THE UNIVERSITY OF ILLINOIS LIBRARY Q 7 8 , 5 ^ 15 7)3 S Return this book on or before the Latest Date stamped below. A charge is made on all overdue books. U. of I. Library ♦ i. # 11 . 1 I ■ .u. Digitized by the Internet Archive in 2016 https://archive.org/details/songsofburnsbwitOOburn f THE ONGS OF Burns IVith Symphonies and Accompaniments BY John Kenyon Lees AND Introduction & Historical Notes BY H. C. Shelley London BAYLEY & FERGUSON 2 Gt. Marlborough St. W. Glasgow 54 Queen Street New York, U.S.A., G. SCHIRMER, Union Square. PREFATORY NOTE. N O effort has been spared to make this Centenary Edition of the Songs of Burns worthy of the event it commemorates. The poet’s prophecy to his wife that the world would think more of him a hundred years after he was dead has been amply realised. Each decade has seen a growth in balanced appreciation of his life’s work ; he is now securely enthroned in the front rank of those few who occupy the topmost height ot Parnassus. But if one part of Burns’s work is more assured of immortality than another it is his Songs ; “ it is on his Songs,” wrote Carlyle, that Burns s chief influence as an aijthor will ultimately be found to depend.” The collection here offered to the public is the most complete that has ever appeared in a single volume, containing, as it does, the cream of all the poet’s lyrics. Very few liberties have been taken with the text, and those only such as universal experience has stamped with approval. The copious illustrations scattered through the volume have been drawn from various sources. New interpretations of many songs have been specially drawn by Mr. John Duncan and Mr. Michael Brown, and such early illustrators of Burns as David Allen, Thomas Bewick, and Richard West all, are represented by characteristic designs. The publishers have also to express their great obligations to Mr. John Faed, R.S.A., for kind permission to reproduce some of his illustrations, and also to the following gentlemen for the use of photographs : Mr. A. Lindsay Miller, Mr. Wm. Dunlop, Mr. Geo. Watson, B.A., Dr. H. W. Williams, Mr. H. C. Shelley, Mr. Smith, Mr. Cameron Todd, Messrs. Blackie & Sons, The Proprietors of the Glasgow Evening Citizen, Mr. Andrew Miller, Cumnock, Mr. Colin Rae Brown, Mr. D. W. Stevenson, R.S.A., Mr. J. Roy Fraser, and Representatives of the Society for the Promotion of Fine Arts in Scotland. 2532(^9 CONTENTS Page Introduction, iii Historical Note on Scottish Music, xxv Glossary, 251 SONGS. Music. Notes, Music. Notes. Ae fond kiss, - - . PAGE PAGE Here awa’, there awa’, wandering PAGE PAGE - 36 208 Afton Water, - - - - - 18 206 Willie, 70 220 A Highland lad my love was born. - 40 212 Here’s a health to ane I lo’e dear, 52 215 A man’s a man for a’ that. - 146 237 Hey, ca’ thro’, ----- 144 238 An’ 0 , for ane-an’-twenty, Tam, - 126 232 Highland Mary, - - . . 130 237 A rose-bud by my early walk, - - 88 224 How lang and dreary. 188 247 Auld lang syne, - . _ - 200 248 How pleasant the banks of the clear Auld Rob Morris, - - - - 72 221 winding Devon, 166 240 Awa’, Whigs, awa’, - - - - 142 237 Husband, husband, cease your strife, 193 247 Ay waukin’, 0 ! - 54 215 I DREAM’D I lay. 194 246 JdEHIND yon hills where Lugar flows. 138 235 I gaed a waefu’ gate yestreen, - 12 205 Behold the hour, the boat arrive, - 176 244 I ha’e a wife 0’ my ain, 48 214 Blythe, blythe and merry was she. - 124 231 I’m owre young to marry yet, - 190 247 Bonnie lassie, will ye go ? - - 74 221 Is there for honest poverty ? 146 237 Bonnie wee thing, - - 186 246 It is na, Jean, thy bonnie face, - 14 204 Braw, braw lads on Yarrow braes. - 80 222 It was upon a Lammas night, - 22 207 Ca’ the yowes to the knowes, - - 118 231 Jockey’s taen the parting kiss, - 32 21 I Cornin’ thro’ the rye, - 68 220 John Anderson, my jo, 44 212 Contented wi’ little, - - - - 140 235 Corn rigs are bonnie, - 22 207 KeNMURE’S on and awa’, - 182 245 Craigieburn Wood, - - - • 10 204 Lassie wi’ the lint-white locks. 8 204 Dainty Davie, - - 84 223 Last May a braw wooer, - 106 229 Duncan Gray, - - - - - 34 21 1 Let me in this ae night, - - - 156 239 Fair Eliza, . . - . Logan Braes, - - - - - 104 236 - 185 244 Lord Gregory, - - - . - 152 238 Farewell, thou fair day, - - 180 245 Lovely Polly Stewart, ... 154 240 First when Maggie was my care. - 16 205 Flow gently, sweet Afton, - 18 206 Mary Morison, - - . - 82 223 From thee, Eliza, - 164 237 Musing on the roaring ocean, - 134 232 GaE bring to me a pint 0’ wine. My ain kind dearie, - - - - 50 214 - 4 203 My bonnie Mary, - . - . 4 203 Gala Water, - - - - - 80 222 My heart is a-breakin’, dear tittie. 24 205 Gin a body meet a body, - - 68 220 My heart is sair, . . - . 56 215 Green grow the rashes, 0 ! - 120 232 My heart’s in the Highlands, 76 222 CONTENTS. M usic. Notes. My love she’s but a lassie yet, - 26 206 My Nannie, 0 , - . . . 138 235 My Nannie’s awa’, - - - - 30 208 My Peggy’s face, . - - . 109 226 My spouse, Nancy, - - - - 193 247 My tocher’s the jewel, . - . 78 222 My wife’s a winsome wee thing. 174 243 NaE gentle dames, tho’ e’er sae fair. 100 228 Now in her green mantle blythe Nature arrays, ----- 30 208 Now rosy May comes in wi’ flowers, - 84 223 O BONNIE was yon rosy brier. 96 227 Of a’ the airts the wind can blaw, 6 203 0 for ane-an’-twenty, Tam, 126 232 Oh ! open the door, - - - - 102 229 Oh ! whistle, and I’ll come to you. my lad, - . - . - 62 219 0 Kenmure’s on and awa’, Willie, 182 245 O lassie, art thou sleepin’ yet ? - 156 239 0 lay thy loof in mine, lass, 1 10 230 0 let me in this ae night, - 156 239 O Logan, sweetly didst thou glide, - 104 236 0 luve will venture in, - 132 236 0 Mar\', at thy window be. 82 223 0 meikle thinks my love o’ my beauty. 78 222 0 mirk, mirk is this midnight hour, - 152 238 0 my love is like a red, red rose. 66 219 On Cessnock banks, - - . 122 230 O poortith cauld, - - - - 86 223 0 saw ye bonnie Lesley ? - - 192 246 0 this is no my ain lassie. 94 228 0 wat ye wha’s in yon town. 198 210 0 were I on Parnassus Hill, ISO 240 0 were my love yon lilac fair, - 60 216 0 wert thou in the cauld blast, - 92 224 0 wha is she that lo’es me ? 184 245 0 Willie brew’d a peck o’ maut, 20 206 O Willie brew’d a peck o’ maut (Trio), 158 206 Phillis the fair. 64 219 Powers celestial, 108 229 Rantin’, rovin’, Robin, 2 203 Music. Notes. Scots, wha hae wi’ Wallace bled. PAGE 162 PAGE 239 She’s fair and fause, - . - 196 246 Sleep’st thou or wak’st thou ? - 46 214 Stay, my charmer, - - - - 172 243 Sweet fa’s the eve on Craigieburn, - 10 204 Tam Glen, - - - - - 24 205 The banks of the Devon, - 166 240 The birks of Aberfeldy, - 74 221 The blude red rose at Yule may blaw. 168 243 The bonnie lass 0’ Ballochmyle, 98 228 The Deil cam’ fiddling thro’ the town. 136 235 The Deil’s awa’ wi’ the exciseman, - 136 235 The gallant weaver, - - - - 42 212 The gloomy night is gathering fast, - 148 238 The Highland lassie. 100 228 The lea rig, - - - . . 50 214 There’ll never be peace till Jamie comes hame, - - - . 178 244 There’s auld Rob Morris that wons in yon glen, - - - . 72 221 There’s nought but care on every han’. 120 232 There was a lad was born in Kyle, - 2 203 There was a lass and she was fair. 1 16 231 The sodger’s return, - - . . 90 227 The weary pund 0’ tow, - - - 28 207 Thou hast left me ever, Jamie, - 128 231 Thou ling’ring star with less’ning ray. 58 216 To Mary in heaven, - - - - 58 216 Turn again, thou fair Eliza, 185 244 ’Twas even — the dewy fields were green. 98 228 Up in the morning early. 170 236 Up wi’ the carles 0’ Dysart, 144 238 Wandering wniie, - 70 220 When wild war’s deadly blast was blawn, - - - . . 