tbit

"Wha's hame ibonld be*
He row'd his in &

Which
An* slept

Ob!

I Iltt— ieaa

*■ Wai*8 mi loa PaiKCx Charlie.** James Hogg, the Ettrick
pp. 192, 103, gires this song, and the air, *' The Gypsie Uddi«." Ji*
aboat Glasgow." It appears that this William Glen was a baU«« of
there, and that he died about 1824, in a state of poTerty. Hm vm
Tlie air is given in Johnson's Moseom, No. 181, under ihm titk «« •*
words of an old ballad beginning, ** The gypsies cam' to our i^vrC
only old song which he could ever trace as belonging to Uic •
founded on a romantic adrenture in an old Scottiah fauil/ Mr*.
I*. 175 of Museum,) gives a traditional history of the LalUd JAr.
Dauney, in his *' Ancient Melodies of Scotland,*' and CapUM
Scottish Song,*' all treat the story of Lady CassilUs* ek^iNiitva;
fslsehood. The date of the air is not known, but it ap|iea<s m
lilt ;** though the set there given has undergone timfHtfiiit
fas tbeteoond strain.

Latin
-tymii • of the
-: — ^tvBc, written
•uure in 1677 :
Jh Ter£iftcatlon«
** Onthifhe
■noDg either ti^
H is credible that
9 wmA songi^bj tW
Jndycan."

SCOTTISH SOKGS.

WHY SHOULD I, A BRISK YOUNG LASSIE.

= 80

Alleobetto
cox Energxa.

ty=B

AMMAMOED BT O. V. OmAHAM.

Why iboald I,

Mik jonng Ut • lie, B%

ri.-^}A},^i. -^

forced to wed a feck - len^ Auld miuit Hoast- in** an' hirp -lin',* a U - mi • ter^ bo - dial I'll

^ ^^-i^^l^

¥i

ii=jt

2s:

die far ra - ther than gi'e him my han' 1

^^ ^^=U^^^i^ ^

Kirk or mar - ket, aye he fol • k>wi me. Gap - in', glow*riD%*

^^^.q^ ^^

• •

WHY SHOITLD I, A BBISK TOUNO LASSIE.

r\r r, r P r

' I > ^ y ' ^ '/

till I'd ttin ban!* Than at oar in • gle-neok' illc-a d>7 luT'ria';*!'!! di« for rather tliui

jTi' J' j^^

gi'e him my ban'!

A' my kin ore like to deafe* me
'Bout house an' hame, an' siller an' Ian' ;
Dell tak' the siller an' Ian' a' thegither !
Ill die fu rather than gi*e him my han' I

My ain Jo is young an' bonnie.

An' tho' he's pulr, he's aye true to me ;

m ha'e nae man but my ain dearest Johnnie,

An' ne'er the auld man, altho' I should die !

iFeeUa.

*£zecxut«.

t Coughing. ' Limpinj.

7 Chimney-corner : flrcdde.

< Cripple.

• Talking f ooUihly.

• Stuing.

• Deafen.

" Wht should I, A BBISK TOUKO LAS8IB." The air is No. 48 of Mr. Dauney*s edition of the Skene MS., and
bears the title, " I will not goe to my bed till I suld die." The air is spirited, and worth reriTlng ; and the only
liberty taken with it has been to reduce the extreme instrumental leaps in the Skene MS. to a vocal condition.
The old words being lost, the Terses here given to the air were written by a Mend of the Publishers. The old
title suggested the present verses. \^th regard to the irregularity of the rhythm, or rather metre, in these
stanzas, the writer quotes thus firom Moore : — " In the Prefiice to the fifth volume of * The Poetical Works of
Thomas Moore,' collected by himself^ I84I, the following passage occurs : — * Those occasional breaches of the laws
of rhythm, which the task of adapting words to airs demands of the poet, though very frequently one of the
happiest results of his skill, become blemishes when the verse is separated fh)m the melody, and require, to justify
them, the presence of the music to whose wildness or sweetness the sacrifice had been made. In a preceding page
of this prefhce, I have mentioned a Treatise by the late Rev. Mr. Crowe, on English versification; and I remember
his telling me, in reference to the point I have just touched upon, that, should another edition of that work be
called for, he meant to produce, as examples of new and anomalous forms of versification, the following songs
firom the Irish Melodies, * Oh the days are gone when beauty bright,' * At the dead hour of night, when stars arc
weeping, I fly,' and, * Through grief and through danger thy smile hath cheered my way.' "

In addition to Mr. Moore's remarks, allusion may be made to the irregular versification of the ancient Latin
ballad-mongers — reciters and singers of Ballistea, whence our term Ballad — and even to the Latin hymns of the
earlier Christian poets. We may also refer, ;>a<fifii, to the remarkable and now very scarce work on I^Iusic, written
in Latin by the blind Spanish Professor of Music at Salamanca, Francis Salinas, and published there in 1577 :
especially to a passage in that work, page 356, where he gives a specimen of singular Spanish versification*
together with the music sung to it The words are '* Perricos de mi seSora, No me mordades agora." On this he
makes the following observation — we translate : — ** I have not found versification of this kind among either the
Greeks or the Latins ; nor do I think it is to be found among the French or the Italians. But it is credible that
it was introduced among the Spaniards — together with many other customs and words and songs — by the
Arabians, after they took possession of Spain, which they occupied for moro than aevoa hundred years.**

SCOTTiaH S0HO8.

MY LOVE SHE'S BUT A LASSIE YET.

f =

= 138

Alleosktto
schxezoso.

ABmAVGSD BT O. V. GmABAM.

4 J l-S^S^ ^

lZf| j ^ j ^

S=5

V ^ ^

=Lff > J'^-

loTt ihe*s bat a Ui - lU ytt.

light -lOIIM l0T« • Ij

F^ i >

glai . ty yet.

Bat there*s a braw* time com • in' yet. When

MY LOVE SHE'S BUT A LASSIE YET.

§ ^ g ''^~fm

!5=S=S

wt may gang* a • roam - hi' yet; An' hint wi* gl«e O* Joyi to be, When

y ^ ii

fa's the mo . dett gleam -in' yet

She's neither proud nor saucy y .t.
She's neither plump nor gaucy * yet ;

But just a jinkin',*

Bonnie blinkin',*
Hilty-skilty* lassie yet
But her artless smile's mair sweet
Than hinny or than marmalcte ;^

An' right or wrong,

Ere it be lang,
ni bring her to a parley yet

I Fine. •Go.

i Looking, or sraOIng kindly.

Vm jealous o' what blesses her,
The rery breeze that kisses her.

The flowery beds

On which she treads,
Though wae for ane that misses her.
Then to meet my lassie yet,
Up in yon glen sae grassy yet;

For all I see

Are nought to me,
Save her that's but a lassie yet t

* Large, expoadcd.

9 ThongfaUctfly playAiL

* Shyly gamboling : dodging.
' MaxmaladcL

** Mt love ssb's BtTT A LASsiB TIT." The song giTen in Johnson*s Museum, and written by Bums, with the

exception of the three lines which are old, is not exactly suitable to the more fiistidious taste of the present day.

Therefore, James Hogg's song, with the same title, has been chosen in preference for this work. It was first

published in the Edinburgh ** Literary Journal," and afterwards in the collection of *' Songs by the Ettrick

Shepherd," Blackwood, Edinburgh, 1831. It appears that the air to which Hogg's words, and the older words

were sung, was also used as a dance-tune, under the name of " Lady Badinscoth's ReeL" Charles Kirkpatrick

Sharpc, Esq., in his Note on No. 225 of Johnson's Museum, says, ** The old title of this air was, * Put up your

dagger, Jamie.' The words to this air are in * Vox Borcalls, or the Northern DiscoTcrie, by way of dialogue

between Jamie and Willie,' 1641.

** * Put up thy dagger, Jamie,

And all things shall be mended.
Bishops shall fiill, no not at all.

When the Parliament is ended.
Which nerer was intended

But only for to flam thee^
We haTo gotten the game,

Well keep the same.
Put up thy dagger, Jamie.'

** * This song,' says the author, 'was plaid and sunjc by a fiddlei' and a fool, retainers of General RathTeOf
Governor of Edinburgh Castle, in scorn of the Lords and the CoTenanters, for surrendering their fftrong holds.' "

SCOTTISH soiroA.

MY JO JANET.

AimAHGSD BT T. M. StUlUS.

jo Jan - eL

fr^'u-^

> i i 1

»Y JO JAKET.

*^m < « J«»«^»^^^%^»^^^^^i»i»« jw^^^^^^^^^^^^^^^

Keeking in the draw-well clear,
What if I should &' in, then ?
Sjne^ a' my kin will say and swear,

I drown'd mysel' for sin, then.
Hand* the better by the brae,*

Janet, Janet,
Hand the better by the brae.
My jo Janet.

Good Sir, fbr your courtesie,

Coming thro' Aberdeen, then.
For the loTe yon bear to me,

Bay me a pair o' shoon, then.
Clout* the auld, the new are dear,

Janet, Janet,
A pair may gain' ye ha'f a year.
My jo Janet.

Bat what if dancing on the green.

An' skippin' like a mawkin',
If they shoald see my clouted sheen,*

Of me they wiU be taukin*.
Dance ay laigh,' an' late at e'en,

Janet, Janet,
Syne a' their fiiuts will no be seen.
My jo Janet

Kind Sir, for your courtesie,

When ye gae to the cross, then.
For the love ye bear to me.

Buy me a pacing horse, then.
Pace upo' your spinning-wheel,

Janet, Janet,
Pace upo' your spinning-wheel.
My jo Janet.

> Then.

tHold.

'fiaak.

« Patch.

A Suffice^

•Sboc&

7Lo«.

" Mt jo Jaxet.'* This air can be traced from the Straloch MS., 1627, through the Skene MS., 1640 (?),
the Leyden MS. (1695 ?), the Orpheus Caledonius, second edition, 1733, to our own times. Its early forms,
though somewhat bald, have both the 4th and the 7th of the scale, and these not merely as passing, but
as essential accented notes. As the lute, for which these MSS. were written, can, like the guitar,
produce every semitone of the scale, there is really no reason but choice why it should hare been otherwise.
We give these old versions below. From the allusions in the song to Aberdeen and the Bass of Inverurie,
the words have evidently been written by some one connected with that neighbourhood. Allan Ramsay
printed them in his Tea-Table Miscellany, 1724, but they are believed to belong to the previous century.
Johnson, from some scruple of delicacy, omitted the last stanza.

In December 1793, Bums wrote his comic song, *'My spouse Nancy," to the tune of "My jo Janet. "

'* The OLD MAK."— (Straloch MS.)

^^^^

" Long zr onis old ican." — (Skene MS.)

brzC£ ^g^£E gT"rT-r-^fe

-• — •■

■ ' '

■^m

^3qH=p=3

"Robin a>t) Jaihst." — (Leyden MS.)

r TPS ^ ^ i ^^ -d^^^^ M

It «r

zifl = 3=H- g^ ^ I J J 1

SCOTTISH 80H0S.

GREEN GROW THE RASHES, 01

AHaAXGKO BT J. T. tUftCSICB.

= 104

^Sw«JJ!;;3 ^^

AIODK&ATO.

fTTirrfiTB

Thcra'i nonght bat cmr« on »r' • !7 hm'. In rr* - i; boor that pais • a, ; What

fc3

^=P=

\— ^

sig - ni - fiet the life o' man. An 'twere n* for the lue-ee, O. Green grow the rmthea, O!

4f^^ :; -■ >•'

— ^ ^ r^

Green grow the

[^ 1^

/ y kg

rash - es,

O I The sweet • est hoan that e*er I ipend. Are

.r 1 J^ 1 :

-M »

•N— ^

M^aa*^.^

OKEBK GROW THB BASHES.

■pent a • miuig the Un • ce, 01

--i^^ri-

The worldly race way riches chase,
An' riches still may fly them, ;
An' thoagh at last they catch them fa.st
Their hearts can ne'er enjoy them, 0.
Green groif, &c

Gie me a cannie hour at e'en,
My arms about my dearie, ;
An' warldly cares, an' warldly men.
May a' gae tapsalteerie,* 0.
Green grow, &c

For yon sae donee, wha sneex at this,
Te're nought but senseless asses, ;
The wisest man the warld e'er saw,
He dearly lo'ed the lasses, 0.
Green grow, &c.

Auld Nature swears, the loTely dears
Her noblest work she classes, ;
Her 'prentice han' she tried on man.
And then she made the lasses, 0.
Green grow, &a

* Tapnlteerie— topqr-turry.

"Grksn enow THE RASHES, ! " The first strain of the air is fcmud in the Straloch MS. (1627) with the
■ame name, and again a second time, slightly altered, under that of *' I kist while (until] she blusht." Both
are dance tunes. They disappear for a century, and are then found — lengthened and embroidered — in
Macgibbon's and Oswald's Collections as slow airs. This may show us how much uncertainty there is in
regard to the true age of our melodies. Many of them appear for the first time in the middle of last
century, which in style have all the marks of age, though there is no trace of them at an earlier date. A
good song, superseding very silly or very indecorous words, is often the means of sending an air down to
us which otherwise would probably never have been heard of.

The song is so well known, that it is scarcely necessary to say it was written by Bums. Mr. Stenhouse
believes that it was the first he contributed to Johnson's Scottish Musical Museum. It appeared in the
first volume of that work, 1787.

The assertion mode by Mr. Stenhouse, that this air was formerly known under the name of " Cow thon
me the rashes green," we believe to be altogether unfounded. He seems to have jumped to the conclusion,
that because ** rashes" were mentioned in both names, therefore the airs must be identicaL We can,
however, prove the contrary ; for we have found in a MS. of the sixteenth century, now in the British
Museum, the words, ** Ck>lle thou me the rysshys grene," set twice over to different music. Airs these
cannot be called, for they are altogether destitute of melody ; they appear rather to be single parts of a
piece intended for several voices. We need scarcely add that they bear not the slightest resemblance to
oar Scottish tune.

SCOTTISH BONOS.

ADIEU, DUNDEE 1

▲ULANGSD DT G. P. OKABAM.

ry part-edy Here n&e mair my lot maun lie;

I^S

rit

bear, when bro • ken heart -"edy Scenet that speak of Jofi gane bye !

ffife

iTTm !

A* thicgs ance were sweet and sxnil - ing,

-r n r h

DIBU, DlTKDEEl

t^^T

Like yon water uSOf gliding.

When the winds kts Uid to aloep t

Such m; life, when I confiding,
0«Te to bar mj heart to keep I

Ijke yon water wildly mahing,

When the north wind itlr* the m* ;

Such the change, my heart now
Love, adieu I adieu, Dundee I

" AsiKU, DuimEBl" The airii found in tahlatnre in the Skene ^IS., already referred to in thia work.
See Introdiiction, et paitiru. The lata William Datiney, Eaq., Advocate, who published the traiulatioa
of the Skene MS., with an able Dissertation, etc., was one of the best amatenr aingen aod Tioloncello
playen in Scotland. Soon after the poblication of that work ha want to Demerara, where he held the office
of Solicitor-OenecaL TniTeraaUy esteemed for hie abihtiea and his amiable manners and character, he bad
th« prospect of rising there to higher hononn, when the fever ol the country cnt him off preroatorely on
SStb Joly 1843. He was bom on ?7th October ISOO. Before he left Scotland, he requested Mr. Pinlay
Don and ths Editor of this work to harmoniie for ^'"" gocoe of the aiis from the Skene US. , to which word*
wwe to be written by two Bdinbnrgh gentlemen. Three of these aire were accordingly published in 18S3
{n that fonn. " Adien, Dundee ! " was one of these. It is now reprinted by permission of Mn. Danney,
and of Ziord Neaves, Senator of the College of Justice, who is the author of the expressive and appropriate
T O Tsea written for the old air at the reqaest of his intimate friend the late Mr. Danney. — 6. F. O.

This old veinon of the air is much aimpler than that given by Playford in the Dancing Master of 1SS6,
or r«ther in the 16S3 appendix to that edition. Mr. William Chappell, whose opinions on the nbject of
national muuc are of Uie highest value, believe* the air to be an E n glis h imitation of the Scottish style,
which h«<l doggerel verses beginning

" Where gott'at thon that haver-meal bannock I
Blind boob/, canst thou not see ! "
Tboe lines, however, require more notes than are found in the simple early verifon ; the latter has besidei
the old Scottish peculiarity in the third bar of at once going down a full tone below the minor key-note,
Inatead of softening the transition, as is done in Flayford's, as well aa in the modem version. The present
writer is therefore inclined to believe that the air is really Scottish, and that having become somewhat
^miliar to English can by the residenceinScotland(16T9-82)of the Duke of York [James II.)aod his nite,
H was thereafter nsed as a velitcle for some absurd venes in the usual licentious style of those times. Any
one who may still take an interest in such matters, will find the song in D'Urfey's " Fills to purge UelaiK
OuAj," voL T. p. 17 (1713 reprint).

SCOTTISH 80V08.

MARY OF CASTLE-CARY.

4nu 'Bomm Dimoo.*'

▲EBANGBD BT J. T. fUElUnrS.

r- — -r j-f **?

Saw je ay wm thing! Saw j« aiine ain thing! Saw ya my tme lore down on yoo Icat

H«r kair it b ru-.t-«hire:hcr akin it b Bilk>whit«; Dark is the bhM o* her

MARY OP CASTLE-CARY.

taft roll - ing e'e ;

Red, red her ripe lips, and

sweet -er than roa • et:

,s > I 1

Whar could my wee thing wan - der frae me t

I saw na your wee thing, I saw na your oin thing,

Nor saw I jour true love down on yon lea ;
Bat I met my bonnie thing late in the gloamin',

Down by the bumie whar flow'rs the haw-tree.
Her hair it was lint-white ; her skin it was milk-
white;

Dark was the blue o' her saft rolling e'e ;
Red were her ripe lips, and sweeter than roses :

Sweet were the kisses that she ga'e to me.

It was na my wee thing, it was na my ain thing,

It was na my true love ye met by the tree;
Proud is her leal heart ! and modest her nature !

She never lo*ed onie till ance she lo'ed me.
Her name it is Mary ; she*s frae Castle-Cary :

Aft has she sat, when a bairn, on my knee : —
Fair as your fiice is, wer't fifty times fairer,

Toung braggart, she ne*er would gi'e kisses to thee.

li was then your Mary ; she's frae Castle-Cary ;

It was then your true love I met by the tree;
Proud as her heart is, and modest her nature,

Sweet were the kisses that she ga'e to me.
Sair gloom'd his dark brow, blood-red his cheek grew.

Wild flash'd the fire frae his red rolling e'e I —
Ye's rue soir this morning your boasts and your scorn-

ing;
Defend ye, fause traitor ! Ai' loudly ye lie.

Awa' wi' beguiling, cried the youth, smiling : —

Aff went the bonnet ; the lint-white locks flee ;
The belted plaid fii'ing, her white bosom shawing,

Fair stood the loved maid wi' the dark rolling eV!
Is it my wee thing ! is it my ain thing !

Is it my true love here that I see !
Jamie, forgi'e me; your heart's constant to me;

I'li neter mair wander, my true love, frae thee !

*• Mart n? Casttlk-Oart." Mr. Stenhousc says, — "This charming ballad, beginning, *Saw ye my wee thing f
saw ye my ain thing ? ' was written by Hector Macneil, Esq., author of the celebrated poem of * Will and Jean,' and
sereral otiier esteemed works. It first appeared in a periodical publication, entitled ' The Bee,' printed at Edin-
btirfch in May 1791. Mr. Macneil informed the writer of this article, that the tune to which his song is adapted in
the Museum is the genuine melody that he intended for the words." See Museum Illustrations, rol. t. p. 398. The
melody given in the Museum, No. 448, is entitled, "The wee thing, or Mary of Castle-Cary;" it is now quite
imknown, having been supplanted in the public favour by the beautiful and well-known air, " Bonnie Dundee;"
in a ftature number, however, we shall revive this forgotten melody, which ought not to be altogether lost sight ot
** Bonnie Dimdee" is nearly the same air as that which we have just before given from the Skene MS. with words
by Lord Neaves, under the title of ** Adieu, Dundee ! " The latter is the more simple and touehing of the two.

SCOTTISH 80K0R.

BUSK YE, BUSK YK

AIM, *'TBB BBA£S O* TAE&OW.*

AREA2CGSD BT T. M. MUDOL

= 60

BUSK TE, BUSK TB.

Weep not, weep not, my bonnie, bonnie bride,

Weep not, weep not, my winsome marrow ;
Nor let thy heart lament to leare

Pa'ing the birks on the braes o' Tarrow.
Why does she weep, thy bonnie, bonnie bride ?

Why does she weep, thy winsome marrow ?
And why daur ye nae mair weel be seen,

Pn'ing the birks on the braes o* Yarrow f

Lang maan she weep, lang, lang maun she weep,
Lang maun she weep wi' dale and sorrow,

And lang mann I nae mair weel be seen,
Pu'ing the birks on the braes o' Yarrow ;

For she has tint her lorer, loTer dear,
Her loTer dear, the cause o' sorruw;

And I hae slain the comellest swain,
That e*er pu*ed birks on the braes o' Yarrow.

Fair was thy lore, fair, ikir indeed thy lore !

In flowery bands thou didst him fetter :
Though he was fair, and well beloTed again.

Than me he did not lore thee better.
Busk ye then, busk, my bonnie, bonnie bride,

Busk ye, busk ye, my winsome marrow.
Busk ye, and lo'e me on the banks o' the Tweed,

And think nae mair o' the braes o' Yarrow.

** Busk tb, busk ts." The melody was formerly called " The braes o' Yarrow." In a MS. book of tones in
tablature fbr the Lyra-Tiol, which belonged to the celebrated Dr. John Leyden, there is a tune called " The lady's
goune," which seems to be an old and simple set of " The braes o' Yarrow." That MB, was sent to the editor ci
the present work, iu 1844, with permission to translate and transcribe it. The transcript he made of it is in-
tended for the Library of the Faculty of Advocates, Edinburgh. In the Orpheus Caledonius, 1725-83, there is a
set of " Busk ye," which does not exhibit the wrong accentuation found in more modem Tersions, where the accent
b painfully thrown upon the word "ye" in the first line. In the present edition that set has been restored, and
the air now agrees in accent with the words. The verses here given are from a beautiftil ballad written by
William Hamilton of Bangour, who died in 1754, aged fifty. The ballad consists of thirty stanxas, and was
first printed in Ramsay*s Tea-Table Miscellany. Eight of there stanzas have been selected on this occasion.
These contain the essential pnrts of the storr. The first three lines belong to an andent ballad, now lost.

SC0TTI8H SOirOb.

THE BUSH ABOON TEAQUAIR.

AEItAKGKD VT A. LAWRIX.

• = 58

Ahdahtb
Affettvoso.

grievM me ; Tho' thus I Ian - goish and com - plain, A - laa I she ne*er h% •

J J j- ,M

rfe

Un ;■ rJ r -d:^:5=f:Jdi^ra^

lieTei me. My tows and sight, like ii - lent air, Un - heed - ed, ne - Ter

THE BUSH ABOOK TRAQUAIB.

That day she smiled and made me glad,

No maid seem'd ever Idnder;
I thought myself the lackiest lad,

So sweetly there to find her.
I tried to soothe my amorous flame,

In words that I thought tender ;
If more there passed, Fm not to blame,

1 meant not to offend her.

Yet now she scornful flics the plain.

The fields we then frequented;
If e'er we meet, she shows disdain,

And looks as ne'er acquainted.
The bonnie bush bloom*d fkir in May,

Its sweets FU aye remember;
But now her ftt>wns make it decay.

It fades as in December.

Ye rural powers, who hear my strains.

Why thus should Peggy griere me?
Oh ! make her partner in my pains,

Then let her smiles reliere me.
If not, my loTe will turn despair.

My passion no more tend^ ;
m leave the bush aboon Traquair,

To lonely wilds FU wander.

**' Thi Busb AB002f Tbaquais." Mr. Stenhouse says : — " This charming pastoral melody is andent. It was
fcrmerly called * The bonnie bush aboon Traquhair.' It appears in the Orpheus Caledonius, 1725, adapted to the
same beautiftil stanzas that are inserted in the Museum, beginning ' Hear me, ye nympkt, and every noaur,* written
by William Crawford, Esq., author of Tweedside, &c ; but the old song, it is belieTed, is lost." (See Museum
Illustrations, toL L, pp. 84-6.) Mr. D. Laing, howcTer, (ibid. pp. 118-115,) points out the error of Mr. Stenhouse
and other editors who ascribe the song to William Crawfurd (of Auchinamcs), while it, ** Tweedside," &c^ were
written by Robert Crawfiird, a cadet of the fiimily of Drumsoy. It appears that this gentleman was drowned
in returning tcom France in 1782. The bush, or clump of trees, that gave name to the tune, is said to have stood
on a hill aboTe the lawn of the Earl of Traquair's house in Peeblesshire. We think that the tune was probably
written down at first for some musical instrument ; as its compass is too great for ordinary roices. This is Um
ease with many old Scottish melodies. It may also be remarked, that the aeeemimation of the words, as applied tc
the tune, is often faulty ; but this seems to have been little heeded by our older singers, and writers of rerses to
music. We must now take these old things as we find them ; and be thankfU that they are not altogether loai.

SCOTTISH 80K0S.

LORD RONALD.

AEEASOKD BT T. X. XUDll^

fizE

J J J^ I J

whero ha'o 70

been, Lord Ron - aid, mj

LOBD BOVALD.

¥=^

N r-cy^hb?3

•oon.

For Fm

wea - ry wi' the liiJiit • Ing, And

faiD

ti-ad

U«

=^^

1C7

y^n^t got je frae your aweetheart. Lord Ronald, my son ?
What got ye frae your sweetheart, Lord Ronald, my son ?
I ha'e got deadly poison, mother, make my -bed soon,
For life is a burden that soon 111 lay down.

"Lord Bonald, mt son." These two stanzas of the ancient ballad, with their simple and pathetic
melody, were recovered by Bams in Ayrshire, and sent by him to Johnson's Museum, oir Walter Scott,
in his " Minstrelsy of the Scottish Border/' gives six stanzas of the ballad as sung in the Ettrick Forest,
under the title of "Lord RandaL" The legend on which it is founded is very widely spread ; for besides
its several Scottish forms, it has been discovered in Suffolk, in Germany, and more recently in Italy. In
regard to the melody. Bums (Heliquea) observes, " This air, a very favourite one in Ayrshire, is evidently
the original of Lochaber. In this manner most of the finest of our more modem 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. We demur to Bums's theory of musical
shepherds, and improved form by more learned musicians ; but we have no reason to doubt Bums's opinion
that the air of "Lord Ronald" was the original of "Lochaber." The former, however, as happens with
most of our oldest Scottish melodies, consists of one strain, while the latter consists of two, thus throwing
back the greater probability of antiquity upon "Lord Ronald." — (6. F. G.) It must not be fogotten,
however, that this Scottish tradition respecting the air is confronted by an Irish one, given by £award
Bunting in his account of Irish Harpers (Collection 1840), where he says that the air was composed by
Miles Keilly, a harper of Cavan, bom 1635. The earliest documentary evidence, however, for the air witn
two strains is the Scottish MS. of 1692, which belonged to Dr. John Leyden (see Introduction) ; it is there
called "King James's March to Ireland." The next evidence for the air is Play ford's Dancing Master,
1701y where it is named "Reeve's Magffot." A few years later — ^how numy is not now ascertainable —
AUan Raouay wrote for it his celebrated song, "Farewell to Lochaber." We thus find that the air was
generally known in all the three kingdoms about the end of the seventeenth century ; a popularity which
may fairly be attributed to its use as a renmentad march-tune not only to Ireland and in Irelaiid, but wherever
our troops were sent. The belief that this air was sunz in 1675 to " Since Celia's my foe " has recently been
proved by Mr. Chappell to be an error. He shows that though Duffet's words were sung to "Lochaber"
about 1730, yet that they ori g inall y h ad an Irish air of their own, which he has discovered and printed
(Roxburghe Ballads, Part Vlff.). With regard to the term Irish often applied to the air, we need, perhaps,
to be reminded that nearly up to the present century, all that we now term Gaelic was in Scotland itself
called Irish ; further, what Bunting in his Second Collection (1S09) gives as the-true'Jrish tune, is a version
of the air much more Scottish in style than any other now known. — See Grove's Dictionary.

■■■ ^ '*

SCOTTISH 809GS.

t^t^^^^^^^^a^^^y^^^*^^

FAREWELL TO LOCHABER.

AEBAVOSD «T T. X. MUm

= 72
Mmo.

Fart • wtU to Loeb

%J \i^ • • •

■I P-

22:

i^ :, :\ r~

$-«<»

■1 r

been ; For Loch - a - ber no more, Loch - a - ber no more. Well may •be re •

^^T-tT"^-^

tnm to Loch - a - ber no more. These tears that I shed they mn

rARRWET<Ti TO LOpHABEB.

1 — I — r

Though hurricanea rise, though rise erery wind,
No tempest can equal the storm in my mind ;
Though loudest of thunders on louder waves rcnr,
There's naething like leaYin' my Ioto on the shore.
To leave thee behind me my heart is sair pain'd ;
But by ease that's inglorious no fiune can be gain'd ;
And beauty and love's the reward of the braye;
And I maun deserve it before I can crave.

Then glory, my Jeanie, maun plead my excuse;
Since honour commands me, how can I reAxso?
Without it, I ne'er can have merit for thee;
And losing thy &vour Fd better not be.
I gae then, my lass, to win honour and fiune ;
And if I should chance to come glorious hame,
111 bring a heart to thee with love running o'er,
And then 111 leave thee and Lochaber no more.

«LoCEABSB HO MO&B." In the preceding Note upon '*Lord Ronald," we have discussed the derivation of
"Loehaber" from that tune, or from *'£ing James' March to 7rland," as in the Leyden US. The received air of
*'Loehaber" is evidently of modem construction, because in it the fourth and the major seventh of the tonic (or
key-note) are freely employed. The verses here given to the air of ** Lochaber" were written by Allan Ramsay.
A lady still livings in whose father's house at Edinburgh Robert Bums was a frequent and honoured guest, one
evening played the tune of <* Lochaber," on the harpsichord, to Bums. He listened to it attentively, and then
exclaimed, with tears in his eyes, ** Oh, that's a fine tune for a broken heart !" The lady in question stood so high
ill Buns' estimation, that he offered to write to her a journal of his intended tour in the Highlands of Sootlaad.
A trifling dreomstance prevented him from completing his offer of so valuable a commusicatioiL

tJCOTTISU SONGS.

GALA WATER.

AmBUNnC IT J. T. fUBZm.

Ahaoio^

Braw, braw Uds oo Y«r - row bnMiy Ye

win - d&r through Um bloom - hig hea - ther ; Bat Yar - row hnm, Mr

■'^j J'l I

Bt - tridc ihawiy Can match the lads o*

OAfiA WITIB.

•61

a puMcen.

Bat there ii ane, a secret ane,
Aboon them a' I lo*e him better;

An' ni be his, an' hell be mine,
The bonnie lad o' Gala water.

Altho' his daddie was nae laird.
An' tho' I hae nae meikle tocher ;

Tet, rich in kindest, truest lore.
Well tent our flocks bj Gala water.

It ne'er was wealth, it ne'er was wealth.
That ooft^ contentment, peace, or pleasure;

The bands and bliss o' mntnal lore,
that's the chiefest warld's treasure !

**GaLa WanE." One of the most beautiAil of our old Scottish melodies. It is somewhat singular, howerer,
tliai it is not to be found in any of our earlier collections. Neil Stewart gives it under the name of *' Coming thro'
the broom," in his " Thirtj Soots songs fbr a Toice and harpsiohord,'' a work probablj published between 1780,
1700, the copy we have seen bears a manuscript date of 1788. Bir. Stenhouse sajs, ''This tone was greatly
admired by the celebrated Dr. Haydn, who harmonised it for ^Ir. William Whyte's Collection of Scottish Songs.
Ob the MS. of the music, which I hare seen, the Doctor ex p r e ss ed his opinion of the melody, in the beet En^ish
he was master ot in the following short but emphatic sentence: — * This one Dr. Haydn ihTourite song.'" In
Jaanary 1798, Bums wrote the Terses here published to this air. The Gala rirer rises in Mid-Lothian, and
•Iter uniting with the Heriot, runs soutli, and foils into the Tweed about four miles abore Melroee, and a short
distance below Abbotsford. See Museum Illustrations, toL iL pp. 120-122. The last detached measure, to the
words *' Draw, braw lads," does not belong to the original melody, but is inserted because the air is generally so
aong at the present day. The singer may adopt or r^ect that additional measurei

The following is a portion of what Mr. Robert Chambers f^rtB %b probaUp the oripnal song of " Gala Water :"

" Out owre yon moss, out owre yon muir,

Out owre yon bonnie bush o* heather,
a* ye lads whae'er ye be.

Show me the way to Gala water.

• • • • •

** Lords and lairds cam here to woo.
An' gentlemen wi' sword an' dagger.

But the black^ee'd lass o' Galashiels
Wad hae nane but the gree o' Gala water

Jamei Oswald, in the 8th Book of his Flute Collection, gives a set of the air, which, being pentatonic. is pro-
bably more ancient than any other now known. It has seTcral uovocal interrala, which ha?e been altered In
the modem rersion.^See " i>cottitfh Music " in G rove's Dictionary oj Sfusk,

Dr. Joyce, in his Ancient Music of Ireland (1878), gives an Irish versioo of this air, and adds, " I haTe known
H, and heard it suog, as long as I can remember." This may possibly mean fifty years, but it should not be
forgotten that many of our Scottish airs were printed in Dublin as sizpeony half-sheet songs considerably before
the end of last century; not to meoiion that Irish reapers have been cutting our crops in Teviotd<Ue and
Tweeddale for a century and a balf^ and might very readily earry booie so simple and charming a melody.

SCOTTISH S0H6S.

•^p^p^p«^^<

't^^^*^^0^^^^t0^0^0^0

THE BONNIE HOUSE 0' AIRLT.

AXmASOID BT 9, T.

It hm on a day, And a bon*nio rammer day. When th« com grewgrMB aad

THB BONNIE HOUSE O' AIULY.

^J J'J'J'C^ J'l

mr • \y, An* ]md in hii mtn, bj the baek o' Donkeld, To plnn • dtr the bonnto hofom o^

The lady look*d o*er her window sac ilt.

And, oh 1 but she look'd weaxy.
And th«rt she espied the great Argyle

Come to plunder the bonnie house o' Airly.

' Come down, come down, Lady Margaret," he says,
" Come down and kiss me fairly.
Or before the morning clear day-light,
rU no leaTe a standing stane in Airly."

' I wadna kiss thee, great Argyle,

I wadna kiss thee fidrly,
I wadna kiss thee, great Argyle,

Oin you shooldna leave a standing stane in Airly.*"

He has ta'en her by the middle sae sma'.
Says, " Lady, where is yonr drury * ? "

Il*s np and down the bonnie bum side,
Amang the planting of Airly."

They sought it up, they sought it down,

niey sought it late and early,
And found it in the bonnie bahn-tree^

That shines on the bowling-green o' Airlj.

He has ta'en her by the left shoulder.

And, oh ! but she grat sairly,
And led her down to yon green bank

TUl he plunder'd tlie bonnie house o* Alrlj.

' ! its I ha*e seren braw sons," she 8ay%
** And the youngest ne'er saw his daddis^
And althou^ I had as mony mae,
I wad gi'e them a* to Charlie.

' But gin my good lord had been at hame^

As this night he is wi' Charlie,
There durst na a Campbell in a* the west

Ha*e plunder'd the bonnie house o' Airly."

*Tbx Boaixii BorsB o* Aiult.*' When Montrose was driTen out of Perth by Argyle in September 1044, he
mardwd into Angus-shire, where he was Joined by the old Earl of Airly and two of his sons, who nerer forsook
him in success or disaster. During Montrose's retreat ttcm the Castle of Fyrie, in Aberdeenshire^ we learn flrom
Sir Walter Scott (History of Scotland,) that *'on the road he was deserted by many Lowland gentlemen who had
Joined bim, and who saw bii rictories were followed with no better results than toilsome marches among wilds,
where it was nearly impossible to proTide subsistence for man or horse, and which the approach of winter was
about to render still more desolate. They left his army, therefore, promising to retnni in summer ; and of all his
Lowland adherents, the old Earl of Airly and his sons alone remained. They had paid dearly for their attach-
ment to the Royal cause, Argyle haring (1640) plundered their estates, and burnt their principal mansion, tha
'Bonnie house o' Airly,' situated on the riTer Isla, the memory of which conflagration is still prestrred in RfrHtlsh
•OBff." We give the ballad as it is published in Messrs. Blaekie*s Book of Seottlsh 8oa^ aooordinf to Joho
FInlaj's TerMofi.

SCOTTISH 80H0&

■^^'M**^*^***

MAECH, MAECH, ETTEICK AND TBVIOTDALR

▲IB, " DXAB MOTHZB.

ABEABOBD BT T. SL KUDIB.

AXXBOBO

Spibitoio.

r-r-r-r

ig: 5fnr

March, march, Et - triok and TeTiotdile, Why, m j lads, dhina jo march fi>nrard in or - dcr '

m±

H-F-'-f

BuaaUaadUh,

k=di=±z

s=^

^=^

-»-t

P=fc=tc

?:4s:

March, march, Eakdalo and laddesdale. All the blue bonnet* ore o • Tcr the Bur • der.

aL-C ' s ^^^

'^'5 c t- ^f-h^ZTg- 1^' S 1^ 1

Ma • nj a ban • ner spread, flut • ters a * bore rour head, Ma - nj a orett that ii

SH I > - I ^ ' J — ^1— »

HAKCH, MABCH« BTTBICK AND TEYIOTDALS.

'55

rfrrtr

FT^^"^^^

tun • ous ia tlo • 17, Mount and make read/ ibmkf lont of tho moon - tain gitn.

r^-j^=^

I I II

"S 1 ■ ^ U —r — h— j

*] y P * #

8ra alta.

Fight for yonr Queen and the old Scottish glo - 17.

Come firom the hills where your hirsels are grazing,
Come firom the glen of the back and the roe :

Come to the crag where the beaoon is blazing;
Come with the buckler, the lance, and the bow.

Trumpets are sounding, war-steeds are bounding;

Stand to your arms, and march in good order;
England shall many a day teU of the bloody flraj.

When the blue bonnets came OTer the Border.

«* Hakcs, xasoe, Bttrick ahd Tiyiotdalb." These Terses appeared for the first time in Sir Walter Scott's
Borel, " The Monastery," published in 1820. They were eridently modelled upon an old CaTaller song, beginning;
'^Bfarehl march I pinks of election,** which we find in the first Tolume of James Hogg's ''Jacobite Belies of Sect-
land,** pp. 6-7. The air giTen by Hogg to these old Terses is a bad set of ** Lesley's March," not at all oorr^
iponding with the air in Oswald's Second Collection, p. 83, although Hogg erroneously says that it ** is copied from
Blr. Oswald's ancient Scottish music." In Niel Qow's Second Collection of Beels, p. 6, we find an altered Teraion
of ''Lesley's March," under the name of '* Duplin House;" but the modem tune seems rather to ha^o been
taken from ** dear mother, what shall I do?" which will be found both in Maogibbon's and Oswald's CoDee-
tions ; indeed a jig Tariation in the latter differs but little flrom the present air. B. A. Smith calls th« air
" Blue Bonnets," but it differs entirely from the air of that name, in common time, giTen by Oswald in his
Second Collection, p. G. We subjoin ** Lesley's March " according to Oswald.

BriiL

p l' L ^ UjSrZ '^ I .J I W^g^-yiG^Uja^^f:^

"icaT^f

RCOTTISH SONQII.

ORAN AN AOIG; OR, THE SONG OP DEATH.

AEEAVaiD «T O. F. QRAlUa

w«ll, thou &ir dAj, thou green earth, And je ikiee. Now gaj with the hroed letting Min : Faro •

well, loTee and friendthipe, ye dear ten-der tieel 0«r rao of ez-ia-tence la ninl

Thoa gnm king of ter - ron, thoo life's gloomy foe, Go fright • en the coward and

5=t

^-Odl f r

* Whwevar (hit pniin ooeoca. Uw» hi^h i:occ* niejr ^fi song if um Toloe oumot mcb the lower nolet of tbr m elo i it

UKAK AK AOIO ; OK. THE &0SO OP DEATH.

. 67

^^g-^-^

W^=^

•Ure I Go teacb^ them to tremble, fell tj • not! bat know No tenron bast thoa for th*

Thoa 8trik*8t the dall peasant, he sinks In the dark,

Nor saTes e'en the wreck of a name :
Thou strik'st the yoang hero, a glorioos mark !

He fiills In the blase of his ikme.

In the field of proad honoar, oar swords in onr htndi^

Oar king and oar coantry to saTe ;
While Tictory shines on life's last ebbing saodi^

Oh, who would not die with the bra^e I

<<Obav ah Aoio; ob, Thi Soho ov Death.** In a letter addressed to Mrs. Danlop, dated Ellfaland, 17tb

December 1791, Bams says, " I haTO jast finished the following song, which, to a ladj, the descendant of mtaj

heroes of his truly illustrious line, and herself the mother of seTeral soldiers, needs neither pre&ce nor apology.

Scene — a field of battle. Time of the day— erening. The wounded and the dying of the Tictorious army are

supposed to join in the following Song of Death — * Farewell, thou &ir day,' &c. The circumstance that gaTO rise

to the foregoing Terses, was looking oTer, with a musical friend, Macdonald's Collection of ffighland Airs. I was

struck with one, an Isle of Skye tune, entitled Oran an Aoig ; or. The Song qf Death, to the measure of which I hare

adapted my stanzas." In a recent work, entitled " The Romance of War, or the Highlanders in France and Bel*

gium," by James Grant, Esq., late 62d Regiment, we find two rery remarkable passages, one of which relates to

the air Oran an Aoig, We quote tcom both. Speaking of the Gordon Highlanders, Mr. Grant, in his Preftos^

says, " Few, few indeed of the old corps are now alive ; yet these all remember,' with equal pride and sorrow,

' How, upon bloody QmUra BnM,
BraTo Cameron hmid tht wild bona
Of conquest ai be ftil :*

and, lest any reader may suppose that in these volumes the national enthusiasm of the Highlanders has been

orer-drawn, I shall state one striking incident which occurred at Waterloo. On the advance of a heavy column d

French infiutry to attack La Haye Sainte, a number of the Highlanders sang the stirring verses of ' Bmoe's

Address to his army,' which, at such a time, had a most powerful effect on their comrades ; and long may snch

sentiments animate their representatives, as they are the best incentives to heroism, and to honest emulation.'*

The following passage from the same work, relates to Colonel Cameron abovementioned, and to the air Oram am

Aoig, Colonel Cameron of Fassifem, mortally wounded, is carried by some of his men and the surgeon to a hooae

in the village of Waterloo, to die. P. 163, et teq. Cameron addresses the piper : ** * Come near me, Maovurich ; I

would hear the blast of the pipe once more ere I die. Play the ancient Death-Song of the Skye-men ; my ftre-

flUhers have often heard it without shrinking.' *Oran an Aoigt* said the piper, raising his drones. The

Colonel moved his hand, and Macvurich began to screw the pipes and sound a prelude on the reeds, whose aote%

even in this harsh and discordant way, caused the eyes of the Highlander to flash and glare, as it roused the teee

northern spirit in his bosom. ' He ordered that strange old tune to be played from the first moment I dedand

Us wound to be mortal,' said the surgeon in a low voice. 'It is one of the saddest and wildest T ever heard-*"

And fchnu «U«w] the brave Cameron at Waterloo, the last earthly sounds he beard beinff thoee of the air Oran mm Ani^

SCOTTISH SONGS.

MY HEART'S IN THE HIGHLANDS.

AxDAjnm
Cavtabiul

-^ ^' J^=

Mj heart's in

High - landsy my heart if

heart's in the Highlaoda, a - clias - iog tlie deer.

Ff ' ^

A • clias - ing the

wild d»er, and follow - ing the

roe,

My heart's in the Highland! where •

^- — i=

MY heart's in tub HIGHLANDS.

Farewell to the JSghlands, flirewell to the north.
The birth-place of yalour, the oountry of worth ;
Whererer I wander, wherever I rove.
The hills of the Highlands for ever I love.

Farewell to the moontains high eoTer'd with snow »
Farewell to the straths and green Tallies below;
Farewell to the forests and wild-hanging woods;
Farewell to the torrents and load-pouring floods.

"Mr HXABT*s IN THE HIGHLANDS." The first hxklf stanza of this song is old, the rest was written by
Boms for Johnson's Moseum. Instead of the air ** Failte na moisg," to which it is adapted in that work,
we haye adopted a much finer Gaelic air, which in some books is called " Crodh Challin," while in others
that name is gijen to an entirely different tone.

In George Thomson's Collection the following sons, translated by Mrs. Grant of Laggan, is adapted to
this melody. It is preceded by a Ions Note sent by the translator, a portion of which is subjoined.

" The verses of * Cro Challin ' hare lived from the days when agriculture was in its infancy, and continue
still to soothe every fold and lull every cradle in these wild regions. • • . Anciently the hunter was
admired as a person of manly coura^, who, in the pursuit of a livelihood, exerted the virtues of patience
and fortitude, and followed Nature mto her most sublime retirements. Herdsmen were then accounted the
sons of little men ; sordid, inferior beings, who preferred ease and safety to noble daring and boundless
variety, and were considered to be as much below the hunter as the cattle they tended were inferior in
grace and agility to the deer the others pursued. Interest, however, reversed such opinions ; in process of
ome the maidens boasted of the numerous herds of their lovers, and viewed the huntsman as a poor
wanderinff adventurer. About this time the song here translated seems to have been composed, xhe
enamoured nymph, willing to think Colin as rich as others, tidks in an obscure manner of the cattle of
Colin, and pursues the metaphor through many playful allusions to the deer, in a style too minute for
translation. In the end, however, it appears that the boasted cattle of Colin were no other than tiioee
wild commoners of nature, and his sole profession that of hunting. I have endeavoured to preserve the
tender simplicity of the original, and to render almost literally the fond repetition of endearing epithets."

"^ly Colin, loved Colin, my Colin, my dear !
Who wont the wild mountains to trace without fear,
O where are thy flocks that so swiftly rebound
And fly o'er the heath without touclung the ground ?

So dappled, so varied, so beauteous their hue.

So ague, so graceful, so charming to view ;

O'er all the wide forest there's nought can compeer

With the light-bounding flocks of my Colin, my dear.

My Colin, dear Colin, my Colin, my love I

O where are thy herds that so loftily move.

With branches so stately their proud heads are crown'J.

With their motion so rapid the woods all resound ?

Where the birch-trees han^ weeping o'er fountains so clear.

At noon-day they 're sleeping round Colin, my dear ;

O Colin, sweet Colin, my CoUn, my joy !

Must those flocks and those herds all tiiy moments employ?

O Colin, my darling, my pleasure, my pride !

While the flocks of rich snepherds are grazing so wide.

Regardless I view them, unneeded the swains

Whose herds scattered round me adorn the green plxdns.

Their offers I hear, and their plenty I see.

But what are their wealth and their offers to me,

Wliile the light-bounding roes, and the wild mountain deer

Are the cattle of Colin, mv hunter, my dear ?

SCOTTISH SOIfUK.

■^>^r^^^^N^»^»<^^»^w*

HIGHLAND MARY.

f = 72

Ahdahts
Mnro.

AIS, "KATEKftlXB OOIS.

fcb

ARBAVaiD BT T. M. ITTDim.

^:3rj=j^ =j=z^ ^ z^^

go • m« - ry. Green be yoar woods, and fair yonr flow'n, Your wa • ters ne • Ter

dram - lie ! There nm • mer first nn - ikuld ber robes. And

^ r

■^ — r

* Ojk, in the C«liie. mciau lUiU or }tfiai«.

HIGHLAND MART.

Bow cweetly bloom'd th« gay green birk.

How rich the luvthom'B blouom,
A* nudenkekth their hngzant shada,

I alaap'd her to my boaom I
Tho goldeD honre, on angel wings,

Hew o'er me and my dearie ;
Far dear to me u light and life

Wu my (weet Highland Alary.
Wi' manie a tow, and lock'd embrace,

Onr parting waa fn' tender ;
And pledging aft to meet again.

We tors onnelTea atnnder :

8ut oh I fell deatb'a nntimely froit,

That nipp'd my flower aae eaiiy 1
How green 'a the sod, and cauld '■ the clay.

That wrap* my Highland Mary I
pale, pale now thoae roiy lipi

I aft ha'e kias'd lae foniUy !
And closed for aye the (parkling glanc*

That dwelt on me aae kindly ;
And monldering now in ailent dnit.

That heart that lo'ed me dearly !
Bat atill within my boaom'a con

Shall live my Highland Mary.

Eatherine Ogle" had n . __

any anbaeqneut edition of the Dancing Master. It did m
tnne," in Playf— ^'- •--"-■- " ■ "■"" - ■ ■■

>, and the a

"'HxaBLASD Mast." There has been conddenible debate as to whether this air belongs to England
or to Scotland. It ii flnt found ia a snpplement (1638) to Playford'a Dancing Master ol ISSS, where
it ia called "I^y Eatherine Ogle, a new Dance." This, however, moat not be held to mean that it was
then a new tone. Flayford's book was pablished to teach the fignrea of the donees, and the mosic waa
giren simply aa an accessory, without which dancing could not go on. This is proven by a tone being
oecaaiMially inserted more than once in the work, each time with a diETereot name, thus sarring to
distingniah the figure that was meant to be danced. It would appe&r either that the dance called " Lady
■r-ii .-_. n^t^u .._i _. „„, „,. ,.j,„f „mo „nni-...>.t aesociationa prevented it from appearing in

c, however, withoot a naine, but ss a "S<ratch
7 Scottiah MS. of

— J , iheraa to the old

tonality, going down in the first bar to the minor seventh instead of np to the second of the soala, aa
it does in the veniou of 16S6, and in that of onr own times. This ihowa that the air belongs to an earlier
age than that of James IL I have no doubt that it waa a vocal melody, and that it had an earlier name,
bat the later loose songs written to it by some of D'Urfey'g imitators, cansed botii old name and words
to be forgotten, in the same way as Burns' Highland Mary has now superseded Eatherine Ogie. *' '

■ongs, and probably also the a. ^ ^ .

from the tone having come down to us under a later name.

I believe the air to be Scottish chiefly from internal evidence, but partly from the facts mentioned above.
In connection with this I have to acknowledge the extreme kindness of Mr. Wm. Chappell, F.S.A., in
pving me tha as* of some of the rarest edittons of Flayford's Dancing Maater and ApoUo's Banqoet, aa
««U M other worka at the timea of Chaiies H. and the later Stoarta, many of whieh an aniqae.— {jTu. W.)

.COTTIBB e^oi^oB.

THE IiA.1^

jj 0' THB LBAL.

j^B»A3lO«I>

!«».'»•

..^,TTlTn»tAtT.f.

^..dlUoo*!

..UlL.tB»'«»»»l»W.

'iBK LAKD O' THB LBAL.

Oar bonnie bairn 'a there, John,
She was baith gade and fair, John,
And oh ! we gnidged her tair

To the land o* the leaL
Bat ■orrow'a eel* wears past, John,
And joy is comin* fast, John,
The joy that 's aye to last

In the land o' the leaL

Oh ! dry yoar glist'ning e*e, John,
My soul Ungs to be free, John,
And angels beckon me

To the land o* the leal.
Now, fare ye weel, my ain John,
This warld's cares are rain, John,
We 11 meet and we 'U be fain

In the land o' the leal.

*'Thx lastd 0* THX LXAL." The air has long been commonly called " Hey, tattie taitie," apparently from
a passage in the last stanza of an anonymons song, supposed to have been written about the beginning ol
last eentory, and song to the air here given. The passage alluded to is^

" When yon hear the pipe sound
Tuttie taitie, to the drum," ^.
Boms apeaks of the air as follows :^" I am delighted with many little melodies which the learned musidaa
d ss p i ni as silly and insipid. I do not know whether the old air, ' Hey, tuttie taitie,' may rank among thia
number ; but well I know that with Fraser's hautboy, it has often filled my eyes with tears. There xa a
traditioQ, which I hare met with in many plaoes of Scotland, that it was Bobert Bruce's march at tha
battle of Bannockbum."

In Sibbald's Chronicle of Scottish Poetry, published at Edinburgh in 1S02, there, is a set of " Hey, tuttie
taitie *' giyen under the name of " Hey, now the day dawis." It differs from Johnson's set, (Na 170 of
ICiiMam,) not only in sereral notes, but in the relatiTe poeition of the two strains into which the air ia
divided : in Johnson, the seoond strain being placed before the first. Mr. Stenhoose (Museum, roL il. pp.
192, 163) says, "The more ancient title of this tune was ' Hey, now the day dawis,* the first line of a song
which had been a rery great favourite in Scotland several centuries ago. It is quoted by Gawin Doa^as,
Bishop of Dunkeld, in the prologue to the thirteenth book of his admirable translation of Virgil into Scottiah
▼ana, which was finished in 1513. It is likewise mentioned by his contemporary, the poet Dunbar, and
many others. This song was long supposed to be lost ; but it is preserved in an ancient manuscript coUeo-
tioii ol poems belonging to the library of the Ck>llege of Edinburgh. *' We think it very doubtful that the
air of "Hey, tattie taitie," and the air of "Hey, now the day dawis," were the same. In the Straloch
MS. Late-Book— already noticed in this work— we find an air called "The day dawis," which differs
totally from the air "Hey, tuttie taitie." The former has no Scottish characteristics, and may have been
composed by some English, or French, or Italian musician attending the Scottish Court. That there were
many foreign musicians, as well as Scottish, English, and Irish ones, employed at the Court of Scotland,
appears from documents preserved in the General Register House at Edinburgh ; and from the curious
passages from these in the " Extracts from the Accounts of the Lords High Treasurers of Scotland, relative
to mnato," from a.d, 1474 to 1550, given in Ka IIL of Appendix to the late Mr. William Danney's valnable
work, "Ancient SooUUh melodies," &c, 1838.— (G. F. G.)

The excellent verses here given were published anonymously about the end of last century. The words
were originally "I'm wearin' awa*, John," but were altered, seemingly with the intention of making
the song appear to be the parting address of Bams to his wife. In 1821 a somewhat different version
speared in the Scottish Minstrel (voL iiL 54), with the initials B. B. attached, as the signature of Mza.
Bogan of Bogan, a name assumed by the authoress to conceal her identity not only from the public, but
•Ten from the publisher. It was not until after her death in 1843 that Caroline Oliphant, Lady Xatme,
was discovered to be the writer not only of this, but of many other excellent songs. A stanza beginning,
*'Sae dear's that joy was bought," (added in 1821,) has not bean ganarally aooepted as an im pre v w Danfe
•ad hat been here omitted.

SCOTTISH ao5a&.

^^^^^^^0%

SCOTS, WHA HAE WI' WALLACE BLED.

liAEBTOSO^

Enzboico.

AKBASOBD BT J. T. lUlIKim.

Sooti, wbA hae wi' Wal- Um U«dl 8eoti,wfaamBniMhii af • ton todt

W«l-eoiii« to your go • ry bed. Or to vie - to - riel Now*! tho dM.jp an'

sow's the hour : See the firont of bat - tie loor : See approach proad Edward's power;

SCOTS, WflA IIAB Wl' WALLACE BLED.

YFhm will be a traitor knave ?
Wlia can fill a coward's grave ?
Wlia sae base as be a slave t

Let him turn an' flee I
Wha, ibr Scotland's king an' law,
Freedom's sword will strongly draw.
Freeman stand, or fireeman &',

Let him follow me I

By oppression's woes an' pains^
By onr sons in servile chains,
We will drain onr dearest veins,

But they shall be free.
Lay the prond usurpers low I
tyrants fitll in every fbe I
Liberty's in every blow I

Let OS do or die !

** Soon, WHA HAS wf Wallace bz2d." We have already spoken of the air « Hey, now the day dawis,** in the
preoeding Note. We have now to speak of the admirable words written for that air by Bums on 1st AngiiBt
1798. It appears, that on 80th July 1798, Bums and his friend, Mr. John Syme, set out on horseback from the
house of Mr. Gordon of Eenmnre, fbr Gatehouse, a village in the Stewartry of Elrkcndbright. " I took him (says
Mr. Syme) by the moor-road, where savage and desolate regions extended wide around. The sky was sympa-
thetic with the wretchedness of the soil ; it became lowering and dark. The hollow winds sighed ; the lightnings
gleamed; the thunder roUed. The poet enjoyed the awM scene— he spoke not a word, but seemed wrapt in
meditation. What do you think he was about ? He was charging the English army along with Bruce at
BaonodkbunL He was engaged in the same manner on our ride home fttmi St. Biary's Isle, and I did not disturb
Urn. Next day, (2d August 1798,) he produced me the following Address of Bruce to his troops, and gave me a
copy Ibr DahEeU."

Mr. Lockhart, hi his *< life of Bums," gives a very interesting passage regarding Bums' visit to Bannoekbum
in August 1787, from some fragments of his Journal that had come into Mr. Lockhart's hands. ** Here (says
Bums) no Scot can pass uninterested. I flmcy to myself that I see my gaUant countrymen coming over the hill,
•ad down upon the plunderers of their country, the murderers of their &thers, noble revenge and Just hate
glowing in every vein, striding more and more eagerly as they approach the oppressive, insulting^ bloodthirsty
fbe. I see them meet in glorious triumphant congratulation on the victorious field, exulting in their heroic royal
leader, and rescued liberty and independence." Mr. Lockhart adds, « Here we have the germ of Bums' fhmoua
Od$ on ths Battle of Bann4>Mum.'' Bums' original words to the air that he chose himself^ are much superior to
his altered ones, adapted to a very paltry air in Johnson's Museum, (No. 677,) or to '* Lewie Gordon,** in Mr
G. Thomson's Collection. We here give Bums' original words, with the air for which he composed them.

The oldest known song to this air, and that from which it has received the name it is usually known l^,
** Hey tutti taitie," seems to have been written after the Scottish rising of 1715, and before the death of
Charles XII. of Sweden, 1718. That the air had an older name need not be doubted, but the popularity of the
Jtoobite song has long since extinguished all knowledge of it.

Here's to the King, sir,
Te ken wha I mean, sir,
And to every honest man
That will do 't again.

Chorus.— ¥111, fill your bumpers high,

We 11 drain a' your barrels dry.
Out upon them, tyl fyl
That winna do 't again.

Here 's to the chieftains
O' the gallant ffigbland clans.
They ha^e dune it mair nor ance,
And wiU do't again.— fTi^, ;U2, etc

When you hear the trumpet sound
" TiUti taUi " to the drum,
Up sword, and doun gun.

And to the loons again.^^TU, jm, etc
Here 's to the King o' Swede,
Fresh laurels croun his head !
Shame fk' every sneaking blade

That winna do 't ^g^,— Fill, Jill, etc
But to mak a* things right now.
He that drinks maun fecht too.
To show his heart 's upricht too.

And that he 'U do 't again.*J^,/a, ete.

SCOTTISH SOKGS.

UP IN THE MOENING BAELT.

AMMtMOMD WH. T,

• r 1 f

ir-i— i

£i F-H^^

Ganld bUwt Um wind frM north to lottthy Tho

f-^f j>

#— H-t^ 4

M .011

drill it drift - ing tdr - ly ; The aheep areoov^-ing in thelimigii,* O,

Sirs ! its wint - tr &ar - ly. Now np in tlie mom • lug's no tot

371 I r

J * I ! i}i~

t=t

s^=t

(TP IN THB MORNING EABLY.

Up la the mom • ing ear - Ij ; I'd n - ther gme tapper^ len

to my bed, •Than

(P i: J' ;■ /. •n^o a, ^ ^

r 1 r

rise in the mora - log ear - ly.

■^ ^.i^

^^^^

Lend roan the blast amasg the woods,

And tlrls the branches barely ;
On hill and house hear how it thuds 1*

The frost is nipping sairly.
Now up in the morning's no for me^

Up in the morning earlj;
To sit a' nicht wad better agree

Than rise in the morning earlj.

The sun peeps owre yon southland hillsy

Like ony timorous carlie,'
Just blinks a wee, then sinks again;

And that we find severely.
Now up in the morning's no fbr me.

Up in the morning early ;
When snaw blaws in at the chimley cheek,

Wha'd rise in the morning early ?

i A daD : ft rariiML • To beat : to strike.

« Comfortable : snug.

Nae Unties lilt on hedge or bush :

Poor things, they suffer sairly;
In cauldrife quarters a' the nicht;

A' day they feed but sparelj.
Now up in the mominc^'s no for me.

Up in the morning early;
A penny less purse I wad rather dree^

Than rise in the morning early.

A cosie* house and cantj wift^

Aye keep a bodj cheerlj;
And pantries stow'd wi' meat and drink,

Thej answer unco rarelj.
But up in the morning — na, na, na !

Up in the morning earlj 1
The gowans maun glent* on bank and brae,

When I rise in the morning early.

* A little man. * Budnra.

' Peep oat, or ibine.

"Up IK THE MORNiNO EASLT." Mr. Stenhouso, tbe annotator of Johnson's Museum, believes that the
Knglish borrowed this air from us, and sang to it some of their old songs. It would rather seem that we
bom>wed the air from them, and that we never had an old Scottish song adapted to it ; at least neither
Allan Bamsay nor David Herd knew of such a thing. Our earliest Bona to the tune was written by Bums
about 1788 ; that given above, which is now usually sung to the air, is oy John Hamilton, music-seUer in
Edinburgh, who died so recently as 1814.

The idea of the air being Scottish appears to have arisen from the fact that Queen Mary XL, on a noted
occasion when Purcell was present, and had been playing on the harpsichord to her, asked one of her
attendants to sins the "old Scottish ballad, ' Cold and raw the north did blow.' " Now " Cold and raw "
had then been omy recently ivritten by Tom d*Urfey, and was therefore neither old nor Scottish. At that
time the music of our country was in fashion in England, and it was customary to call every simple air
Scottish, whether it possessed any other claim to the title or not.

The music-books of the period literally swarm with such tones, frequently giving the name of the
composer ; so that there was no idea of nationality necessarily attached to them, any more than there is to
the *' Schottiach " of our own times.

^ Mr. Chappell ffives the successive names of the air in England aa "Stingo, or, The oyle of barley," dunng
the Commonweiuth ; "The country lass," under Charles II.. and "Cold and raw," under James U. Stm
Popular Music of the Olden Time. •

&COTT18H SOirOS.

MUIRLAND WILLIE.

ABftAVOID BT J. T. SVBBOa.

toll ToahowToimg Mvir - land WU - U« cam' here to woo, Th(/ 1m eonldnti-thcr

¥1 H' \ i M

r==i

g~7T

Bat aye lie eries, What -

M J II

MITTRTiAKD WILLIB.

e'er be - tide, Meg - gj I'se ha'e to be my bride. With a £al da ib, ftl

Ji f ^ f f. I

lei dare, la &llaldara,Uldan

1 j 1

i n J-il

N ^ jTi

On bis gray yade, as be did ride^
T7i' dirk and pistol by bis side,
He prick*d her on wi' meikle pride^

Wr meikle mirth and glee,
Ont o*er yon moss, out o'3r yon mnlr,
im he came to her daddie's door,
. With a &1 da ra, jto.

Gudeman, qnoth he, be ye within?
Fm come your dochter's lore to win,
I earena for making meikle din ;

What answer gi'e ye me ?
Now, wooer, quoth he, would ye light down,
ni gi*e ye my dochter's love to win,

WiUi a &1 da ra, &o.

Now, wooer, sin* ye are lighted down.
Where do ye won,^ or in what town?
I think my dochter winna gloom.

On sic a lad as ye.
The wooer he stepped up the house.
And wow but he was wond'rous crouse,'

With a &1 da ra, &0.

The maid put on her kirtle' brown.
She was the brawest in a' the town;
I wat on him she didna gloom.

But blinkit bonnilie.
The lover he stended up in haste.
And gript her hard about the waist,

With a &1 da ra, &c

The maiden blush'd and bing'd* fti' lav,
She hadna will to say him na,
But to her daddie she left it a',

As they twa could agree.
The loTer gi'ed her the tither kis<
Syne* ran to her daddie, and tell'd him tidfy

With a fid da ra, &c

The bridal day it came to pass,
Wi' mony a biythsome lad and lass ;
But siccan* a day there nerer was^

Sic mirth was nerer seen.
This winsome couple straked hands.
Mess John ty*d up the marriage bands.

With a fid da ra, &c

« Bride jUTdy.

* An upper garment

«Cutii«L

• AftorwardiL

• Bach.

"MniBLAin> Willie." As this air has been known in England since 1667 under the name of "The
Northern Lass," we are scarcely entitled to assume it to be undeniably Scottish, however much it may
i^pear to ourselyes to be so. A song, ''Betty Haddocks, the £sur Maid of Doncaster," has been traced
biack to that year by Mr. Chappell, and the air itself to 1669. Our claim rests on the fact that Allan
Ramsay (bom 1686), mentions the song specially in the preface to his Tea-Table Miscellany as known
"time out of mind," and marks it in the body of the work with a Z, to indicate its being an ancient
song. It may also be remarked that the measure of the Scottish verses seems better fitted to the air than
the double rhymes on the second and fourth lines of the English song. The tune having becoi known in
both oonntries for upwards of two centuries, it may be considered as the ^^w^mnn property of the nortiiMcn
•oaatiea of the ome^ and the southern counties of the other kingdom.

SCOTTISH S0H08.

i***^M — ^'

•^^^^m^^^^^^m*

THBEE WAS A LAD WAS BOEN IN KYLE.

AZI^ ** O on TX WXEI DKAD, OUDSMAK.
= 112

AKXAHOBD BT T. IC KUHn.

Allboarto.

^^^^^m.

doabt iti hard - ly worth the while To be mo nice wi'

Ro • Uds

THE^E WAS A LAO WaS BOKN IN KYLE.

For

Ro - bin WM a

roT - in* boy, A

.^ Lf LT fJ I

rant - to', xor • fai%

Our monarch's hindmost jear but ane
Was fiye-and-twentj days beg^,
Twas then a blast o' Janwar* win'
Blew hansel in on Robin.

For Robin was a royin' boj, &o.

The gossip keekit ^ in his loot*
Quo' scho, wha lives will see the proofs
This waly* boy will be nae coo^*
I think well ca' him Robin.

For Robin was a rovin' boj, &c.

Hell ha'e misfortunes great and sma',
But ay a heart aboon them a' ;
Hell be a credit till us a',
Well a' be proud o* Robin.

For Robin was a rorin' boy, &a

But sure as three times three mak' nine^
I see by ilka score and line.
This chap will dearly like our kin',
So leese me on thee^ Robin.

For Robin was a roTin' boy, &o.

(Looked.

fl Palm of the haa»l

sLaije, thiirln^

«FooL

" Tbxbs was a lad was bobn in Kyle." This song was written by Bums ; but the sixth stanza is omitted fbr
obrious reasons. The old air of <* gin ye were dead, gudcman," consisted of one strain only. The second strain
was taken from one of Oswald^s Tariations of the original air, published in the fourth Tolume of his Caledonian
Podcei Companion. The air is thought to be of an older date than 1549, as the Reformers are said to hare rang
il then to one of their ^tritoal hymns.

SCOTTISH SOliUI.

UT LOVE IS LIKE A RED RED ROSE.

O Ur LOVB IS LIKE ▲ BED BED BOSS.

f}, i J' : c • •-

~ ^ a > K

'jrjTT

=*=5=:

a' Um MM gang dry, my dear, Till a' tha mm gang dry, And I will lova thM stUl, my dear, TOl

a' the MM gang dry.

mi a' the teas gang dry, my dear,
And the rocks melt wi' the nm;

[0] I will loTe thee still my dear,
WhUe the sands o' lift shall run.

And &re thee weel, my only lora.
And fkre thee weel a while !

And I wHl come again, my lora.
Though it were ten thousand mile I

Thou^ it were ten thousand mile, mj lof«l

Thoo^ it were ten thousand mila I
And I will oome again, my lore^
Though it were ten thousand mile I

**0 MT LOTS u UKM A EKD Kxo EOsi." In the Not* CO " Mary Morison " we hate alluded to this balng an
old son^ which Bums rerised and extended fbr Johnson's Museum. The subject must at one time hare ben %
fcTourite with our minstrels, fbr no less than three Tenions of it are giren in the second Tolume of Bums' works
edited by Hogg and MotherwelL The first was ftimished by Mr. Peter Buchan, who says, — *' The song whi^
supplied Bums with such exquisite Ideas, was written by lieutenant Hinches as a farewell to his sweetheari."
No fkrther Information is giycn as to this gentleman; not eren when or where he lired. This is unfbrtunate^ tar
authorities are desirable in old songs as well as In grarer matters. The next rersion is fh>m a common stall
ballad, picked up by Mr. Motherwell, entitled, ** The turtlo-dore, or True lore's fkrewell." The third Is taken from
a small Garland, without date, but supposed to be printed about 1770, entitled, ^The Ilom fair Garland, containing
fix excellent new songs.** This tract is bellered to hare been in the possession of Bums, as his name, in a boyish
hand, is scrawled on the margin of the last page. The present song seems to owe some of its lines to Song VL,
"The loyal brer's &rewell to his sweetheart on going a long journey ;" and Mr. Motherwell obserres, " this song
•bows how tenaciously his (Bums') memory retained erery idea which a rude ditty suggested to his creatire mind.**
We are in possession of Airther infbrmation on the subject, but this we shall reserre fbr the Appendix, merely
remarking here, that the first six lines do not appear in any of these old Tcrslons.

In Johnson's Museum the song was set to two dilTerent airs, one a strathspey, caDed by Gow, " M^or Graham,**
and the other a fine old melody of one strain, called, ** Queen Mary's LamenL" Neither of these has retained
postessloo of the song, which Is now InTariably sung to a modem Tersion of ** Low down In the broom,** the air to
which It Is adapted in this work. Sibbald, In his Chronicle of Scottish Poetry, toL ilL p. 274, sUtes it as his
opinion, that to tliis tune was written, ** My lore mnmis fbr me, for me," one of Wedderbume's " Psalms and
p^n^tifi* of Godlie purposes." These spiritual songs were undoubtedly sung to the popular tunes of the day ; but
•ftry attempt to Ident^ the latter with any air now known, must, with perhaps a few exceptions, rest purely oa
ooi^Jeeture. Wedderbume's ** Gude and Godlie Ballates," are supposed to be alluded to in a Canon ot tbe Pr^
^adal Council, 1640, which denounces serere punishmcBts against those who kept In thdr pusif ion ** attqiof
Bbna lythmorum sea cantUcnamm Tulganun, srandaUisa crcksiasticorum, aat quamninqot basraim ia M on*
tfDcotk.'* 8ea Sibbald. ToL UL p. »L

SCOTTISH soiroiL

•>^>^^^^^V ^^^«^«^«^W^M»

MY AIN FIRESIDR

««

AIR, "TODLIN RAMS.

JJLEASaXD BT J. T.

= 108

AXDAJraiHO
ASDIATO.

LaJ,

r ^ r

Hgf K'^ f ;■. j'i

O I ha'e teen great anas, and mt in gnat ha*iy llang

At featti made for prin - ees, wi' prin - eat I'ts baan, Whara tlit

lords and *xnang la - <Ues a' cor - ar'd wi' brawi ; Bat a tight taa da - light - ftd, I

great shine o' splendonr has das - sled mj e'en ;

Til

9==^

rfe'-'V M ic-^f /'.J^J' i n^'m

trow I ne'er spied. As the bon - nie blytbe blink o* my

ain flra-iUteL

KT XIV TIBSSIDR.

• •

piu <xniifncUo.

HH^^

•in fire - side, mj

•in fire -side, O oheeiing'sthe blink o' mj

•in fire • side.

As Um wiurminng Msniu an weh two lines Umgv tluui ths talk, il Is wenamrj fa ifaigfaig thsm to rapest the sseoud ss well ss the flM
stEBin of the mdody. Another, end e Ttiy objectioiiahl^ mode ii^ howerer, more genetaUy adopted; this is^ to omit e pottioa d
eaeh stana» and thus aooommodale It to the moila.

Ance maiTi gude be praised, round my ftin heartsome ingle^

Wi' the fHends o' my youth I cordially mingle;

Nae forma to compel me to seem wae or glad,

I may laugh when Fm merry, and sigh when Tm sad.

Nae falsehood to dread, and nae malice to fear,

But truth to delight me, and firiendship to cheer;

Of a' roads to happiness erer were tried,

There's nane half so sure as ane's ain fireside.

BIy oin fireside, my ain fireside,

there's nought to compare wi' ane's ain fireside.

When I draw in my stool on my cosey hearth-stane»
My heart loups sae light I scarce ken't for my ain ;
Care's down on the wind, it is clean out o' sight,
Past troubles they seem but as dreams of the night
I hear but kend voices, kend fhces I see,
And mark saft affection glent fond firae ilk e'e;
Nae fleechings o' flattery, nae boastings o' pride^
*1U heart speaks to heart at ane's ain fireside.

My ain fireside, my ain fireside,

there's nought to compare wi' ane's ain fireside.

" Mr Am TiBSSiDE." In Cromek's " Remains of Nithsdale and Galloway Song," these verses are ascribed to Mrs.
Elizabeth Hamilton, the authoress of " The Cottagers of Glenbumie," and various other prose works, chiefiy relative
to education. She was the sister of Captain Charles Hamilton, in the service of the East India Company, who wae
also an author. She died about 1817. The air is that given in Johnson's Museum under the title of *'Todlen
heme." This ancient air has been wrought into a variety of modem tunes, under different names; such as,
"Armstrong's Farewell,'* <<Bobidh donna gorrach," *<The days o' Langsync," *<Lude's Lament," <*The death of
the chiet" ftc See Museum Illustrations, voL iiL p. 258

SCOTTISH SOKQS.

WHEN THE KING COMES OWEE THE WATER

#«02

With Sfzbit.

AULuraxD B7 ▲• a macxxhbib.

a£

wee CTOO-hooBe, At the rock and the reel to toil fti' drear - 7;

the daj That I ha'e begg'd, and begg'd frae heay - en; 111

2dffer8e, f

a UtUe slower.

I may think on the day that's gane. And sigh and sab till I growwear -7.
fling my rock and my reel a - way, And dance and sing frae mom till eT - en.

2d verse, f a lUtU slower. .^

WHEN THE KINO COMES OWBE THE WATER.

IKf

^=Pg-|^

I ne'er ooold brook,
For there u ane

?=g='=^=^

I
I

ne'er eoald brook A for • eign loon to own or flatter. Bat

win-na name That comes the bein - gin byke to scatter. And

erf, f

Concluding symphony, ^

rUard.

:J=I=J:

I I A — — tT^

.d^.tL

I ha'e seen the gnde anld day,

The day o' pnde and chieftain's glory.
When royal Stuarts bore the sway,

And ne'er heard tell o' Whig nor Tory.
Thouffh lyart be my locks and grey,

And eild has crook'd me doon — what matter I
I *11 dance and sing ae other day,

That day the kmg comes owre the water.

A corse on dull and drawling Whig, _

The whininff, rantin', low deceiver,
Wi' heart sae black, and look sae big.

And cantin' tongue o' dishmaclaver !
My father was a gude lord's son.

My mother was an earl's daughter.
And 1 11 be Lady Keith again

The day our king comes owre the water.

" When the IKssq comes owre the water. " This is said to be a ffenuine old Jacobite song, though it
is not known to have appeared earlier than in Hogg's Jacobite Relica (1819). He says in a note, " It seems
to haTe been composed!^ oy the Lady Marischall, or by some kindred bard in her name. Her maiden name
was Lady Mary Dmmmond, daughter of the Earl of Perth. She was a Roman Catholic, and so strongly
attached to the exiled family, that on the return of her two sons to Scotland, she would not suffer them to
enjoy any rest till they engaged actively in the cause of the Stuarts." Georse, the elder of her sons^ was
attamtea in 1716, and died abroad in 1778. James, the younger, was the celebrated Field-Marshal Keith,
who, after attaining the highest militaiy rank in the Russian service, entered that of Frederick the^ Second
of Prussia, by whom he was held in great esteem. He was killed at the battle of Hochkirchen in 1758,
and was buned with military honours by Marshal Daun, his Austrian opponent. Frederick, however,
afterwards transferred his body to Berlin, and there erected a superb monument to his memory.

The air has been discovered in William Graham's MS. Flute Book (1694), under the name " Playing
amang the rashes :" Oswald has it in his Cidedonian Pocket Companion, and caUs it "The rashes," thus
■howmg that we had an earlier song to the tune than the "The Boyne Water." It will be found in
Ramsay's Tea-Table Misoellany (x. 60), and is marked Z as an old song. It begins, «My Jockey blyth."

SCOTTISH S0N08.

' ^^^S^ ^ ^^^^^f^^

THE SOLDIER'S RETURN.

4IB, * nZI lOLI, HZU» a'

f = 66 fi Oh — ^

AmiJUraiD BT T K. 1RT1II&

MODSKAXO

t=t^

tern - ing^ Wi' ■» - ^y a svwt bsbt & - Uwr-k«, And iBO-ny % wi •

p f r M — '

THE aOLOIKR'S UETUKN.

^>^^»^i^»^^^0^0^0^^^

A !m1 light hmri beat in my breAst»

My hands unstain*d wi' plunder ;
And fbr (kir Scotia, hame again,

I cheery on did grander.
I thon^t upon the banks o' CoQt

I thought upon my Nancy ;
I thought upon the witchin' smile,

That canght my youthftil tknoy.

At length I reach'd the bonnie glen.