90 227 Where are the joys ? - - - 1 12 230 Where Cart rins rowin’ to the sea. 42 212 While larks, with little wing. 64 219 Whistle o’er the lave o’t, - 16 205 Wilt thou be my dearie ? - 38 21 1 Ve banks and braes and streams around, ----- 130 227 Ye banks and braes o' bonnie Doon, 114 230 LIST OF ILLUSTRATIONS AfTON Water, . - - . _ PAGE 206 Ainslie, Robert, ----- - - 218 Alloway Kirk, - - xvi Auld Brig, Ayr, - - xix Auld Brig 0’ Doon, - . - . - - V '‘Auld lang syne,” - - - - - - 249 Ayr, vi Ayr, - - 244 BiRKS of Aberfeldy, - - 213 Birthplace of Burns, - - - - - iv „ ,, as it now stands, 1896, - i „ ,, Interior, - - iii Braes of Ballochmyle, - - - - - - 222 Burnet, Elizabeth, - - - . - - 250 Burns and Scott at Edinburgh, - - - i Burns, Mrs. (Jean Armour), and Grandchild, - xi Burns, Robert, Portrait by Skirving, - Frontispiece “ But seas between us braid hae roar’d,” - - 248 “ But soon may peace bring happy days,” - - 98 “ Ca’ the yowes to the knowes,” Coila finding Burns at the plough. - - 233 xxiii Coilsfield, The Castle of Montgomery, - - 243 Cottage at Bridge House, Ayr, - - - xxi Cowgate, Mauchline, - - . - - - 207 Craigieburn Wood, - - 204 Dalrymple, - - - - _ V Devon Banks, ----- - - 173 Drumlanrig, - - 235 Dumfries, - - . . - - - 245 Dumfries Bridge, ----- - - 2 1 1 Duncan Gray, ----- - - 2 11 Dunlop, Mrs., of Dunlop, - - - - - xxii Earl of Glencaim, - - - - Ellisland, ------ - - 235 214 Euphemia Murray, . - - - - - 202 Failford, . xiii Family Burial Place of Davidson, - - xiv “ Flow gently, sweet Afton,” - - ix Fog House, Ballochmyle, - - vii Friar’s Carse, - - 237 Gala water, _ . 66 Greenan Castle, ----- Grose, Capt., - ■ 00 Hay, Mrs. Lewis (Margaret Chalmers), - - 226 Home of Mary Morison, - - 223 House in Mauchline where Burns resided. - - XV I PASSED the mill and trystin’ thorn,” . . 227 Irvine, ------- 220 “ It was upon a Lammas night,” - - 17 J OHN Anderson, my jo, - . - 2 I 2 Jolly Beggars, - 205 Kilmarnock, The Cross, - 22 T Kirkoswald, ------ - - 239 Kirton Jean’s, - . . . . - - XX Lammas night, ... - Lass o’ Ballochmyle, The, - - - . Last May a braw wooer. Lea Rig, The, ------ Lincluden College, . - - Lochlea, ------- „ Farm (front view), - - - - Logan Braes, ------ Lord Gregory, ------ Lucy Johnston, ------ IVIeG was deaf as Ailsa Craig,” Monument at Ayr, ----- ,, Edinburgh, ,, Kilmarnock, - - - - Moore, Dr. John, - . - . . Mossgiel, ------- Mount Oliphant, ------ “ Musing on the roaring ocean,” - “ My heart’s in the Highlands,” - New Brig, Ayr, - - - “Nursing her wrath to keep it warm,” Old Church at Kirkoswald, Old Masonic Lodge, Tarbolton, - On the Banks of Ayr, ----- On the Cluden, ------ On the Fail, ------ On the Lugar, ------ On the Nith, On the Water of Ayr, - - . - “O Willie brewed,” - - - - - “O Willie brewed,” . - - - - Pier of Leith, ------ Poosie Nancy’s Hostelry, - . . - Scene of the Holy Fair, Mauchline, “ Scots, wha hae,” - . . . . Silhouette of Burns, ----- Silhouette of Clarinda, - - - . Skinner, Rev. John, - . . - - Sodger’s Return, The, ----- Statue of Burns at Ayr, - - . - „ „ Paisley, - - - - „ Highland Mary at Dunoon, - Tam o’ Shanter and Souter Johnny, Tarbolton, ------- “The hour approaches,” . - . - Thompson, Mrs. (Jessie Lewars), “ The Souter tauld his queerest stories,” Thomson, George, - - . . - “Thou ling’ring star,” - - - - - Tomb of Margaret, Lincluden, Tullochgorum, ------ Turnberry, ------- “We twa hae paidl’t i’ the burn,” - “ AVhere Cart rins rowin’ to the sea,” - Willie’s Mill, - - - - . “Ye banks and braes o’ bonnie Doon,” - PAGE 207 225 229 49 231 XV 216 236 145 210 xvii viii 228 219 242 XX xii 241 209 xix 232 xxiii xxiii 214 230 243 1 29 240 xii 206 xxix 203 vi xiv 161 ii xviii xxvii 217 212 xxxii X 20S 204 247 215 224 xxxi 201 237 XXV 239 81 33 xix J13 7 , O c/) D O Di td H H O O CO < o < o (/) Q 2 ^ < o CO 2 CQ o> o o 0> {x< o o 2 H U U 2 Pd X E- 1) ,£3 a: 0 01 o ffi z s bl V) D O 2 C/) bd Z Z u u CO c From an Engraving published by Aitken Dott & Son. Edinburgh, by Permission. The Birth Place of Burns— as it now stands, 1896. Silhouette of Bures. THE SONGS OF BURNS. INTRODUCTION. OETHE, talking one day with Eckermann on the conditions amid which a talent may be most speedily and happily developed, instanced among those conditions the necessity ot a great deal ot intellect and sound culture being current in a nation. Proceeding to illustrate his position by the case of Burns, he asked concerning him : “ How is he great, except through the circumstance that the whole songs of his predecessors lived in the mouth of the people — that they were, so to speak, sung at his cradle ; that, as a boy, he grew up amongst them, and the high excellence ot these models so pervaded him that he had therein a living basis on which he could proceed further ? Again, why is he great, but from this, that his own songs at once found susceptible ears amongst his compatriots ; that, sung by reapers and sheaf-binders, they at once greeted him in the field ; and that his boon-companions sang them to welcome him at the ale-house ” The history of literature furnishes many illustrations of the fostering influence of great periods of national life. When noble deeds hold the stage of history and lofty ideas have captured a nation’s imagination, no department of life responds sooner to their influence than that of literature. “ The great tragic art of Athens,’' says Professor Jebb, “ was completely developed in less than fifty years.” But that was the age of Pericles. In our own history this achievement may be paralleled from the “ spacious times of great Elizabeth.” As Professor Dowden remarks, life ran high in our islands then, and “ when men cared thus about human life, their imagination craved living pictures and visions ot it. They liked to represent to themselves The Birthplace of Burns — Interior. IV INTRODUCTION. men and women in all passionate and mirthful aspects and circumstances of life. Sculpture, which the Greeks so loved, would not have satisfied them, for it was too simple and too calm , music would not have been sufficient, for it is too purely an expression of feelings, and says too little about actions and events. The art which suited the temper of their imagination was the drama.” It must not be supposed that this is an instantaneous process. The white light of genius is not stored in a handy reservoir, ready to be turned on in full blaze whenever a new demigod appears among men. The kindling influence must have time to act. Here a torch and there a torch touches itself at the source of light, and by and by comes the master-hand which gathers all these light-points within its grasp, quickens their effulgence with its own fiercer flame, and holds aloft the beacon of an age. It is only in one aspect that the dictum of Goethe can be applied to Burns. His was not an age of heroes. “ One feels painfully in his poems,” notes Charles Kingsley, “ the want of great characters ; and still more painfully that he has not drawn them, simply because they were not there to draw.” But although deprived of that source of inspiration. Burns undoubtedly worked from that “living basis” to which Goethe refers. Scotland has long held the reputation of being a nation of singers. It has been stated, accord- ing to Sir George Douglas, that the nation has given birth to no fewer than two hundred thousand poets ! One feature of were one by one removed, until the final perfected result justified the anonymity of the authorship, inasmuch as the nation and not one man was responsible for the product. This process was fatal to mediocrity No songs but the fittest would survive under such conditions. This is one reason why the songs prior to Burns are of far greater merit than those written after him the former had to stand the test of oral transmission, the lattei were printed irrespective of merit. When Allan Ramsay set about compiling his 'Tea-'Tab/e NVIiscellany of “choice songs ’ (published in 1724), the work of selection was comparatively easy ; time had pruned the legacy of Scottish song with a more ruthless hand than that of the most fastidious editor. To Ramsay succeeded David Herd in 1769 with his Ancient and Modern Scottish Songs, and a study of these two collections is necessary if one would grasp the extent of Burns’s indebtedness to the old singers. Principal Shairp is well within the facts of the case when he remarks: “Instead of saying tnat Burns created Scottish song, it would he more true to sav that Scottish The Birthplace of Burns. From the Original Sketch by T. Stothard, R.A., iSi2. Scottish poetry is probably unique in the history of literature, t.e., the enor- mous bulk of anonymous verse. For many genera- tions the songs of these nameless singers lived almost solely in the memory of the people ; they had no fixed literary form such as a song printed direct from its author’s manuscript pos- sesses ; and as they passed from mind to mind among a poetic people their flaws INTRODUCTION. V song created Burns, and that in him it culminated.” Carlyle appears to have been profoundly ignorant of the song-heritage into which Burns entered, or he would not have done those old and nameless singers of his country the injustice of shutting his eyes to the worth and importance of their work. Not all the praise belongs to the perfected rose-blossom ; to soil, darkly- hidden root, spinal-cord stem, and many- mouthed leaves some share in its glory is due. Burns himself, in various ways, makes ample confession of his indebtedness to his predecessors. In that memorable autobio- graphic letter to Dr. Moore, he instanced some of the literary factors which had influenced him most, electing for special mention among the books of his little library a Select Collection of Songs. Of this book he wrote : The collection of songs was my vade mecum. 1 pored over them, driving my cart, or walking to labour, song by song, verse by verse ; carefully noting the true, tender, or sublime, from affectation and fustian. I am convinced I owe to this practice much of my critic-craft, such as it is. Such a study by such a mind as that of Burns could not fail of lasting effect. What he owed to it in his command of different forms of metre and knowledge of the craft of poesy it is difficult to over-estimate With regard to the special subject of Scots song it may be doubted whether any other man of his generation had a wider knowledge of that branch of literature. Take a few of his obiter dicta in proof thereof . — Theie is a great irregularity in the old Scotch songs, a redundancy of syllables with respect to that exactness of accent and measure that the English poetry requires, but which glides in, most melodiously, with the respective tunes to which they are set. . . There is a degree of wild irregularity in many of the compositions and fragments which are daily sung to them by my compeers, the common people — a certain happy arrangement of old Scotch syllables, and yet, very frequently, nothing, not even like rhyme, or sameness of jingle, at the ends of the lines. This has made me sometimes imagine that perhaps it might be possible for a Scotch poet, with a nice judicious ear, to set compositions to many of our most favourite airs, particularly that class of them above mentioned, independent of rhyme altogether.” VI INTRODUC'I ION. “ There is a noble sublimity, a heart-melting tenderness, in some of our ancient ballads, which show them to be the work of a masterly hand : and it has often given me many a heart-ache to reflect that such glorious old bards — bards who very probably owed all their talents to native genius, yet have described the exploits of heroes, the pangs of disappointment, and the meltings of love, with such fine strokes of nature — that their very names (oh how mortifying to a bard’s vanity !) are now ‘ buried among the wreck of things that were.’ ” “ In the sentiment and style of our Scottish airs there is a pastoral simplicity, a something that one may call the Doric style and dialect of vocal music, to which a dash of our native tongue and manners is particularly, nay peculiarly, apposite.” These fragments of opinion show the author of them to have penetrated deeply below a mere surface-knowledge of the topic in hand. Burns had excellent reasons for claiming to be an “ enthusiast in old Scotch Songs.” A writer of a good song needed no better or more effective introduction to him. One of his fondest wishes was to enter into a bond of friendship with every fellow song-writer. “ I have often wished, and will certainly endeavour, to form a kind of common acquaintance among all the genuine sons of Caledonian song. The world, busy in low prosaic pursuits, may overlook most of us ; but ‘ reverence thyself.’ The world is not our peers., so we challenge the jury. We can lash the world, and find ourselves a very great source of amusement and happiness independent of that world.” Such were his feelings towards the singers of his own day, nor did he regard less affectionately those who had passed to the silence of the grave. “ I am such an enthusiast, that in the course of my several peregrinations through Scotland, 1 made a pilgrimage to the individual spot from which every song took its rise, ‘Lochaber’ and the ‘ Braes of Ballenden ’ excepted. So far as the locality, either from the title of the air or the tenor of the song, could be ascertained, I have paid my devotions at the particular shrine of every Scots muse.” Apart, however, from these indications of a fiir-reaching knowledge of Scots song, and of enthusiastic adoration of Scots singers, Burns expressly owns his obligations to his forerunners. A YR. From a Drawing by D. O. Hill. INTRODUCTION. Vll “ When I meet with an old Scots air that has any facetious idea in its name, I have a peculiar pleasure in following out that idea for a verse or two.” But Burns need's no apologist for his obligations to the singers of the past. The use he made ot the “ facetious ideas ” that caught his fancy, and of such exquisite fragments as that beginning “ O gin my love were yon red rose,” was more than justified in the result. The Belvidere Torso was aptly named “ Michael Angelo’s School.” That maimed statue, without head, arms, or legs, was of such perfect workmanship that the great sculptor declared he had learnt his whole art from it. But what a justifying use he made of his model ! No one but a second genius could have found such a fragmentary object-lesson so prolific of instruction. It was so with Burns. The songs of his The Fog House, Ballochmyle. Where Burns first saw the Lass o' Ballochmyle. predecessors were his Belvidere Torso, but he carried forward to perfected beauty the half-veiled hints of loveliness scattered here and there through their work. Burns was indebted not only to the songs but also to the music of his native land. Mr. W. H. Prescott truthfully remarks that “ the existence of a national music is essential to the entire success of lyrical poetry. It may be said, indeed, to give wings to song, which, in spite of its imperfections, is thus borne along from one extremity of the nation to the other, with a rapidity denied to many a nobler composition.” Tlie same critic states that “ no one is more indebted to the national music than Burns : embalmed in the sacred melody, his songs are familiar to us from childhood, and, as we read them, the silver sounds with which they have been united seem to linger in our memory, heightening and prolonging the emotions which the sentiments have INTRODUCTION. V 1 i i excited.” This point is emphasised hy Mr. John Hidlah, no mean authority on national music. He asserts that the conditions of a song’s existence are only thoroughly fulfilled where “ music and sweet poesy agreed' and that in the songs of no people is this agreement more perfect than, or so frequent