Where early life I sported;
I pass'd the mill and trystin' thoni«

Where Nancy oft I ooorted.
Wha spied I but my ain dear maid,

Down by her mother's dwelling !
And tnm'd me round to hide the flood

That in my e*e was swelling.
Wi' alter'd Toice, quoth I, Sweet lass,

Sweet as yon hawthorn's blossom,
! happy, happy may he be,

That's dearest to thy bosom I
My purse is light, Fre flur to gan^

And fkin wad be thy lodger,
Pre serred my king and oountry lang :

Tak' pity on a sodger.
See wistfVilly she gazed on me^

And lorelier was than eyer ;
Quoth she, A sodger ance I lored

Forget him will I nerer !

Our humble cot and hamely fkre^

Ye freely shall partake it ;
That gallant badge, the dear cockade^

Ye're welcome for the sake o't I

fihe gased — she redden'd like a rote ■

Syne pale as ony lily ;
She sank within my arms, and cried.

Art thou my ain dear ^i^lie?
By Him who made yon sun and skj,

By whom true lore's regarded,
I am the man I and thus may still

True lorers be rewarded.

The wars are o'er, and Fm come ham%

And find thee still true-hearted ;
Though poor in gear, we're rich in Icif^

And xnair we'se ne'er be parted.
Quoth the. My grandsire left me gowd,

A mailin' plenish'd (kirly ;
Then come, my fidthfti' sodger lad,

Thou'rt welcome to it dearly.

For gold the merchant ploughs the main.

The Ihrmer ploughs the manor ;
But glory is the sodger's prize,

The sodger 's wealth is honour.
The brsTe poor sodger ne'er despise^

Nor count him as a stranger :
Remember he's his country's staj.

In day and hour of danger.

" Whiv wild wak's diadlt blast was blawv." This song was written by Bums, in the spring of 17M, ta
take place of unseemly old rerscs that used to be sung to the same air. Captain Charles Gray, RJl, in liis
" Cursory Remarks on Scottish Song," No. 15, thinks that the song was probably suggested by a casual meeting
vith " a poor ftUow of a sodger," in a little country inn ; which Bums mentions in a letter to John Ballantiasb
£•4. The air is ptobtUj rnueh older than tho date of Mrs. Croekat*B M8., 170ft, beyond wUeh Mr.
dost not tract its antiqvHj. Oaj ohott tba air te oat of Us Magi la " Fot^*** pfialid la 1728l

SCOTTISH S0VO8.

U^^0t0

^^»^^^*^>l^*^^^*^*^»i^^^*^^^^^^^*^^^^^^0^0^0^0^0^

BARBARA ALLAN.

ABMAJiaSD BT J. «.

=r80

AxDAxrm
Patrioo.

^iHr i ^'^rf i rg^tf i r, J J i Ja

in and a-boat the lUif -mM tniMyWIiaitlM grtnlMTM wer» a - bll - !■% Tkaft

\^^^ mn

Stt John GnBBM, in tha

ooan - try, Fell in lo?e wT Bar - b*ra Al - laa. He

f ii J J I : I

JJ l J J JJ';I

t lut man down thro* the town. To the place where the waadwall -in*: O, haifta and eooM to vy

BAHBARA ALLAS.

' ^^^^^^^^^^^^^^^^^^W^IV^^^^ %^^^^^^^^^^^^^«

rTr^\i, ;' ^^^^# j=i^

mat - ter dear, Gin ye be Bar - b'ra Al • Ian.

0, hoolj,^ hooly, rase she np

To the place where he was Ijin',
And when she drew the curtain by —

Young man, I think ye're dyin*.

It's oh, I'm sick, Fm rery Tcry sick.

And if s a' for Barbara Allan.
0, the better for me ye'se nerer be,

Though your heart's blude were a-spillin'.

Oh, dinna ye mind, young man, she sai*l.
When the red wine ye were fillin',

That ye made the healths gae round and round.
And slichtit Barbara Allan ?

He tum'd his fiice unto the wa',
And death was with him dealin* :

Adieu, adieu, my dear friends a',
And be kind to Barbara Allan.

And slowly, slowly rase she up,
And slowly, slowly left him,

And sighin', said, she could not stay.
Since death of life had reft him.

She hadna gane a mile but twa.
When she heard the deid-bell knellin'.

And erery jow' that the deid-bell gi'ed.
It cried. Woe to Barbara Allan

Oh, mother, mother, mak' my bed.
And mak' it saft and narrow.

Since my lore died for me to-day,
111 die for him to-morrow.

1 Slowly.

tPe&L

" Babbara Allan." ** This ballad is ancient. Bishop Percy had an old printed copy in his possession, which
wta entitled, * Barbara Allan's Cruelty, or the Toung Man's Tragedy,' reprinted in the third Tolume of his Ancient
Songs and Ballads, at London in 1767. It is evidently an embellished edition of the old Scottish ballad in the
Mmeom, which is taken terbatim ftom that presenred in Ramsay's Miscellany in 1724. The learned prelate's
copj makes the heroine's residence at Scarlet Town, (the dty of Carlisle, perhaps,) and calls the hero Jemmye
Oro9€, In other respects the story is nearly the same in both ballads, and may possibly have had its origin from
dreomstances that really occurred. Be that as it may, it has been a fitvourite ballad at erery country fire-side in
Scotland, time out of memory. The strains of the ancient minstrel who composed this song may, indeed, appear
harsh and unpolished when compared with modem refinements; nerertheless 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
infi)rms me, that he remembers haying heard the ballad frequently sung in Dumfries-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 had seen, mention is made of a Barbara of that fiunily ; but he is of opinion she may haTe
been baptised firom the ballad." See Museum Illustrations, toL iiL pp. 218, 214. In the Add. Illust., p. 800%
C K. Sharpen Esq., writes as follows, regarding the preceding Note : — ** In this Note Mr. Stenhoose alludes to me.
Unloekily I lost the paper I found at Hoddam Castle, in which Barbara Allan was mentioned. I remember tiiM
the peasantry of Annandale sang many more Terses of this ballad than haye appeared in print, but they were of no
moit— containing numerous magnificent offers from the lover to his mistress — and, among others, some ships in
sig^t, which may strengthen the belief that this song was composed near the shores of the Solway. I need scaitrely
add, that the name of Grahame, which the luckless loyer generally bears, is still quite common in and about Annan."

Allan Conningiiam remarks of this ballad : — " Never was a tale of loye-sorrow so simply and so soon told ; yet
we leam all that we wish to know, and any fiirther incidents would only cumber the narrative, and impair the
effect I have often admired the ease and simplicity of the first verse, and the dramatic beauty of the second."

The melody bears marks of antiquity, from the nature of the tonality employed. Its author is unknown. We
find in Bir. W. Ghappell's ** National English Airs," a melody of the same name^ which ia, howerer, quite
firom the Scottish melody, besides being in a major key, and in three crotchet tim#

ftCOTTlSH 80K0B.

LOED GEBGORY.

AiaAKoro >T r. M- mnn.

'TUnoukBlagtiMt

li mon ntnTifWWn of a w WH i nmodj^T. M. H.

LOBD asEaoBT.

Lord Gregory, mind'st thon not the grore

By bonnie Inrin-side,
Where first I own'd that Tirgin-Iore

I lang, long had denied ?
flow often didst thou pledge and tow

Thou wad for aye be mine ;
An* my fond heart, iteel' sae troe,

It ne'er mistrusted thine.

Hard is thy heart, Lord Gregory,

An' flinty is thy breast—
Thou dart of hearen that flashest by,

wilt thou gire me rest !
Te mustering thunders flrom aboT%

Your willing Tietim see !
But spare an* pardon my &iise 1ot%

His wrangs to heaven an' me I

** Lord Geioobt." *< This is a very ancient Gallowegian melody." The air is No. 6 of Museum, and is the
tot in P. Urbani's Collection ; but does not appear in any older collections. It is defectiye in rhythmical ttnM-
ture, four measures alternating with three, in both strains. In the present edition, this doftci is rapplied by
additional measures in the pianoforte arrangement, while the air is left intact.

Bums remarks, " It is somewhat singular, that in Lanark, Renfrew, Ayr, THgton, Kirkcudbright, and Dum-
fries-ehires, there is scarcely an old song or time, which, firom the title, &c., can be guessed to belong to, or to be
the production of these counties. This, I eoi^ecture, is one of these Tcry few, as the ballad, which is a long one,
Is called, both by tradition and in printed collections, * Tks Last o' Lockroyan* which I take to be Lochroyan, in
Galloway.'* Rcliquesj p. 196. The words adopted in this collection, were written by Bums in 1798 fbr Mr.
Qaorge Thomson's work. The song is founded upon the ballad above mentioned, " The Lass o' Lochroyan,**
which was first published in a perfect sute by Sir Walter Scott in his Minstrelsy of the Border, toL iL p. 411
We subjoin a ft*agment of the original. —

*' open the door. Lord Gregory,

open, an* let me in ;
For the wind blaws thro' my yellow Imlr

An' the rain draps o'er my chin.**
** Awa, awo, ye ill woman

Ye're no come here for good ;
Te're but some witch or wil-warlock.

Or mermaid o* the fiood."

•• dinna ye mind. Lord Gregory,

As we sat at the wine.
We changed the rings ftiM our fingers.

An' I can shew thee thine T
your's was gude, an' gude encugh.

But ay the best was mine ;
For your's was o' the gude red gowd.

Bat mine o' the diamond fine."

SCOTTISH soirus.

HERB AW A', THERE AWA'.

AftBAKOXD DT T. M. MUDIK

r="

AmDAinrB.

^ : t\ ^ .

■»-4r

r~r

Here a - wa', thert a • wa', wan - dar - ing

'■ i-n\ i .;'j_^ ^

Vm . lie!

Here

- wa', there a - wa'. Hand a - wa' hamel

HEBE AWA', THEUE AWA*.

bring'it me mj WQ - lie the nme.

:g; Concluding symphony.

Winter winds blew load and cauld at our partin ;

Fears for my Willie brought tears in my e'e :
Welcome now, smnmer, and welcome, my Willie;

The summer to nature, my Willie to me.

Rest, ye wild storms, in the caves of your slumbers !

How your dread howling a loTer alarms I
Wauken, ye breezes I row gently, ye billows I

And waft my dear laddie ance mair to my arms.

But, oh, if he*s foithless, and minds na his Nannie,
Flow still between us, thou wide roarin' main !

May I never see it» may I never trow it,
But, dying, believe that my Willie's my ain I

" HxBX awa', the&e awa'.** This simple and charming litUe melody was first published by James Oswald,
m his Caledonian Pocket Companion, Book viL Its melodic structure is remarkable. The commencement indi-
cates the major key of F, while the close is in D minor. We have seen such modulation in modem claarical
music, but only in Uie first strain of an Andante ; the second strain reverting to the key first indicated, and
oonduding in it. In this Scottish melody there is, therefore, a curious peculiarity of modulation, which is not
only free firom harshness, but is pathetically pleasing and effective. It is a common error to believe tliat a
melody mutt begin and end in one and the same key. There is no reaton for that» save custom and arbitrary
rules. If the modulation is smoothly and artistically managed, a melody may begin in one key and end in
another relativs key, without any real impropriety; nay, often with good effect, as is shown in this very air.
Technical and scholastic rules for the structure of music and poetry are continually liable to exceptions, which
it is the province of genius to discover. The date of the composition of this air, or its author, cannot now be
ascertained.

Bums' first version of his song, ** Here awa', there awa'," was written in March 1798, and sent to Mr. George
Thomson. Some alterations were proposed by the Honourable Andrew Erskine and Bir. George Thomson, in
which Bums at first acquiesced. But, as Doctor Currie remarks in his edition of Bums' Works, ** our poet,
with his usual Judgment, adopted some of these alterations, and rejected others. The last edition is as follows."
This last edition given by Dr. Currie, is the one here published. In his letter to Mr. George Thomson, April
1798, regarding '* Here awa', there awa'," and some other songs. Bums thus expresses his opinion of whs^ is
essential to a song or a ballad — ^simplicity ! ** Give me leave 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 son^ and which is
the very essence of a ballad, — I mean simpticity ; now, if I mistake not, this last feature you are a little apt to
sacrifice to the fore^ing."

A custom has recently crept in of repeating the first part of the air to the 3d and 4th lines of the song ; the
6th and 6th lines are then sung to the second part of the air, and the stansa is completed by again singing the
first part, substituting, however, the fifteenth for the seventh bar, as that makes a finer close.

tiCOTTISH 80N08.

SAW YE JOHNNIE COMIN'1

AMtLASOED BT T. M. MXTDIS.

= 60

MaCERATO
A PlACESX.

Saw ye John-nie com - in' I Saw jre John -Die com • in*! qno' she, Saw ye John-nie

^=^=

22:

■ST

00m - in'1 Wr his bine boo - net on hb head, And his dog • gia rin - ntn'; Wi'

'SAW YE 'JOHNNIE COMIN' ?

Fee him, father, fee him, quo' she^

Fee him, fother, fee him ;
Fee him, &ther, fee him, quo' she,

Fee him, fitther, fee him ;
For he is a gallant lad.

And a weel-doin' ;
And a' the wark about the hoose^

Qaes wi' me when I see him, quo' she,

Wi* me when I see him.

What will I do wi' him, quo' he,

What will I do wi' him ?
He's ne'er a sark upon his back^

And I ha'e nane to gi'e him.
I ha*e twa sarks into mj kist.

And ane o' them 111 gi'e him
And for a merk o' mair fee

Dinna stand wi* him, quo' th«,

Dinna stand wi* him.

For weel do I lo'e him, quo' she,

Weeldollo'ehim;
For weel do I lo'e him, quo' she^

Weel do I lo'e hiuL
fee him, &ther, fbe him, quo' she,

Fee him, flither, fee him ;
He'll hand the pleugh, thrash in the bam.

And crack wi' me at e'en, quo' she*

And crack wi' me at e'en.

** Saw tb Johhhh comdc' ?" ** This song, fbr genuine humour, and lirely originality in the air. is unparalleled.
I take it to be Tery old." — Burn^i Rdiqugi. This obserration haa been hastily made; for the air, either when
played or sung slowly, as it ought to be, is exceedingly pathetic, not lirely. Bums afterwards became sensible
of this ; fbr, in one of his letters to Thomson, inserted in Currie's edition of his works, he says, ** I inclose y<m
Fraser's set of this tune ; when he plays it slow, in &ct he makes it the language of despair. Were it possible^
in singing, to give it half the pathos which Fraser giyes it in playing, it would make an admirable pathetic song.
I shall here giye you two stanzas in that style, merely to try if it will be any improrement" These stanxas begin
** Thou hast left me erer, Jamie," &c. ** Mr. Thomas Fraser, to whom Bums alludes, was an intimate acquaintance
of the poet, and an excellent musician. He still liyes, and is at present (1820) the principal oboe concerto player
in Edinburgh, of which dty he is a native. His style of playing the melodies of Scotland is peculiarly chaste and
masterly." See Museum Illustrations, voL L pp. 6, 6. The Editor of the present work can speak of the abilities
of Thomas Fraser as an excellent oboe player. For him, expressly, were written sereral solo passages in Orches-
tral Symphonies by the Editor, which were performed at the public Edinburgh *< Fund Concerts," &c. Fraser
died in 1825.

The following are the two stanzas written by Bums for this air, and sent to Mr. Thomson in September 1793 :—

Thou hast left me ever, Jamie,

Thou hast left me ever ;
Thou hast left me ever, Jamie,

Thou hast left me ever.
Aften hast thou vow'd that death

Only should us sever ;
Now thou's left thy lass for aye—

1 maun see thee never, Jamie.

m see thw never.

Thou hast me forsaken, Jamie*

Thou hast me forsaken ;
Thou hast me forsaken, Jamie,

Thou hast me forsaken.
Thou canst love anither jo.

While my heart is breaking :
Soon my weary e'en I'll close.

Never mair to wakeu, Jamia,

Ne'er mair to waken

SCOTTISH SONGS.

TAM GLEN.

Not TOO
Quick.

heart is a - breakin*. dear tittie,
Low - rie, the laird o Dram - meller,

Some coon • tel nn - to me come lend;
** Glide day to ye." cnif! he comes ben ;

To
He

rr- r

^^^1^^

pp=;

I *- r 1 f,.

c-^n^P^^

t=±

ntf

an • gerthem a' if a pit-y,
brags and he blaws o' his siller.

Bat what will I do wi' Tarn Glen? I*m
But when will he dance like Tam Glen? My

think - in' wi' sic a braw fallow, In pnirtith I might mak a fen' ; What

min - nie docs constant • ly deave me, And bids me be - ware o' yonng men ; They

TAM OLEN.

flat - ter.

in
she

riches
says, to

to wallow,
de - ceive me,

If I

But wha

maunna
can think

marry
sae o'

Tarn Glen?
Tarn Qlen?

Concluding symphony.

ritard.

alFine,

1 f^ ^\

H *^

^^?=fcS^

-T

(My daddie says gin 1 11 forsake him,

He 11 gi'e me gaid hunder merks ten ;
Bat if it *B ordained I maun tak him,

wha will I get but Tarn Olen?)
Yestreen at the valentines' dealin'.

My heart to my mon' gied a sten'.
For thrice I drew ane without failin*,

And thrice it was written Tarn Glen.

(The last Hallowe'en I was wankin'

My dronkit sark sleeve, as ye ken.
His likeness cam' up the house staulkin',

And the very grey breeks o' Tarn Glen.)
Come counsel, dear tittie, don't tarry,

I '11 gi'e you my bonnie black hen^
Gin ye will advise me to marry

The lad I lo'e dearly. Tarn Glen.

**Tah GLXtr." The air to which Bums's words are now usually sung is of some antiquity; it was

formerly known as " The mucking of (jreordie's byre." Wm. Thomson gave it a place in the fifty airs which

formed the first edition of the Orpheus Caledonius, 1725, and adapted to it the words, '' My dsddie's a

delver of dykes." This, however, is not the tune which Bums sent to Johnson, and to which he wiota his

song. Where or how he acquired that air will never be known ; but it seems not a little strange that a

forgotten English air should be found wandering about in Ayrshire. It is as old as the (commonwealth,

and was then sung in derision of " Old Hewson the Cobbler " and regicide, whose name it bears. The air is

pretty, but being short — eight bars only — ^the ear tires of the repetition in a long song, hence the cause of

its having been superseded by " (jreordie's byre." We subjoin ^e original air for those who may wish to

sing it to Bums's words.

Mt name is old Hewson the Cobbles.

■^.

ft:

^^^^■.

S^a

-IT

Mr. Wm. Ghappe]!, in his excellent work, "Popular Music of the Olden Time," gives a version of the
air differing but Cttle from the above, together with an account of the works in which he has found it^
Dean (Christie also has it in his Traditioxial Ballad Airs, vol. ii., and in his note states that it was sent to
his &ther in 1812 by an aged farmer in Buchan, who had long known it under the name of " I winna ha'o
tailor or sutor." like almost all the airs collected in Aberdeenshire by the Dean, it has a second part ; this,
while showing the fertility of invention of our northern ballad singers, rather disturbs our ideas of the
antiqui^ «f their versions.

SCOTTISH 8CKa&

AULD ROB MORRIS.

= 80

MODKXATO.

AMMAMGED BT J. T. trmESOOL

■^-

^ > I I

He has

gowd

■H T^.

^3:

iz=lt

eof • fen, he hat

-J I

AULO BOB llOBBIS.

She's firesh as the morning, the fiurest in May ;
She's sweet ae the er'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.

Bat ! she's an heiress — aold Robin's a laird,
And my daddie* has nooht but a cot-house and yard;
A wooer like me mamma' 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-troubled ghaist,**
And I sigh as my heart it wad" burst in my breast.

had she but been of a lower degree,

1 then might ha'e hoped she wad smiled upon me ;
0, how past descriTingi* had then been my bliss,
As now my distraction no words can express.

1 Cvella
TMortBot

• Good.
tDcath.

s Choice.
'Looa.

«GoId.
••Ohort.

•Oztn.
II Would.

• Fatbtt.

**AvLD Bob Mobrxs." This air appears in tablature in the Leyden MS. Lyra- Viol Book, mentioned in tho
Introduction to this work. It differs a little firom the sets giyen by Johnson and others. The set adopted by
the arranger for this work is nearly the one giyen in Watts' Musical Miscellany, 1730. The neglect of the
ordinary compass of Toices, alluded to in a preyioos Note, again occurs here. The air was published in the
Orpheus Caledonius, in 1725, and in Watts' Musical Miscellany, 1780, yol. ill. p. 174, and in Craig's Select
Soottish Tunes, printed in the same year. Mr. D. Laing notices the air as occurring in Mr. Blaikie's M.a, dated
1692, under the name of '* Jock the Laird*s Brother." In Noyember 1792, Bums wrote for the air tho words
here |{lTen. The first two lines only belong to the old ballad giyen in Allan Bamsay's Tea-Table Misoeninj.

BCOTTIRH 80N08.

»«^»^»^«^^^%#%#»^

SWEET ARE THY BANKS, BONNIE TWEED!

AMMAMQMD ST 7. T. fUBBOB.

A5DA2niiro

AlTETTUOBO.

O fWMt are thy banki, bonni« Tweed, An' tweet -«r the maji^i wha thwe

'"' Mi J I K ' I I , H I J I J J I I

bide; But tweet -eet of

leti Wha handt &tt mj

.Tihij ;j i Jf^

heart oo Tweed - tide! She's brown at

ha - zel nut ripe;

• M»ld9

O 3WEST AK£ TUY BA.NKS. BUKKli TWEED I

grace -fti* m jonng bir - k«n tre«; Her

■mile*8 like the glint o^ tpring

I woo*d her when ptdrtith's cauld hand
Lay sair on herseV an* her kin ;

Bat though I had plenty o' gear,
She ay said, *< My tocher's to win !"

sweet are thy banks, bonnie Tweed !

And sweeter the mays wha there bide ;
Bat sweetest of a' is the lass

Wha hands fhst my heart on Tweedside !

" TwzsDSiDB." The composer of this old and beandftil Scottish melody is unknown. Some persons, upon n»
fbundation of OTidence, hare given to David Rizzio the credit of its composition. In the last century, James
Oswald, a very unscrupulous man, ascribed sereral of our Scottish melodies to Rizzio, for the purpose of enhancing
the value of his collections of Scottish airs in the eyes of the public That Oswald frequenUy passed off his
own tunes in private as the compositions of Rizzio, we learn from the following lines of a poem printed in the
Scots Magazine, 1741 : —

<<When wilt thou teach our soft /Ridlan [Edinian?] fkir
To languish at a fidse Sicilian air ;
Or when some tender tune compose again.
And cheat the town wi' David Rise's name 7"
In some of his publications, however, Oswald did not scruple to claim these airs as his own. In eonaeifiieaoe
of this double mystification, old airs with the name of Rizzio attached to them came also to be considered as com-
positions of Oswald ; and we are even told by his deceived relatives, (Museum Introduction, p. li) that *' The airs
in this volume (second Collection) with the name of David Rizo aflixed, are all Oswald's; I state this on the
authority of Mrs. Alexander Gumming and my mother— his daughter and sister.** Signed, ** H. 0. Weatherly."
That most of these airs were in existence before Oswald was bom, can be proved from 2kISS. and printed works.
Besides, Oswald's own compositions want the simplicity of the old airs, and do not rise above mediocrity* Con*
sequently, not even one of them has taken its place among the popular melodies of Scotland.

1^ Dr. Leyden's MS. Lyra- Viol Book, referred to in the Introduction to this work, we find (No. 75) a set of
** Twide Syde," differing in some respects fttmi the more modem sets, especially in the dose. That dose, which
seems to us more truly Scottish in character, we have given in the present edition ; while those who prefer a
different dose, may adopt either of those given in the symphony and ritomel. These are likewise old, and are
much better than the ordinary minuet doses adopted during last century, and which are still allowed to disfigure
all modem versions of the air. A set of " Tweedside," differing little from the modem sets of the air, appears in
a work of the fkmous Florentine violinist, F. BI. Yeradni, pp. 67-69, with variations. This is the first instance we
have seen of a Scottish air introduced in the violin solos of any old Italian violinist The air is not uamsd in
Yeradni's work, but is merdy indicated as ** Scozzese," i e, Seoltitk, This work of Yeradni, which is now very
nxt, ia entitled ^^ Senate Accademiche a violino solo e basso," &0., and is dedicated to the King of Poland.
The verses here given were written for this work by a friend of the publishers.

SCOTTISH SONGS.

>«k«»^^ «»#««»«

THE BWE-BUGHTING'S BONNIE.

= 56

TBI TIUM>W-BAIB*D LADDIB.

ABKAVGKD BT T. K. mJXIIB.

LABOBmO.

^ ^

both e'e - ning and mom, When our blithe ihepherdi play

on the bog - reed and

fcJH i^ ' ^ \^^

O THE EWE-BUOHTINO'S BOKNIB.

O the ahepherdi take pleMore to Uow on the horn.
To raiM up their flocks i' the freth timmer mom :
On the steep ferny banki thej feed plemsant and fi
But alas I my dear heart, all my signing's for thee !

the 8heep-herdinff*B lishtsome amang the green hraee.
Where Cayle wim]^es dear 'neath the white«bloesomed slaes.
Where tiie wild-thyme and meadow-qneen scent the saf t gale,
And the cnihat oroodi leesomely down in the dale.

There the lintwhite and maria sing sweet free the thorn.
And blithe lilts the larerock abone the green com.
And a' things rejoice in the simmer's fflad prime-
Bat my heart's wi' my lore in the far foreign dime.

«(<

Thx tkllow-hair'd laddix." Mr. 6. Farqnhar Graham, a rery competent judge, says the present
form ol the air ia '* probably not older than about the end of the seventeenth oento^." The florid and
aomewhat refined style of the melody safficiently show this. But it appears to be more than probable that
there existed an earlier, simpler, and more Scottish venion. That oar airs lost much of their simple

pathos between the reigns of Charles L and Georse I. we know, by examples found in the Skene and otner
MSS., each as the old *' Flowers of the Forest,^' *'Sae merrie as we ha'e been," and othen. Mr. Wm.
Chappen, in hia excellent notea to the Ballad Society's edition of the Roxburgh Ballade (Box. CoIL ii 76,
BaDau Soc. rep. ix. 1880), points oat that '* The couDtrvman's care in chooaing a wife " ia to be sung to the
tune oi ''111 hare one I love, " or, "The vellow-haird laddie," and that as Brooksby. who printed the
broa<lidde, dates from 1672 to 1695, we have here a proof of the air harinff been popularly known in England
long before it was claimed for Scotland. Thia is so far undeniable ; we nare no copy either of the air or of
the song quite so early ; but in Allan Ramsay's Tea-Table Miscellany (1724), beeides eereral contemporary
songs to the tune, we have *' The auld yellow-hair'd laddie," which be^na,

** The yellow-hair'd laddie sat down on yon brae.
Cries, milk the ewes, laasie, let nana of them gae.**

Thia is evidently the aonff that gave its name to the air, and must therefore hare exiated with ita tune
before Brooksby printed hia ballad ; indeed probably nearer to the times of James VX than of James VlL

The first eiffht linea of the song are by Lady Griael Baillie (before 1602), and might almost be dted aa a
proof of her familiarity with the air ; for Uiou^ it cannot be said with any certainty that they were
written exp r e ss ly for it, yet both in measure and in sentiment they suit it exactly, even the subject being
the same as that of the old eons. In modem days the measure ia not uncommon, but I know only one
other pastoral air of Lady Grizel's time that would suit it, namely, "My apron, dearie.*' Her fra^oent
waa completed by Thomaa Pringle, a poet of Roxbux]gfashire (1789-1834). He added many mora
but the additional ei^t lines are quite anfficient for «"g«"g

SCOTTISH SOKGA.

WHAT AILS THIS HEART 0' MINB1

Aim, "mt dkabtz» ah' thou dh."

AASAMOSO BT T. M. inXDIK^

f =r88

liAIiaBETTO.

±U^.j J'. I, J ^ '■' I J ■■ J^ /^IjOZ

What ailt thb heart o' mine I What aiU this wa - t'ly e'e I What

r-fr

-J-

-u

gan^ XD6 a* tnm caold as death When I take leare o' thee I When thon art far a • wa* Thoalt

apiacere.

g'gg'sr' r/if.'J'J- j'j;i'J'

dear • er grow to me ; Bat change o' place an' change o' Iblk May gar thj fan • ey jee.*

WHAT AILS THIS HEART o' KINE ?

When I gae out at e'en,

Or walk at morning air,
nk' rustling bush will seem to say

I used to meet thee there.
Then 111 sit down and cry,

And lire oneath the tree,
And when a leaf fa's in my lap

111 ca't a word frae thee.

m hie me to the bower

That thou wi' roses tied,
And where wi' mony a blushing bud

I stroTe mysel* to hide.

I Makt; caoM.

* More ; chaDgt.

ril doat on ilka spot

Where I ha'e been wi' thee.
And ca' to mind some Undly word

By ilka bum and tree I

Wi' sic thoughts i' my mind,

Time through the world may gae^
And find my heart in twenty years

The same as tis to-day.
T!s thoughts that bind the soul,

And keep friends i' the e'e;
And gin I think I see thee aye.

What can part thee and me I

SEMh.

" What ails this heart o' mixb ? " The words are by Mist Susanna Blamire. The melody is old, and was for-
merly called. '* My denrie, an' thou dee :" it appears in its simpler form in the Leyden MS. Mr. Patrick Maxwell,
in his edition of Miss Blamire's poems, 1842. informs us, that she was bom at Cardew Hall, Cumberland, on 12tb
January 1747; that she passed a good deal of her time in Scotland — her eldest sister, Sarah, having married
Colonel Graham of Duchray in 17G7 ; and that she died at Carlisle on 5th April 1794. Mr. Maxwell says of
her : — " She had a gpi^ceHil form, somewhat aboTe the middle size, and a countenance, though slightly marked
with the small-pox, beaming with good nature; her dark eyes sparkled with animation, and won erery heart at
the first introduction. She was called by her affectionate countrymen, * a bonnie and Tarra lish young lass/ —
which may be interpreted as meaning a beautiful and very liTely young girL Her affability and total freedom
from affectation put to flight that reserre which her presence was apt to create in the minds of her humbler
aasociates ; for they quickly perceived that she really wished them happiness, and aided in promoting it by erery
effort in her power. She freely mingled in their social parties, called merry neett^ in Cumberland; and by her
gracefhl figure, elegant dancing, and kind-hearted gaiety, gave a zest to the entertainments, which, without her
presence, would hare been wanting."

In an earlier note we had occasion to animadTert on the share that James Oswald had taken in the promulga-
tion of a belief that Rizzio was the composer of some of our old Scottish melodies. Since writers, who ought to
hare acquired better information, hare not only re-echoed Oswald's mis-statement, but haye, besides, asserted that
Rizsio was the originator of the Scottish style of melody, we consider it our duty to examine the question thoroughly,
with the view of bringing it to a true conclusion. This will require more space than can be afforded to any single
Note; we shall therefore present our materials in such paragraphs as they may naturally fidl into. How or
when such a belief originated, may be difficult to determine ; but certainly there are no traces of it for a century
and a-half after Rizzio's death. During all that time there is no historical hint that Rizzio erer composed anything
in any style of music ; and not a vestige of any music, sacred or secular, is ascribed to him. Tassoni, his country-
man, (bom in 1565, the year of Rizzio's murder,] speaking of music, says, that James, King of Scotland, invented
a new and plaintive style of melody. Whether this assertion be correct or not, is of no consequence to our present
Inquiry. lii either case Tassoni's assertion is sufficient to show, not only that no claim had till then been set up
in fiibvour of Rizzio, but also, that an earlier origin was then assigned to Scottish melody. We here exclude (h)m
conaideraUon James YI., as he was King of England long before Tassoni died, (1685); and we consider it probable
fhn^ James L was meant — he at least being known to have included music among his accomplishments, and being
nid to have been an excellent performer on the lute, the harp, and other instruments.

SCOTTISH S0K08.

THOU AKT GANE AWA'.

▲BBA90BD BT T. M. MUDIX.

<s48

▲XilAllTK

BtfpBBunro.

Thou art gtne a - wa*, thoa'rt gane a - wa*, Thou art gane a • wa* frm6

me, Ma - ry! Nor friends nor I could make thee stay; Thou hatt cheat- ed them an'

me. Ma - ry! Un - til this hour I ne - ver thought That ought could al • ter

THOP ART GAKE AITA'.

what yoa will o'

me, 3Ia • ry.

Whatever he said or might pretend,

That stole that heart o' thine, Mary,
True lore, Tin sure, was ne*er his end.

Or nae sic lore as mine, Mary.
I spoke sinoere, nor flatter'd much,

Nae selfish thought's in me, Mary,
Ambition, wealth, nor naething snch ;

No, I lored only thee, Mary !

Though you've been fSoihe, yet while I lire,

m lo'e nae maid but thee, Mary ;
Let friends forget, as I forgiye.

Thy wrongs to them and me, Mary ;
So then, fiurewell ! o* this be sure,

Since youVe been false to me, Mary :
For a' the world Vd not endure

Half what Ftc done for thee, Mary

"Thou akt gaxe awa*.** This melody is evidently derived from the old Scottish air " Hand awa* frae
me, Donald," which was published in Pla3rford'8 "Dancing Master," under the title of "Welcome home,
old Bowley," not, however, in 1657, as asserted by Stenhouse, but in the ninth edition of that work,
published in 1690. It affords an example of the remodelling of old airs, to which we shall have frequent
occasion to advert in future Notes.

The melody, as here given, is nearly the same as that published by Pietro XJrbani at Edinburgh, in his
Collection of Scottish Airs, etc., about the close of the last oentury. Some of his redundant embellishments
have been omitted. Urbani, a good singer and a good musician, had the merit of being the first person
who attempted, at great cost, to get up some of EDmdel's Oratorios in Edinburgh and Glasgow in 1802 ;
but the meritorious attempt was not encouraged, and Urbani was ruined. He afterwards went to reside in
Dublin, and died there in 1816. The author of the verses is not known. They were printed anony-
monaly in XJrbani's Collection and in Johnson's Museum.

As the transformation which the old air has undergone is curious, we subjoin it in the same key as the
new air to facilitate comparison.

100

SCOTTISH SOKOS.

^t^m^^^^^^»^^^*,^^^,^*^^^%^^^^s^^^s^^^s*^^^^^^%^^^*

>^^>«^^Ni

Oni THOU ART ALL SO TENDER.

▲IS.

f = 63

MT LO%'X UAB rOBSAKXai MS.'

AKftA5GFD BT T. X. llin)tE.

AXSAIETS.

iri[i\iir<£

zi.

i^^

22:

heart ean ne • ver wan • der, which thoa hast h« • guiled.

' r i

Pure

OS the calm e

mu • tion

half re - mem • ber*d

OH 1 THOU AKT ALL 80 TENDER.

'«^^^%^^^%^%^»^^«^ii^ «

101

■^■

And

fjur, M fair • ral

blot - som, that

the

sky.

•S

Condudiny Symyhony,

Though long and deep my sorrow, all lonely thaa may be.
Oh I still my heart shall borrow a ray of joy from thee;
To thee the charms seem giyen of earth that nerer sprung,
The melting hymns of heafen are round thy spirit sung.

Then let thy form be near me, that I that form may see^
IVe tried to liye, but eerie, I cannot lire from thee ;
Nor grudge deep kindness either, to sooth me when I sigh,
I know thoul't giye it rather than thou would'st see me die.

Though mine thou may'st be nerer, and ceaseless woes betide,
Still nought on earth shall erer my lore from thee divide;
My mind may cease to cherish the hope of bliss to be.
But of the hopes that perish the last shall breathe of thee.

'* Oh I THOU ABT ALL SO TENDER." This soDg was written by the Rev. Henry Scott Riddell, and is here repub-
lished by his express permission. The air is that given in Johnson*s Museum, toL ii., under the name of "My
lore has forsaken me," and which is stated, by Mr. Stenhouse, to have been fiimished for the Museum by Doctor
Blacklook, about the close of 1787. It has somewhat of a Gaelic cast, and from the simplicity of its style, and the
tonality on which it is composed, we would pronounce it to be considerably older than Dr. Blacklock's time.

As a preliminary to the consideration of Rizzio's alleged authorship of many Scottish melodies, we subjoin a
few particulars of his life. We are told by Chalmers that David Rixzio* was bom at Turin, of poor parents ; ana
that he came to Scotland in the suite of the Piedmontese Ambassador, towards the end of the year 1561. Soon
afterwards he entered the service of Queen Mary, for we find that on the 8th January 1561-2, he received £50
Soots, as *<virlet of the Queen's chalmer;" and again, three months later, £16, as ** chalmer-chield," (page or
usher.) The account given of his entrance into the Queen's household, is, that a fourth singer was occasionally
wanted to take a part in the performance of madrigals and other concerted vocal music, and that he, having a good
voice and being skilled in music, was engaged to fill the situation. In this position he seems to have remained for
i«veral years, for in 1564 we find that four payments were made to him at the rate of £80 a-year, still as " virlet"
In 1565, the Queen's French Secretary having been dismissed, Rizzio was appointed to succeed him, but did not
long eigoy his new office, as he was murdered about the clooe of the same year, (9th March) ; having thus been
littlo more than four years in the country.

* OrntberBkdo; for that Qnaen lfaxarspefl« Um uum In vDSliMC aa Meoant of tlM nrarder to tht Archbitbop of ffli^w, thm hm
> ftt tlM Court of FmaeoL

102

8C0TT1SH SONOS.

%^^^»^ ^^^^%^\^^>s^^ ^

ON ETTRICK BANKS.

▲B&A5aSD BT J. T. SUXlISSft.

= 76

ASOASTUIO
AlfTETTUOSO.

i^^

1^ I iJL

£t • trick banks ae Mm • mer nicht. At gloam - in' wb«n Um

^ (i .n_ j_^-|-^-^^

•heep gaed hame, I met my las - sie braw and ticht. While wand'ring throagfa ^

OK ETTKICK BANEa

103

Said I, My lassie, will ye gae

To the ffigbland bills and be my bride?
ni bigg* thy bower beneath the brae^

By sweet Loch Qarry's silyer tide.
And aft as o*er the moorlands wide,

Elind gloamin' comes onr fiaalds to steek,*
111 hasten down the green hill side,

Where curls our cozy cottage reek.

All day when we ha'e wrought eneuch,

TVhen winter frosts and snaws begin,
Sune as the sun gaes west the loch,

At nicht when ye sit down to spin,
I'H screw my pipes, and play a spring,

And thus the weary nicht well end,
!nil the tender kid and lamb-time bring

Our pleasant simmer back again.

1 AkM

* Quiet ; IkTooTftble.

Syne when the trees are in their bloom.

And gowans glent* o'er ilka field,
m meet my lass amang the broom.

And lead her to my simmer shield;
There, &r frae a' their scomfti' din,

That make the kindly hearts their sport,
Well laugh, and kiss, and dance, and sing,

And gar the langest day seem short !

* Build. ^ QoM ; shut up.

• Peep out; or ihixML

'* Ov Ettbiok Bahks." Mr. Stenhouse's Note upon this song and air is as follows : — *' This is another of those
deliglxtftil old pastoral melodies which has been a fiiTOurite during many generations. It is inserted in the Orphent
Caledooius in 1726« with the same elegant stanzas that appear in the Museum, beginning, * On Ettrick banks, ••
Bummer's ni^^t' Ramsay has left no key to discoTer the author of the song : it does not appear, howerer, to be
his ; and indeed it is not claimed by his biographer as his composition. In the Museum, the fourth line of stanza
first, in place of ' Came wading barefoot a' her lane,' was changed into * While wand'ring through the mist her
lane;' but I do not consider it any improrement on the elegant simplicity of the originaL . • . The Ettrickt
of such poetical celebrity, is a river in Selkirkshire ; it rises in the parish of the same name, and after a winding
eoorse of thirty miles in a north-east direction, during which it receives the Yarrow near Philiphaugh, &ll8 Into
the Tweed three miles above Melrose." See Museum Illustrations, toL I. pp. 85, 86. The first stanza bit
here been slightly, and the second entirely altered, in order to suit modem requirements.

104

SCOTTISH S0K08.

■ » ^»^^^%<^^^<^»^«i^ii ^*^^^»^»^»^^<i»^i^^» »^^»^fc^»^fcaiK^^^^^

THE GLOOMY NIGHT IS GATH'RING FAST.

JOB, ** HUOniS OBJLBAM.'*

f = 72

AKEAlfOSn BT J. T. SCEBSVl.

ASAOIO
808i'S3fUTO.

Tl 4t

aia

r ^ ^

?-?

THE OLOOMT KIOHT IS OATH'BINO PAST.

105

The hunter now has left the moor,
The scattered coreys meet secure.
While here I wander, press'd with care.
Along the lonelj banks of Ayr.

The autumn mourns her ripening com
By early winter's rarage torn ;
Across her placid azure sky
She sees the scowling tempest fly :

ChUl rins my blood to hear it raye—
I think upon the stormy ware,
Where many a danger I must dare,
Far from the bonnie banks of Ayr.

Tia not the surging billows' roar,
'Tis not that (atal, deadly shore;
Though death in every shape appear,
The wretched have no more to fear :

But round my heart the ties are bound.
That heart transpierced with many a wound ;
These bleed afresh, those ties I tear,
To leave the bonnie banks of Ayr.

Farewell, old Coila's hills and dales,
Her heathy moors and winding rales;
The scene where wretched fknoy roves.
Pursuing past, unhappy loves !

Farewell, my friends, farewell, my foes.
My peace with these, my love with those;
The bursting tears my heart declare;
Farewell, the bonnie banks of Ayr.

''Ths OLOOMT HXOHT IS oatb'rxno VAST.'* *' I composed this song," says Bums, " as I convoyed my chest so fkr
OB the road to Greenock, where I was to embark in a few days for Jamaica. I meant it as my fkrewell dirge to
my natiTe land." — lUliquet, This was in 1786. It appears that this song was set to music by his friend BIr.
Allan Masterton, a Writing-master in Edinburgh. Masterton*s air is mediocre enou^ and is singularly unvooal
and ill-suited to the words in the first part of the second strain. At that period, and long before, as wcdl aa long
after, most of the amateur musicians in Great Britain were men who could merely play a little on some musical
instrument, or sing a little, without any fhrther knowledge of music, or cultivation of their own musical capabilitieSy
whatever these might be. Hence so many very indifferent Scottish melodies that infest our printed musical colleo-
tions; mere imitations, and mostly affected and bad ones, of the better and more ancient Scottish airs; combining
want of knowledge of musical composition with want of feeling and judgment.

The air to which Bums' words are given in this work, is found in Oswald's Caledonian Pocket Companion, under
the name of ** Drimon Duff ; " in the Museum, voL iv., it is set to the Border ballad, ** Hughie Graham." We believe
it to be an old Highland air, and that its original title was **Drumion dubh," or **The black cow." Whatever
its origin or its antiquity, it is undoubtedly Scottish, and is a very good and characteristio melody. For the old
ballad of "Hughie Graham," see Minstrelsy of the Scottish Border, vol. iii. edit 1833.

We now return to Rizdo. From what we have already stated, and from what follows, we are inclined to believe
that Rizdo's name was first connected with Scottish melody by his countrymen who were in England about the
beginning of last century. We know that Italian music was then fltshionable in London, and that Scottish soog
divided the public taste with it Whether the flowing style of melody peculiar to the Lowland pastoral airs induced
the belief that an Italian only could have written them, we do not pretend to say, but it is certain that Riizio was
first heard of as a composer in 1725, when Thomson published his Orpheus Caledonius. In this there are seven
airs ascribed to Rizzio; ** An thou wert mine ain thing," ** Bessie Bell," *< Auld Rob Morris," "The boatman,"
"The bush aboon Traquair," "The lass o' Patie's mill," and "Down the bum Davie;" of these at least threa
oertidnly had not existed much above half a century, and the last was probably a very recent composition. Such
is the earliest evidence in fiivour of Rizzio, and sUght as it is, its authority is considerably lessened by the fhct
that in the second edition of the Orpheus Caledonius, (1738,) Thomson, perhaps taking shame to himself ibr
having been an ai^cessory to the imposture, suppressed Rizzio's name entirely.

106

SCOTTISH soiros.

THE LASS OF PATIE'S MILL.

ARBASGED BY O. F. OmABAX.

AXDA51UI0

Amoroso.

rrr

if' iJ ^Hj

gay,

In fpito

0? all my

sldU,

She ttolemy h€ut a •

TnB LASS OF PATIE 8 itILL.

lor

•^^^^^^■^^i^

^^^%^^^^»

221

wan - ton'd in her

Unthoat the help of art,

Like fiow'rs which grace the wild.
She did her sweets impart,

Whene'er she spoke or smiled.
Her looks they were so mild,

Free firom affected pride,
She me to loye begmled ;

I wished her for mj bride.

! had I all that wealth

Hopetoun's high mountains^ fill.
Insured long life and health.

And pleasure at my will;
Fd promise and fulfil

That none but bonnie she^
The lass of Patie's mill.

Should share the same with me.

> Th« Lead-hlDi^ b«Ioo|tng to Uit Eari of Hopotoon.

** Tbx lam ov Patib's mill." BIr. Stenhouse, in his Note upon No. 20 of the Museum, gives a romantic account
sf the heroine of this song, from the Statistical Account of Scotland, which the reader maj consult, if curioua in
matters so uncertain as old fiunilj traditions of the sixteenth century. From that account we learn that she was
the only daughter of John Anderson, Esq., of Patie's Mill, in the parish of Keith-hall, and county of Aberdeen.
That she was rery beautiful and accomplished, and a rich heiress in prospect. That a Mr. Sangster, the Laird ol
Boddom, tried to carry off ^Gss Anderson, clandestinely, about the year 1550, and was disappointed, and soundly
drubbed by her fiither. That she afterwards married a Mr. Anderson, who ** composed a song in her praise, the
lir of whidi only is now preserred." All this may be true, or not ; but Mr. Stenhouse's assertion, that ** the air
as has been shown, is at least as old as the middle of the sixteenth century," cannot be received without written
or printed evidence in musical notation ; of which there is not a shadow. The air. No. 20 of Johnson's Museum,
is very unlike a Scottish air of " the middle of the sixteenth century." So is the set given in the first volume oi
John Watts' ** Musical Miscellany," London, 1729, page 97 ; while that set differs materially from Johnson's. All
the sets of the air that we have seen, bear internal evidence — from certain passages and cadences— of twdem
structure, not earlier than the commencement of the eighteenth century. It is surprising that Mr. Stenhouse did
not perceive this. Bir. Stenhouse adds, in his Note on this song and air, " Allan Ramsay adapted his modem
words to the old melody, and transferred the heroine of his muse to the parish of Galston, in the county of Ayr,
where a mill with a similar name was existing. Bums gives us the following account of this translocation, upon
tlie anthority of Sir William Cunningham of Robertland, Baronet, to whom the anecdote was conununicated by
tbs late John, Earl of Loudon : — ' The then Earl of Loudon, father of Earl John before-mentioned, had Ramsay
ftt Loudon, and one day walking 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 beautiAil 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 jdentioii
•img."* — IJurTu't Reliquet.

tn thill work the second stanza of Ramsay's song is omitted, for ver v obvious reaimna.

108

SCOTTISH SOVOSb

LOGIE 0' BUCHAN.

AERAXGCO BY 1. II MUDOL

= 100

AXDASTS
A^PlACEKfi.

f-i r- l J J_ g

P=F=t

pipe, an' the Ti - ol lae tma*; They hue U'en a - wa* Ja - mie, the flow'r o* tlitm

LOOIE O' BCCHAN.

109

• ^k^K^^^^^^^^^>^*^^y^^^t

fefe

see tbe« in spite o* them a*.

f J? ! J I j

Though Sandie has owsen, has gear, and has kje,
A house, an' a hodden,* an' siller forbye,
Yet Vd tak' my ain lad, wi' his staff in his hand,
Before Td ha'e him, wi' his houses an' land.
But simmer is comin', cauld mater's awa'.
An* hell come an' see me in spite o' them a*.

My daddie looks sulky, my minnie looks sour.
They gloom upon Jamie because he is puir :
Though I lo'e them as weel as a daughter should do.
They are no half so dear to me, Jamie, as you.
He said. Think na lang, lassie, tho' I gang awi'.
For I'll come an' see thee in spite o' them sf ■

I Do not iravry.

I sit on my creepie,* an' spin at my wheel.
An' think on the laddie that lo'es me sae weel ;
He had but ae saxpence, he brak it in twa.
An' he ga'e me the half o't when he gaed awa*.
But the sicmier is comin*, cauld winter's awa*.
Then haste ye back, Jamie, an' bide na awa'

< Tb« itocldi^ of a &nn ; ftanHure of a boose.

• A !ow fouC-stooL

" LoGiE o' BucHAN." The date of the verses may be among the earlier years of the last century. Mr.
Peter Buchan, formerly of Peterhead, now of Glasgow, states, in his ** Gleanings of scarce old Ballads,"
Peterhead, 1825, that it was written by George Halket, a schoolmaster at Bathen, in Aberdeenshire, who
died in 1756. Halket was a great Jacobite, and wrote various pieces in support of his party : one of the
best known of these is the song called "Whirry, Whigs, awa', man." Another, now loet, called "A
Dialogue between the Devil and George IL," having fallen into the hands of the Duke of Cumberland,
when on his way to Culloden, a reward of £100 was ofifered for the author, either dead or alive. The Logie
mentioned in the song is situated in Oimond, a parish adjoining the one where Halket resided, and tiie
hero of the piece was a James Hobertson, gardener at the place (mansion-house) of Logie. — (G. F. G.)

The date of the air is not known ; but an old version of it is found in Atkinson's MS. (1694), under the
name of "Tak tent to the ripells,^ Gudeman ;" the Macfarlane MS. (1740) calls it "The ripells, Gudeman,'*
and Oswald, '' Beware of the ripells ;" it is probable, therefore, that this was a line of a song now lost^ In
Johnson's Museum a bad set of the air is given to rather ridiculous words, " The taylor fell through the
bed, thimble and a';" TJrbani's version of the air is not much better. Napier (1792) is the first who has
given the melody in its present simple form. George Thomson somewhat hurt its simplicity by inserting
a florid passage in the sixteenth bar, and in this has been followed in too many subsequent collectiona.
Tlie air is also known as "The March of the Orporation of Tailors," and was usually played at the anniud
meeting for choosing the deacons of the body.

i Jamieson expUlni " rip^ " as paina in the back.

110

SCOTTISH SOirOR.

WHA IS SHE THAT LO'ES ME.

An, •*XOBAO

▲anANOKD mr hxxjit dux.

f = 100

Ai>4QI0.

"^ ff -

s s

' ti ^ ' ^ \

^ C'S ^-j

wha if she that lo'et me, An' hat my heart in keep • ingt O

r^^

^srf

> ^ y

^ u V

=^^i- i ^^; J' j; fc r c H

tweet if she that Io*et me, As dews o* sim - mer weep - ing. In

|J'' f U f I

^M> — t

2±

tears the rose • buds steep • ing !

that*s the las - sie o' my heart, My

U WHA IS SUE THAT LO'ES ME.

Ill

If thou shalt me€t a lassie
In grace and beauty charming,

That e'en thy chosen laade,
Erewhile thy breast sae warming,
Had ne*er sic powers alarming.
that's the lassie o' my heart &c.

If thou hadst heard her talking,
An' thy attentions plighted.

That ilka body talking
Bat her by thee is slighted.
An' thou art all delighted.
that*8 the lassie o' my heart, &c

If thou hast met this fkir one ;

When frae her thou hast parted.
If every other fkir one,

But her, thou hast deserted.

An' thou art broken-hearted :
that's the lassie o' my heart, &a

** WHA IS SHE THAT Lo'ss ME." This song was written by Boms for the Gaelic air called ** Morag," which it
the ffighland name for Marion. Boms was so fond of the air, that, in 1787, he wrote two other songs for it.
One be^ning ** Lond blaw the frosty breexes," and the other, ** Streams that glide in orient plains." The latter
is less of a iong than of stanzas in praise of Castle-Qordon, and in rituperation of Oriental despotism. "In
Fraser's Ghielio airs, lately published, is another set of ' Morag,' in which the sharp seyenth is twice introduced,
in place of the perfect fifth, along with a yariety of notes, graces, and a ritardandOf not to be found in any of the
older sets of this air, and which indeed are equally superfluous, as well as foreign to the genuine spirit of ancient
QaeUo melodies.'* See Museum Illustrations, yoL iL pp. 184-186. We may remark that in Eraser's set of
« Morag^" No. 119, p. 57, the members of the air do not occur in the same order as in Johnson's set. Th^ are
transposed. Also, that the sharp seyenth occurs twice in the notes of embeilishmentf as well as twice in the prin*
dpal notes of the air. Allan Cunningham, in his edition of Bums' works, makes the following remarks upon the
song *' wha is she that lo'es me," and its air " Morag :" ** Of the air of * Morag' Bums was passionately fond ;
yet it cannot be said that he was more than commonly succesafbl in wedding it to words. The measure which
the tune requires is oramp and difficult, and the sentiment is interrupted before it has well begun to flow. This
Bong was found among the papers of Bums; the exact period of its composition is not known, nor has the heroine
been named."

112

SCOTTISH SOKOd.

TRUE LOVE IS A BONNIE FLOWER.

AXB. ** TWUfS WnL TBE PLAXDBf."

A&BAHOID DT T. M. MTOIL

f = 69

A:n>A9TB cos
EsraEssioss.

i!»id^|-rs-to5

tnie love ii a boo • ote flow'r, That bods in ma-Dj a bo-aom; But pride*ioaiild blast will

3i=q;

I I

^ iP^^^ ' fs jr g=a

nip its bloom, And wi-thcr il • ka blossom. A • las! I've lost my luck • less heart. And

o' this life I*m wea - ry ; Wi* a' on earth I'd eith • \j part, But

^ Ti \

coUa voce.

O TRUE LOVE IS A BONNIE PLOWEB..

113

^000 rail.

1 'j I ;

is:^

no vi' thee, my dea • rie.

When first I saw thj bonnie &ee,

LoTe's pawkie glances won me;
Now cauld neglect, and studied scorn,

Haye fiitally undone me !
Alas ! FTe lost, &c.

Were our fond tows but empty air.

And made but to be broken ?
That ringlet of thy raven hair,

Was't but a &ithless token ?
Alas ! rye lost, &o.

In yaln Fye tried each artfti' wile,

That's practised by the loyer.
But nought, alas, when once it's lost.
Affection can recover.

Then break, my poor deluded heart,

That never can be cheerie ;
But while life's current there shall flow»
Sae lang FU lo'e my dearie I

''O TRUi LOYB IB ▲ BOKSiM FLOWE&." Air, " TwiuQ wcel the plaiden." Speaking of the verses to this air in
Johnson's Museum, beginning, <' ! I have lost my silken snood," Mr. Stenhouse tays, " I remember an old
lady who sang these verses to a very plaintive and simple air, in slow treble time, a copy of which, but cor-
rupted with embellishments, appears in Oswald's Collection, No. 12, under the title of 'The lassie lost her silken
snood.' Napier, who first published the song, being unacquainted, perhaps, with the original melody, adapted
the verses to the same air which is inserted in Johnson's Museum. This song, though undoubtedly of considez^le
antiquity, is neither to be found in the Orpheus Caledonius, nor in Ramsay's Tea-Table Miscellany." See Museum
Dlustrations, vol. i. p. 20.* The excellent verses now given in this collection were written by Captain Charles
Gray, E.M. — a weU known veteran in poetry, as well as in warfiire; and one of the ablest fi modem Scottish
poets. This gentleman has of late done much to rectify mistakes regarding the songs of Robert Bums, as well
as the character of that extraordinary and unfortunate man« Captain Gray's verses were written at the request
of a Flfeshire lady,f with whom this lur was a fiivourite, but who did not choose to sing the old words givai in
the Collections of Johnson and others, as she considered them objectionable. We have been infbrmed that this
air was a great Ikvourite with P. XJrbani, who used firequently to sing it at his benefit concerts.

* NapiM^t Sdflctioia of Soottlih Soog^ flzit Tolome, wu pnbllihed In 1790. The ain wen harmonised by Dn Samuel Arnold, WIQlam
Shidd, F. H. Baithdemon, and Thomas Garter. His lecond Tolnme of Soottlah Songi waa pobltahed In 1792 ; the ain hazmooixed by
JoHph Eagrdn alone. In the flm rolome, page 28, b "Twine weel the plaiden," harmoniged by Barthelemoo, who waa a riafolaK
charactT, and a Swedeoboiglan.

t The pnbUshera hare to acknowled^ the kindness of Captain Gray in permitting them to grace their work with these ratm, whleh are
Bcv for the first time printed in connexion with the air to which they are so admiraMy suited.

114

^^^^» t^^^^^^^^m^^^^^ ^^fc^ .<>.•

SCOTTISH SOmua.

MY NANNIE, O.

AKaAXGID BT T. IL MUOIIL

ifc J. J' J-] n i -H^?aj^ I] I 44h^hM^^

main aadmo«-et mA-ny, O, The win -try son the day hat closed, And 111 a • wm' to

(l^'" r 13 i 11 -^

Nan - nioy O. The wettlin wind blaws loud and shrill. The night's baith miA and

AY NANNIB, 0.

^i^%^«^««««^«^«

i^«^*««^«i^a««««^*«««%«%«

115

Bfj Naxmie's channin^ 8weet» and jomig;

Nae artfti* wiles to win ye, :
May ill be&' the flattering tongue

That wad beguile my Nannie^ 1
Her fkce is fiur, her heart is tmei

As spotless as she's bonnie, 0;
The opening gowan wat wi' dew

Nae purer is than Nannie, 0.

A ooontry lad is my degree^

And few there be that ken me^ :
Bat what care I how few they be T

Fm welcome aye to Nannie, 0.
My riches a's my penny fee,

And I mann guide it cannie^ :
But warld's gear ne'er troubles me^

My thoughts are a' my Nannie^ 0.

Our auld gudeman delights to riew

His sheep and kye thrive bonnie, ;
But Fm as blythe that bauds his plough.

And has nae care but Nannie, 0.
Come weel, come wae, I carena by,

ni tak' what heayen will send me, ;
Nae ither care in life hae I,

But Uto and lore my Nannie, 0.

"Mt Nannie, O." Mr. Stenhouse characterizes the melody as a **fine old air," and Mr. G. Farquhar
Graham adds, " it is indeed one of the best of our Scottish melodies." Mr. Ghappell, on the other hand,
b dieye s it to be English, and points out tiiat in the Rozburghe Collection there is a Northumbrian ballad,
"Willy and Nanny : to a pleasant new tune, or Nanny, 0." This merely proves, howeyer, that " Nann^,
1' was then a well-known air in Northumberland, but without showing on which side of the border it
originated. We should remember that there was once a Debateable Land, and we should not forset that
the melodies sung, both to the north and south of it, may often be equally debateable. The people had l^e
same origin and much the same tastes ; they were equally ready to meet each other with sword and speai
in the morning, and oyer the wine-cup and with song at night.

The Terses here given were written oy Bums in 1783 ; and it has generally been said on Affnes Fleming,
a fanner's daught^ in Tarbolton parish. Mrs. Begg, however, Bums's youngest sister, alledges that this
is a mistake, and that Peggy Thomson was the real heroine of the song. See Captain Charles Gray on the
heroines of Bums's songs.

^ In deference to modem prejudices the major seventh is used in the seventh and fifteenth bars of the
*ir, bat the B flat of tho old tonality is really much finer, and is more in keeping with tiie antique style
of the tune.

116

%^»i^^0^4

SCOTTISH 80K0&

LOGAN WATBE.

iBBAKGBD BT T. M. MXJDZI.

= 63

ASDASTM,

^^^^^^

£tji^;jrjj.JlJ.J^

By Logan's itreiuns,that tin im deep, Fn' aft vi' fjim Ftv

T-TJ

rt^

herd - od sheep; Herd - ed sheep, or ga • ther'd slaeiy Wi' my dear lad oo

Lo - gan braes. Bat waes my heartl tbae days are gane, And, fb' o* griel^ I

LOOAK WATEU.

117

fcd

Lo - gan bnet.

Nm mair, at Logan kirk, will be,
Atween the preachings, meet wi* me—
Meet wi* me, or, when it's mirk,
Conyoj me hame frae Logan kirk.
I weel may sing, thae days are gane;
Frae kirk and fldr I come alane.
While my dear lad mann fkce his flies.
Far, fkr frae me and Logan braes.

' I winder Tnriinrhnlj «"*«^ glgmL

At e'en, when hope amaist is gane^
I dannder dowie an' forlane,^
Or sit beneath the trystin'-tree.
Where first he spak' o' lore to me.
1 could I see thae days again,
My loTer skaithless,* an' my ain ;
Rever'd by friends, an' far frae fibes,
We'd liye in bliss on Logan braes I

flUnhannedL

«LooAV Watkb." The melody is of considerable antiquity; pathetic, and rery Scottish in its charaetv.
In the second strain of some printed sets, we find F ^ twice introduced instead of F Q. The Fjt is Tery dearly a
modem interpolation; especially in the second measure of the second strain, where it occurs m the difficult and
unTocal fbrm of a leap ft^m FQ to the augmented octaye aboye, F^ In WHliam Napier's Collection, 1790, we
find (p. 17) the same air harmonized by F. H. Barthelemon, the celebrated French yiolinht It is there in A mioor,
and G, the seyenth of the scale, is, throughout, 6 Q. In some other sets, (MKHbbon's and Oswald's,) the aeyrath
of the scale is also minor throughout We giye the melody as it appears in older sets, and as it agrees with tte
true old Scottish tonalities.

The excellent song here published to the air of " Logan Water,** was written by John Biayne, a nattye of Dum.
fries, who, in his earlier years, senred an apprenticeship as a compositor to the Messrs. Foulis, the celebrated
Glasgow printers. He afterwards went to London, and there was connected for many years with tae " Star*
newspaper. He was bom in 1759, and died on the 14th March 1886. In the Preface to the edition of Mayne's
poem, « The Siller Gun," London, 1886, dedicated to King William IV., we find a kind critical letter fit>m the laie
talented Lord Woodhouselee, one of the Scottish Lords of Session, to John Mayne, dated 6th October 1808 ; and
Mayne's interesting answer to that letter, of date, London, 19th December 1808. From this we quote what Mayne
hhnself says regarding some of his poems, and his ballad of " Logan Water :" — ** Tou wish to know, my Lord, the
names of such other pieces as I haye written besides the poems of * Glasgow,' and the ' Siller Gun.' There are but
fisw of these in Scottish yerse, and fewer still, I fear, that are worthy of your Lordship's notice. They conriaa
generally of a single thought, suggested by the feeling and clothed in the language ol the moment The baUad
of ' Logan Water* is of this description : it was written and droulated in Glasgow about the year 1781 ; inserted
in the ' Star' newspaper, on Saturday the 28d of May 1789 ; thence copied and sung at Vauzhally and publiabad
soon afterwards by a Music-dealer in the Strand.**

Logan water, to ikmed in Scottish, song, has its source among the hiUs which separate the parishei of LesmahifO
aad Mufarkirk, in the south-west of Scotland; rms eastward for ei^ mika, and onitea with tha xitar Nethao.

118

SCOTTISH SOVOS.

KIND ROBIN LO'ES MR

ABUaOBD BT T. K. XUDIB.

s69

MODimATO.

i.j'j.j- i ri jj^

Bo - bin ii my on - ly jot. For Bo - bin bat tbo Ait to lo'o^ 80

to bit mit I

t==

to bow, ui - oanie I kon be

Wm BM

?=fc='

.1^ i.^

f=F

KIND BOBIM LO'BS MB.

119

(j)^ J J f I '1

kend that Ro . bin

lo'ed

The Terses within braokcts may be omitted.

[They speak of napkins, speak of rings,
Speak of glores and kissing strings.
And name a thousand bonny things.

And ca' them signs he lo'es me.
Bat Fd prefer a smack of Rob,
Sporting on the Telret fog^
To gifts as lang's a plaiden wab,

Because I ken he lo'es me.3

He*s tall and sonoy, frank and free^
Lo*ed by a', and dear to me;
Wr him rd UTe, wi' him Fd dee,

Because my Robin lo'es me !
llj sister Mary, said to me^
Our oourtship hut a Joke wad be,
And I, or lang^ be made to see.

That Robin did na lo'e me

Out little kens she what has been
Me and my honest Rob between.
And in his wooing, so keea

Kind Robin is that lo'es me.
Then fly ye lazy hours away.
And hasten on the happy day,
Whn, " Join your hands," Mess John iball mjp

And mak' him mine that lo'et me.

[Tin then let erery chance unites *
To weigh our lore, and fix delight.
And m look down on such wi' spit%

Wha doubt that Robin lo'ei
hey, Robin, quo* she,
hey, Robin, quo' she^
hey, Robin, quo' she^

Kind Robin lo'es me.]

" KuiD RoBUi Lo'is MB." The words of this song^ beginning ** Robin is my only Joe,** were printed in Darid
Herd's Ancient and Modem Songs, 1776. The tune bears marks of antiquity. Its composer is unknown. See
Museum Illustrations, toL ▼. p 421. The last four lines seem to be a fra^^ncnt of an older song to the samt air.
They will not sing to the modem Tersion of the air, and therefore it has been thought that the genuine old air also
waf lost But we hare met with an old version of the air, which proves that the only dilTerenoe between it end
the modem one consisted in the occasional dividing of one note into two, in order to suit the greater number of
•yilables in each line of the modem song. If the first, third, and fifth bars (measures) are each made to oonsisi of
two minims, and the first two crotchets of the seventh bar be changed into one minim, the air will then bo found
to suit the last four lines of the song. This version of the air was discovered in the Madhrlane MS., a CoDoetioo
made for the Laird of Macfltrlane about 1740-43, and now in the posseesion of the Society of Antiquaries of 800U
land. It consisted of three folio volumes, the first of which has unfortunately been lost, and the second mutOatod
br the date upon it being torn away

120

SCOTTISH SONOB.

JOCK 0' HAZBLDBAN.

AEKASOID BT J. T.

F^=^

<int

^fe=M^'. Ji I ■" i\y J. I ■" J' J- ." I -Mj^j

weep ye by the tide,U-djelWhy weep ye by tbe tide! Ill wed ye to my

^i- J' J- J, j. P3!^ ^g

UiljUj^MM

youngeit ion, And ye sell be his bride ; And ye lall be his bride, kdye, 8e«

come-ly to be Men:** — But sye she loot the teandown &', For Jocic o' Ha -ail*

JOCK O' HAZELDEAK.

121

•'Now let this wilftil grief be daat,

And dry that cheek so pale :
Young Frank is chief of Errington,

And lord of Langlej dale ;
ffis step is first in peaceful ha'.

His sword in battle keen :" —
But aje she loot the tears down &',

For Jock o' Hazeldean.

'* A chain o' gold je sail not lack.

Nor braid to bind your hair,
Nor mettled hound, nor managed hawk.

Nor palfrej fresh and ftiir;
And jou, the foremost o* them a',

Shall ride our forest queen :" —
But aye she loot the tears down &'.

For Jock o' Haxeldean.

The kirk was deck*d at morning-tide.

The tapers glimmered ikir;
The priest and bridegroom wait the bride,

And dame and kni^t were there ;
They sought her baith by bower and ha';

The ladye was not seen ! —
She's o'er the Border and awa'

WV Jock o' Haaeldean!

« Jock o' Hazudkav." There is mention made by some writers of an old ballad called '* Jock o' Haxelgreen,"
vnt without documentary authority. It appears that Mr. Thomas Pringle gare, in Constable's Kfagarine, the first
stanza of the present song, as that of an old ballad which he had heard his mother sing; and that Sir Walter Soot^
upon inquizy, adopted that stanza as old, and added to it those that now make up his Tery popular song of '* Jock
o' Haseldean," which he wrote for the first Tolume of Mr. Alexander Campbell's work, named ** Albyn's Anthology."
The melody, in an older and more Scottish form, occurs in the Leyden MS., No. 60, under the name of ** The bony
brow ; " but we giro the Tersion of the air now more generally current^ The melody published in Book Seeond oi
Jo. Playlbrd's ** Choice Ayres,** London, 1679, appears to haTe been that sung to an imitation of a Scottish song by
Thomas D'Urfey, in Us oomedy of •'The Fond Husband, or the Plotting Sisters," acted in 1670; and closed
resembles the air giren in the Leyden MS. In the older Soottish collections the tune is called * The bonny
brow," "The glancing of her apron," and <'In January last," all three being lines of the same song, that
already mentioned written by D'Urfey. Dat'kI Herd gires it in his collection. 1769.

Thomas Moore, in the Pre&ce to the fifth Tolume of his Works collected by himseU; London, 1841, remarks—
that, *' with the signal exception of Milton, there is not to be found, among all the eminent poets of England, a
ringle musician." — p. t. In the same Prcikoe he touches, gently, upon Sir Walter Scott's deficiency of musical
ear. The Editor of this work was personally acquainted with Sir Walter Scott, and had his own good-humoured
confession that he was totally destitute of an ear for music. Sir Walter himseli; in his " Autobiography," after
^Making of his ineffectual attempts at sketching or drawing landscapes, says :— " With music it was eren wotm
than with painting. My mother was anxious we should at least learn psalmody ; but the incurable defects of ny
Toice and ear soon droTS my teacher to despair.* It is only by long practioe that I hare acquired the power oi
selecting or distinguishing melodies ; and idthough now few things delight or affect me more than a simple tune
sung with feeling, yet I am sensible that eren this pitch of musical taste has only been gained by attention and
habit, and as it were by my feeling of the words being associated with the tune; although my friend Dr. Clarke,
and other musical composers, hare sometimes been able to make a happy union between their music and my poetty."
See I^ockhart's Life of Scott, toL I pp. 78, 74.

' ▲ myj of that L«yd« MS. wmi Atpodud bj Um EJUor la Um Ubnrj of tho fmeakj of AilrocilM « Mlh VoriBbv 1M7.
*TbUtaMharinMh&T«bo«i9MnMADdaii«klJUl MtooDAaywin tn8oott'i«ilj<k|ft. Tb^rtq«urtiit«coioaBaooA

122

SCOTTISH S0V6S.

PUIRTITH CAULD.

AZB, * I HAD ▲ HOBSB.'

AERAITGZD BT T. X. XUDIB.

= 104

Abdastb.

((il^'^Z H

t* - 4 I

P-y-^

»d2=±r=£r3=is

O pair - tith' oaold, an' rest - Urn love^ Te wreck my peaoe 1m •

^iitr-J-

i=-F^

fgPliM^. ;'|;Vji; , 1. J' I

twMnye;

H-

^^^^H^

let puir-tith wf I ooald for-gi'e, Ao' 'twere na for ny

O PUIBTITH CAULD.

123

This world's wealth when I think on,
Its pride, an' a' the Uto' o*i ;

Fie^ fie on tiUj ooward man,
Ihat he should be the slare o*i.
0, why should ihte, &o.

Her een, sae bonnieblne, betraj
How she repa js my passion ;

Bat prudence is her owerword' aje^
She talks of rank an' fluhion.
0, why should &te, to.

0, wha can prudence think npon,

An' sio a lassie by him ?
Of wha can prudence think upon.

An' sae in lore as I am T
0, why should ikte, kc

How blest the humble cottar's fktel
He wooe his simple dearie ;

The silly bo^es,« wealth an' states
Can nerer make them eerie.*
0, why should ikte, kc

* Aay word tnqvmidj npmud la ooovwMtioo or

Ban : bat fMMaUy aRpU*! to tht InUag im^ind hj tht diaid of ghooli or

"Ofuuctith CAULD." This song was written by Bums in January 1798, and slightly altered a few
months later. It was inspired by Jean Lorimer of KemmUholl, a fair-haired, blue-eyed maiden, whom, for
the next two years, he *' made use of as a kind of lay figure," and celebrated in his reraet under the name of
Chloris. The words were intended for the air *' Cauld kail in Aberdeen ;" but Qoorge ThomiOD having
objected that they were not well suited for so lively a tune, they were laid aside, no other malody being
ever suggested for them by the poet. In 1798, after Bums's death, they appeared in the second portion of
Thomson's first volume set to the air, "I had a horse." It would seem therefore that in this instance
we owe the adaptatioo to the publisher rather than the poet ; and this ought to be borne in mind by thoee
who speak of Thomaoo's ** perversity " in setting Bums's words to unsuitable airs. The malody is plaintive,
and appears to be of considerable antiquity. Like several other old Scottish airs, it begins In a major key,
and ends in the nearest relative minor.

Mr. Robert Chambers, in his Scottish Songs (1829), says, " I have been informed that Bums wrote thia
aong in consequence of hearing a gentleman (now a reepeotable citizen of Edinburgh) sing the old homely
ditty which givee name to the tune, with an effect which made him regret that such pathetic music should
be united to such unsentimental poetry. The meeting, I hare been further informed, where this dream-
stance took place, was held in Johnnie DcwU'*, in the Lawnmarket, Edinburgh ; and there, at a sn b ee qu ent
meeting, the new soog waa also sung, for the first time, by the same individuaL"

We give thk stocy for what it is worth, though it evidently rstta m no vwy aoUd badi. BifBS wmf
indeed have rsgntted to hear so fine an air need aa the vehicle for a hnawfous aong, hat as he virited Sdia-
horgh for the last tiase in 1791, As evidently oould no't have been present at the singiBg of the new wofda.

124

SCOTTISH BONOS.

BLYTHE, BLYTHE, AND MERRY ARE WB.

ill, *'ASi>mo AXD bh outtt amr."

ABmAVOID BT T. M. KUIttX.

= 88

CohSfibito.

i f: Jil J' J' Jl j; l

Bl jtbe, blytlMt and mtf-ry art Wf

BIjthe are wa, ana and a'; Can - ty dayi we're af - ten leeDy A nioht like thia we

f-TT^-t

i ' i i ' ^ -^

!' J I i j J i j J I I I

'h^^-^-i^i^^^h^ c ■ J' J: f. i -jyjt^ ^

BLTTHfi. BLYTHE, AND MBBBT ABE WB.

125

^^a

Blytha, bijthe, and mer - ry are we, Pick and wale^ o' mer - ry men; What care we tho' Um

W ."■ J' J' j. l -J^i=^^^

eotk may craw, We're masters o' the tap - pit - henl*

The suoceeding Terses begin at the sign ^

The anld kirk bell has chappit twal —

Wha cares though she had ohappit twa 1
We're licht o' heart and winna part,

Though time and tide may rin awa !
Blythe, blythe, and merry are we—

Hearts that care can nerer ding ;'
Then let Hme pass — ^well steal his glass,

And pa' a feather frae his wing !

Now is the witchin' time o nicht,

When ghaists, they say, are to be seen ;
And fkys dance to the glow-worm*s licht

Wa fidries in their gowns o' green,
filythe, blythe, and merry are we —

Qhaists may tak' their midnicht stroll ;
Witches ride on brooms astride.

While we sit by the witchin' bowl !

Tut I never speir* how wears the morn

The moon's still blinkin i' the skj,
And, gif like her we fill our horn,

I dinna doubt well drink it dry I
Blythe, blythe, and merry are we—

Blythe out-owre the hurley bree ;
And let me tell, the moon hersel'

Aft dips her toom* horn i' the ses I

Then fill us up a social cup.

And nerer mind the dapple dawn ;
Just sit awhile, the sun may snile.

And syne* we'll see the gait' we're gaun*
Blythe, blythe, and merry are we; —

See I the sun is keekin'* ben ;
Gi'e !nme his glass— for months may paas

Ere sic a nicht we see again I

1 Oholoa.

• Aik, isquiie.

• A iiMasare containing a SoottUi plnt^ ttiat ii^ two Enrich qoartib
s Bmpty. * Thfen. 7 Boad, way.

• Peapins.

** Bltthb, BLTiHi, AND MSBBT ABB WB." The air is supposed to be old, and sounds Tery like a bag-pipe tune.
It is now impossible to trace the authorship of our older Scottish airs ; but the editor is disposed to beliere thai
some of them may haye been composed in the fifteenth and sixteenth centuries.

The song is by Captain Charles Gray, R.M. Two stanzas of it were written for the first anniyersary of the
Musomanik Society of Anstruther, 1814. It appeared in the third Tolume of the *< Harp of Caledonia," Glasgow,
1819, and subsequentiy in Mr. G. Thomson's ** Melodies of Scotland," adapted to a Jaoobite air. Its merit having
obtained fi)r it a place in these and many other ooHeetions, no apology is necessary fbr uniting it here to the liTety
melody in the Tery spirit of which it is conceiyed and written. Captain Gray's "Jolly song^" (aa Mrs. Joanna
Baillie called it,)— differing in some slight degree from that printed in his "Lays and Ionics"— haying reoeiyed
Ut final eometlons, is here published by his e i pr eei permissioii.

126

SCOTTISH SONOB.

*^««%*«tf«

THE BIRKS OP ABERFBLDIK

= 92

▲nt, *'THS BntKS OF ABESOELDIZ.'*

AMMAXQKD IT T. X. MIJSXB.

Alleoretto.

BoB-ni* Ui-fi0,wiU ye go, -Will ye go^ will ye go^

tempo.

§^^

^ I I f I J'. .^J' g

Bon • Die laf - lie, will ye go Tothe birkiof A-ber-fel-diel Now rimmer blinks on fiow'rybnaiy And

r^TJT^-m^ J J' J' J ■' I I

o*er the crystal streamlet plajt; Come let nt spend the lightsome days In the birks of A-ber-fel-die.

THE BIKES OF ABESF£LI>IE.