as, in the Scottish. Burns was keenly sensitive to the necessity of this agreement. “ These old Scotch airs,” he wrote, “ are so nobly sentimental, that when one would compose to them, to ‘ south the tune,’ as our Scotch phrase is, over and over, is the readiest way to catch the inspiration, and raise the bard SJ The Burns Monument, A yr. into that glorious enthusiasm so strongly characteristic of our old Scotch poetry. One of the sweetest of Burns’s lyrics illustrates his obligations to the old airs of Scotland. Not long before his death, the poet called on Jessie Lewars and asked her if she had any favourite tune for which she wished new words. Seating herself at the piano, Jessie played over several times the air of an old song beginning with the words, “ The robin cam’ to the wren’s nest, And keekit in, and keekit in.” As soon as he had, in his own phrase, “southed the tune,” Burns fitted it with the “Flow gently, sweet zAJton, among thy green braes.” Statue of Highland Mary. This Statue is being erected at Dunoon and will be unveiled on the Centenary of the Poet's Death, 2 ist July, iSg6. It is inserted here by kind permission of the artist D. Iff. Stevenson, Esq., R.S.A., and Colin Rae Brown, Esq. , London. INTRODUCTION. XI matchless words of O/?, werf thou in the Cauld Blast. He often did that. Once an air took possession of his singing soul, he had no rest until he had wedded it to words oi his own. And in this connection it should be set down again to the honour of Burns that the new songs he composed for old tunes had the effect, in innumerable cases, of effacing from the national memory indelicate words which coarser times had written there. Passionate emotions, whether of grief or joy, have often been the inspiration of great verse. Poetry, Wordsworth said, is emotion remembered in tranquility. In the case of Burns the remembrance in tranquility was not an essential factor ; “ I can no more desist rhyming on the impulse than an fEolian harp can refuse its tones to the streaming air.” He had, in fact, as a general rule, to enjoy his emotions fresh and ^fRS. Burns (Jean Armour) and CjRANDcnrrD. turn them into song while the first flush was still upon him. It was the greatest of all passions, enjoyed in all its virgin freshness, that first made Burns a singer — the dominant passion of Love. According to the poet’s own confession, he reached his fifteenth autumn without having been guilty of rhyme or conscious of love. Notwithstanding its compensations — such as the possession of a wise father, the influence of a mother steeped in Scottish song and ballad, and the guidance of Murdoch — Burns’s life had not been an enviable one. He had to labour in the fields to an extent far beyond his strength ; to subsist on food of the poorest description ; and companionships of the kind dear to the boyish heart were almost unknown. This kind of life, “ the cheerless gloom of a hermit, with the unceasing moil of a galley slave,” continued to his fifteenth autumn ; and then the dual change came. It was harvest-time. In his work amid INTRODUCTION. xii A/su.vr Our::.t.\T. the golden grain it was the fortune of Burns to have for partner a “ bewitching creature ” a year younger than himself ; a “ bonnie, sweet, sonsie lass.” The hour had come which was to awaken the singing soul of Burns, and unseal that fount ot lyric love in which all after-time was to rejoice. Burns must tell his own story as he told it first to Dr. Moore : “ In short, she, altogether unwittingly to herself, initiated me in that delicious passion, which, in spite of acid disappointment, gin-horse prudence, and book-worm philosophy, I hold to be the first of human joys, our dearest blessing here below ! How she caught the contagion I cannot tell ; you medical people talk much of infection from breathing the same air, the touch, etc. ; but I never expressly said I loved her. Indeed I did not know myself why I liked so much to loiter behind with her when returning in the evening from our labours ; why the tones of her voice made my heartstrings thrill like an iTolian harp ; and particularly why my pulse beat such a furious ratan, when I looked and fingered over her little hand to pick out the cruel nettle stings and thistles. Among her other love-inspiring qualities, she sang sweetly , and it was her favourite reel to which I attempted giving an embodied vehicle in rhyme. I was not so presumptuous as to imagine that I could make verses like the printed ones, composed by men who had Greek and Latin ; but my girl sung a song which was said to be composed by a small country laird’s son, on one of his father’s maids with whom he was in love, and I saw no reason why I might not rhyme as well as he ; for excepting that he could smear sheep and cast peats, his father living in the moorlands, he had no more scholar-craft than myself O.v rmi Watf.r of Ayk. Thus with me began love a?ld poetry T Near Ou place where Bums turote " Man wai Made to Mourn." Cupid and the Muse should never be separated in our thoughts of Burns. He was not tempted from truth, in recounting the genesis of his poetic art, by the INTRODUCTION. xiii thrilling recollections of Nelly Kilpatrick. Apart from his statement to Dr, Moore, he assures us that he never had the least thought or inclination of turning poet till he once got heartily in love, and then rhyme and song became the spontaneous language of his heart. Most of Burns’s love-songs are the record of passionate personal emotion ; they will yield up to the student of his history the “ legend of his heart.” So strongly had he, through personal experience, become impressed with the connection between love and song, that he will allow no man to be a proper critic of love-compositions unless he has been a warm votary of that passion ; “ the whining cant of love, except in real passion, and by a masterly hand, is to me as insulferable as the preaching cant Fa ILFORD. The supposed scene of the parting of Burtis and Highland Mary. of old Father Smeaton, Whig-minister at Kilmaurs.” To the end of his singing days. Burns found no passion so productive of lyric fruit as that which came to him in the harvest fields of his fifteenth autumn. This was the secret he confided to Thomson. “ Whenever I want to be more than ordinary in song, to be in some degree equal to your diviner airs, do you imagine I fast and pray for the celestial emanation ? Tout au contraire ! I have a glorious recipe ; the very one that for his own use was invented by the divinity of healing and poetry, when erst he piped to the flocks of Admetus. I put myself on a regimen of admiring a fine woman ; and in proportion to the adorability of her charms, in proportion you are delighted with my verses. The lightning of her eye is the godhead of Parnassus, and the witchery of her smile the divinity of Helicon !” It is clear, then, that Love was the prime factor in making Burns a poet. But that was not the only string of the harp of life from which he drew music. Had he XIV INI'RODUCTION. Scene of the Holy Fair and Gafin Hamilton’s House, AJauciiljne. limited himself to the voicing of that emotion, though his kingdom would have been wide, he never would have won that universal homage which is now his heritage. Love is much, but love is not all. There are other emotions which claim embodiment in song, and the skill Burns won in the service of love was devoted to these in their turn. The themes of his songs may he set out, roughly, in table-fashion as follows : — I. SONGS OF COURTSHIP. I. Sung by Men. — Ae Fond Kiss --Afton Water — Auld Rob Morris — Behold the Hour, the Boat Arrives — Blythe, Blythe and Merry was she — -Bonnie Wee Thing — Ca’ the Yowes to the Knowes — Corn Rigs are Bonnie — Craigieburn Wood — From thee, Eliza — Go fetch to me a Pint o’ Wine — Green grow the Rashes — Here’s a Health to Ane I Lo’e Dear — Highland Mary — I gaed a Waefu’ Gate — It is na, Jean, thy Bonnie Face — Lassie wi’ the Lintwhite Locks — Lovely Polly Stewart — Mary Morison — My Love she’s but a Lassie yet — My Nannie’s Awa’ — My Nannie, O — O Bonnie was yon Rosy Brier — Of a’ the Airts — Oh ! Open the Door — O Lay thy Loof in mine — O Let me in this Ae Night — O Luve will Venture in — O my Love is like a Red, Red Rose — On Cessnock Banks — O Poortith Cauld — O this is no my Ain Lassie — O were I on Parnassus’ Hill — O were my Love yon Lilac Fair — O wert thou in the Cauld Blast — O wlia is she that Loe’s me — Phillis the Fair — Powers Celestial — She’s Fair and Fause — Sleep’st Thou or Wak’st Thou — Stay, my Charmer — The Banks of the Devon — The Birks o’ Aberfeldy — The Highland Lassie — The Lass o’ Ballochmyle— The Lea Rig — The Sodger’s Return — Thine am I, my Faithful Fair — To Mary in Heaven — Turn again, thou Fair Eliza — Where are the Joys ? — Wilt thou be my Dearie ? 