127

Bob - nie Ui -lie, will ye go, Will ye go, will ye go, Bon - nie Ui-aie, will ye go To the

pxaij^

birki of A • ber - fel - die ! Concluding Spnphony,

The following yerses begin at the sign ^:

While o'er their head the hazels hing;
The little bnrdies blythely sing,
Or lightly flit on wanton wing,
In the birks of Aberfeldie.
Bonnie lassie^ &o.

The braes ascend like lofty wa's,

The foamin' stream deep-roaring fa'r,

O'erhnng wi' fragrant spreadin' shaws,

The birks of Aberfeldie.

Bonnie lassie, &o.
I

The hoary cliffs are crown'd wi' flow'rs^
White o'er iJie linn the bnmie pours,
And, risin', weets wi' misty show'rs
The birks of Aberfeldie.
Bonnie lassie, &o.

Let fortune's gifts at random flee^
They ne'er shall draw a wish firae me^
Supremely bless'd wi* lore and thee^
In the birks of Aberfeldie.
Bonnie lassie, &c.

«Thi bisks or Abkbteldxb.'' ** This old sprightly idr," says Mr. St^ouse, '* appears in Playfbrd't * Dandng-
master,' first printed in 1657, nnder the title of 'A Scotch Ayre.'" The words here given, except the chorus,
which is old, were written by Boms for Johnson's Musical Museum, in September 1787, while standing under the
Falls of Moness, near Aber&ldie, in Perthshire. Bums, at that time, was travelling in the Highlands of ScoUand
with his intimate friend William Nicol, one of the masters of the Edinburgh High>SchooL Mr. Lockhart, in his
lifSB of Bobert Bums, chap, vi., records a remarkable trait of the pride and passion of William Nicol when Bums
and he were together at Fochabers ; and of Bums' kind self-denial and breach of etiquette with a Duke, in order
to soothe his irritated friend. « Bums, who had been much noticed by this noble fkmily when in Edinburgh,
happened to present himself at Gordon Castle, just at the dinner hour, and being invited to take a place at the
table^ did so, without for a moment adverting to the circumstance that his travelling companion had be^ left alone
at the inn in the adjacent village. On remembering this soon after dinner, he begged to be allowed to rejoin his
friend ; and the Duke of Gordon, who now for the first time learned that he was not journeying alone, immediately
proposed to send an invitation to Mr. Nicol to come to the Castle, ffis Grace's messenger found the haughty
schoolmaster striding up and down before the inn-door, in a state of high wrath and indignation, at what he
considered Bums* neglect; and no apologies could soften his mood. He had already ordered horses; and the poet
finding that he must choose between the ducal circle and his irritable associate, at once left Gordon Castle and
repured to the inn; whence Nicol and he, in silence and mutual displeasure, pursued their journey along the
coast of the Moray Frith." — Lockhart*s Life of Bums. Regarding the air, we have to observe, that in the earlier
copies, the melody seems to have been disfigured by a misprint of the sixth note of the first measure^ where three
Da ooour conseeotively, instead of D, JB^ D. Li the present edition that wrong note has been altered.

Playfi)rd's Dancing Master was first printed in 1651, but this air does not appear in any edition of it
till after 1708. It is impossible that Mr. Stenhouse .can ever have seen an early edition of the work, else he
woold not have quoted from, it so recklessly and erroneoosly. His own copy must have been as late ts 1718
or 1721, both of which contain all the tunes he mentions.

128

SCOTTISH SONOS.

THE LAIRD 0' COCKPEN.

AH, ** WHS5 SHI CAM* BIN, SHI BOBBXD.

ABBAHOSD BT H. B. DXBOX9.

= 66

MODBBATO

GOV Sfibito.

proud And he's great ; His mind b U'en up wi' the things o' the state ; He

THE LAIBD O' OOOKPEK.

129

Doun by the dyke-side ft lady did dwell.
At his table-head he thought she'd look well;
MKTleish's ae daughter o' ClaTerse-ha' Lee,
A pennyless lass wi' a lang pedigree.

JEQs wig was weel pouther'd, an' as gude as new,
IDa waistcoat was white, his coat it was blue ;
He put on a ring, a sword, an' cock'd hat,
An' wha could reftise the Laird wi' a' that ?

He took the gray mare, an' rade cannilie,
An' rapp'd at the yett o' ClaTerse-ha' Lee ;
** Gae tell mistress Jean to come speedily ben,
She*s wanted to speak wi' the Laird o' Cockpen."

Mistress Jean she was makin' the elder-flower wine
** An' what brings the Laird at sic a like time T"
She put aff her apron, an' on her silk gonn,
Her mutch wi' red ribbons, an' gaed awa' doun.

An* when she cam' ben, he bowed ta* low ;
An' what was his errand, he soon let her know.
Amaxed was the Laird when the lady said, Nal
An' wi* a laigh curtsie, she tum'd awa'.

Dumfounder'd was he, but nae sigh did he gi'e;
He mounted his mare, and he rade cannilie ;
An' aften he thought, as he gaed through the glen,
She's daft to reftise the Laird o' Cockpen.

« Ths Laied o' Cookpex." Mr. Stenhouse says, " The musical reader will scarcely require to be infbrmed
that this spirited air, [** >yhen she cam' ben, she bobbed,"] of one simple strain, is among the oldest of our Scottish
melodies. It is preserved in the first book of Oswald's Caledonian Pocket Companion, with some of his own
Tariations upon the air. It also appears in Mrs. Crockat's Manuscript Book of Tunes, dated 1709." See
Museum Illustrations, toL It. pp. 826, 827. In Oswald's First Collection, dedicated to Frederick Prince of Wales,
(p. 48,) we find " When she came ben, she bobed," in three-fourth time, and differing in some other respects from
the set No. 858 of Museum. In Dr. John Leyden's MS. Lyra-Viol Book — ^referred to ante, p. 25— there is a tune.
No. 77, entitled, " When she came ben," in a major key, and yet evidently the prototype of the two sets last men-
tioned, in minor keys. In most sets of the melody, the sharp serenth is giyen in the fourth measure. This, we
think, IS erroneous, and have therefore made the scTenth natural in the present work ; especially as we find our
alteration supported by a set of the air published in James Oswald's '* Curious Collection of Scots Tunes, &&,**
1740, dedicated to the Duke of Perth.

The clcTer and humourous stanzas giTen to the air, *' When she came ben," in this work, are modem. They
are now generally ascribed to Lady Nairne, yet if really by her, it is somewhat strange that in the third
Tolume of the Scottish Minstrel they appear without the usual B. B., the initials of her pseudonym, Mrs.
Began of Began; while in the same Yolume those initials are appended to "I'm wearin' awa'," as well as to
other two songs known to have been written by her. Lady Nairne was the principal member of the ooterie of
ladies who superintended the literary portion of that work, and yet the writer <i " The Laird of Cockpen " is
in the Index marked ** unknown."

Two additional stanxas have appeared by another hand : as they are occasionally suog, we subjoin them : ~

An' now that the Laird his exit had made,
l^Iiatress Jean she reflecked on what she had said ;
*' Oh I for ane HI get better, its waur 111 get ten —
I was daft to refuse the Laird o' Cockpen !"

Neist time that the Laird and the Lady were seen,
They were gaun arm an' arm to the kirk on the green ;
Now she sits in the ha' like a weel-tappit hen ;
'^ But as yet there's nae chickens appear'd at Cockpen.

130

SCOTTISH soiroa.

MY TOCHER'S THE JEWEL.

AMSAHOID VT B. S. DIBDOT.

j> J: ;■ J j'

O md-kle think* my love

my beau - ty, And mei - kle thinki my lofe

E^S

^'i^ cfi J:j'hJ^=J^r He ^■."j:J^

ohArms for him. Iti a' for the ap - pie hell noariflb the tree, Iti a' for the hinney hell

Mr tocheb's the jewel.

131

can - na hae love

■pare for me.

5=±

Your proffer o' loYe*s an arle-pennj,
Mj tocher's the baigain ye wad buj ;

Bat an 7« be craftj, I am ctmnin^
Sae je wi' anither jour fortune maun try.

Te're like to the timmer o' yon rotten wood,
Te're like to the bark o' yon rotten tree,

Yell slip frae me like a knotleas thread.
And yell crack your credit wi' mae nor me.

** Mt toohb&'s ths jewel." Bir. Stenhonse says, *' The words of this song, * meikle thinks my Ioto o' my

beauty,' were written by Bums, in 1790, for the Museum. They are adapted to a jig in Oswald's Caledonian

Pocket Companion, book iii. p. 28, composed by him from the subject of an old air, in slow common time, caUed

* The highway to Edinburgh.' • . . Bums was mistaken in asserting^ in the Reliques, that Gow, or any of his

fkmily, claimed this melody as their own composition ; or eren that it had been notoriously taken from * The

muddng o' Geordie's byre,' for it is nothing more than the subject of the old air of * The highway to Edinburgih,'

thrown into treble time." See Museum Illustrations, toL It. p. 804. There are three errors in this statement.

1st. Bums did not write the whole words of this song, but only a fow of them, the others being old. This is

given on the authority of Bums' sister, Mrs. Begg, who communicated the fact to Captain Charles Gray, B. M.

2d. Mr. Stenhouse is InconceiYably wrong in stating that the tune is taken from the subject of an old air called

**The highwigr to Edinburgh." There is no resemblance between the two tunes, except in two cadences. 8d.

Mr. Stenhouse is equally wrong when he says, that Bums was mistaken in asserting that the tune ** My tocher's,"

&0n had ben notoriously taken from '*Tbe mucking o' Geordie's byre." Bums was quite right, for the chief

melodic forms of these two airs are almost identical; though the rhythm has been changed by additional

measures interpolated in the former tune. The older tune is in three-four, and the deriyative one in six-eight

time, the former easily conrertible into the latter.

In regard to " The highway to Edinburgh," it is evidently the same in all essentials as a tune called ** The
black eagle, by David JRko" given in Oswald's second collection, and in M'Gibbon's as '* The bonny black
eagle." An older and better version than either is found in tablature in the MS. Lyra Viol-Book of the cele-
brated Dr. John Leyden, under the name of " Women's work will never be done." This curious Leyden MS.,
which was supposed to be lost, when Mr. William Dauney published the Skene MS. in December 1838, was,
in 1848, sent to Mr. G. F. Graham, with permission to copy and translate the whole. He made a copy of the
MS.y which he deposited in the Advocates' Library for preservation.

132

SCOTTISH 80N08.

MAGGIE LAUDER.

ABEASGID BT J. T H J IEHHK .

= 104

AXIMATO.

tM-^

-€>

I t 'il-^ j f ; n

ik^

T7^

£d.

■TN riS*

I ^ > ^ _tA

iLte

c3^ It Ji h ^

Wha wad-DA be in love Wi' boa - nk Maggie Lftn-dert A

1=J:

7»4

A-^

4— i' ii I

^TT

zz:

— ti» —

■ N-JV

CJC ? p^j-p-^

pip-er methergaun to Fife, And tpeir'd what wai*t they ca'd her, Right scomftil-Iy 8heantwer'dhim;<'Be-

II . . , r- >

C 1 r 1 i" 1 S

,^ J' J / j^ j.=iff:p^p4-J^

gone ye hal - Ian - sha • ker I * Jog on your gate, ye bladderskate,' My name is Mag - gie Lau • der.'

it^

zr3ii_ fc3 — 1^^=*

^^'nr^r^^^^SFtr'r^j i i p ^ ; J a

A bcgputy kaaTt.

t AnindiMrMltalktc

UAaOIB LADDEE.

133

For th« tot four

FortlMlMt

Maggie, quo' he, and by my bags,

I'm fidgin' fain to see thee;
Sit down by me, my bonnie bird.

In troth I winna steer thee :
For Fm a piper to my trade.

My name is Rob the Ranter;
The lasses loup as they were daft,

"When I blaw np my chanter.

Piper, qno' Meg, ha'e ye your bags?

Or is your drone in order?
If ye be Rob, IWe heard of yon.

Live you upon the border?
Ihe lasses a', baith &r and near.

Have heard o* Rob the Ranter;
rn shake my foot wi' right gude will,

Gif you'll blaw up your chanter.

Then to his bags he flew wi' speed.

About the drone he twisted ;
Meg up and wallop'd o'er the green.

For brawly could she fHsk it.
Weel done ! quo' he — play up ! quo' she;

Weel bobb*d ! quo' Rob the Ranter;
'Tis worth my while to play indeed,

AYhen I ha'e sic a dancer.

Weel ha'e you play'd your part, quo' Me|^

Your cheeks are like the crimson ;
There's nane in Scotland plays sae weel.

Since we lost Habbie Simson.*
I're lived in Fife, baith maid and wife,

These ten years and a quarter ;
Gin ye should come to Anster fiiir,

Speir ye for Maggie Lauder.

We subjoin the spirited yerses written by Captain Charles Grny, R JVL, to the same tune, and published Is hli
**U^ and Lyrics," 1841.

Tho' Boreas bauld, that carle auld.
Should sough a surly chorus ;

And Winter snell walk out himsel'
And throw his mantle o'er us ; —

Tho' winds blaw drift adown the lift,
And drive hailstanes afore 'em r

While you and I sit snug and dry-
Come push about the jorum !

Tho' no a bird can now be heard

Upon the leafless timmer;
Whate'er betide, the ingle side

Can mak' the winter — simmer !
Tho' cauldrife souls hate reekin' bowls.

And loath what's set befbre 'em;
How sweet to tout the glasses out —

leexe me on a jorum I

The hie hill taps, like barter's baps,

Wi' snaw are white and floury ;
Skyte doun the lum the hailstanes oomAb

In Winter's wildest fbryl
Sharp Johnnie Frost, wi' barkynt hoast^

Mak's trayellers tramp the quicker ;
Should he come here to spoil our cheer,

We'll drown him in the bicker I

Bess, beet the fire— come, big it higher.

Lest cauld should mak' us canker'd ;—
This is our hame, my dainty dame^

Sae fill the tither tankard.
Wi' guid ait cakes, or butter bakes.

And routh o' whisky toddy,
Wha daur complain, or mak' a mane.

That man's a saul-less body ?

"Maogie Lauder." There is a surmise, for it is scarcely more, that this is an English air. It rests
upon the fact that in a ballad opera called " The Beggar's Wedding" (1729), the tune is styled " Moggy
Lanther on a day. " This is supposed to be the first Une of an Anglo-Scottish sons, of which, howeyer,
nothing more is Known. It is not to be found, either with or without music, in any of the numerous collec-
tions 01 songs published about that time, neither does this first line ever appear again. The evidence in
favour of its Eaiglish origin is thus somewhat slender ; especially as the air is found in Adam Craig's ** Collec-
tion of the choicest Scots Tunes, " Edinburgh, 1730. The words, first printed by Herd in 1769, are ascribed
to Francis Semple of Beltrees, who is said to have written them in 164i2. One would be glad to think, that
in the midst ox straitened means, Francis Semple had been able to write so merry a song as Maggie
Lauder, but there is no contemporary copy, nor ccyitemporary evidence of an^ kind, to show that it existed
even in his time. The claim is founded on the belief ofgrandchildren who died a century after him (1789
and later). Their testimony cannot be esteemed as of much value, seeing they also believed he wrote
" She rose and let me in," a song now kno>vn to have been written by Tom d'Uriey. Although Maggie
Lander cannot thus be traced b^k to Francis Semple, it proves itself by internal evidence to be much
older than Herd's time by its loose and haphazard rhymes, see thee, tteer tAee, — ranter, dancer, — and, above
all, Lauder rhyming witii ehaker and quarter,

^8m '<The Life and Death of the Piper of KUbarchan, Habbie Simpson," in Watioa'aCoUaetloii of Scots Poems, Sdinbnxgh, ITOd

134

MCOTTISH SOKOB.

IT WAS UPON A LAMMAS NIGHT.

UB, *'00mH ElOt.'

imaAjroBD bt 4. lawkii.

sll2

neath the moon's nn • cloud • ed light, I held a - m,* to An • nie, O : The time flew bj wi'

tent - lets heed. Till 'tween the late and ear • \j, O, Wi* tma' per • lua - lion the a - greed To

f^-ri—F

*±

U jv i

IT WAS XJTOS A LAMMAS NIGHT.

135

•ee me thro' the bar - lejy 0.

Com rigt, and bar • ley rigi.

Cora rigt are

bon-nie, O: Fllno'er for-get that hap - py night, A • mang the rigs wi' An - nie, 0.

coUavoce,

lui^iiijt^

The sky was blue, the wind was still.

The moon was shining clearly, :
I set her down wi' right good will,

Amang the rigs o' barley, :
I ken*t her heart was a* my ain;

I loTed her most sincerely, ;
I Idss'd her ower and ower again,

Amang the rigs o* barley, 0.
Com rigs, &a

I lock'd her in my fond embrace !

Her heart was beating rarely, :
My blessings on that happy place,

Amang the rigs o' barley, !

Bat by the moon and stars so bright.
That shone that hour so clearly, !

She aye shall bless that happy night,
Amang the rigs o' barley, '
Com rigs, &C.

I hae been blithe wi' comrades dear ,

I hae been merry drinkin', ;
I hae been joyfb' gath'rin' gear ;

1 1^ been happy thinkin', :
But a' the pleasures e'er I saw,

Tho' three times doubled fairly, 0,
That happy night was worth them a',

Amang the rigs o' barley, 0.
Com rigs, &C.

"The bigs of bablet." The above verses were written by Bums in his earlier years. Mr. Scott
Douglas says that Anne Hankine, daughter of a farmer at Adaxnhill, two miles west of Lochlie, boasted to
her dying day that she was the Annie of "The rigs of barley."

The air hxu been known in Scotland since about the beginning of the eighteenth century under the name
of Com Bigs ; nevertheless there can be no doubt that the air is really English, and was originally
composed in 1680— says Mr. Chappell— to D'Urfey*s words, "Sawney was talL" But setting aside all
historical evidence, of which there is plenty, whoever will look at the air without prejudice, must
see that it has no Scottish characteristics whatever, and that its flowing English style is apparent from
the first bar to the last. We cannot too soon recognise that the statements regarding Knglish inoiic
made by Stenhouse, and in which he has been unfortunately followed by others, who ought to hare
•zamined the subject for themselves, are unsupported by evidence, and frequently at variance with fact.

136

8C0TTISH 80N0B.

THIS IS NO MY AIN LASSIE.

An, ^'TKIB IS XO MT ADT HOVfll.

ABKAHOSD BT J. T. SUSOnn.

J =132

llODBKAXO.

O thii ii DO my ain Us-ne, Fair tho' the Us - a« be; O

J' i' J' ''■ I UTtlW^^rj^^

'■■J, ;■ 1 * II J rJ I f r

pn^'^inij'

^^^s

fFFl"

S=K

see a fitce, To weel may wi' the fiur- est place; It wants to me the witch - in' grace. The

1 J^ 1

^ T * ^

J I — p^" \ ^ ^ 1 r 1 I

?=M^irH

THIS IS NO MY AIS LASSIE.

137

Da Capo al SepuK

kind loTO that's in her e'e.

a mZU

trf==-f

muiu'^Lfj!^

The sacoeeding yerses begin with the Second Part of the Air, and end with the First Port

She's bonnie, bloomin', straight, an' tali.
An' lang has had my heart in thrall ;
An' aye it charms my Tery saul.
The kind Iotc that's in her e'e.
this is no my ain lassie, &e.

A thief sae pawkie^ is my Jean ;
Shell steal a blink by a' unseen ;
Bat gleg* as light are lover's een,
When kind Ioto is in the e'e.
ibis is no my ain lassie, &a

It may escape the conrtly sparks,
It may escape the learned clerks ;
But weel the watchin' lover marks
The kind love that's in her e'e.
this is no my am lassie, &c

1 Canninf, ily.

' Sbaip, nady.

** THIS IS NO MT AIN lassh." In the snmmer of 1795, Boms wrote these stanzas for Mr. George Thomson's
Collection. James Hogg, in his Jacobite Relics, toL L pp. 57, 58, gives the old words, and says, p. 224, ** The
air to which I have set this song is not the original one; but it is the most popular, being always sung both to
this song and * This is no my ain lassie,' by Bums. For my part, I like the old original one much better." Hogg
prints the original air on the same page ; and his is a better set than the one given in Johnson's Museum, No. 216,
where, at the end of the first and second strains; the introduction of the sharp 7th of the tonic spoils the whole
character of the air. In the Museum Illustrations, voL iii. p. 210, Mr. Stenhouse gives what he says is " the
original air" of This is no my ain house," f^m Mrs. Crockat's book, written in 1709. This is the air, with some
modifications found in later copies, which has been adopted in the present work. As a vocal air, it is much pre-
ferable to that given by Johnson. We have retained the leap of the 5th in the fourth measure of the fiirst stxvuiy
according to the Crockat MS. cited by Mr. Stenhouse.

In a previous note, allusion was made to the unfortunate career of Bums. The following passages from the
pen of his talented countryman, Thomas Carlyle, (** Heroes, and Hero-worship,") are given as flowers laid reve-
rently on the tomb of the poet : — " The tragedy of Bums's life is known to alL Surely we may say, if discrepancy
between place held and place merited constitute perverseness of lot for a man, no lot could be more perverse than
Bums's. Among those second-hand acting figures, minus for the most part, of the eighteenth century, once rose a
giant Original Man ; one of those men who reach down into the perennial deeps, who take rank with the heroic
among men, and he was bom in an Ayrshire hut. The largest soul in all the British lands came among us in the
shape of a hard-handed Scottish peasant." (P. 296.) *' Bums appeared under every disadvantage : uninstrueted,
poor, bom only to hard manual toil ; and writing, when it came to that, in a rustic special dialect, known only
to a small province of the country he lived in. Had he written even what he did write in the general language
of England, I doubt not he had already become universally recognized as being, or capable to be, one of our
greatest men. That he should have tempted so many to penetrate through the rough husk of that dialect of his,
is proof that there lay something fiur from conmion within it. He has gained a certain recognition, and is coii>
tinning to do so over all quarters of our wide Saxon world ; wheresoever a Saxon dialect is spoken, it begins to
be understood, by personal inspection of this and the other, that one of the most considerable Saxon men of the
eighteenth century was an Ayrshire peasant, named Robert Bums." (P. 298, third edition. 1846.)

138

SCOTTISH soiros.

ROY'S WIFE OP ALDIVALLOCH.

ABmASOBD BT O. 7. OtLAlLKX,

AXI>ABTB»

^ Roy's ihh ot Al - di - inl . lod^

— I i I * ^ — r

j) o'.;'.jtj^# ^

-^^^^^j-??#

Roy*! wife of Al - di-vaUoch, Wat y* how she cheated me, As I cam' o'er the braes o'Balloeh!

O the fickle, fiiithless quean, She's ta'en the carle* an' left her Johnnie I Roy's wife of Al - di - ralloch.

The 2d and 8d stanxaa begin at this mark ^

bot's wife of alditalloch.

139

faj

Wat ye how the cheat - ed mey

0, she was a canfte* qnean,

TVeel could she dance the JBBghland walloch;
How happy I, had she been mine^

Or I be^ Roy of Aldivalloch.
Roy's wife, &c.

1 An oldmaa.

Her hair sae Cur, her een sae clear.
Her wee bit mou' sae sweet and bonnie;

To me she ever will be dear,
Though she's for ever left her Johnnie.
Roy's wife, &c.

'Meny.

*' Bot'8 Wms OF Aldivalloch." This song was written by Mrs. Grant of Carron, afterwards Mrs. Dr.
Mnrrav of Bath, and is said to be founded on fact. We are told that in 1727 John Roy, son of Thomas
Boy of Aldivulloch, was married to Isabel, daughter of Allister Stewart, sometime resident in the Cabrach,
a highland district of Aberdeenshire. It would appear that the marriage was not a happy one, for she
made an attempt to escape, but was brought back by her husband. Such an occurrence in a qniet locality
18 sure to be the occasion of a ballad more or less rude, and this did not fail in the present instance. Out
of this rude beginning Mrs. Grant is said to have produced her song. (See Chambers's Songs of Scotland
before Bums.) Bums also wrote verses for the same air, beginning, "Canst thou leave me thus, my
Katy?" — but the lady's verses have always held their ground to this day. David Lains, Esq., in his
Adcutional Illustrations to Johnson's Museum, (vol iv. pp. 368, 369,) says:— "Through the obliging
inquiries of John P. Grant, Esq., (son of the late Mrs. Grant of Laggan,) I have since learned the following
particulars resi>ecting this lady. Her maiden name was Grant ; and she was bom near Aberlonr, on the
oanks of the river opey, about the year 1745. She was twice married, first to her cousin, Mr. (jrrant of
Garron, near Elchies, on the river Spey, about the year 1763 ; and, secondly, to a physician in Bath, whose
name is stated to have been Brown, not ^lurray. She died at Bath sometime about 1814, and is not known
to have written any other song than 'Roy's Wife.'" Mr. Laing is satisfied, from the authority of Mr.
George Thomson and Mr. Oomek, that the lady's second husband was Dr. Murray of Bath. The tune is
old, and was lonff known in the Lowlands as " The Ruffian's Rant." In several passages, modem improvers
of oar old melodies have, as usual, introduced flourishes that are incompatible with the simple character
of this air. We have rejected these flourishes, as we shall always do, whenever we find them disfigurinff
our national Scottish airs. From the earlier part of the last century, the process of altering and pretended
improving of these airs seems to have gone on, up to a certain point, when it was found necessary to stop
i^ort in disguising them. The rage for embeUishment as applied to these simple melodies may be traced
feo the time when they became so fashionable in England, and ffot into the hands of public singers in
London. Italian ^ori^ure, of a particular kind, were not less liberiuly applied in those days to every melody
than they have been of late years, with a change of form. National airs could not escape the contagion.
In the Macfarland MS. (1740) and in Angus Cumming's Collection (1780) the tune is called "Coff na
scalan ; " the last a word very difficult to interpret. After much inquiry we leam from two of the hiffnest
Gaelic authorities that in one district it means a wicker basket for oat-cakes, and in another a baking-
board or dough-trough. The name seems therefore to allude to some domestic squabble or dispute about
the baking of oat-ci^es. As to whether this may have been the orif<in of the quurel between !Roy and his
wife tradition is silent •

140

SCOTTISH SOVOH.

CA' THE YOWES TO THE KNOWEa

:=e6

M0D1BAT9.

AXXAHQBD BT T. X. Mimi.

m^-rn

■» — *

:s=Sz

i=^

Ca' them where the bar • nie rowi. My bon - nie dear - ie.

Harit, the ma - irit*

w f h

*SZ3t

J-- j^ J', fi I r li^'i' " n ' g 1-^^

eve • ning saug, Sound - ing Clu • den*8 woodit a • mang; Then a • faold - ing let ni gang,

^ — J— r^?^ ■

rT7»

OA' THB T0WB8 TO THE KNOVKS.

141

M J boo - nia daar • io.

Well g&ng doan by Claden side,
Through the hazels spreading wide
O'er the waves that sweetly glide.
To the moon sae clearly.

Tender Cloden's silent towers,
Where* *t moonshine midnight hours,
O'er the dewy bending flowers
The fiiiries dance sae cheerie.

Ghaist nor bogle shalt then ftar :
Thon'rt to Ioto and heaven sae dear,
Nocht of ill may come thee near,
My bonnie dearie.

Fair and lorely as then art,
Thou hast stoun my very heart ;
I can die — ^bnt canna part»
My bonnie dearie.

''Ga' IBB Towss TO THB KNOWBS." In a letter to Mr. G. Thomson, September 1794, Bums 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
teten years ago, I was well acquainted with a worthy little fellow of a clergyman, a Mr. Clunie, who sung it
ehanningly ; 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^y, I tried my hand on a few pastoral lines, following up the idea of the chorus, which I would preserre.
Here it is, with all its crudities and imperfections on its head." This is the song which we have given with the
wild and pretty air which Bums thus rescued firom oblivion. He saved many other good melodies from being
lost; and, for this alone, Scotland owes him another debt of gratitude. This fiict is not generally known, and is
not alluded to by his biographers. Captain Charles Gray, R.M., in his " Cursory remarks on Scottish Song^" was
the first to point out our obligations to Bums in this respect.

The Chiden, or Clouden, is a river in Dumfries-shire^ which rises near the feet of the Criffel hills, and fiilla into
the Ntth, nearly opposite to lincluden College.

Following up what we have quoted above frt>m Bums, it may not be out of place here to state in his own words
his ideas of music and song, and his mode of composing verses to airs that pleased him, or that were sent to l»im
(br rerses. The passages are from his letters to Mr. George Thomson. ** November 8, 1792. There is a peculiar
rhytfamns in many of our airs, and a necessity of adapting syllables to the emphasis, or what I would call the
feature notes, of the tune, that cramp the poet, and lay him under almost insuperable diflSculties." <* September,
1798. Until I am complete master of a tune in my own singing, (such as it is,) I never can compose ibr it.
My way is : I consider Uie 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 or harmony with
the oogitations of my ikncy, and workings of my bosom ; humming every now and then the air with the verses I
have framed. When I frel my muse beginning to jade, I retire to the solitary fireside 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 fbrth
my own critical strictures, as my pen goes on. Seriously, this at home, is almost invariably my way."

That Bums had a fine feeling for the simple melodies of his country, the following extracts will show : "April,

1798. I have stQl several MS. Scots airs by me which I have picked up, mostly ttom the singing of country
lasses. They please me vastly ; but your leamed lug$ would perhaps be displeased with the very feature for
which I like them. I call them simple ; you would pronounce them silly." *< September, 1798. Tou know that
my pretensions to musical taste are merely a few of nature's instincts, untaught and untutored by art For this
reason, many musical compositions, particularly where much of the merit lies in counterpoint, however they may
tranq)ori aiul ravish the cars of you connoisseurs, affect my simple lug no otherwise than merely as melodious
din. On the other hand, by way of amends, I am delighted with many little melodies, which the leamed muaidao
despises as silly and insipid." *' September, 1794. Not to compare small things with great, my taste in musie is
like the mighty Frederick of Prussia's taste in painting : we are told that he firequently admired what tho oon-
noisieun deeried. and always without any hypocrisy oonftssed his admiratinii," fte.

142

SCOTTISH SONGS.

HOW LANG AND DREARY IS THE NIGHT.

AIB, *' OAULD KAIL Dl ABKEDBBI.'*

imsAjroiD BT mrukT scb.

S > P • ^^

J^ Jl j * 1/ *

n=K

Img and dmr • y ii the nidit. When I am fraa my dear - ie ; I reeUeee lie fra*

' ^ ^ ?

F- ? !> ■? K u "^ p I

«•

HOW LANG AKD DSEABT IS THE NICHT.

143

ab-Motfrm* her dear •lei

cir€$u

When I think on the lightsome days

I spent wi' thee, my dearie ;
And now, what seas between us roar-
How can I be but eerie.
For, oh I her lanely nights are lang;

And, oh ! her dreams are eerie ;
And, oh I her widow'd heart is sair.
That's absent frae her dearie I

How slow ye moTe, ye hea^y hours —

The joyless day, how dreary !
It was na sae ye glinted by
When I was wi' my dearie.
For, oh I her lanely nights are lang ;

And, oh ! her dreams are eerie ;
And, oh ! her widow'd heart is sair
That's absent frae her dearie !

** Cauld kail jx Abbbdun." '* This beantifbl air does not appear in any of our old Collections by Thomson,
Gral^ M'Gibbon, or Oswald. It seems to haTe been modelled from the ancient tone in triple time, called, Tke
atmpy body, like that of another ttom the same source, called, Tke Ploughman, See No. 166. For upwards of
half a century, howeyer, ftw if any of our tunes haye been greater fiiTourites with the poets than that of ' Canld
kail in Aberdeen.' Although this air, particularly when played slow, is rather of a tender and plaintiTe cast» yet
most of the songs that have been adapted to it are of a Tery opposite description." See Museum Illustrations,
ToL iL p. 150. The song beginninj^ ** How lang and dreary is the night," of three stanxas of six lines each, wa&
written by Bums to a Highland air. Long afterwards, in October 1794, he altered that song to suit the air of
** Gauld kail in Aberdeen," for Mr. George Thomson's work. This is the Tendon here given. Most of the humorous
songs written for this air are objectionably coarse, not excepting the one written by Bums' noble friend, the Duke
of Gordon. We give the following merry lines written for the air by the late Mr. William Reid, bookseller, Glasgow,
not only because they are unobjectionable, but because they are good of their kind. He was a personal friend and
great admirer of Bums, and published several pieces of poetry of considerable merit. Darid Laing, Esq^ in his
Additional Illustrations of Johnson's Museum, toL IL pages *212, 218, says r^ — " Haring be^ ikToured by Mr.
James Brash of Glasgow, (through the kind application of ^Ir. P. A. Ramsay,) with some particulars 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 fhnd of social humour, and was possessed of no inconsiderable poetical powers, with some of the eccentricities
occasionally allied to genius. Mr. Reid was bom at Glasgow on the 10th of April 1764. His parents were
Robert Reid, baker in Glasgow, and Christian Wood, daughter of a fkrmer at Gartmore, in Perthshire. Haring;
reoriyed a good education in his native city, he was originally employed in the ^e-foundery of Mr. Andrew
Wilson, and afterwards served an apprenticeship with Messrs. Dunlop & 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 respectable buai-
Bess^ under the well-known firm of ' Brash & Reid.' In a small publication which they issued in numbers, at one
penny each, under the title of * Poetry, Original and Selected,' between the years 1795 and 1798, and which forms
Ibur 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 selection of them has ever appeared. He died at Glasgow, 29th of November 1831
leaving a widow, Elisabeth, daughter of Mr. James Henderson, linen-printer, Newhall, and two sons and five
dan^ters.*'

There's eauld kail in Aberdeen,
And bannocks in Strathbogie —

But naething drives awa' the spleen
Sae weel's a social cogie.

That mortal's life nae pleasure shares,
Wha broods o'er a' that's fogie;

Whane'er Fm fitsht wi' worldly cares,
I drown them in a ooglai

Thus meirily 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 gi'e's an auld Scots sang,

Sidike as Rath'rine Ogie;
A gude auld sang comes never wnnc

When o'er a sodal cogie.

144

SCOTTISH ttUKOIk

THERE WAS A LASS, AND SHE WAS FAIR.

m, ** WILLZI WAfl ▲ WAmOH WAO.

AXRAVQBD BT fDTULT DUV.

= 72

MODERATO

' g f ^ Jg I

Idz^ and maricet to be Mto, Whan a' the fiur - «tt maids were met. The

j j~3 ^ ^

k^^-H^" J' gi rf

C-J' 1^ rj^i ^^

Ceut - eft maid was bon - nie Jean. And aye she wrought her mam • mie's wark. And

THEBE VTAS A LASS, AKD SHE WAS VAIS.

145

r • T T

l^ J- J' :i f s^ ^

aje ihe tang im mer - ri - lie : The

blith - est bird np « on the boah Had

<r-/-

4a — i

fr=»

ne'er a ligbt • er heart than she.

Bat hawks will rob the tender joys

That bless the little lintwhite's nest;
And frost will blight the fiiirest flowers,

And love will break the soundest rest.
Young Robie was the brawest lad,

The flower and pride of a' the glen ;
And he had owsen, sheep, and kje,

And wanton naigies^ nine or texL

He gaed wi' Jeanie to the trjste,

He danc'd wi Jeanie on the down ;
And lang ere witless Jeanie wist,

Her heart was tint,* her peace was stown.
As in the bosom 0' the stream

The moon-beam dwells at dewy e'en;
So trembling, pure, was tender love.

Within the breast 0' bonnie Jean.

And now she works her mammic's wark,
And aye she sighs wi' care and pain ;

Yet wist'na what her ail might be.
Or what wad mak' her weel again.

' Tonng hones. ' Lost

s Leap.

But did na Jeanie's heart lonp ' light, •
And did na joy blink in her e'e^

As Robie tauld a tale 0' loTe,
Ae e'enin' on the lily lea?

The sun was sinking in the west.

The birds sang sweet in ilka g^ye ,
Bis cheek to her's he fbndly prest,

And whispered thus his tale 0' lore :
Jeanie ikir, I lo'e thee dear;

canst thou think to fiincy me !
Or wilt thou leave thy mammie's cot,

And learn to tent^ the fiurma wi' me?

At bam or byre thou shalt na drudge,

Or naething else to trouble thee ;
But stray amang the heather-bells,

And tent the waving com wi' me.
Now what could artless Jeanie do ?

She had nae will to say him na :
At length she blush'd a sweet consent.

And love was aye between them twa

*■ To taks cbaige of; to watdL

*'TmBE WAS A LASS, A>'D SHE WAS FAIR." Bums WTOte thls soug to the tune of "Bonnie Jean" fbr Mr. G.
Thomson's Collection. Mr. T., however, adapted it to the tune of " Willie was a wanton wag/' and we have hero
given it to the same air. The *< Jeanie" thus celebrated by Bums, was Miss Jean Macmurdo, (afterwards Mrs.
Crawfiird,) eldest daughter of John Macmurdo, Esq. of Prumlanrig. ** I have not painted her," says Bums, ''in
the rank which she holds in life, but in the dress and character of a cottager." Bums himself considered this
long at "in his best style;" and so it certainly is. About the beginning of last century, Mr. Walkingshaw of
that ilk, near Paisley, wrote a very humorous song beginning, ** Willie was a wanton wag;" which was published
In the Oipheos Caledonius in 1783, along with the air which now bears that name.

Tbm earliest version of the air we have seen appears under the name of "I^ady Strathallan's Time^" in a IfS.
i^pacvntJy of tht end of the seventeenth century, and now in the Advocates' Library.

146

SCOTTISH S0K08.

<«#^^^tf^^^^^^%^^^«v<

SHE'S PAIR AND PAUSR

imsAjrosD BT J. T. wuBJoam.

sll6

A2n>A2fTB

002r
SDxozra

ff 1 M l ; J i-gr^^ ;i J'. /' f'^

8ho*i fiur and fimae that cam - m mynnart. I

lo'ed her maikla and

r-g c ^>^1^^ ^

Ung; She's bro-kenher tow, she's bro - ken my heart, And I may e'en gas

*''^ p- J i

SHK S FAIK AND FACSE.

147

Whae'er ye be that woman loYe,

To this be nerer blind,
9m fisrlie* 'tis tho' fickle she proTe^

A womsji has't by kind.

woman loyely I woman fair !
An angel form's fii'n to thy share,
Twad been o'er meikle to [ha'e] gi'en thee
I mean an angel mind.

iFooL

'Flentj.

• Bidict; gooda.

«L(Mt

s Wonder.

** Shi's vaxk axd fausb." Mr. Stenhonse informs as, that " Bnms picked np this charmiog old melody in the
«nuiiry, and wrote the yerses to which it is so happily adapted in the Mosenm." See Mnsemn Dlostrations, toL
It. p. 859. We haye no donbt that this was the case, for Bums, as we haye already had occasion to remark, was
yery snccessftil in reooyering old melodies that were but little known, and at once giying them a more extended
drenlation, by writing songs for them. In this instance, howeyer, Oswald had already rescaed the air tcom obll-
yion, by printing it in his Caledonian Pocket Companion, book iy., where it appears imder the title of " The lads
of Leilh." In the first stanza of the song, the repetition of the word " gear " in rhyme, is rather a blemish.

In his ''Cursory Remarks on Scottish Song," No. 8, Captain C. Gray, B3L, quotes Bums regarding ''A
Collection of Songs:" — "That yolume was my vads meeum, 1 pored oyer them during my work, or walking to
my labour, song by song, yerse by yerse— carefully noticing the true tender or sublime, flrom afifectation or fustiaii ;
and I am oonyinoed, that I owe to this practice most of my critic-craft, such as it is." Captain Gray thinks thai
this Collection of Songs, so much studied by Bums, was most probably the first or second edition of the *' Scotff
Nii^tingale;'' the second edition, " with one hundred modem songs," haying been printed in 1779. Captain Gray
gtyes reasons for his opinion by quotations ; and, among others, quotes from the " Scots Nightingale," '*The Address; "
the last four lines of which seem to haye suggested to Bums a striking idea in his song, " She's ftir and fkuse."

The ftnr last lines of the ** Address " are : —

** To bless is Heayen's peculiar grace,
Let me a blessing find :
And since you wear an angel's fiice.
Oh show an angel's mind ! "

Boms, doubtless, borrowed the idea; but he improyed it, as his yerses show. Chaucer, Shakespeare, Hilton, and
other great poets, were great borrowers — improying upon the ideas they adopted from others. The first poet who
borrowed nothing ftom any one is yet unknown. In No. 4 of his Remarks, Captain Gray mentions another book,
— ''Tba Lark, being a Collection of the most celebrated and newest Songs, Scots and English, 1765," — ^which
also ooatehu ''The Address" aboye quoted ; and thence infers, that ** The Lark " may, still more probably, hay*
been tlM GdUeotioii referred to by Bums.

148

SCOTTISH SOITGS.

k«"^v^»^*^v«^^p^v^^*^%^^v^#^#^^*'^*v^'* '

APTON WATER.

ABBA2CQXD BT O. Y. OBARtM.

= 03

GOV

AFTOK WATER.

149

^i0m^*^^^^^^^^^^^^

r-Ts

fJIZ

drsam.

■G-

22:

Thou stock-dore, whose echo resotmda through the glen,
Te wild whistling blackbirds, in yon flow'ry den,
Thou green-crested lap-wing, thy screaming forbear,
1 charge yon, disturb not my slumbering ftdr.

How lofty, sweet Afton, thy neighbouring hiUs,
Far mark'd with the courses of clear-winding rills ;
There daily I wander, as mom rises high.
My flocks and my Mary's sweet cot in my eye.

How pleasant thy banks and green TaUeys below.
Where wild in the woodlands the primroses blow ;

There oft, as mild erening creeps o'er the lea.
The sweet-scented birk shades my Mazy and me.

Thy crystal stream, Afton, how lovely it glides,
And winds by the cot where my Mary resides I
How wanton thy waters her snowy feet lave,
As, gath'ring sweet flow'rets, she stems thy clear wave !

Flow gently, sweet Afton, among thy green brass;
Flow gently, sweet river, the theme of my lays ;
My Mary's asleep by thy murmuring stream ;
Flow gently, sweet Afton, disturb not her dream.

** AiTON Water." ** This song was written by Bums, 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 erer reodved
from any person in her rank of life. He afterwards transmitted the yerses, along with the beautiftil 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." See Museum Ilhistrations, toL iv. p. 855. It does not appear whence Bums
obtained the air, of which the author is unknown.

After the publication of the Orpheus Caledouius (Thomson), we hear no more of Rizzio till the appearance of
Oswald^s Second Collection of Scottish Airs in 1742. There we find four of those airs, formerly ascribed to Rizzic
by Thomson, passed over without any such ascription, while six others have the name of " Rizo" attached to them ;
these are, *'The cock laird," " The last tune I cam' o'er the muir," " Peggy, I must love thee," '* The black eagle,"
"The lowlands of Holland," and ** William's ghost;" the last of these airs being a composition of the day, perhaps
even by Oswald himselfl We thus see clearly enough that no dependence con be placed on these men their pre-
tended knowledge is mere assumption, which, however it might have imposed on the credulous and the uninformed,
will not bear the test of sober criticism. It is to be remarked, that both these works, the Orpheus Caledonius, and
Oswald's Second Collection, appeared in London; and that the contemporaneous Edinburgh Collections, Allan
Ramsay's, evrca 1726, Adam Craig's, 1730, and William Macgibbon's, 1742, while they contain most, if not aU the
airs already named, do not make any mention whatever of Rizzio. On the contrary, Craig, in dedicating his work to
the " Musical Society of Mary's Chappell," states, tliat the airs are " the native and genuine product of the countiy; "
words which he would not have used without alluding in some way to Rizdo, had there been any tradition then
enrreBi in Scotland* connecting hmi with Scottibh mciodj.

150

SCOTTISH SONGS.

#«>•%•

MAEY MORISON.

ASBASaSD BT VtSLAT DCS.

j,J> J^itiizB a

win - dow b« ; It » the wisb'd, th« tryit - ed^ boar; ThoM

€muncUo,

JIABT UOBISON.

151

fmi to laiiy Could

the rich re - ward secure, The Io?e • ly Ma - ry

Festreen, when to the stented* string

The dance gaed through the lichtit ha',
To thee my &ncy took its wing —

I sat, but neither heard nor saw.
Though this was &ir, and that was brair,

And yon the toast o' a' the town,
1 8igh'(^ and said amang them a',

Te are na Mary Morison.

0, Mary, canst thou wreck his peace,

Wha for thy sake wad gladly deet
Or canst thou break that heart of his,

Whase only &ut is loTing thee?
If loTe for love thou wilt na gi'e^

At least be pity to me sho?m,
A thocht ungentle canna be

The thocht of Mary Blorison.

1 Appointed; agreed upon. > Duet ; metaphorimny—letHwr, haxdddp.

• TIghteiMd.-In tome edidoos " trembUag" is •ubeOiated for ** HentedL*

" Mart Mobison." In Johnson's Museum the air is called ** The Miller ; " and is there given with verses written
by Sir John Clerk of Pennycuik, Bart, one of the Barons of the Court of Exchequer in Scotland, and a man of
remarkable learning and accomplishments in his day. One of his younger sons was John Clerk of Eldin, £sq.,
distinguished for his work on "Naval Tactics,'* and the &ther of the late Lord Eldin, an eminent Scottish lawyer.
See Museum Illustrations, toL iL pp. 120-208. The humorous verses by Sir John Clerk do not appear to us to be
very suitable to the air, which is in a minor key, and of a tender and rather pathetic character. We have there-
fbre substituted Ibr them the words by Bums, which begin, *' O, Mary, at thy window be,** and which were, as he
says, "one of his juvenile works." He had written them to the air of **Bide ye yet;** and we think his having
done so exhibits one of the very rare instances in which Bums did not perceive that the air was not well suited
to the words that he wrote for it The air of ** The Miller," on the contrary, is well adapted to the song of ** Blary
Blorison.**

The author of the air is not known. Its date seems to belong to a period not earlier than the commencement at
the last century. Captain Charles Gray, R.M., in Ins ** Cursory Remarks on Scottish Song," introduces ** Mary
Morison" as follows :— **The late William Hazlitt who wrote many works on the beUes UUre$, pays a high compU>
ment to the genius of Bums, in bis * Lectures on the British Poets.* The passage has often been quoted, but as the
memories of all the admirers of our Bard may not be so good as our own, we may be pardoned if we quote it again.
'Of all the productions of Bums, the pathetic and serious love-songs which he has left behind him, in the manner
of the old ballads, are perhaps those which take the deepest and most lasting hold of the mind. Such as the lines
on * Mary Morison,' those entitled, * Jessie,' and the song beginning, * Oh, my lovo is like a red, red rose.' ' Now,
it 80 happens that * My love, &o.,' is an old hallad, which proves the dLscemment of Haxliit as a critdc"

162

SCOTTISH SONGS.

HUNTINGTOWER

104

MODBRATO.

axbjlsqzd bt t. il kudib.
^(Jk^ib.)

1. When ye gang a -

2. That'a nae gift, a -
8. Be my gnde-man yonr

CTtB,

fcb

2=t

!S^E3i

Jam-ie, Far a - cross the

Ta' Jam-ie, That's nae gift a

■el', Jam-ie, Be my gndeman yonr

?J:

crt».

sea, lad - die ; When ye gang to

va', lad -die; There's ne'er a gown in
seV, lad - die ; And tak me ower to

^2.

-4

e;^^

^l!^^

Ger - man - ie. What
a' the land I'd
Ger - man - ie, Wi'

win ye send to
like when ye 're a
yon at hame to

3=§

t=t

(Jamib.)

■N-^

s=s

me, lad • die f I'll send ye a braw new
wa', lad - die. When I come back a -
dwell, lad - die. I dinna ken how that wad

-y=±

jiziis

:;?.:

22:

HUNTINOTOWER.

153

^^^

gown, Jean - ie, I'll send ye abraw new gown, lasn-ie; And

gain, Jean - ie, When I come back a - gain, lass • ie ; 1 11

do, Jean - ie, I dinna see how that can do, lass - ie ; For

it shaU be o'
bring wi* me a
I 'to a wife and

silk and gowd, Wl' Yal - enciennes set round, lass • ie.
gallant gay, To be your a&e gude • man, lass - ie.
baimies three, And I'm no sure how ye'd 'gree,^ lass • ie.

^tn-^^-

•^2^1

Jeakib.

4. Ye ahon'd ba'e telt me that in time, Jamie,
Ye ahou'd ha'e telt me that lang syne, laddie ;
For had I kent o' your f ause heart,

Yoa ne'er had gotten mine, laddie.

5. Gae back to your wife and hame, Jamie,
6ae back to yonr baimies three, laddie ;
And I will pray they ne'er may thole '
A broken heart like me, laddie !

6. Think weel, for fear ye me, Jamie,
Think weel, for fear ye me, laddie ;
For I have neither gowd nor lands.
To be a match for yon, laddie.

^ Agree.

i. Yonr e'en were like a spell, Jeanie,
Yonr e'en were like a spell, lassie ;
That ilka day bewitch'd me sae,
I conld na help mysel', lassie.

5. Dry that tearfu' e'e, Jeanie,
Dry that teazfn' e'e, lassie ;

I 've neither wife nor baimies three,
And 1 11 wed nane bnt thee, lassie.

6. Blair in Athol's mine, Jeanie,
Fair Dunkeld is mine, lassie.

Saint Johnstoun's bow'r, and Huntingtow'r,
And a' that 's mine is thine, lassie.

* Suffer.

" HlTKTZNGTOWER." This ballad is traditional in Perthshire, and is believed to be ancient. It is not
known to have been published, however, before 1827, when Einloch gave, in his Ancient Scotch Ballads,
a version of it, taken down from the recitation of an idiot boy ill Wishaw. Since that time various
versions have appeared, bnt whether they were taken down from recitation, or are merely specimens of
modem work, is uncertain. One of them was written by Lady Naime, with the express intention of
making the ballad agree rather better with modem notions.

The air has all the simplicity of the olden time, and may be coeval with the ballad ; but it is not known
to have been written down till within the last half century. There is, however, a tune in Durfoy's Pills,
V. 42 (Bepr. 1719), which bears so strong a resemblance to it, as to suggest the idea that it may have been
the form of the melody at that time. The song there adapted to it is an Anglo-Scottish version of "Hey,
Jenny, come doun to Jock," and is styled the Scotch Wedding.

154

SCOTTISH sovas.

«^^«»%^»^»t

»^>^#%*%4

%g^^»*%^>^«

THE LOWLANDS 0' HOLLAND.

AamAVQXD BT J. T. SUBBIXB.

AOAOZO

Tbe loT« that I had ebo • wn, Wat to ny heart'i coo - tent, Tbe

I . I

w - Unds o' Hoi • land Ha^

THE LOWLANDS O' HOLLAND.

155

The stanzfts within brackets may be omitted in singing.

Mj love lies in the sant sea, [My love he built anither ship^

And I am on the side. And sent her to the main.

Enough to break a joung thing's heart He had but twenty mariners,

Wha hitelj was a bride ; And a' to bring her hame ;

Wha lately was a bonnie bride, But the weary wind began to rise^

And pleasure in her e*e ; And the sea began to rout,

But the Lowlands o* Holland And my love, and his bonnie ship^

Ha'e twinned my loTe and me. Tum'dwiddershins^ about!]

[BIy lore he built a bonnie ship^

And sent her to the sea,
Wi' seren score braye mariners

To bear her companie ;
Threescore gaed to the bottom,

And threescore died at sea.
And the Lowlands o* Holland

Ha'e twinned my Iotc and me.]

There sail nae coif' come on my heady

Nae kame come in my hair,
There sail neither coal nor candle licht»

Come in my bower mair ;
Nor sail I ha'e anither love.

Until the day I dee,
I never loTed a love but ane^

And he's drown'd in the se2>.

[0, hand your tongue, my daughter dear,

Be still, and be content.
There are mair lads in Galloway,

Ye needna sair lament
1 there is nane in Galloway,

There's nane at a' for me ;
For I never lo'ed a lad but ane.

And he's drown'd in the sea.]

i Id a diieedon eontniy to the fan.

• Clip, head-dreH.

** Tbx Lowlands o' Hollaxi]).'* This ballad is said to have been composed about the beginning of last oentory
1^ a young widow in Galloway, whose husband was drowned on a voyage to Holland. " The ^ird verse In the
Museum, (says Mr. Stenhouse,) is spurious nonsense, and Johnson has omitted the last stanza altogether." In
Oswald's second Collection there is a tune called ** The Lowlands of Holland," but it is quite different from the
ezeellflnl air given by Johnson, and by Pietro Urbani, and is evidently modelled upon the air in the Skene MS.,
<* My love she winns not here away.** The late Mr. William Marshall, butler to the I>uke of Gordon, borrowed
his hi^y popular tune, " &Gss Admiral Gordon's Strathspey," from " The Lowlands of Holland,^ as given by
Johnson and UrbanL To Marshall's altered air, Bums wrote his charmiug song, " Of a' the airts the wind can
blaw." Mr. Stenhouse says, " The Editor of the late Collection of Gaelic Airs in 1816, puts in a claim ibr * The
Lowlands of Holland' being a Highland air, and that it is called, * Thuile toabh a sheidas goagh.' By writing a
ftw Gadic verses to each Lowland song, every Scottish melody might easily be transferred to the Highlands. This
is rather claiming too much." See Museum Illustrations, vol. iL p. 115. To this we have to add, that with
admirable coolness, and without offering any evidence, the Editor of that Collection gives a ^ List of ffig^hland
Melodies already incorporated with Scottish song ;" and among these we find ** T^t thou be my dearie 7" ** Coming
through the rye;" " My love's in Germany;" " Green grow the rashes ;" ** Wat ye wha's in yon town ?" " Gloomy
winter's now awa' ;" '* Wat ye wha I met yestreen V* &c, in all twenty-five airs, which he claims as EB^iland *
We had intended to make some fiirthez remarks upon this most untenable claim ; but perhaps the above mav
suffice ibr the presenL

156

SCOTTISH sosas.

LAY THY LOOF IN MINE, LASS.

AmmAVQXD ST T. M. XCXOi;

^ ^'' -V ;■■ > I r 'Vf^'^

lay thy loof^ in mine, Uat, In mine, Ian, in mine, Um; And

:j — ^1

:ft

swear oo thy white hand, Um, That thoa wilt he my ain. A tUve to Lovers onbonnd-ed tway. He

^H j ij=p^g4^=^

(j) i' ^ t C ^

aft has wrought me mei-kle wae;Dut now he is my dead -lie &e, Un - less thoaltbe myaia.

O LAT THT LOOP lH JIINE, LASS.

167

O Uy thj loof lo mine, laH, In mine, Imi, in mine, Uae ; And

on thy white hand, lasi, That

then wilt he my ain.

The next Tcrte begins at the sign tg:

There's mony a lass has broke my rest,
That for a blink* I ha'e lo'ed best;
But thon art qneen within my breast

For erer to remain !
lay thy loof in mine, lass,
In mine, lass, in mine lass,
And swear on thy white hand, lass.

That thou wilt be my ain.

* PafaB of tb« hand.

• A AoR time

" L4T TBT Loov Di HDTi, LASS.** *'This song wss written by Boms for the Mnscom. It is adapted to the
fltTonrite old tnne, called Tks Cordmaimtr'B Marek^ which, in former times, was nsoaUy plsyed before that ancient
and osefU fraternity at their annual procession on St. Crispin's day. The tune Is also preserred In Aird's first
Tolume of Select Airs, and other Collections." See Museum Illustrations, toL tL pp. 491, 492. This air of ** The
Cordwainer*s March" suggests to us a Russian air that resembles it in some leading passages, and is foond In a
MS. Collection of Russian airs, made in 1817-18, by Dr. William Howison of Edinburgh, when he was In Russia.
We here quote the air. No. 29 of Dr. Howison's Collection, and obligingly sent to us by him at our request The
Russian title of the song for the air is translated " I did not know for what"

AndanU s\foUa.

This is an air of one strain, modulating half between A minor and E minor, on which last key it ends. In
general, Russian airs in a minor key, if they consist of two strains, modulate from the minor to Its next reUtlre
loi^r; for example, from .\ to C — and in the second strain modulate back from the rclatire mi\jor to the origiaal
■daor.

168

SCOTTISH S0N08.

THE WEARY PUND 0' TOW.

JLMRAJSOED BT Q, ff. QAABAM.

f,DTO ASSAI.

r r '\

- Tj pandy the weary pond. The wea • ry pond o' tow; I think my wife will

THE WEABY

PU^

D TOW.

159

I f ;>.J^J Jj

MB poor pund o'

^ j^

^J' l 0i J. £1

tow.

The wea - ry pand, the wea-ry pand, Tbe

f J'. J' f • c

3k=S:

uj J' J , ;i >. ;' J . a

woA - rj pund o' tow; I think my wife will end her life, Be - fore ihe spin her

r r '\

tow.

Dal Segno

crt9*

There sat* a bottle in a bole,'
Beyont the ingle' low ;^

And ay she took the tither souk.
To dronk* the stonrie* tow.
The weary pond, &o.

Qnoth I, For shame, ye dirty dame^
Oae spin yonr tap o' tow 1

She took the rock, and wi' a knock,
She brak it o'er my powJ
The weary pim(^ &c.

At last her feet, I sang to see't,
Gaed* foremost o'er the knowe ;*

And or I wad^ anither jad,
ni wallop in a tow !*^
The weary pund, &c

In Ayrdilra^ «ft !• gentndly Qwd instflftd of «<(indL

■Went

• DaHy.

THcad.

•Hmock.

Tin.
10 E'er I irad.

«Fbin«. tTo

" Dingle in a rope.

**Tbx wbast fuitd o' tow." The tone and the title of this song are from Oswald's Caledonian Pocket Com-
paaloD, Book tiIL The Terses were written by Boms fbr Johnson's Museum. There is no trace of the author of
the air, which Is one of our best modem Scottish airs. Its structure shows it to be modtm ; that is to say, that
H is not older than the earlier part of the eighteenth century. (See Appendix.) From the skilful way in which
Bums oomposed Terses to Scottish airs, we hare long been of opinion that he must not only hare had a musical
ear, but must have had some practical knowledge of music. On mentioning our opinion to a fKend, he oonfimied
It hj facta which we are not at liberty to state, but which we hope he will soon gire to tbe pnblln.

160

SCOTTISH BONOS

k^%i^k«^^«^V^«^ «^V

EOSLIN CASTLE.

AEEAVGID BT fCLAY BOl

1(M

^^^^fftf#fii?i^

CUflfa

f ?'■ b. /I

££^ f r f r I ^

,-=^

rr^n:

ni - nl Uy. Of Nftn - ny'i charms the shep • herd tang, The hilb end deles with

B08LIK CASTLJE.

161

Nftn

ny ruog ; And Rot • Un Cm • tU heard tE« twmin. And

e - cho'd back the cheer - ful strmin.

Awake» flweet muse ! th« breathing spring
With mptnre wmnnf ; awake, and ting !
Awake, and Join tha Tocal throng
Who hail the morning with a aong ;
To Nannj raise the cheerful I47,
bid her haste and come awaj ;
In sweetest smiles herself adorn.
And add new graces to the mom.

hark, m j lore, on erery spray
Each ftather'd warbler tones his lay
*Tis beauty fires the rarishM throng :
And lore inspires the melting song.
Then let my raptnr*d notes arise,
For beanty darts from Nanny's eyes.
And lore my rising bosom warms,
And fills my sool with sweet alarms^

come, my lore I thy Colin's lay

With rapture calls, oome away !

Come, while the muse this wreath shall twine

Around that modest brow of thine ;

hither hast^ and with thee bring

That beauty blooming like the spring.

Those graces that dirinely shine.

And charm this rsTish'd breast of mine.

" BotLor CAtTLi." The composer of thli melody b not known ; It is comparatirely modem howtrtr, and from
its style seems to belong to the early part of the eighteenth century. It has been wrongly ascribed to James
Oswald, who nerer laid any clnim to it. In hb collection it is not marked as one of his own tunes ; and indeed
it was published in a prior Collection, MK}ibbon's, under the name of the ''House of Glams." Oswald practised
ssitval unpardonable deceptions upon the public, by passing oiT tunes of his own as compositions of David Riixia
His tricks of that kind are pointedly alluded to in a poetical epistle to him, printed in the ScoU Magaxine lor
October 1741. The verses here given, which Bums called *' beautifU,'' were written by Bichard Hewitt, a
natirs of Cumberland, who died in 1764. When a boy, he was engaged to lead blind Dr. Blacklock ; who, pleased
with his intelligence, educated him. and employed him as his amanuensis. See Museum Illustrations, voL L,
pp. S nnd 108. and vol. It., pp. 406-7.

162

SCOTTISH SONGS.

THE MURMUR OF THE MERRY BROOK.

Ant, ' THB Bonm bsise buih.

▲BRAiraZD BT T. IL MUDIK

MODBBATO.

The mar • mar of the mer-rjbrook. Am, guih-ing - Ij and free, It

'^•^ J , Jr. ^= =^

■ I J « |

wim - piety with its lan • bright look. Far down yon ihel - ter'd lea, And homa to cr* • ry

drow - ay flow'r A low qoaint lul • la - by. Speaks to my api - rit, at thia hoar. Of

THB MUBUUB OF THE UEBBT BBOOK.

163

The miisio of the gay green wood.

When eyery leaf and tree
Is ooax'd by winda, of gentlest mood.

To utter harmony ;
And the small birds, that answer make

To the winds' fitftd glee,
In me most blissftil visions wake.
Of loTe and thee.

The rose perks ap its blushing cheek.

So soon as it can see^
Along the eastern hUls, one streak

Of the sun's majesty :
Laden with dewy gems, it gleami*

A precious freight to me,
For each pure drop thereon me seems
A type of thee.

f And when abroad in summer mom*

I hear the blythe bold bee
Winding aloft his tiny horn,

(An errant knight perdy,)

That winged hunter of rare sweets,

0*er many a tut country,
To me a lay of lore repeats,
Its subject — thee.]

And when, in midnight hour, I note

The stars so pensiyely,
In their mild beauty, onward float

Through he&yen's own silent sea :
My heart is in their Toyaging

To realms where spirits be.
But its mate, in such wandering^
Iseyer thee.

[But, oh, the murmur of the brook,

The music of the tree ;
The rose with its sweet shamefkced look.

The booming of the bee ;
The course of each bright Toyager,

In heayen's unmeasured sea.
Would not one heart pulse of me stir,
Loyed I not thee !]

The stanias within brackets may be omitted.

" Ths MUBicDB Of THB Mx&RT BBOOK." This soug was Written by William Motherwell, and was published in
his Poems, Olasgow, 1882. We haye adapted it here to the melody ** The brier bush," as the words usually
fung W that air are but indifferent We subjoin them, howeyer, in case they should be preferred to those we
haye g^yen aboye. They are an improyed yersion of the original song sent to Johnson's Museum by Bums. For
•a aoooont of the air, see the next Note.

There grows a bonnle brier bush in our kail-yard ;
And white are the blossoms o't in our kail-yard :
lake wee bit white eockauds fbr our loyal Hieland lads;
And the lassies lo'e the bonnle bush in our kail-yard.

But were they a' true that were fkr awa' ?

Oh I were they a' true that were fkr awa* T

They drew up wi' glaiket^ Englishers at Carlisle ha'.

And forgot auld fiien's when fkr awa'.

Tell come nae mair, Jamie^ where aft you'ye been;
Yell come nae mair, Janue^ to Athole's Oreen;
Ye lo'ed ower weel the dancin' at Carlisle ha'.
And fbrgot the Hieland hills that were far awa'«

He's comin' ftue the North that's to fanpy me.
He's comin' frae the North that's to fieuicy me ;
A feather in his bonnet, a ribbon at his knee;
He's a bonnie Hieland laddie^ and you be na he.

lGld4j: thoQfibtliM

164

SCOTTISH SOKQS.

WE'LL MEET BESIDE THE DUSKY GLEN.

AmtA?f<iw) BT T. M. mmjM.

*'#H <>

jT r ^ ij I ^

i fM' J f p^ r ^

buah - et fbnn a oo - zie^ den, oa jon bom- tide; Tho' the broom -yknowM' be

greeoy Yet there we may be seen; But well meet, well meet at e*en, dovra by

rnr ^ rr iiun^ iui

coUa voce.

we'll meet beside the DirsKT oLiar.

165

111 lead thee to the birken bow'r, on yon bnrn-side,
Sae sweetly wore wi* woodbine flow'r, on yon hnrn-eide}

There the msTis we will hear,

And the blackbird singin' dear,
As on my arm ye lean, down by yon bnm-side.

Awa', ye rode unfeeling crew* frae yon bnmside ;
Those fldry scenes are no fbr yon, by yon bnm-side;

There fkney smooths her theme,

By the sweetly mnrmoring stream.
And the rock-lodged echoes skim, down by yon bom-ftde.

Now the plantin' taps are tinged wi* gowd, on yon bom-side.
And ^oamin'* draws her foggy shroud o*er yon bum-side;

Far frae the noisy sesne^

m through the fields alane ;
There well meet, my ain dear Jean I down by yon bnm-sidai

t Wann. Aug. wiU ihalurtd.

tHIDoeka

• Twflli^liL

''Tov BUBH BIDS.'* This air is the second part of "For lack of gold" modified, and teems to bate
been r eeoTered by B. A. Smith. It was published by him in connexion with Tannahill's song, early in the prcecot
century As the poet and the musician were intimately acquainted, the following extracts firom a letter of B. A.
Smith, (published in ** The Harp of Renfrewshire,^) may be interesting to the admirers of TannahlU's genius ^—
" My first introduction to TannahiU was in consequence of hearing his song, * Birthe was the time,' sung while
it was yet in manuscript. I was so much struck with the beauty and natural simplicity of the language, that I
found means shortly afterwards of being introduced to its author. The acquainunce thus formed, gradually
ripened into a warm and steady friendship, that was nerer intempted in a single instance till his lamented death.**
" It was only from his compositions that a stranger could form any estimate of bis talents — his appearance indi-
cated no marks of genius — his manner was rather distant, and it was but in company with a fj^w with whom he
was Tery intimate, that his conrersation became animated: in a large assembly he appeared to great disad-
fantage; was quite uneasy, and seldom spoke^ except to the person nearest him, if he happened to be an
acquaintance.**

The older Tcrdon of "The brier bush,** which we have already giTeo. was first published in the fifth Tolame
of Johnson's Museum, about 1798. Mr. Stenho use's Note upon the air and song, as giren in the Museum, b as
follows : — " This song, with the exception of a fow lines, which are old, was written by Bums for the Museum.
It b accordingly marked with the letter Z, to denote its being an old song with additions. Bums likewise com->
municated the air to which the words are adapted. It is apparently the progenitor of the improved tuae^ called
* For the lake of gold she*s left me,* to which Dr. Austin*s words are adapted, and which the reader wfll find
inserted in the second Tolume of the Museum." See Museum Illustrations, toL t. p. 482. WliatcTer part ol
these Terses was written by Bums, is by no means worthy of his pen. Instead of the air communicated by Bums
being ** the progenitor*' of the air called ** For the lack of gold,** &c the rererse seems much more probable ;
since the melody of an old song, ** For the lak of gold I lost her, 0,** is given by Oswald in "his ** Pocket Com-
panion.** The air communicated by Bums seems but an altcr«>l fragment of the oUier ; and was, perhaps, picked
up by him from the singing of some country girL

166

SCOTTISH SOVOS.

••'K'^M^Mttffc

WHERE HA'E TE BEEN A' THE DAT1

Afl^ ** womnm laodoi, ■wblavp LMamm/

BT T. M. MOm.

f—

AuMBirro.

fr-fv

>-^— S

^TsJ

i^^s

w V^^WC v^^V^^t^F^^B

Whert lu'e ye been a' the 6mj, Boo - nie Ud - dia^

i ^WiiU^

HigbUDd Ud-die1 Sew ye himUuU't fkr a - way, Bonnie laddie, Highland laddie t

i* C i ,'-6+J-J^

Oa hb heed a bon - net bloe, Bon -nie lad • die, Hi ghland lad - die; Tar • tan pUid and

WHEBS HA'e TK been a' THE DATT

167

High • Uad trawi, Bod - dm Ud - di«, HigfaUnd Ud - dU 1

When he drew his glide bnid sword,

Bonnie Isddie^ HighUnd Isddie,
Then he gave his royal word,

Bonnie laddie, Highland laddie,
That frae the field he ne'er would flee,

Bonnie laddie, Highland laddie.
But wi' his fHend wonld lire or dee,

Bonnie laddie, Highland laddie.

Weary fk' the Lawland loon

Bonnie laddie, Highland laddie,
Wha took frae him the British crown.

Bonnie laddie, Highland laddie ;
Bat blessings on the kilted olans»

Bonnie laddie. Highland laddie^
That fbnght for him at Prestonpaas,

Bonnie laddie, Hi^iland laddia.

" Whssb ha'b ts Bxnr ▲' thb day V* In James Hogg*s Jacobite Relies, second series, No. 106, p. 202, oocors a
song beginning, " Geordie sits in Charlie's chair," to be snng to the air uliich is given to No. 68 of the same Tolnme,
called ** The Highland Laddie." Hogg's version of the air differs ttom the one we hare adopted. The iOD|^ No.
106, b horriblj Indieroos, bat we cannot give it entire, on aceoant of the extreme coarsepsM of toaie of tha itaimt.
A modification of it is pablished in Mr. George Thomson's Collection, with two introdoetofy staasas not in Hogg's
•dition. The stanza beginninj^ ** Weary fk' the Lawland loon," is the second In Hogg's copy. As an addhknal
•oni^ we give below the first and fi>arth stanzas (the best, and long enongh fi>r singing) of a hnnioroas song
pablished anonymoosly in Blackie's Book of Scottish 8on|^ p. 262. Mr. Stenhoase, In his note on ''Tlia High-
land Laddie," (No. 468 of Johnson's Mnseam,) qaotes two songs from a **CoUectkm of loyal songi^ potms^ k/o^
1760," and says,—" The air to which the ftnregoing songs are adapted is Ttry spirited. It appears witbool a
name in Oswald's Caledonian Pocket Companion, Book L p. 86, onder a slow air called * The Highland Laddia.*
Bat the old appellation of the air was * Cockle Shells,' and (it) was known in England daring the asorpation of
Cromwell, for it is printed in Playford's ' Dancing Master,' first edition. In 1657." Mr. Stenhoase here eoninmds
both dates and airs. The first edition of Playford b dated 1661, and " Cockle Shells " appears fcr ths first time
in the elerenth edition. 1701. " Cockle Shells " is erldcntly the old Tersion of the air which we ha?* giren above
to the words beginning, "Where ha'e ye been a' (the) day?" bat has nothing in common with the tone in Oswald
to which Mr. Stenhoase refers. The air of " Cockle Shells" has a starting-oota, aad ooncladet on the sfaU of the
key ; while the modem Tcrsions of the same air, nndcr the name of ** The ^g'^land Laddie^" or *' Highland Lad-
die," omit the starting-note, and close apon the //U cf the key; thas deslroyinf eharaeteristio ftatoret of the
melody. The tone called ** The Lass of Livingston," Is another version of ** Cockle Shells."

To ha'e a wifb and role a wii^
Taks a wise man, taks a wise man ;

Bat to get a wife to rale a man,

that ye can, that ye can.

So the wifb's that's wise we aye maan prize.

For they're tew ye ken, they're scarce ye ken ;

Solomon says yell no fin' ane

In hoadreds ten. In handreds tea.

Sae he that geU a gaid, gald wifi^
Gets gear aneagfa, gets gearaaeo^;
An' he thai gels an m, iU wift^
Gels cares anengh, gets ftan ancngh.
A man may spen', an ha'e to the en*.
If his wifb be ought, if his wifb be oaght;
Bat a man may spar% aa aye be bai%
If his wllb be Boofhl. If hb wllb bt aoochl.

168

SCOTTISH SOirOB.

THE CAMPBELLS ARE COMIN'.

AUL450SD BT WOLLY PUS.

CampbtlU are oonin', O - ho, 0-boI The Campbells are oomin', O - ho, O-hoI Th«

irjH J'. .''J' C. C fj-U-C^tjra ^

CampbtUa an comin' to bon - nie Lochia • ven ; The Campbella are comin', O - ho, O - ho I

THE CAMPBELLS ARE COMIN .

169

» •

Great Argyll he goes before.

He makes tlie omnone and guns to roar,
Wi' loiind o' trumpet, pipe, and drum.

The Campbells are comin', 0-ho, 0-ho I
The CampbeUs are comin', &o.

The CampbeUs they are a' in arms.
Their loyal fkith and troth to show;

Wi' banners rattling in the wind.
The Campbells are comin', 0-ho, 0-bol
The Campbells are comin', &o.

«'Tbi Camfbuu Ami ooxzv*, 0-ho, 0-ho ! " Mr. Steohonse^s note on this (No. 299 of Mnseom) b as t>nowi *—
** In the index to the third Yolnme of the Mnsemn, this song is said to haTe been composed on the imprisonment ol
the imfbrtonate Mazy Qneen of Scots, in the Castle of Lochleren, in 1567. The Earl of Argyle was on the Queen's
party at the battle of Langside, in 1668, and, perhaps, the tune may hare been the Campbells' quick-march fbr
two centuries past ; but, nerertheless, the words of the song contain intrinsic eridence that it is not much abore
a century old. In all probability it was written abont the year 1716, on the .breaking oat of the rebellion in the
reign of George L, when John Campbell, the great Doke of Argjle, was made commander-in-chief of his Mijestj^s
forces in North Britain, and was the principal means of its total suppression. I hare seen the Ivik, howerer, in
eereral old ooUections." See Museum Illustrations, toL iiL pp. 291, 292. See also the song ** The Clans are
coming,** in Hogg's second series of Jacobite Relics, and his note npon it, p. 289. We subjoin one from the first
folome of James Aird's Selection of Airs, published at Glasgow about 1784. Another, sU^tly different, b fonnd
in Part L of Gow k. Sons Complete Repository.

f^-fPSfpR

170

^^(^■k«k^ *^0^^^^^k^ * 4

SCOTTISH SONQS.

KENMUEB'S ON AND AWA'. WILLIE.

A1JL450XD BT T. M. MUDn.

r-=

= 72

Senmure'f on. and a- w

enmure'f on, and a- wa'.

^^=^

wj^annz

Willie, O Eeomure't on, and a - wa';

AnSl

As': J' rj m

enmure's lord's the brav • eel lord That er - er Gal - loway law.

p^jF||Jij'|i^/.;j'i^'

'.J JJ J i ^ ' fJ t i ['i

^ , ^ ^ 4— n

o kenhdke's on and awa', willib.

171

•iW^'^ '%•'«<

BO a hoart that fears a Whig, That rides in Kenmnra's band. .#.^

Here's Kenmure's health in Trine, Willie,

Here's Kenmnre's health in wine;
There ne*er was a coward o' Eenmure*s blade,

Nor yet o' Gordon's line.
Eenmore's lads are men, Willie,

Eenmure's lads are men ;
Their hearts and swords are metal true^

And that their foes shall ken.

They'll lire or die wi' fiune, Willie,

TheyOl lire or die wi* &me;
Bui soon, wi' sounding yictorie,

May Eenmure's lord come hame.
Here's him that's far awa', Willie,

Here's him that's fiir awa' ;
And here's the flower that I lo'e best,

The rose that's like the snaw.

<< Ee5MX7Be's on and awa'." « The hero of this ballad," says Mr. Stenhonse, "was the Right Honoorabla
William Gordon, Viscount Eenmure, commander-in-chief of the Cheyalier's forces in the south-west of Scotland in
1715. Haying left Eenmure at the head of about two hundred horsemen, and fbrmed a junction with the troops
under the command of General Forster, he marched as fhr as Preston in Lancashire. Here, howerer, his lordship
surrendered himself a prisoner at discretion, and was appointed to be conducted, with many of his unfortunate
followers, to London, in 1716. Arriving at Highgate, each of the prisoners was placed on horseback, with hia arms
firmly pinioned, and a foot-soldier holding the reins of his bridle. On the 9th of that month, General Tatton, who
commanded the detachment, left Highgate with the prisoners, and proceeded to London, drums beating a Tictorious
march, and the mob strengthening the chorus with the horrid din of marrow-bones, deayers, and warming-pans.
In this disgracefbl triumph were the unhappy captives led through the streets of -the dty, amidst the hootings
and Insults of a barbarous rabble, and conducted to the several prisons assigned to receive them. Lord Een-
mure 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. Bums transmitted the ballad, In his own hand-
writing with the melody to which it is adapted, to Mi. 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 firom the Museom), but they are evidently spurious
oad modem. They are here annexed, however, for the reader's inspection.

* There's a rose in Eenmure's cap, Willie, < He kiss'd his ladle's hand, Willie^

There's a rose in Eenmure's cap ; He kiss'd his ladle's hand ;

Hell steep it red in ruddie heart's blede But gane's his ladie-eourtesie,

Aforo ^e battle drap. AVhen he draws his bludie brand.

* His ladle's cheek was red, Willie,
His ladle's cheek was red ;
When she saw his steely jupes put on.
Which smell'd o' deadly feud.'
It migbt rather have been supposed that the lady's cheeks would have assumed a pale in place of a rod ooUraSi
situated as she was; and as to the expressions, ruddie kearfs blede and ladU eouxfetie^ they seem inezpUoablc.^
See Haseam lUnstrataons, vol. iv. pp. 388. 389.

172

SCOTTISH SONGS.

THE WEE WEE GERMAN LAIRDIE.