2. Sung by Women . — A Highland Lad my Love was Born — Ay Waukin’, O — Dainty Family Burial Place of Davidson in Kirkosivald. (The Original of Soutar Johnnie.) INTRODUCTION. XV Davie — Gala Water — I’m owre young to Marry yet — In Simmer when the Hay was Mawn — Jockey’s ta’en the Parting Kiss — Last May a Braw Wooer — Lord Gregory — Musing on the Roaring Ocean — My Heart is Sair for Somebody — My Tocher’s the Jewel — O for Ane and Twenty, Tam — O Whistle, and I’ll come to you — Tam Glen — The Blude-red Rose at Yule may Blaw — The Gallant Weaver — Thou hast left me ever, Jamie — Wandering Willie — Ye Banks and Braes. 3. Impersonal. — Cornin’ thro’ the Rye — Duncan Gray — O, Saw ye Bonnie Lesley.? — There was a Lass and she was Fair. II. SONGS 1. Sling by Men . — My Wife’s a — Whistle o’er the Lave o’t. 2. Simg by Women . — How Lang and Dreary is the Night — John Anderson, my Jo — Logan Braes. 3. Sung by Roth . — My Spouse, Nancy. III. PATRIOTIC SONGS. Awa’, Whigs, awa’ — Kenmure’s on and awa’- — My Heart’s in the Highlands — Scots Wha Ha’e — There’ll never be Peace till Jamie comes H ame. IV. AUTOBIOGRAPHIC SONGS. The Gloomy Night is Gath’ring Fast — There was a Lad was Born in Kyle. V. CONVIVIAL SONGS. O Willie Brew’d a Peck o’ Maut, Etc. VI. OUTLOOK-ON-LIFE SONGS. Auld Lang Syne — Contented wi’ Little— Farewell, thou Fair Day — For a’ that and a’ that — Hey ca’ thro’ — I dream’d I lay — I ha e a Wife o’ my ain — The De’il’s awa’ wi’ the Exciseman — Up in the Mornin’ Early. Tun HOUSF. IN M AVCIII.INP. IVUERF. BURNS RFSinFD AFTER U/S PRiyATE Marriage with Jean Armour. Lochlea. OF WEDDED LIFE. Winsome Wee Thing — The Weary Pund o’ Tow XVI INTRODUCTION. With this classification as a guide, it will be seen at once that the bulk of Burns’s songs must be grouped under the first and second divisions, more especially under the first. But within the limits of the love-song, how wide a range he takes! Among the songs he puts into the mouth of singers of his own sex we have expressed, in Dhe Lass o’ Ballochmyle., the hopelessness of a lowly lover’s adoration of a maiden whose rank in life is above his own, and a kindred spirit finds its embodiment in Auld Rob dMorris., though the social status of the lovers does not yawn with so wide a gulf. There is no such disparity in My Ain Kind Dearie., O ; lad and lass are both of “country degree,” and while the one hails the return of the oxen “ sae dowf and ALLOII'AY KlRk'. wearie ” as the signal that the hour of courting draws nigh, the other is probably deriving similar comfort from some other sign that the day's labour on the farm is reaching its close. A sadder note sounds through O Poortith Cauld and Open the Door to me., O ! The one is the anathema of a lover whose dearest desires are thwarted by poverty ; the other is the tragedy of an unrequited passion. How different, again, is the pastoral spirit of Ca the Towes to the Knowes, with its rippling music of the rowing burn, its bloom of heather, its mellow evening mavis’ song, its gliding waters that hold a mirror to the moon, all gently urged as the invitations of nature to spirits attuned to love. But in My Nannie's awa all the shows and music- of nature are frail and vain “ to weep a loss that turns their light to shade.” The warbling birds, the sweetly-blowing violet and snowdrop, the green mantle of the earth bring the solitary lover no comfort : “To me it’s delightless — my Nannie’s awa’.’* Meg xvas deaf as t/lilsa Craig.” Sir.HOUETTF. OF CLAR/NDA. INTRODUCTION. XIX No “partial fancy” ever idealized an absent mistress so unreservedly as the singer of D/j/s is 710 77iy am Lassie, Here's a Health to Ane I Ide dear, and Of d the Airts. Confronted with one worthy a place among the fairest, the love-blinded wooer asserts the far superior charms of his own idol ; her “ witching grace,” the “ kind love that’s in her e’e.” Even though the The avi.d Brig, avr. ‘ hope to possess her is denied, “ ’Tis sweeter for thee despairing Than aught in the world beside.” Tributes to the overmastering power of beauty are not far to seek among these songs, such as that to the “lovely een o’ bonnie blue” of I gaed a WaefiT Gate Yestreen, i' I ^ ul thu Water; the assertive protestation of faithfulness of O, my Love's like a Red, Red Rose; the whole-hearted surrender of 0, wert Thou in the Cauld Blast; the chivalrous eulogy of Green Grow the Rashes, O; the “still, rapt enthusiasm of sadness” of To YMary in Heaven; and the Lasciate ogni speranza.^ voi ch' entrate of Ae Fond Kiss. Fewer in number, and more relined and restrained in feeling, are the love-songs of women. In some, it is true, as Gala Water and Tam Glen will witness, there is a true womanly abandon of delight at the thought of having enslaved the best among men, and sometimes, as in Last May a Braw Wooer., that delight is tinctured with the wholly feminine joy of conquest. Again, there is a certain spirit of arch The Nniv Brig, A yR. XX INTRODUCTION. forwardness manifested in such songs as Whistle., and 77/ come to you., my Lad., and O, For Ane and Lwenty^ L’am, while dMy Fochers the Jewel reveals an unusually penetrating consciousness of the attractions of a fortune : “ My laddie’s sae meikle in luve wi’ the siller, He canna ha’e luve to spare for me. But in the main these songs are suffused with a softer and sadder spirit, begotten of a heart betrayed or a love ill-requited. And how true they are to a woman’s faithful- ness! There is no vindictiveness in Lord Gregory ; the “ waefu’ wanderer ” bares her bosom to the lightning’s flash while she intercedes for the man who has caused her keener pain than the dart of heaven can give. The same forgiving tenderness mingles with the pathos of Wafidering Willie and Te Banks and Braes o' Bonnie Doon. There is a haven for Willie, if he desires it ; if not, she only wishes to die believing in his faithfulness. Nor is the disconsolate wanderer by the Doon any more severe ; she reproaches the birds for singing and the flowers for blooming, but not the “fause lover” who has thrown her out of harmony with nature. Among the impersonal songs of courtship, Duncan Gray is the most character- istic. It stands for that mirth-provoking interest in a love affair which is common to all men and women when they are not personally concerned in the transaction. Love-letters read in court as evidence for a breach of promise action are legitimate causes for laughter in men and women who have been guilty of penning just as ardent epistles. The song spares neither sex. It is INTRODUCTION. XXI Duncan’s turn first, but Maggie finds, in the end, that she cannot do without him : “ Something in her bosom wrings, For relief a sigh she brings ; And O, her een, they spak sic things !” The songs of wedded life take a much narrower range than those consecrated to the joys of pre-marital days, and Burns explained, in a letter to Thomson, why this must be so. “Conjugal love is a passion which I deeply feel and highly venerate; but, somehow, it does not make such a figure in poesy as that other species of the passion, ‘ where Love is liberty, and Nature law.’ Musically speaking, the first is an instrument Cottage at Bridge House, A tr (now demolished). This was the residence of Mrs. Begg, the Poet's youngest sister. The figure at the door is that o) his niece, Isabetla Begg. of which the gamut is scanty and confined, but the tones inexpressibly sweet ; while the last has powers equal to all the intellectual modulations of the human soul.” Save for ts.^ last song alone would have made the poet immortal. Scotsmen he loved, but he loved men more. And it was men as men he loved ; no one saw with a clearer eye that the value of a man was to be estimated by what he was in himself, and not by the position in life which he happened to occupy : “ Then let us pray, that come it may. As come it will for a’ that ; That sense and worth, o’er a’ the earth. May hear the gree and a’ that. INTRODUCTION. xxiii The Old Lodge at Tarbolton where Burns was MADE A Freemason. For a’ that, and a’ that, It’s cornin’ yet, for a’ that. That man to man, the warld o’er. Shall brothers be for a’ that.” It was given to Burns to realise his first-formed and dearest desire. Relating in verse, to Mrs. Scott, of Wauchope House, the thoughts of his earliest days, he said : “Ev’n then a wish (I mind its power), A wish that to my latest hour Shall strongly heave my breast ; That I for poor auld Scotland’s sake. Some usefu’ plan or beuk could make. Or sing a sang at least'.' He had his wish. No part of the legacy he left is more assured of immortality than his songs. And for these he received no recompense in gold. Thomson’s project to publish a select collection of Scottish songs evoked his enthusiastic support ; and “ as to any remuneration, you may think my songs either above or below price, for they shall absolutely be the one or the other. In the honest enthusiasm with which I embark in your undertaking, to talk of money, wages, fee, hire, etc., would be downright prostitution of soul ! ” If Burns could have foreseen the future he would have been confirmed in his resolution ; for no material recompense could compare with the heritage of unmeasured affection into which he has entered. That affection is the grateful offering of those who have been helped in their greatest need. More than half the joy of an emotion is in being able to find it a voice. What were the passion of love, the tenderness of wedded fealty, the sorrow of loss, the happiness of friendship — what were all these without a voice For such emotions Burns found the fitting expression, and as, every new day, the strains of his songs rise and die away and rise again in ceaseless harmony we realise how surely he is enthroned for all time in the hearts of men. Old Church at Kirkoswald. In the Vestry of which Burns attended School. Coil A finding Burns at the Plough. From tilt Mural Sculpture by Turuerelli in St. Michael's Churchyard , Dumfries. SCOTTISH MUSIC. MONO the countries remarkable for the extent and beauty of their Folk-music, Scotland occupies a worthy place. Indeed it would be hard to name any which possesses a richer or more varied Anthology of Song, or one reflecting more faithfully the genius of the country in all its changes and vicissitudes, political and social. Every aspect of nature, every social custom, and every stirring deed of arms of which the history of the North Countrie is so full, have been embalmed in imperishable words and allied to music which, whatever its origin, we feel to be instinct with the living fire of inspiration. Nor is this natural expression of feeling confined to any particular area distinguished it may be more than others by the greater ardour of its life. Each province is marked by its own peculiar note, and the sanguinary feuds of the Border are not more real to us through T/ie Dow/e Dens of Tarrow and Hughie Graham^ than are the dark tragedies of the North in The Bonnie House o' Airlie, or the plaintive notes of Wae's me for ’Drince Charlie. There is hardly a stream in broad Scotland which has not been made classic in our Song ; not a great scene in our history from that day of Bannockburn which sealed a nation’s liberty, till the last hopes of an expiring cause found a grave at Culloden, but have been fixed for ever in tones of exultant victory or notes of deepest despair. Along with this fire of patriotism there has also burned the lamp of quiet joy. The rural pastimes, the pastoral avocations, and the humours of rustic life have each found native expression, and in all the elements of truth, naturalness and simplicity, it were hard to find a truer or fuller picture of a brave, strenuous and simple people than is mirrored in the Ballads and Songs of Scotland. The beauty and charm of Scottish Folk-Music have excited universal admiration. T U/. L OCHGOK UiM. From an Original Etching by D. Allan, prefixed to Vol. VI. of George Thomson' s Select Melodies. XXVI SCOTTISH MUSIC. and have proved a fruithil held for the labours of earnest and enthusiastic investigators. Many theories have been advanced and many explanations offered of the secret of its charm, but it cannot be said that anything very conclusive has been advanced, or that it is less of a mystery now than ever. For a time it was held that to the Italians we were indebted for the sweetly flowing measures that have come down to us, and colour was given to this contention by the frequent mention of Rizzio’s name in connection with various of our melodies. It has long been shewn that there is not a vestige of proof that Rizzio ever composed a note of any of our songs, nor do the Italian compositions of the period shew the slightest point of similarity, their laboured fugues and scholastic exercises being as different as possible from the “ native woodnotes wild ” of our untutored melodies. Dr. Burney in his “ History of Music ” touched upon Scottish Song, and it is probable that his dicta have had as much influence upon the popular conception of Scottish Music as anything written on the subject. Briefly he classes the peculiarities of Scottish Music under three divisions ; — (i) Its Pentatonic character. (2) Its Use of the Flat 7th. (3) The “Scotch Snap.” Dr. Burney’s acquaintance with Scottish Music may not have been very wide, but at all events he has named three peculiarities which it undoubtedly exhibits ; at the same time these do not cover the ground, and leave much unexplained. In regard to the first, most of the early writers on Scottish music have adopted the view that the more ancient melodies were formed upon the Pentatonic Scale — a scale in which the fourth and seventh of the key were absent ; and a careful examination of the earlier forms of these melodies proves the correctness of this view. This scale was, however, common to other nations besides our own, and, indeed, formed the basis of nearly all national melodies before the period at which music began to be cultivated as an art. The use of this scale gave a certain colour to our national melodies, which was further heightened by the variety of the modes in which it was employed. In modern music the major and minor are the only two modes in common use ; but, in a quite unconscious way, our early minstrels made use of 7 nodes formed upon all the notes of their scale. It is this peculiarity which in our modern notation of these ancient melodies accounts for the frequent use of the flat seventh. In illustration of this we cannot do better than refer to Mr. Colin Brown’s example of ‘Tiillochgorum., which, in modern arrangements, fairly