ABRUrOED BT A. 0. BCACKZNZIX.

n^ quasi parlando.

for
our

a kinff, But a wee wee Qer • man laird • ie, And when we gaed to
gndeman'a chair, The wee wee Qer - man laird • ie, And he 'a brought foath <^

bring him hame, He was delY • ing in hia kail
for - eign trash, And dibbled uem in his

a tempo.

yaird • ie. He was shenghlng kail and
yaird - ie. He's pu'd the rose o'

Uy-ing leaks With • out the hose, and Init tbebreeks. And
£^g-lish loons, And brok-en the faai^ tf Ir • ish clowns, But

np his beg • gar
our Scots thistle will

THE WEE WEE OECMAN LAIRDIE.

173

fe^as^l^ ^

Utf 2J, and 3d verse9. Concluding $ymphony.

dndi he cleeks, TbU wee wee Ger>maa
Jag hif thambe, The wee wee Ger • man

laird - ie.
laird • ie.

laird • ie.
laird - ie.

Come up amang our Highland hills,

Thoa wee weo German lairdie,
And see how the Stuarts' lang kail thrive.

They dibbled in our yairdie :
And if a stock thou daur to pu',

Or haud the jokin' o' a plough,
We '11 break your sceptre owre your mou'.

Thou wee bit German liurdie I

Auld Scotland thou *rt owre canld a hoU

For nursin' siccan vermin ;
But the Tery dogs o' England's court

They bark and howl in German.
Then keep thy dibble in thy atn hand.

Thy spade but and thy yaiidM,
For wha the deil now claims your Und

But a wee wee German lainlie !

"The wzi wzb Gzbma5 lairdie." This song was first printed in Cromek's Kithsdale and Gallowsy
Belies, 1810. What part of it is old is uncertain ; the rest being by Allan Cunningham, who could rarely
resist an opportunity of adding a rerse or two to any song that passed througb his hands. 0ns staozm
has been omitted for an obvious reason. The air is merely a slightly altered version of "Blythe, blythe
and merry was she," with the position of the parts reversed. The Ettrick Shepherd, in his Jacobite B«lics,
sets the song to an original air of his own, but also gives that which we have ailopted. His outspoken
Tinity is alwajrs very amusing ; he sajrs of the air, " I have, however, added the best original one that I
oould find, which, though scarcely so good a tune as my own, is more in character. It is a capital song
song to either of these airs." We give the Shepherd's tune below as it is occasionally sung to ths words.

^f ^-ir-iM -f =^ ^ ^^-f^^

TT^

^^J^^^sgg

174

SCOTTISH 80N6&

THE PIPER OF DUNDEE.

▲BBJLHOXD BT T. at. MTDIB.

^^f^

The Pip - er came to our town. To our town, to

onr town. The Pip - ereame to oar town. And he play'd bon - nie -lie.

f^==nrrfr^ ^

1. He pla7*d a spring the Laird to please, A spring brent new frae yont the seas ; And then he gae his

2. He play'd the ''Welcome o*er the main," And 'Te'se be fon, and Fse be fain,** And " Auld Staarts

THE PIPER OF DUNDEE.

176

f)f' I r^-fr^

t=F

bags m hoen, Andplay'dan-ith-er key. Aiid was- nabs a ro - gay, A ro - gny^ a
back a • gain/' Wi'meik-le mirth and glee.

^^^^^^m

ZWy.

fzzE:

rn J. J.

\=^-

zan

ro - gay. And was • na ha a ro - gnj. The Pip - er o' Don • dee.
i

^=^^lf^^ B

Ist and 2d times.

^.=£=t

^=F=F=F^f^

p ^^fy^^^f^i

^^^^1^

He play'd "the Kirk," he play'd " The Qneir,"
" The MuUin dhn " and *' Chevalier,"
And " Lang away, bat welcome here,"
Sae sweet, sae bonnielie.
And wasna he a rogay,
A roguy, a rogay,
And wasna he a rogay,
The Piper o' Dundee

Thb Pifkb of Dundee. — ^The air to which this song is set is a Beel, called "The Drummer." The
jiiper is said to have been Carnegie of Finhaven, who changed sides during the contest in 1715. He was a
great coward, if we may believe the Jacobite writers ; he certainly ran away at Sheriffinuir, but so many on
both sides did the same, that this should not count for much against him. The tunes played by the piper
are the airs of Jacobite songs, no doubt well known at the time ; though some of them have not come down
to us, notwithstanding the endeavours of Hogg and Dr. Charles Mackay to rescue from oblivion everythinff
of the kind. See Hogg's Jacobite Belies, n. 260.

176

SCOTTISH SONGS.

■N^*^^*^^ »'^'^^fci>%^\#^

HY AIN KIND DEASIE, 0.

f =

= 108

ASfDANTIHO.

r?^rr>

AXEAVaKD BT T. M MimiB.

;■ J!' J' '

Whtii o'er the hill the eait - em itar Tells bught - in - time' !•

^^2

S S i>

r> — r

nwr, my jo; And ow-wn fraa the ftir-iow'd field Ra • torn aaa dowf and wea-ij, Oi

Down by the tmm, where icent - ed birfci Wi' dew are bang • tng clear, my Jo; Fll

MT AIN KIND DEABIE, O.

177

meet thee on the lea -rig, Mj ain kind dear- ie, O.

In mirkest* glen, at midnight hour,

I'd roTe, and ne*er be eerie,* ;
If thro' that glen I gaed to thee,

Mj oin kind dearie, 1
Although the night were ne'er sac wild.

And I were ne'er sae weary, 0,
rd meet thee on the lea-rig.

My ain kind dearie, !

poco rtten.

The hnnter lo*es the morning sun.

To rouse the mountain deer, my jo ;
At noon the fisher seeks the glen.

Along the bum to steer, my jo ;
Gre me the hour o' gloamin' gray,

It mak*s my heart sae cheerie, 0,
To meet thee on the lea-rig^

My ain kind dearie, 0.

* The hoar when the ew«t are driren into the pen to be milked.

sDoIl; exhausted.

•Darkest

fiigtifeeiMd.

** Mt aci Ei:iD DEARIE, 0." James Oswald published the old melody in his Caledonian Pocket CompanioOt
ToL tUL Its author is not known. It was more anciently called '* The lea-rig," from a song beginning,

** 111 rowe thee o'er the lea-rig.
My ain kind dearie, ;
I'll rowe thee o'er the lea-rig.

My ain kind dearie^ 0.
Although the night were ne*er sae wat,

And I were ne'er sae weary, 0,
111 rowe thee o'er the lesrrig,
My ain kind dearie, 0."

The words here given to the air were written by Bums in October 1792. It will be seen that he availed
himself of the fifth and sixth lines of the old song in hia second stanza. In his letter to Mr. Thomson, sending
two stanzas of the new song, he says, *' Let me tell you, that you are too fiistidious in your ideas of songs and
ballads. I own that your criticisms are just ; the songs you spedfy in your list have, all but one^ the fkults you
remark in them ; but who shall mend the matter ? Who shall rise up and say — Go to, I will make a better T
For instance, on reading over * The lea-rig,' I immediately set about trying my hand on it, and, after all, I conld
make nothing more of it than the following, which, heaven knows, is poor enough."

Tbo Allowing stanzas were written fi>r this air by William Reid, Bookselier, Glasgow. Ferguson's song^ of
which they were intended to be a continuation, is scarcely fit for insertion here. —

At gloamin', if my lane I be.

Oh, but I'm wondrous eerie, :
And mony a heavy sigh I gi'e,

When absent frae my dearie, ;
But seated 'neath the milk-white thorn,

In ev'ning fair and dearie, 0,
Enraptured, a' my cares I scorn.

When wi' my Idnd dearie, 0.

Whare through the birks the bumie rows.

Aft ha'e I sat fti' cheerie, O,
Upon the bonnie greensward howes,

Wi' thee, my kind dearie, 0.
Fve courted till Fve heard the craw

Of honest chanticleerie, 0,
Yet never miss'd my sleep ava,

Whan wi' my kind dearie, 0.

For though the night were ne'er sae dark.

And I were ne'er sae weary, 0,
Fd meet thee on the lea rig.

My ain kind dearie, 0.
While in this weary warld of wae.

This wilderness sae drearie, 0,
What makes me blytne, and keeps me sae *

Tis thee, my kind dearie. !

178

SCOTTISH SOKOS.

BEHOLD, MY LOVE, HOW GEEEN THE GROVES.

AIM, ''DOmi THB BUBjr, DAIOB.

ASKAHOKD BT T. K. IfUDZS

= 72

Ahdaitts
EapBisaiYO.

BEHOLD, HT LOYE, HOW GREEK THE OROYES.

179

For

N» - tare imilefl m

■hep - herds at

kiD

poeoraiL

Let sldlftd miiiBtreli sweep t2i0 ttzing

In lordlj Ughted h»,\
Hie shepherd stops his simple resd

Bljthe in the birken shaw.^
The princely reTel may surrej

Our rustic dance wi' scorn ;
But are their hearts as li^ as ours

Beneath the milk-white thorn?

The shepherd in the flow'ry glen*

In hamelj phrase will woo;
The oonrder tells a finer tal*—

Bui is his heart as troet
These wild-wood fiowers Fts pa*d to deck

That spotless breast o' thine ;
The oonrder's gems may witness lor*—

But His na lore like mine.

A ptoet or flBt grooDd et the bottom of a hm

vHhihofi

'*BxHOLD, XT LOVE, HOW OBZBN THX oxovxs." "Boms says : — 'I hare been informed that the taitM of
Doun the bwrn, Davie^ wm the composition of DaTid Maigh, ke«per of the blood aleath-hoonds belonging to
the Laird of Biddell, in Tweeddale.'— Rsuqub. Bat he was probably misinformed^ for the tone ooonrs,
note for note, in the Orpheus Caledonius» printed in 1725." See Museum Illastrations, toL i. p. 78L In
making this statement, Mr. Stenhouse must have quoted from memory without rerification. Had he turned
up the Orpheus Caledonius of 1725, he would hare seen that the version there g^iven difTers so much from that
of Johnson, as scarcely to be recognisable. Between the dates of the two editions of the Oroheus, 1725 and
1733, many changes were made, and this air was in a measure re-written, probably by WiUiam Thomson,
the editor of the work, so that it can scarcely be said to be older than 1733. The traaition« if there really
is such a thing, that the original song alludes to Queen Mary and Riiaio, is too absurd to require anv
refutation. Both words and tune are a century and a half later than their time. Tnstnad of Crawfurd s
very obioctionablo words, mven in the Museum to the air of Dowi the Inam^ Davie, we give those written by
Bums for the same air. It seems as if Bums had had in view the following soo^ though in a different
measure, written by James Thomson, author of "The Seasons. '^'

TUK IIXPFY SUMFOERD,

If those who live in shepherd's bowers

Press not the rich ana stately bed.
The new-mown hay tmd breathing flow 're

A softer couch beneath them spread.

If those who sit at 8licphcnl*s board

Soothe not their taste by wanton art.
They take what Natcro's gifts afford.

And take it with s chemul heart.

If those who drain the shepherd's bowl
No hiffh and sparkling wmes can boast.

With wholesome cups they cheer the soul.
And crown them with tne Tillage 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 marry rooadL

180

SCOTTISH SOKQS.

ARGYLB IS MY NAME.

AXEAHOED BT J. T. SURUIinL

r-=

:see

ituoEcno

SfttlTO.

■Mf tbdik it dinog*, To live tt a Court, yot Dorer to change : To &otioo, or ty • ran - ny, e • qnally foe ; The

M^4^^^ ^M

IffHtd uf the land'f the fole mo - tive I know. The foes of my country and King I have laced ; In

m.,iJEs

r 1 J p

AROYLK la HY NAME.

aptocera.

'^ <B tem

^^•c'^i^fc^^r ptJX^i^ i^'£[H rsi^r i i

ei-ty or battle I ne'er was disgraced: I've done what I could for my oonntry's weal ; Now ]

feast upon bannocks o* barley-meaL^

. J^ . S^F-

Ye riots and revels of London, adiea !
And Folly, ye foplings, I leave her to yon I
For Scotland I mingled in bustle and strife —
For myself I seek peace and an innocent life :
ni haste to the Highlands, and visit each scene
With Maggie, my love, in her rooklay^ o' green;
On the banks o' Glenaray what pleasure Fll fbel,
"While she shares my bannock o' barley-meal I

And if it chance Maggie should bring me a son.
He shall fight for his King as his father has done;
m hang up my sword with an old soldier's pride—
Oh, may he be worthy to wear't on his side!
I pant for the breeze of my loved native plaee^
I long for the smile of each welcoming fhce—
ni aff to the Highlands •« ikst's I can reel.
And feast upon bannocks o' barlcj-metL

> Aihortdoak.

** AxoTUB IS KT HAXB." The words given in the present work were written by the late Sir Alexander Boi
of Auchinleck, but are only a modification of the older words. In his Note on No. 560 of the Museum, Mr. Stenh
says : — ** This ballad is universally attributed to John Campbell, the renowned Duke of Argyle and Greeni
whose uncorrupted patriotism and military talents justly entitled him to be ranked among the greatest benefiu
of his country. He died on the 4th of October 1748, in the sixty-third year of his age. The tune is of G
origin." The present Editor would rather say that the tune is vexy probably of Irish origin. Certainly it
never been daimc-d by Ireland, nor ever appeared in any collection of Irish melodies. It may therefore
Scottish imitation of the Irish style. Charles Kirkpatrick Sharpe, Esq., writes the following Note on the ba
p. 528, vol. i. of Museum : — " This song is older than the period here assigned to it; and if the name of Mag(
to be trusted, can only apply to the first Marquis of Argyle, whose wife was Lady Margaret Douglas, dauj
cf the Earl of Morton. He was so very notorious a coward, that this song could have been made by nobodj
himself, unless to turn him into ridicule.^ Pope, in the Epilogue to his Satires, Dialogue ii, verses 86, 87, sp
thus in praise of the Duke of Argyle and Greenwich : —

'* Argyll, the State's whole thunder bom to wield.
And shake alike the senate and the field."

One of his biographers says of him — " In private life the Duke's conduct was highly exemplizy. He wc
affectionate husband and an indulgent master. He seldom parted with his servants till age had rendered i
incapable of their employments ; and then he made provision for their subsistence. He was liberal to the ]
and particularly to persons of merit in distress : but though he was ready to patronize deserving persons, he
extremely cautious not to deceive any by lavish promises, or leading them to form vain expectotionii.''

182

SCOTTISH SOHO&

LOVE WILL VENTURE IN.

▲RftAHOXD BT T. M. liUDlB.

= 104

n f. '' r f ^

O loT« win imx - ton in where it danr - na weel be seen; O

S'^'Tj^^ M

poeoriten.

M=^H

=» ■■ t ! > ^

lore will Ten - tnre in where wii-dom ance has been; But I will donn jon

fefe

-r

|MWoriC0fi.

O L07B WILL TEHTUBB IK.

The primrose I will pu', the firstlin' o* the year ;
And I will pa' the pink, the emblem o* my dear ;
For she's the pink o' womankind, and blooms withont a peer :
And a' to be a posie to mj ain dear May.

ni pa' the baddin' rose, when Phoebas peeps in view,
For it's like a baamy kiss o' her sweet bonnie moa ;
The hyacinth's for constancy, wi' its anchangin' blae : —
And a' to be a posie to my ain dear May.

The lily it is pore, and the lily it is fiiir.
And in her lovely bosom HI place the lily there ;
The daisy's fbr simplicity, of onaffected air : —
And a' to be a posie to my ain dear May.

The hawthorn I will pa', wi' it's locks o' siller grey.
Where, like an aged man, it stands at break o' day;
Bat the songster's nest within the bash I wlnna take away :—
And a' to be a posie to my ain dear May.

The woodbine I will pa' when the e'enin' star is near.
And the diamond-draps o' dew shall be her een sae dear ;
The Yiolet's fbr modesty, which weel she fii's to wear : —
And a' to be a posie to my ain dear May.

ni tie the posie roand wi' the sDken band o' lore,
And ni place it in her breast, and Fll swear by a' abore^
That to my latest breath o' life the band shall ne'er remore ^-
And this will be a posie to my ain dear May.

** LOT! WILL TEznuui IN," &0., was Written by Bams fbr Johnson's Mosemn. In a letter to Mr. i
Thomson, 19th October 1794, Bams says, " The Posie, in the Moseam, is my composition; the air was
dowif firom Mrs. Bams' voice. It is well known in the west coontry ; bat the old words are trash." He reo
how closely it resembled, in some passages, the air named " Boslin Castle," which he wrongly Imagine
James Oswald had composed. See Note on " Boslin Castle," . in an earlier page. In Cromek's Bellqius,
gires a specimen of the old song. The following is the first stanxa : —

'* There was a pretty May,^ and a miUdn' she went,

Wi' her red rosy cheeks, and her coal-black hair ;

And she has met a yoang man comin' o'er the bent,*

With a doable and adiea to thee, tut May."

Profbssor Wilson, comparing " Heliodora's Garland," by Meleager, with « The Posie^" by Boms, says.
Soot smpasses the Greek in poetry as well as passion, his tenderness is more heartfelt, his expression is srei
ssqiii^te ; fbr the most consommate art, even when gaided by genias, cannot refine and burnish, 1^ re
polishing the best selected words, ap to the breathing beaaty, that, warm trom the foont of inspiration, soid
eoloiirs the pore langaage of natare." See Allan Canningham's Works of Bams, toL It. p. 286.

I Maid.

tTht

flaM.

184

SCOTTISH SONOS.

THE LASS 0' BALLOCHMYLK

▲IB, *< JOroms'S GEBT BBECKS.**
= 100

▲BBABOXD BT 1. X. SUBBXKB.

'^fwu ev*!!, the dew - y fields weregreen, On

fcizzS

!J 4 J. i

•▼* • ry bUde the

peeris hang; The

3:^

t=s

leph - jn wan - ton'd ronnd the bean. And bore its fra - grant sweets a • lang :

n^ f f i; i

r C ?■ h

In er - 'ry glen the may - is sang. All na - tore list - 'ning

THE LASH O' BALLOCUUYLK.

183

aeem'd the while, Ez - eept where greenwood a - choet raDg, A - mang the braes

With careless step I onward stny'd.

My heart rejoic'd in nature's joy,
When, mosing in a lonely glade,

A maiden fiiir I chanced to spy.
Her look was like the morning's ^ye,

Her air like nature's Temal smile-
Perfection whisper'd, passing by.

Behold the lass o' Ballochmyle I

Fair is the mom in flowery May,

And sweet is night in autonm mild.
When roving through the garden gay,

Or wandering in the lonely wild;
But Woman, Nature's darling child !

There all her charms she does compile ;
Ev'n there her other works are foil'd

By the bonnie lass o' Ballochmyle.

0, had she been a country maid.

And I the happy country swain.
Though shelter'd in the lowest shed

That ever rose in Scotland's plain.
Through weary winter's wind and rain.

With joy, with rapture, I would toil ;
And nightly to my bosom strain

The bonnie lass o' Ballochmyle.

Then pride might climb the slippery steep

Where fkme and honours lofty shine;
And thirst of gold might tempt the deep.

Or downward seek the Indian mine :
GiTe me the cot below the pine,

To tend the flocks or till the soil.
And erery day have joys divine

With the bonnie lass o' Ballochmyle.

** The lass o' Ballochmyle." In the second Tolume of the beautiful edition of Bums' works published by
Blessrs. Blackie and Son, we find, p. 13, the following passage in a long Note regarding this song:— "The braes
of Ballochmyle extend along the right or north bank of the Ayr, between the Tillage of Catrine and Howford bridge,
and are situate at the distance of about two miles from Bums' form of MossgieL They form the most important
part of the pleasure-grounds connected with Ballochmyle House, the seat of Claud Alexander, Esq. of Ballochmyle,
whose sister, Miss Wilhelmina Alexander, was the subject of the poem. Bending in a concaTe fomi, a mixture of
steep bank and precipice, clothed with the most luxuriant natural wood, while a fine river sweeps round beneath
them, they form a scene of bewildering beauty, exactly such as a poet would love to dream in during a July eye."
It appears that Bums composed the song in the spring of 1786, when he had wandered forth one erening on the
h^uVa of Ayr, as he says, " to riew Nature in all the gaiety of the vernal year." He sent the song in a letter to
Sfiss Alexander, dated 18th November 1786, which she did not answer, although she was proud of both, and
preserved them most careAiUy.

Oswald, in his Caledonian Pocket Companion, usually gives a variation or two after etch air, but in some
cases, where the original is a quick tune, he reverses the process, giving a slow variation the place of honour,
while he reserves the trae air for the end, as if it were a mere variation. Probably no deception was intcnde<1,
but this mode of printing has led to considerable misconception in regard to the original form of certain airs,
the present being one of them.

186

SCOTTISH 80V03.

WILT THOU BE MY DEARIE?

BT o. y, amAHJiii.

• = 80

AvDAzrmfO
A1TETTUO8O.

■or - fow wrings thy gen - tie heart, O wilt thoa let me eheer thee t

By the tree- lores of my souly That's the love I bear theel I swear and tow that

ifiVn J;

/V3 m 7

^^^^^^^^-J^T^^T^-^'f' f. JS^ ^

on - ly then Shall e - Ter be my dear - ie. On - ly thon, I swear and tow, Shall

t/ • • »

r — r

-<^

S^3=^ ^

f r ^ I

WILT TiSOCr BB UT DBABI£ '{

187

Lassie, saj thoa lo'es me ;
Or, if thou wilt not be my ikin.
Say aa thoult refiise me :
If it 'wizma, cazma be,
Thou, for thine, may choose me ;
Let me, lassie, quickly dee.
Trusting that thou lo'es me.
Lassie, let me quickly dee.
Trusting that thou lo'es me.

** Wilt xhou bi kt dxabu 7" Mr. Stenhouse says, " This charming little song irai written by Bums fbr the
Moseom. It la adapted to the first strain of aa old strathspey, called * The Souter's Banghter.' Bumi, In a
Note annexed to the words, says, * Tune, T^he Souter*t Daughter, N. B. — ^It is only the first i)art of the tone to
which the song is to be set.' The ' Souter's Daughter' is printed in Bremner s Collection of Beels, in 1764. It
also appears in Neil Qow and Son's Collection, and in several others." See Museum Illustrations, toL ▼. p. 415.

We cannot reflrain from pointing out here the utter flilseness and absurdity of an opinion which has met with its
ignorant abettors, and which arose from an old misinterpretation of a passage in Tassoni's ** Pensieri Dtrersi,*'
(Venice, 1646.) The passage is as follows : — ** Noi ancora possiamo coxmumerar tra nostri Jacopo B^ di Scoda,
che non pur cose sacre compose in canto, ma troTd da^ se stesso una nuova musica lamenterole, e mesta,
differente da tutte Taltre. Nel che poi h stato imitate da Carlo Qesualdo, prindpe di Venosa, che in questa nostra
eti ha illustrato anch'egli la musica con nuoTe e mirabili inTennonL" lib. z. o. xriii. This passage has been
erroneously interpreted as signifying that King James L of Scotland composed our old Scottish melodies, and that
he was imitated in the same style of composition by the Prince of Venosa. No documents exist to^show the style
of the sacred music that James is said by Tassoni to have composed, nor to show the style of that new plaintiTc
and moumAil music, diCTerent frt>m all other music, which he is said to have invented. Tassoni's words plainly
mean, not that the Prince of Venosa imitated the style of James' new music, but that he imitated the example of
James in inventing a new plaintive and moumAil music, different from all other music ; and that this is the true
meaning, is evident from the concluding words of the passage, where it is said that " in our age he alsq has Illus-
trated music by new and wonderful inventions." We add only a few words to set the matter at rest. Carlo
Gesualdo, Prince of Venosa in the Neapolitan States, was a remarkable composer of music in the latter part of
the sixteenth century. Alessandro Tassoni, a Modenese, was bom in 1565, and died in 1685. James L was
assassinated in 1487, in the forty-fourth year of his age. Fortunately, the compositions of the Prince of Venosa
have been printed, and are therefore open to examination, and to comparison with Scottish melodies. They are
very carious compositions — madrigals ; but contain no melodut of any kind, but merely dry and crude harmonic
combinations and modulations, some of which are very strange and original Not one of the voice parts that we
have examined contains anything in the least resembling any known Scottish melody, or anything else now named
mdody. Some of the best of the Prince of Venosa's compositions are given in the works of Padre BlartinI, Choron*
&0. ; and to these the Editor of this work refers the reader. It is high time that the received nonsense written
about the imitation of Scottish melodies by the Prince of Venosa should be for ever sot aside. That remarkable
amateur, like several others of his countrymen about the same period, was striving to emancipate himself from
the fetters of the old ecclesiastical tonalities and harmonies, which, till then, had confined the musical genins of
all Europe to an Inexpressive order of fbrms, with a few popular exceptions. The production of the modem
tonalities — a major and a minor scale — and a revolution in musical melody and harmony — were due to the genius
«f Claadio Monteverdc. au eminent Italian musician, at the dose of the sixteenth, and the com reocement of the
•Sfenteenth centuries.

188

SCOTTISH SONOS.

THE BRAES 0' BALQUHIDDER.

AmEAHOSD BT J. T. fUKUIB.

f =96

AXDCATO
B VEX

^Iascato

Will j« gOy Us-aa, go. To the bnet o' Balqahiddwrt Where the

ne, Lightly bound - log to - ge • ther, Sport the lang summer day 'Mang the brsei o' Bal -

THE BRABS 0' BALQITHIDDEU.

• •

piuantfnaU)

qnhidder. Will ye go, Us-ne, go, To the bnet o' Balquhidderl Where the blae - ber - rie

J. — 1=

Siic

gro«r, 'Mang the bon • nie bloom • in' heather.

I will twine thee a bower

By the dear siller fountain.
An* m coTer it o'er

TH* the flowers o' the monntdB :
I will range through the wilds,

An' the deep glens sae drearj,
An' return wi' their spoils

To the bower o' m j deary.
Will ye go, &c

When the rude wintry win*
Idly rayes round our dwellin'.

An' the roar o' the linn
On the ni^it4>reeie is swellin*, —

Sae merrily well sin^
Aa the storm rattles o'er us.

Till the dear sheeling^ ring
Wi' the light liltin' chorus.
Will ye go, &c

Now the summer is in primes

Wi' the flowers richly bloomin'.
An' the wild mountain thyme

A' the moorlands perfumin',-^
To our dear natire scenes

Let us journey together.
Where glad innocence reigns

'Mang the braes o' Balquhidder
Will ye go, &o.

1 A sh«pherd*t cottafo ; a hut

** Trb bbabs o' BALQUHiDonB." This song was written by Robert TonnahiU, a Paisley weaTer, bom in tfa
town 8d June 1774. His death occurred on 17th May 1810, by suicide. His biographers assure ua that tl
lamentable act arose from no pressure of poverty : " his means were always aboTe his wants." His oonstitnti
was delicate ; his temperament shy and morbidly sensitiTe ; his sedentary occupation, and Torious grieft oi
disi^»p<rfntments, seem to have produced that mental alienation which clouded the latter days of his brief carei
Nona but those who have well considered the insidious progress of mental alienation, and who truly ftel h(
''ftarfblly and wonderfully we are made," con bestow a just tribute of pity and sorrow upon the solemn ikte
poor TonnahilL Who shidl dare to say in his pride, ** I am secured from this terrible risitation !" A rery oe
brafted modem poet, in prosperous droumstances, but suffering under great mental depression, declared tc
friend that he was determined to drown himself. Fortunately the poet's mind recorered its tone^ and he di
qaieUy in his bed. But he might haye committed suidde, while labouring under that mental depression whi
seems so frequently to attend the temperament of genius.

In Captain S. Eraser's Collection of Melodies of the Highlands and Islands of Scotland, 1816, we find, No. 7
Bodraiddar— Balquhidder — which is the air applied to Tannahill's song, with some slight differences, as found
ToL L p. 49, of B. A. Smith's *< Scottish Minstrel"

190

HCOTTISH S0K08.

WHISTLE O'ER THE LAVE O'T.

▲BmijraiD BT J. x.

^sn

MOBBATO

■f,* J\ y J. J\ J-. .^ J I 1^

Ihc-^

Hw*« I tfcwghr «w b iMT rir;

ft I - - '! ^ ^ I

pr f —

ii »

m ^ ^J^ ■ 1 ' a

WHISTLE O'BB THE LATB O'T.

191

f J' J\ J ■■ j i ; =

iHiiftto o'er Um Uto ot.

How we lire, my Meg and me»
How we loTe, and how we gree,*
I care-na-by^ how few may see;

Sae^ whistle o'er the lare o*t
Wha I wish were maggots' meat»
Dish'd ap in her winding sheet,
I could write — ^but Meg maun see't;

Sae, whistle o*er the lave o't

*Batt; twnaJTidfir

•AgKML

* A Soottbh Uiom nMaoing '*I am totally Indiffartot.

** Whisxli o'xa xhs lavs o't." "This fine air was formerly adapted to some witty, but indelicate Terses, a
firagmcnt of which is preserred in Herd's Collection. The humorous song in the Museum, beginning * First when
Afaggift was my care,' was written by Bums in 1789, as a substitute for the old yerses. The air was composed
about the year 1720, by John Bruce, a musician of the town of Dumfries; and Oswald afterwards published it
with Tariations in the last volume of his Caledonian Pocket Companion." See Museum Illustrations, toI. iiL
p. 286. John Bruce's title to be considered the composer of this air is at best Tery doubtfhL We learn from John
llayne^ who mentions him among his worthies in the '^ Siller Gun," 1886, that Bruce was bom at Braemar — ^waa
engaged in the rebellion of 1 745-— was taken prisoner, and confined for some time in Edinburgh Castle — and after-
wards settled in Dumfries, where he spent the remainder of his life. Mayne adds — " He is supposed by Bums
to have been the composer of the throurite Scots air of * TYhistle o'er the lave o't.' This opinion is altogether
erroneous ; for, although John Bruce was an admirable performer, he nerer was known as a composer of music.
ISie air in question was composed long before he existed."

In order to render the melody of the scTcnth bar (measure) more Tocal, a slight alteration has been made upon
it ; but the original passage is given in the first bar of the ritomeL

This air affords ezan^>le8 of what has been called the *< Scottish catch," or *< snap," a characteristic of the strath-
spey, which, though not confined entirely to that species of dance music, is yet only occasionally met with in our
old stow Tocal airs. This peculiarity was seized upon during last century by the English imitators of Scottish
music, and was used most unsparingly in their productions. Of this the Anglo-Scottish airs contained in the first
Tolume of Johnson's Museum afford abundant proof; among tiiese we may particularise " The banks of Tweed,"
''My dear Jockey," *^ Eate of Aberdeen," and ** Sweet Annie frae the sea-beach came." The use or abuse of tlds
" catch" was not confined, however, to imitations of Scottish airs, but was even introduced into the Italian Operatic
music of the day. Writing of the London Opera in 1748, Dr. Bumey, (History of Music, toL It. p. 467,) says,—
' There was at this time too much of Scots catch, or cutting short the first of two notes in a melody, thus : —

Again, at p. 466, note (d), writing about Tito Monlio, an opera brought out by Abos, a composer of the Neapolitan
school, in 1756, he says, — " The first air, however, is pleasing, ' Se che piii amor,' but has too much repetition and
Soots snap of the first two notes." And again, same page^ note (c), giving some account of the airs in the posticdo
* Olimpiade," brought out in 1755, he says,— <<' Grandi h ver,' by Pcrgoled, not in his best manner, nor without
Sooticisms." As we have not seen the music here alluded to, we suppose that he refers to the <* snap" or ** catch"
that he mentions elsewhere as being so prevalent. At p. 472, speaking of the Neapolitan school, he says, — ** The
Soots $map seems to have been contagious in that school at this time, (1759,) for all the three masters oonoemed to
this open, (Yologeso,) are lavish of it" The masters alluded to are Perei, Cocchi, and JomellL

192

SCtn'TISH SOBOS.

^>^*^»^%^%^^^^ <^ ^ «» <

JENNY DANG THE "WEAVER

9= 108
I

Allsoeo

CON

MoLTX) SpnuTO.

AULAHOED BT J. T. SUXKSXI.

<*^ i - - ^ ^

tt^ — tSr

EF^

< *-'^j

i\ & > i \ ]\

S=J5

^J-rj^^

WiUto's wadding on Um green, Th* ImriM, bonnie witch - «■, W«rs a' dre«'d oat in aprontdeui. And

! I 1 =

i i ii

bnw wliita Sonday mntdiM : * Anld Maggio bade the lads tak' tent,' Bat Jock wonld not believe her ; Bnt

: U U i i ■

T-^

•adi

i ^ ^ f

JEKKY DAKO THB WEA7EB

193

Jen - n J dang the weav • er ; Bat toon the fool his fbl . Ij kent, For Jen - nj dang the wea? - er.

FTTf^

I T I *

At Oka country dance or reel,

Wi' her he would be bobbin';
When she sat down — he sat down.

And to her wonld be gabbin' ;
Where'er she gaed, baith bntt and ben,'

The coof* would neyer leaye her;
Aje kecklin' like a olockin' hen.
But Jenny dang the wearer.
And Jenny dang^ Jenny dang^

Jenny dang the weaver ;
Aye kecklin' like a clockin' hen.
But Jenny dang the wearer.

Quo' he, My lass, to speak my mind.

In troth I needna swither;
TouVe bonnie een, and if you're kind,

111 nerer seek anither;
He humm'd and haw*d, the lass cried, Peogk I

And bade the coof no deaye her ;
Syne snapt her fingers, lap and leugh.
And dang the silly weayer.
And Jenny dang, Jenny dang^

Jenny dang the weayer ;
Syne snapt her fingers, lap and leug^
And dang the silly weayer.

I need dr—f ■ for tuoMim,

* To b« on one's gasnL

* Outer snd inner spsTtntents of s hooeeu

niinnlecwL

** Jmnr daho thi Wbatbb." This humorous song was written by the late Sir Alexander Boswell, Bart., of
Auchinleck, mentioned before, p. 181 of this yolume, and regarding whom we shall state some Airther particulan
in the Appendix. As to the air, Mr. Stenhouse and others make no mention of its origin ; but we quote the
following rery amusing Note from pp. 808, 809, of Mr. Hugh Paton's " Contemporaries of Bums," &C., Edin-
burgh, 1840 : — ** The origin of the air of * Jenny dang the weayer,' is somewhat curious. The Rey. Mr. Gardner,
in^wigtjw of the pariah of Birse in Aberdeenshire, well known for his musical talent and for his wit, was, one
Saturday eyening, arranging his ideas for the service of the following day, in his little study, which looked into
the court-yard of the manse, where Mrs. Gardner, ueunda — for he hod been twice married — was engaged in the
homely task of 'beetling* the potatoes for supper. To unbend his mind a little, he took up his Cremona, and
began to step over the notes of on air he had previously jotted down, when suddenly an altercation arose between
Ifn. Gtrdner and Jock, the 'minister's-man' — an idle sort of weaver from the neighbouring village of Majrywell,
who had lately been engaged as man-of-all-work about the manse. * Here, Jock,' cried the mistress, as 1m had
newly oome in from the labours of the field, * gae wipe the minister's shoon.' ' Na,' said the lout, ' Fll do nae sic

thing : I cam' here to be yir ploughman* but no yir flunky ; and 111 be d d gif 111 wipe the minister's shoon!'

* Deil confound yir impudence!' said the enraged BIrs. Gardner, as she sprung at him with a heavy culinary
fnstmment in her hand, and giving him a hearty beating, compelled him to perform the menial duty required.
The minister, highly diverted with the scene, gave the air he had just completed the title of ' Jenny dang tht
weaver.' This is supposed to have occurred about the year 1746. " Se non ^ vero, h ben trovato I (1849.)

As might have been expected, the story, in as fiir as the air b concerned, is only " ben trovato," for tlM tone
hat reoentlj been found under another name in the Gairdyn MS. written a quarter of a oentury earlier.

194

SCOTTISH S0VO8.

0, FOE ANE-AND-TWENTY, TAM I

AVBf " XBB MOUDHWABT."

▲XBAKQED BT J. T flVXBOB.

P*=76

AlLBOKBTTO
SOBEBZISDO.

'fet r>

r ^1 1 '

leftm my kin a ratt • lin* tang, Qin I taw ane • and - twen - tj, Tarn.

^^m

They snooP me sair, and baud me down, And gar me look like bluntie,' Tam ; But

. 0, FaE ANR-AND-TWBNTT, TAU I

195

three abort jeen will ioon wheel roan*. And then oomes ane - and - twen - tj. Tern.

A gleib o' Ion', a clant o' gear,'
Were left me hj my aimtie, Tarn

At kith and kin I needna speir,
Gin I saw ane-and-twenty, Tarn.

To BoldosBte by tynanteal meaaa. * Stapld.

They^ ha'e me wed a wealthy ooof,*
Thoogh I mysel* ha'e plenty, Tarn ;

But hear 'at thou, laddie? — there's my loof
Fm thine at ane-and-twenty, Tom !

* A smn of money. * FooL * Hand.

** AsD 0, roB A2(s-AND-TWZNTT, Tam !" Mr. Stenhoose gives the following Note npon this song and air : — ** This
comic song, the manuscript of which is before me, was written by Bums on purpose for the Museum. The subject
of the song hod a real origin. A young girl having been left some property by a near relation, and at her own
disposal on her attaining majority, was pressed by her relations to marry an old rich booby. Her affections, how-
ever, 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. Bums represents
the lady addressing her youthAil lover in the language of constancy and affection. The verses are adapted to an
old tune, colled, Tke Moudieieart, In the ' Reliques,' Bums says, ' this song is mine.' " See Museum Blustrationa,
vol XV. p. 827.

In the course of this work we have occasionally noticed the remarkable popularity of Bums' songs, and their
influence upon his countrymen. One of the most striking instances on record is that given in the Note on the air
Oran an Aoig, where we quote from James Grant, Esq., an incident during the battle of Waterloo. The following
huznole individual instance of Bums' influence is mteresting, and was communicated to us by a respected literary
friend, who, when a boy, for amusement, took part in the harvest operations which he mentions. Our friend
says : — ** It may not be uninteresting to you to know how strongly, if oot extensively, the prose and poetical
writings of Bums had taken possession of the minds of his countrymen ; and many more instances than the one
I give might be adduced as illustrative of this. The eduq^ted were not more enthusiastic concerning the Bard than
were the peasantry, as the following short narrative will abundantly prove. It might be about the year 1811,
that the harvest come suddenly upon us, and being resident with an uncle whose fium was situate in a landward
district, many miles remote from any town, all hands were called on to assist. The ploughman was to be builder
of the ricks, and your humble servant was to fork to him. He was an uncouth-looking man, with a very slender
education, but possessed of great natural powers, and an extraordinary relish for wit and humour; so you may
easily conceive how pleasantly the time flew by us. Bob (Robert Stevenson by name) delig|ited me with his scraps
ttom Bums. We had Menty of leisure, and were not overwroug|it, luckily for my young arms ; and I shall never
forget how aptly he introduced his quotations, both grave and gay, (for Bob appreciated both,) and with what a
yHsto the more notable and pithy parts of the Bard were uttered by my pleasant fellow-labourer. This took place
in Bumfries-ahire, about thirty miles from the town of Dumfries, and you will see by the date, not many years after
the lamenteil death of the Bard. I have said prote as well as poetry ; the latter is nothing wonderful, but the former
was, and remains with me a matter of greater astonishment, since Currio's edition was the only one at that time
tttont, and which could have been but seldom within his reach to peruse with anything like leisure."

196

SCOTTISH SOKOS

TULLOCHGOEUM.

AXRAVOBD BT O. W, OBJLBAM,

.•=104

Nov TBOPPO ;
UA snaiTOso.

- t^ i

Ccmm

^^i^l^^g?^ ^^

'M,^^ J ^t : J; .'I j: ■! ^ ■ ji J'. '' ^' i rr rj^ yu^u q

gia't a sang,MoDtgomery*cried, And lay jour ditputet a' a • tadef What tig • ni • fies't for folks to chide, For

"** .". i ^" 5

what waa dona be - fore them. Let Whig and To - ry a' a- gree, Whig and To • ry, Whig and To-ry,

Whig and To - ry a' a - gree. To drop their Whigmigmomm ; Let Whig and To • ry a' a -gree To

* This Is generally song, " Come gie's a tang, the lady eritd."

TULLOCBGOBUtf.

197

rr^hrr^J^F^

flp«nd the Digfat i& mirth and glee, And cheer • fti' ting a-Ung wi*me. The reel o'Tnl-loeh-go-mm.

p~mw-

Rail, api aeere.

aim. ^

tt=

0, Tullochgomm's my delight,

It gars us a' in ane unite,

And ony sumph that keeps up spite,

In conscience, I abhor mm ;
For blythe and merry well be a',
Blythe and merry, blythe and merry,
Blythe and merry we'll be a',

And make a happy onomm.
For blythe and merry well be a*.
As lang as we hae breath to draw.
And dwce till we be like to &',

The reel o' Tullocbgorum.

What needs there be sae great a fraiso,
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,

"WV a* their Tarionim.
They're dowf and dowie at the best.
Their aUegrot^ and a' the rest.
They canna please a Highland taste,

Compared wi' TuUochgorum.

Let warldly worms their minds oppress
Wi' fears o' want and double cess.
And sullen sots themselTes distress

Wi* keeping up decorum.
Shall we soe sour and sulky sit ?
Sour and sulky, sour and sulky.

Sour and sulky shall we sit,
like auld Philosophomm ?
Shall we sae sour and sulky eit,
Wi' neither sense, nor mirth, nor wit.
Nor erer rise to shake a fit

To the reel o' TuUochgorum ?

May choicest blessings aye attend
Each honest open-hearted fi-iend.
And calm and quiet be his end.

And a' that's gude watch o'er hio.
May peace and plenty be his lot,
Peace and plenty, peace and plenty.
Peace obd plenty be his lot,
And dainties a great store o* them.
May peace and plenty be his lot,
Unstained by any Tidous spot.
And may he nerer want a groat,
That's fond o' TuUochgorum !

But for the sUly fitwning fool.
Who loTes to be oppression's tool.
May euTy gnaw his rotten soul.

And discontent doTour him I
May dool and sorrow be his chance,
]3ool and sorrow, dool and sorrow,
Dool and sorrow be his chance.

And nane say, Wae's me, fbr him.
May dool and sorrow be his chance.
And a' the ills that come frae France,
>Vhae'er he be that winna dance

The red o' TuUochgorum.

^ ToLLOonooBUii." The composer of the tune, a reel, is not known. Mr. Stenhouse says it is deriyed from
ftn old Scottish song-tune, printed in Craig's CoUection in 1730. The words were written by the Rer. John
Skinner, pastor of the Episcopal Chapel at Langside, near Peterhead, Aberdeenshire. They were first printed
in the Scots Weekly Magazine for April 1776, and were enthusiastically termed by Bums, the " first of songs I"
The copy here giyen is that with the reyerend author's last corrections, as printed in Museum niustrations,
yoL iiL pp. 288, 284. Mr. Skinner died in 1807, aged 86. See Museum lUustrations, yoL ilL pp. 281-284. We
haye heard TuUochgorum sung with much spirit, many years ago, by the late eminent printer, Mr. James Bftl-
Uotryne. Eyery good musician wiU at onco pcrceiye the difficulty of applying anything like regular m HfTP
harmony to such a tune.

198

SCOTTISH SONGS.

THE EWIE Wr THE CKOOKIT HORN I

f =:69

Ugato.

A&BJLaOKD BT J. T. ICZCSSB.

?=^

diffim

O were I a - ble to rehearte My ew - ie's pniae in

•J?HE EWIJS Wl' THE CBOOKIT HORN I

199

rf^t toirKJ-^^N^

^ — q-

nev-er bom« Here* a -boat, dot far a-wa*.

I never needed tar nor keil.
To mark her upo' hip or heel ;
Her crookit homie did as weel,
To ken her by among them a\

She nerer threatened scab nor rot,
But keepit ay her ain jog-trot ;
Baith to the fauld and to the cot.
Was neyer sweirt to lead nor ca*.

Catdd nor hunger nerer dang^ her,
Wind nor weet could never wrong her;
Ance she lay an ouk' and longer
Furth aneath a wreath o' snaw.

Whan ither ewies lap the dyke,
And ate the kail for a' the tyke.
My ewie never play*d the like,
But tyc'd* about the bam wa'.

A better, or a thriftier beast,
Nae honest man could weel ha*e wist;
For, silly thing, she never mist
To ha'e, ilk year, a lamb or two.

The first she hod I ga*e to Jock,
To be to him a kind o* stock ;
And now the laddie has a flock
0' mair nor thirty head ova.

I lookit aye at even for her,
Lest mischanter shou'd come o*er her,
Or the foumart^ might devour her.
Gin the beastie bode owa'.

My ewie wi* the crookit horn,
Weel deserved boith gerse and com :
Sic a ewe was never bom,
Hereabout, or for owo.

Tet, lost ouk, for o' my keeping
(Who con speak it without greeting?)
A villain com*, when I wos sleeping,
Sta' my ewie, horn and a'.

I sought her sair upo' the mom ;
And down aneath a buss o' thorn,
I got my ewie's crookit horn.
But my ewie was awa'.

1 gin I had the loon that did it,
Sworn I have, as weel as said it,
Though a* the warld should forbid it;
I wad gi'e his neck a thra*.

I never met wi' sic a turn
As this, sin* ever I was bom ;
My ewie wi' the crookit horn.
Silly ewie, stown awa*.

1 had she deid o' crook or eauld.
As ewies do when they are auld.
It wadna been, by mony fiiiuld,
Sae sair a heart to none o*s a'.

For a' the cloith that we ha'e worn,
Frae her and her*s sae aften shorn ;
The loss o' her we cou'd ha'e borne,
Had fkir strae-death ta'en her awo*.

But thus, puir thing, to lose her life,
Aneath a bluidy villain's knifls ;
I'm really fley't that our gudewifb
Will never win aboon't ava.

! a' ye bards benorth Kinghom,
Coll your muses up and mourn
Our ewie wi' the crookit horn,
Stown froe's, an' fell't on' a'!

I OvercaiiM.

« A week.

• Nibbled

« A polecat

•« Thb iwn wi' THB CBOOKIT HORN." Mr. Stcuhouse says :— " This excellent song, beginning, • were I able
to rehearse,' is another production of the Rev. Mr. John Skinner. The verses are odopted to a fine lively Highland
red, of considerable antiquity, which received its name firom a * Ewie 'of a very different breed; name^, the
whbky-still, with ite crooked, or rather spiral opparatus." Museum Illustrotions, vol. iii., p. 287. Mr. Sttnhonse
gives the song, "with the author's last corrections," some of which we have adopted.

200

SCOTTISH SONGS.

O'ER THE MUIE AMANG THE HEATHER.

AKKANQKD BT A. L4Wmifc

eraigs o* Kyle,' A • mang the bon • nia bloomin' heather, There I met a bon - nie Ui - ne,

f~'^ '" i '' »" .''■ '^ .'^J^. II i'- ^ ^ " 6 f M-^

Keep - ing a' her jowet the - gither.

O'er the muir a - niang the heather.

i J', r, : ■ ^^Tfji '' ' r^ r^'^' ^ ' c i

O'EB THE MITIB AMAKQ THE HEATHEB.

201

S^S

Ifci

Keeping %* her jowes the • gither.

T=f t^- \ T3

^^--^^^^twS

Sajs I, BI7 dear, whore is thy hame?

In muir or dale, pray tell me whether ?
She says, I tent these fleecy flocks
That feed amang the bloomin* heather.
0*er the muir amang the heather.
O'er the muir amang the heather ;
She says, I tent these fleecy flocks
That feed amang the bloomin' heather.

We laid as down upon a bank,

Sae warm and sunny was the weather;
She left her flocks at large to rove
Amang the bonnie bloomin' heather.
O'er the muir amang the heather,
O'er the muir amang the heather ;
She left her flocks at large to roTe
Amang the bonnie bloomin' heather.

While thus we lay she sang a sang,
Till echo rang a mile and farther ;
And aye the burden 0' the sang

Was, O'er the muir amang the heather.
O'er the muir amang the heather,
O'er the piuir amang the heather;
And aye the burden 0' the sang
Was, O'er the muir amang the heather.

She charm'd my heart, and aye sinsyne

I couldna think on Ony ither :
By sea and sky ! she shall be mine,
The bonnie lass amang the heather.
O'er the muir amang the heather.
O'er the muir amang the heather;
By sea and sky ! she shall be mine,
The bonnie lass amang the heather.

t " Dm Gi»%i o* Kjrto am a range of onall hillf about a milo south of tho lillaga of Gofltoo, hk the pariih of that nama.**— -Fotan.

** O'EB THS MX7IB AMAKO THE nsATBEB." In that curious and entertaining work, " The Contemporaries of Buma,
aad the more recent Poets of Ayrshire," published at Edinburgh in 1840, by Mr. Hugh Paton, Carrer and Gilder
to Her Majesty, &c, and which we haye occasionally quoted in the Notes to this Collection, we find some inform*-
tioa regarding the authoress of this song. We quote part of it, and refler the reader to the work itself^ pp. 84-87.
"Bams oommunieated this song to 'Johnson's Scots Musical Museum;' and in his 'Remarks on Scottish Songs
and Ballads/ he states, in language somewhat rude, ' that it is the composition of a Jean GloTer, a girl who

has Tisited most of the correction-houses in the West. She was bom I belieye in Kilmarnock.

I took the song down t^m her singing, as she was strolling with a sleight-of-hand blackguard through the country.'

Notwithstanding this positiTe testimony, there is another elaimant for the authorship, Stoart Lewis, who
alleges that Jean merely altered a song previously written by him, and which will be found in Dr. Rogers'
Modem Scottish Minstrel, toL iiL p. 81. When we come to inquire still further into the matter, we find that
there most haye been an earlier song than either, and on a similar subjeot, for the name of the air in the Mao*
fhrlan MS. (1740) is, *< An I had thee 'mang the heather."

We resume the quotation. " When at Muirkirk, we were fortunate enough to learn some particulars
relatiTe to Jeanie Gloyer. A niece of hers still resides there ; and one or two old people distinctly remember to
haye seen her. She was bom at the Townhead of Kilmarnock, on the 81 st October 1758, of parents respectable
fai their sphere. That her education was superior, the circumstances of her birth will not permit us to belieye;
but she was bmught up in the principles of rectitude, and had the adyantage of that early instruction which few
Scottish fhmilies are without. She was remarkable for beauty — both of fkce and figure —properties which, joined
to a romantic and poetic fhncy, had no doubt their influence in shaping her future unfortunate career. She was
also an excellent singer. Until within these few years Kilmarnock had no theatre, or at least any building so
called; but strolling parties of players were in the habit of firequenting the town at fhirs, and on other public
occasions, sometimes performing in booths, or in the ' Croft Lodge,' long known as a place of amusement. Haying
been a witness to some of these exhibitions, Jeanie unhappily became enamoured of the stage ; and in an eyil hour
doped with one of the heroes of the sock and buskin. Her subsequent life, as may be guessed* was one of
adyentore, checkered, if Bums is to be credited, with the extremes of folly, rice, and misfortune." Jean Qloycr
died in 1801, in the town of Letterkenny, in Ireland. In order to lessen the compass of the air, alteraatiye
notes have been inserted in the fiivt and second bars.

202

SCOTTISH S0N08.

■<^^^^^^^»^^x ^ »^^^^<

».^^^^^^^^^^^^^^^^^^^^^*<

THEEB CAM' A YOUNG MAN TO MY DADDIE'S DOOE.

AIB, **THS BRISK TOUITO LAD

▲XBAKOZD BT A. LAWBIX.

= 80

YXTACB.

-» IT ^ 1 ' ^ K ^ I I .

There cam' % ycmng man to my dad - die'a door, My dad - die't door, my

■eek-iog me to woo. And wow! but he was a bon - nie young lad, A

bfc[4J— h^

THERE CAM « TOOKO UAK.

203

It.

[] : .M f c ?■ ? ^

brisk young lad, an'

braw jOQDg lad ; An' wow i bat be waa a

i J, ' "' j. j .-^-

5=f

But I was bakin' when be cam',
When he cam', when he cam' ;
I took him in and gied him a scone,*
To thowe his flrozen mou'.

And wow ! but he was, &c.

1 set him in aside the bink ;'
I gied him bread and ale to drink ,
But ne'er a bljthe styme' wad he blink
Till he was warm on' ta\

And wow ! but he w%s, &e

Gae, get you gone, you cauldrife wooer ;
Ye sour-looking, cauldrife wooer !
I straightway showed him to the door.
Saying, Come nae mair to woo.
And wow I but he was, &c.

There lay a deuk-dub before the door,
Before the door, before the door ;
There lay a deuk-dub before the door.
An' there fell he, I trow !

And wow I but he was, &o.

Out cam* the gudeman, an' heigh he shouted ;
Out cam' the gudewife, an' laigh she louted ;
An* a* the toun-neebours were gather*d about it ;
An' there lay he, I trow !

And wow ! but he was, &c.

Then out cam' I, an' sneer'd an' smiled.
Ye cam' to woo, but ye're a' beguiled ;
Ye've fa'en i' the dirt, an' ye're a' bei^led;
We'll ha'e nae moir o* you !
And wow ! but he was, &c

1 A tliin Cftke of wheat or boiiey meoL

s Beodi ; long seat beside the fire in a ooontry hooie : seat of honour.

*■ Waat • wyM hmo maka talm to dk oa biiiJus."— Jamiuo*.

* A partide ; a whit : a tzaaaitoiy {lanoa.

** TnKRi GAV A TOUNQ MAN TO MT daddie's doob." Thls soug, which Contains a good deal of Tulgar humour,
was published in Herd's Collection, in 1769. The author of the words is not known, and the date of the air is
uncertain. The last line of the third stanza is one substituted bj Allan Cunningham fbr the coarser line in thft
original.

204

SCOTTISH floiros.

THE BEAES ABOON BONAW.

ARBA9G1D BT J. T. ITZnOIB.

3HSBZAHD0. \ » | r\

S^^

i^ ' j-. I ^Jfl^ g^^r^

Wnt thou gOy Hty ay or no, To the bra es aboon Bo • naw, lassie I Tho* Donald has oai»

TRX BRAES ABOOK BONAW.

205

poeortUL

a tempo.

jt J-. ji| s :^ s£ij=^ ^

Iti it be frae thine, laane. Wiltthoago, mj bonnie laaue, Wilt thou go, mj bntw Uade,

r^r^ i ^i^

^-^-^

Wben simmer days deed a' the braes
Wr blossom'd broom sae fine, lassie^

at milking sheel,' we'll join the reel,
Mj flocks shall a* be thine, lassie.
Wilt thou go, &C.

Ill hunt the roe, the hart, the doe.
The ptarmigan sae shy, lassie.

For duck and drake. 111 beat the brakes
Nae want shall come thee nigh, lassie.
Wilt thou go, &C.

For trout and par, wi' canny care,

111 wiley skim the flee, lassie;
Wi' sio-like cheer Fll please my dear.
Then come awa' wi' me, lassie.
** Yes, m go, my bonnie laddie^
Tes, 111 go, my braw laddie,
Ilk joy and care wi' thee Fll share,
'Mang the braes aboon Bonaw, laddie."

I Cajoling dUcounaL

t An oa(-hoaa« for cattle.

** Tm uaAXs aboox Bonaw." In the first Tolume of " The Scottish Minstrel," we find this song and air, bat the
editor of that work indicates that the author is unknovn. Messrs. Blackie, in their " Book of Scottish Song,** giye
the Terses, with merely this Note: — ^^ Written, and music arranged by W. GilfiUan." The air is obiiously
borrowed, in some measure, from the popular dance-tune of "Duncan DaTidson," formerly called, ''Toull aye
be welcome back again." Mr. Stenhouse says of ** Duncan DaTidson," (Museum Illustrations) : — ** This UtcIj
tone was inserted, about a century ago, in John Welsh's Caledonian Country Danea, book iL p. 45. It is also to
be found in Oswald's Pocket Companion, and seTeral other old collections." **The braes aboon Bonaw," with the
air, was first printed as a single-sheet song.

The Editor has been fiiTOured with the following reply to his letter to Robert Gilfillan, Esq. : — ** Leith, I4th
March, 1848. I regret I cannot giye you any direct information regarding the author of * The braes aboon Bonaw.'
Twenty-one years ago, R. A. Smith wrote me, inquiring if I were the author of the song. In reply, I answered
that the song was written before I was bom, and that my father, then liTing^ beUered it to be the composition of a
second cousin of his own, who, in early life, went abroad, and died shortly after. The few fkmilies of GUfillan in
Scotland almost all count kin ; the history of the clan being as follows : — Originally it belonged to the Isle of Mull;
but, during the feudal wars, was OTercome by a more powerftd clan, and completely extirpated. Two of the
widows, howeyer, by a coincidence, bore each twin sons, frtxm whom we haye all sprung. • • • . Mj father
wrote oocasional yerses on local subjects, but none of them were eyer printed."

206

SCOTTISH soiros.

«^«^^»^^».^i

THE CAULD CAULD WINTER'S 6ANB, LTJVE.

Aim, ** XT win BAM TA*EM TBI Oil.

▲ftBAXOKD BT J. T. SUXOIk.

(j^ i-; j\ ,i, j-^:a-yt- ^ • ;<7~%

oanldcanld winter*! gane, laTe^Sae bitter and tae tnell;' And spring has come a • gain, Ivfie, To

f V'^yjA

deck yon lee - some delL

The

buds burst frae the tree, Iutc; The

L_ }■■ J' . .t: J^TI

birds sing by the shaw ; '

But

sad sad is my dow - ie heart. For

THE CAULD CAULD WIKTBB*S QA5E, LUTE.

207

poeoraU.

tlfi ." f C • ^>T~-~ .

^=— ^

j« are &r a • wa' t

I thocht the time wad flee, luTe,

As in the days gacne bye;
"While I wad think on thee, luTe,

And a' my patience try ;
But ! the weary hoars, luve,

They wadna flee ava.
And they ha'e borne me nocht but dulc,*

Sin'* ye ha*e been awa*.

Waes me ! they're sair to bide, luve^

The dirdums* ane maun dree,*
The feelings wunna hide, Iuyc,

Wi* saut tears in the e'e :
And yet the ills o' life, lure,

Compared wi' joys are sma\ —
Sae will it be when ye return

Nae mair to gang awa*.

> Sharp: piercing.

lAirood.

t Grief.

* Since.

• Voisy Texationa

9 Endure.

** Thb oaxtld oauld wiktsb's OAins, LUVE." With regard to the author of this song we haTe been foronrwl
with the following information :— " The words are by Mr. William Train of Haddington, son of Mr. Joseph Train
of Loeh-Vale Cottage, Galloway— the friend and correspondent of Sir Walter Scott Mr. W. Train was bom at
Newton Stewart, in Galloway, on 9th August 1816. He studied for the Law ; but, in 1888, becama Cashier of the
Southern Bank of Scotland in Dumfries — an establishment since merged in the Edinburgh and Glasgow Bank.
He ma, thereafter, for seyeral years, an Inspector of an English Bank, and now holds the office of Govemment
Snrreyor of Stamps and Taxes for East-Lothian. Mr. Tiain compiled a Memoir of his &ther, which is prefixed to
lir. Train, senior's. History of the Isle of Man, and seyeral of his poetical pieces haye appeared in different works.
The aboye yerses were published in ' The Book of Scottish Son^' by Messrs. Bladde of Glasgow."

About the middle of last century a cleyer and humorous song, begixming, " A friend o' mine came here yes-
treen," was oomposed to the air, ** My wife has ta'en the gee," and appears in Herd's Collection, 1769, without any
author's name. It appears again in Johnson's Museum, yoL y. p. 422, with the air communicated by Bums^ and
called "My wife has ta'en the gee," and which is eyidently borrowed from an older air called "The Miller," already
giTcn in preyioua pages of this work, to Bums's words, "Mary Morison." In Gow's Fifth Collection of Reels
and Strathspeys, p. 82, we find an air called, ** My wife has ta'en the gee," communicated to Gow by the late
Alexander Gibson Hunter of Blackness, Writer to the Signet, Edinburgh. It is there said to be old, and may
hayo been the air to which the words in Herd were originally sung. It does not resemble '*The MiUer," or the
air sent by Bums to Johnson for the old words. The latter air is the one we hayc adopted in this work.

f<n.

OLD AIA, " MY WIFE HAS TA^ES TUB GEE.

j^i ^7] 1 ^rn \^^ J ■ j3 1 '~j7i

SUMdy amd di$tineUy,

J ^^ -] J. S^ \ '^'jIi '^-^

^^^^^^^

P m - J *

208

SCOTTISH SONQS.

THE MAID THAT TENDS THE GOATS.

▲RRAXOKD BT ▲. O. MACXBIZZE.

a tempo.

modkratblt
Slow, with

ritard.

1. Up a - mang jon clif • fy rocks Sweetly rings the ris • ing echo,

2. San-dy herds a flock o sheep. Aft -en does he bUw Uie whistle,

Jl ^ ^/

s=^^§

ita=f"^

*»/ a tmpo.

t2=g

To the maid that tends the goats, Lilting o*er her na - tive notes. ' Hark I she sings yoong
In a strain sae saft - ly sweet, Lammies list'ning danr - na bleat. He's as fleet's the

calando

„ It ^ |. ^^^^ CaUlTKtQ ^ ^ -

riHi-* —J

n\r

"r=5

>i--N-

"I/'

az:

" • «"^ ^-" -

Sandy 's kind,
mountain roe,

An' he's promised ay to lo'e me; Here's a brooch I ne'er shall tine, ^
Har - dy as the Highland heather. Wad - ing through the wint - er snaw.

«{f

#— '— J^ % ^—d S

THE MAID THAT TENDS THE GOATS.

209

sT-^^jT^ ^p

Till he's fair -Ijr married to me; Driye a -way, ye drone time, An' bring about onr
Seeping ay bis flocks the-gither; Bnt^ a plaid, wi' bare knees. He braves the bleakest

1-. — :^:^_i_=£a

brid - al day.
nor - land blast.

Brawly he can dance and sing
Canty glee or Highland cronach ; '
Nane can ever match his fling
At a reel, or round a ring.
Wightly can he wield a rang,'
In a brawl he 's ay the bangster ;
A' his praise can ne'er be song
By the langest-winded sangster.

Sangs that sing o* Sandy

Seem short though they were e'er sae lang.

1 Without.

> Dirge.

3 A heavy sUC

*'Ths maid that txnds the goats." William Dudgeon, the writer of this song, was a farmer in
Berwiokahire ; but being a man of varied talent, he found time to cultivate besides the fine arts of poetry,
painting, and music At Berrywell, the residence of his uncle, Mr. Ainalie, he was introduced to Bums,
who^ with his usual rapid discrimination, thus writes of him in the Journal of his Border Tour : — " Mr.
Dudgeon, a poet at times — a worthy remarkable character — ^natural penetration — a great deal of information,
some genius, and extreme modesty." It is not known that any of his other songs ever appeared in print ;
the present one was brought into notice from having been sung on the stage. Mr. Dudgeon was bom in
1753, and died in 1813.

The air "Nian donn nan gabhar" is believed to be old, but first appeared in the Bev. Patrick Mac-
donald*ft Ck>llection of Highland Airs (1781). It has since been included in most of the larger collections of
Scottish songs, and it may be remarked as a singular circumstance in regard to a (Gaelic air, that all tlie
copies agree, having probably been drawn from the same source.

210

SCOTTISH SONQS.

CRAIGIE-BUEN-WOOD.

AKEASrOSD BT J. T. SUmBIXB.

Sweet fit's the ere od Craig • ie burn, And bijtbe a • waket the

row.

the flowers and spread - ing

CBAiaiE-BUBK-WOOD.

211 •

bcAT tlie wUdWrds sing • ing; Bat what a wea - ry wight can please, And

^ ^ -

i^^

• •< r H

care his

bo • som wring • ing!

3 ♦ * I T

Fain, thin would I my grieft impart,

Tet dare na ibr your anger;
But secret lore will break my heart.

If I conoeal it langer.

If then reftue to pity me,

If thoa ahalt lore anither,
"When yon green leares fhde frae the trce^

Aronnd my graye th^yHl wither.

*< CmATon-BUBV-wooD." Bums wrote his first rersion of this song to aid the eloquence of a BIr. GUlespie, who
Wts paying his addresses to Jean Lorimer, then residing at Craigie-bam-wood, near MofTat Neither the poet*8
ivse nor the lorer's language could prevail : the lady married an officer of the name of Whelpdale— lived with
Idm a Ibw month8^<iuitted him in consequence of great provocation — and afterwards took up her residence in
Dmnfries. The song was re-wxitten in 179l» for Mr. George Thomson's Collection, and the chorus, part of an old
ballad, was discarded. BIr. Stenhouse tells us, — " The air called * Craigie-bum-wood,' taken down from a country
girrs singings was considered by the late BJr. Stephen Clarke, as one of our finest Scottish tunes. At the Ibot oi
the manuscript of the music of this song (written for Johnson's Museum) is the following note, in the hand-wxiting
cf BIr. Clarke : — Then u no tued to mention the chorus, TK$ man that wmld attempt to ring a ekonu to tki$ beamti'
fid aitTf ehomld have hie throat eat to prevent him from doing it again! l** <* It is remarkable of this air," says Burns*
" thai it (its name) is the confine of that country where the greatest part of our lowland music, (so ihr as firom the
tiUe^ words, &0., we can localize it,) has been composed. From Craigie-bum, near Moff&t, until one reaches the
West Highlands, we have scarcely one slow air of any antiquity." — Reliquee.

Dr. Cuxrie infbrms us, that " Craigie-bum-wood is situated on the banks of the river Moffiit, and about three
miles distant flrom the village of that name, celebrated for its medicinal waters. The woods of Craigie-bum and of
Dnmerieff were at one time favourite haunts of Bums. It was there he met the * Lassie wi' the lint-white looks,'
and that he conceived some of his beautiftil lyrics.' " See Museum Illustrations, vol. iv. pp. 295, 298.

212

SCOTTISH SONOa

WHA'LL BE KING BUT CHARLIE?

AEEANOEO BT H. B. DIBDai.

The newi frae Moidart c«m' yestreen, Will toon gar* mo - nj fer - lie,' For tLipi o' war ha*e

J=^

Mj^^V'j

'I 1 ! i |

i ' — ^

J 1 j 1

P-

-i i^n s

^^l ijrttoij l

just come in, And land - ed Roj ol Char • lie! Come through the heather, A - round him gather, Ye're

^-UiJ^

a' the wel-com-er ear - Ij, A - round !iim cling wi' a' jour kin. For wha*ll be king but

^" J J. r. H ' ^ ■ ^ ^ '

s^^k

vua'll be kiko but CHABLIBT

213

.jP^" J.J J' l >' ; ^ J /;'j'j-i

ad lib.

Char - lie! Come thro' the heather, A - roand him gather. Come RonaId,come Donald, oome a' thegither, And

a tempo.

er^ ^ :'i4jj ;

r •] r

cro«-n Iiim right -fa', law • At' Idog, For whall be king bnt Char • list

The Highland clans wi' sword in hand,
Frae John o' Groats to Airly,

Ha'e to a man declared to stand
Or &' wi* Royal Charlie.
Come through the heather, &c.

The Lowlands a\ baith great an' sma',
VfV mony a lord an' laird, ha'e

Declared for Scotia's king an' law.
An' speir* ye wha but Charlie ?
Come through the heather, &o.

'Wonder

There's ne'er a lass in a* the land.
But TOWS baith late an' early,

To man she'll ne'er gi'e heart or hand,
Wha wadna fecht for Charlie.
Come through the heather, &o.

Then here's a health to Charlie's canae^
An' be't complete an' early,

His very name our heart's blood
To arms for Royal Charlie 1
Come through the heather, &o.

s Aik, inqidlraL

•* Wha'll bb KTsa BUT Cha&lib ?" This air was published by Captain Simon Fraser in his *< Airs and Melodies
peculiar to the Highlands of Scotland and the Isles ; Edinburgh, 1816." It is No. 186 of that work, the editor
of which giyes the following singularly curious Note upon it ^—

** No. 186. This is a melody common to Ireland, as well as to the ffighlands of Scotland,— but, haying been
down in this country since the 1745, as one of the incentiyes of rebellion ; if originally Irish, some of the troops
or partisans engaged for Charles firom that country might haye brought it oyer, — ^but the melody is simple and
beautifhl, assimilating itself yery much to the stile of either."

The author of the words has not been discoyered

We subjoin the following particulars of the memorable landing of Prince Charles Edward : — " On the 19th July
1745, Charles cast anchor in Lochnanuagh, a small arm of the sea, partly diyiding the countries of Moidort and
Arisoig. Charles come on shore upon the 25th ; when the Doutelle, haying landed her stores, again set sail

fbr France. He was accompanied by only seyen men,— the Marquis of Tullibardine ; Sir Thomas fihwidan, an
Irish gentleman who had been tutor to the Prince; Sir John Macdonold, an officer in the Spanish seryice; Francis
Strickland, on English gentleman ; Kelly, an English clergyman ; .£neas Macdonald, a banker in Paris, brother
to Einlochmoidart ; and one Buchanan, a messenger. He first set foot on Scottish ground at Borodole^ a turn
belonging to Clanranald, dose by the south shore of Lochnanuagh. Borodale is a wild piece of country, fbrming
a kind of mountainous tongue of land betwixt two bays. It was a place suitable, aboye all others, for the droam-
stances and designs of '<he Prince, being remote and inaccessible, and, moreoyer, the yery centre of that c ouni rj
where Charles's secret friends redded. It belongs to a tract of stem mountain land, prodigiously serrated by
testuaries, which lies immediately to the north, of the dibcmdU of the great Qlcn of Albyn, now occupied by tie
Caledonian Canal"— Cbambbbs' ffUtoty of the lUbettiou c/n45.

214

' SCOTTISH S0K68.

JOHNNIE COPE.

WORDS BT ADAM SKIBVIKO.

= 126 /_^i4*

A&BAXQBD BT VZKLAT DTO.

CovSpnuTO

MA Hon

TBOTPO FRISTO.

"»/

g^ Ljr^iii i ; ^

:^ ' I I -t — ' J. T~^ _L ' _[ I I J

1. ^pe sent a chal - lenge frse Dnnbar, (Saving) Char -lie, meet me

2. When Char - lie look'd the letter up - on, 6e drew his sword the

i r

IJ^

an je daur, And I *11 learn you the art o* war. If you 'U meet me in the
.. scab • bard from. Come, fol - low me, mj mer - ry men. And we '11 meet Johnnie Cope i* the

ffipt-- ■ ^ ' « ^ •— *■

It It -w

zi.

r d r

mor - ning.
mor - ning.

Hey ! John - nie Cope, are ye wank - in' yet ?
Hey 1 John - nie Cope, are yo wauk - in' yet ?

Or
Or

JOHNKIE COPE.

215

^t^^^^^m^m^m «^

^^*^»*%^««**^^**^^>»**^<i^^^^>»j^»^»^j^

ara yottT' dniou
ara your drama

beat - in' yet?
baat - in' yatf

If
If

ya ara wank - in'
ya ara wauk - in'

^te|

^
^

I trould wait 'Po gan»{ to the co:>U i* the mor • ning.
t^ Sk } ^ouW wait To gang to the coala i* the mor - ning.

f i Pf ' li' i'

mst

The doM fbr the flm fo«

•N /^

lortheltfi

r^n^gj

rJ a n

7#-*-

t=t

(BSf

J. J. -i

dim.

Kow, Johnnie, be m good as your word.

Come, let na try baith fire and aword.

And dinna flee like a frighted bird

That *a chaaed frae its neat i' the morning.— J7cy / etc

-When Johnnie Cope he heard of thia,

He thought it wadna be anuaa

To hft'e a hone in readineaa.

To flee awa' in the morning. — Hey! etc.

Fye now, Johnnie, get up an* rin.

The Highland bagpipea mak* a din ;

It 'a beat to aleep in a hale akin.

For 'twill be a bloidie morning. — Hey! etc.

When Johnnie Cope to Dnnbar eame.
They speir'd at him where *8 a' your men ?
The deil confound me gin' I ken.
For I left them a' in the morning. — Hey/ etc.

Now, Johnnie, troth ye were na blatt.
To come wi* the newa o' your ain defeat,
And leave your men in aic a atrait.
So early in the morning. — Hey! eU.

In faith, quo' Johnnie, f got aic flega

Wi* their clayinorea and filabega,

If I face them, deil break my lege.

So I wish you a' good morning. — Hey ! etc.

*' JoHXxiK Con." Thia aong waa written in 1745, aoon after the battle ol Preatonpani, and Sa oaaally
aacribed to Adam Skinring, a fanner who reaided at Garleton, <n the immediate neighbourhood of tha field.
He waa the father of Archibald Slurring, the aomewhat celebrated painter, and ia aaid to hare been a
Tery handaome man, with a ready wit and a good deal of humour. "Johnnie Cope ** haa been a general
faronrite in Scotland, and no aong probably haa ao many variationa. Aa the original giren in 8t<nhowae*s
lUuatrationa to Johnaon's Muauem haa quite aa much poetic merit aa the amended Taraioiit, it haa been
clioeeo for thia work. The air, in ita early form, had only one strain of eight bare, the aecond being merely
a florid rariation in the octave above. Ita age ia not known, but it appeara to have been aong to a
mUj aong, *' Fye ! to the eoala in the morning" a phriae whkk haa been retained ia iii anflomor, and

J ba mppoaed to allnda to the aztaaMva coal.fia!da of the diatriet wbare tha battle waa fongMb

214

' RCOTTISH SONGS.

JOHNNIE COPE.

WORDS BT ADAM SKIBVIKO.

= 126

A&BAXQBD BT VZKLAT DTO.

CovSpnuTO

MA NOH
TBOFPO rRBSTO.

m^ m^ i i * nu m^

^iiiJLm-a

Jiii 'ii i^

1. Cop e sent

2. When Char

a chal - lenge frae Dnnbar,
lie look'd the letter up - on.

'^11

ng) Char - lie, meet me
e drew his sword the

•^

!fe[t - p]

J.J'J i\H-^

an je daur, And I '11 learn you the art o* war, If you '11 meet me in the
,. scab • bard from. Come, fol - low me, mj mer • ry men. And we '11 meet Johnnie Cope i* the

Spt— ' . . . ^ . --+

^i-4-j^

z±

I* J r

mor - mng.
mor - ning.

Hey ! John - nie Cope, are ye wank - in* yet ?
Uey ! John - nie Cope, are yo wauk • in' yet ?

Or
Or

"C"

JOHNKIE COPE.

215

^k^«^»«««««» a^^a

ara yottT' dniou
ara your drama

beat - m* yet?
baat - in' yet!

If.
If

wank - in'
ara wauk - in'

^
^

-ZT

I trould wait I'o gang to the co^ i* the mor • nlng.
I would wait To gang to the coals i' the mor - ning.

Now, Johnnie, be as good as your word,

Come, let as try baith fire and sword.

And dinna flee like a frighted bird

That 's chased frae its neat i*the morning. — Hey/ etc

-When Johnnie Cope he heard of this,

He thought it wadna be amiss

To hft'e a horse in readiness.

To flee awa* in the morning. — ffey ! etc,

Fye now, Johnnie, get up an* rin,

The Highland bagpipes mak* a din ;

It 's best to sleep in a hale skin.

For 'twill be a bluidie morning.— fTcy/ etc.

When Johnnie Cope to Dunbar came.
They speir'd at him where 's a' your men ?
The deil confound me gin' I ken,
For I left them a' in the morning. — Hey! etc.

Now, Johnnie, 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. — Heyt etc

In faith, quo' Johnnie, 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 ! etc.

*' JoHXKiK Cope." This song was written in 1745, soon after the battle of Prestonpana, and is nsnally
ascribed to Adam Skinring, a farmer who resided at Garleton, in the immediate neighbourhood of the field.
He was the father of Archibald Skirving, the somewhat celebrated painter, and is said to have been a
very handsome man, with a ready wit and a good deal of humour. " Jo}mnie Cope " has been » general
favourite in Scotland, and no song probably has so many variations. As the original given in Stenhonse's
Illustrations to Johnson's Musuem has quite as much poetic merit as the amended versions, it hat been
chosen for this work. The air, in its early form, had only one strain of eight bars, the second being merely
a florid variation in the octave above. Its age is not known, but it appears to have been song to »
■illy song, " Fye I to the eoals in the morning,'* » phri— which hat been retained in iti sneoeMor, and
may be sapposed to allude to the exttnsiTt ooal-fieldt of the district where the battle wm fought.

216

SCOTTISH SOVQS.

WHA WADNA FIGHT FOR CHARLIE 1

ABmAKOVD BT H. ■. DIBDIH.

= 100

Allmrkro.

Whft wad - na fight for CharUet Wha wad - na draw the swordt Wha wad - na ap and ral - Ij

f*.r*

* -t

wTi i r^u

rt-g ■ Fi i^^^-Hi

foes re - peird, Think on glo - rious Brace and Wallace, Who the proad a • surpen qaeU'd.

WKA WADNA KIOHT FOB CHAKLIE ?

217

Wha wad • na flght for Char-Ue t Wha wad - na draw tha tword t Wha wad-na ap and nl - Ij

: i i ' ii

-€

f-t^ r ■ '^ ■*' ''- J

At the roj • al Prince'i word!

Rouse, ronae, ye kilted warriors 1

RoQse^ ye heroes of the north I
Rouse, and Join your chieftains' btoners—

Tis your Prince that leads yon forth 1
Shall we basely crouch to tyrants?

Shall we own a foreign sway ?
Shall a royal Stuart be banish'd,

While a stranger rulei the day?
Wha wadna fight» &c.

Sec the northern clans adTandng !

See Glengarry and Loohiel I
Bee the brandish'd broadswords glandng !-

Kghland hearts are true as steel !
Now our Prince has raised his banner,

Now triumphant is our cause^
Now the Scottish lion rallies —

Let us strike for Prince and laws.
Wha wadna fij^t, &c

«* Wba wadha noBT TOE CffABUs?" Jamcs Hogg giTes this song and air in the second leriee of his " Jaoofaite
Relics of Scotland," pp. 100, 101 ; Edinburgh, William Blackwood; London, Cadell and BaTlea. 1821. Hogg's
Note upon it, ibid^ p. 805, is as fbllows:— ** Song LIY. « Wha wadna fight fbr Oiarlie?' is likewise a Buehan
sonc^ sent me by Mr. John Wallace. The air has the same name; but in the south is called, ' Will y» go ami
marry, KaiuV** The air is eridently a strathspey. It is printed in Johnson's Museum, toL t., with the words,
** Will ye go and marry, Katie ?" which appear to haTS been recorered and sent to the publisher of that work
by Bums. In Cow's Second Collection of Strathspeys and Reels, it is called, •'Blarry Eetty."

Hogg does not say whether this lyric was sent to him as a real Jacobite war-song^ written to rouse the dans to
foUow their Prince into the field, or whether it is merely a modem imitation. Internal evidence would lead us to
the belief that its composition dates much nearer to 1846 than to 1745. To be an old soog^ it is too correct in
rhymes, too refined in langua;;e, and ft wants thai diaractifriiitiB of the Jacobite g i s a u nspaiinic abuse of ilia
House of HanoTar

220

SCOTTISH SOKGB.

^»*»^^#^»> #»^^»^»»<

CHARLIE IS MY DARLING.

AXBAVQSD BT Q. V. nwAitAM

= 76

AxDAsm.

1 il Jt I

.|^ j;^j;j'J tiii'\i mJ'J m jh j; ;; j; J' J :o l

CbariU is my dar-ling, My dar-ling, mj dar-ling; O CharUa ii my dar-ling, Tb«

•j5'

^'^^^^^^

young Che - t* - lier! J- *Twas

I k- J' 8 J'' |! C" '^

ne^^^ua^marc^Mng up the street,

i-\-f0^

tentUo.

"^-cres.

rrjnj

ear - ly in the year, When Char - lie cam* to onr toun, The

pipes play'd loud and clear, And a' the folk cam* ran • ning out To

fTTTE

eres.

i^i J i j

O OHABLIE IS MT DABLINQ.

221

f^ J- J^ J. A Ji

^^i ^'i n H

meet ^e Ch« ' ^ - Uerl ^ Ch*rUe it mydar-Ung, My dwr-ling, my dar-ling; O

Charlie ii my dar - ling, The young Che - va - Uerl

» f

The sncceeding Tcrses begin at the sign 'S-

Wi* Hieland bonneto on their heads,
And bright claymores and clear,

Thtj cam' to fight for Scotland's right
And the yonng Chevalier.

Charlie is my darling, etc

They Ve left their bonnie Hieland hills,
Their wives and baimies dear,

To draw the sword for Scotland's lord.
The young Chevalier.
Charlie is my darling, etc

Oh ! there was mony a beating heart,
And mony » hope and fear ;

And mony were the prayers put up
For the yonng Chevalier.
Chazlia is my darling, etc

" Ohabux is mt darliko." It has been the fate of this air to underso several odd transformations.
James Hogg, in the second volume of his Jacobite Belies, p. 92, eives what he says is the original air. It is
very different from that in Johnson's Museum (No. 428), "moaemized " by Mr. Stephen (Sarke, a friend
of Bums, and father of the late William Clarke, who succeeded him as organist of the Episcopal Chapel,
Canongate, Edinbur|g;h. Stephen Clarke was an Englishman, and seems to luive been a woruiy man, though
but a mediocre musician.

In their present form, both the air and the words of this enthusiastic Jacobite sons are very modem,
dating from the early part of the present century only. James Hogg, as mentioned at>ove, gives the old
air— -quaint and pretty, though less visorous thui the modem one— together with two sets of words, one
written by himself, and the original, which speaks more of love than of war. It ends with a stanza said to
have been frequently quoted by Sir Walter Scott, while travelling abroad in failing heal^ and thinUng
probably of the gray hills of his native land, —

"It 's up yon heathery mountain, and doun yon scroggy glen.
We dauma gang a-milking for Charlie and his men.

The sons adopted in the present volume appeared anonymously in the Scottish Minstrel (1821). It
was proba£ly written by one, or perhaps more, of the eoterie of ladies who edited the literary portion of
that work, and has much of the style of Lady Kaime, for whom it has been claimed by Dr. Charles
Rogers. Still, as it neither has the initials B. B., under which she usually wrote, nor yet S. M, which
seems to have been the signature used when the verses were the work of more than one hand!, there
appears to be a little uncertainty on the subject. One thing generally admitted is, that the song is the most
fiopulor hitherto written for the air.

222

SCOTTISH SONOS.

I WISH I WERE WHERE GOWDIE KINS.

▲BBA90KD BT T. M. IIUDZS.

MODSRATO.

|y— y

fz:3:

a^gi^

■* 1— sr

^=rEa

-1-p^-

:a~

frir ._^ rr.

>^->^-»^-^

wish I vera where Gowdie lins, Where Gowdie rinf, where Ctowdie rins, I wish I were where

'^tz:^--

fcii rb ^ ^ p

sg—'t— 1^

-*
p

-gi 1 g

^^^^^m

T^ tS^

K=K

Gowdie rins, At the back o' Ben - na - ehie.

1. Ance mair to hear the wild bird's sang, To

2. Oh mony a day in blithe spring time. Oh

^d^

^-f^-^

3=S:3

K=K

i^Ti^

wander birks and braes a - mang, Midst friends and fay'rites left sae lang At the back o' Bon-na-
mony a day in snmmer's prime, I 've wandering wiled a - wa' the time At the back o* Ben>na-

zfc

9 (-

-^^— — « «

3=r*:

■:Jv

I WISH I WERE WHERE OOWDIE RINS.

223

^^^^^^3

ehie.
chie.

I with I were where Gowdie rins. Where Gowdie rins, where Gow - die rizii, I

i* 1^ M g

^^ ^> Yj

wish I were where Gowdie rins, At the back o* Ben - na - chie.

Oh there wi' Jean, on ilka night,

When baith our hearts were young and light,

We Ve wandered, by the oool moonlight,

At the back o' Bennachie.

I wish I were where Gowdie riiis,

Where Gowdie rins, where Gowdie rina,

I wish I were where Gowdie rins.

At the back o' Bennachie.

Oh Fortune's flow*rs wi' thorns are rife,
And wealth is won wi' toil and strife,
Ae day gie me o' youthfu' life
At the back o' Bennachie.
Anoe mair, ance mair where Gowdie rins,
Where Gk>wdie rins, where Growdie rins,
Oh let me die where Crowdie rins.
At the back o' Bennachie.

" I WISH I WERE WHEBE GowDiE* RCTS." The Air is not Scottish, but seems to have become a faTourite
in the north about the middle of last century. It is given in a volume of slow airs and dances, published
in 1820 by William Christie, where it is called, "0 if I were where Gadie runs," or ** The Hessian's March."
On making application to Dean Christie, Fochabers, he has kindly sent the following information : — " I
have a copy of the air, sent to my father in 1815, by a gentleman fanner in Bnchaa. This fanner's father
heard it played in the Duke of Cumberland's army as he passed from Aberdeen to Culloden. The air shows
that it was composed for horns (bugle), and is a grand one for soldiers on the march. "

Several songs have been written to it, all beginning in nearly similar words. That given in the present
volume is said to be by a clergyman who desired to remain unknown. Another, also good, by John Imlah
— (B. 1799, D. 1846)— will be found in that excellent collection, Blackie's Book of Scottish Song, p. 183.

* The Gadie, Gsudie, or Qowdie, takes ita rite in the pariah of CUtt, and mnning throng LeaUe and Frevnay, faUs into the
Urie, in the puiah of Oyne. Bennachie or Bennochee— a hill in the neighbonrhood.

224

SCOTTISH SOKOS.

WORDS BT ^omr xmor (1741-1821).

THE BOATIE BOWS.

▲BRAVOXD BT J. T. SUBSBHS.

MODBEATO.

1. weel may the boat - ie row, And bet - ter maj sbe tpead ; And

2. Wben Jamie vow'd be would be mine, And wan frae me my neart,
8. Wben Sawnie, Jock, and Jan • e - tie, Are np and got • ten lear,^ Tliey'll

rr»

¥ r

-utk

gjgp ;^

weel may the boat • ie row. That wins the baime' bread,
muckle lignt • er Rrew my creel! He swore we'd never part,
help to gar the boat - ie row. And light - en a' our care.

The boat - ie rows, the
The boat • ie rows, the
The boat - ie rows, the

boat - ie rows, The boat - ie rows in • deed ; And happy be the lot of a' That
boat - ie rows. The boat - ie rows fa' weel ; And mucjue light - er is the lade When

boat - ie rows. The boat - ie rows fu' weel ; And lightsome be her heart that bears The

1 Edncation.

THE BOA.TIE ROWS.

225

>^ 'X/%/S^^^h^>^^^ ^ ^k^te ^^

wish the boat -le speed,
love bears np the creeL
mar - loin and the creel 1

I cuist my line in Lar - go bay. And fish - es I caught
My curtch^I put up - on my head. And dress'dmysel' fir
Lnd when wi' age we are worn down, And hir • plin' ronnd the

nine,

braw;

door.

There's three to boii, and three to fry. And three to bait the line.

I trow my heart was dowf < and wae. When Jam • ie eaed a - wa' :

They'll row to keep ns dry and warm As wa did them be - fore:

The boat - ie rows, the boat -le rows. The boat-ie rows in • deed; And hap-py be the
Bat weel may the boat • ie row. And luck - y be her part ; And lightsome be the
Then, weel may the boat - ie row, ^lat wins the bairns' bread ; And hap - py be the

lot of a' That wish the boat - ie speed,
lass - ie's care That yields an hon - est heart,
lot of a' That wish the boat - ie speed 1

1 A linen cap, tying ander the chin.

s Mdaneholy.

226

SCOTTISH SONGS

*^^^st^,^^^i

BIDE YE YET.

ALMASOED BT K. B. mBDXX.

bon-nia wee vi-fle to praiie and admin, A bon-nia wee yardia be - tide a wee^ni;Faro-

i.ij i j J^ l J .

i4.ULjL^^

weel to the bodiei that jammer and moom.Sae bide ye yet, and Ude ye yet, Ye lit • tie ken what may be-

1 X

BIDE TE TET.

227

tide me yet, Some bon - nie we bod^ie ma^ (k to my lot, And 111 aye beean-ty wi'

thinkin' o% vi' thinkin' o't, wi' thinkin' o't, 111 aye be canty wi' thinkin' o't.

^^m

r ■ flT i r^Jfi Ui

~nrr ifj

When I gang afield, and come hame at e'en,
111 get my wee wifie fa' neat and fa' clean.
And a bonnie wee baimie apon her knee,
That will cry papa or daddy to me.
Sae bide ye yet, &c

An' if there shoald happen ever to be
A difference atween my wee wifie on' me.
In hearty good hamoor, although she be teaa'd,
111 kiss her and clap her until she be pleas'd.
Sae bide ye yet, &c.

•* Bn>B YX T£T." The song first appeared in Herd's Collection (1776), and with its tane in Johnson's
Moseam (1787). Recently (1877), ander the name of March Tane, the air has been included in Hoffinann's
Selection from Dr. Petrie's Irish Airs. As there are no explanatory notes to that volume, it is not known
either when or where Dr. Petrie obtained it. He was so scrupulously exact, however, that we may be
sure he had what he believ^ to be satisfactory reasons for considering it to be an Irish tune ; but as we
have had not only this song, but an earlier one (17C9), sung to it for more than a century, the evidence
is T6iy strong in favour of the Scottish claim. The name given to it by I^. Petrie — March Tone — seems
to soggest that it may have been introduced into Irehmd by the band of a marching regiment.

The earlier song, **The Wayward Wife," which begins, "Alas, my son, you little know," was written by
Miss Jenny Graham, daughter of William Graham, &a, of Shaw, in Annandale. That which we £[ive hers
with the music takes a happier view of wedlock, ana was probably meant to be an answer to it. The
Author is not known.

228

SCOTTISH soiras.

LAST MAY A BEAW WOOER.

AEKAHOID BT T. M. UUDIM.

= 80

AUJIORXITO.

^ \

S=ls:

J' ■ ■'' J" J ■•' I

Lut Maj a brmw woo • er earn' down the lang glMi* And

:f=a

P '

C C "^ =F^^

LAST MAY A BRAW WOOER.

229

He spak' o' the darts o' my bonnie black e'en,
And Toir'd fbr mj lore he waa deein*.

I said he micht dee when he liked fbr Jean ;
The gnid forgi'e me for leein', for leein',
The guid forgi*e me for leein' I

A weel-8tockit mailln',' hlmsel' o't the laird,
And marriage aff-hand, was his proffer.

I nerer loot on that I kenn'd it or cared;
Bat thocht I mieht ha'e a wanr' offer, wanr offer,
But thocht I micht ha'e a wanr offer.

Bnt what do ye think, in a fbrtnidit or
The diel's in his taste to gang near her I —

lie up the Oateslack to my black cousin Bess—
Guess ye howy the Jand ! I could bear her, could

bear her,
Gness ye how, the jand I I oonld bear her 1

But a' the next week, as I fretted wi' care^

I gaed to the tryst o' Dalgamock;
And wha bnt my braw fickle wooer was there T

Wha glower'd' as if he'd seen a warlock, a
lock,

Wha glower'd as if he*d seen a warlock.

Out ower my left shonther I gi'ed him a blink,^
Lest neebors micht say I was sancy;

My wooer he caper'd as he'd been in drink,
And ▼ow'd that I was his dear lassie, dear laisi^
And Tow'd that I was his dear lassie.

I speir'd Ibr my consin, fti' couthie* and sweet.
Gin she had recorered her hearin' ?

And how my auld shoon fitted her shanchled* fbett
Gnde sauf ns i how he fell a-swearin', a-swearin^
Gode sauf us I how he fibSl arswearin'.

He begged for gndesake I I wad be his wifb,
Or else I wad kill him wi' sorrow;

Sae, e*en to presenre the puir body in life,
I think I maun wed him to-morrow, to-morrow,
I think I maun wed him to-morrow.

1 A vdl-flCockad ftnn.

t Wonau

• WboitaTML

4 smiliiig look.

• Kindly.

• Dlitocttd.

« Last Mat a bbaw woonu" Mr. Stenhouse says — ** This humorous song was written by Bums in 1787,
fbr the second Tolume of the Museum ; but Johnson, the publisher, who was a religious and well-meaning man,
appeared fkstidious about its insertion, as one or two expressions in it seemed somewhat irreverent. Bums after-
wards made sereral alterations upon the song, and sent it to Mr. George Thomson for his Collection, who reaifily
admitted it into his second Tolume, and the song soon became Tery popular. Johnson, howerer, did not consider
it at all improved by the 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 there*
fore published the song as originally written by Barns for his work. " (Museum, vL) We have for the most part
adopted the earlier version of the song, as it is the better of the two. Mr. George Thomson, in his Collection,
gives a reading of one line in the penultimate stanza which we do not follow — " And how A«r new ikoon fit her
auld shauchled feet" Johnson's reading is much better — *< And how »y auld ikoon fitted her shanohled Ibet"—
the phrase " auld shoon" being a sarcastic expression when applied to a discarded lover who pays his addresses
to another fiur one. Of the second edition of ^e song Mr. Stei^ouse says, justly — " These alterations, in general,
are certainly fkr firom being in the happiest style of Bums. Indeed he appears to have 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 toothach, so have not a word to spare.' " Mr. Stenhouse adds — " It only remains to be
observed that this song is adapted to the tune called, TU Quun oftks Loikiant, the name of a curious old balladt
which is produced in the sixth volume of the Museum, and inserted after the modem words by Bums." Set
\fnqwnm Hlustrations, vol. vi. pp. 4G0-4C3.

230

SCOTTISH SONGS.

DUNCAN GEAY.

AMRAXOKD BT J. T. SUREniB.

P = 72

Alueobero
COS Spieito.

//* /*

■^

Don - cmn Qray cam' here to woo,

Hm, ha, the

r J J 1 i^^Jzj ^

^f ' ?

-woo - ing o't; On blythe Tule oight, when we were fd',^

Hm, ha, the

woo - ing o'L

Mag - gie coost' her head fa'* heigh,* Looked a - sklent^ and

fi j J j r H H^

£=::

DUNCAN GBAl.

231

WOO- ing o*t.

^># f r

//'/i

^ 1 iril ^ 1j^-fi^=g

.Ld

Duncan fleech'd,'^ and Donean pray'd,

Ha, ha, the wooing o't,
Meg waa deaf as Ailsa Cnigfl^

Ha, ha, the wooing o't.
Duncan sigh'd baith oat and in,
OratK his een baith bleer'd» and blin'.^
Spak' o' lowpin'u o'er a linn,^

Ha, ha, the wooing o't

Cme and chance are bnt a tide^

Ha, ha, the wooing o't,
SUghted love is sair'' to bide,i«

Ha, ha, the wooing o't.
Shall I, like a fool, quo' he,
For a haughty hisxie" die T
She may gae to— France for me 1

Ha. ha, the wooing o't.

How it comes, let doctors tell*

Ha, ha, the wooing o't,
Meg grew sick as he grew weU*

Ha, ha, the wooing o't.
Something in her bosom wrings,
For relief a sigh she brings ;
And 0, her een, they spak' sio thinfi 1

Ha, ha, the wooing o't.

Duncan was a lad o' graces

Ha, ha, the wooing o't,
Maggie's was a piteous case^

Ha, ha, the wooing o't.
Duncan couldna be her death,
Swelling pity smoor'd'^ his wrath ;
Now they're crouse*^ and canty** baith.

Ha, ha, the wooing o't.

Iflp47. •Oart. •FulL « ISgh. •AdcuiotL •▼«y.

7 Itwad : mxaej, • Mftd* ; foioed. 9 At a ahy distaaee^ lo SoppQcatod HmUmIb^,

» A wimarlfabiy laiiga and lofty rock, riiiiig in the FIzth of Oljdi^ bolwm th« ooMts of AycdJn and Eintyre. " W^pL

isBUand. uBOnd. ^'Laaiiia^ ** A naUrfUl ; a pree^iea it Son ; painftaL

>*B«ar; tndnzvL >*A70iiaggiri. sosmoibend. >

'*DxrxQA3 Gbat." **It is generally reported, (says Mr. Stenhouse,) that this lively air was composed by
Duncan Qray, a carter or carman in Glasgow, about the beginning of last century, and that the tune was taken
down firom his whistling it two or three times to a musician in that dty. It is inserted both in Macgibbon and
Oswald's Collections." Their yersions, howeTer, differ considerably, — indeed in modem dmes erery editor seems
to adopt a yersion of his own, so there is really no present standard. The words given in this work are those
written by Bums in December 1792 for George Thomson.

232

SCOTTISH SOKO&

LASSIE Wr THE LINT-WHITE LOCKS.

AH, <* BOTHZmumOBUB' BAJIT.

mf e hen mareato.

I M Nl

fs=s=is

3^^

Lm - 8ie wi' the lint-white lockf, Bon - nie las - da, art - le« laaiie; Wilt thou wi' me tent the iloeka !

g H T \ 1

; ^ ;' ^ ;-Tj1

r ^ 1 N i

»"^

1 g 1 :

f=?=f

: 1 c 1 c 1 'I I

r 'g g

i^. >^'c, g rg; t

•weet like thee; O wilt thon share its jovs wi* met And say thouMt be my dear - ie, O !

^tT^-^-"^— r-t

i ' i ^ r=t4

X-^ N 1

n'l'KHHn

^=^

LASSIE Wr TUB LIITT-WHITE LOCKS.

233

^^^m

Lm - ri« wi' tb« lint-whiU looki; Bou -nia Ufiie, ait-lMi Unto; WUt tboa wi' m* Unt Um flocks!

)M M J^ 1 ^

n H n H ^

HI > T ^f ^^

— p— J i^

T^r

'■"^nnM i pE^ r^

; 1 g T j -^^

JNi ^nTj | 7l7-{ ^=p|

The sQoeceding rersM l>egin at the sign ;0:

And when the welcome simmer-shower
Has eheer'd Uk drooping little flower,
We*ll to the breathing woodbine bower
At snltry noon, my dearie, 0.
Lassie wi' the Unt-whito looks, &e.

When C jnthia li^ts, wi' sQTer raj,
The wearj shearer's hameward way ;
Thro' jellow waring fields well stray,
And talk o' lore, my dearie^ 0.
Lassie wi' the lint-whiU locki, Ac

And when the howling wintry blast
Disturbs my lassie's midnight rest ;
Enclasped to my fkithfu' breast,
m oomfort thee^ my dearie, 0.
Lassie wi' the lini-white locks, &c

"Lassxb wi' thb Lzn^wHiTB LOOKS." Dums, in a letter to George Thomson, September 1794, makes tlie
ftillowiag obsenrations : — " I am sensible that my taste in moaic most be inelegant and Tnlgar, because people ol
ondispoted and coltiTated taste can find no merit in my fhToorite tones. Still, becaose I am cheaply pleased, is
that any reason why I should deny myself that pleasure ? &Iany of our strathspeys, ancient and modem, giye
me most exquisite enjoyment, where you and other Judges would probably be showing disgust. For instance, I
am Just now maldng Terses for * Rothemurche's Rant,' an air which puts me in raptures ; and, in fliet, unleas I
be pleased with the tune, I nerer can make t ers es to it. Here I hare Clarke on my side, [Stephen Clarke^ an
Englishman,] who is a Judge that I will pit against any of yon. * Rothemurche,' * he says, * is an air both original
and beautiftil ;' and on his recommendation, I hare taken the first part of the tune for a chorus, and the fourth,
or last part, for the song. I am but two stanzas deep in the work, and possibly you may thinit, and Justly, that
the poetry is as little worth your attention as the music" The song that Bums here alluded to was " Lassie wi'
the lint-white locks," which he sent to Mr. Thomson in Norembcr 179l«

•Be

I00TTI8H SOVGfl.

THE LASS 0' GOWEIB.

n J. c. nrum.

(N" J r ^^j 1 I J ^ J -r-rc^:

THB LASS O' OOWSIE.

235

^^Mi^

U * U

BTin • ny boVr, Bat

Ka-tie wh the &ir - ettflow'rThat

e - rer bloom'd in

Bi||8=^

5 ^*

I praised her beanty load an' lang.
Then roond her waist my arms I flange
And said. My deaxie, will ye gang

To see the Carse o' Qowrie?
m tak' ye to my father's ha'.
In yon green field beside the shaw ;
111 mak* yon lady o' them a'.

The brawest wifb in Qowrie.

8aft kisses on her lips I laid.

The blash opon her cheeks soon spread.

She whisper'd modestly, and said.

Til gang wi' ye to Gowrie I
The auld folks soon ga'e their consent,
Syne for Mess John they qoickly sent,
Wha tyed them to their hurt's contenti

And now she's Lady Gowrie.

" Thx lass o' Gowbib." The air is that more commonly called ** Loch-Eroch Side," a fkyoarite modem Strath-
sp^, taken from the air of an old Scottish song and dancing tone, named, 'Tm o'er yoong to marry yet**
Loch Eroeh^ or Ericht, is a large lake in the north-west of Perthshire. The words here giren to this air are from
page 10 of a small pamphlet entitled, " One handred and fifty Songs," printed by Darid Halliday, Domfries, abont
1839. Halliday's version consists of three stanzas only, while some later yersions contain fire. Two of the stanzas
3f these later Torsions seem to as not only saperflaoas bat objectionable ; and therefore we haye adopted Halliday's
▼ersion, which contains also what we think a better reading of the first line of the second stanza. The song that
eridently appears to have suggested the later one was published by Brash and Reid of Glasgow, without date^ in
one of their penny numbers of a Collection entitled ** Poetry, Original and Selected." These numbers were after-
wards published in four Tolumes 18mo, and in the third Tolume we find, ** The gowd o' Gowrie ; a Scots song nerer
before published : tune — Dainty Daiie," and beginning : —

« When Katie was scarce out nineteen,
but she had twa coal-black een —
A bonnier lass ye couldna seen
In a' the Carse o' Gowrie."

It is beUered that these words were written by Mr. THlliam Reid, (of that firm of Brash and Reid,} the author
of seyeral popular Scottish songs. These words were afterwards published in Mr. Robert Chambers' edition of
"The Scottish Songs collected and illustrated," toL iL pp. 512, 513. The tune indicated by Mr. Chambers !•
«" Loch-Eroch Side."

236

SCOTTIKH tiOH08.

«^^^%^%^^M#^^». ^«

MODBEATO

OCH, HEYl JOHNNIE LAD.

AXKAHOBD BT J. T. ■ C RBI I I i B .

-La ! — Z. 1 I •>

i'^ J-. J< ^, ;< ^^

J i ;■■ i\ j ^

no M« kind's ye ■hoold ba'« been ; Ocb, bej I John • nie Ud, Ye

g=^

i M j

JHr-JH^

fcHS

na keep joor trytt yestreen.

ry? • ^^-Jv^sF^ ^

wait - ed lang be - tide the wood. See

^ 1 ^ •:

1 -^ i^ i^l

Jcis:

S=ic

2=4t

5— y-

wae and wea - ry a* my lane ;

___js 1^ !_

:>£:

^a;

^^3

Och,
_Nl.

heyl John - nie lad, Ye'ze

• N

?^==

s *—^

T T

OCH, HBTI JOHNNIE LAD.

237

d' J^j>. J^^'

^=t

BO M« kind's ye should ba'e been.

Ye cam' na, Johxmie, to the faold,

Ye cam' na to the trysting-tree ;
I trowed na lore would tarn sae cauld

And ye sae snne wad lightlie me.
I pu'd the rose, sae sweet and fine,

The fairest flower on a' the lea ;
Tho' fresh and fair, it withered syne,

E'en like the love ye promised me.

Ye said ye lo*ed but me alane,

Nor coold ye keep your fancy free ;
An' gin that I wonld be your ain,

The chains o' love wad lightsome be.
! gin ye had sincerely loved.

They lightsome aye had been to me ;
But sin' that ye ha'e faithless proved,

I'll strive to keep my heart a wee.

** Oh, hxt ! JoHNNiB ZJLD 1" The first stanza only is by Robert Tannahill ; as his second and third have
ceased to be song on account of their containing certain so-called "vulgarisms," other two, written by
Robert Allan of Ealbarohan, have been substituted. They were published in the Scottish Minstrel, iii.
1821. The subject seems to have been a favourite with our poets; in David Herd's Collection, 1776, we
find a song, "Heigh, how ! Johnnie lad ;" and in his Popular Ballads and Songs, 1806, Robert Jamieson
gives another, written by himself, which begins in the same way. The air is said to be in Bremner's Collec-
tion of Reels, under the name of "The Lasses of the Ferry." It bears considerable resemblance to a number
of tunes ; some of which we give below. See Notes to " Coming thro' the lye " and " Auld lang syne."

The Dttxs of Bucclsugh's Tunb.

Apollo's Banquet, 1690.

p^nrr

3:3=3:

The Miller's Wedddto. From Cnmming's Collection, 17801

rr-^g^

I've BEEN COXTBTIKO AT A LaSS.

^-i=^ Aj^3^

Johnson, Na 806.

1 vxe'd a Lad at Michaeucae ; or, oav tou labour lea? Johnson, No. 304.

i'iij , i ..Tj-j + jn;^ f^ ^

238

SCOTTISH SONOS.

> ^^^^^«rf%^«^»^%^k««^

= 72

MODBRATO.

COMIN' THRO' THE EYK

ABSAHOSD ST T M. HVDim.

■W ^f^-^

Gin* a bo - dy mMC a bo • dj oom-in' thro* the rj%

Wl^fT^'

fTff-f-j

rtttfn.

g : N J^

* OfUn nng ** graft"

COMIN' THBO' THB RYE-

239

a tempo.

IX- J*;', ji

oom - in' thro' the rye.

gtf^

t-4-^

Gin a body meet a body

Comin' frae the well,
Qin a body kiss a body,

Need a body tell r
Ska lassie has her laddie,

Ne'er a ane ha'e I ; ^
Bat a' the lads they snule on me

When oomin' thro' the rye.

Gin a body meet a body

Comin' frae the town.
Gin a body greet a body.

Need a body gloom ?
Ilka lassie has her laddie,

Nane they say ha'e I ;
Bat a' the lads they lo'e me weel.

And what the wanr am I ?

The following stanzas are very frequently song to this air ; they were written by Mr. Danlop, Collector of
Costoms, Port-Glasgow : —

Oh ! dinna ask me gin I lo'e thee ;

Troth, I danma tell :
Dinna ask me gin I lo'e ye ;

Ask it o' yoorsel*.
Oh ! dinna look sae sair at me.

For weel ye ken me ime ;
And, gin ye look sae sair at me,

I daoma look at yon.

lit

When ye gang to yon braw, braw town.

And bonnier lasses see,
0, dinna, Jamie, look at them.

For fear ye mind na me.
For I oonld never bide the lass

That ye'd lo'e mair than me ;
And 0, Fm snre, my heart would break.

Gin ye'd prove false to me.

s Etch ; •vexy.

"CoMor' THROUGH XHJB BTX." There is a considerable number of Scottish tunes known under diffisrent
names which have a strong family likeness. Perhape the earliest of these is published in Playford's
Apollo's Banquet, 1690, under the name of "The Duke of Buccleugh's Tune," which has a leading
characteristic of all the later airs. The chief of these are, (1.) " Fve been courting at a lass," No. 306.
(2.) *' Hey, how 1 Johnnie, lad," Na 357. (3.) " I fee'd a lad at Michaelmas," No. 394 ; aU in Johnson's
Museum, iv., 1792. From the first we have got a modified " Comin' thro' the rye ;" the second continues
to be known under its old name ; and the third, by the very slightest change, has become the modem
" Auld lang syne." (See Notes upon these airs.) In the following volume of the Museum (Not. 417» 418)
there are two more versions of the present air, the second being that now always sung. Each of these has
its own words ; that sent by Bums b^;inning, "Jenny's a' weet, puir body," has an old style about it,
and is probably an old song " brushed up " for Jolmson. Though not published till 1797, the year after
the poet^s deatii, the song must have been in Johnson's hands in 1794 ; for in February of that year Bums
writes, "I have now sent you forty-one sopgs for your fifth volume, and (}larke has some more if he have
not ccui them at the cocks, " It has been thought necessary to allude to this, for Mr. Wm. Chappell, whoee
knowledge of such matters is both extensive and accurate, has pointed out (Popular Music of the Olden
Time, 795) that in a (}hristmas pantomime, produced 1795, there is a song, " If a body meet a body going
to the fair," which he thinks may probably have been altered for the Museum into " Gin a body meet a
body comin' thro' the rye." But in the only letters which Bums wrote to Johnson after that date, he
alludes to his long silence, and to having neglected him and his work, without however sending either
poetry or music

Becently an opinion has been expressed that by " Bye " is meant a streamlet of that name in Ayrshire, —

very plansible, but quite at variance with aU known f^iots. The word was never either written or printed

with a capital letter till about 1867, when there was a newspaper controversy over it ; and Mr. Scott

Douglas has quoted a stanza written by Bums on a pane of glass at Mauchline, which ought to settle the

question completely^

'*Gin a body kiss a body oomin' through the grain.

Need a body gradge a body what's a body's ain?"

240

SCOTTISH 801104.

AULD LA.NG SYNK

ABSAHOZD BX J. T. SUmUBB.

z=z&e

MODEHATO.

be for - got. And ne - rer brought to mind! Should anld «o-qiuun-tanoe be for -got. And

lit

AULD LANG SYNE.

241

We twa hs'e run about the braes,

And pn*d the gowans^ fine,
But we're wander'd mony a weary tao%,

Sin' auld lang syne.

For auld lang syne^ &e.

We twa ha'e paidelt* in the bum,*
Frae morning 8un till dine; '

But seas between us braid ha'e roar'd.
Sin* auld lang syne.

For auld lang syne^ &c

And here's a hand my trusty tee,^
And gi'es a hand o' thine ;

And well take a richt-gnde-willie waught,*
For auld lang syne.

For auld lang syne, &o.

And surely yell be your pint-atonp^
And surely FIX be mine;

And well taJc' a cup o' kindnwa yet*
For auld lang syne.

For auld lang syne^ &c.

• Walkid Uckwmidi tad tannrdM, * Brook.

^Companioo.— IiiMiModltioaiUMwordii''fH«ad.** • ▲ dimaght wtth ri^ food viD.

** Auld lavo stms." ** Bums admitted to Johnson, that three of the stanzas of Lang-syne only were old; the
other two being written by himselfl These three stanzas relate to the evp, the pimt-tUmp, and a gtuU'-wiUU mmgkt;
those two introduced by Bums haye relation to the innocent amusements of youth, contrasted with the caret and
troubles of maturer age.** In introducing this song to Urs. Dunlop of Dunlop, the daughter of Sir Thomaa WaOaoe
of Craigie, and a descendant of the race of Elderslie, the poet says : — ** Is not the Scotdi phrase, ' auld lang syne«'
exceedingly expressire? There is an old song and tune (of this name) which hare often thrilled through my
souL . • • • li^t be the turf on the breast of the heaTen-inspired poet who composed this glorious fragment !
There is more of the fire of natire genius in it than in half-a-dozen of modem Baodumalians 1"

As Bums had mentioned that the old tune adapted to the song in Johnson's Museum was but wudioert
Idr. Thomson got the words arranged to the air, <* I fee'd a lad at ItOchaelmas,'' to which they are now always
sung. " Shield introduced it in his OTerture to the opera of Bosina, wxitten by Bfr. Brooks, and acted at Corent-
Chffden in 1788. It is the last motement of that orerture^ and in imitation of a Soottish bagpipe tune, in which
the oboe is substituted for the chcuUer, and the b<i$80on for the drone." The air bears so strong a resemblance
to *' Comin' thro' the rye," " Oh I hey, Johnnie lad," '* For the sake of somebody," as wril as to sereral danee
tunes known under Tarioua names, that it almost requires a natiTe to tell the one from the other. See the
Note to *<Ohl hey, Johnnie lad," where portions of seTeral of these tones are placed side by side for com-
parison.

In JohDMo's Museum the last stanxa stands second; George Thomson remoTedit to the end, and in this has

been followed by snbeequent editors. The fourth stana seems to make the best close; the fifth should imme*

diately precede it.

• O

242

SCOTTISH soiros.

^Ili^fc»ll^fc^^i^ps^»^^%^»<

THE WINTER IT IS PAST.

AEKAIIOSD BT J. C tUBESOnC

=il08

A5DAjm

Pastobalb.

And the tmall birds sing on ev'

z£

THE WIJfTBB IT IS PAST.

243

The rose upon the brier, bj the waters raxmiug clear,

May hare charms fbr the linnet or the bee ;
Their little loTes are blest, and their little hearts at rest*

But mj true lore is parted from me.

My loTe is like the sun, that in the sky does run

For oTer so constant and true ;
But his is like the moon, that wanders up and down.

And every month it is new.

All you that are in lore, and cannot it remove,

I pity the pains you endure ;
For experience makei me know, that your hearts are ftill of woe^

A woe that no mortal can cure.

" Thb winteu it is past." Oswald printed this plaintive little air in his Caledonian Pocket GompAaion,
Book viL, about 1765 (?). Until recently it waa believed to be a Scottish tune, but it now seems rather
doubtful whether it is not merely the Scottish form of an Irish air, of which Dr. Petrie has given the
original in his "Ancient Music of Ireland " (1855). If so, our yersion is a good specimen of the transforma-
tion v^ch usually takes place through traditional rendering. Both Torsions begin and end on the same
note ; but this, in the Irish form, is the fifth (dominant), in the Scottish, the first (key-note) of the scale ;
the phrases have a certain similarity, modified by the necessity of keeping within the usual compais of
the voice while yet changing the key. In order to facilitate comparison^ Br. Petrie't air is given below.
In Thompson's Country Dances, London,— date not now ascertainable, probably between 1765-85, — ^there is
a form of the tune which differs considerably from those here given, it is named, *'Bed, and all red," and
begins and ends on the key-note.

Another version, not differing greatly from that of Dr. Petrie, excepting that it has a seoond part^ has
been recovered by Dean <}hristie and inserted in his Traditional Ballad Airs, voL L The Dean has been so
fortunate as also to recover a misging stanza of the original ballad, which seems to prove that it was written
by the lady-love of a highwayman named Johnston, who rode (? robbed) on the Curragh of Eildare, and
whose career was cut short by the strong arm of the law about the middle of last century. Dr. Pctrie's
copy of the song contains seven stanzas, Dean Christie's eight ; the usual Scottish form, which wa give
in this work, has only four. It is nearly the same as that in Johnson's Museum, 1788, sent by Bums,
who, as Mr. W. Scott Douglas believes, wrote the second stanza, and selected the other three from the
common stall broadside.

VsBsiox FROM Dr. Pstrie's AscasT Music or Ireland.

^^^

^^ H^r^ g^ ^rrr^TTi^

^ ^£:^fake4 ^-grinrir-^-g ^

IsL

■% r"

id.

1=p:

^3^

244

SCOTTISH SONOS.

^rf^»»y^

^ ^^»^»>^»^ ^^^^^^»^»^»^»^«

WHISTLE, AN' I'LL COMB TO YOU, MY LAD.

AEKAIIOIO BT J. T.

P* = 76

ausosrto
Spuitoso.

Otm^^MM^^^WMMWW #MW» • «^^#M^»^^» m^SJSf*^*^^^^^^^^^^ ** iOOO

O whUtI«,Mi' ril come to jou, my Ud ; O whUUeyan' 111 oome to joa, my Ud; Tho^

fk • ther, an' mo • ther, an* a' ihould gae mad, O whla - tie, an' I'll oome to you, my lad.

PT^^t^^

Mf f, ^7 ^M

But wa - ri • ly tent when ye come to court me, And come na un - less the back-yett be

^3^

^^^^i

♦ >:.b i hj^

- r ^ kiT- r

±±

tiJH — r^

O VTHISTLE. AN* I'LL COMB TO TOU, UY LAU.

245

^^Vc~pT^

up thebaek-8tile,andlet naa bo-djiee. And oomo •• 70 wwe na 00m -in' to ma, And

fc=^

■N H

s > > I

come •• ye were na com - in' to me.

O whistle, an' 111 come to yon, my lad,
O whistle, an' Til come to you, my lad ;
The' father, an' mother, an' a' should gaa mad,
O whistle, an' Fll come to yon, my lad.
At kirk or at market, where'er ye meet me,
Gang^by me as tho' tiiat ye cared na a flie ;
Bat steal me a blink 0' your bonnie black e'e.
Yet look as ye were na lookin' at me,
Yet look OS ye were na lookin' at me.

whistle, an' 111 come to yon, my lad,
O whistle, an' FU come to yon, my lad ;
Tho' father, an' mother, an a' should gaa mad,
whistle, an' 111 come to yon, my lad.
Ay TOW an' protest that ye care na for me,
And whiles ye may lightiie my beanty a
Bat court nae anitiier, tho' jokin* ye be.
For fear that she wile your fancy frae me.
For fear that she wile your ta^mry^irmt me.

" WHISTLE, A>'' I'll cx>me to you." This air is very Irish in style, but Bums always contended that
thouffh he had sung it to many Irishmen, not one of them either claimed it or even knew it. Further,
he alleged that John Bruce, an excellent fiddle-player in Dumfries, was senerally believed to have composed
it. In his Reliques he says, "Bruce, who was an honest man, though a red-wud Highlander, constancy
clxumed it." Mr. Mayne, on the other hand, in his Notes to "The Siller Gun," says, " Altiioug^ Bruce
was an admirable performer (on the violin), he was never known as a composer of music." O'Keefe intro-
duced the air in his opera, "The Poor Soldier," in 1783, along with other popular melodies, the greater
portion of which are Insh ; still, as there are also three Scottish airs in the opera, this is not very conclusive
m regard to nationality. Bunting, in his latest collection of Irish music (1840), gives an air, as an example
of the omission of the fourth and seventh of the scale, which seems to suggest " O whistle, and I'll come to
you." Though not by any means identical with that air, yet it has sufficient similarity to wanmnt its
msertion below. In 1787 Bums sent the refrain and one stanza of his song to Johnson for insertion in tiie
Museum ; and in 1796 he added two stanzas, and altered the former one, for George lliomaon's work.

60 DE snr BEX TE SIN. ( What is that to him ?)

pMi-\^r^

^^^p^^^^s

^^p

246

SCOTTISH SONGS.

«k««^«^%^^^0^»^»%

AULD EOBIN GRAY.

■f=

Aim, * rm BBiDtoBOox obat."

AEMASQWD DT T. ILMUDX&

Pooo Aj>aoio,
0021 SKxroiiirro.

AULD BOBIN GRAY.

247

^^»^%^%^^^%^%^^»i

poeo ralL

Toung Jamie lo*ed me weel, and he sought me for his bride;

But saTing a crown, he had naething beside ;
To make that crown a poond, my Jamio gaed to sea —

And the crown and the pound were baith for me.

He hadna been gane a week bat onlj twa.

When mj fother brake his arm, and the cow was stown awa ;
Mj mither she foil sick, and my Jamie at the sea,

And auld Bobin Gray came a courting me.

My fother couldna work, and my mither oooldna spin ;

I toil'd day and night, but their bread I couldna win.
Auld Bob maintained them baith, and wi' tears in his e'e»

Said, ** Jeanie, for their sakes, marry me."

Mj heart it said nay — ^I look*d for Jamie back ;

But the wind it blew high, and the ship it was a wrack.
The ship it was a wrack, why didna Jeanie dee t

And why do I liTe to say, wae*s me t

My fother urged me sair, my mither didna speak.
But she looked in my foce till my heart was like to break.

So they gi*ed him my hand, though my heart was at the sea,
And auld Bobin Gray is gudeman to me.

I hadna been a wifo a week but only four.
When sitting sae moumftilly [ae night] at the door,

1 saw my Jamie's wraith, for I couldna think it he,
TXH he said, Fm come back for to marry thee I

sair did we greet, and meikle did we say»

We took but ae kiss, and we tore ourselres away ;

1 wish I were dead, but Fm no like to dee ;

OhI why do I liTe to say, wae's me?

I gang like a ghaist and I carena to spin,
I darena think o' Jamie, for that wad be a sin ;

But FU do my best a gude wifo to be^
For auld Bobin Gray is [a] kind [man] ^^ ™^

"AoLD BoBiB GxAT." (Old air, "The bridegroom grat.") The air appears to be old, and is tha same to
whioh the aooompanying rerses were written by Lady Anne Lindsij. See following Note.

From its tonality it is probably of the seventeenth century, but must have come down traditionally^ for il
is not known to have appeared anywhere preriously to the ballad. The old words are entirely loat.

248

SCOTTISH SONGS.

AULD ROBIN GRAY.

oouts An, GOMFOiiD ST BIT. MX. uonnt.

AXmAJEOBD R «. M.

raU.

sav • ing a crown, ho had naething else be • aide. To make that crown a pound.

Ja • mie gaed to sea. And the crvwn and the pound were baith tor me. He

j — i — t—JF^-i ^'p,

I roUa vc:e. I I

r^3

~^m i i /^i

AULD ROBIN GRAY.

249

gJ3Ji

cre».

hftdnabeengane a week bat on-ly twm, When my ik - ther brmko hit arm, and oar

cow was stown a - wa' ; Mj mitber iho fell tick.

and Ja-mie at the lea. And

auid Bo -bin Gray came a court - ing me.

The rest of the verses are given with the old air.

" AuLD Robin Gbat." The story of the song has been so often told, that it is unnecessaiy to do more
than idlade to a few facts connected with it.

An old air, called '*The bridegroom grat/' was a favourite with Lady Anne Lindsay of Balcarras, but,
like many other old airs, it had words which were not fitted for good society. Liudy Anne therefore deter-
mined to write a new song for it, the present excellent ballad being the reralt. This was in 1770 or 1771,
the authoress being then only in her twentieth year. The old air was, however, not long without a rival,
and a successful one. The Kev. William Leeves, rector of Wrington, Somersetshire, having obtained a
copy of the new words, a few months apparently after they were written, at once set them to music. His
air IS now that known to every one as '* Auld Robin Gray ;'* the Scottish tune already given, — a simple old
thing of one strain, — being now almost unknown. If sung at all, it is so to the first stsnza, and as an intro-
duction to the song.

In 1824 Lady Ainne Barnard (n^ Lindsay) communicated to Sir Walter Scott a revised copy of "Auld
Robin Gray," with two continuations of the ballad. These Sir Walter published the following year in a
thin quarto dedicated to the Bannatyne Club ; but the alterations are not considered to be improvements,
and tae continuations are much inferior to the original ballad.

250

SCOTTISH S0NQ8.

^rii ^1^

>^^^m^^l»^m'^

NANCY. WILT THOU GO WITH MEt

AMMAMOWD BT ■. B. VtamtlL

AjiDAScn
Ajcoboso.

j^j i j J r^

flaont - ing town t Can ti • I«nt gltnt bare ohanni for thee, The low - Ij cot and

rus • set gown t No long • er drest in silk • en iheen, No long - er deck*d with

/i.JA ~ 1 ! r

lit —

jew - els rare,

grry^ h:^^ ^r J . jj jt J1

Say, canst thou quit each court • It scene, Where thou wert 'Sir - est

!=q=t

5=:^^

'■:tr-'-r-~-^-*r^^K—.S:

• • •

• d I — :;i= "^^

iH^^

KANCY, WILT THOU GO WITH ME?

251

of the flair t Say, canst thou quit each court - \j scene. Where thou wert flair • est

^-'Cij!^:-^

vert fairest. Where

Naney ! when thoa'rt fhr away.

Wilt thou not cast a wish behind ?
Say, canst then flice the scorching ray.

Nor shrink before the wintry wind ?
can that soft and gentle mien

Extremes of hardship learn to bear
Nor, sad, regret each courtly scene.

Where thou wert fbirest of the fair?

Nancy ! canst thou lore so tme,
Through perils keen with me to go;

Or when thy swain mishap shall rue.
To share with him the pang of woe?

Say, should disease or pain befiU,
Wilt thou assume the nurse*s care;

Nor, wistfbl, those gay scenes recal,
Where thou wert fidrest of the fiur ?

And when at last thy lore shall die.

Wilt thou receire his parting breath;
Wilt thou repress each struggling sigh.

And cheer with smiles the bed of death?
And wilt thou o*er bis breathless clay

Strew flowers, and drop the tender tear;
Nor then regret those scenes so gay,

Where thou wert fhirest of the fiiir ?

"0 Nawct, wilt thou 00 WITH si«?" These words, by Thomas Percy, Bishop of Dromore, were set to rninio
by Thomas Carter, an Irish musician, and sung at Vauxhall by Mr. Vernon, in 1773. We hare inserted this Ttry
popular song for the purpose of proclaiming that it belongs to England, though a sb'ghtly Scotified Tersion of ifc
has been repeatedly published as a Scottish song. Those who prefer singing the latter, can easily make the alter-
atirms fbr themselTe5.

252

SCOTTISH SONGS.

• ^»»*m»m»^^^^^^m^mrm^'m^^^9^^i'^^9^^^^*^^^^^» ^^0%

< — — II a ■ » «

WITHIN A MILE OP EDINBURGH.

AKEAKGSD BT FIVLAT DCS.

f^W

MOLTO

MoDnuTO
B QaAnoto.

E - din • ba • rgh town. In th«

^1=^

grass was (10^*0, And each shepherd woo*d bis dear.

^-^iXiXrp

tiiia

— » N N

=U=3=*=a:

V 1 r

VITHIV ▲ UILB OF EDIKBUBOH.

253

^^-^

■#— -**

£i±

Bon - nie Joeki«, blythe and gmy,

Kiit'd young Jenny mak-ing hay; The

tf f> J^ N

^=j^

N '^L ^

=i^^^

^=P:

laa - lioblothM, and frowning cried, "Na,

it winna

p espressivo.

^J:J7:^:J:jJ:h^^

fc:

eanna, eanna, winna, winna, mannna buckle to.''

H^if j; i-^-4-5-4 -E-^

Toong Jockie was a wag that ncTer wad wed,

Thoogh lang he had followed the lass;
Contented she eam*d and eat her brown bread.
And merrily tnm'd up the grass.
Bonnie Jockie, blythe and fVee,
Won her heart right merrily :
Tet still she blosh'd, and frowning cried, "Na, na,

it winna do ;
I canna, canna, winna, winna, mannna bnckle to."

But when he Tow'd he wad make her his bride^

Though his flocks and herds were not ftw.
She gi*ed him her hand and a kiss beside,
And Tow'd she'd fbr erer be tme.
Bonnie Jockie, blythe and fr^
Won her heart right merrily :
At kirk she no more frowning cried. <* Na, na, it

winna do;
I canna, canna, winna, winna, maunna budde to.'

** Within a mile of EDUfBuncn." In Plajford's first Tolume of "Wit and Mirth,** 1698, there appears an old
Anglo-Scottish song, entitled, *' Twas within a fVirlong of Edinborough town," supposed to be by Thomas D*TJrfey.
The air, in G minor, evidently English, also appears in the latter portion of the orijitud Tolume of the Leyden MS.,
in ordinary notation, not in tabtature ; and is there named, " Two furlongs from Edinburgh town." See D'Urfey's
Pills, L 326, Beprint, 1719. The wordfl her^ given are only a modem though improTed Torsion of the old Ttrses,
adapted to an air composed by Mr. James Hook, a very popular and prolific composer of his day. He was bora
at Norwich in 1746, and died about thirty years ago, leaving two sons, the Bev. Dr. Hook, preboidary of Winehester,
and Theodore Edward Hook, the latter a man of most versatile talents — an impntitatcr* in mnsio and poctz^
^a clever noveUrt and journalist Theodore Hook died in ISll. aged 53.

2S4

SCOTTISH 80K0S.

WHERE ABE THE JOYS I HAVE MET IN THE MORNING 1

AXB, ** lAW TB KT ITATHSK T"

AUUKGID BT 7DILAT 919.

= 64

Lmrcry
xoxTeofpo.

r ^ r I

Whore are the Jojt I haTe met in the mom • ing, That danced to the

lark's ear • ly long I

Where ia the peace that a •

P-5-J^

<5=JS=

A — I-

wait • ed my wan - during At

7 '• O ■" ;■ I

eye • ning, the wild woods a •

WU£RE ARE THE JOYS?

255

v:/

The last stanza may be omitted.

No more a-winding the coarse of yon rirer,
And marking sweet flow'rets so &ir ;

No more I trace the light footsteps of pleasure,
Bat sorrow and sad sighing care.

Is it that sommer's forsaken oar Tallie8»

And grim sari j winter is near ?
No, no ; the bees hamming roond the gay roses,

Proclaim it the pride of the year.

Fain woald I hide what I fear to discoTer,
Tet long, long too well hare I known

All that has caaaed this wreck in my bosom.
Is Jenny, fiiir Jenny, alone.

[Time cannot aid me, my grie& are immorta]«

Nor hope dare a comfort bestow ;
Come then, enamoar'd, and fond of my angaish.

Enjoyment 111 seek in my woe.]

" Wesbi abb thb jots I BAVB MET Of THB M0B2IIN0 T" The air, ** Saw ye my fiither ?" does not appear in any
rery early masical pablication. The old words first appeared in Herd's Collection^ 1769. In a letter written in
September 1798, to Mr. George Thomson, Boms expresses himself thos : — ** * Saw ye my flither ' is one of my
greatest fi&yoarites. The erening before last, I wandered oat, and began a tender song, in what I think is its
native style. I mast premise that the old way, and the way to give most effect, is to haye no starting-note^ as the
fiddlers call it, bat to barst at once into the pathos. Erery country girl sings, ' Saw ye my fhther,' " &c.

We hare adopted this song of Bams' in the present work, and subjoin the old Terses for those who may prefSer
them.

Saw ye my fkther, or saw ye my mither.

Or saw ye my true Ioto John ?
I saw nae your fiither, I saw nae your mither,

But I saw your true love John.

It's now ten at night, an* the stars ^'e nae light,

An' the bells they ring ding-dang.
He's met wi' some delay that causes him to stay,

But he will be here ere lang.

The surly auld carle did naething but snarl.

An' Johnny's face it grew red,
Tet thd' he often sigh'd, he ne'er a word replied,

TOl a' were asleep in bed.

Then up Johnny rose, an' to the door he goes.

An' gently tirl'd at the pin.
The lassie takin' tent, unto the door she went.

An' she open'd an' lat him in.

An' are ye come at last I an' do I hold you &st !

An' is my Johnny true !
I have nae time to tell, but sae lang's I like myie^

Sae lang sail I like you.

Flee up, flee up, my bonnie grey cock.

An' craw when it is day;
An' your neck shall be like the bonnie beaten ffiHA,

An' your wings of the silTer grqr.

The cock proTed iUse, an' untrue he was,

For he crew an hour owre soon :
The lassie thocht it day when she sent her 1oy« awEy,

An' it was but a blink o' the moon.

The air is altogether English in character, and eTen a part of the old words seems to baTe been altered from
an EngUah original

SC0TTI3U SOHOS.

I LO'E NA A LADDIE BUT ANE.

I lo'e ma a laddie but ane.

257

apiaeere

tnie, And I pUgfat-ed my tioth yw - men.

Let ithen brag weel o' their gear.*

Their land, and their lordly degree;
I oarena for onght bat my dear.

For he's ilka* thing lordly to mt.
ffis words are aae sugar'd, aae sweet!

His sense drires ilk fear fBX awa' t ,
I listen, poor fool! and I greet ;

Tet how sweet are the tears as they &' I

"Dear lassie,'* he cries, wi* a jeer,

"Ne'er heed what the aiild anes will say ;
Thoagh we're little to brag o' — ne'er foar ;

What's gowd to a heart that is wae?
Oar laird has baith honoars and wealth,

Yet see how he's dwining* wi* care ;
Now we, thoagh we're naething bat health,

Are eantie and leal erermair.

"0 Menie! the heart that is tme.

Has something mair costly than gear;
nk e'en it has naething to roe.

Ilk mom it has naething to fear.
Te warldUngs, gae hoard op yoor storey

And tremble for ftar ought ye tynt,*
Guard yoor treasores wi' lock, bar, and door.

True lore is the goardlan o' mine."

He ends wi* a kiss and a smil*—

Wae's me, can I tak' it amiss !
My laddie's impraotised in goile,

He*s free aye to daat' and to kiss I
Te lasses wha lo'e to torment

Toor wooers wi' foose scorn and strlfo.
Play yoor pranks — ^I ha'e gi'en my conaent,

ibid this night I am Jamie's for lift.

iBongbL

* A diort oloftk.

*BicbM; foodn

4Xv«]r.

* Pioiag ft«i^.

•LOML

** I xo'b na a LAilDin BUT An." The first stanza of this song, as well as a second which is here omitted, are
said, on the aathority of Bums, to hare been written by the Rer. Mr. Clonie of Borthwick. In RitBon's Collec-
tion the song is directed to be song to the tone^ " Happy Dick Dawson.** The four supplementary stanzas
beginning, " Let'others brag weel o' thdr gear," were composed by Hector Maeneill.

The air has been claimed alike by England, Scotland, and Ireland; the probability howerer seems to be,
that it is an old English dance tone, and that the Scottish rersion, with the long note in the 2d and 6th bars, is
an early form of it. (See Aird's Collection, Glasgow, 178i.) This is a peculiarity common to many of the old
jigs. The receired rersion of the air, known as '* Mj lodging is on the cold ground," may be prettier, but it is
more artificial and more modem in style. Was it perhaps altered into its present form when, as Mr. Chappell
informs us, Giordani introduced it as a Larghetto in one of his harpsichord concertos (1776-82) ? Moore
admitted the air into his Irish Melodies, set to the words, " Beliere me, if all those endearing young charms;"
but Banting, a higher aathority on the subject, entirely disclaimed all knowledge of it as an Irish air, for it
was not played either by the harpers who assembled at Belflist in 1792, or by any of those whom he afterwards
sought out in rarious parts of the country.

258

SCOTTISH SONGS.

I MET FOUR CHAPS YON BIRKS AMANG.

JmiT's BAWBl

f»

AMMAMQWD BT J. T. fUEESKB.

= 88

MOOISATO.

^ j^ <W-j /_ ^^ ^S-^

met faor chapt yon biria ftmang» Wi' hiDg • ing lugs^ and fk - cet Ung : I fpitf*d* tA nee « hoar

J J:>^

Baul-dy Strang, Wha*s they I leet Quo' be. Ilk cream-faoed paw - ky chiel,' Tbocht

n^t

4H i' n ^ I r r c

J^t-T-7'. ^>;;. J5 | ,v J'f^ p j'pn

be was can • ning as the deil, And here they cam' a - wa' to steal

I UBT FOUS CHAPS TOS BIBES AUAN(*.

259

I ff .<!- i J-

Jen - ny'i iMbw • bee.^

The first, a Captain to hia trade,

Wi' skull ni-lined, but back weel-clad,

March'd roond the bam, and by the shed.

And pappit' on his knee :
Quo' he, "My goddess, nymph, and qneen,
Tonr beauty's dazzled baith my eeL I**
But den a beauty he had seen

But — Jenny's bawbee.

A Lawyer n^t, wi' blatherin* gab,*
Wha speeches wore like ony wab.
In ilk ane's com aye took a dab,

And a' for a fee.
Accounts he owed through a' the ton]i»
And tradesmen's touches nae mair ooold drown,
But now he thocht to dout his goun

"Wi* Jenny's bawbee.

A Norland Laird neist trotted up,

VfV bawsand* naig and siller whup.

Cried, ''There's my beast, lad, hand the grnp^

Or tie 't till % tree*
What's gowd to met— Fto walth o' Ian' I
Bestow on ane o' worth your ban' !" —
He thocht to pay what he was awm

YfV Jenny's bawbee.

Drest up Just like the knaTe o' dubs,
A THno came neist, (but life has rubs,)
Foul were the roads, and fti' the dubs,*

And jaupit* a' was he.
He danced up, squinting through a glasSy
And grinn'd, <*r ftith, a bonnie lass I"
He thought to win, wi' flront o' brass,

Jenny's bawbee.

She bade the Laird gae kame his wi^
The Sodger no to strut sae big,
The Lawyer no to be a prig.

The fbol, he cried, ''Teheel
Ikenn'd that I could nerer fldll"
Bat she preen'di* the disholout to hia tail.
And soused him wi' the water-pail.

And kept her bawbee.

QSien Johnnie cam', a lad o' sense.
Although he had na mony pence;
And took young Jenny to the spenesb^

Wi' her to eraoki* a wee.
Now Johnnie was a clerer chiel.
And here his suit he press'd sae weel^
Tliat Jenny's heart grew salt as jeel.

And she birled^ her bawbee.

< BtbbUag toogotL

*8l7ftDoir.

7 Having * whit* qwl on its taatml,
'* TlieiiiiMrapaitiiMnlof AooontiyhoaML **Todita

UtanDjr— « IiAlf-paooj.
■PoddlM; poolft
*tOoBHBt«d(odien: toUil,

* Popped ; Aopptd.

•lao te tea np^

*' Jesrit's BAWBn." This air has long been a fiiTonxite dandng tune; but it appears also to ha^e been earlj
adapted to words. A firagment of the old song is giTen by Herd, in his CdOeetion of 1776 : its merits are not
great; but eren had they been greater, it must still haye been supplanted by the humorous Terses which we giro
aboTe. These were written by the late Sir Alexander Boswell, Bart, and were published by him anonymously
in 1808. He afterwards presented them to Mr. George Thomson for his Collection of Scottish Melodies. Allan
Cunningham, in his Songs of Scotland, 18259 glTes Sir Alexander's Terses with an additional stansa, (the last,)
which did not appear in the earlier oopies ; whether it was an after-thou^t of the author himsdC or was added
by another, is uncertain. Sir Alexander Boswell was the eldest son of Dr. Johnson's biographer, and was bom in
1775; he died 27th March 1822. He was distinguished as an amiable and spirited country gentleman, and also
as a literary antiquary of considerable erudition. Perhaps his taste in the latter capacity was greatly fbstered
by the possession of an excellent collection of old manuscripts and books, gathered together by his ancestors^ and
wen known under the title of the " Auchinleck Libraiy." From the stores of this collection. Sir Walter Scott pulK
lished, in 1804, the romance of " Sir Tristrem," which is beliered to be the earliest specimen extant of poetry by a
Scotsman. Its author, Thomas of Eroeldoune, called the Ehymer, flourished in the thirteenth century tie*
Chambers' Dictkmary of Eminent Scotsmen.

260

SCOTTISH SOVOS.

GET UP AND BAR THE DOOR.

ABBAVOBD VT T. K. MVDUL

= 76

Alubgbetto
Bghebzoso*

p=^-

1" — ^

ri J'. J' ^'- ^'^ I

pan, O !

The wind blewcauld frae

GBT UP AND BAR THE OOOB.

261

our gadcwife, ** Get

up and bar the door, O!'

' My hand is in m j husswyftldp,

Gudeman, as ye may see^ !
An it should na be barred this hundred year,

It's no be barr'd for me, 1"

They made a paction 'tween them twa,
They made it firm and sure, 1

Whaerer spak the foremost word
Should rise and bar the door, !

Then by there came twa gentlemen.

At twelve o'clock at night, !
And they could neither see house nor ha'.

Nor coal nor candle light» 1

Now, whether is this a rich man's house, *

Or whether is it a poor, !
But nerer a word wad ane o* them speak.

For barring o' the door, 1

And first they ate the white puddings
And then they ate the black, !

1 Houaehold aflhizB ; houie vitahip.

Tho' muckle* thought the gudewifb to htrtel',
Tet ne'er a word she spak', !

Then said the ane unto the other—

'* Here, man, tak' ye my knife^ 1

Do ye tak' aff the auld man's beard.

And 111 kiss the gudewife, 01"

*'But there's nae water in the houses
And what shall we do then, Ot**

** What ails >e at the puddin' broo*
That boils into the pan, ! *

up then started our gudeman.
And an angry man was he, !
"Will ye kiss my wife before my een,
Axul scaud me wi' pudding bree, OT*

Then up and started our gudewift,
Qied three skips on the floor, 0!
"Gudeman, ye're spoken the foremost word
Get up and bar the door, 1**

• Modi.

* JniM or KNipk

** Gkt cp and bar thb noon." "This exceedingly humorous Scottish ballad was recorered by old David Herd,
and inserted in his Collection, toI. iL p. 159, anno 1776. It appears to be an amplification of the fine old song
called * Johnie Blunt,' which will be found in the fourth Tolume of the Museum, p. 876, song 866. It is a curious
circumstance that this ballad ftimished Prince Hoare with the incidents of his principal scene in his musical entcfw
cainment of ' No Song no Supper,' acted at Drury-lane, London, 1790, (the music by Storaoe,) and sfaice, at all the
theatres of the United Kingdom, with great success. It still continues a fiiTourite on the acting list Mr. Hbare
wtis also indebted to another old Scottish ballad for sereral other material inddents in the same pieces name^,
*The Freirs of Berwick,' written by Dunbar prior to the year 1668, as it is inserted in the Banna^yne Blamuo^
in the Library of the Facul^ of [AdTocates] Edinburgh, of that date^ and which AUan Bamaay afterward!
modemiseiL in a poem called 'The Monk and the Bliller's Wife.'" See Museum Dlnstntiooi^ toL flL p. 2S^

262

SCOTTISH SONGS.

AND ARE YE SURE THE NEWS IS TRUEt

AOL, '■XBSU'S VAI £DOK ABOUT TBI mOUO,'

AMRAXOED BT J. T. tumsm.

AVEMAXO.

p ;■. ji ;■ J' I c ' ^ ^

f ' .^' -I' J' I ; - A ^

iMwi ii troelAnd are je nre hei wmII Is tbit a time to think o'warkt Y«

f ' Tr ' TT^ii^ ' i^i'

J^^

^s^

AND ABB TB SUBE THE NBWS IS TB1TB t

263

For there*! nae lack a - boat the b(m8e,There*iiiM lack at a'; There*! lit -tie plea- him

^^R

^^m

And g;i'6 to me mj bigonet,*

My biahops' satizi gown.
For I maan tell the bailie's wift

That Colin'8 come to town.
My turkey alipperg maun gae on»

My hoM 0* pearl blue;
lis a' to please my ain gudeman,

For he's baith leal and trae.
For there's nae look, &a

Rise op and mak' a dean fireside;

Pat on the mockle pot;
Gi'e little Kate her button gown.

And Jock his Sonday coat :
And makf their shoon as black as slaes^

Their hose as white as snaw;
Its a' to plaase my ain gademan.

For he's been lang awa'.
For there's nae look, &o.

There's twa &t hens upon the baak,

They're ftd this month and mair;
Mok* haste and thraw their necks i^izt>

That Colin weel may fhre ;
And spread the table neat and dean,

Oar' ilka thing look braw;
For wha can tell how Colin fiired,

When he was fhr awa*.

For there's nae lock, &o.

•AliatncAp^orcoiL tlUkai

8ae trae his heart» sae smooth hii speech,

His breath like caller air;
His Tery foot has masic in't»

As he comes op the stair.
And wiU I see his fhce again?

And will I hear him speak?
rm downright dixxy wi' the thoo^it —

In troth, I'm like to greet*
For there's nae lack, &c

The canld blasts o* the winter wind.

That thirled throagh my hearty
They're a' blawn by, I ha'e him saft^

Till death well nerer part :
Bat what puts parting in my head?

Itmay be Ikr awa';
The present moment is our ain.

The ndst we nerer saw.
For there's nae lock, &c.

Since Colin's wed, I'm wed ooolenty

I ha'e nae mair to craTe;
Coald I bat liTe to mak' him blest,

Fm blest aboon the la^e :*
And will I see his fhce again?

And will I hear him speak?
rm downright disiy wi' the thoo^it —

In troth, rm like to greet
For there's nae lack, &c.

« To ibtd tMOk

'*Thebb*s nas luck about thb housb." The air is a modernised Tersioii of "Up, and wanr them a*,
Willie." In D'Urfey's Pills (voL ▼. 58, 1719, Beprint) there is a tone which bears a striking resemblance
to the chorns part of the melody. There has been much disputation regarding the authorship of the song ;
opinions are divided between William Julins ^ckle,'a native of Lang^lm, well known as the translator of
the Lusiad, and Jean Adams, a teadier of a day-eohool at Crawfocd's-dyke, near Qreenook.

264

SCOTTISH SOVOS.

LEEZIB LINDSAY.

AUUOIOID BT J. T. SDRKSNI.

= 84

Amdaxtm
Amobom.

f jjjM ■■ 'I ' "^7^

JiJ ^-^

/i^l:.-S

^1^= ^

?s=tS

5=3

?N=t

I dim.

"Wm je gang to tha Ule- lands, Lee - zie

S=?2

g=H^

K=|S:

I r

^1^

Lind - say t Will ye gang to the Hie - lands

met

Will ye

LEEZIE LINDSAT.

265

** To gang to the Hiclands wi' you. Sir,
Wad bring the aaut tear to mj e'e,
At leaTing the green glens and woodlands,
And streams o' mj ain countrie."

" Oh, ni shew 70a the red-deer roaming,
On mountains where waves the tall pine ;
And, fhr as the bound of the red-deer,
Tlk moorland and mountain is mine.

** A thousand claymores I can muster,
nk blade and its bearer the same ;
And when round their Chieftain they rally,
The gallant Argyle is my name.**

There's dancing and joy in the Hielands,
There's piping and gladness and glee,

For Argyle has brought hame Leezie Lindsay
His bride and his darling to be I

«Leezib Lindsat." The old air, probably JSghland, was sent by Bums to Johnson, together with the first
four lines of the song. Bums intended to send more Terses, bat nerer did. The other Terses here given were
written by Mr. Robert Gilfillan. The greater part of the old ballad of "LizU LituUay" was sent by Professor
Scott of Aberdeen to Robert Jamieson, Esq., who published the firagment in the second volume of his *< Popular
Ballads and Songs," 1806, pp. 149-163. Bums evidently had the first stanza of the old ballad in view, thou^ he
changed the fourth line — "And dine on fresh cruds and green whey?" Another version of the story, in
thirty-five stanzas, is inserted in Chambers's Scottish Ballads, 1827. There the wooer does not at first disolose
his rank, but carries his bride home to a miserable shelling, and only declares himself after she has expressed
her willingness to live with him anywhere. It is evidently compiled from several copies in di£ferent measures,
which must therefore have been sung to different tunes.

In 1821 Robert Allan of Ealbarchan wrote a coDtinuation of Burns's single stanza for his fKend B. A.
Smith ; and as there are two versions of the tune, which differ very considerably, wrote a second song on the
same subject Both are in the Scottish Minstrel, IL 100-1. The air which we have given in the text is
the more popular in most parts of Scotland ; but as the other, which is indeed the older of the two, is often
sung, we subjoin it, with Robert Allan's second song.

Will ye gang to the Hielands, Leezie Lindsay ? Will ye gang to the Hie - lands wi'

K=fS

me! Will ye gang to the Hielands, Leezie Lindsay! My pride and my darling to

To gang to the Hielands wi' you, Sir,
I dinna ken how that may be.

For I ken na the road I am gaeing;
Nor ken I the lad I'm gaon wi' !

Oh Leezie, lass, ye maun ken little.
If sae be ye dinna ken me ;

For 1 am Lord Ronald MaoDonald,
A chieftain 0' high degree.

be?

(Oh, if ye're the laird of MacDonald,
A great ane I ken ye maun be ;

But how can a chieftain sae mighty
Think 0' a puir lassie like me!)

She has gotten a gown o' green satin.
She has kilted it up to the knee.

And she's aff wi' Lord Ronald MaoDonald,
His bride and his darling to be.

266

SCOTTISH SOKGS.

MY LOVE'S IN GERMANY.

W0BD8 BT HXCTO& KAOmULL.

▲BSAHOXD BT T. M. MUDIB.

P=:72

MODBRATO.

^m.

"(tr i j. j'j

T) ^^ CTt9m ^^^—

ing for roy - al - ty; He may ne'er his Jean - ie see; Send him hame, send himhame;Hemay

g^f r f ■

J-4

HY love's in GBBUANT.

267

l ^^'^'J'.J'n 5i^

■zx.

ne'er hie Jean - ie lee ; Send him hame.

He's brare as brare can be;

Send him hame, send him hame ;
He's braTe as brave can be,

Send him hame.
He's brare as brave can be,
He wad rather &' than flee ;
Bnt his life is dear to me ;

Send him hame, send him hame ;
Oh I his life is dear to me^

Send him hame.

Onr fkes are ten to three;

Send him hame, send him hame ,
Our &es are ten to three,

Send him hame.
Our fi^s are ten to three,
He maon either &' or flee.
In the cause o' loyalty ;

Send him hame, send him hame ;
In the cause o' loyal^,

dend him hame.

Toor love ne'er learnt to flee.

Bonny dame, winsome dame ;
Tour love ne'er learnt to flee^

Winsome dame.
Your love ne'er learnt to flee^
Bat he fell in Germanie,
Fighting brave for loyalty,

Monmfti' dame, monmAi' dame ;
Fighting brave fbr loyalty,

Moomfii' dame.

He* 11 ne'er come o'er the sea ;

Willie's slain, Tmiie's slain ;
Hell ne'er come o'er the sea,

Willie's gane!
Hell ne'er come o'er the sea,
To his love and ain comitrie ;
This warld*s nae mair for me,

Willie's gane, Willie's gane ;
This warld's nae mair fbr me^

Willie's gane I

" Mt love's vs. 6eb3£ant." The air is not to be found in any of cor older collections, and probably oame
under the notice of the poet. Hector Macneill, in his early sea-faring dajrs, when it was sung to a well-
known ballad on the pirate Paul Jones. Three-quarters of a century before this we find an English se»
song, written on Admiral Benbow, " Gome all you sailors bold, lend an ear, lend an ear," the air of which
bears sufficient resemblance to justify one in thinking that it gave rise to the present tune, probably through
the unintentional variation of an untrained singer imperfectly catching up by ear what be supposed to be
the correct melody. The rhythm of both these songs is peculiar, and ta at least as old as tiie sixteenth
century, for in the Complaynt of Scotland (1549) a song is mentioned as sung by the shepherds, " My love
is lyand seik, send him joye, send him Joye ;" again, in the following century, the same peculiarity is found
in a black letter ballad on the Kestoration. (See Euing Collection, No. 309, Glasgow University.) It is
called, "The loyal subject's joye," and begins, "Ye loyal subjects all, sing for joye, sing for joye." The
name of the tune is " Sound a charge," which is possibly the refrain of a cavalier song of the previous reign.
There is unfortunately no document extant that would serve to show any connection between these old
songs and the present air, but the measure of all is the same, and they would sing exactly to what we now
call " My love's in Germanie." We subjoin the English tune.

Admibal Benbow (Died 1703)—" Coms all ye sailobs bold."

268

SCOTTISH SOHOS.

COME UNDEE MY PLAIDIK

An, *< JOBXaiB MHUUh"

AB&AHOSD BT T. M. MUUB.

s69

AllXOBBTTO.

*'-^im 5 5

!■ 1 r ;

Come under my plaidto, the night'igann to fk'; Come in tna the eauld blast, the

t p t u u-S

COUB ONDEB UY PLAIDIB.

269

p f C J ^' ^- i>

£=fcl=M=f

«ii - der my pUi - die, uid lit down be - side me, There'i room in't, dear Ue - lie, be -

•6ae 'wa wi' jour plaidle ! auld Donald, gae 'wa;
I fear na the canld blast, the drift, nor the snaw !
Gae 'wa wi' your plaidie I 111 no sit beside ye ;
Te micht be my gatcher I * aold Donald, gae wa*.
Tm gann to meet Johnnie — ^he's yonng, and he's bonnie.
He's been at Meg's bridal, ta* trig* and fh' braw !
Kane dances sae lichUj, sae gracefU', or tichtly,
His cheek's like the new rose, his brow's like the snaw I

Dear Marion, let that flee stick fhst to the wa';
Yonr Jock's bnt a gowk,' and has naething ava;
The haill o' his pack he has now on his back;
He's thret^, and I am but three score and twa.
Be frank now and kindly — FU bosk ^ je aye finely.
To kirk or to market therell few gang sae braw ;
A bien honse to bide in. a chaise for to ride in.
And flunkies * to 'tend ye as aft as ye ca*.

I Qnmdfiuher.

iFooL

4DrHi

• Limy tarranta.

"Come ttitdkr ht plaidie." This is another production of Hector Macneill, the writer of "Mary of
Castlecary," and many other soncs, which have deservedly been very popular. The air, a dance tune, of
which there are several versions, nas been named after its supposed composer, John Macgill, a musician of
Girvan in Ayrshire. It is, however, also claimed as belonnng to Ireland ; and Moore has miide use of it in
his Irish Melodies in a rather extraordinary fashion. He has joined the first half of it as a second part to
the first part of the old Shakespearixui tune, "Green sleeves," calling the combination "The basket of
oysters.*

See Appendix for the rest of MacneiU's song.

270

«i«»«%«*^^^^^^««^«^^k«%««

SCOTTISH SOKOa.

MY BOT, TAMMY.

ASEAHGXD BT J. T. SUBIZIZaL

S*=t:

J' J' f. ■ «'^ TTTTp I c ' fi r/fi [j

been by bum and flo w* - r y bne, Bleadow green, and mountain grey, Couitin' o* this young thing.

UT BOT. TAUHY.

271

Joft oome frma her mam • mj,

An' whar* gat ye that jonng thing,

My boy, Tammy?
I gat her down in yonder howe^
Smiling on a broomy knowe.
Herding ae wee lamb an' ewe^

For her pair mammy.

What said ye to the bonnie bairn.

My boy, Tammy ?
i praised her een, sae loTely blue.
Her dimpled cheek an' cherry mou' ;-
An' pree'd it aft, as ye may trow I —

She said, she'd tell her mammy.

I held her to my beatin' heart,
My yonng, my smilin' lammie .

I ha'e a honse, it cost me dear,

Tve walth o' plenishin' an' gear ;

Te'se get it a', wer't ten times mair.
Gin ye will leare yonr mammy.

The smile gaed aff her bonnie fiice—

I Tnannna leare my mammy.
She's gi'en me meat, she's gi'en me daes,
She's been my comfort a' my days : —
My fkther's death brought monie waes 1—
I canna leare my mammy.

KTell tak' her hame, an' mak' her fiun»
My ain kind-hearted lammie.

We*ll gi'e her meat, well gi'e her claes,

Well be her comfort a' her days.

The wee thing gi'es her hand, an' says-
There ! gang an' ask my mammy.

Has she been to the kirk wi' thee,

My boy. Tammy ?
She has been to the kirk wi' me,
An' the tear was in her e'e ;
For 1 she's but a yonng thing,

Jnst come frae her mammy.