bristles with this interval, but which if noted in its proper mode — that of the fifth — dispenses altogether with the use of accidentals. It is true that in a very large number of imitation Scottish tunes the “snap” will be found to figure largely. This, indeed, was held to he the distinguishing mark and guarantee of the Scottish tune, without which none was genuine, and accordingly we find it largely employed in the multitude of airs which were composed by English and foreign composers in imitation of the “Scottish manner.” The “snap” is of course a strongly marked feature of Strathspey music, and in tunes derived from the popular national dance its use imparts a characteristic flavour: it is, however, hardly necessary to point out that the “snap” is entirely alisent in many of our most characteristic melodies. SCOTTISH MUSIC. XXVI 1 Prior to Burns’s time the only considerable Collections of Scottish Tunes which had appeared were Allan Ramsay’s “Tea-Table Miscellany,” and, almost contemporaneously, William Thomson’s “Orpheus Caledonius,” a work published in London in 1725, and dedicated to the Princess of Wales. A great part of the latter work was a mere appropriation from the “Tea-Table Miscellany,” a fact which did not escape the notice of Ramsay who, in the preface to the 1 2th edition of his work, adverts in characteristic fashion to it. Although enjoying a very wide popularity both in Scotland and England in fashionable circles, it cannot be supposed that many of the common people possessed either of these works. We may conclude, therefore, that when Burns appeared upon the scene the great treasury and storehouse of Scottish melody was in the memory and tradi- tions of the people. We are apt in the glory of Burns’s achievements as a lyrical poet to for- get the great service he rendered his country in rescuing from oblivion many tunes which from unworthy association might have alto- gether disappeared. These airs, no less on account of their intrinsic merit than of the noble verse he has wedded to them, have beer assured of immor- tality ; and it is a tribute at once to the taste and patriot- ism of Burns that he set himself with so much ardour to the task of re-juvenating these genuine inspira- tions of the past. That this task, though truly a labour of love, was arduous we learn from many of the poet’s letters. Thus, in writing to Mr. George Thom- Rny. John Skinnek, author of Tulloch^orum. son, 8th November, 1792, he says: “There is a peculiar rhythmus 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 difficulties.” Again, in a later letter, he gives us a close view of his own methods : “ Until I am complete master of a tune in my own singing (such as it is), I never can compose for it. My way is : I consider the poetic sentiment correspondent to my idea of the musical expression ; then choose my theme ; begin one stanza ; when that is composed, which is generally the most difficult part of the business, I walk out, sit down now and then, look out for objects in nature around me that are in unison or harmony with the cogitations of my fancy and workings of my bosom, humming every now and then the air with the verses I have framed. When I feel my muse beginning to jade, I retire to the solitary 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 forth my own critical strictures as my pen goes on. Seriously, this at home is almost invariably my way.” SCOTTISH MUSIC. xxvnii At all times Burns modestly disclaimed any pretension to musical knowledge, yet when we consider the marvellous truth and facility with which he clothed with words, not merely the rhythms — peculiar as these sometimes were — but the very spirit and soul of the melody, we feel that, however deficient he may have been in academic knowledge, he possessed all the sensibility and appreciation of a skilled musician. In not a few of his letters to Thomson he acquaints us with his preferences, and although ofttimes expressed with a charming diffidence, on other occasions he adheres to his opinion with a frankness and energy all his own. His insight into the possibilities of certain melodies is also noteworthy. Take for example Saw ye "Johnnie comm an air generally regarded in Burns’s time as one of great liveliness and humour. The verses he composed for it show, however, that he had penetrated into its real character ; and in T^hou hast left me ever., Jamie., he has fixed it for ever as one of our tenderest and most pathetic airs. What happier union could be adduced than Duncan Qray., in which words and music are so mated that the one seems hardly separable from the other. Other instances will readily occur, but we cannot refrain from naming two which have always seemed to us to achieve absolute perfection of fusion. We refer to Whistle o'er the Lave o't, in which the suggestion of the music is so admirably embodied that music and poetry seem the expression of the same idea in the language of two arts; and ^My Spouse Sfancy.^ where the indignation of the wife and the calm assurance of the husband are both exhibited in a spirit of banter most admirably reflecting the archness and piquancy of the music. Burns first met Johnson in November, 1786, during his memorable visit to Edinburgh, just before the publication of the first volume of the “ The Scots Musical Museum,” a work which was destined to exert a strong influence on the development of the poet as a song writer. For this first volume Burns contributed two songs : Green grow the rashes., and Young Y^eggy blooms, both to the same air. Loch Eroch Side. Burns’s share in the building up of the “Museum” is best described in his own words. In a letter to the Rev. John Skinner, author of Tullochgorum, referring to the “ Museum,” he says : “ I have been absolutely crazed about it, collecting old stanzas, and any information remaining respecting their origin, authors, etc.” In another letter he writes: “An engraver, James Johnson, in Edinburgh, has, not from mercenary views, but from an honest Scotch enthusiasm, set about collecting all our native songs, and setting them to music, particularly those that have never been set before. Clarke, the well-known musician, presides over the musical arrangement, and Drs. Beattie and Blacklock, Mr. Tytler, of Woodhouselea, and your humble servant to the utmost of his small power, assist in collecting the old poetry, or sometimes for a fine air make a stanza when it has no words.” The “Museum” comprises six volumes, each containing about one hundred songs, and the period over which its publication extended was from 1787 to 1803. It would be difficult to over- estimate its value and importance as a compendium of all that is noblest in Scottish Song and Poetry. That Burns was the inspiring hand that moulded it and shaped it to its finer issues is abundantly evident. He was much more than a contributor of his O IVillie brew’d a peck o’ maui, tAnd Rab and Allan cam’ to pree. Three blyther hearts that lee-lang night, Ye wadna find in Christendie.” XXX SCOTTISH MUSIC. own immortal productions ; he became, in fact, the practical editor ot the work, searching with infinite care and in all directions tor old songs and airs and all such matter as his genius could supplement and modify to fit it for the work. In no respect did Johnson exhibit greater judgment than in submitting himself so entirely to the poet’s direction, and the result has amply justified the prediction contained in a most pathetic letter written to the honest old engraver by Burns a few weeks before his death. In that letter he writes: “Your book is a great one; and now that it is near finished I see if we were to begin again two or three things that might be mended ; yet I will venture to prophesy that to future ages your publication will be the text-book and