''Mt bot, Tamxt." ** This fine baUad, beginnings * Whar* hae ye been a' day, my hoj, Tammy f was written
by Hector f^mimm]}^ Esq. It first appeared in a Magazine, printed at Edinburgh in 1791, entitled 'The Bee,'
which was oonduoted by his friend Dr. James Anderson. The melody to which the words are adapted is Tery
aadeot^ and uncommosly pretty." See Museum Illustrations, toL tL p. 440. Mr. Stenhouse here says, that
the melody is ** Tery ancient" If so, the Editor may remark, that there is no evidence of its antiquity in its
present form. It is rather surprising that Mr. Stenhouse, who bestowed so many years on the subject of Scottish
melodJCT, should not hare perceiTed that the air of " My boy. Tammy," is a modem transformation of the tune
called ** Muirland THllie," to which last, BIr. Stenhouse refers in a Note on No. 869 of Museum, as appearing in
Thomson's Orpheus Caledonius, in 1725, and in Mrs. Crockat's MS. Collection, written in 1709, and in his posses-
sion. If any good musician will examine the melodic structure of ** Muirland Willie," and compare it with that
of '< My boy. Tammy," he will be conyinced that the latter is deriTed firom the former, by a process of transfor-
mation not uncommon in popular melodies ; i. «. by changing the time, and altering some of the notes, &o.
'Ihere is besides an air in two4burth time, (No. 601 ik Museum,) which seems clearly to hare been a dance-tune,
also owing its origin to " Muirland T^llie," at least in the first strain. In the second bar of Johnson's set of
" Muirland T^Uie," the sixth of the scale is minor in ascending. The sixth of the scale is also minor throu^out
Napier's set of *< My boy, Tanuny," published in 1792, arranged by Haydn. It must be obserred tliat the sets
cf ** Muirland 'VHllie" giren by Craig, MKSibbon, and Johnson, are not the same, note fi>r note ; but the prin-
c^al melodic features are identicaL Hector Biacneill, being a singer as well as a poet, was no doubt well
acquainted with " Muirland Willie," and possibly also with the air to which Bums wrote ^'lij Peggy's fluie^" in
both of which he would find leading hints for the air to his excellent words. Although the present air does not
appear in any collection until after Macneill's Terses were written, something like it may haTe been sung to a
sflly old song, of which the fi}llowing lines are a specimen :—

** Is she fit to soop the house, my boy, Tammy *
She's just as fit to soop the house, as the cat to catch a mouse^
And yet slie's but s young tinng^ new oome frae her mammy "

272

SCOTTISH SOKOS.

»^^^^^^^N^»^»*%^»»*w

■ ^>^l»%^> A^« ^^^^^^<

DINNA THINK, BONNIE LASSIE.

"^OLUails'tSXSL.

»»

ABMAMQMD BT J. X. SUmBIVl.

s=96

▲XIMATO.

O dln-na thiok, bon-nie Us - lie, Tm gtnn tolMT« yoa;

^^=3./>^;jv^'ii^^'i-s

^^^E^^E^^

r±

^|z JV.UJLjUhi ^ L^I ^tS J^ . ^ .^ ^

I'm gann to leave yon ; 111 tak' a (tick in - to my hand, and come a • gain an' see joa.

i^-Oia:^

■zr

J J J

-« C ©

O DINKA THINK. BOKNIK LASSIE.

273

Far^ tlMgatt jeWe to guig;» dark's Um night ab'm • ria; Far^tbagau jtha*e to goaf*

N _^ s ;

V^i^^^H

-=—r^.

stay atbame,U'alau at night, an' dinaa gang an' loav* mo.

=rrf

rrt:^

It*t but a night an* half a day that HI leoTo my deario;
But a night an* half a day that 111 leaTo mj deario;
But a night an* half a daj that Fll leaTO my dearie;
When the tun gaea west the loch 1*11 come again an* set yoo.

Wavea al« rising o*cr the sea, winds blaw loud and ftar me;
Waves are rising o*cr the sea, winds blaw loud and ibar me ;
While the waTes an' winds do roar. I am wae and dreary ;
Ab* gin ye lo'e me as ye my, ye winna gang and leate mo.

dinna think, bonnie
Dinna think, bonnie
Dinna think, bonnie
For let the warM gae

« lassie, Fm gaua to leare you;
lassie, Fm gaun to leave you ;
lassie, Tm gaun to leave you ;

w, Tm gaun to leave you ;
it will, 1*11 come again an'

see yon.

"0 DCOTA THCTK, BOXNIB LASaXB." This SOOg

His works ; as he probably became aware that a
^rerioosly appeared.

was writtan by Hector Macneill, bat was not included ia
on a similar sabjeet, by Miss Susannah Blamire, had

274

SCOTTISH dONOti.

' ^^^^^^^^^ ^»^>^^^»^»j» a^^W^^

JN THE GARB OP OLD GAX7L.

ABKff X I) BT T. M. IRMB.

= 100

llAxrroso.

In the garb of old Ghuil, with the fire of old Rome, From the heath-coTered monntaiiit ot

!FbT7 i I iii fl ^^

niJjJTJrh-j f f r

Soo - tU we come; Where the Ro • mans en - dea - Tour'dour ooan • try to gain. But oar

J' I LI) nil I III

cnS:

EZi

r'r r r

an - ces - tort foaght, and they fought not in Tain. Such our lore of li - her - ty, oar

IK THE OABB OT OLD OAUU

27S

ooqh - try, Mid ourUwt, That like our an - emton of old, w« tUnd by fraodoni'i oanio ; Well

d^irU-k^ ^ J.3 JI

f^ j \ < r - ^ ^ J J ' i>

bravely fight, like heroes bright, for honour and eppleme, And de - fy the French, with all their arte, to

al - teronrlawi.

No effeminate onstoms our sinews nnbraoe^
No luxurious tables enerrate onr race;
Oar lond-sonnding pipe bears the true martial strain.
So do we the old Scottish Talonr retain.
Such onr lore, &c

As a storm in the ocean when Boreas blows.
So are we enraged when we rush on onr foes;
We sons of the mountains, tremendous as rooks,
Dash the force of our foes with our thundering strokes.
Such our lore, &c.

** br THB OABB or OLD Gaul." Mr. Stenhouse, in his note on No. 210 of Johnson's Museum, sajs that this song
was oompoeed by the late Sir Harry Erskine of Torry, Baronet, and that it was printed in Herd's Collection, 1769
and 1776. Mr. Darid Laing corrects this by stating that ''the writer of this song was lieutenant-General Sir
Henry Erskine, Baronet, but not of Tony, as erroneously stated at p. 202. He was the second son of Sir John
Erskine of AItb, and succeeded to the buroAetcy on the death of his elder brother. He was Depnty-Quartermafter-
General, and succeeded his uncle, the Hon. General St Clair, in the command of the Royal Soots, in 1762. He
was long a distinguished member of the House of Conmions. He died at Tork, when on his way to London, 0th of
August 1765," &c. Mr. Laing also states that the song was preriously printed in " The Lark," 1766. See Museum
Illustrations, toL iii. p. 298. We give here the three most tolerable stanzas of this Tery trashy song, which are
AS much as any one will care to sing. The air was composed by (General John Reld, who bequeathed upwards
of £70,000 to establish a Chair of Musio in the Unirernty of Edinburgh.

276

SCOTTISH SOHOS.

FOR THE SAKE 0' SOMEBODY.

AKmillOlD BT J. T. fUmiliSB.

= 108

JTOV

Tbopfo.

^',/':'Jj'..fc:. ^

^■M=

hMfft is fair, I danr - da tell, My heart ii nir for lome - bo • dy ; I could wake a

J ^-'li

kB^

win • ter nigbt. For the take o' some • bo • dy.

Oh - hon, for eome - bo - dy !

■ .'^ J l^ js, I J .-^^^r' f ^Y ^

pocorctU..

conid range the world a - round,

j T^TT-r-^

coKa roce. fz

j;3f^i=p

FOB THB 8AEB O' SOMSBODT.

277

a tempo

For the

some - bo - dy!

>'H^^ i j r r r ij r j'

Ye powers that smile on Tirtnous loTe^

sweetly smile on somebody!
Frae ilka danger keep him free^
And send me safe my somebody
Oh-hon, for somebody!
Oh hey, for somebody I
I wad do«>what wad I not ? —
For the sake o' somebody.

** Fob THB SAKE o' soxEBODT." In this work we ha^e not adopted the set of the air giren by Johnson In his
Mnsexmi, bnt the long-recdTed and established popnlar set of the air. The superiority of the latter is sufficient to
justify this. When and by whom this modem air was composed is not Tery clear. It first appeared in ihe
fourth part of Urbani's Collection of Scottish Songs (1801?). It has too much of the national style to have
been the composition of Urban! himself^ but he has at least the merit of haTing recovered and adapted to
Bums's words a much better tune than that given by Johnson. Urbani was, perhaps, a little too fond of grace
notes and florid passages, yet one cannot peruse his volumes without feelhig assured, as he states in his
preface, that " Having been struck with the elegant simplicity of the original Scottish melodies, he applied
himself for several years in attending to the manner of the best Scottish singers, . . . and had thus acquired
the true national taste. His sets of the melodies were procured from ladies and gentlemen well acquainted
with the musical taste of their country."

Having now shown that Rizzio's name as a composer was not heard of for 160 years after his death, we shall
now notice a fbw instances in which high merit is claimed for him as a meuniist. Geminiani, in bis " Treatise on
good taste in the art of Music/' London, 1749, has the following strange passage : — ** Two composers of music have
appeared in the world, who. In their different kinds of melody, have raised my admiration; namely, David Bizzio,
and Gio. Baptista Lull! : of these, which stands highest is none of my business to pronounce; but when I consider
that Rizzio was foremost in point of time, that till Uien melody was entirely rude and barbarous, and that he found
means to dvilize and Inspire it with all the gallantry of the Scottish nation, I am inclinable to give him the pre-
ference." It is unnecessary for us to answer what we have already shown to be a fiction of recent origin. We
shall merely place in opposition an extract from Dr. Campbell's Philosophical Survey oTthe South of Ireland : —
« That this music, or any one single Scottish air, was invented or composed by the unfortunate Riszio, is onlj
noticed here as an absurd foble, which having no support, merits no reflitation." Gendniani's assertion, that ** till
the time of Bizzio melody was entirely rude and barbarous," is signally reftited by many ancient popular airs of
France^ Italy, and Germany. We may particularly refer to the airs, Nos. 14 and 16, of the Plates given in G. F
Graham's ** Essay on Musical Composition," Edinburgh, 1888. One of these, a most gracefbl French air of the
16th century, we give below; the other is a free and elegant German melody of 1425.

I> I M j I |.7F^.mJ_tj f fj. J jj] I .\ J hah i

See No. 14 of Pbtcs of iSssay on Musical Composition.

278

SCOTTISH BOKGS.

FOE A' THAT. AN' A' THAT.

AmBAyOlD BT J. T. tUEBm.

¥=^

J' I rs e J' J'f, ; Mfj^

It there, for ho - nett po - f<er • tj, That haogt hia heed, en'

rZT- c c:,-^-^ \f fi i' J

I ^ I

■ 'rr n

that, Our toili ob - scare, en' a' that. The

FOR a' that, an' a' that.

279

^*^-? i t ^ ^p

rank

is bnt the gui - hm- stamp; Tha man's the gowd, for a'

that.

The first line ought to be snug thus : —

r=ri g j'' -' f g ^

Is there, for ho • nest po - rer • ty, &e.

What tho* on hamelj fhre we dine,

Wear hodden* grey,* an' a' that f
Gi'e fools their silks, an* knaTes their wine ;

A man's a man, for a' that ;
For a' that, an' a' that,

Their tinsel show, an' a' that.
The honest man, tho' e'er sae puir,

Is king 0* men, for a' that

Ye see yon birkie,* ca'd a lord,

Wha stmts, an' stares, an' a' that ;
Tho' hundreds worship at his word,

He's bnt a cnif;* for a' that.
For a' that, an' a' that,

His ribbon, star, an' a' that.
The man of independent mind.

He looks an' laughs at a' that.

i GloCh used by tbe pcuantiy, irtiieh has the natiml ebloar of the wooL
* T^ ; attempl ; Tenture. See Appendix.

A king can mak' a belted knight,

A marquis, duke, an' a' that ;
But an honest man's abune hia might^

Gude fkith, he mannna fa'* that I
For a' that, an' a' that.

Their dignities, an' a' that,
The pith o' sense, the 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 an' worth o'er a' the earth.

May bear the gree,* an' a' that •
For a' that, an' a' that,

It's comin' yet, for a' that.
That man to man, the warld o'er.

Shall brothers be, for a' that

t A young f eQow.

s A ilmpletoD ; a fooL
loperioritj.

" Fob a' that, ar* a* that." We hare no information regarding the authorship of the air. Bums wrote two
songs to it ; one for the Museum, in 1789, beginning " Tho' women's minds, like winter winds ;" and the other
m 1794. The latter is the song we hare adopted. Mr. Stenhouse speaks of this song as follows : — '* In 1794,
Bums wrote the fbUowing capital Terses to the same air, which were handed about in manuscript a considerabls
time before they appeared in print. They unfortunately came out at a period when political disputes ran Tery
high, and his enemies did not fkil to interpret erery sentence of them to his pr^udice. That he was the tealous
firiend of rational and constitutional flreedom, will not be denied ; bat that he entertained principles hostile to the
safety of the State, no honest man that knew him will erer yenture to niaintain. In fkct, what happened to
Bums, has happened to most men of genius. During times of public commotion, there are always to be found
Tile and dastardly scoundrels, who, to render themselres fkrourites with those in power, and push their own
selfish Tiews of interest and ambition, are erer ready to calumniate the characters, and misrepresent the motirea
and actions of their neighbours, howerer good, innocent, or meritorious." See Museum Illustrations, toL iiL
pp. 284, 285. In other editions, the melody begins with two semiquarers ; fbr these we hare substituted a quATert
as more manly and decided, and therefore better suited to the character of the words ; and as the accentuation of
the first line of the song requires a slight alteration of the melodj, we have giTen the proper notation for it at tiit
end of the air.

280

SCOTTISH SONGS.

THE BRAES 0' GLENIFFER.

AKRjUrOKD BT ▲. a 1LICKZ2IZZB.

aold castle tarrets are ooTer'd wi' snaw ; How changed frae the time when I met wi' my loV • er, A
ilk thing around ne was bonnie and braw ; Now nae • thing is heurd bat the wind whistUng drearie, And

tr—j^ rri. iH-» * 4-- '-'

^^aa^g^Eg^^

mang the broom bushes by Stanley green shaw.
naething is seen but the wide>spreading snaw.

±±:

dim.

2. The
4. The

ealando.

' wild flow'ra o* sim • mer were spread a' sae bon - nie, The ma • vis sanff sweet frae the
trees are a' bare, and the birds mute and dow - ie. They shake the cauld drift frae their

:^^4-;^-^^

BI^=

THE BRAES O QLENIFFER.

281

green birk - en tree ; Bat &r, far a - we' they ba'e ta*en mj dear John - nie. And

wings as thej flee ; And diii^ out their plaints, seeming wae for mj John • nie ; 'Tis

now it is winter wi* nature and me.
wint-er wi* them and 'tis winter wi' me.

ritard. JJp

It ^ "^^ ^^^ "^ *^ jjp

Ton canld sleety clond skifib alang the bleak mountain.
And shakes the dark firs on the stey rocky brae.

While down the deep glen brawls the snaw-flooded fountain,
That murmur'd sae sweet to my laddie and me.

It 's no its loud roar, on the wintry winds swellin*,
It *8 no the cauld blast brings the tears in my e'e.

For, oh ! gin I saw but my bonnie Scots caUan',
Tlie dark days o* winter were simmer to me !

" Tns BRAES o' Gleniftzr." In the *' Harp of Benfrewshire " (1819), R. A. Smith makes the following
remarks : — " Songs possessing great poetical beauty do not always become fayouritee with the pubUc
' Keen blaws the wind o'er the braes o' Gleniffer' is, perhaps, Tannah ill's best lyrical effusion, yet it does
not appear to be much known, at least it is but seldom sung. It was written for the old Scottish melody
' Bonnie Dundee,' but Bums had occupied the same ground before hun. The language of the song appears
to me beautiful and natural."

The song incidentally mentioned above, " True-hearted was he, the sad swain of the Yftrrow," which
Bums wrote for George Thomson's great work, has not retained its hold of '* Bonnie Dundee," that air being
now sung to Macneil's "Mary of Castle-Cary ;" while the air to which Macneil really wrote his song was
set aside, and has remained unknown for nearly a century. It is simple and pretty, and is here adapted to
Tonnahill's words, for which it seems to be peculiarly well fitted. Where Macneil got it has never been
ascertained ; fortunately it was included in Johnson's Museum, and so has come down to us.

282

SCOTTISH S0H08.

I'M O'ER YOUNG TO MARRY YETl

AKmillOlD BT J. T. MUMMKjn.

= 100

AXUEaRBTTO
COX

SpiBno.

4-^,:

. J'. }■■ ."J'. r: \ f]

o'er young, Vm o'er Tonng, I'm o'er joaog to mArry yet, I'm o'er yonng, 'twad be a liii To

il i i i i i i i r^

ffi*

W^^

n ^ ^ ■ JT ^' ' ^

am my Mammie'i ae bairn, Nor

S i .^ ^ .^-^ -'0

por.n rail.

of myhameam weary yet; And I would have ye learn, la dj, T hat ye forme must tarry yet.

I'm o'bb young t-o mabbt tetI

283

a tempo

7 i; _^,^| .=1 j. ^ 1 ^ n _^ ^'^[-^j s ^ i^ js ^s g

For I'm o'er young, rm o'er TOUDgiPni o'er yonng to mmny yet, I'm o'er youngs 'twad be a lin To

i i i i i i~^

P^— *-:

a tempo.

T-^

^ r f f '^

I'm o'er joim^ Fm o'er young,

Fm o'er joong to marry yet,
Fm o'er young, 'twad be a sin

To tak* me frae my Mammie yet:
For Pye aye had my ain will,

Nane dared to contradict me yet
And now to say I wad obey,

In tnith I dama yentnre yet
For Fm o'er yonn^ &o.

f=f

'* I 'k o'KEt YOUNG TO UABBY TXT." The Hide old version of this song was altered, bat not mnch anieiided»
by Boms for Johnson's Musenm ; it is not known who gave to it its present fonn ; bat about 1836-38 it
was brought into notice, and made very popular, by the arch manner in which it was sang by Miss CoYeney,
a youthful vocalist of great promise, whose career was soon after cut short by death. The air to which it
was then set is a slightly altered version of "The Braes of Balquither," as given in Johnson's Moseom
(IL 201) to Bums's song, "111 kiss thee yet, my bonnie Peggy Alison." In It Bremner's "Collection of
Scots Reels or Country Dances," oblong 8vo, published in London about the middle of last century, we find
the old tune, " I 'm o'er young to marry yet," from which is evidently derived the excellent strathspey
called Loch-Eroch Side," which will be found in this volume united to the song, " The lass o' Gowrie."

^e following is the old tune as given by Brenmer :—

iir I uL- i ■i ^^^Jj^ ^

284

8CUTTISH 801108.

KELVIN GROVE.

= 80

Pastobaub.

legato.

AEltAWOKP BT J. T. tlTRUnn.

„ M. ^ "^^ m ^ ^ '^'~" ^

J>=fc:

i p C f iTTT^

Let ni baste to Kel • vin groTe, bon - nie Us • tie, O^ Through ite

jOj p r. f p J J ^

pride, Paint s th e hoU low din - gle side, Where the midnight fai - ries glide, bon - nie

KBLVIH GBOYB.

285

^^»^%iH^%^g%^»^^^

>^»^%^*^^»^*^^^»*^^^»i^»*^*^^»a»

g_./rr] JTn ,

Crl^tLi; 'yi

We will wander by the mill, bonnie lassie, 0,
To the cove beside the rill, bonnie lassie, 0,

Where the glens rebound the call.

Of the roaring waters' fall.
Through the mountain's rocky hail, bonnie lassie, 0.

Then we'll up to yonder glade, bonnie lassie, 0,
Where so oft beneath its shade, bonnie lassie, 0»

With the songsters in the grove

We have told our tale of love.
And have sportive garlands wove, bonnie lassie, 0.

(Though I dare not call thee mine, bonnie lassie, 0,
As the smile of fortune's thine, bonnie lassie, 0,

Yet with fortune on my side,

I could stay thy father's pride,
And win thee for my bride, bonnie lassie, 0.)

Ah ! I soon must bid adieu, bonnie lassie, O,
To this fairy scene and you, bonnie lassie, O,
To the river winding clear.
To the fragrant-scented brier.
Even to thee of all most dear, bonnie lassie, 0.

For the frowns of fortune lower, bonnie lassie, 0,
On thy lover at this hour, bonnie lassie, O,
Ere yon golden orb of day
Wake the warblers on the spray.
From this land I must away, bonnie lassie, 0.

When upon a foreign shore, bonnie lassie, 0,
Should I fall midst battle's roar, bonnie laasie, 0,

Then, Helen I shouldst thou hear

Of thy lover on his bier.
To his memory shed a tear, bonnie lassie, 0.

"KzLYiN Grove." The words of this song first appeared in "The Harp of Renfrewshire," a collection
of songs and other poetical pieces, published in numbers, and of which William Motherwell was editor.
They were afterwards inserted with the air in R. A. Smith's Scottish Minstrel, ii. (1821). In both cases
the name of the writer was given as John Sim. This gentleman havine died abroad, Mr. Robert Purdie,
the publisher of the Minstrel, purchased the copyright of the song from his heirs in March 1823. Scarcely
had this been done, than a new claimant for the authorship appeared in the person of Thomas Lyle, a
college friend of SinL In May 1823 he addressed to R. A. Smith a very long explanatory letter on the
subj^, a short quotation from which may be sufficient. He says, "This song was wrote hjme,..
1 sent a copy of it to Mr. Sim, to insert into The Harp of Renfrewshire, with strick (nc) injunctions
that it should be published anonymously." This statement was at first received with considerable
doubt. Motherwell having been appealed to, wrote thus to R. A. Smith : — ** Lawrence '* (the Dublisher)
"has in his possession the MS. of the song as it came from Sim, in Sim's handwriting; which MS.
is interlined, corrected, and otherwise amended, as the first MS. of an original composition generally is."
After much more he adds, " The clsim of this Mr. Lyle comes with a very bad grace. You will observe
The Harp was published in 1819, and Sim ^ven as the author of this very song ; Lyle never wrote to the
publisher of the injustice done to him. He has remained silent till the grave has closed upon the only
witness who could gainsay his assertions. In the face of the MS. which Sim has left, and of the uniform
belief that he was the author thereof, they must be credulous indeed who place any faith in what I^le
now says." Eventually it was admitted, however, that while Lyle wrote the first draft of the song, Sim
added much, and altered more. Mr. Purdie, a prudent sagacious man, put an end to further debate by
purchasing the copyright of the song a second tmie. His own opinion of the merits of the case may l>e
judged of by the tact that the name of John Sim was never removed either from the index or the page of
the volume of the Minstrel where the song appeared.

The whole story of the son^ would fifi many pages ; for besides the letters of Lyle, Motherwell, and
R. A. Smitl^ there were incipient law proceedings regarding the copyright ; no fewer than four spurious
editions having been brought out in London. So great was the success of the song, that the publisher was
in the habit of saving that had the estate of Kelvin Grove been as near to Edinburgh as it was to Glai^w,
he would certainly mive tried to purchase it.

The version of the words given in this work is from The Harp of Renfrewshire, with the exception of
the fourth stanza, which Sim showed his good taste by omitting. "Kelvin Grove, a picturesque and
richly wooded dell, through which the river Kelvin fiows, lies at a very short distance to the north-
west of Glasgow, and will in all probability soon be comprehended within the wide-spreading boundaries
of the city itself. At one part of it (North Woodside) is an old well, originally called the Three-T^ree-
Wdl, now corrupted into Pear-Tree- WelL This used to be, and still is to some extent, a favourite plaM
of resort for young parties from the city on summer afternoons." The original name of the air was, " O
the shearin's no for you," which was the first line of a song now deservedly forgotten.

286

SCOTTISH SONGS.

MY COLLIER LADDIR

▲RRAKOED BT T. IL KUVOL

Hodseatol

b I rr^

1. Where VLtb ye,
8. Ye ahall gang

mj bon-nie Uu, And tell me what thej ca' yef Uj

in era - ma - lie, Weel busk • it up fa' gau - die ; And

name, she says, ii Mis • tress Jean, And I follow the col - lier lad • die.

ane to wait on il - ka hand, Gin ye 11 leave your col - lier lad • die.

^^^

■ J 1 J I 1 J

■^

2. See ye not yon hills and dales, The

4. Though ye had a' the lun shines on. And the

i: i* > J J J_ i_i i

* Ab oetsTt lowtr ia the orfginaL

MY COLLIEB LADDIE.

287

son shines on sae
etzth con - ceals saa

braw - lie; Thej a' are mine, and they shall be thine, Gin je 11
low - Ij, I wad torn my back on yon and it a'. And be

leare your col - lier lad

trne to my col - lier lad

die.
die.

Lure for lure is the bai^gain for me,
Though the wee cot-house should hand me,

And the warld before me to win my bread.
An* fair fa* my collier laddie.

"Mt Gollher Laddix.** Allan Cunningham, commenting on this song, says, "These words were
transmitted to the Museum by Bums ; he probably wished to pass them for verses of an older day, — ^they
are chiefly, however, from his own mint. The IsLst verse is a fine one. The poet, it must be admitted,
was a skilful seeker of old songs ; when an air wanted words, Johnson gave the Bard of Kyle a line or
a chorus by way of sample, and a genuine old song to suit was soon found.**

Soott Douglas — ^in what may well be styled the ediUo prineepa of Bums — says, " This is one of those songs
never seen or heard in the world before the poet picked it up, both words and music, from the singing of
a country girl.'*

The air, by a very slight alteration, is here, for the first time, made accessible to singers with a very
moderate compass of voice.

In estimating how much Scottish song owes to Bums, we are apt to think only of the excellent verses
which he wrote for George Thomaon*s celebrated coUectioxi, to supersede the silly or indecorous words
which often condemned a fine old melody to silence. We forget the numerous songs which he amended
and sent to Johnson for the Scots Musical Museum. To one single volume of that work — ^the fifth, published
after his death — ^he contributed no fewer than forty-three songs out of the hundred, and with sixteep of
these he sent the airs, many of them picked up by himself, and not previously known.

288

8CU1TI8H sovaa.

t^ «*#««««%«^««« ^»^%^»i^^l^%^»^»^#»^»^»^^^»#»^%^%^»^

PIBEOCH OP DONUIL DHU.

AimivaiD BT A. LAwmn.

s:54

■ llOLTO
EVBBOICO.

r I J- / J' g -T in

Pi - broeh of Do - noU Dhv, PI - biocb of Do - nuil. Wake tby wild voieo a - new,

il i''" J i^ HJ i i^i' ii ' I

rr^

^ I ^ . —

— t ^ 1 #-

^^«^> A

f '

pibboob: of donuil dhu.

289

^if J

Come from deep glen, and

From mountain so rocky,
The war-pipe and pennon

Are at Inrerlochy.
Come ererj hill-plaid, and

True heart that wears one;
Come eyery steel-blade, and

Strong hand that bears one
Come every hill-plaid, &o.

LeaTe nntended the herd,

The flock without shelter ;
LeaTe the corpse uninterr'd,

The bride at the altar.
Leaye the deer, leave the steer,

Leave nets and barges ;
Come with your fighting gear

Broadswords and targes.
Leave the deer, leave the steer, &o.

Come as the winds come, when

Forests are rended :
Gome as the waves come, when

Navies are stranded.
Faster come, flister come.

Faster and &8ter :
Chief; vassal, page, and groom.

Tenant and master.
Faster come, flister come, &o-

Fast they come, fl»t th^ come ;

See how they gather !
Wide waves the eagle plume.

Blended with heather.
Cast your plaids, draw your blade%

Forward each man set ;
Pibroch of Donuil Dhu>

Knell fbr the onset I
Cast your plaids, draw your blades* fte:

** PiBBOCH or DoNTTiL Dhu." The air was long known under the name of " Lodders Biarch." The words were
written by Scott in 1816, for A. Campbell's " Albyn's Anthology," in the flrst volume of which they were
published. Li the Dissertation prefixed to Patrick McDonald's Collection of Highland Airs, we find the following
passage : — " A very peculiar species of martial musio was in the highest request with the mghlanders. It was
sometimes sung, accompanied with words, but more flrequently perflmned on the bagpipe. And, in spite of every
change, a |>t6racA, or cruxntackadh^ though it may sound harsh to the ear of a stranger, still rouses the native
Highlander, in the same way that the sound of the trumpet does the war-horse. Nay, it sometimes produced
effects little less marvellous than those recorded of ancient music At the battle of Quebec, in April 1760, whilst
the British troops were retreating in great confbsion, the General complained to a field-officer of Fraser*})
re^ment, of the bad behaviour of his corps. ' Sir,' answered he^ with some warmth, ' yon did very wrong in
forbidding the pipes to play this morning : nothing encourages Highlanders so much in a day of action. Nay,
even now they would be of use.' ' Let them blow like the d— 1 then,' replied the General, ' if it will bring back
the men.' And, the pipers being ordered to play a tkvourite entvMatkaik^ the Highlanders, who were brokeu;
returned the moment thev heard the music, and formed with great alacrity in the rear.**

290

SCOTTISH SONaS.

THERE ARE TWA BONNIE MAIDENS.

▲BBAVOSD BT A. a MACKE^IZII,

1. There axe twa bon-nie maidens and three bon-nie maidens Come o - yer the Minch and come

2. Flo - ra, mj hon - ey, lae dear and sae bon-nie. And ane that is tall, and

r-^-t

e=i:

• •

^^^

fn/-

o - Ter the main, Wi* the wind for their way, and the oor-rie for their hame. And
hand - some with - al ; Pnt the one for my king, and the oth - er for my qneen. And

* — ♦"

—m-

/ fHf

they are dear - ly wel • come to Skye a • gain. Come a - long, come a - long, wi* yoor
they are dear - ly wel - come to Skye a • gain. Come a - long, come a - long; wi* your

TH£B£ A&E TWA BOKNIE MAIDEKS.

291

bostie and your Bong, M j
bostie and your aong, M j

ain "bon - nie maid • ens, mj twa
ala bon • nie maid - ens, mj twa

bon - nie maidens ; For the
bon • nie maidens ; For the

P— * — b — P # !

^Se*^

P=fc

Sz^gggg^ ^^

night it is dark, and the red - coat Is gone. And ye are dear - ly wel-come to Skye again,
la • dy of Macon - lain she dwelleth Uar lane, And she '11 wel - come yon dear - ly to Skye again.

2dvene,

2. There is
I :>• >-8. Her

concluding verae.

Her arm it is strong, and her petticoat is long.

My ain bonnie maidens, m^ twa bonnie maidens ;
By we aea mooUet's nest I will watch o'er the main,

And ye are bravely welcome to Skye again.
Come along, come along, with your boatie, etc.

My ain bonnie maidens, my twa bonnie maidens,
And saft sail ye rest where the heather it (nn>w8 best.

And ye are dearly welcome to Skye again.

^^P^

?«^=ff=p

There 's a wind on the tree, and a ship on the sea.

My ain bonnie maidens, my twa bonnie maidens;
On the lee of the rock shall your cradle be rock.

And ye 11 aye be welcome to Skye again.
Come along, come along, with your boatie, etc.

My ain TOnnie maidens, my twa bonnie maidens,
Mair sonnd sail ye deep, aa ye rock on the deep.

And ye 11 aye be welcome to Skye again.

"TuzBB ABE TWA BONNiB MAIDENS. ** In the Jacobite Belies (iL 357), Hogg tells us that he took down
this aong "from the month of Betty Cameron from Lochaber ; a character Imown over a great jmit of the
lowlands for her great store of Jacobite songs, and her attachment to Prince Charles, and the chiefs who
snffered for him, of whom she never spoke without bursting into tears. She said it was from the Gaelic ;
bat if so, I think it is likely to have been translated by herself." It is almost unnecessary to say that the
■ong alludes to the escape of the Prince to Skye, in the guise of a female attendant of Flora Macdonald,
when he was so beset by enemies in the small island of South Uist, that all escape was thought impossible.

The air is a modified version of a dance tune which was much played about the beginning of the present
eentury.

292

SCOTTISH SONGS.

^•-72

TAMMY.

▲BKAKGXD BT T. IL MITDIX.

^i;=itps ^^g

1. I with I kuk'd my Uag • gie'tmind. If *h«'« for me or

2. I "re tpier'd her anca, I 'va •pier'd her twice. And stiU ahe says the

Tun
can

^^^^^^^^m

!±i r-r— rt

gg ^^^^^^^^

m J ; To me she is but pass - ing kind. She 's oaold - er still to

na ; 1 11 try her a - gain, an' that males thrice. An' thrice, they saj, is

i=;=T=fe

Bj\i' ^T^S^jll^ ' iD :

OiW-

\l H M

t=i

^^i

1=p

Tam - my.
can - ny.

An'
Wi'

yet she lo'es
him she '11 ha'e

no that ill. If

chaise and pair, Wi'

:*=3:

-\ ■ t

IT 1

—!>—=) :

^=?^

■y-

TAMMY.

293

I be - Here her gran

me thell ha'e shanks - naig

nj; O sore shemann be wond - Tons nice, If she 11
ie; He's anld an' black, I'm yonng an' £dr. She'll

^^Si

J^=j=

1^^

^S ^

neith - er ha'e me nor Tarn - mj.
snze - ly ne'er tak Tam - my.

£=ci

V — 1>

Bat if she 's a foil, an' lightlies me^

1 11 e'en draw np wi' Nancy ;
There's as gnid fi^ into the sea

As e'er cam' ont, I fancy.
An' though I say 't that shon'dna say 't,

Fm owre gnid a match for Maggie ;
Sae mak' np your mind without delay.

Are ye for me or Tammy ?

"I WISH I xzn'd mt Maoois's MnrD." The time appears in Macdonald's Highland Ain (1781),
under the name of *' Araidh nam badan," bnt it first became known as a song in B. A. Smith's Scottish
Minstrel (l 45), 1821. The words are initialed S. M. — in the third edition — and have been asmbed to
Lady Naime ; bnt as her acknowledged songs in that work are signed B. B., the probability seema to be
that this was rather a joint production of the coterie of ladies who managed the literary department of
the [S]cotish [M]instreL Of these Lady Naime was unquestionably the leading spirit, and no donbt
originated some, and gave many a finishing touch to others, of the partnership ditties that appeared In the
six Tolnmes of the work.

like many other good songs, this lay hidden away waiting the interpreter who should make the would
feel that a really clever thing had been overlooked. In the present instance the interpreter was John
Wilson, who did so much by his fine taste to redeem Scottish song from the charge of vulgarity, so often
faronght against it through the coarse style of not a few of our national singers and their imitatorsL

294

SCOTTISH 80K0S.

OP A' THE AIRTS THE "WIND CAN BLAW.

AE&AHOiD BT J. T. tumimrm.

= 98

Ahdaxtb

AfllilTUOSO.

Of a'theftirts'tbewindcaobUw, I demr-Iy like the wett; For there the bonnie Us-ie IiTeg,The

^5:

^rg f f ' g fe^L^jji^

Ian that I Io*e best: Tho' wild woods grow, an' ri-Ten row, Wi' mo-nie a hill be - tween, Baith

^-SC

day an' night, my fancy's flight Is e - ^er wi' my Jean. I see her in the dew-y flow'r, Sae

^^^^^M

^^^

l_x= V

b — L - > V\-l

I ^Ift— direetinn, pobit of tb« ourapon

OF A THE AISTS THE WIKD CAK BLAV.

295

r f ?■ sj ' 'f u ■ Ji^^y?^t>^

love-Iy, tw6et« an' &ir; i hear her moe in il - ka bird, Wi' mn-iio charm the air: Thera'i

Dota bon*nle flow'rthatfpringSyBy fountain, sbaw, or green, Nor jet a bon-nie bird that nogs, But

f-y-^nvi^,

F=?= ;

cftfii. p

blaw, ye wesUin irlnds, blaw saft

Amang the leafy trees ;
Wi' gentle gale, tne mnir and dole,

Bring hame the laden bees ;
An' bring the lassie back to me

" wr hep twa witchin* een ;"
Ae blink o' her wad banish oare,

Sae lorely is my Jean !

What sig^ an' tows amang the knowei^

Ha'e past atween ns twa I
How fiiin to meet, how wae to part,

That day she gaed awa' !
The powers aboon can only ken.

To whom the heart is seen.
That nane can be sae dear to me^

As my sweet lorely Jean !

** Or ▲* THB AZBTS THB WIND CAS BLAW." As to this air, see Note on " The Lowlands of Holland." The song
is certainly one of Bnms' best, so flur as he wrote it Captain Charles Gray, B.B1» in his '^ Cursory Remarks on
Scottish Son&" says, that he belieres *' Bums did not write more than the first sixteen lines of this beandAi]
song." He ^''■^ obserres that the third and fourth stanzas were not found among Bums' MSS. after his death ;
and that nono of his editors or commentators, except Allan Cunningham and Motherwell, have claimed them
Ibr Bums. Farther, that Dr. Currie in his edition of Bums, Mr. Stenhouse in *' Johnson's Musical Museum," and
Mr. Darid Laing in his additional notes to that work, do not mention these stanzas as of Bums' composition ; and
^1,^^ ^ 5(f. Qeorge Thomson, in his *' Melodies of Scotland," (edition of 1838,) has rejected them as spurious. By
some they haTO been as<sibed to William Reid, Bookseller, Glasgow; but Captain Gray is rather inclinad to
beliere th^ were written by John Hamilton* MusicseUer, Edinburgh.

296

SCOTTISH 80NO&

OH, I HA'B BEEN ON THE FLOWEY BANKS 0' CLYDE 1

iOBy "TBI BLUB BBLU OB tOOXLABD.

»f

ABBABOBD BT T. M. MUDIB.

9bn t.

»^S^PF

^Aii 1

I hji'e been on the flow-'ry beaki o'Cljdel And I hji'e seen Taj's

lim I

*"i.''i, F f f ^

q j-1 j 1^^

t=^

p=rp

; 1 1 1 j 1 j i

J^l > s > J^

iU - Ter wat - en glide ;

ken a bon - nie lad on

t M-i-^

OU. I HA'E BEEN ON THE ^LOW'BT BANKS o' CLYDE I

297

^''''^ jT. J^J

pa'd thefidr-ettbloe-belltjsndwreath'dthemin mjhair; And, oh I in my heart I maun

eoUavoce.

ft^^^^

love him ev
coUavoce,

er - mairl

Hia e'e is bright as the summer mom to me;

Its shade &'s light as the gloamin' on the lea :

It's no his manly bearing, if s no his noble air, —

Bnt, oh I 'tis the soul that giTes exp res si on there!

We'Te wander'd 'mang the gowd-broom,^ and by the river side, —

And, oh I in my hearty I think FU be his bride I

1 OotdflD-broom.

Thx blub bells or Scotland." The words have been expressly written for this work, and presented
to the publishers, by that talented lady, Miss Stirling Graham of Duntnine. We rejected the old words as
▼ery silly, and quite unworthy of the popular air to whicb they were adapted. The air giren in Johnson's
Museum is different £rom and inferior to that which we find in Mr. Greorge Thomson's Collection, voL iii
p. 135, adapted to Mrs. Grant's words, "0 where, tell me where, is your Highland laddie gone?"
We have, of course, chosen the most popular of the two airs, which appears to us to be of English
composition, although hitherto claimed as Scottish. Mrs. Grant's song has evidently been suggested by
the words, No. 548 of Johnson, or bywords of a less delicate kind, given in Ritson's ''North-country
Chorister," beginning, "There was a Highland laddie courted a Lawland lass." It consists of seven
stanzas, and Ritson adds the following note : — " This song has been lately introduced upon the stage by
Mrs. Jordan, who knew neither the words nor the tune.** Charles Eirkpatrick Sharpe, Esq., says, in the
Museum (vol. vi.), "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." It begins, " 0, fair maid, whase
aught that bonny bairn ? " and is of the same character as the song given in "The North-country Chorister."
The allusion to the Parson and the Qerk in each of these songs shows their English origin.

It should be pointed out that the words mentioned by Mr. Eirkpatrick Sharpe require to be sung without
a starting-note and with the accent on the — " O, fair maid, wha's aught that bonny bairn ? " This may
possibly not be the original song, but it carries us back to the Spanish war of 1762, for its third line is,
" It is a sodger's son, she said, that's lately gone to Spain," and it was copied from a MS. written seventy
years before 1835-36. Everything about the song seems to denote a military origin. The quaint old air
given by Johnson has a certain swing about it, with a dream of drums and fifes, as if it were the march
tune of a regiment. Its opening phrase is emphasized by its re-iteration on the tone above, and is not a
mere weak repetition of the same notes, as in the modem air. This very repetition, however, points it oat
as the original tone altered by or for Mrs. Jordan, and which Bitson complained that she did not know.

298

SCOTTISH SONGS.

' ^<^^^^%^^^i^<i^ ^^»

I LOVE THEE STILL.

▲IS, •'DOVAUX"

▲BEAXQID BT T. M. XUDCC.

= 50

Larqhxtto.

^^c=B

lore thee stilly al • though my peth In life cui ne'er be

tdi

t )" r ^^rv '-

thine ; And though thy heart, in ear - ly youth, Was fond - ly pledged to

I LOVE THEE STILL.

299

'j M 1 j^ l

^^^

scorn'd, as I do

l> N J f

DOW,

Donald !

^^3

*> V^ j^i^M

^ » * — i »

•I I I

We onoe were equal in our loTe»
But times are changed for thee;

Now rich and great, while I am poor,
Thou art no mate for me — Donald !

I would not take thy offer'd hand.

Although it bore a crown ;
Thy parents taunt me with thy wealtl^—

My poortith-pride's my own — Donald!

" I LOYB THEB sTtLL.** Mr. Gcorge Thomson introduced the air called " Donald," as Scottish or Irish, into his
Collection, with words written by Bums for the tune of ** Gilderoy." The air appears again, with a different closer
in B. A. Smith's Scottish Minstrel, toI. It. pp. 46, 47, with Boms' words slightly altered, and also with other
words. The additional words given by B.,A. Smith in his Scottish Minstrel to the air ** Donald," are nothing
but a new yersion, with yerbal alterations, of the third and fourth stansas of the song published in the Orpheus
Caledonius, and in THlliam Napier's Second Collection, 1792, to the air, " Hand awa' frae me, Donald." In modem
Tersions, such as those in 'William Napier's Collection, and in B. A. Smith's Scottish Blinstrel, the words to ** Hand
awa' frae me^ Donald," have been Anglified and altered; probably at the time when Scottish songs were much in
fashion in England. Hence might originate the idea that the air was Scottish. It appears in Shield's opera,
" The Highland Reel," 1788 ; but it is doubtful whether it is his own composition, for he frequently made use
of airs which were popular at the moment. We are of opinion, however, that it is the production of some
English musician of the days of Shield and Arnold; it has indeed a flavour of Barthelemon's once popular air
'* Durandarte and Belerma." With this caveat we give it, as it has appeared in several Scottish coUeetionB;
admitting that it is not of Scottish growth, nor yet of Irish, though Moore has Included it in his " Melodies"
set to the words, " I saw thy form in youthfhl primes ** The words given to the air in the present work are
written by a fHend of the publishers.

The following are the two altered stanzas as {^ven by B. A. Smith to the air, *< Donald," in the Scottish Minstrel
vol. iv. p. 46 : —

When first you conrted me, I own,

I fondly fltvour'd you;
Apparent worth and high renown

Made me believe you true, Donald.
Each virtue then seem'd to adorn

The man esteem'd by me —
But now the mask's tlurown off; I soom

To waste one thought on tliee» Donald.

0, then, fbr ever haste away.

Away firom love and me;
Go seek a heart that's like your own.

And come no more to me^ Donald.
For 111 reserve myself alone.

For one that's more Uke me;
If such a one I cannot find,

ru fly flrom love and thee^ Donald.

300

SCOTTISH BOSOS.

yE BANKS AND BRAES 0' BONNIE BOON.

AULAVOID ST J. T. SUBfiUn

rUenuio. ^^

= 100

/jnusm.
Camtabua

banks and braet o'

bon - nie Doon, How can je bloom na

fresh and £u/; How can ye chant, je lit - tie birds, And I sae wea- ry.

Echo

Echo.

g=Fj^l-fr^^^

fu* o' care! Ye'll break my heart, ye warb-llng birds, That wan - ton thrpugh the

YE BAIYKS A^D BRAES o' BONNIE DOON.

301

ritenuUK

o tsfitpo*

flow' - 17 thorn; Yo mind mo o' do - part - od Joys, Do • part • od no • Tor

Oft hft'e I roved by bonnie Doon,
To see the rose and woodbine twine 1

And ilka bird sang o' its loye,
And fondly sae did I o' mine.

Wr lightsome heart I pu'd a rose,
Fa' sweet upon its thumy tree ;

Bat my faose loyer stole my rose.
And ah I he left the thorn wi' me.

"The Banks ov Doon; or, Thb CALSDONiiisr Hunt's Dsliobt." The story of the composition of
this tone by a Mr. James Miller, a writer in Edinborah, has been often told, and has been accepted,
without farther inquiry, as true in all its details. l£r. Miller, deeiroas of being the composer of a
Scottish tane, was told that by keeping to the black keys of a pianoforte he womd probabfy succeed.
In tiiis way he produced the first part <a the tune, and submitted it to Stephen Clarke, the arranger of
the music in Johnson's Museum, to be put into shape. We can scarcely suppose that Mr. Miller really
knew that he had accidentally stumbled on a part of the melody of an Ejiglish song, " Lost is my quiet
for eyer," which is almost identical with his own air. But when Stephen Clarke proceeded to add the
second, part of the English air to Mr. Miller's first part, it is no longer possible to admit want of know-
ledge. The first part is not exactly the same in botii airs, but the second part is so, and includes, as
part of the tune, what in the original is a mere instrumental echo, introduced to complete the rhj^thm.
That others besides Clarke knew the English air is proyen by the fact that George Thomson applied to
Bums to write words for it, under the new name, howeyer, of " The Caledonian Hunt's delight ;" and that
the poet, after completing one stanza, beginning, " Why, why tell thy loyer?" gaye up the attempt ; for,
said ne, " Such is the peculiarity of the rhythm of this air, that I find it impossible to make another to

the common
regarding the

fint part bears so striking a resemblance to our modem air, that it is just possible it may haye giyen
rise to a statement alluded to by Bums when writing to Thomson in Noyember 1794. Me says, "I
haye heard it repeatedly asserted that this is an Irish air; nay, I met with an Irish gentleinan who
affirmed he had heard it in Ireland among the old women ; while, on the other hand, a countess infonned
me that the first person who introduced the air into this countnr was a baronet's lady of her acquaintance,
who took down the notes from an itinerant piper in the Isle of Slan. How difficult, then, to ascertain the
truth regarding our poesy and music ! " We may remark, is it possible or probable that Playford's " New
Tone " can haye spread so widely oyer the British isles as to be claimed by each nationality as its own ?
or is the melody so obyious as to suggest itself to many indiyiduals acting inaependently of ei^ other?

There can be no doubt tiiat Buma's beautiful song nas had much to do with the jwpularitjr of the air,
which indeed might haye been otherwise lost sight of, for ^e English words, "Lost is my quiet," are too
silly to haye had more than an ephemeral existence.

Another and an earlier version of this song was found by Cromek among Bums's papers, and was admitted
into the " Beliques." It is eren more simple and touching than the altered yersion ; and has often been
pointed out as a fine specimen of Bums's natural powers. See Appendix for the En^^ish air and words.

302

SCOTTISH SOKOS.

WHAT'S A' THE STEER, KIMMEE!

= 116

COS

SnftiTO.

iV§\ ABAAHOXD ST J. T. SUBSBBL

g -i_J'.JiJ j! ^

WhAt*i a' the iteer/ kim-mcrf"

rrr-^^M^-f

^t^ 3^

{SJu.)

fk.

£^' j\ /'-^-^^^f. • H ' g

win' was at hb back,

care - na, sin' he's come. Carle, We

WHAT'S A' THE STEEB. EIUMEB !

303

(Jle,) Tm right glad to hear't, Idmmer,
Fm right glad to heor't;
I ha'e a gade braid dajmore,
And for his soke 111 weor't.

(Both.) Sin' Charlie he is landed,

We ha*e nae mair to fear ;
Sin' Charlie he is come^ Idmmer,
Well ha'e a jub'lee year.

^ Dlstozbftaoe; oommotioo.

* Neighboar ; QoidpL (Gvmntfre.— French.)

* The third part of a penny rterling.

" What's a' thb stebb, kimmeb." The air seems to be a strathspej. It was pnblished, with anonymoiis
words, in the Scottish Minstrel, 1821. We learn, howerer, from a receipt granted by the author, that it was
one of thhrty songs written by Robert Allan of Eilbarchon for that work. The words were probably
suggested by yerses pnblished in Cromek's *' Remains of Kithsdale and Galloway Song," 1810. These verses
are given as expressing, roughly, the feelings of the peasantry of Scotland, on hearing the extraordhuiiy escape
of Lord Maxwell of Nithsdale from the Tower of London, on 28d Febraary 1715, <* dressed in a woman's cloak
and hood, which were for some time after called NWudtUu.'* The Teritable account of that escape is printed
by Mr. Cromek, from a copy of the original MS. letter by the Countess of Kithsdale to her sister, dated 16th
April 1718, from Rome, and in the possession of Constable Maxwell, Esq. of Terreagles, a descendant of the
family of Nithsdale. Some yerses of a similar tenor to those above alluded to are given by Allan Cunningham
in the fourth volume of his edition of Bums* Works, London, 1884. Cunningham gives the word " Cummer "
instead of" Carlin," which oocnrs in the verses quoted by Cromek.

The words and music here given are reprinted on account of the popularity which they obtained about
twenty years ago by the public singing of Miss Stephens, afterwards Countess of Essex. Miss Stephens gave a
long lease of popularity to this song, as well as to " We're a' nid noddin'," and other songs, all of which are stall
popular. Miss Stephens was one of the most admired of modem English singers. A notice of her, pnbUshed in
London in 1824, informs us that she was bom in London, and received her first instructions in singing from
Lanxa, under whose tuition she remained for a considerable time. Lanza's slow and sure Italian method fbrmed
her power of voice and her intonation. While still under Lanza, she was brought out as a singer at the Pantheon.
It appears that ber fkther, getting impatient of the slowness of Lanza's process of tuition, put her under Mr.
Thomas Welsh, who nsed all means to bring her rapidly forward with eelat before the public; and that she
made her dibut at Covent Garden Theatre " with brilliant approbation," as the critics then expressed themselvefl.
The quality of ber voice was said to be then (1824) more rich and ftill than that of any other public English
singer. ** The peculiar bent of her talent seems to be towards ballads and songs of simple declamation; in a
word, towards tiiat particular style which is generally esteemed to be purely English, though the fbrmation of the
voice may have beoi conducted upon the principles of Italian teachhig." The writer adds, that ** there are no
other" than the Italian principles of voioe training. We must observe that the departure from these old principles,
and the rapid /oreiii^ system generaUy produced in England, and kow in Italy, are the veiy causes of our having
so few good singers. Too often vox etprtBterea nHU I Voices totally untndned and untaught. The late inge-
nious Doctor W. Eitchiner, in his " Observations on Vocal Music, 1821," pp. 6Z, 54, speaks as follows of Ballad
Music, and of Miss Stephens : — ** The ektf-d'ceuvre of difficulty is A Plaix Ehgluh Ballad, which is, ' when un-
adorned, adorned the most,' and, indeed, will hardly admit of any ornament beyond an Affpoffgiatura, This style
of song is less understood than any (other?) ; and though apparentiy from its simplicity it is very easy, yet to
warble a Ballad with graceftil expression, requires as much real judgment and attentive consideration of every
note and every syllable, as it does to execute the most intricate Bravura — the former is an appeal to the hearts
the latter merely plays about the ear, and seldom excites any sensation beyond. Who would not rather hear Miss
Stephens sing an old Ballad than any Bravura t — although her beautifbl voice is equally calculated to give every
effect to the most florid song." Miss Stephens became Countess of Essex 19th April 1888.* To the honour of arC»
she is not the only female performer who has been raised by her own merits to the rank of nobility in Great Britain.

Oeoist Oipd GooiDGii^, flfta and «tt £ftil of
1844

&MX, bon 13lh Nombtr 17S7. dkd withmu tone 234 April ma

S04

SCOTTISH SOBOS.

0, WILLIE BREW'D A PECK 0' MAUT.

= 108

Auiomo
MooEEAxa

AEEAJiaXD BT TOtLAY DOC

O, Wil-lk brsw'd a peek o' mast. And Bob aDd Al-Un

CTts. ra ofmndto.

cam* to pria;^ Threa Urthcr lada, that lee-Iang' nigfat. Ye wad - Ba£uid in

Christ •en - die. We are na foa*, \%e>e no

U. WILLIE BBEW'D a. PECK O' UAUT.

305

r f r J I

CT€8m

Here ore we met three merry boys ,
Three merry boys I trow are we :

And mony a nicht weVe merry been.
And mony mae we hope to be !

It is the moon— I ken her horn —
That's blinkin' in the liit« sae hie;

She shines sae bricht to wyle us hame.
But by my sooth she'll wait awee.*

THia first shall rise to gang awa',

A cuckold coward loon is he;
Wha last beside his chair shall fii',

He is the king amang us three.

> To taatd - Llrelons. ' Ala, be«r— wmedniM, whiiky. ^ Tha flTmiimmt * A abort tim»— bat ha« to bo nndoncood ixonleiD/.

« 0, WiLUi bbkw'd a feck o' maut.** In the autumn of 1789, Bums wrote tlus excellent conTirial song, which
his friend illan Masterton, a writing-master in Edinburgh, set to music. Masterton died about the year 1800.
The song was written on the occasion of a *< house-warming *' at William Mcol's fiirm of Laggan, in Kithsdale
" We had such a joyous meeting/' says Bums, "that Mr. Masterton and I agreed, each in his own way, that we
should celebrate Uie business." William Nicol was one of the masters of the Kgh School of Edinburgh. He waf
Bums' companion in his tour of the Highlands, and died in the summet of 1797. Dr. Currie, in his life of Bums,
giyes an interesting account of Nicol. The air, as composed by Masterton, appears in Johnson's Museum, toL ilL
p. 801 ; but that set has long been superseded by the one here giTen, which is an improTement on Masterton's air,
by some unknown singer or arranger.

Captain Charles Gray, B.M., in No. XIV. of his "Cursory Remarks on Scottish Song," when speaking of Bums
as having " contributed no less than two hundred and twenty-eight songs " to Johnson's Museum, adds — " we take
credit to ourselTes for being the first to claim for him the merit of his collecting and preserring aboTe fifty Scottish
melodies. This labour of Iotc alone would have entitled Bums to the thanks and gratitude of his countrymen,
had he done nothing else ; but it was lost in the reftilgent blaze of his natiTe genius, which shed a light on our
national song that shall endure as long as our simple Doric is understood. In the lapse of ages eren the lyrics of
Bums may become obsolete, but other bards shall rise, animated with his spirit, and reproduce them, if possible
in more than their original beauty and splendour. We hold our national melodies to be imperishable. As no on«
can trace their oriicin, it would b6 equally Aitile to predict their end. Their essence is more dirine than the
lauguage to which they are wedded."

806

80OTTI8H 80H08. •

.runn-tnnr mm^^tf^^mm ■^i^PMi**^** ^m m ^^*»*»*'«*»*'»*'»^'** ^ ^** »*****'*»**

ALASTAIB HACALASTAIE.

AIBAVOBD BT ■• & KBOOl*

Oht A*las*tair MM*A-las-t»ir,Toar

V Ge:

oat jioor pipoi, an* U«w wi' birr, Well daaot tiM High • land ilnf.

Now

?rT7: J: I, I, j^ ^

loap* the djkeSyAn' ga-ther on the green. Oh, A - las - talr Mac - A • las - tair. Your

^^i

=»-^

l=f

ALASTAIB llACALASTAIB.

307

■ ^* ^^^i^^^^^^^^^^y m^^^^t^m^^^^B^^^^^^^^^^^^^^ ^te^ 4

^ m'^^^4

^L^ =^ N Ji ;■■ a^ ^W^^^^ ,. ;i, ;, h

ch&o - ter tets ut a' a - stcor, Then to joar bags, an* liiaw wi' bnr. Wall

f=-f

Bit

«=;;

tts

f=P

The succeeding verses begin at th« sign :^: ; those within brackets may be omitted.

The miller Hab waa fidgin' fidn
To dance the EBghland fling his lone ,
fie lap, on' danced wi* might an* main.
The like waa never seen.
Oh, Alastair, &o.

As round about the ring he whuds,'
An* cracks hia thumbs, an' shakes his duds,*
The meal flew frae his tail in cluds,
An* blinded a* their een.
Oh, Alaatair, &a

[Neist rauchle-handed* smiddy Jock,
A' blaoken*d o'er wi* coom an' smoke,
Wi' shauchlin'* blear-e'ed Bess did yoke^
That harum-scarum quean
Oh, Alastair, &c]

[He shook his doublet in the wind.
His feet like hammers strak the gnind;
The very moudiewarts^ were stunn'd.
Nor kenn'd what it could mean.
Oh, Alastair, &c]

Now wanton Willie was na blate,*
For he got hand o* winsome Kate^
** Come here," ^uo' he, <* FU show the gate
To dance the E^s^iland fling."
Oh, Alastair, &o.

Now Alastair has done his best ;
An' weary stumps are wantin' rest,
Forbye wi' drouth they're sair dlstress'dy
Wi' dancin' sae, I ween.
Oh, Alastair, &a

1,1 trow the gantrees* gat a lift :
An' round the bicker flew like drill ;
An' Alastair that very nicht,
Could scarcely stand his lone.
Oh, Alastair, &&]

I Bees flnmi their hires

•Leap.
7Uolea

• Boands.
•BMbfoL

« Raged dothesi *

^ Tba tresUo opoo whidi bonds an placed

«* ALASTAIB MaoAlastaib." The author of this lively song has not been discovered. The air Is a dance-tniM^
bearing considerable resemblance to *' Mrs. Wemyss of Cuttle-hill's Strathspey," composed by Nathaniel Gow, and
also to the <' Marquis of Huntly's Strathspey," atuna said to have been composed by Mr. iif^wti>^il^ bstler to the
Duko of (Gordon

808

SCOTTISH SONGS.

JEANIE MORRISON.

▲BBAXOKD BT ▲. a MACXXSZXB.

fling their shad • ows o'er mj {Mith, And blind mj een wi* tears. Thej

WKnd-er by the green bom-side. And hear its w a » ters crtx>n? The

blind my e«n wi* sant. $aat tears, And sair and sick I pme. As

sim - mer leaves hung o'er our heads. The flow'rs burst round our leet. And

JK N ^-^ J^— ;^S ^ . : ;\

JEANIE MOBUISON.

309

^_lii^lg

31=

t±tT

1«<, 2c2, ami 3d time.

xnem'ry id • \y sum • mons up The blythe blinks o' lang • syne,
in the gloam - in' o' the wood The thros • tie whlsslit tweet.

a tempo.

Last time.

ped, motto RU,

I Ve wander'd east, I Ve wandered west,

I 've borne a weary lot ;
Bat in my wanderings, far or near,

Ye never were forgot.
The fount that first burst from this heart

Still travels on its way ;
And channels deeper as it rins

The luve o' life's young day.

dear, dear Jeanie Morrison,
Since we were sunder'd young

1 Ve never seen your face, nor heard
The music of your tongue ;

But I could hug all wretchedness,

And happy could I dee.
Did I but ken your heart still dream'd

0' bygane days and me.

*' Jeanie Morbisok.'* This is one of Motherwell's finest poems, but as it consists of twelve stanzas of
eight lines each, it is much too long for a song. It is so beautiful, however, that it was thought a selection
of these might be made without altogether destroying the fine feeling that pervades it. Original airs without
number have been set to the words, but none of these settings have been even moderately successful with
the public. It is here adapted to an old air, — Major Graham,— which Bums recommended for his words,
««My love is like the red, red rose," though they are now always sung to a modernized version of "Low
doun in the broom." This air, "Major Graham," was originally a dance tune, and required a few
alterations to make it thoroughly vocal ; this has been both tastefully and effectively done by the arranger,
Mr. A. C. Mackenzie.

310

SCOTTISH SONUS.

I HEARD A WEE BIRD SINGING.

f-"

XOTTOO

Slow.

sing - ing In my cham
nng • ing. For its notes

ber as I laj,

were wondrous dear.

The case - ment op - en

As if wed - ding-bells were

»/

I J

^^.

-/^^

■I-

swing • ing, As mom • ing woke the day ;
ring - ing Me • lo • dions to the ear ;

iih ' -y I— d — u^

And the boaghs
And stiU

aroond were
it rang that

I HEARD A WEE BIRD SINGING.

311

twin - ing. The bright son throngh them shining, And I

wee bird's song. Jnst likethebells—dong-ding, ding-dong, While my heart

had long been
was beating

i=^=^

a 1 • 1

7=5

^ lai ajid 2d times.

■> /-

ZrCMt^tme.

pin - iDg For my Wil
qnick and strong, It felt

lie far a - way.
that he was near.

- lone.

a tempo.

I "■

-n

We heard the wee bird singing.
After brief time had flown,

The true bella had been ringing.
And Willie was my own.

Oft I tell him, jesting, playing,
I knew what the wee bird was saying

That mom when he, no longer straying.
Flew back to me alone.

"I HEARD A WBX BiBD SDTOIKG." These pretty words were written by William Jordan, the well-known
editor of the Literary Gazette (1782-1869). They are here united to music for the first time.

The tune vs a ballad air, from which, however, the ornamental shakes and other peculiarities of the ballad
singer have been removed. It is taken by permission from Dean Christie's Traditional Ballad Airs, where
a note informs us that it has long been a favourite in the three north-eastern counties of Scotland. The
Dean's handsome volumes contain many fine melodies not previously printed. Of these some are ancient^
many are curious; others, again, are northern versions of well-known airs, such as "Gala Water,**
"Burbara Allan," "Leader haughs," and one called "Young Peggy" has been moulded on "The ewe-
bughts " so strangely as almost to escape recognition. So large and varied a collection could only have
been given to the world by a gentleman whose family had old musical traditions, for it evidently contains
the gatherings of three generations, all enthusiasts in ballads and their melodies.

312

ttCOTTISU 802rOSk

THY CHEEK IS 0' THE ROSE'S HUE.

▲IB, ** MT OSILT JO AHD DBABU, O.

AULAVOXD ST T. M. inJ]>I&

= 84

BIODSHATO

Thy ebeek Sa o' the ro • m*8 biM, My on - ly Jo and

* w

dear-ie, O; Thy neck it o' the nl • ler dew Up - on the banks sae brier -ie, O.

:i=?

r -

■-T^^

^>>:.b f

fep£

:)i=E

fzzE

THT CH£KK IS o' THE ROSE's HQE.

313

rz::

on • ly jo and dear • ie, O.

The birdie siogs upon the thorn
Its sang o' joy, ta cheerie, 0,
Rejoicing in Uie simmer mom,
Nm care to mak' it eerie,* ;
Ah ! little kens the sangster sireet,
Aught o' the care I ha'e to meet.
That gars mj restless bosom beat,
My only jo and dearie, 0.

When we were baimies on yon brae.
And youth was blinkin' bonnie, 0,

Aft we woold daif* the lee-lang day.
Our Joys fti' sweet and monie, 0.

Aft I wad chase thee o'er the lee.

And round about the thorny tree;

Or pu' the wild flowers a' for thee.
My only jo and dearie, 0.

^Tlmofoai,

I ha'e a wish I canna tine,*

'Mang a' the cares that griere me, 0,
A wish that thou wert erer mine.

And nerer mair to leare me, ;
Then I would dawt^ thee night and dny,
Nae ither warldly care I'd ha'e,
Till life's warm stream forgat to play,

My only jo and dearie, 0.

• Spon. * To k

** Mv oin.T JO AND oearh, 0." <*This beautiftil song, which is another of the productions of the late Itlr.
Richard Gall, was written at the earnest request of Mr. Thomas Oliyer, printer and publisher, Edinburgh, an
intimate acquaintance of the author's. BIr. OliTer 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
reooUected were —

* My lore's the sweetest creature
That erer trod the dewy green ;
Her cheeks they ore like roses,
Wi' the op'ning gowan wet between.'

And baring no way of procuring the rerses he had heard, he requested Mr. Uall to write words to his (hTOorite tone.
Our young bard promised to do so ; and in a fbw days presented him with this elegant song, in which the title of
the tone is happily introduced at the close of erery stanxa." See Museum Illustrations. toI. ri., pp. 406, 407. In thf
Mote upon *' I ha'e laid a herrin' in saut," we ba?e giten a brief account of Richard GalL

814

SCOTTISH SONGS.

'^' *m >^»^i* c «i^^>i^>^>^«

AND YE SHALL WALK IN SILK ATTIRR

ABBAHOMD BT C M. IRrSIlL

=i80

EspmisatTo.

'v ^ ' 1^

•ilk At • tir«. And tU • ler hA'« to spare. Gin jvll eon • sent to

AKD TE SHALL WALK 19 SILR ATTIBK.

315

9 b ^ =^

wbat*s to me a

ail - ler crown, Gin frae my Ioto I

parti

The mind whase erery wish is pore,

Far dearer ia to me ;
And ere Fm forced to break mj fiiith,

ni lay me down and dee ;
For I lia*e pledged my virgin troth,

Brare Donald's fkte to share,
And he has gi'en to me his heart*

Wi' a* its Tirtues rare.

His gentle manners wan my heart,

He gratefb' took the gift;
Could I but think to see it back.

It wad be wanr than theft.
For langest life can ne*er repay

The lore he bears to me ;
And ere I'm forced to break my troth.

Ill lay me down and dee.

*• And te shall walk nr silk attire." Very litUe seems to be known regarding this son^ farther than
that the words were written by Miss Susannah Blamire. It was first published on a single sheet, and was
then copied into Napier's first, and Johnson's third Tolume, both published in the same year, 1790. The
versions are simihir, but not identical ; both are written in } time, and both are faulty in rhythm. In
George Thomson's great work (179S) the limping rhythm was corrected, and two syllables were added to
the second and sixth lines of each stanza ; for the air oo^^t strictly to have three lines of eight, and one of
six syllables in each quatrain. As these additional syllables weaken the verses, they have been generaUy
rejected, but are here subjoined as an alternative mode of singing. 2il line — An siller ay shall ha'e to spare.
6th — To hide a pining^ breaking heart. 10th— Is dearer far than gold to me. 14th — My ain brave Donald's
fate to share. 18th — He sratefu' took the willing gift. 22d — ^The well tried love he bears to me.

316

SCOTTISH 80503.

%^»^%^^^^^

GLOOMY WINTER'S NOW AWA.

ABIAIOIP BT C M. MUDim

= 92

AvDAjm
OQV Moio.

|>ooo ra2L

Gloo - my win - ter's now a - wa, Saft tlM wwt • tin' braes - cs blaw,

Pi U ' I

i ' ^ f

f=^

: 1 I ji

SvaaUaadlA.

llang the btrics o* Stanlej thaw, The ma • vis «ngs fa' chee r • ie, O. Sweet the crawflow'n ear - Ij beO,

^.^j ^ ^:^

DtcksGIeo -if- fer*i dew • t dell. Bloocning like thj boo - me »el*. My foong, mj art • leai dear- ie, O.

iJ'^ ±

OLOOMT WINTER'S KOW aWA.

317

CooM, my Ut - ne, I«t as ttnj 0*er Glen - kil - loeh's sun • ny brae, BIythe-Iy spend the gowden day 'Midit

^^^^^^

J i I , ' i i J ^

i ) ^ ' ^jf -^ ^^ *

joys that ne - ver wea-rie, O.

Tow'ring o'er the Newton woods, Bound the sjlvan fairy nooks,

Lav'rocks fan the snaw- white clouds ; Feath'ry breckans frixige the rocks,

Siller saughs, wi' downy buds, 'Neath the brae the bumie jouks.
Adorn the banks sae briery, 0. And ilka thing is cheerie, 0.

Trees may bud, and birds may sing,
Flowers may bloom, and verdure spring,
Joy to me they canna bring.

Unless wi' thee, my dearie, 0.

*' Gloomy Winteb's now awa." The sons was written by Robert Tannahill, about 1809, for a young
lady who was very fond of the air. It is stiu a favourite, and would be much oftener sun^, but for the
extreme compass of the melody. To remedy this, small notes and other marks of substitution have been
introduced in the present edition, so that any voice possessing the easy compass of a tenth can now sing it.

Neil Grow, in his Fourth Collection, gives the melody as "JLordBalfionie's favourite, a verv old Highland
tune." On the other hand, Alex. Campbell, of tiie Register House, ISdinburgh, claims to nave composed
and published it as a strathspey in 1792. In disputed cases of this kind, it will generally be founa that
there is somewhat of truth on both sides. In Captain Fraser's Collection (1816) tnere is an old Highland
air, "An dileacdhan" (The Orphan), which has many points of resemblance with "Gloomy Winter." In
his early wanderings in the Highlands we may suppose Campbell to have heard this tune, and afterwards
unwittingly reproduced a considerable portion of it, while Gow probably adopted Csmpbell's version,
believing it to be the veritable old tune.

Alexander Campbell seems to have been an enthusiast in regard both to the jpoetij and music of his
country. He was appointed by the Highland Society in 1815 to make a collection of airs floating about
unpublished among the peasantry of the north and west of Scotland. This he ^d very successfully, laying
before his patrons at the end of the year a collection of i^)out two hundred melodies. From these a
selection was made and published, along with a few border airs, under the name of Albyn's Anthology, the
first volume in 1816, the second two years later ; a third was promised, but never appeared. Verses were
written for the work by Sir Walter Scott, James Hogg, and others, and it had considerable success ; owing,
however, to the arrangements of the airs havins been made by the collector himself, whose musical know-
ledge was not equal to his zeal, it is now son^t for only by the antiquary or by those who are fond of
possessing a somewhat rare work.

318

SCOTTISH SOVOll.

LOUDON'S BONNIE WOODS AND BRAES.

Alls " XA&QUXS or BASraOt' •TBATBIPET.*'

= 72

ASftASOBDBT A. lAl

^ ^ ^ > £

Loudon's boB*nie vood«&nd braet, 1 maun leave them n*y Ut-ae;

Wha can thole* wben Briuin'i &es WoaIdgt*e Britons law, lassie f Whawtmldshnn the field o* danger!

I — -

- ^ r J J

^ . • ^'v .' ;. ji M

Wha toCune wcoIiUve a stnn;;er! Xow when Freedom bids avenge her« Wha would shun her ca', lassie!

^j=i=i=^^

i FF^=r

<6BSb:

■=r

ItOVDOV'S BOKNIK WOOnS AND RTtAKS.

319

P^ l ^^P" >^*j/j. J' Jn j^. J{ J>^

LoQ . doD*s bon • nie woods and braes, Ha'e seen our hap - pj bri • dal days. And geu • tl« hope shall

soothe thvwaes, When I am (ar a - wa', lassie.

Hark ! the swelliDg bugle rings.

Yielding joy to thee, laddie;
But the doleAi' bugle brings

Waefti' thochta to me, laddie.
Lanely I may cliaoib the mountnin,
Lanely stray beside the fountain,
StUl the weary moments counting.

Far frae lore and thee, laddie.
O'er the gory fields o' war,
TVliere Vengeance drires his crimson car,
Thoult maybe &', frae me afkr.

And nane to close thy e'e, laddie.

Oh, resume thy wonted smile,

Oh, suppress thy fears, lassie ,
Glorious honour crowns the toil

That the soldier shares, lassie :
Hearen will shield thy fiuthAi' lorer,
Till the Tengeftd strife is orer;
Then well meet, nae mair to serer.

Till the day we dee, lassie :
Midst our bonnie woods and braes.
Well spend our peacefti' happy days.
As blyUie's yon lichtsome lamb that plays

On Loudon's flow'ry lea, lassie.

"Loudon's Bosmix woods axd brass." These yerses were written by Robert Tannahill, and appear to hare
been Tery popular for ten or twelre years before the close of the last European war. Loudon Castle, in Ayrafairey
was the seat of the Earl of Moira, afterwards created Marquis of Hastings, while OoTemor-General of l^dia in
1816. This song is said to be commemoratiTe of his partings upon foreign service, from his young wife the Countess
of Loudon.

Ueferring to many prerious notes, we think we haTe shown satisfactorily that all ascriptions of the composi-
tion of Scottish melodies to Rizzio (or Biccio) are founded in error ; and we now take leaye of the subject by a
short recapitulation of the &cts.

1. Rizzio's name is not mentioned as a composer of music of any kind for a hundred and sixty years after his
death. 2. He lired little more than four years in Queen Biary's household, and for much the greater part of that
time in the capacity of a menial. 8. The Italian writer, Tassoni, makes no mention of Rinio's pseudo-compositions.
4. Thomson, in his " Orpheus Caledonius," printed in London in 1726, was the first to ascribe seren Scottish airs
to Bizdo; and, in the second edition of his work, 1788, ashamed of the imposture, entirely suppressed Biszio's
name. 6. James Oswald, a noted impostor, in his Second Collection of Scottish Airs, also printed in London, again
resumed the ridiculous deception regarding Bizzio, while the contemporaneous Edinburgh Collections of Bamsay,
Craig, and M'Gibbon, make no mention of Bizzio. Craig, 1780, states, that the airs are ''the natire and genuine
product of the country." 6. We hare shown Geminiani's opinions regarding Bizzio, and Scottish and other onisie
to be absurdly erroneous ; and the opinions of his blind and ignorant follower, OliTer Goldsmith, to improre greatly
in error and absurdity upon those of Geminiani and others. If any Bizzio MSS. should turn up, like the Skene,
and Straloch, and Leyden, we should welcome them heartily as Tcry wonderftil curiosities

320

SCOTTISH SONGS.

HERE'S A HEALTH TO ANE I LO'E DEAR

108

AKDAimO

GiULxioeo.

AonAXQED ST J. T. auBunii.

4 ^^' ^ ^

-^ i' i i ik-t-m-^^ .^ nj ]

fond lov- ers meet; And soft a.^ their part - ing tear, Jes-sie! Al • though thoa maun ne-Ter be

^r^— i ' V- *

?=37

eolla voce. V

here's a health to ans I lo'e deab.

321

mine,

Al - though e*t«nhope ii da

Iliad,

"Tit fweet-er for thee de-

>"^^?T^^. J j\n J

H'-'H^

fpair - ing, Thin anght in the world be- • nde, Jca-iial

- -i- t^v~-i- -I-"

TP , eoUavoee.'pJ^ A dim. ^ ^.±lj..

Z * si/ apiaetrt.

I monm throngh the gay gandj day,
As hopeless I muse on thy charms ;

Bat welcome the dream o* sweet slumber,
For then I am look'd in thy arms, Jessie I

I gaess by the dear angel smile,

I gaess by the lore-rolling e'e ;
Bat why orge tha tender conftssion,

'Qainst fbrtnne's ftU erael deer«e t — Jessie 1

*<HiBi'8 ▲ HBALXH TO AHB I lo'b DiAE." In Blsokle's ''Book of Scottish Sonc^** p. 188, is the following
Note : — " This exqoisite little song was among the last Boms erer wrote. It was composed in honour of Jessie
Lewars, (now Mrs. Thomson of Damfries,) the sister of a brother exciseman of the poet, and one who has
endeared her name to posterity by the affectionate solicitade with which she tended Bums daring his last
inness." Mr. Stenhoase, in toL t. p. 871 of Maseam, says that the air was commanicated by Bams, bat is not
genainew Mr. Stenhoase annexes a copy of the music in three-eight time, which he giyes as correct, bat does not
say whence he derived it. The anther of the tone is not known. It has little of a Scottish, and still less of an
antiqae character; bat aeems to owe somewhat to " Eenmare's on and awa*.**

Bams himscdf strenaoasly opposed aoy alterations in national Scottish melodies. In a letter to Mr. Thomson,
April 1798, in which he sends the song beginning *< Farewell, thou stream that winding flowsb" he writes thas :—
" One hint let me gire yoa— whatever Mr. Pl^ does, let him not alter one kia of the original Scottish airs ; I
mean in the song department; bat let oar national mosio preserve its native ftatares. They are, I own,
freqnently wild and irreducible to the more modem rales ; bat on that very eccentricity, perhaps, depends a
great part of their effect.'' In his answer to that letter, Mr. Thomson, 26th April 1798, says :~« Pleyel does
not alter a single note of the songs. That would be absurd, indeed t With the airs which he introduces into the
soDauS} I allow him to take such liberties as he pleases^ bat that has nothing to do with the songs.**

322

SCOTTISH S0V08.

WE'RE A' NODDIN'.

ABftAirOID BT T. K. XUDIB.

noddin', nid, nid, Doddin', And we're a' noddin* at our home at bame. Chida

1^ r c 1 1 1 C/ h^-f^-f-jj^-g-^^^-g^-H- i--^ ^ i^ n ff i

e'en to ye, klmmer. And are je alane t O u«me and see how blythe are we, For Jamie he's cam' hame; And

& ^^i:^ ca. . 1 — P^^ h

s s t

l=l=f

:g=f

m=Ff

ft=H

nf-

i- j l J

fe^^

O, but be'sbeenlang a-wa\ And O, my heart was sair, As I sobbed oat a lang fiireweel, May •

^^^

eo2^ VOC0.

aifc

1=£

wb'bb a' koddin'.

323

be to meet DM mair. Noo we'ra a' iiod*din*y nid, nidynoddin'; And we're a* nod -din' at

The suooeeding Tones commence at the sign ^

sair ha'e I fbnght,
Ear* and late did I tofl,

Ifj bainiies for to fted and dead''*

Mj comfbrt was their smile ;
When I thooht on Jamie &r awa'y

An' o' his lore sae ftin,*
A bodin' thrill cam' through my heart

We'd maybe meet again.
Noo we're a' noddin', &&

When he knocket at the door,

I thocht I kent the rap,
And little Katie cried aloud,

« My daddie he's cam' backl"
A stoon,* gaed through my anxious breast.

As thochtftilly I sat,

1 raise— I gazed — fell in his arms*
And bursted out and grat.^

Noo we're a' noddin', &&

lOocha

•Fond.

Paag.

«Wept

«* Wb'bb a' hoddin*." Air, " Nid noddiu'." The words ore taken from page 81 of that copious and excellent
Collection, "The Book of Scottish Song," published by Messrs. Blackie and Son, Glasgow, Edinburgh, and London,
1843. Messrs. Blackie giro three different yersions of ** Nid noddln\" — 1. The coarse Terses published in John-
son's Museum, and evidently founded on the original words to '* John Anderson, my Jo," inserted in Bishop
Perth's Beliqnes of Ancient English Poetry ; 2. Verses written by Allan Cunningham, for Mr. G. Thomson's
Collection ; 8. The yerses which we haye adopted as the best, and of which the author is unknown. About
thirty years ago the air was yery popular, and was sung at public concerts by seyeral of the fashionable singers
of that time. It owes much of its present form to W. Hawes, gentleman of the Chapel Boyal, who arranged
many of our airs early in the present century. The original will be found in Johnson's Museum, No. 628.

824

SCOTTISH SONGS.

J- 120
Mofinuxa

WHA'LL BUT CALLER HEREIN'.

ARRAJXQID BT O. ▲. MACTA&REX.

'"TT

?=?J=S^

ls=55:

^^i^^

i^ ^l ^V^^T*

1, 2, & 3. Wha'll buy cal • ler her - rin*, They 're boimie fish and halotome farin',

-Gh

3^P=

''333

Vfff

?=:

rzi

ST^iSi

0^ I

/WhMi ye were sleepin' on yonr pillowa.

ae^

Wha*Il bay caller her - rin'. New drawn frae the Forth ?< when the creel o' her -rin' passes,

I neighbour wires I now tent my teUin*,

1^ -^ , -— -^

itzzr.

rT/*'

;mi:

Err

fMr

— *r»

;£z2=;

^-N

1^^

y— ;y

is=s

C:?:

4-* — k

S^=>:

V— N— Vi

^^i=5r

v^-rd--;!:^^

Drvam'd ye anght o' oar pair fellows Darkling as they faced the billows, A' to fill the woren willows ?
La - dies clad in silk and la - ces, Gather in their braw pe>Iiss-es, Cast their heads and screw their flsces,
When the bonnie fish ye 're selling At a wnrd aye be your dealin', Truth will stand when a' thing's iailin'.

crea. 1 sf W \

X^ \ -^rf^-^

-f^=-^

wha'll buy caller herein*?

325

New drawn firae the Forth. Wha '11 buy my caller herrin', They're no brought here without brave darin'.

jpli^^^

9-r^ — -J — # — -1

^ZLld M^

Buy my caller ber-rin'. Ye lit -tie ken their worth: Wha 11 buy my cal-ler her - rin*,

JE^

y« mar ca' them Tolgar farin'. Wives and mithen nuuit despairin', Ca'themliTeto' men.

aten^po.

SW^ ^

826

SCOTTISH SOKOS.

<*Gallkr HKRBcr*." ThiB air wis oompoied eariy in the preaent century by Nathaniel Gow, the ton of
the oelefaimted old Neil Gow of Donkeld, and father d young Neil, the oomponr of "Bonnie Prince
Charlie," '*The Lament of Flora Macdonald," and other modem airs. The opening ban of "Caller
Herrin' " were suggested by the cry of the Newharen fishwives, who to this day are accustomed to carry
to town the fish caught over night. This they do in a large creel or basket resting on the back, and sup-
ported from the forehead by a broad leathern band. Thus accoutred they walk through even the best
streets of Edinburgh, bringing their wares to the very door of the consumer. The second strain of the
air is formed from the chimes of St. Andrew's Church, then recently erected in George Street. The song
first appeared in B. A. Smith's Scottish Minstrel (v. 18). It was initialed B. K, and is now known to
have been written by Lady Naime. In the original there are other two verses ; but they are not equal in
merit to thoee selected, and have been omitted, as the song is quite long enough without them.

The following copied from the original single sheet, is both rare and curious. It shows the composer's
idea in the construction of the tune : —

"Caller Hxbbivo. Composed (from the original cry of the Newhaven fishwives selling their fresh

herring in the streets d Edinburgh) by Nath[aniel] Gow."

The oRioiirAL C&t of the Fxshwomex.

—f r — ^— i3 == ^ 1

EEH

Bay my cal - ler her

nng.

^ ^

^BS

•[- j^ _' I g

A iUhiroiiuui in George Street going Eut

George Street helli at practice.

^^s^ gyf^

£=£='^

Three different fishwomen in St, Andrew Square,

_y, , (S) ^ — - ^ m

The troman from George Street arrives in the Square.

HOW COULD YE GANG, LASSIE 1

327

HOW COULD YE GANG, LASSIE?

ABRANOBD BT T. M. MUDIX.

Slowly.

1. how could ye gang, lassie, how coald ye gang; how could ye gang sae to

2. wha could ha'e thought that sae bon • nie a face Wad e'er wear a smile to de-

3. Tet, Ma - ry ! all faithless and false as thou art, Thy spell • bind-ing glan - ces, be-

J .I ! ! ■ 1 —4-

"ri^^— =t

§1

4==:

■^=^

i J' I ^' §i±^4lj,-^

grieve me?
ceive me?
lieve me,

Wi' your bean - ty and your art ye ha'e brok - en my heart. For I
Or that guile could vr - er find in that bos • om a place. And that
So closely are entwined round this fond fooUsh heart. That

ne7 • er nev • er thought ye wad leave me.
you wad break your vow thus and leave me ?
death a - lone of them can be - reave me.

«:

« HOW C0T7LD YS GANG, LASSTE ? ** This soDg appeared for the first time in the Scottiah Minatrel (iii. 96),
1821. The first stanza was written by Tannahill, the second and third by A. Bodgers. The air was
oomposed by B. A. Smith.

328

SCOTTISH S0VO&

' ^*^^^^f^0^0^0*^*

UODSEAXO

WHA'S AT THE WINDOW, WHA, WHAt

AmBJjrOID IT IHLAT

O Mba's at the win - dow.

M '"^ ^ ^

^i?=^i=f\

lOf r | f ^ ^

* — 1^

X \

J\ ." J' Ji J'. J' I

G WHA'S at the WIKDOW, WHA, WHAl

329

fr , f:gf y t

He lias plighted his troth, and a', and a',
Leal love to gi'e, and a', and a';

And soe has sne dune^

By a' that's abune,
For he lo'es her, she lo'es him, 'bane a', 'bone a',
He lo'es her she lo'es him, 'bune aV

Bridal middens ore braw, braw.
Bridal maidens ore braw, braw;

Bat the bride's modest e'e,

And warm cheek are to me.
Tune pearlins and brooches, and a', and a',
'Bmie pearlins and brooches, and a*.

There's mirth on the green, in the ha', the ha',
There's mirth on the green, in the ha', the ha',
There's laughing, there's qna£Emg^
There's jesting, there's daffin^
And the bride's Other's bljthest of a', of a'.
And the bride's Other's blythest of a*.

Its no' that she's Jamie's ara, ava,
Its no' that she's Jamie's aya, ara.

That mj heart is soe eerie

When a' the lave's eheerie.
Bat its just that shell aje be awa', awa'.
Its Just that shell aye be awa'.

** wha's at thb window ?" The words were written by Mr. Alexander Carlile of Paisley ; the air is by the
late R. A. Smith. Early in the seventeenth century a window song of this kind seems to haye been very
popular in England. Some yerses of it are sung in three of Beaumont and Fletcher's Flays. See also a
parody in Wedderbume's " Godly and Spiritual Songs," 1578.

In Mr. Prior's edition of the works of Oliyer Goldsmith, (London, Murray, 1887,) we find an ''Essay on the
different Schools of Music," upon which it is necessary to make some animadyersions, as it contains most erroneoua
statements with regard to the music of Scotland. The Essay, indeed, as a whole, displays so much ignorance of
the subject it professes to discuss, that, but for the deseryed high reputation of the author in other respects, we
would haye passed it oyer as altogether unworthy of comment. After stating that the Italian school was fbunded
by Pergolese, (!) and that of France by Lulli, Goldsmith says : — '* The English school was first planned by PuroelL
He attempted to unite the Italian manner that preyailed in his time with the ancient Celtic carol and the Scotch
ballad, which probably had also its origin in Italy; for some of the Scotch ballads, 'The broom of Cowdenknows,
fbr instance, are still ascribed to Darid Rixzio." — YoL L p. 175. In one of his Notes, Goldsmith writes : — " It it
the opinion of the melodious Geminiani, that we haye in the dominions of Great Britain no original musio except
the Irish; the Scotch and Tin giuh being originally borrowed from the Italians. And that his opinion in this
respect is just^ (for I would not be swayed merely by authorities,) it is yeiy reasonable to suppose ; first, from the
conlbrmity between the Scotch and ancient Italian music* They who compare the old French yaudeyilles brought
from Italy by Rinucdni, with those pieces ascribed to Darid Rizrio, who was pretty nearly contemporary with
hiwi, will find a strong resemblance, notwithstanding the opposite characters of the two nations which haye pre
seryed these pieces. When I would haye them compared, I mean I would haye their bases compared, by which
the similitude may be most exactly seen. Secondly, it is reasonable, from the ancient music of the Scotch, which
is still presexred in the Highlands, and which bears no resemblance at all to the music of the Low country. The
Highland tunes are sung to Irish words, and flow entirely in the Irish manner. On the other hand, the Lowland
musio is always sung to English words."

As to the opinion of "the melodious Geminiani," (whose music, by the way, is yeiy dry and mimelodious,) it is,
Uke eyery other opinion, to be yalued only so fiir as it is supported by eridence. We, therefore, point to the Collec-
tions of Martini, Paolucci, and Choron; in which are preserved specimens of ancient and modem Italian music —
ecclesiastical and secular; in none of which can be found one single melody bearing the slightest resemblance to
Scottish music As to ^nucdni, who is said to haye brought the "old French yaudeyilles out of Italy,** (!) the
mention of him is eridently a mere subterfhge, for it is not pretended that his airs hare any Scottish character.
It 18 in their baset (!) that we are to seek for the pretended resemblance I This is almost too absurd for a serious
answer. Eyery musician knows, that to any giyen simple bass may be written an air in the Italian or the Scottish,
in the military or the pastoral styles; and eyery series of yariations upon a giyen theme and bass by a skilftil
composer will afford examples of what may be don« in this way. Goldsmith's absurdities regarding Purcell's
style as haying been compounded of the Italian manner and the ancient Cdtic carol and the Scotch ballad^ we leaye
to be dealt with by Purcell's countrymen as they think proper.

* This gutject has been already discussed in the Not« to " Wilt thoa be mj dearie T

330

SCOTTISH 80X0&

»»i»%^^»»^»^»*^i#%^»^»* <

JESSIE, THE FLOWEE 0' DUNBLANR

BT T. K. MUmB.

= 100

Sbmfuci.

muse on sweet Jessie, the flower o' Dunblane. How sweet is the brier wi' its saft fauldin' blossom I And

Pi^P^^

E=*

JESSIE, THE FLOWEB O' DUKBLAKB.

331

sweet is the birk vii* its mantle o' green ; Tet sweeter and finirer, snd dear to this bosom. Is

lore - \j young Jessie, the flower o' Dunblane. Is love - ly young Jessie, Is love - ly young Jessie, Is

I N-l

^r?~?flT7 T

i'A i'ii^ i j M

^=^

r=fr

love - ly young Jessie, the flower o' Dunblane.

JL_l ^

She's modest as onie, and blythe as she's bozmie;

For guilelesB simplicity marks her its ain;
And fiur be the TiUidii, divested o' feeling

Wha'd blight in its bloom the sweet flower o' Dun-
blane.
Sing on, thou sweet maTis, thj hymn to the ev'ning;

Thoa'rt dear to the echoes of Calderwood glen ;
8ae dear to this bosom, sae artless and winning,

la charming young Jessie, the flower o' Dunblane.

How lost were my days till I met iri' my Jessie I

The sports o' Uie city seem'd foolish and vain;
I ne'er saw a nymph I could ca* my dear lassie,

Till charm'd wl' sweet Jessie^ the flower o' Dun-
blane.
Though mine were the station o' loftiest grandeur.

Amidst its proftision Td languish in pain.
And reckon as naething the height o' its splendour.

If wanting sweet Je88ie» the flower o' Dunblane.

** Jessix, thi plowsb o' DuNBLANK." The words were written by Robert Tannahill, of whom some account has
already been given in the course of this work. Tannahill's words were immediately set to music by the late
Bobert Archibald Smith, who indeed set most of that poet* s best songs. Smith was brought to Edinburgh
in 1828, by the late Bct. Dr. Andrew Thomson, and appointed by him precentor in St. George's Church.
He died at Edinburgh on 8d January 1829. Nt)t a few of the airs which Smith gave in his ''Scottish Minstrel"
as ancient Scottish melodies, were actually of his own compositicn, as could eren now easily be prored. Whaterer
may be a man's ingenuity in committing musical or literary hoaxes upon the public, the principle of such doingi
will not bear the sU^test examination.

332

SCOTTISH soiros.

THE YEAR THAT'S AWA*.

▲RRAXOID BT 4. T. SUBBnOL

#•=52

MODDLATO.

J. J. J^jy

:f=FI

f^ J J. J T^m

W^^ ■'' J' ^. .'iJU =

\ h »

Here's to the year that's a

swift flew the year that's a

wa\

And here's to ilk bon • nie yoong

r f

THE YEAR THAT'S AW A*.

^^^i^^^^^^^%^^^^V ^^^

333

Here's to the sodger irho bled,

And the sailor who brayely did &';
Their fiune is aliye, thongh their spirits are fled

Co the wings of the year that's awa\
Their flune is aUye, &o.

Here's to the friends we can trust,

When the storms of adyersity blaw,
May they live in our song, and be nearest our hearts^

Nor depart like the year that's awa*.
May th^ Uto, &c.

" Tbb tsak that^s awa'." This song was written by *' BIr. Donlop, late Colleetor at the Cnstom-Honse of Port-
Glasgow, and flither of BIr. Donlop, author of The History of HGtion." So says Mr. Bobert Chambers in his
Soottiah Songs, toL iL p. 487. We republish the words giTen by Mr. Chambers, seeing that in two or three editions
of them set to music, seTeral of the lines haTe been altered. A misprint of ** friend" for " friends," in the first
line of the last stanza, is here corrected. The history of the air, so for as we can learn, is as follows : — ** Mr.
Robert Donaldson, printer in Greenock, now in Glasgow, haring been reading Dunlop's poems, thought the song
so good as to be worthy of an air; and calling upon Mr. W. H. Moore, then organist there, (now in Glasgow,)
hummed over to him what he considered might be a melody suited for it This Mr. Moore remodelled consider-
ably, and published, probably about the year 1820.' It was afterwards taken up by some of the public singers, and
beoune Tery popular. Indeed it is still sung about New-year time, thou^ we cannot say much about either soldier
or saflor fighting finr their country in these days. Long may it continue so r*

There is another yersion of the air, which we subjoin on account of its bdng of less extensiye compass than
theoriginoL

334

^1^1 ■ ■ f ^ m^

SCOTTISH S0K08.

_ «.r».r-«j-i_ri_rLJi-f «-r«j«.rmr~M— M~>~»~ ~ "• ————— ~ — ..^_^— _^,^_^

SPEED, LORD NITHSDALE.

A&EAVOBO BT <. X. HUm.

r f J";j|

■peed, Lord Nithtdale, ipeed je fut,

Sin' jtmaimfrM jour oonntrieflae^

^1 — \

H^—iJrS:

mer - oy mot . &' to jour ibAre ; Nae pi - ty k

for thine and thee.

b feM^^^

tei:

Thy la - dy ati

in lone • ly bower,

And fast the tear &'s

£l

^T-i*-

^tTJ^ r

O SPEED, LORD NITHSDALS.

335

Her heart, sae wae, was like to break.
While kneeling by the taper bright;
But ae red drap cam' to her cheek.

As shone the morning's rosy light.
Lord Mthsdale's bark she mot na see,
Winds sped it swiftly o'er the main ;
'« ill betide," qooth that fair dame,
" Wha sic a comely knight had slain I

iBot, without: at in Um old motto^

Lord Nithsdale loT'd wi' mickle lore ;

But he thon^t on his countrie's wrang;
And he was deem'd a traitor syne,
And fbro'd frae a' he loT'd to gang.
•'Ohl I will gae to my loT'd lord,
He may na smile, I trow, bot' me;"
Bat hame, and ha', and bonnie bowers,
Kae mair will glad Lord Nithsdale's e'e.
' Toadi not Um Mt boi a gloTc."

**0 SFBED, Lord Nithsdau, sfeid ts rAsr.** These Torses were written, about the year 1820, by Robert Allan,
a poetioal weaTer of Kilbarchan, in Renfrewshire. Allan was a friend of R. A. Smith, for whom ha wrote a number
of songs, some of which appeared in the Scottish Minstrel and other musical publications. He died at New
Tork, U.S., on 7th June 1841, eight days after his arriTal there. The song alludes to the escape of Maxwell,
Earl of Nithsdale, who was deeply iuToWed in the rebellion of 1715. The first Eari of Nithsdale (or l^thisdale)
was created in 1581. The last forfeited the title in 1715.

Sir Walter Scott thus describes Nithsdale's escape: — ''Lady Nithisdale, the bold and affectionate wifb of the
condemned Earl, haTing in Tain thrown herself at the feet of the reigning monarch, to implore mercy fbr her hus-
band, dcTised a plan ibr his escape of the same kind with that since practised by Biadame LaTalette. She was
admitted to see her husband in the Tower upon the lost day which, according to his sentence, he had to Uto. She
had with her two female confidants. One brought on her person a double suit of female clothes. This indiTidual
was instantly dismissed, when relieTed of her second dress. The other person gaTe her own clothes to the Earl,
attiring herself in those which had been proTided. Muffled in a riding-hood and cloak, the Earl, in the character
of lady's maid, holding a handkerchief to his eyes, as one OTerwhelmed with deep affliction, passed the sentinels,
and being safely couTeyed out of the Tower, made his escape to France. So well was the iHiole thing arranged,
that after accompanying her husband to the door of the prison. Lady Nithisdale returned to the chamber from
whence her Lord had escaped, and played her part so admirably as to giTO him ftall time to get clear of the
aentinels, and then make her own exit. We are startled to find that, according to the rigour of the law, the lifli
of the heroic Countess was considered as responsible for that of the husband whom she had saTed ; but she oon-
trired to conceal herselfl" — History of Scotland,

The air was taken down by R. A. Smith from the sin;; log of ooe of the ladies so often mentioned as haTing
superintended the literary portion of the Scottish Minstrel. It is eridently a modem imitation of the antique,
and bears some resemblance to *' Waly, waly."

836

SCOTTISH BONOS.

THOU -BONNIE WOOD OP CRAIGIE-LEA.

▲EBAVOSD BT J. T. tCSBOn.

f =112

Gahtabilb.

i^s

kiTQiSM

0. . ^ -

■'•i- a )i

y%i J- ^ •

Thoo

bon - nie ntwd of Cnig - U - Im, TImxi

n 1 1^^^~^ I

bon - nie wood of Craig - ie - lea. Near thee I pa«'d life's ear - ly dar, And

^ s s

i i i i*

»_• fS • • -N-

•»•

g= i J', y ^. .'^ J' ryn

won my Ma - ry's heart in thee.

The broom, the brier, the birk • en bnsh. Bloom

*2=3:

^^is

^ m u ■_

r'i i i ^

TUOa BUNKIB WOOD 09 OBAIOIB-LEA.

337

\ i' J- g -^^^

S=ti

^Fm

bon - Die o'er thy flow* - ry lea ; And a' the sweeti that ane can wiah Frae

poeoraU. ^

*=JC

na - ture's hand, are strew'd on thee.

a. Jin

The fbllowing stanzas begin at the mark :j$

Far ben thy dark green plantings* shade^
The eoshat croodles am'ronslj ;

The mafia, down th j bnghted glade,

Gars echo ring frae ey'ry tree.

Thou bonnie wood, &&

Awa', je thoughtless, mnrd'ring gang,
Wha tear the nestlings ere thej flee 1

Tliejll sing you yet a canty san&
Tlien, in pity let them be 1
Thou bonnie wood, &o.

When winter blaws in sleety show'rs,
Frae aff the Norlan hOls sae hie,

He lightly skifb thj bonnie bow'rs.
As laiUi to harm a flow'r in thee.
Thou bonnie wood, &c

Thongh fltte should drag me sonth the Une^

Or o'er the wide Atlantic sea,
The happj hours 111 erer mind,

That I in youth ha*e spent in thee.
Thou bonnie wood, &c

M Thou bonmis wood or Craigob-lba.'* The words of this song were written by Robert TannahilL The air,
which has been Tery popular, was composed by James Barr, a professional musician in Kilbarchan, who after-
wards went abroad. In a Bacchanalian song of TannahUl's, called <* The Fire Friends," James Barr is thus com-
memorated in the fourth stanza: —

** There is blithe Jamie Barr, frae St Barchan's toun.
When wit gets a kingdom, he's sure o' the crown ;
And we're a' noddin, nid, nid, noddin.
We're a' noddin fti' at e'en."

In ** The Poems and Songs of Robert Tannahill," edited by BIr. Philip A. Ramsay, Glasgow, 1888, we find t!iat
E. A. Smith says of this air, — ** It is a Tery pleasing and natural melody, and has become, most deserredlj, a
great (kvourite all orer the West KitUra tid$. I think this little ballad possesses considerable merit; one of ita
stanzas strikes me as being particularly beautiful : —

When winter blaws in sleety show'rs,' &o.

* Harp,' Essay, p. zzxriL

The scenery here so finely described, lies to the north-west of Paisley. Since Tannahill's time iu betoly bai
been sadly impaired by the erection of a most unpoetical ottject, the ga»-woric"

338

SCOTTISH 80V08.

%^ t ,0^

^^^^^^^i^>^*^^

MY NANNIE'S AWA*.

AB&uraniTT.

lit*

MY KANNIE'S AWA"

339

Nsn - nie's a - wa'.

^=^l«-

The sna\f-drap and primrose our woodlands adorn,
And Tiolets bathe in the weet o' the mom ;
They pain my sad bosom, sae sweetly they blaw !
They mind me o' Nannie — and Nannie's awa'.

Thou layerock, that springs frae the dews of the lawn.
The shepherd to warn of the grey-breaking dawn,
And thou mellow maris, that hails the night-&';
Give over for pity — my Nannie's awa*.

Come, autumn, sae pensive, in yellow and grey,
And soothe me wi' tidings o' Nature's decay :
The dark, dreary winter, and wild-driving snaw,
Alane can delight me — ^my Nannie's awa'.

''Mr Nasnds's awa*." Upon this song Captain Charles Gray, R.M., in his ''Cursory Remarks on Scottish
Song," gives the following Note. Before quoting it, we might perhaps venture to suggest, that Bums' admirmtioD
of Clarinda may find its remoter parallel in that of Petrarca, early in the fourteenth century, for the lady whom he
has rendered so celebrated, in verse and prose, under the name of Laura. Petrarca, in his " Epistle to Posterity,"
calls his regard for Laura, " veementissimo, ma unico ed onesto." To say, that a very warm and sincere friend-
ship cannot mnooently subsist between a married woman and an unmarried man, is not only to contradict daily
experience, but to utter a licentious libel upon human nature. Were such the case, many of the strongest heart-
ties between friends and relatives must be at once torn asunder, never to reunite in this world.

" 'My Nannie's awa',' is one of the sweetest pastoral songs that Bums ever wrote. He sent it to Mr. Thomson
in December 1794, to be united to the old melody ot * Therell never be peace till Jamie come hame.' In this song
the Bard laments the absence of Mrs. M'Lehose, (Clarinda,) who had left Scotland to join her husband in the
West Indies, in February 1792. We may be pardoned, perhaps, for saying a word or two about the lady whose
beauty and accomplishments had so captivated our Bard, and inspired him with this and some others of his most
beautiftil love-songs. Bums, having published the second edition of his poems in 1787, was just about to leave
Edinburgh when he was introduced to Clarinda. One of our Poet's biographers alleges, that he was very tolerant
as to the personal charms of his heroines ; but as to the wit, beauty, and powers of conversation of Clarinda, there
can be no doubt. She seems to have completely iksdnated him at the very first interview. That Mrs. M'Lehose
was no ordinary person is proved by her letters, now printed along with those of Bums ; and it is saying much fbr
her, that they do not suffer fit>m being placed in juxtaposition with those of the Bard. This romantic attachment
between the poet and poetess was not of very long duration ; but while it lasted, as many letters passed between
(hem as form a goodly sized octavo volume I The germ of 'Nannie's awa" is to be found in one of Clarinda's
letters, (see Correspondence, &c., p. 185,) written thirty-five days after they became acquainted. They were about
to part, and she says : — ' You'll hardly write me once a month, and other objects wUl weaken your affection for
Clarinda ; yet I cannot believe so. Ok I Iti the Mcenet of Nature rtmind you of Clarinda t In itinUr, renumber ths
dark skadet of her fate ; in tummer, the tearmtk, the cordial icarmtk of her friendtkip ; in autumUf ker glovnmg wisket
to heatow plenty on all ; and let ipring animate you cieA kopet that your poor friend may yet lite to eurmount tke
vkUry Uaet of life, and retire to taste a springtime of kappiness !* This passage, so beautifbUy descriptive, in the
letter of his fhir correspondent, was not overlooked by Bums. He says, in reply : — ' There is one fine passage in
yonr last charming letter — ^Thomson nor Shenstone never exceeded it, nor often came up to it. I shall certainly
sieal it and set it in some future production, and get immortal &me by it. 'TIS where you bid the scenes of Nature
renund me of Clarinda.' The poet was as good as his word. Some months after Clarinda had left this country,.
Bums, reverting to the passage we have quoted frt>m her letter, made it his own by stamping it in immortal verse^
bewailing the absence of Clarinda in a strain of rural imagery that has seldom or never been surpassed."

The air to which we have here united the words, we believe to be modem ; yet we have not been able to trace
it to any composer. Like many other airs, it probably owes its present form to several individuals. It appears
to have passed orally from one singer to another, untQ Mr. George Groall, a well-known musician in Edinburgh,
rescued it a few years ago from threatened oblivion.

340

SCOTTISH SONOS.

ROW WEBL, MY BOATIE, ROW WEEL.

4mmAjroBD bt ihlat dcs.

AJi • J' firj^

fi J' ^j'.

wmI, my boatie, row weel. Row

dool And thereat wae in Glea - fio • rich's bowers, And there's grief in my £a - ther's h*'.

animated.

And the skiflT it danced light on the merry wee wares, And it flew o'er the wa - ter sae

^^^^^^^^^^

w^m

■^ — 0-

BOW WEEL, KT liOATlE, BOW WEEL.

341

J4^^N^'i-p^-M^

bon ! for fSur Ellen, o • hon ! O

hon ! for the pride of Strath*

fHr^Ffi

]0p e9pre$sivo.

t^ ^ * « jil

"Row WEEL, MY BOATiE." The words were written by Walter Weir, house painter in Greenock, an
intelligent man, and a learned Gaelic scholar. The subject is taken from an old Gaelic story which the
author got from his mother. The air is by E. A. Smith. It was first published under the name of Ellen
boideachd— Beautiful Ellen.

342

SCOTTISH SONGS.

BONNIE MARY HAY.

AXRAJfOED BT T. X. MUDIX.

L Bonnie Ms • 17 Hay, I will lo*e the« yet. For thine e'e is the tUe, and thj

S. Bonnie Ua - ry Hay, will ye gang wi* me. When the sna*i in the west, to the

9 rrj

;^=3c=;

hair is the jet. The snaw is thy skin, and the rose is thy cheek; O
haw-thoxn tree? To the haw - thorn tree. in the bonnie ber-ry den. An* 111

•? — r

^-^

■3. A — A

aE55

;Hr

■«-.-

boaaie Ma-rr Hit, I vill Io'« tbc« tvt.
tellroo, y»^ Hay, bov I lo'e t^eeUien.

BONNIE MARY HAY.

343

^ ^i p.Iii Jl

8. Bonnie H^-rjEaj, it's lud-i-dAj to ma Whan thoa art oonth -la,

i. Bonnia Ma-ry Haj, thou niannna laj ma naj. Bat coma to tha bowar bj tha

-t

kind, and frea ; There 's naa clouds in the lift, nor itorma in the sky, Mj

haw • thorn brae, Bat coma to tha bowar, an' I '11 tell you a* that 's true. How,

fe&

it^riry- z4

!=5

«r+

^^^

bon-nia Ma • ry Hay, whan
Ha-ry, I can ne'er lo'e

thoa artni^
ana bat you.

dim, ralL

BoyNiB Mart Hat.— Ib the composition of Archibald Crawford (b. 1785, d. 1843). He was born in Ayr,
was left an orphan in his ninth year, and had little education beyond what he acquired through his own
energy. After being in yariona sitnations, he erentoally aettled down aa an auctioneer in hia native town.
There he wrote for a provincial newspaper aketchea founded upon tradition, which were afterwarda
collected and publiahed in 1824, under the name of Talea of a Grandmother. The tong waa written in
honour of a young Edinburgh lady, who had ahown him much kindneaa during an attack of fever. It
waa aet to muaic by R. A. Smith about 1823, waa publiahed aa a aingle aong, and deaervedly became
Tery popular. See Dr. Charlea Rogers' most comprehensive volumes, " The Modem Scottish

344

8C0TTI8B SOROS.

WHEN THB KYE COMES HAMK

AXmASGBD BT J. T.

^ = 72

ICOOKBATO.

whittle throngh the glen. 111 tell ye of a m - oret That ooaitiefi din - da ken. VHiMt

g -M^ i^

ie the greeteet bliM That the tongue o' man can name I Tis to woo a bonnie laa • tie When the

:}=5:

S=fs:

P=i

— * • . — ^^

^ *

*=it

kye comes heme* When the kye comes hame. When the kye comes hame, Tween the

ill

WHEN THE KTB CUMES HAUlS.

345

r=F=^

frds

^ ^ r

z£

gloamin* And the mirk, When the kje comes hftme.

-a*^

' — 1^

F^ f^^fl

'^ not beneath the bnrgonet,'

Nor yet beneath the crown,
'Tis not on conch of Telret,

Nor jet on bed of down :
Tis beneath the spreading birch.

In the dell without a name^
Wi* a bonnie, bonnie lassie^

When the kye eomea hame.

There the blackbird bigs' his nest

For the mate be Iotcb to see.
And up upon the tapmosi bongh.

Oh, a happj bird is he I
Then he poors his melting ditty,

And love 'tis a' the theme,
And hell woo his bonnie lassie

When the kye comes hame.

When the blnart* bears a pearl.

And the daisy tnms a pea.
And the bonnie Inoken gowan

Has fkuldit np his e'e,
Then the larerock frae the bine lift

Draps down, and thinks nae sham?)
To woo his bonnie lassie

When the kye comes hame.

Then the eye shines sae bright,

The haill soul to beguile.
There's love in every whisper.

And joy in every smile ;
0, who would choose a crown,

Wi' its perils and its (Sune,
And miss a bonnie lassie

When the kye oomes hame?

See yonder pawky* shepherd

That lingers on the hill —
flid yowes are in the ikuld.

And his lambs are lying still i
Yet he downa gang to rest.

For his heart is in a flame
To meet hb bonnie lassie

When the kye comes hame.

Awa' wi' fkme and fortune —

What comfort can they gi'e ? —
And a' the arts that prey

On man's lifo and libertie I
GVe me the highest joy

That the heart o' man can ft-am? ;
My bonnie, bonnie lassie,

When the kye comes hame.

• A Und of bdmet

• Bdlda

*TlMbIIbaT7.

«Slj.artftd.

** Whsst the kti comes haxi.'' In ** Songs by the Ettrick Shepherd, now first collected, Blackwood, Edin-
burgh, 1881,'* James Hogg himself writes the following notes upon this song: — «In the title and chorus of this
fiiTourite pastoral song, I choose rather to violate a rule in grammar, than a Scottish phraee so common, that
when it is altered into the proper way, every shepherd and shepherd's sweetheart account it nonsense. I was
onoe singing it at a wedding with great glee the latter way, (* when the kye come hame,') when a tailor, scratching
his head, said, * It was a terrible affectit way that 1' I stood corrected, at.d have never sung it so again. It is to
the old tune of ' Shame fit' the gear and the blathrie o't,' with an additional chorus. It is set to music in the

Noctes, at which it was first sung, and in no other place that I am aware of." "I composed the foregoing

song I neither know how nor when ; for when the * Three Perils of Man ' came first to my hand, and I saw this
song put into the mouth of a drunken poet, and mangled in the singing, I had no recollection of it whatever. 1
had written it off-hand along with the prose, and quite forgot it But I liked it, altered It, and it has been my
Ikvourite pastoral for singing ever since. It is too long to be sung from beginning to end ; but only the second
and antepenult verses [stanzas] can possibly be dispensed with, and these not very well neither." As we do
not think that Hogg improved his song by altering it, we adopt the earlier version. The air to which Hogg
adapted his words is not a true version of ** The Blathrie o't," but one considerably altered.

846

wcoTTisn soifoa.

OH I WHY LEFT I MY HAMEt

AXEAiroiD BT 7. «. tumm.

= 84

Akdaxti
oon molta

J"j I J', /i J: ■' I

OhI why bft I BV

■y — ^ '

Ub4 W^n» TBY

<br»

fik > th«r« sleep !

wP Sco • tn^

oh! why left t my hame?

347

> > J ♦

■bore. And I

gaze

the

tea,

Bat

can • na get

poeo rail.

The palm-tree waveth high,

And fkir the myrtle springs,
And to the Indian maid

The bnlbnl sweetly sings;
Bat I dinna see the broom,

VfV its tassels on the lea,
Nor hear the lintie's * sang

0' my ain coontrie.

Oh ! here no Sabbath-bell

Awakes the Sabbath mom.
Nor song of reapers heard

Amang the ycdlow com :
For the tyrant's voice is here,

And the wail of slarerie ;
Bat the son of freedom sbices

In my ain coantrie.

There's a hope for erery woe,

And a balm for erery pain.
Bat the first Joys of oar heart

Come never back again.
There's a track npon the deep.

And a path across the ses
Bat the weary ne'er retam

To their ain coantrie.

iQUmpM.

t T.itwt—

" Oh ! WHY LETT I UT HAMX ?" Li Johnson's Maseam, yoL iL No. 115, we find a tane called "The Low-
lands of Holland," which remarkably resembles the tane here set to Mr. B. Gilfillan's words. Mr. Sten-
hoaae says it was pablished by James Oswald in 1742, and was ascribed to him by his sister and daaghter ;
bat Mr. Stenhoase erred in making that statement, for the tone in Oswald's Second Collection is totally
unlike that in Johnson. The original of Oswald's air is evidently No 17 of the Skene MS., a fact which
demolishes his daim to the tone and his mi LriigLwn rfeTiinPM^ if he led his relatives to believe it to be his
own composition. Johnson's air was altered into its present form by Mr. Peter Macleod, a mosioal
amatear of Edinborgh. His compositions were nnmeroas ; one of the most popalar being " Scotland yet,"
from the profits of which he placed a parapet and railing roand the monament of Bams on the Caltoa
Hill, EdinbarRh.

848

SCOTTlilH SOVOn.

HE'S O'ER THE HILLS THAT I LO'E WEEL.

AXmASOBD BT T. M. MimiB.

He's o*«r Um bUlt that I lo*ewwl;He't o'«r Um hills it«

il*nji.; i ;T]iJ i ^

(

W*t * <V*«3S«>

ik > tbi«r 9 j«a*

i«<ic far

r^:i=

*=t^

he's o'sb the hills that I lo'e'weeu

349

fv^uij:

fl^-

■■»

^'h-r

'de«i ihe tJiinki they're no' to blame. Condudinj Symphony.

^ ,.r r..

B^jll f C J II

[The sacceeding Terses begin with the second part of the melody.]

The Whigs znay scoff, the Whigs may Jeer,
Bat» ah ! that bve mann be sincere
Which still keeps tme whate'er betide.
An' fbr his sake leaves a' beside.
He's o'er the hills, &c.

His right these hills, his right these plains
O'er Highland hearts secure he reigns ;
What lads e'er did, onr lads will do
Were I a lad, I'd follow him too.
He*s o'er the hills, &c.

Sae noble a look, sae princely an air,
Sae gallant and bold, sae yonng and sae fkir;
Oh ! did yon bat see him, ye'd do as we've done;
Hear him bat ance, to his standard youll ran.
He's o'er the hills, &o.

" Hb 's o'eb ths hzllb that I u>*iL wnL." This is a modem Jacobite song, which appeared with its air
in the Scottish Minstrel IIL, 1S21. In the early editions it is anonymous, in the third it bears the signa-
tare S. M., and has been claimed for Lady Naime, though some of the verses scarcely reach the high
standard of her poetry. Probably it owes much to her, but I am inclined to believe that all the songs with
this signature were altered, amended, or added to by the coterie of ladies who superintended the literary part
of that work, and that no single individual could claim to be their author. This I beliere to be the reason
why ALL the songs which came afterwards to have the initials S. M. attached to them are, in the index t»
the early editions of the Minstrel, stated to be of tmibioiat authorship. The new airs which appeared in
the ^linstrel are of uncertain origin. R. A. Smith confessed to having composed some of them himself ;
others he took down from the singing of the ladies mentioned aboye, while a few were re-modelled from
Tery defective MSS. submitted to him.

Mr. George Alexander has pointed out (Irish Melodies, p. 151) that the air probably had the same origin
as "Were I a clerk," to which Moore wrote his song, " Tou remember Ellen ;" comparison will show thai
they resemble each other very considerably.

350

SCOTTISH SOHOb.

%^»^^^»^^ii^^^^»" ^^^^^«»<

CAM' YE BY ATHOL?

ABEAWniP BY A. L4WmiBL

r'=

OON SriKITO.

Cam' je by A- tbol, lad wi* the phi - U-beg, Down by the Tnm-oMly or

15=S

:>r-^

J' ' J J'

f :^ J' r

LeaT - iiig their mountains to fol • low Prince Char • lie! Fol - low thee, fol • low thee.

i 3 L

^?^i rl

r^t

^^«» ^^^»^<^>^^^^^^ '^iN<

CAM YE BY ATHOL?

351

'B r. c J' J'lJ'j^ ^

wha wad - na fol - low tbe«t Lang halt thon loved an* trast • ed

fiftir . I7I

S=3t

^^S

bon - ni« Pnnoe Char • lia.

I ha'e but ae son, mj gallant young Donald ;

Bat if I had ten, tjiey Bhonld follow Qlengarry ;
Health to M'Donald, and gallant Clan-Ronald,

For these are the men that will die fat their Charlie.
Follow thee, follow thee, &c.

ni to Loehiel and Appin, and kneel to them;

Down by Lord Murray and Roy of Eildarlie ;
BraTe Mackintosh, he shall fly to the field wi' them ;

These are the lads I can trust wi' my Charlie.
Follow thee, follow thee, &a

Down thro' the Lowlands, down wi' the whigamore,
Loyal true Iffighlanders, down wi' them rarely ;

Ronald and Donald drire on wi' the braid daymore^
Oyer the necks of the foes o' Prince Charlie.
Follow thee, follow thee, he.

'*Gam* te bt Athol?" This song was written by James Hogg, the Ettrick Shepherd, was set to music
by Neil Gow, Jun., and was published in " The Border Gkurland ;" a work of which one number only was
published. It seems to have been projected by Hogg to give publicity to his own musical as well as
poetical compositions ; but the work did not meet with much success, owing perhaps to its octavo form.
Some years thereafter a folio edition was brought out with three additional songs, w»^if^"g twelve in all ;
the whole of the music having been re-arranged by James Dewar. Four of the songs, "The Lament of
Flora Macdonald," *'0 Jeanie, there's naething to fear you," "Hie Skylark," and "Bonnie
Charlie," now came into notice, and were much sung.

852

SCOTTISH 80K08.

PAR OVER YON HILLS.

AIM, " TUB LAMBrr 09 VLOEA MACDOVALD,

= 100

AjR>A2m
EtrBBtUTO.

AULAXGBD BT BIBLAT DUB.

Par o • vw joa hflb of Um

^^^

drt

<r^ r ." ? -

htftther aae inv«n, An* down by the Corrie that nngi to tbt aea, The bon • nie young Flo - im nt

w=^^ ,

n-^ # — m i> ■

*=I

•ighing her Un«. The dew on her pUid an* the tear in her eV She look*d at a boat wi' the

V-fe

^^>^— N— > -

tr — r

?=?:

g^F=i

breei • es that swnng, A • way on the ware, like a bird oi the main ; An'

VAB OVBB TOK HILLS.

353

gTigcrr i r/,?]'.^

a,y mi it lesMn'd ihe ngh'd an' ihe mng, <* Fartweel to the Ud I ihall oe'er lee a - gain; Fara •

con €/MTgxci

fVgJCrT T

?s=5

'. .^ > N

weel to my he-ro, the gallant an' youngy Fareweel to the lad I ihall ne'er tee a-gain."

The mooroook that crows on the brows o' Ben-Connal,

He kens o' his bed in a sweet mossy hame ;
The eagle that soars o'er the olifi o' Clan-Ronald,

Unawed and unhnnted his eyrie can claim;
The solan can sleep on the shelve of the shores ;

The cormorant roost on his rock of the sea;
But, ah ! there is one whose hard fbte I deplore,

Nor house, ha', nor hame in his country has he;
The conflict is past, and our name is no more^

There's nought left but sorrow fbr Scotland an' me I

The target is torn from the ann of the Just^

The helmet is cleft on the brow of the braTe*
The claymore fbr erer in darkness must rust;

But red is the sword of the stranger and slaTe;
The hoof of the horse, and the Ibot of the proud,

Haye trode o'er the plumes on the bonnet of blue
Why slept the red bolt in the breast of the doud

When tyranny rerell'd in blood of the true?
Fareweel, my young hero, the gallant and good !

The crown of thy fiithers is torn from thy brow.

" Fak otxb ton hills." James Hogg, in his second series of Jacobite Relics, gires this song and air as " The
Lament of Flora Macdonald," with the fbllowing note z—** I got the original of these ferses from my friend Mr.
md Gow, who told me they were a translation fit>m the Gaelic, but so rude that he could not publish them, which
he wished to do on a single sheet, for the sake of the old air. On which I Tersified them anew, and made them a
great deal better without altering one sentiment" In his '^ Songs," collected in 18dl, Hogg reprints thu under
the title of ^ Flora ^lacdonald's Farewell," headed by the following note : — « Was composed to an air handed mm
by the hkte lamented Niel Gow, junior. He said it was an ancient Skye air, but afterwards told me it was bin
own. When I first heard the song sung by BIr. Morison, I nerer was so agreeably astonished, — I could hardly
beliere my senses that I had made so good a song without knowing it" In both these notes, tha Shepherd's s
complaoen<7 Is Tery amualnf:.

354

SCOTTISH SONGS.

COME O'BR THE STREAM, CHARLIK

AH, "MAOLMAM** WELCOWL*

AXmASOBD BT T. M MUDXEL

Aluoko

AaiXATO.

£=£

Come o'er the stream. Char -lie, dear Char -lie, braTe Char • lie, Come

a T::^!^^:^

s=t

o'er thettreun, Clur • lia, ana dine with Blao - Lean ; And though jonbe wea • 17, wall

^ — p-

■3; — •

??^=g

6=E

2±

-p — t^

^^N^

^^^

:si.

make your heart chee - ry, And wel - come onr Char - lie and his loy - al train.

sas

It: 8

f"^^

COME o'er the STBEAlt, O^ABLIE.

355

t=t

Well bring down the red dear, wall bring down tha bUok steer. The Iamb from tba breck - on, and

H=r^

f coUavoce,

r r

z±

•p — ^

r^^ J I f r i

^J-J- l -U-M

doe from the glen ; The nit sea we'll bar - rj, and bring to our Char - lie. The

S ~l~»^_j ^f^

■<*-p-

f±

^^^

5=?:

' i-r l r-^Jhr:

z£

££

eraam from the bo - thy, and card from the pen.

i9-

Ttt^,

HJF#

fcpt

"ttWii

Come o'er the stream, Charlie, dear Charlie, braye
Charlie^
Come o'er the stream, Charlie, and dine with
MocLean ;
And though jon be weary, well make your heart
dieery.
And welcome our Charlie and his lojal train.
And yon shall drink finely the dews of Glen-Sheerly,
That stream in the star-light, when kings dinna
ken;
And deep be yomr meed of the wine that is red.
To drink to your sire and his friend the MacLean.

Come o'er the stream, Charlie^ dear Charlie^ braye
Charlie,
Come o'er the stream, Charlie^ and dine with
MacLean;
And though yon be weary, well make your heart
cheery.
And welcome omr Charlie and Ids loyal train.
If anght will incite yon, or more will delist yon,

Tia ready — a troop of our bold Highlandmen
Shall range on the heather, with bonnet and feather.
Strong arms and broad claymores, three hundred
and ten.

** CoxE o'er the smsAM, CnAKT.TB." In " Songs by the Ettrick Shepherd," 1831, we find the following Note by
James Hogg : — *' I Tersified this song at Meggcrnie Castle, in Qlen-Lyon, fit>m a scrap of prose, sud to be the trans
lation, terhatimf of a Gaelic song, and to a Gaelic air, sung by one of the sweetest singers and most accomplished
and angelic bdngs of the human race. But, alas ! earthly happiness is not always the lot of those who, in our
erring estimation, most deserre it She is now no more, and many a strain haTe I poured to her memory."

356

SCOTTISH SONGS.

HEY THE BONNIE BREAST-KNOTS.

▲BRAKGID BT T. X. XUDIX.

H67 ths bonnie.

Allbobbtto.

a^=fc:=|^!= ^-|J-f-
=Szj I— l-f-= ±=lj=b=

5=3:

a— ^

5*-^

^^^^^

S^H33^

ho the bonnie, Hey the bonnie breast - knots ; Blythe and merry were they a\ When

they got on the breast-kuots. 1. There was a brid- al in this town. And till't the lasses

2. At nine o'clock the lads conyene. Some clad in bine, some

pl^^^e^

t±

--$

i?=3z:5

€1

^ s ^ r

5 *-.-f^ — •-

a* were boon* Wi' mank • ie f ac - ings on their goxvn, And some o' them had breast-knots,
dad in green, Wi* glanc - in' bnckles in their sheen, And flow'rs np • on their waist • coats.

i=>c

OX-

_^«.

~9 1^

/■

— a J ~ —

— • :— ^

tsE

V — =1--

HEY THE BONNIE BBEAST-ENOTS.

357

fcrU^

Hej the bonnie, ho the bonnie, Hej the bonnie breast-knots, Blythe and merry were thej a'. When

^^^

iE £n-^ -= P~T. :i

P^.

313

1 — =■

3=it3i

tN-^u-^-S

P^^^

tea

they got on the breast-knots.

Ihie.

Forth cam' the wiyes a' wi' a phrase,
And wiah'd the lassie happy days.

And mnckle thocht they o' her daise,
And specially the breast-knots. — Hey, etc*

When they'd tied np the marriage ban'.
At the bridegroom's they neist did Ian',

Forth cam' anld Madge wi' her split mawn,^
An' bread an' cheese a hoist* o 't — ^Hey, etc.

She took a quarter and a third.
On the bride's head she ga'e a gird,'

Till farla* flew across the yird.
Syne parted ronnd the rest o 't. — Hey, de.

Then a' ran to the bam in ranks.
Some sat on deals, and some on planks,

The piper lad stood on his shanks.
And dirl'd np the breast-knots. — Hey, etc.

1 Abasket

* Aheap.

i A slight blow safficiflnt to break the oat-caka.

« The quarter of a dicular cake.

" The BONNIE BBEAST-KNOTS. " This hnmorons song, written in the broad Bnchan dialect, was sent to the
editor of Johnson^s Museum by an anonymous correspondent. Strange to say, the air which accompanied
it, differing entirely from that which we here give, was an Finglish morris-dance, still known in some parts
of Derbyshire and Lancashire. The tune is found under the name of " The Breast-knot " in several
collections of country dances of last century, and it may be a question whether the name suggested the
writing of the song, or the song gave its name to the dance. In any case it seems sing ula r that an
English morris-dance should find its way to Aberdeenshire. That air has, howerer, long been discarded,
and its place supplied by a sort of strathspey tune entirely modem, but regarding which nothing seems to
be known with certainty.

In the original song there are fifteen stanzas, of which the 1st, 3d, 5th, 12th, 13th, and 15th, have been
selected for this work. The 12th and 13th describe a curious Scottish marriage custom, now almost
forgotten, of breaking a/arl of shortbread or oaten-cake over the head of the bride when entering her new
dwelling for the first time.

858

SCOTTISH SONOS.

UOOSBAIO.

LUCY'S FLITTIN'.

▲BBAKOZD BT T; K. MUDU.

L Twu when the wan leaf frae the hitk tree was fa* - in', And Mar • tinmas dow - ie had
2. She gaed by the fta - ble, where Ja • mie was stannin' ; Right sair was his kind heart the
8. what is't that pits my pnir heart in a flnt-ter? An' what gars the tear come saa

— # — h

2=5z

fc^-^5

=5=3

isnSnfcJi

woand up the year. That La - cy roVd up her wee kist wi' her a* in't, And left her anld master and
flit - tin' to see, . . " Fare ye weel, Lu-cy," quo' Ja-mie, an* ran in ; The ga • the- rin' tears trickled
fast to my ee? . . If I was na et-tled to be on-ie better, Then what gars me wish on-ie

tzzS

-.J:— 1^•

■i—0

:ti«:

■X-

:?:

a-r:

-:b=^

nei - boun saa dear. For La • cy had serr'd in the glen a' the sim • mer ; She

tut tna his e'e. Ai down the bnrn-side she gaed slow wi' her flit - tin', . . .

bet • ter to be ? I 'm just lilce a Um - mie that los • ee its mi • ther ; Xor

I I __ ,

a^*:

Lucy's flittin*.

359

cam there before the floVr bloom'd on the pea. An orphan was she, an' they had been gnde till her. Sure
" Fare ye weel, Ln-cy," was il • ka bird's sang ; She heard the craw sayin't, high on the tree sit-tin'. An'
mith-er nor ftien' tiie poir lam - mie can see, I fear I ha'e tint my bit heart a' - the-gith-«r, Naa

ryg

that was the thing brought the tear to her e'e.

ro - bin was chir - pin't the brown leaves amang.

won - der the tear fk's sae £ut frae my e'a.

Wi' the rest o' my olaes I hae row'd up the ribbon.
The bonnie bine ribbon that Jamie ga'e me ;
Yestreen when he ga'e me% an' saw I was sabbin',
1 11 never forget the wae blink o' his e'e :
Though now he said naething bat "Fare ye weel. Lacy,"
It made me I neither coold speak, hear, nor see.
He con'dna sae mair but jnst '' Fare ye weel, Lucy,"
Yet that I will mind till the day that I dee.

The lamb likes the gowan, wi' dew when if s dronkit,
The hare likes the brake an' the braird on the lea;
But Lucy likes Jamie— she tom'd an' she lookit,
She thonght the dear place she wonld never mair see.
Ab ! weel may young Jamie gang dowie an' cheerless I
An' weel may he greet on the bank o' the bnm !
His bonnie sweet Lucy, sae gentle an' peerless,
Lies cauld in her grave, an' will never retnm.

** Luct's Fltttzn'." We need offer no apology, unless it be to Professor Veitoh, for quoting his account
of this song and its writer from that delightful work. The History and Poetry of the Scottish Borders
(p. 524). " Lucy's Flittin'isthe Lyric of the Borders which ranks next to the Flowers of the Forest. It
was the production of 'William Laidlaw, the son of the farmer of Blaokhouse, on the Douglas Bum, the
early friend of Hogg, and the life-long friend and amanuensis of Sir Walter Scott. He was bom in 1780,
and died in 1845. Lucy's FUttin' could have been written only by one who had been brought up among
the south country glens, who knew and felt the simplicity of rural life and manners there, and who, as a
man of true lyrical soul, could for the time entirely forget himself, realise the feelings and speak the
language of the breaking-hearted country lassie. The last eight lines of the song are by James Hogg."

The air is modem, and was written for the song ; but the author is not known.

390

SCOTTISH SONGS.

HAME, HAME, HAMEt

AXMLAXQWD ST 9. T. WMJM.

^ = 08
AOAOXO

Fatshoo.

dim. p

p4M throogb Annan

■P \

ter with my bonnie bands again ; When the flowV is in the bad, and the

«■., •*««

HAME. HAME. HAMB I

361

rv-fe-N-n^

Hamei hame, hamei hame &in would I he,
Hame, hame, hame, to my ain coontrie 1
The green leaf of loyalty's beginning for to &',
The bonnie white rose it is withering and a',
Bnt m water't with the blood of usurping tyrannie»
And firesh it will blaw in my ain countrie.

Hame, hame, hame, hame fliin would I be,
Hame, hame, hame, to my ain eountrie 1
There's nought now from ruin my oountrie can sara^
But the keys of kind hearen to open the grare,
That all the noble martyrs who died fbr loyaltie
May rise again and fight for their ain countrie.

Hame, hame, hame, hame fkin would I be^
Hame, hame, hame, to my ain oountrie I

The great now are gane, a' who Tentured to sare;

The new grass is growing aboon their bloody grare ;

But the sun through the mirk blinks blithe in my e'e^

111 shine on ye yet in your un countrie.

" Hamb, hams, HAMB !" In ToL iiL pp. 246, 247, of The Songs of Scotland, edited by Allan Cunnin^iam, we
find a Tersion of this song beginning, ** It's hame^ and it's hame." We hare followed this yeraion, omitting only
the word ** It's," which is an unmeaning word used by the country people in many parts of Scotland at the begin-
ning of almost erery song; and adopting from Blackie a better reading of the last line of the second stansa —
that is, '< And fresh it will blaw,"— instead ot, <' And green it will grow." As the "white rose" is the flower
mentioned, the words, *' green it will grow," are not applicable. The following is Cunningham's Note appended
to the words : — ** This song is noticed in the introduction to the * Fortunes of Nigel,' and part of it Is sung by
Richie Moniplies. It is supposed to come from the lips of a Scottish Jacobite exile. The old song of the same
name had a similar chorus, and one good Terse against the British fleet, which was then — and may it erer con-
tinue !— master of the sell ; the poet prayed for Tery effectual aid :—

< May the ocean stop and stand, like walls on erery side,
That our gallant chiefr may pass, wi' heaven for their guide I
Dry up the Forth and Tweed, as thou did'st the Red Sea,
When the Israelites did pass to their ain countrie.'"

In the first rolume of Hogg's Jacobite Relics, Song LXXX, we find Terses nearly corresponding with those g^Ttn
by A. Cunningham, but beginning, ^ Hame, hame, hame, hame fiun wad I be." Hogg's Note says : — ''The air,
to which I hare heard it sung rery beautiftdly, seems to be a modification of the old tune of if ary SeoU, tks
ftow§r of Yarrow,^ The air given by Hogg to " Hame, hame," is a modification of ** Dinna think, bonnie lassii^
Vm gann to leare you;" which again is borrowed firom the air in triple time^ "Blary Soot" The song Is^ io
tois work, adapted to a modem air which is ofidenUy borrowed ftt)m « My loTa's in Germanisu"

863

SCOTTISH SONGS.

THE SUN RISES BRIGHT IN FRANCR

▲XBAVOXD BT T. K. inn>ZB.

^^^^^^P-^^^

L The son lis • es bright in France, And fkir seti

2. Fa' bienly low'd my ain . . . hearth, And smiled my sweet &l»-

#^^^N^ ;^^

§^

-# — #-

^^S

^^^

he,
rie.

But he's tint the blythe
0, I've left a' my

blink he had In my
heart be • hind In my

ain
ain

ooon
ooon

trie,
trie.

It's
0, I'm

nae
leal

my am
to high

ru
hea

in That
▼en. Which

meets aye my

aye was leal to

THE SUN RISES BRIOHT IN FBANCE.

363

three, And it's oh I waes

trie. And it's oh 1 waes

me I
me!

fuIL

" The suk biser bbioht in Francs." In 1810 Cromek pabliahed this as a genuine Jacobite relic in hia
Remains of Nithsdale and €kdloway Song. He gives it as if taken down from the singing or recitation of a
Miss Macartney. In 1825, however, Allan Cunningham printed it, with his own name, in his Songs of
Scotland, addii^ eight lines to it ; he likewise made severid alterations in the first rersion of the words,
bat as these rather mar the original simplicity of the song, they have been generally rejected. The added
lines are intercalated as a second and fifth qnatrain, bat they may be song together as a second stanza, if
the song be not thooght long enough withoat them : —

glftdness comes to many.
Bat sorrow comes to me.

As I look o'er the wide ocean
To my ain coontrie.

The bud comes back to summer.
And the blossom to the bee;

But I win back— oh never 1
To my ain coontrie.

In 1821 Hogg included the song in his Jacobite Belies, as a "sweet old thing, very popular both in
England and Scotland," but confessed it was uncertain to what period the song refers. The Ettrick Shep-
herd was, perhaps, not so well fitted by previous reading as might have been wished, to be the editor of a
work which required ontiqmunan knowledge, and even research, to a consideiable extent. Still he had a
ready pen, had written some very good Jacobite songs from scraps of prose translation from the Gaelic, and
was, above all, so general a favourite, that every collection was at once thrown open to him. He was thus
put in possession of much information that another, possibly better fitted for the task, might have failed
to obtain. With the music he ought to have done much better ; for in many cases the original tunes of the
songs were indicated. He hod, besides, the assistance of Mr. William Stenhoose, the annotator of John-
ion's Museum, who hod the reputation of possessing great knowledge of national music. Tet the airs are
admittedly often taken at random, the versions are frequently uncouth, not to use a worse term, and the
Shepherd shows a strange want of knowledge and appreciation of the pastoral airs of the south of Scotland :
Sir Gilbert EUiot's "My sheep I neglected" is quite unknown to him, "Pinkie House" he entirely
disowns. His own taste seems to have been towards the bagpipe tunes of the north, rather than the
smoother-flowing melodies of the Ettrick and the Yarrow.

864

SCOTTISH SONGS.

ANNIE LAURIK

AEEASKUD BT T. M. MUniK.

S98

i=lS===l!s

j:. jm

there thAt An - nie Leu - lie

Gi'ed me her pro - miee tmo;

N /

Oi'ed

ANNIE LAdBIE.

365

■I—

boo - ue An - nie Lan - rie.

I'd

down and doe.

Her brow is like the snaw-drift,

Her neck is like the swan,
Her fiuse it ia the fkirest

That e'er the sun shone on;
That e'er the sun shone on.

And dark blue is her e'e;
And for bonnie Annie Laurie

I'd lay me down and dee.

Like dew on the gowon Ijing,

Is the &' o' her fairy feet;
And like winds in summer sighing,

Her Toice is low and sweet.
Her Toice is low and sweet.

And she's a' the world to me ;
And for bonnie Annie Laoiie

I'd lay me down and dee.

* Amm Laubh." We give the more modem Tersion of the song. With regard to the other Terdon, said to
have been written about 150 years ago, and which will be fbund in the Appendix, Bfr. Robert Chambers says^
"These two Terses, which are in a style wonderftilly tender and chaste for their age^ were written by a i&x,
Douglas of Ungland, upon Anne, one of the four daughters of Sir Bobert Laurie, first baronet of Maxwellton, by
his second wife, who was a daughter of Eiddell of Minto. As Sir Bobert was created a baronet in the year 1686,
it is probable that the Terses were composed about the end of the serenteenth or the beginning of the eighteenth
century. It is painM to record that, notwithstanding the ardent and chiTalrous affection displayed by Mr.
Dou|^ in his poem, he did not obtain the heroine fbr a wife : she was married to Ifr. Ferguson <tf Craigdar*
rooh. See < A Ballad Book,' (printed at Edinburgh in 1824,) p. 107."— Oaatftm' ScxMuk Songs, Edinburgh, 1829
ToL ii p. 294. We must obsenre, however, that the second stanza of the song, ascribed to Mr. Douglas, beginning
** She's backit like the peacock," is evidently borrowed, with modifications, tnm a stanza, not quotable, in an old
▼ersbn of ** John Anderson, my Jo." The air of Annie Laurie is quite modem, having been composed by Lady
John Scott For the farther satisfootion of our readers, ire subjoin Allan Cunningham's Note upon ** Annie
Laurie,'* in his « Songs ci Scotland," Edinburgh, 1825, vol. iiL pp. 256, 257. **1 found this song in the little
'Ballad Book,' collected and edited by a gentleman to whom Scottish literature is largely indebted— Charles
Kirkpatrick Sharpe of Hoddam. It is accompanied by the following notice : — ' Sir Bobert Laurie, first Baronet of
the Blaxwellton flunily, (created 27th Blarch 1685,) by his second wife, a daughter of Biddell of SiOnto, had three
■cms and fbur daughters, of whom Anne was much celebrated fbr her beauty, and made a conquest of Mr. Douglas
of Fingland, who is said to have composed the following verses under an imlucky star — for the lady married Mr.
Ferguson of Craigdarroch.' I have only to add, that I am glad such a song finds a local habitation in my native
place." Allan Cunningham quotes the song from Mr. Sharpe's ** Ballad Book ;" but we observe that that version
diffian in its readings firom the one given by Mr. B. Chambers. The fbnner reads — ** Where I and Annie Laurie**
— *rd lay down my head and die"— ^a peacock" — **a swan"— ^ may span;" while the latter reads— ** Where
me and Annie Laurie" — *'I11 lay me doun and die"— ^*He peaccck"— *«the swan" — *<micht span."

366

SCOTTISH SONGS.

CASTLES IN THE AIR.

AR&UrOXD BT A. C. UACKE31ZIE,

EExABTisnss.

poking in the aue,
er - ing to the moon ;

GloVrin' in the fire wi' his wee roond fftc« ;

He sees little sod - gers pa' - ing them a' donn 1

^^^3^;

J^ G ^ I r I . L^ I . -^

«lA

f-TJ

^g^^^

Lanzh - ing at the fuffies' lowe, what sees he there f
Worlds whomling up snd donn, bleezin* wi' a flare.

Ha 1 the young dreamer's biggin*
See how he loaps 1 as they

^s tijt: !

pS^^^S^^^

*=s

^ *

5^^

±=5:

TSJT

i-'-^r

^^^

>-> ^■^

"I/"

=i5=t

^^^^^^ ^1 ^^^^

c&stles in the air.
glimmer in the air.

His
For

wee chubby face, and his tons • ie cxir - ly pow. Are

a* sae sage he looks, what can the laddie ken? He's

4> :N T ^-'i — I-

^=m

* I * » IT

*~9V> ='

fj» , X ^ S

=:5— iiiz3iz»=z!:

^ ^

>-=r

jt=:

-•-^ — i-

p==

=?:

1 r — r

CASTLES IN THE AIR.

367

gT^T^

laugh - in' and noddin'
think - in' onnaething.

to the dancin' lowe ; <Be 11 brown his ros - 7 cheeks,
like mon - 7 might7 men ; A wee thing maks ns think,

and

sinff e his son - n7 hair,
sma thing maks OS stare—

Glow'rin* at the imps
There are moir folk than him

wi' their castles in the air.
big • gin* castles in the air.

last time.

Sic a night in winter may wed mak him cauld.

His chin njpon his hnSv hand will soon mak him anld.

His brow is brent sae braid, pray that daddy Care

Would let the wean alane wi* his castles in the air.

He '11 glow'r at the fire ! and be 11 keek at the li|^t.

But monv sparkling stars are swallowed up by night ;

Aolder e en than his are glamoured by a glare,

Hearts are broken, heads are tum'd, wi' castles in the air.

•* Castles cr the ahl" This clever song, written by James BaUantine, was one of aboat fifty which he
contributed to David Robertson's excellent collection of Scottish songs by living authors called " Whistle-
binkie." This work, begun in 1832, was so well received, that from time to time one series after another
was called for, till in 1844 it was brought to a close by the appearance of the sixth, which consisted entirely
of son^ for children, and, among others, contained '* Castles in the air." Some years thereafter it was set
to a slightly altered version of an excellent old melody, "Bonny Jean," by a youthful amateur of Edin-
burgh. It is published here by permission of the proprietors of the copyright.

368

SCOTTISTH SONUS.

i»^^»^^^fc^^^

MODK&ATO.

AULD JOE NICOLSON'S BONNIE NANNIE.

AR&UrOXD BT T. K. XUDIB.

3E]S

^^^

g • g {?

sweet as it's bon-nie ; But there
eon - thy and can - ny, I . .
mild ... an* mellow. Saw . .

ne'er was a flower in

cower'd me down at the

naething sae sweet . . in

garden or bower, Like
back o' the bush, . . To
Natore's ar-ray, . . . Though

m3^

"> l > V

■ — =1— ^

fefe

S^^^

auld Joe Nicolson's bon • nie Nannie,
watch the air o* my bon • nie Nannie,
clad in the mom - ing's gow - den yellow.

z!r

^^fc^^p^l

f- g i »~

0, my Numiel my dear lit-Ue Naimie ! My
0, my Kannie I my dear Ut-tle Nannie I Hy
0, my Nannie I my dear Ut-tle Nannie ! My

1^:^=1^

z±d^^^nilz.'^l^

-#— #-

-^-4

? ^

2=m:

— F / — / [F

^Et

:tz=t

AULD JOE NICOLSOK's BONNIE NANNIR

369

^^:

=P=3^=^^==S=:?==^

1 p "F ^

■ha-

3^53

8WMt lit-tle nid • die - ty nod - die • ty Nannie I Tliere ne'er wis a flower, in

"m^^^^

^qs=^

nziii:

# J— # # H^-_^.

30:

garden or bower. Like aold Joe Nicolson's bon-nie Nannie.

^ T^T-^^n-

My heart lay beating the flowery green.
In quaking, quivering agitation.
An* the tears cam' tricklin' down frae my een,
Wi' perfect love an* wi* admiration.

0, my Nannie ! my dear little Nannie !

My sweet little niddlety noddlety Nannie !

There ne'er waa flower, in garden or bower,

Like auld Joe Nicolson's bonnie Nannie !

There 's mony a joy in this warld below,
An' sweet the hopes that to sing were uncanny,
But of all the pleasures I ever can know,
There 's nane like the love of my bonnie Nannie.
0, my Nannie ! my dear little Nannie 1
My sweet little niddlety noddlety Nannie !
There ne'er was a flower, in garden or bower,
TJke auld Joe Nicolson's bonnie Nannie 1

" Attld Job Nicholson's Nannie." In the collected Songs by the Ettrick Shepherd (Bbckwood, 1831)
there is a very characteristio note regarding this song and its air : — ** Auld Joe Nicholson's Nannie was
written the year before last for Friendship's Ofifering, but has since become a favourite, and hat been very
often copied. I have refused all applications to have it set to music, having composed an air for it myself,
which I am conscious I will prefer to any other, however much better it may be." The air here given is
that which Wilson, the celebrated vocalist, introduced to the public about 1850 ; it is probably that already
mentioned, for Wilson never made any claim to have composed it.

2 A

870

SCOTTISH SONGS.

THE ROWAN TREK

▲KRASrOKD ST T. X. UXTDXM,

Ain>Aim

^^^^^

u' '* /

row -an tree, oh! rowan tree, thou It aye be dear to me,

fair wert thou in simmer time, wi' a' thy clus - tert white,

E=?3^

^^fe

^=r-^ ' s-jr^iM^ ^^I^^^

Sn .
How

twin'd thon art wi' mo • ny ties o* hame and in - fan • cy.

rich and gay thy autumn dress, wi* ber • ries red and bright

eS3;

^ b j.

22:

=t=3:

$4-^- gzgz^ ^gEj

■^■=\

^^^

leayes were aye the first 0' spring, thy flow'rs the sim - mer's pride ;

thy fair stem were mo - ny names, which now nae mair I see ;

^^m

^=j

1
1«.

■V

T-i

Thy
On

There
Bat

THE HOWAK THEE.

371

V=^i'=^-

^^^1=

was - na tic a honnie tree in a' the countrie tide,
they 're en - gray - en on my heart, for • got they ne'er can be.

Oh! Row - an
Oh! Bow - an

W» i:

tree,
tree.

I^g

=±±=t=r

We sat aneath thy spreading shade, the baimies roond thee ran,
They pn'd thy bonnie berries red, and necklaces they Strang ;
My mither, oh 1 1 see her still, she smiled our sports to see,
Wi* little Jeanie on her lap, and Jamie at her knee.

Oh ! rowan tree.

Oh ! there arose my father's prayer in holy evening's calm ;
How sweet was then my mother s voice in the Martyr's psalm !
Now a' are gane ! we meet nae mair aneath the rowan tree.
But hallowed thoughts around thee turn o' hame and infancy.

Oh ! rowan tree.

*' The Bo wan Tbeb. " This song is a fine specimen of the poetic feeling which Lady Naime threw into
all the memories of her youth. Though it was published about 1840, she was not known to be the author
till after her death in 1845. Of the air little is known, but it is believed to owe its present form to Finlay
Dun, who, during a quarter of a century, arranged so many modem Scottish airs from amateur sketches.

Lady Naime was so very shy in regard to her writings, that there is really some doubt concerning a few
of those first given to the world in the Scottish MinstreL Though it is generally admitted that all those
marked B. B. in that work are really by Lady Naime, there are others, initialed S. M. (Scottish Minstrel),
about which there is not the same certainty. For while the B. B. songs are all so marked in the first and
every subsequent edition, the S. M. songs are, in the index of the first and second editions, stated to be of
unknown authorship. In the third edition they first appear with the initials; it has therefore been
suggested that these songs were probably the joint production of the ladies who edited the literary portion
of the Minstrel ; of these. Lady Naime was undoubtedly the leading spirit Two of her most able
coadjutors were Miss Hume, daughter of the Honourable Baron Hume of the Exchequer, and Miss Helen
Walker ; it was from the singing of the latter that B. A. Smith took down the airs of Lord Nithadale and
Carlisle Yetts.

S7S

SCOTTISH SOVOS.

THB BONNETS OF BONNIE DUNDEE.

ABBUWIDBrT.

^r-^-1r'^ \

1. 1btk» Loidt ofChm-v«n - tloo twit OU-Ttr-hooM ■poktfXretlM King^tcrowB go down tfa«wa»
S. Don - dm 1m it momit • td, h* ridit up tlM ttraet, The bells tlity lisg baokwud, tlit

Hr-rT.~Tp l

erownt to be broke ; So eedi Ga • ▼» - Tier who loree hon • oar and mm. Let Um

dnime thejare beat. Bat the Pto • ?oet (doace man) said, " Joat e'en let it be, For tbe

fol - low the bon-neta of
town la weel iid </ that

bon - nie Dun - dee. Come I mi m nr am

deU o' Don . dee." Gome f ^ ^V ^J '^P*

eome

^~"T1 ^

THE BONNETS OF BONNIE DUNDEE.

373

' ^N^^^^^^k^^^^^^

^i^F?¥^^^^^^gg^

fill up my can, Come sad • die my honea and call out my men, Un • hook the West Port, and

^..=£^ ^3^

let OS go free, For its np with the bonnets of bon-nie Dundee.

Sr^^^l^^gj

There are hills beyond Pentland, and lands beyond Forth,
If there *8 Lords in the South, there are Chie& in the North,
There are brave Duinewasaals, three thousand times three^
Will cry " Hey for the bonnets of bonnie Dundee."
Come fill up my cup, come fill up my can.
Come saddle my horses and call out my men,
Unhook the West Port, and let us go free,
For its up with the bonnets of bonnie Dundee.

Then awa' to the hills, to the lea, to the rocks,

Ere I own a usurper I 'U crouch wi' the foz ;

And tremble, false Whigs, in the midst o' your glee,

Ye ha'e no seen the last o' my bonnets and me.
Come fill up my cup, come fill up my can.
Come saddle my horses and call out my men.
Unhook the West Port, and let us go free,
For its up with the bonnets of bonnie Dundee.

The Bonnets ow bonnie Ditndee. — This lively modem tune is often erroneously called Bonnie Dundee,
thus confounding it with a much finer slow air of the olden time, found in the Skene MS. (1685 ?), and now
sung to Mary of Castlecary. Victor Hugo, in his ** Travailleurs de la Mer," speaks justly of the " tristesse"
of Bonnie Dundee, and has been blamed for not comprehending the character of the tune, by a corrector
who evidently only knew this modem air under that name. The latter was known in Edinburgh about
fifty years ago as " The band at a distance ;" it was much played by young ladies, the mode being to begin
pianissimo, gradually increase the sound io fortissimo, and then die away as the band was supposed to
recede into the distance. Many years afterwards a celebrated contralto of our time being in Scotland,
heard the air, and adapted it to Sir Walter Scott's stirring words, to which it is admirably suited. The
air is believed to be of Scottish parentage, but nothing more exact is known concerning it.

874

SCOTTISH SOKOS.

CAPTAIN PATON NO UO'SI

104

LToa^OBMmma tobtr mtamn, Aiidlttpwieliaod teMt b» iktd,
1 Hit iPilifeoott,ooit^aBdbtiMehMy W«rt all eat off tha ««• vab^
6L Hbiv nd tbn vp • an a Snadaf Haia*Tll-ad ma to diaa
7. Or if a bowl was BMntloatd, Tba Oaptaia hawoold riag^

or a

Oa a
iadUd

priaoaofffoodold fil -Iowa, Thai, a • lack - a • daj, it daad I fdr a prtamof worthy ftl-1owB,A»d a
baatt-tl-ftil8D»ff ool-ow, Or a mod-ait ganty dnb; Tbe Uaaitripain bla ttod±ig^Boaidhlt
iMT-iing and amiitton-chop,WhichbiaiiiaiddrtaRrdv«rj ilna;Th«rawatalao a Ut-Ua Malm-My And a
Net - If to 4ba W«t-Fort, And a rtoiqp of watar bring. Than would ba mis tba gMiaina tiaf^ Am ihaf

«-

h= 4=^

prti-tj manal - so, Tbatbai left tba Salt - maxk-et In sorrow, grief, and woe— Ob !
neat tlixn leg did go, And bit mflles of tbecambricfine,The7were wbiter tban tbe

bot - tie of Bor - deauz, WbicL be-tween me and tbe Cap • tain Paesed nimbi j to and
made it long a • go, With limes that on bis property In Trin-i-dad did

CAPTAIN PATON NO MO'e 1

375

' ^^^*^^^N^>^>^>^^

Tk$ atktr ttmmamt.

^#^

ne'er shall see the like of Captain Pa - ton no mo'e 1

snow— Oh 1 we ne'er shall see the like of Captain Pa - ton no mo*e I

fro— Oh 1 I ne'er shall take pot • lack with Captain Pa - ton no mo*e I

grow — Oh I we ne'er shall taste the like of Captain Paton's punch no mo'e t

3. His hair was cnrled in order,

At the rising of the sun,
In comely rows and buckles smart.

That about his ears did run ;
And before there was a toupee

That some inches up did go ;
And behind there was a long queue.

That did o'er his shoulders flow — Oh ! He,

4. And whenever we forgather'd,

He took off his wee three cockit,
And he proffer'd you his snuff-box,

Which he drew from his side pocket ;
And on Burdett or Bonaparte

He would make a remark or so,
And then along the plainstaneii

Like a provost he would ftfy—Oh. ! etc
0. In dirtnr days he picked well

His footsteps with his rattan.
Oh ! you ne'er could see the least speck

On the shoes of Captain Paton !
And on entering the coffee-room

About tvoo, aU men did know
They would see him with his ** Courier "

In the middle of the row— Oh I etc.
8. And then all the time he would discourse

So sensible and courteous,
Perhaps talking of the lost sermon

He had heard from Dr. Porteous ;
Or some little bit of scandal

Of Mrs. So-and-so,
Which he scarce could credit, having heard

The C07I, but not the pro — Oh ! etc.

9. Or when the candles were brought forth.

And the nisht was (fairly) setting in.
He would tell some fine old stories

About Minden-field or Dettingen ;
How he fought with a French major.

And despatched him at a blow,
While his blood ran out like water

On the soft grass below — Oh ! eto.

10. But at last the Captain sicken'd.

And grew worse from day to day,
And all missed him in the coffee-room.

From which now he stay'd away.
On Sabbaths, too, the Wynd Kirk

Made a melandioly show,
All for wanting of the presence

Of our venerable beau — Oh 1 efo.

11. And in spite of all that Cleghom

And Corkindale could do,
It was plain, from twenty symptoms.

That death was in his view ;
So the Captain made his testament.

And submitted to his foe.
And we laid him by the Ram'j-hom Kirk ;

'Tis the way we all must go — Oh ! etc

12. Join all in chorus, jolly boys.

And let punch and tears be shed.
For this pnnce of good old fellows

That, alack-a-day ! is dead ;
For this prince of worthy fellows.

And a pretty man also.
That has left the Saltmarket

In sorrow, grief, and woe I — For it, etc

** Captain Paton no mo'z I " This graphic description of a somewhat celebrated personage appeared in
Blackwood's Magazine in September IS 19, and is understood to hi«ve been written by J. G-. LocKhart. In the
Book of Scottish Song (Blackie), we are told that Captain Paton resided about the beginning of the century
opposite the old Glasgow Exchange. Lockhart's description of hiin is said to be very accurate. The Wyna
Kirk, — Wee Kirk in the original, — was at that time the most fashionable place of worship in the city.

The air is believed to have been composed by Mr. William Mackean of Paisley.

876

SCOTTISH SOHOB.

THE NAMELESS LASSIK

Ian - ie ea'f htr luaaM ; Yet though mj Ussie'i smraelett, an' htr kin o' low <!• •

▼ar • Ud as they'ra ran, Whila aha ialiditand mar- 17 aa tha lammia on tha

V ped.

HL dkiL Jf) a tempo.

^^m

ls=*

^^^^^m

Her heart ia warm, her thochts are pure, an' she 'a dear to

For hap"?! - neaa and in « no « cence the - gith - er aye mann be ;

Her
For

b^:

T r

psg^s^^i

I '

*— ^

J-.

H=-=J^

f f ~T"^

■^

THE NAMELESS LASSIE.

377

heart it wann, her ihocliU are pare, an* O she 'a dear to me.
hap - pi - ness and in - no - cence the - gith • er aye maun be.

a tempo, *»*/

2d verse, concluding verse.

Whene'er she shows her Uooming face, the fioVrs may cease to bUw,
And when she opes her hinnied lips, the air is music a* ;
But when wi' ithers' sorrows touched, the tear starts to her e*e.
Oh ! that 's the gem in beauty's crown, the priceless pearl to me.

Within my soul her form 's enshrined, her heart is a* my ain.
And richer prize, or purer bliss, nae mortal e'er can gain ;
The darkest paths o' life I tread wi' steps o' bounding glee,
Cheer*d onward by the lore that lichts my nameless lassie's e'e.

"The Namsless Lassie." These verses were written by James Ballantine, one of the best and most
prolific of our song writers since the time of Bums. Some of his earliest lyrics were contributed to
Whistle Binkie, one of the most excellent collections of original Scottish song that has ever appeared.
Between 1843 and 1872, he published "The Gaberlunzie's Wallet," "The Miller of Deanhaugh," "Liliaa
Lee," and "Malcolm Canmore," an historical drama, besides several editions of his collected songs. He
was bom in Edinburgh in 1808 ; died 1877.

The melody was composed by Alexander Mackenzie, a gentleman well known as a violinist all over Scot-
land ; and whose rendering of our national melodies was quite a feature at the Theatre Royal, Edinburgh,
in the golden days of William Murray. He was bom at Montrose in 1819 ; showed so precocious a musical
talent, that he appeared in Aberdeen at the early age of seven. He was connected with the Edinburgh
Theatre from his eleventh year, under the successive managements of William Murray, Edmund Glover,
and Robert Henry Wyndham, by all of whom he was held in much esteem. He wrote a good deal of
melodramatic and dance music ; and was very happy in his settings of several of Ballantine't songs : —
Bonny Bonaly, The Grey Hill-plaid, and others. He died in 1857.

The song is published in this volume by the kind permission of Mr. John Blockley, Argyll Street,
London, the proprietor of the copyright.

378

SCOTTISH SONGS.

Allxgrbtto.

BONNIE BESSIE LEE.

IBSAKOSD BT T. X. HTTmS.

^iai«

1. Boimi« B<iai« Lee hid •

2. whilee the had a tweet - heert and
8. Time changes a' thinfi, the

fE^S3^

i): ^ j

face fa* o* smilee, And mirth round her ripe lips was aye dancing slee ; And light waa the

whilee she had twa, A limmer o' a lassie ; bat a - tween jou and me. Her warm wee bit

ill - natnred loon ; Were it er . er sae right • ly, he '11 no let it be ; Bat I rabbit at my

JS IS.

j^-^r^S^^

foot - fa', and v,\n - some the wiles, 0' the flower o' the par > och-in, Oar ain Bessie Lee. Wi' the
heart - ie she ne'er threw a - wa'. Though mony a ane had sought it frae bonnie Bessie Lee. But
een, and I thought I would swoon, How the Carle had come round about Our ain Bessie Lee. The

^^e^I^Se^

zr^=E

zE^ata

fe^

M±

£^CB

If"^

:?v

J — U-^

bairns she wad rin, and the school - laddies paik, And o'er the broomy braes like a fair • y wad
ten years had gane since I gazed on her last ; For ten years had parted my anld hame and
wee laughin' lassie wa^ a gudewife growin' auld, Twa weans at her ap - ron, and ane at her

aEEiE!

EgE^gEiE^g

—

tw-

r-irr — '

t •

BONNIE BESSIE LEE.

87»

^gg^^^^

flee, ^U aold hearts grew young agaia wi* lore for her sake, There was life in the blithe blink o*
me, And I said to my - sel\ as her mother's door I pass'd, Will I eVer get an - ither kiss firae
knee. She was doace too and wise -like, and wisdom's sae caold, I would rather ha'e the ither ane than

bonnie Bessie Lee ; Our ain Bessie Lee, our bonnie Bessie Lee, There was life in th«
bonnie Bessie Lee ; Onr ain Bessie Lee, our bonnie Bessie Lee, Will I ever get an -
this Bessie Lee ; Our ain Bessie Lee, our bonnie Bessie Lee, I would rather ha'e the

#4=^;^^^ |g%iq ^d=^

blithe blink o' bonnie Bessie Lee.
ither kiss frae bonnie Bessie Lee.
ither ane than this Bessie Let.

2 And
8. Bat

** BoNirix Bessie Lee " was written by Robert NicoU, — " Scotland's second Bums " he has been called, —
who was the son of a small farmer in Perthshire; and who, notwithstanding a constant struggle for
existence, early connected himself with the press by writing many poems and a prose story, which appeared
in an Edinburgh magazine. Through the influence of his publisher, Mr. Tait, he was appointed editor of
the Leeds Times (1S36), but only surviTed till the end of the following year, when he died at the early age
of twenty-three.

The air is modem, but the composer is unknown ; John Wilson, the vocalist, probably helped to mould
it into its present form. As it requires stanzas of eight lines, it has been necessary to omit the iollowing
four, which form the ninth to the twelfth lines in the original : —

She grat wi' the waefu', and laughed wi' the glad.

And licht as the wind 'numg the dancers was she ;

And a tongue that oonld jeer, too, the little lassie had.

Which keepit ay her ain side for bonnie Bessie Lee.

S80

SCOTTISH soiros.

^>»»^»»^I^I^>^^M>*>»»^M»

GOOD NIGHT. AND JOT BB WI' TB A*.

e"* }• btaw 1 la Mr • io» maj jt mt • «r put t My ^ • lit B««4 bat

^ ^^ mf

3C=:t

GOOD NIGHT, AND JOT BE Wl' TB A.

381

^'<>««^^«>«<

mem - ber, tonty the

deeds Fve done. And

i •

in yonr deeds 111 Ihr* a • gnin I

CoHduding Symphony,

I.J J 'i

When on jon mnir our gallftnt dan

Frae boasting foes their banners tore^
Who show'd himsel' a better man.

Or fiercer way'd the red claymore ?
Bat when in peaee^then mark me there^

When thro' the glen the wanderer came,
I gare him of onr hardy (kre,

I gave him here a wdcome hame.

>Lo9fsl: hooMt

The anld wHl speak, the yonng mann hear.

Be canty, bat be good and leal; ^
Toar ain ills ay ha'e heart to bear,

Anither's ay ha'e heart to feel ;
So, ere I set, 111 see yoa shine,

111 see yoa triumph ere I fk' ;
My parting breath shall boast yoa minsb

Good night, and joy be wi' yoa a'.

* Good irgbt, ahd jot bb wx' tb ▲'. ** These words were written by the late Sir Alexander Boswell, Bart, of
Anchinleck, and pablished by him, anonymoasly, in a pamphlet containing some others of his songs, at Edinbor^
in 1808. The title of the song is ** The old Chieftain to his sons." Of the air, Mr. Stenhoase says:—*' This beantiAiF
tone has, time oat of mind, been played at the breaking ap of conTlTial parties in Scotland. The principal pablishers
of Scottish Masio haTe also adopted it» as their fkrewell air, in closing their masical works." There is a fragment
of a song called ''Armstrong's Goodnight," which Sir Walter Scott gaTe in his" Minstrelsy ofthe Scottish Border,"'
with the following notice : — ** The following ferses are said to haTe been composed by one of the Armstrongs, exeeoted
for the marder of Sir John Carmiohael of Edrom, Warden of the Middle Marches. The tone is popalar in Scot-
land, bat whether these are the original words will admit of some donbt —

' This night is my departing ni^t,
For here nae langer must I stay ;
There's neither friend nor foe o' mine
Bat wishes me away.

What I haTe done thro' lack of wit,

I ncTer, nerer can recall ;
I hope ye're a' my friends as yet,

Goodnight, and joy be wi' ye ail ! '

Sir John Carmichael, the Warden, was murdered 16th June 1600, by a party of borderers, at a place called Base-
knows, near Lochmaben, whither he was going to hold a Court of Justice. Two of the ringleaders in the slau^ter,
Thomas Armstrong, called mngan't Tawi, and Adam Scott, called Ths P^ckd, were tried at Edinburgh, at the
instance of Carmichael of Edrom. Thej were condemned to haTe their ri^t hands struck off, thereafter to be
hanged, and their bodies gibbeted on the Borou^ Moor; which sentence was ezeooted 14th NoTcmber 1<K)1."
See Border Minstrelqri ToL L p. 106, edition of 1802.

Scottish Airs

ARRANGED AS

PART-SONGS FOR FOUR VOICES

AS SUNG BY SPECIAL COMMAND AT BALMORAL BEFORE HER MAJESTY

THE QUEEN

MR. H. A. LAMBETH'S SELECT CHOIR

884

SCOTTISH SONGS.

CHARLIE IS MY DARLING.

Arraogcd by HsaiiiY A. LAXBKra.

TauLX.

Alto.

T£:toB.

Bass.

AocoMP.

Oh! Char -lie is my dar - ling, My dar - ling, my dar - ling. Char • lie is my dar - ling. The

Oh! Char

Charlie is my dar • liiig,Char- lie is my dar - ling, my

S] f animato.

young chevalier.

1. Twas on a Mon • day mom • ing, Right ear - ly in the year, When

2. As he cam' march-ing up the street, The pipes pla/d loud and clear. An'

3. Wi' high- land bon-nets on theirheads^An'bnght clay-mores and clear. They

4. They've left their bon - nie high- land hills, Their wives and bairn - ies dear, To
.5. Oh ! there were mo - ny beat - in' hearts. An' mony a hope and fear; An'

/ X ^ ctnimaio.

CHARLIE IS MY DABLINO.

385

/7v

Char -lie cam* to onr town, The joung che-va-lier. Oh!

a' the folk cam' ninnin' out To meet the che-Ta-Iier. Oh!

cam' to fight for Scotland's right An' the joung che - Ta-lier. Oh ! ^ Char

draw the sword for Scotland's lord. The young che-Ta-lier. Oh!

mo - ny were the prayers put up For the young che - Ta-lier. Oh !

lie,

/TN

Marcaio.

Char- lie is my dar - ling, The young che - va - lier. Oh! Char -lie is my dar - ling, my

^g=^

^- „--«— *

■o-

-^—^

Char

-&-

\Lf

p ocoritard.

dar - ling, my dar - ling. Char - lie is my dar

ling, The young che - Ta-lier.

t=^^

lie IS my dar

ling.

386

SCOTTISH S0K08.

WANDEBINa WILLIE.

AlTOp

TnoB.

Bah.

Wiittn lij BnunL

AxnafBd b^ Hbkbt A*

1. Hon ft-na*. tiMn ft -vifyiiBii-ta^iig Wa- Ikb Hin ft • «if, Umw ft-vaf,
% B«t| J9 win ffeonm, in the caw of jourifaim-lMa; Hovyoardnftdhawl-taf ft

3/ *

Aoooxp.'

L H«e ft • nft'. tiMn ft • ivft\wftii-dBr-iiig WQ • lie, H«e ft • ivft', Umw ft • ««'»
S. B«t| j» wild itoimiv in tbacftw ol yourifaim 'iMa; Bow your dmd howl -ing ft

hand a - wft' hame ; Gome to mj bo-8om,m7 tin <m - Ij dear- ie, Tdl me thou bring^mainj
loT • er a - lanns ; Waa-ken, ye breezes, roirgen - Hy, ye billowByAnd waft my dear hd - die anoe

haud a • m' hame ; Come to mj bo-soin,m7 ain on - ly dear - ie, Tell me thonbringi'stmemj
loT - er a • larms ; Wauken, ye breezes, row gen - tly, ye biUoirs, And waft my dear laa - die anoe

WANDERING WILLIE.

887

Wil - lie the
mair to my

same. Win • ter irinds blew kyndand cauld at our
arms. Bat oh, if he*8 faith - less, and minds na his

r<A 1 -i— I 1 «^ 1 ! ft

part • injBT,
Nan - nie.

^ Wil . IIa Sft nme. Win -

Wil - lie the same. ' Win - ter winds blew loadand caold at our part
mair to my arms. But oh, if he's faith- less,and minds na his Nan

nie.

rail. «p

3J=t

Fears for my Wil • lie brought tears in my
Fbw still be - tween us,thoa wide roar-in'

roll, eP

— o — i

e'e;

main;

Wei - come now sim - mer, and
^lay I never see it, may

Fears for my Wil lie brought tears in my e'e ; Wei -come now sim - mer, and

Flow still be • tween us, thou wide roar-in' main; May

I never see it, may

jBZL

gg^j i]

wel - come my Wil - lie,
I ne-ver trow it,

The sim
But, dy

wel • come my Wil
I ne-ver trow

lie, The sim
it, But, dy

mer to na - ture,and Wil - lie to
ing, be - lieve that my Wil - lie's my

me.
ain.

mer to na - ture,and
ing, be - lieve that my

Wil - lie to me.
Wil -lie's my ain.

388

SCOTTISH SONQS.

WAE'S ME FOR PBINCE CHARLIE.

^DirsT roE SopsAjrot. orw.

Amoged by Histbt A. Laxbetb.

iff Sop.

2n>Sop.

TE50B.

Bass.

Aoooxp.

< ^

1. A wee bird cam' to our hA'door,He warbled sweetand clear-lj. An' aje the 0*0100016

1. A wee bird cam' to our ha' door. He warbled sweet and dear-lj, An' aye the o'eroome

0' his sang Was *' Wae's me for Prince Charlie." Oh ! when I heard the bonnie,bon-nie bird,The

H V S \

I X

^ > > > I B

Oh ! when I heard the bonnie,bonnie bird.

0* his sang Was " Wae's me for Prince Char-lie.'

^*-*

^ ^J.^ I t

\ '

-0-

WAS S ME FOB PBINCE CHARLIE.

389

riL ♦'

aten^. eaUmda.

tears cam'drappin'rore - ly ; I took the bon-net aff myhead. For weel Ilo'edPrinceCharlie.

Theteaiscam'drappin'rare-ly ;

li^

a tempo, calanio,

' ' ' ' ' ^A^

For weel Ilo'ed Prince Chariie.

a tempo, ealando.

2. (Quoth I, ** My l^ my bonnie, bonnic l^

Is that a sang ye borrow ?
Are these some words yeVe learnt by hearti

Or a lilt o' dole an' sorrow ?"
''Oh ! no, no, no," the wee bird sang,

•* I've flown sin' momin' early.
But sic a day o' wind an* rain —

Oh I woe's me tor Prince Charlie ! '0

dim.]!

3. ** Dark night cam' on, the tempest roar'd

Loud o'er the hills an' ralleys ;
An' where wast that your prince lay down,

Wha's hame should been a palace 7"
** He row'd him in a Highland plaid.

Which cover'd him but sparely.
An' slept beneath a bush o' broom —

Oh ! wae's me for Prince Charlie ! "

dim.^

4. But now the bird saw some red coats,

An' he shook his wings wi' anger ;
" Oh this is no a land for me,

111 tarry here nae langer ! "
He hover'd on the wing a while,

Ere he departed fiuriy ;
But weel I mind the fareweel strain

Was, " Wae's me for Prince Charlie I "

• Tbe last bar bat one. obaerra tbe Inflection In Soprano part ; Alto. Tenor, and Bam voices, wait <8L

890

SCOTTISH SOVOS.

THERE WAS A LAD WAS BORN IN KTLR

Aioob

Acoo:

Inaafad hf HnET A. Lahbbvs.

L Thu% WM ft lad WM bom In ZjU, But wfaal na daj o* wfaal naftT^ I
S. Our Booaidi^biiidmoffcTBir bnl ane Was Hyv aadtim-lj daji ba-fon, Tma
pS. TIm foi-d^ keo-ktt in lib Inb, Qno^ aha Whattfcaivill aaa tfaeprafib Tliia
p 4 Hall liaa iiih-fdr-toii«asnataiidtma',/Bol agra ft haait ft* bona tiiani ft*; Hall
A. Bnfe aura aattoatlmaathraainaknfn^ I aaa bj fl - ka aoora aaf Bna TUa

iiii

1 1 1 3:

1 I

I I I =»

doobt it^ haid • ]j

thea ft
in - ly
be ft

blast o'
boj win
cred - it

chap win dear - ly

worth mj while To be laa nioa wi' Bo

Jan - war win' Blew hand • ad In on Bo

be nae coif; I think well ca' him Bo

to OS a'; Well a' be proud o' Bo

like our Idn', Sae leeze me on thee, Eo

bin*
Un.
bin.
bin.
bin.

^=^=5=^

V ^

-I -I

i V. ^

a 1

THEBB WAS A LAD WAS BOBN IN KYLE.

391

TaEBLE. p 9 are

For Ro • bin was » lo - vin' bqy, A lan - tin', ' ro - vin', ran • tin', ro - Tin',
Alto, p ecre •••••••• m • » ^ctn • . •

frjtTT

For Bo • bin ma » lo • Tin' boy, A ran - tin', lo - vin', ran - tin', ro - Tin',
Texob. P eere ...... .... tem ...

For Ro-bin was » ro - vin* boy, A ran- tin*, ro - vin', ran -tin', ro-vin'.

A ran- tin', ro - vin', ran -tin', ro-vin',

Bo - bin was a tot - in* boy, ran - tin', tot - in* Eo - bin.

Ro - bin was a pot - in* boy, ran • tin', iot - in' Ro

bin.

APPENDIX.

'• Gala Watib."— See page 60.

it is difficult to ondentand how ao many fine aire, that are eyidently ancient, ehoald have escaped being
copied into oar early collections, and only been saved from obliyion by traditional singing nntil the second
half of the eighteenth centary. " Gala Water " was long thought to be modem, for it is not found in Allan
Ramsay's Tunes for the songs in the Tea-Table Miscellany, nor in Craig's, nor even in Macgibbon's Collec-
tions. Oswald picked it up late (1760-65), but i^ examination of his version shows it to be pentatonie, and
probably therefore a century earlier than his time. Notwithstanding the modem alterations — ^really
improvements — made familiar by Johnson, George Thomson, and others, a pentatonic version continued to
be sung so late as 1811, as one was then printed in the Caledonian Repository (Oliver & Boyd). Oswald's
version, being curious as well as rare, is here given : —

((

Gala Watee."

(Pentatonic version.)

** Ye bakks AiTD BBAE3 o' BONNIE DooN."— See page 300.

We give below the English original of the air which is now sung to " The Banks of Doon," and with it
two sets of words. The upper line is the first stanza of the original English song ; the lower, in italics, is
the single stanza which Bums wrote for George Thomson, telling him, when sending it, that he could not
make a second, the measure being so cramp. It is evident that others besides Stephen Clarke were aware
of the existence of the English tune, but were unwilling to hurt the feelings of Mr. Miller, by pointing out
that his air was a mere reminiscence and not a new composition.

" Lost is ht quiet tor BVEft." (The English original of the air *' Ye banks and braes.")

Lost,
Tf^y,

lost,
why

lost is my qui - et for ev - er, .Since Henry has
tell thy lov • tr Blis9 he nev - «r

—i=3=i

=i=i=^

left me to
muit en-

mourn;
joyt

To
Why,

for
why

get him how vain my en-
de • eetss Am,

deavonr, A - lasl he will nev - er re • turn.
And gifH all hu hcpes the Uet

Ah!
Why %^Ue

wen - a - dsy I
/an - cy

(Instrumental echo)
raptured elwnbers.

well - a - dsy I
Chhrie,

(echo)
ChUru,

Ah ! well-a • dsy !
ail the theme^

Lost,

my.

lost, lost is my qui • et f or ev - er. Since Henry hss left me to mourn.

why wovXdU tAou, etudt Wake thy hv ^ er from hie dreamf

894

APPENDIX*

Wa km gtf« «lM oU w«fdt to llrfs air, vlilok
^llB.ailillML ny WW qriglaaljy pitmri to tf» tPia^Tiitto
to«toB| teM*or%BMi%kamf«^kMa0lUll
Wia kt^ with tiw ■■oip Hi of tf»

" Ol «Im teooDi^ «Im boOBltb
nttoocBo'tiM
IvbhlwmH

flov I47UM ilk mom WM I to iM

Mtf swdn ooM ^« tkt Un I
B» lUpl tkt boiBt and fl«v to OMb
I ati Um wi' food vilL
d Hm teooDi^ tkt booaK bondt teoo^

Ite brocB of tkt GwdnkBoww I
I wU I wwi «f aqr diarnrato,
MT his pipi^ and i^j tw«.

toatoHtoaakawaj
lliwanany, ITU, wl$k

laBbk

IfUIa Ilia iloeka naar aa lay;
Et fatliar^d to mj ihaap at ni^il^
And ohav^d ma a' tka daj.
O9 tiia bnom, Iw.

Bt toaad Ua pisa aad laad aaa
Ha bMa aai liiMag bj ;

Sf<k tht dan eatUa atood and ffuad.
ilana'd af hSa malodj
0^ tka brooait Iw.

Wliila thai wa ipeat oar ttoia by
BaMzl oar iloeka aad ptoyt

I ittfiod aol tbo frireii daoNb
nioagb a'ar ao xleh aad gij.
0* tbo brooBi» &0.

Haidflttol tkatl
Qaag baafQy, aad

Baeaaaa I lofad tka ktodml
Thai ofw yak waa bora,
a tka biaoa^ fta

AoaldbaaU*abaL

Ba did obU^ am atiiy kaart

Coald I bol ftHkfb' bat
Haatowayktart; ooaldlittaa

Wkato'arkaadc'dofmaf
0, tkabnQei,ftai

Mty doggiflb and ay UtUa kill
Ikal kald ay waa ao^ wkoy.

My plaldK bwaflk, aad onokad illrk.
klaaa aow Ua aailaaa by.
0, tka biaoa^ Iw.

Idlaa, ya Gowdcakaawii^ adiaa !

Farawaal a' plaaaaiaa teral
To (odOt rartora aw to wf avatot
h'a a' I eraia or oara.
O9 tka brooBit tka boaaiiy boaala brooaii

Iho broom of tka Cowdoakaowaa I
I wkb I wara wP aqr diar awaia.
Wi*kiaplp%aadBqr

* Asaao axd an outtt ouv.'*— Pp. 68, 69.

Tbb old aong to tUa air la fbll of kamoiir, aad tkoo^ it kas been banlnhod from tbo drawtog-rooaw ia ftill
aelooBM at tko "laglo^ida." Beftrring to it, Bnmo laya, <«Tki8 blytheiomo aoag^ lo fbll of Seottiab boBMNir aad
^QBfifial BierriBieiit» ii aa bitfanato IkTOorite at bridal-tiyatoa and boaao-heatings. It oontaiaa a opiiitad pktoza oC

eoontiy alo-hooaeb tooehod off witb all tbo lij^taomo gaiety ao peeoHar to tho rural mnao of Sootlaad.*

Blytke, blytha, aad merry was abe^

Blytbo waa sbe bat and ben;
Weel abo loo'd a Hawick gill.

And leodi to aeo a Uppit bea.
Ske took mo in, abo aet me doon.

And boebt to keep me lawin-free;
But, eonniag carline tkai abo waa,

Gbe gart me birle my bawbee.

We loo'd the liquor weel eneuch ;

Bat, wae's my heart, my cash was done,
Before that I had quench'd my drouth,

And Udth waa I to pawn my shoon.
When we had three times toom*d oar stoap^

And the neist chappin new begun.
In startit, to heese up oar hope,

Toang Andro wi' his euttf gun*

Tka oarlino brocbi bar kobbnek bea,

Wi' ghrdlfr«akes woel-toaaled browa;-
Weel doea the oaany kinmier ken,

Th^ gar the acada gae glibber doon.
We oa*d the bicker aft about,

Till dawnin' wo ne'er Jee'd oar ban,
Aad aye the eleaaoit drinker oat

Was Andro wi' bis ontty gmi>

He did like onj maTis sing;

And, aa I in his oxter sat.
He oa'd me aye his bonnie things

Aad mony a sappy kiss I gat.
I hae been east, I hae been west,

I hoe been ikr ayont the son;
But the blythest lad that e*er I saw,

Waa Andre wi' bis oas^ gun.

■a

APPENDIX.

395

•• TwmwiDi.''— Pp. 02, 93.

Tub high praise which has been bestoired, by Tarioiu penont, upon the pastoral written for this air by Sobcn
Crawford of Dmmsoj, and which we gire below, caused ns hesitate not a little before displacing it from the tezt^ Our
estimate of the song was, thai it had been much orerrated— thai H was stiff in Tersification, and affected in senti-
ment finding thai this opinion of its merits was shared bj many poets, as well as good judges of poetry, ws
indnced a fHend, who wishes to remain anonymous, to write the song which we haTe adapted to the air, and which
will be fbond to possess much of the simplicity as well as the langoage of the olden time.

We may here remark, thai in our opinion, there are many of oar best old airs, soch as ** Ihe yellow-Jiaired
laddie," *< Peggy, I must lore thee^** <* The boatman," <' Allan Water," &c, still nnsnited with words. Theexcel*
lenoe of Boms has made as fkstidioas ; songs which in his day were hig^y landed, now remind ns of ''men in
bookxam," or at best of Watteaa's fine ladies and gentlemen playing at shepherds and shepherdesses. Their style
is tame— their phraseology affected — and their sentiments, as they do not come from the heart* so th^ do not reaoh
it Li looking over the lyrics of cotemporaries, we regret to see that many of their happiest efforts are ne?er likely
to be heard anited to masio ; as, from an anfortonate orersight they haTe been written to airs which Boms or
others haye already made their own. We woald offer this adrioe to aspirants for lyrical hoaoars, to be more
cautioas in the seleotioa of their airs ; and instead of vainly attempting to cope with Bums, and to dispossess him
of what the world allows to be his own andisputed property, to remember that the '* better part of Talonr is discre-
tion ;'* and that they are maoh more likely to hear their verses sang, if triey prudently make choice o; melodies f till
" aawedded to immortal Terse."

What beaades does Flora disclose !

How sweet are her smiles open Tweed !
Tet Mary's still sweeter than those,

Both natore and fhncy exceed.
No daisy, nor sweet blnshing rose,

Not all the gay flowers of the field.
Not Tweed, chiding gently through those,

Sach beaaty and pleasure does yield.

The warblers are heard in the groTe,

The linnet» the lark, and the thrush;
The blackbird, and swoet cooing dove,

With music enchant er'ry bush.
Coxne, let us go fbrth to the mead;

Let us see how the primroses spring;
Well lodge on some Tillage on Tweed,

And loTe while the f^ther'd folk sing.

How does my Ioto pass the long day?

Does Mary not tend a few sheep?
Do they ncTer carelessly stray

While happily she lies asleep ?
Should Tweed's murmurs lull her to rest

Kind netnre indulging my bliss.
To ease the soft pains of my breast

Pd steal an ambrosial

Tia she does the Tirgins excel;

No beauty with her may compare;
LoTo's graces around her do dwell ;

She's fltirest where thousands are fair.
Say, charmer, where do thy flocks stray?

Oh, teU me at mom where th^ flsed?
Shall I seek them on sweet-winding Tay?

Or the pleasanter banks of the Tweed?

** Saw n Johhhh ooxzh'.''— Pp. 86, 87.

Wji are aware that this song of the olden time has long been looked upon as belonging to the humorous classy
and has been sung as such by the popular singers of the day. We conftss^ howerer, that we haTo noTsr riewed
it in this li^t Manners and customs haTe changed since the time the song was written; wi^Mow may haTo be>
CMne more reserred ; duplidty, in some instances, may haTe taken the place of rustic simplicity, but human nature re-
moms the same It appears to us that the intense Ioto of the unsophisticated maiden fbr her Johnnie oTeroomes all
ner scruples, and the way in which she pleads with her thrifty fiither to fee him, has, to our minds, nothing offensiTe
or indelicate in it On Uie contrary, when she urges the good qualities of her loTer — his being " a gallant lad, and
a wcel doin' " — as a reason that her hesitating fkther Ahnold not stand ** upon a meric o* mair fee" nothing: can be
more nataraL But wnen she throws the weight of her fond affection into the scale, no wonder that it turns the
balance in her fhvour, for what fkther could refiise such an appeal made to him by a loTing dau^ter ?

** For a' the work about the house,
Gaes wi* me when I see him."

Surely there is notlung comic in this. It is one of those simple and happy touches, so true to nature, that it could
only be thrown off by the pen cf a poet

Although the composer of the fine old melody to this song might not haTe been fully aware of the deep pathos
which he had infVised into it yet he nerer could haTe so fhr mistaken his own intention, as to suppose that be
bad written a Heefy air. This discoTory was left to the singers who came after him.

396 AFPENDUL

** O SIT 10TB n USB VSBBBaiDBOni'*— P. 78.

(UTfinr Cmmmemm Obat, KM,, thatndafmgriito laqidwt iirtD wjtyttfag that bow lyoa tiM
« te life «l Bom* iMOMd ton ICnk BiU BvbA drtir, tta* «MM T«M wm partlj
<l^«Miy€ldiotiimgbyhwott«, il m nlh« m keg dfllj. b«l iIm aovld gim
lfe« «li^ MMV wydi wm tboM nfenim to «bi •• MM^"* th« "lodn,* aad th« •*
CbpliiBGnf i^iit **IliiM»T«i7 oltai tta* th« flnl hdf of » bImu» ikoBld te whal fa mM
•flMJfaf ^« M0^*tatoollfeiB«UofaolMMg thoflnlfew Ifaoo von odosVlod^
nfa fa BOW tho goBonOj nooirod opiako. Imft Ms. flooM Dob^ thfako olhMnrfaoi 1m aufi^ "lUi
Bwoot ooag, tra^ in Iho MifliMit ol|f k^ aad oo tndy Bono^ ofwa, oroty Uaob Imo jwdBOod m fSBh of
'tiBdHfatii,' who ptifaBd lo Iwl iM lo who* ihtj oofl tho old woidor oad oo ob, bUdiaadiB
MaDor pooBifoo Mr. Dob^oo offaB ooobm to daij to Bbibo who* moBjr thiak obo of Uo poo* BMrilo;

hBft UlBMlf OTOr OBOOOOdod Ib iBfeoiBg BOW life fato OOaiO old holf ^ O tlptfe B ditty. OBd ttdi B0»

by whBl ho BddodthoBbgrwhBl hotfooted. WUh Uot iadood tho holf

*' Tbb txllow-baib'd Laddib.''^P. M.

Bmmo Iho ooofi olroody aioBtioaod, tliio booatifal air boo roooiTod tho hoaoBr of ItaBoB wovdo.
Iboj won writfeB fer U by Sir Qflbort Elliot (lCg7«1766), ooooad bonoot of aOBto^OBdBSnotorof tho
Colkgo of Jostioo. mo £uBilylBhoritodbiopootiooltol«it;bioflQa,tho thirdboroBol^olooarOabort,
boiag tho wiitor of tho pootcMrol **My ohoop I aofloetod, I loot aiy oboop onok«* OBd hii doajj^htor Joaop
thotof tbootlllaionoolobntod ooBf^ **1^ boord thorn Ifltlng otoor owoo adlkiafr'* ool to tto oboSob*
BMlody tto fhot iB tho pronat ooQootloB. It will bo fonnd thot Sir Qilboctii Ittfioa worio to tho
«* Yollow-hairod Loddto** on oaioothor oad aion tmffohU tboa thooo ia oar owa toogoob

y odnto la pnto Al boooo^ ol BMoto,

naUopootOTy Lo ooroo ia Tta'»

noriaoonaoto Epnoooolfeato

BVu ooEto di dor. KoBtnTOohHooa*!

n ool* a^m oobbi, Ahlooaofedolo

Lo fido Bol ooa'. Dob I diauni porobOb

Ah 1 doifo i'aooondo H mio emdolo

n coxo mio bon' ? S*«ooondo di mo?

"Thi wbabt ruHD o* TOW."— P. 158.

Oattaik Ckablb Gbat, R.M.» boo pointod oat tbot a aong booring tbia naaio osiatod prior to tho dayo
«f Bono. Straago to aay, it oaoapod tho raaoarohaa of DoTid Herd, who aoamod to ba.TO aa art of Ua owa
in finding eoriooa old aoaga. It appeared bowoTor in Lawrie and Symington'a oditioa of Hord, ITBL "It
BMy poonbly bo of no great antiquity, bat ia certainly not doToid of tho qoaint bomoor poenHar to tho
Soottiah Moao^ aa will bo aeon from the foUowiDg stanza—

I lookit to my yam knagg, and it grew noror mair,

I lookit to my meal kist,— my heart grew wondnma lair ;

I lookit to my aoar-milk boat, and it wad nerer aoar,

For they sappit at, and tlaiklt at, and noror apan aa boar."

••Jenny da»o tui wiavmu"— P. 193.

Wb qnote from that cariooa work, •' The Contemporaries of Bams,'* the following particalara regarding
Sir Alexander Boewell, Bart. :—

" He was bom on the 9th of October 1775, and was the eldest son of the well-known biogrmpher of Dr.
Johnson, and grandson of Lord Auchinleck, one of the Senators of the College of Justice. His mother,
o daoghter of Sir Walter Montgomery, Bart, of Lainshaw, was a woman in several l e sp e cta tho Tory

APPENDIX.

397

opposite of his father, possessing % warmth of feeling and » soundness of judgment which at once
rendered her manner dignified and agreeable. Alexander, together with his only brother, James, was
edncated in England, first at Westminster School, and afterwards at the University of Oxford ; and on
the death of his father in 1795 snooeeded, ere he had completed his twentieth year, to the paternal estate.
Having made the tonr of Enrope abont this date, he snbseqnently resided chiefiy at Anchinleck, and was
early distingmshed in the coonty of Ayr as a gentleman of mnch spirit, warmth of heart, and public
enterprise. He inherited his father's fondness for literature, and amid the aocnmnlated stores of the
Anchinleck library— one of the most Taluable private collections in the country — he had ample oppor-
tunities of gratifying his taste for antiquarian research. . We willingly pass over the unhappy drcumstancea
which led to his death in March 1822, from a pistol-shot receired in a dueL"

"JohnibCope."— P. 214.
Wb subjoin the vigorous song written for this air by Captain Charles Gray, R.^L : —

The blairin' trumpet sounded far.
And horsemen rode weel graithed for war,
While Sir John Cope rode frae Dunbar
Upon a misty morning.

Prince Charlie wi' his Highland host.
Lay westward on the Lothian coast.
But Johnie bragg'd wi' mony a boast
He 'd rout them ere neist morning.

Lang ere the cock prodaim'd it day,
The Prince's men stood in array ;
And, though impatient for the fray,
Bent low the knee that morning.

When rouhdow rolled the English drum.
The Highland bagpipe gied a ftttmrn,
And told the mountain clans had come,
Grim death and danger scorning.

Hk hand was firm, ilk heart was true,
A shot ! and down their guns they threw ;
Then forth their dread claymores they drew.
Upon that fearfu' morning.

The English raised a loud huzza,
But durstna bide the brunt ava' ;
They waver'd — tum'd — syne ran awa',
like sheep at shepherd's warning.

Fast, fast their foot and horsemen flew.
And caps were mix'd wi' bonnets blue.
And dirks were wet, but no' wi' dew.
Upon that dreadfu' morning.

Few stay'd — save ae devoted band —
To bide the blow frae Highland brand.
That swept around — and head and hand
Lopped on that bluidy morning.

What sad mishaps that few befell !
When faint had grown the battlers yell.
Still Gardiner fought— and fighting fell.
Upon that awesome morning !

Kae braggart — but a sodger he,
Wha scom'd wi* coward loons to flee,
Sae fell aneath the auld thorn-tree
Upon that fatal morning.

•*C0M1 UNDBft MY PLAIDIB."— P. 268.

Want of space prevented the following stanzas from being given along with the air : —

*' My father aye tell'd me, my mither an' a'.
Ye 'd mak' a gude husband, and keep me aye braw.
It's true I lo'e Johny, he 's gude and he 's bonny,
But waes me ! ye ken he has naething ava !
I ha'e little tocher, you 've made a gude offer,
I *m now mair than twenty, my time is but sma',
Sae gie me your plaidie, I '11 creep in beside you,
I thocht ye 'd been aulder than threescore an' twa ! "

She crap in ayont him, beside the stane wa',
Whar Johny was list'nin', and heard her tell a' ;
The day was appointed, his proud heart it dunted,
A ad struck 'gainst his side as if burstin' in twa.
He wander'd hame weary, the night it was dreary,
And thowless he tint his gate deep 'mang the snaw ;

The howlet was screamin', while Johny cried,

"Women
Wad marry Auld Nick, if he'd keep them aye

braw ! "

** the deil 's in the lassies ! they gang noo sae

braw.
They'll lie down wi' auld men o' fourscore and

twa;
The haill o' their marriage is gowd and a carriage.
Plain love is the cauldest blast now that can blaw !
But lo'e them I canna, nor marry I winna,
Wi' ony daft lassie, though fair as a queen ;
Till love ha'e a share o't, the never a hair o't
Shall gang in my wallet at morning or e'en.**

398

APFB5Dir

"LooAV WAOib'*— P{pw lUb 117.

b Cht tirfri ^riBM of tiM Bobvgh BiOtdii « ■^f tdtei t^ Mr. WflVm
ii » DMiCM nag btflnlai; ** tMtt J taii^ I tovt thM villi* to to

Waim" Mr. CItopyJl wi— tto ■■— (Ttgi« Witoi^ toa

ItoilrtotobU. titMtwwwl p^iiHom Mij toiftwd, 1. At
S. Bii asl fMBd to Boliig^ or in My cltor bMh «oOMita ttoft tto

a. Ob ito tltor toad, ilii qplto BoMiih to iiyto; Md ito witer ofito Bdlad'alm^r

to toito ton of this optolM, bf Ito toiiftog fatoDdwid M^j SoollU vwdi toto Us VHMik M ■• to to to

oTtiMiMto Mr.OtoppdltotpriMida«(j«rtoialrttolli

to iiy to ttoa tto Torioa H prMMl to wt. Itoliiid of *• B tol «hU Mtom O to tto

tto oU Ml fM H OBM toldly d0WB to F, tto Btoor 7tht » pMdiMllj ol te oM IomII^ ttoft vwdd

feoBd to »**H«wtOM'' of 1685^0 wtoB tUttoUadwM pitaltd1ijGo^7«i. Tto

MlM A«v M totog rntooM to tto ItoglUk taltod-dafin ol tto timt.

«>y

••

Fob a' nuT amd a' nuT.*'*P. S78.

Tbb origtoal of this air too long toon oooght for, and without ■bocim hbUI noontly,
to Bromaor't Gollootion of Rooli ind Stnthspoyo (1758), imder tto bum of Ltdy

It
ilmoL

f O Btt d

••

TBI Blitb Bblu or Sootlastd."— P. S96.

Ws giTotolowtto offigtool air of tto aoag ttot Mn. Jordaa totwduood ob tto atago Badw tfcto
•ad of whidh BitMB aald **BtokBOirB«ittorttowordaiiartto toBO." It too all tto appaaraBoa of towrfag
origtoaUy tooa tto qoiok-atap of b marnhnig ragtouBt. It la from JoliB80B*a Sooto Mnaleal MBaanm,
ToL ti 1808.

*'Tui Blub Bbllb or 8ooTLAin>.'' (Origtoal Air.)

Y'rtrr i'ff^ ^

wtoraaad wtoradoaayour fflghland laddia dvallf wtoraasd O wtorodoaajoar

HighUnd laddia dwtll? He dwells to merry Scotland, where tto bine balla aweetl j amall. And

•11 to my heart

lore mj lad -die welL He dwellato mary Scotland, wton tto

bluebella sweetly smell, And all in my heart I loTe my lad-dia wsO.

«* Aimx Lau&ix."— P|ft. 364, 860.

Ix Mr. C. Kirlcpatrick Sharpens Ballad Book, privately printed (Edxnbnrgh, 1824), the foEowtog ia givan
I the original version of Annie Laurie : —

Moxwelton banks are bonnie,

Wliare early fa*s the dew ;
Whare me and Annie Lanrie

Made np the promise true ;
Made np the promise true.

And never forget will I,
And for bonnie Annie Lanrie

I *d lay down my head and die.

She 's backit like » peacock.

She *a breaatit like % swan.
She 'a jimp about the middle.

Her waiat ye wed may span ;
Her waist ye wed may span.

And ahe baa a rolling eye.
And for boonto Annie Lanrio

I *d lay down my head and

INDEX OF SUBJECTS,

WITH SLIGHT ADDITIONS TO THE NOTEa

Asaa, IhTXDSB, 88.— A version of the air appears, under the
name of "Bonnie Dondee,** in the 16S8 appendix to Plaj-
fbrd's Dancing Master of 1080, and a mongrel Anglo<Seottish
song was written for it abont the same date. The tnne was
therefore supposed hy many to be an TgngH*** imitation of
the Scottish style, nntil its earij simple form was found in
the Skene MS,, written more than half a oentory before
(10S5X

Acs of OUT Melodies yery uncertain, not less so their early
form, 87. The Skene MS. contains airs not otherwise known
till a century later, showing that ilrst appearance in print,
or eren in MS., is no guide to actual sge.

ALsni's AaTBOLOoT, by Alexander Campbell, 817. VoL L
1810, YoL iL 1818. No third Tolume published.

AuLD LAjro STVE.— The modem air originally sung to "I
fte'd a lad at Michaelmas," 241. Great resemblance between
it and several other tunes, 287. The old air, and several
old songs of this name, now only Jmown to the antiquary ;
see Wtttson's Scots Poems, 1711 ; Ramsay's Tea-table Mis-
cellany, 1724 ; Orpheus Caledonius, 1725.

AULD BoBor QnaT.—The andent air pentatonic, and now
almost unknown, 240. The modem air English, composed
by the Bev. William Leeves, rector of Wrington, Somerset^
248.

AULO Bob MoBBi8.~The version of the air given in the
Leyden MS. is written in four instead of three crotchet
time. Similar defective notation is common in Tablature
writing, and renders interpretation difficult, sometimes im-
possible.

At waxxsq 0, 25.— Two forms of the air given. The last bar
an addition to make it end on the key-note.

Baxlux, Ladt Gbxzxl, 05.— Her words for the "Tellow-
hsired laddie," **0 the ewe-bughting 's bonnie," written
eifwlfl02.

BALLaxTZHX, Jamxs.^*' Castles in the air," 185. ** The name-
less lassie,'' 877.

Ballochxtxx.— BeautiMIy situate on the Ayr, about two
miles from Mossgiel, where Bums wrote so many of his
early works, 185.

Babbara. ALLAsr.— Air altogether different from the English
one of the same name, though the ballads are somewhat
alike, 8L

BX.41CI&X, SUSAKVA, 97, 815.

BoKxxx Dmrnxx.— Not to be confounded with the modem
tune, "The bonnets of bonnie Dundee," 378.

Bonnx bousx or Az&ux, Thk, 53.— At the date of the evmt
eommemorated in this ballad (1589) Montrose had not yet
weeded from the party of the Covenant; the statement that
he wrote to Argyll rai^t therefore possibly be true, though
somewhat improbable, as they were never very Mendly.
Mr. Maidment, who discusses the ballad at length (voL L
p. 272, 18(}8), seems to think that Argyll had been a reacted
auitor of Helen, Lady Ogilvie (called Margaret in the
ballad), and quotes from Bothiemay's History the liollow-
ing:— Argyll, " having oveirunne the Earl of Airley's boundes
and plundered his men, was not forgetfriU to demolish
Forthar, ane dwelling belonging to the Lord Ogilvye, and
to put 1^ to the house of Airley, and to demolish it upon
a ia«text that it might prove disadvantageonse to the (Cove-
nanters, by reasone of its titnatioiie, and therefore it was
necessaire it should be sleighted, but it was coostraed as
done on a privatt accompt" In the process of demolition
Argyll was so eager, that he was observed to have " wrought
with his own hands till he did sweate knocking down the
door-posts and headstone of Airley Castle."

BoswxLL, Sib Albxaitdxb a775-1822X 181, 192, 258, 88a

BoTSTB Watxb, The.- a Scottish air, original name earlier
Uian 1090—" PIxiying amang the rashes," 70.

Bbxxb buss, Tex.- Air made from " Vot lack of gold she left
me,** whidi is unsingable from ita extreme compasi ; having
been originally a Scottish measure, a kind of danoo^ of which
the figure is now unknown, 102.

BuvTZxa— Irish air from his coUaetion 1840, 245. Ignores
"My Lodging," 257.

BuBin, BoBXBT (1759-I790X poMisi.— We scarcely recognise
how much Scottish song owes to him, not merely for his
own writings, but for old songs gathered and amended, and
in many cases sent to Johnson accompanied by tones pre-
viously unknown, 287.

Callxb bxebqio, 820.— Composed by Nathaniel (3ow, from
the original cry of fish-women and the chimes of St. An-
drew's (Hiurch, Edinburgh.

Cabitboix or FnrRAVXir. — " The piper of Dundee," 107.

Cajbsit.is, Ladt.— Story of her elopement with Johnny Faa,
now believed to be a mere legendary fiction, 29. Ancient
air pentatonic, Skene MS.

CjjnutM or TBX aib, 800.— Slightly altered firom an old tnne
known at the bfginning of the eighteenth century as
" Bonnie Jean."

Ckappxll, WnxxAX, F.S.A.— One of onr highest anthorttles
on the sul:()ect oi national music. Error pointed oot by
him, 47.—" Paul's Steeple," 23. "Brume on hill," 15. Bare
volumes, 01. Names given to " Up in the morning early"
at different dates, 07. " Betty Maddocka," 00. " Hewson
the cobbler," 89. "Tellow-hairwi laddie," 95. "Nannie O,"
115. "Com rigs," an English air (1080X185.

CBBitnx, DxAjr.— His "Traditional Ballad Airs," 2 vols. 4to,
contain many fine old melodies not previously printed, 8U.

CooELM fitrwtiM^ 105.— The early name of the air now song to
" Bonnie laddie. Highland laddie."

CSoicx uimxB icT PLAXDix, 208.— In Moore's Melodies there is a
curious Junction of the first parts of this tone and that of
the old English air " Green sleeves," better known, perhaps,
as " Which nobody can deny.** The combinatton is called
by Moore " The Basket of Oysters."

CoMZH* THBo' THB BTB, 288. — Air moch older tlian the
words, and probably a dance tone of the eariy times of the
eighteenth century.

CoBV BIOS, 184.— An English air, composed in 1080 to WrtafM
words, "Sawney was tall and of noble race."

Cbawtobd Bobxbt, or Dbuioot. — Wrote "Tweedside,"
" Bush abune Trsquair," etc. ; drowned letoming fjcom
France in 1732, 45.

(3bo cbalxjb.— The cattle of (}olin, i.f. The wHd deer, trans-
lated by Mrs. Grant of Laggan frmn an ancient (3aelic song,
57.

Dauxxt, Wxixxam (1800-1848X— Published the Skene MS.,
with a DissertaUon on Scottish Music, 1838, 8, 27, 29, 81, 89.

Doxaxa.— The air, though at one time claimed both for Scot-
land and Ireland, is certainly English. It seems to have
first appeared in Shield's Opera, " The Highland Beel," 1788,
299.

Dmoxov, William.—" Up amang yon cliffy rocks," 209.

Duxx or BuooixooH's tdxb, 1090.— Apparently the proto-
type of several more modem airs, 287, 230.

Esswobib, J. WoonrALL, M.A. Cantab.— One of our best
authoritiea on the subject of ancient ballads IL

Eluot, Jahx, or Mnrxo.— Wrote "I've heaid them lUting'
(about 1705X 3.

FLOwxxa or ibx roxxsr, 2.— The old air Ibund in the Skene
MS. (1035X and believed to be coeval with Flodden (1513);
ahows how little we know of the eariy form of our ancient
melodies; words for it written by Miss Jaaa EUioioCMinto^

400

IKDBZ TO SUBJECTS,

r, AW Goo BB WITH Tov, Hit It iMid ta tht BktM
IBICU^); BodwlttetndlBg tht MM^ Ite taM It llirt of
• floolltth BMSon, A kind sT d«M% BO loocar kaowB.

QoBBOv, BoBBBT, or 8nuuMai.-4l8. LatoBooklBlkMBtaiB,
1«T, hio ^ImppmnA^ boft o oopgr, aodo by a V. Qnkoa^
pnttBtiA to tho AdvoeoM* XAmy, IT-tL

Ooir, NAnuantLOTW-lttlV— ''CUIar]MRlBc'*ooBpottd tea
thoerrorthtEdlBboi^ flib-voBtB aad tho chlflMi of 8t
^Andrtwli GbiDdi. Oopj of tho orlglBOl. ibovlBt tho oom-

Qov, JXeo, Job; (ITW-ltSi)^— Conpoiv of ''^

Obabai^ W., MS. flBto Book. UH, IvBMrij IB tto ]

or Dofld LtiBi; aov IB thit or WQUui Cteppdl,

Its ; " Ikm lovo to B teBBit ioBor,** m ; «« BIytkib Urtht,"
141, 147, m, ITS, S08w iBUo^ClBooiy BiBukioBBoot-
tUh SoBi^'* flnt potaitid OB* kov ■■Bjalii Bomo wvid from
OblivloB,iOI.

Obbbb obqw m bmbb^ fr.-BBl7 floai ta tlnloak MB^
10«r.

OOBB AMD OoBur Ballaxbi^ 17, 71.

Hawbi, W.— Vooldod "We'io o' BoddlB** into tti pnMot

fbtfli, StS, and olttred oono othm of oar mtHoAJm lorly in

tUsontajy.
Hbt tori tairi, a.~A osmo giTiB to tho air from a lioo of

a JaooUto iong a716-1710X **Ha«'8 to tbo Unf, ttt." U

altogether different from the anetent tone, "Hej now tlie

daydawto."
Hooo, JAMii, tt, 169, ITS, flT, Stl »!, 844.~T1io Bovdtt

Oarlaal, 351, SU^ 854. Jaoobito Beliee, 86t, 868, S68L
Hirao^ Ymtom,—Tritttmi of '* Bonnto DaBdeeb* 87S.
HmrnaRRowBB.— The Dnke of AthoITs eoortahip^ 168; tndS-

ttonalinFerthahire; flxst printed by Klnloeh in 1817.

I'll vxTxn lkats tbsb, 19. — Beliered to baTo been eong to
one of Wedderboxn's Gnde and Godly BaUatea, 1549.

I lo'b ba a laddib aor astb, 157.— Probably an Englieh Jig ;
altered when eet to ** Xy lodging la on the oold gronnd."

Jaoqkzb Soaaa or 1715, 166, 168, 170. 171.
„ „ 1745. 161. 164, HI, 114, S9Q.

,. „ 3Iodem. 174, 116, HO, SS4, 888, 848, 850,

851, 854, 860, 361, 871.

jBvanr'a bawbkb, 158. — Known in Engiaad nnder the name of
" PoUy. pnt the kettle on."

jEKDAsr, WiLUAX, 311.—** I heard a wee bird tinj^ng."

Jock o' Hazeldeast. — ^An EnglUh air. known as ** In Jannary
last^" The flnt stanza recorered by Thomaa Pringle. 121.

JoHor AamcBaoar. 23.— Known in England aa ** Paul's Steeple"
and "The Dnke of Norfolk." probably before 1030; is not
in Qtieen Elizabeth's Virginal Book, as has been erroneoosly
ateted ; the mistekehas arisen from confounding it with the
Kngliih air, " John (or rather, JoanX come kiss me now."

aa^WaeTkaolbrPklBOi
Lan&AW. WnxuM aTiO-U49X «itt« or ««Xm9^
bin d*FAiiifli Mnx^ Tn^ lift— Oo
or thi ilr tea kMB ImbA IB W. OnteB'k
tt to wKhoBt B BMMb dUhn Mwwktfe froB tto
bBi to o«Brilj florid. OBnMta
: aylkibiM iltemitoiy. Bad aot

LouTli 3CAB0&-<MglBil or •'Btei

dV.'fiS.
Lbtbbb X8.— IB tabtalnio Ibr tho LyiB Ttol. n* flL
LocBBABT, J. Qw— CaplilB FataB BO Bol^ t Snw
LooAjr Waibb, 117.~Kbo«b Ib

WMn." 8b

Loon 6* BooiUB.-KBO«B IB 1694 Bi «* Al^ tal to
poDi,aadeBaB,'*10li.

LOBB BQBAfiB» MT MB, 47.— Ifr tto

«ho

1T89«L

Hboob, 41, 167, 100^ 171, 178.

KATBBBiVB OoiB, 61.~Now kuown aa "Highland Uary;"

Xabv op CanLBoaar, dL— WkltteB kf

wUdi BMbiiB OWtoUBM IbV B

*'Tha bnai or aiaBUfer,** no.

IfOOBHTs BOCABBS OB IBBBOULAB

the rignal eseeptioB or lintaB, BO BOriotaB

poetB,"llL
MoBAO.— Eiample of peeoUar ihytluB, 111.
ICorrBBBWILL, WkxxiAK (17V7-1885X 08w-^

808.
lIoiBLABD WiLLix, OOl—Kbowb in KngTowd Uid« tto

or •* Betty Xaddoeka, the toir maid of Doooaator.**
llT Bor Tammt. 170.— iLlr pcobably an attmod flBOi or "

tondWmie."
Mt m jAincr.— Andent TtnlOBa from tto Btwlook,

aadLeydanlia&ilS.

llT LODOXBO B OB TBB OOLD OBOUXSu— PtOblAly OB

Jig sUfi^Uy altered. 257.
Xt lots *8 or QBBiAinB, 167.— Seema to bare

throu^ some Intermediate ehangea, from tto

English eea-eonft '* Gome aU ye saikn boU,* wrtttai

death of Admiral Benbow. 1708.
Mt VAMB m OLD Hswaov IBB ooa

tBx1dlenleoftbeono-«yed ragieUle; the air or It

by Bona in Ayiahire, and oaed by him te ** Ikm
Xt Naxvib. O.— Sung to a Vorthnmbrian baOad, ■■

and Nanny," 115.

eraa

89.

vnne

Naxbvb, Ladt q766-1845X 61. 118. HO, 191, 814,- SXa
New HAXB TO Tovaa generally oaoaed by new woida bei^
written for them, 61—** Katharine OglO" being ehaaged to
•< Highland Mary;** "Bonnie Jean" to *'Osstleo In Ike
air." etc.
NiooLL. BoBSBT (1814-37).—*' Bonnie Beaato Leo,* 8T9.

OmrHKUs CALEXKKrnTa.— The rersions of the aim in tlwodittoBa
of 1715 and 1733 diifer mneh from each other, 179.

O WHBTLB ASTD I'LL OOKB TO TOO, 144.— SomOWhat

an Irish air.

WITH SLIGHT ADDITIONS TO THE NOTES.

401

PoTAXomo TDim notoow nmneroiii, tli« cirly farm of muiy
of our malodles haTing protebly b«en altered to rait modem
notions and tastes. "Gala Water* an example of the
change; Oswald alone giving the pentatonio fbrm of the air,
which might otherwise be thought qnite modern, as it is not
found in print before the middle of the eighteenth centuy.
A simple pentatonio form of "Tweedside* is foondin W.
Graham's HS. Flute Book, 1094.

PSBCT, BlSBOF, 11, 25L

PEnux,DB.— Irish airs, 227, 24a. "The winter it is past"

Plaoal Oadsvgb not infreqnent in Scottish airs, 28, 80, 42,
04, 92, 102.

Toszi, Tkb, by Bums, pratlBiTed by Ftoftasor WOaon to
Heliodora's Garland by Meleager, 188.

PnoTOLB, TBoiCA8(1789-1884X 121.~BecoTered "Why weep ye
bythetyd^IAdier Completed Lady Grizel BaiUie's song,
" O the ewe-bnghting's bonnie," 9S.

BEm, GmncRAL Jomv, 275.— Established the Chair of Musio
in Bdinbuxgh.

Bbcodblldio or old azbs, 99.

Bmnsx, Rsr. H. a, 101.

Bxzaa— His haying composed eren one single Scottish air a
mere fiction, 21. His style would be either Italian or
French. Oswald frequently passed off his own tunes in
prirate as compositions of Rlzzio, 98. No traces of the
Biziio fiction for a century and a half after his death, 97.
He was only four years in Scotland, 101. First heexd of as
a composer in 1725, 105. In 1742 Oswald ascribes four aiis
to him, 128. "Doxm the bum, DaTle," absurd fiction, 179.
Geminlani, 1749. Beciq^ltulation of Ikcts, 819, 829.

BosLor Castls, 108.— Not composed by Oswald ; early name
" The house of Glammls."

Boy's wzix.— Gaelic name, Cog na Scalan, 189.

Baobsd Sonqs sung to popular tunes, 17.

Br. Crxspoi's Day.— Tune played at the annual procession on
that day, 157.

SAWTiicTFAXHnT 255.— An English air ; even the old woidi
probably altered ttom an English originaL

Soon, Sib Waltkb, 55, 289.

SooRxiB Catch on Svap, 191.

Soufniau CoLzxcnovs InfMtted with numerous indlAnDi
amateur melodies, 105.

SooTTXSB McASunn.— A dance, the figure of which is now
totally unknown; it must hare been rery popular, as the
number of tunes for it found in our collections is enormous;
many of them have been set to words, though, firom their
extreme compass, they are but ill-suited for this purpose.

SnBALD.— Chronicle of Scottish Poetry, 17, 78.

Snra ICS.— '« Alas, that I cam' o'er the mulr," 27; "Adieu,
Dundee," 89. The MS. when presented to the Adrocates*
library by Miss Skene of Hallyards, consisted of seren dis-
tinct parts, which are now bound together in a Tolmne 0|
inches by 4^ It was written for or by John Skene of Hall-
yards (about 1035 !) in tablature for the lute. It contains 115
airs ; of these 85 were published by Mr. William Dauney, 11
were found to be duplicates, and the rest were r^ected as
being either unintelligible or uninteresting. The airs of Scot-
tish origin appear to be about 45, of which 25 were preriously
unknown. As Part ni. contains ten of the duplicate tunes,
it may have belonged to some other member of the fkmQy;
but fkom its being written in what is called the old tuning
of the lute— C FAD G— there is no reason fior beliering
it lo be later than the rest. The other parts are in the new
tuning— A D A D A. It must be noted, however, that these
letters repreeent the interrals rather than the pitch of the
notee.

SumrxB, BsT. Jobv, 197>199.

SlOTB, R A. (1780-1820X 827. 328, 880, 884, 840, 842.

SOKS T0VX8 end on the 0th, which have the feeling of a mi^or
key, all but the last bar, as in "The Lass of Ballochmyle "
and "Cockle Shells." They ought not to be reckoned minor
tunes, but simply as examples of an old Scottish practice of
dioosing some other rather than the key-note as a dose.

SoHO or DxATH, Thx, Obav av Aon.— a wild Skysalr, played
by his piper to Cameron of Faasiflem, mortally wounded
and dying at Waterloo, 57.

SouRBs or 8BT.»inM, Trm, 12.— Eighty men, headed by their
town-clerk. Joined James it. on his way to Floddtn, and
were nearly all slain in the battle, IS.

SnoffHouss, W.— Scarcely erer q;uote8 Playftod's *' Dandng
Master" correctly ; his own copy so late as 1718-21; cannot
have known the early editions, 127. AlmofI equally in-
oonect in quoting the Orpheus Caledonius.

BxxpBBiB, Mob, 802.— Careftd training by Lena; our present
fbrdng system the cause of the eady ruin of TOioea. Ap-
peared at CoTent Garden, 1824 ; became Countesi of Essci^
1888; died, 1882.

BmLon-GRAHAic, Mob, 290.

Stbaloob MS., 1027, is lost; but a copy of it made by O.
Fuquhar Graham was presented by him to the AdTocateB*
Ubnry.

Tak* tour avld cloak about tx, 11.— An English as well as
a Scottish Tersion of this ballad; the fbrmer found tn Bishop
Percy's ancient MS., and one stanza of it tn OtheUo, but
otherwise totally unknown. The Utter printed by Allan
Ramsay about 1728, nearly forty years befbre the Pttcy
Bellques appeared.

Tam Glxst.- Written by Bums to a Cromwellian toasb picked
up by him in Ayrshire. See air, 89.

Takxaeill, Bobbbt (1774.1810X 194, 281, 817, 819, 881, 880.

TASSon ascribes to King Jamee (x. or r. !) the intention of a
new style of music, "plaintiTe and moumftil, difforlng fkom
eTBxy other," 97, 187.

Tkx blub bbzxs or SooTLAim.— An FugHsh air, brought into
notice by the singing of Mrs. Jordan. Scottish words were
written for it by Mrs. Grant (Anne MaoVicar) of Laggan,
also by Miss Stirilng-Graham, 297.

Tkb wxBTBn XT IB rABT, 248.— Ptobsbly altered from an Idsh
originaL A northem rersion giren by Dean Christie.

Tbombob, Jaxxb (1700-1748)l— " If those who Utb in shephodi^
bowers," 179.

ToDLXv HAMX.— The air giren in the Orpheus CaledoniiiB,
1788, under this name, difCns entirely from thnt in Jdhnson;
it seems to have been a pipe-tune.

T^iAur, WaxxAX, 207.— Author of " The oauld cauld winttr's

Twxsssns.— Dr. Petrie in his Andent Music of Ireland gives
a rersion of this air, which he had fbund with Irish wocds,
under the name of "The banks of the Tweed." Singsis
always styled it "Foim aUKmtuk," a Scottish tone. Thara
is a rery simpls rersion of it in W. Graham's M& Flnte
Book, 1004; the first, snd probably only andent^ part of
which is pentatonio.

TSt XV TBB MOBimro BABLT, 07.— An English tune known ••
".Stingo," or "The Oyle of Bsrley," duiing the Common^
wealth, afterwards as " Cold axui raw," trcm words written
toitbyDTTrfBy.

Vbbqba, PnxHCB or.— His compositions, 187.

Wbb wbb GsBifAir mtbtob, Tbb (George lX 178.

Whxv tbb xzbo combs owbb tbb wateb, 77.— Jecobite song,
written to the " Boyne Water," or rather " The rsshee," which
is its esrlieet known name, "Boyne Water" being only a
secondary axui more recent name for the tune.

Wxu. Ton oo TO TBB swB BOOBXB, MabxovT 0.— The earliest
known rersion of the air (Orpheus Caledonius, 1788) is tn a
xu^or key, and. Ilka that in the pi ea ent work, tn rhythms
of two bars. All the xnodem renionB sre tn a minor key,
axui tn rhythms of three bars. " The Duke of (Gordon's
tiiree dangihters" is a northern rersion of the tone. See
Dean (2hrlsti^s Traditional Ballad Airs, where both a m^lor
axid minor form of it am giren.

Yb bahbs abb bkabs.- The air not co m po s ed by James Miller,
but really Knglish, harlng been originally set to the worda,
" Loet is my quiet for erer," SOL

2 C

IlfDEX TO THE SOIfGS AND AIRS,

iLdlen, Dondee t from liaxy iparted,
Afton Water, . .

A Highland lad mj lore waa born,
Alaitalr Hacalaatair, .
Alaa, that I cam' o'er the mnir,
-And are ye sore the news ia troe?
Andio and hia cnttj gnn,
And ye shall walk in silk attire,
Annie Laurie, .
An thon wert mine ain thin& .
Argyle ia mj name, and yon may think it strange,
At gloamin', if my lane I be, .
At Willie's wedding on the green,
Anld Joe Nicolaon's bonnle Nannie,
Aold lang syne, .
Anld Bob Moxris, •
Aold Robin Gray, (Scotch Air,)
Anld Robin Gray, (English Air,)
A wee bird cam' to our ha' door,
Aywakin'OI .

Bannocks o' barley-meal,

Barbara Allan, .

Behind yon hills, where Lngar flows.

Behold, my love, how green the groves.

Bide ye yet,

Blue bonnets orer the border,

Blythe, blythe, and merry are we,

Bonnie Bessie Lee,

Bonnie Dondee, .

Bonnie laddie. Highland laddie,

Bonnie lassie, will ye go?

Bonnie Mary Hay,

Bonnie Prixiee Chadie,

Bonnie wee thing,

Braw, braw lada.

Bosk ye, bosk ye,

Bny my caUer herring.

By Logan's streams that rin sae deep.

Caller herring^ ....

Cam' ye by Athol,

Ca' the yowes to the knowes, .

Captain Faton no mo'e 1

(Castles in the air,

Canld blaws the wind fine north to south,

Cauld kail in Aberdeen,

Charlie is my darling, .

Cockle sheila, (note,)

Cold and raw, (note,) . . •

Come all ye Jolly shepherds, .

Come all ye sailors bold.

Come, gi'e's a sang, Montgomery exled,

Come o'er the stream, Charlie,

Come under my plaidie,

Comin' thro' the craigs o' Kyle,

Comin' thro' the rye.

Cope sent a challenge frae Dunbar, .

Com rigs, ...

Craigie-bum-wood,

CroChallin,

Dinna think, bonnie lassie, . •

PAOK

33
148
218

soe

26
262
124
314
864

20
ISO
177
192
868
240

90
246
243

180

114

178

226

124

878

166

126

842

850

826

824
850
140
874
866

66
142
220
167

67
844
267
196
854
268
200
238
214
134
210

273

TAOm

Donald, ....

• •

206

Doun the bum, Davie, .

•

178

Duncan Gray cam' here to woo,

a •

880

Ettrlck banks, .

• •

102

Farewell, thou fair day.

• •

Farewell to Lochaber, farewell to my Jean, .

Far over yon hills o' the heather so green, •

852

First when Maggie was my care.

190

Flora Macdonald,

852

Flow gently, sweet Afton,

148

For a' that, and a' that.

278

For the sake o' somebody.

276

Gala water.

Geordle's byre, . . ,

Get up and bar the door, •

260

Gin a body meet a body.

288

Gin I had a wee house.

226

Gloomy winter's now awa'.

816

Go de sin den te sin,

S4S

Good-night, and Joy be wi' ye a'.

880

Green grow the rashes, 1

Heme, hame, hame, hame fkin would I be.

860

Hand awa' frae me, Donald, (note,)

■ •

Hearken, and I will tell you, .

• .

Hear me, ye nymphs, .

• •

Here awa', there awa', wandering WQlie^

Here's a health to ane I lo'e dear.

820

Here's to the year that's awa'.

882

He's o'er the hills that I lo'e weel.

848

Hey, Johnnie Cope, are ye wauken.

214

Hey now the day dawis.

Hey the bonnie breastlmoti^ •

856

Hey, tuttie, Uttie,

Highland Mary, .

How lang and dreary is the nicht,

142

104

Hnntingtower, • • •

152

I fee'd a lad at Michadmaa, (note,)

• •

SS7

If those who live in shepherds' bowers, (not*,)

179

I had a horse, I had nae mair.

122

I heard a wee bird singing.

810

I'll never leave thee,

Ilo'e na a laddie but ane.

256

I love thee still, although my path.

298

I may sit in my wee croo house.

258

I'm o'er young to marry yet, .

282

I 'm wearin' awa', John,

In the garb of Old Gaul,

274

In winter, when the rain rain'd cauld.

I wish I kenn'd my Maggie's mind.

292

I wish I were where Gadie rins.

222

Is there, for honest poverty, .

S78

It fell about the Mart'maa time.

280

It fell on a day, .

It's up wi' tl>e souters o' Selkirk,

It was in and about the Mart'maa time, •

■ •

184

404

INDEX TO THE SOKOS AND AIRS.

I*Ttt IwtB ooortiii' at a Itm, (nait,)

I*Ttt iMud tliMB intinci

!'▼• Mca the BBUing, . . . .

I wm not go to my bid tm I raid dto, (Mte,)

Jeaato llorritoo,

Jtnay's bawbtt,

Janiij dang tha waaTtr,

JtMia, the flowvr o' I>imblane,

Jock o' HanWwm,

Joek, tht laird's Wther, (note,)

Joha Andanoo, my Jo, John, .

jolmnio Copa^

JohimiaFiu, .

Johnle MacgUl, .

Johnnia's grey breeks, .

Gleaifllv,

Katberine Ogle, .

Keen blawa the wind o'er the braes o'

KelTia grovet ...

Kenmnre 's on and awa',

Kind Robin lo'es me, .

K<ng James* 3Iarch to /rland, (no^f,)

Lady Cassilit' Iflt, (noU,)

Lassie wi' the lint-white locks,

Last May a braw wooer cam' down the lang glen,

Leesie Lindsay, .

Let ns haste to KelTln grore, bonnle lassie, O,

Lesley's march, (noU,)

Loehaber no more.

Lochiel's march, (note,)

Loeh-Eroeh side,

Logan water,

Logie o' Bochan,

Lord Balgonie's fkTourite, (note,)

Lord Gregory,

Lord Nithsdale, .

Lord Reoch's daoghter.

Lord Ronald,

Lost is my quiet,

London's bonnie woods and braes.

Low down in the broom,

Lucy's flittin', .

^[sggie Lauder, ....

Major Graham, ....

3Iarch, march, Ettriek and Tevlotdale,

Marquis of Hastings' Strathspey,

Mary Moilson, ....

Mary of Castlecary,

Maxwellton braes are bonnle, .

Moiag, .....

Muirland Wniie,

My ain countrie, . • •

My ain fireside, . . • •

My ain kind dearie, . • •

My boy Tammy, . . •

My Colin, loved Colin, .

My collier laddie,

My dearie, an' thou dee, (nott^)

My heart is a-breaking, dear tittle.

My heart is sair, I dauma tell.

My heart's in the Highlands, .

My Jo Janet, ....

My lodging is on the cold ground, (note,)

Sly love has forsaken me,

My love she's but a lassie yet,

My love 's In Germany, .

My name is old Hewson the cobbler, .

My Nannie, O, . . . •

My Nannie's awa', . . .

My only jo and dearie, O,

My tocher's the jewel, .

My wife has ta'en the gee, (note,)

PAOB

237
2

4
81

iss

192

830

120

214

1B4

00
280
284

170

118

29
232
223
204
284
65
48

Xidnoddin',

Now in her green mantle blytha Natnt amyi^

234

118
108
818

82
834
840

46
801
818

72
858

132

808

818

160

864

110

862

176

270

286

276

257

100

266

114

838

312

130

207

OhI

O Charlie is my darling,

O dear dear Jeanie Moriisoa, .

Oh! dioBaaakmegiaIlo'athaak(M«i,)

O, dinna think, bonnie lassia, .

Oh, hey ! Johnnie, lad, .

O how conld ye gang, lassie? .

O'er the mnir amang the heather, •

Of a' the airts the wind can blaw, •

O fbr ane and twenty, Tsm,

gin ye vren dead, gudeman, . , .
[O] hearken, and I will tell yon how, .
Ob, I ha'e been on the flow'ry banks 0* Clyde,

1 ha'e seen great anes, and sat In great ha's,
O Kenmore's on, and awa', UHlUe,

O lay thy loof in mine, lass,

O Logie o' Bochan, O Logie the laird,

O love will venture in, .

O, Mary, at thy window be^ .

O meikle thinks my lore,

O mirk, mirk, is this midnight hour, •

O my love is like a red red roee, •

O Nancy, wilt thou go with me ?

On Ettriek banks, ae simmer nicht, •

O open the door, Lord Grcgor}*, •

O pnirtith eauld, . •

Oiananaoig, . • . •

O rowan tree, . • . •

O speed. Lord Nithsdale,

O sweet are thy banks, bonnie Tweed*

O the ewe-bnghting's bonnle, . •

O this Is no my ain lassie, . •

Oh I thou art all so tender, . •

O thou broom, thou bonnle bush o^ broom,

O true love is a bonnle flower, .

O waly, waly, up the bank, •

O weel may tbe boatie row,

O were I able to rehearse,

O wha is she that lo'es me,

O wha's at the window, wha, what

O where ha'e ye been, Lord Ronald, my son?

O whistle, an' I'll come to yon.

Oh t why left I my hame ?

O Willie biewed a peck o' maut,

Paul's steeple, (note^) .
Pibroch of Douoil Dhu,
Playing amang the rashes.
Prince Charlie's welcome to Skye,
Put up thy dagger, Jamie, (nots,)

Robin is my only Joe, .
Roslin Castle,
Rothiemurchus' rant, .
Row weel, my boatie, row we«l,
Roy's wife of Aldivalloch,

Saw ye Johnnie comin'7

Saw ye my father ?

Saw ye my wee thing ? saw ye mine ain thing 7

Scots wha ha'e wl' Wallace bled.

Send him hame, ....

She's fair and fknse that causes my smart,

Shonld auld acquaintance be forgot, .

Sweet fa's the eve on Craigie bam.

Sweet Sir, for your courtesic, .

Tak' your auld cloak about ye,

Tarn Glen, ....

Tammy, .....

There are twa bonnle maidens.

There cam' a young man to my daddy's door,

There grows a bonnie brier bush.

T4
170
IM
108

150

lao

82
72

lot

870

884

9i
188
100

lis

198
110

48
244

848
804

77
290

118
180

840

188

88
266

84
268
146
240
210

10
88
292
290
202
163

INDEX TO THE BONOS AND AIBS.

■ tad m torn taZjIa,

TlH»1 osM ku] Id Ab«<]«m.(M<i,)
Than'i nxtoekiboTitthttioD

TUn'» Doogbt bntcxn all Ulu

TU« la D mr -lis bom*.

Thif BonutBiilJ.llutculiuId, (hM,)

Tboa bauBW vHiil al CnlgU-lm,
IhoahullcRnH'tTcr, Jimla,
tkrchnk li-o' llu mt'ibn*.
Tsb*'*a«tftuidntetwlft,(wlrJ ,
TotkaLDtdtaCOaanaUsa, .

Th«lB*taBdioH«Uud,{M*b MTJ

,ibjr..(wmjIO

TlM piper cua' to oor toan, .
n* [Hpn o' DoBdM,

n* qota of tb* LotU^ (MtO

^(lonsalioiiH. old BowtoTi (MCfi)

Whan U bxctml
Whftll boj ullir b

WV •koBld I, k bitak jaa« lM*» .
Wbr ■bookl thr cbHk ba palaT
Whr wwp 71 br tt« ttds, MjaT

INDEX TO APPENDIX

Audio and hk catty gQBf •

Aimia LMirto, •

Gomt midflr my pUldit,

Ite ft' tli«l and »' thal^

QalaWater,

Jflony dang tha waarar, .

Johnia Copa,

Logan Water,

O my lora ia lika the rad rad roaa,

Saw ya Jolmia o(»nin'7

Tha Una balla of SeoUand,

Tha broom o' tha Cowdanknowas,

Tha waary pond o' tow, .

Tha yallow-hair'd laddia, .

Twaadaida,

OldWorda,
OldWorda, •
Omittod Stanzas,

Pantatonio A!r,

Captain Gharlaa Gray'a Song,

Tha Original Air, •
Old Worda, .

r'Vadatoinprato'*),.
Old Wordi, •

Ye banka and braaa o' bonnia Doon, ("Lost is my qnlet "),

»7

^96
397

894

396
395
393

FT.lXrZD ST T. Ain> ▲. CUltSTABLC, PRIXTnU TO HkIR MaJCSTV,
AT TBS EDIXBUltoU UMIVEUhlTY PRiaW.

■J

o .:: ^

■ ^ *«

• 5i •«

a .a V

o ♦*

M «, •«

f B «i
41 n

-^^

o
a

o
2:

o «« .

€ «/ ft*

CQ T3 "n

O **

« 41

a
o

1 - "^

S B

o ft. g

»; B **

■I fiU M

>» g ■«

tJ I- T»

B B

< <

«l

MB
41

2 ■-

« S B
-^ o •-»

ft*

s--

. t

*- B«ld Jkisk Do^bna -

id oulla«a of dbdaln.

■rl^ 'A Ui'Bln ■l>\-«7 ^
ttwtaUaiulrbato:
— ar lowbkt i«y;

H» hart not bwn twelve monllu

Oil ihv AuilnlUn «hi>re
Brfurr ht look to thr blgtinfl
i An lie liMl dune brfur* ;
la Cuinbn'Uiid lovo. with icml
, ITbnv big Ion brrath he drrw.
■ .Tlv d««U of honor eniure him
. . Tliai Dold Jaclf Donobus.

" "=*>.:

TlwT lo*i bold J«ck Dooohup.

Callrd bold Jadi Donotiu*.
Ai Doner and Uac om r i dw

ToiMr NtprtM Biaa nana pel

8^ Doocfto Ida MMndHi .

"It rou II Mt acand ftr dt*.

S* of nod coonM. atoot Md beU

Be I^rai, Arm aM tiaa.
Tlila daT we'll Mit nnUl w« dla." '

CfM bold JaS DoDoboa.

And ir we wmtWMrlU b>

■ Tbabyy y au ra will n i»: ; ■ .

Tbe corporal and th> wiwat
_TtNtr IWcea did divide. ■■ :^
iruiaaMMOf tlieinflradMldit»A. -
_OUMn Bred at Ida aide;
Tba corponl and tlw NriNU . -.
._ In b«at ared at Uaa. too.
UntllabaUhadpiimltiwiMR ' -
or bold Jack Doaokua.

EtahtorthnapallMlieaknr ^
~B«(er« tba IkUl baU

And bffarebecte>edhla<blnc«r«a, -
He bid* tha worid adJen:
. -nond i>r«>tr '^f^ Ax- the wtf

■ J 1

3 2044 051 074

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