standard of Scottish music.” Burns set his hall-mark upon another great work in the same domain : George Thomson’s “ Select Melodies of Scotland,” and all Students of the National Muse know what precious results flowed from this collaboration. In the correspondence between poet and editor, we are afforded a close insight into the poet’s method. The nature of the task set him by Thomson, that of supplying verses to old tunes, was of the very essence of difficulty, only to be surmounted by one who like Burns was completely surcharged and imbued with the spirit of the National Melody, and while his contributions to the work number among them some of his happiest efforts, we cannot but marvel at the rich fancy and complete craftsmanship that enabled him to triumph over conditions so difficult. It could not indeed have been done at all had Burns not felt himself called by a holy fervour to the office of High Priest of Scottish Song. Alike in poetry and music he gathered up in himself the love and reverence and tradition of a whole people, and setting upon them the seal of his own genius winged them for ever with the fire of imperishable vitality. Happy had it been for the music of other nations, of Ireland and of Wales, if their sweet melodies had been mated with poetry as living and as sincere ; and deep beyond words is the debt we owe to our Master-singer, whose burning lyrics oft sprang from a breaking heart, and whose life-tragedy darkly unrolled itself before an unheeding generation. It was of course at all times a matter of great delicacy to determine what was the proper form of any given melody. In the written and printed works of the recognised masters of music no such difficulty could occur, as the matter is fixed for all time in the composer’s score. It is otherwise in dealing with traditional airs, whose forms fluctuate from age to age, and are affected by successive changes in taste and fashion. In Urbani’s Collections, for instance, they mostly appear with all the elaborate fioritun and ornate embellishment common to the end of the last and the beginning of the present centuries. The multiplicity of these Collections, and the extent of their circulation in England as well as Scotland, attest the strong hold these ancient melodies had upon the affections of the people, and the prevailing appetite for music in the Scots manner is nowhere better indicated than in the Pianoforte Sonatas of Cramer, Dussek, Steibelt, and other composers, which often included a movement based upon a Scottish air, or the imitation of one. It would be too much to assume that all this sprang from genuine love, but there SCOTTISH MUSIC. XXXI can be no doubt that what in time became merely a fashion originally sprang from a sincere admiration for the beauties freshly discovered for us by Ramsay and Burns, and the numerous Collectors who followed them. In the later history of Scottish Song there are a few names that stand out prominently, and just as the great stream of Scottish poetry has since Burns’s time been enriched by many a noble tributary, so the stem of Scottish music has budded freshly in the productions of men not very remote from our own day. The names of R. A. Smith (a true though undeveloped genius), Peter M‘Leod, Alex. Hume, and many others, naturally occur to us in this connection, and attest the continued vitality of the Scottish lyre, and in the great musical awakening that has in recent years come over Scot- land, we may ex- pect, in the fulness of time, our folk- music to become the basis and sub- structure of a true National School, which shall be individual and characteristic, be- cause it is founded upon the idiosyn- cracies of our people, and is the outcome of our national experi- murous voices of shore and sea, ot mountain, lake and forest. George Thomson, Esq. encc. That there is inspiration enough in our his- tory, our scenery, and in our char- acter few will deny ; and we but await the master- spirit, who, drink- ing deep at this fount of inspira- tion, shall, in symphony or tone- poem reanimate the glorious page of history ; wake in more subtle tones the weird and mystic Ossianic legend, and realise for us the mur- In concluding this brief notice we may advert for a moment to the style ot accompaniment used in the present volume. It has always been accepted — in theory at least — that accompaniments to Scottish songs should be simple. And this theory is founded on good common sense, because in most cases these simple melodies are the artless outpourings of untutored minds. Anything, therefore, in the nature of elaboration is felt to be an impertinence, and as injuring rather than enhancing the expressive power of the melody. In too many instances, however, this simplicity has been sought for in wrong directions, and has resulted in baldness, monotony, and lack of interest. A frequent error has been made in duplicating the voice part, and treating it simply as a harmonized melody. The effect of this is to greatly interfere with the freedom of the XXXll SCOTTISH MUSIC. singer, and to mar the beauty of many passages where the voice is much better to he left alone. There is so much character and individuality inherent in most of our melodies that the skilful and sympathetic arranger need never be in any dilficulty as to the form of accompaniment most appropriate, and that will generally be best which, while it leaves the movement of the melody entirely free, provides a background of harmony in itself interesting, and in its movement and character emphasising the prevailing spirit of the melody. An endeavour has been made in the present volume to embody these principles, and the only caution that need be urged is that singer and player should be thoroughly in accord in their phrasing. This, however, is a primary requirement in all artistic collaboration ; and, as many of these songs rank as highly in beauty and expressive power as any Schubert lied., it is not too much to expect that as much care will be used in their preparation and presentation as is usually bestowed upon the latter. B. Statue of Burks at Paisley. By W. F. Pomeroy, F.sq. THE SOiVGS 2 THERE WAS A LAD WAS BORN IN KYLE. Tune.“0 gin ye were deid, guidmanV 3 i :r' .m' Ir' :d^ .1 s J_ :d' .t' Id' j'' :iV x' Id' :s ll :s O I o rov - in’ boy, A rant - in’, rov - in’, rant - in’, rov - in’; f I I ll 1 ,t :d' X In X :s jn g-n I 1 X : f .PI Ir J_ :n x | d :d' Is A :s J|. | ' mil. ^ & Ro - bin was a rov - in’ boy, O rant - in’, rov - in’ s Ji i f rail. 3 . The gossip keekit in his loof. Quo, scho, wha lives will see the proof. This waly boy will be nae coof, I think well ca’ him Robin. For Robin was a rovin’ boy, &c. 4 . He’ll hae misfortunes great and sma’. But aye a heart aboon them a’; He’ll be a credit till us a’ Well a’ be proud o’ Robin. For Robin was a ravin’ boy, &c . 5 . But sure as three times three mak’ nine, I see by ilka score and line. This chap will dearly like our kin’. So leeze me on thee, Robin. For Robin was a rovin’ boy, &c. 4 ‘GAE BRING TO ME A PINT O’ WINE. Doh is C. 1 r*i .r : — .d :d £ .,n s .1 :s .,1 d' : — .r' :m' .d' | 1 M ./ .. A m % > J I! Jz 0 ' ♦ r 0 S r' • ^ • m OJ 1^ \ ML? ^ T y. t L. • -#L tas - sie, That I may read - y; The shouts o’ drink, war be - fore I are lieard a 1 g ff O, ir, A ser - vice The bat - tie r^-:v-" ' V v: / * — '4 V M J m 0 pi k ■0 1 ■0 ■» 1 f TSV •jf M 1 \ ^ 7 m S • j w •J L -0 -0 ^ J * In the original this line appears ‘*Oo fetch to me” etc, but the above reading has been generally adopted for singing purposes. Similar altera- tions will be found in several other Songs. 5 1 r .m :d .,»*t A ores. s :— .d' :r' .,s n' .r' :— .d' :n' .,r' L _ /» d' .,r' :d' .1 :s .rn \ U J ^ • S > » ^ m f • ^ V % T0^ 1 n \ ^ . ... I J i ^ m M -TTTI ^ J * Ld ^ 9 U —m ^ - r ' r Leith, Fu’ loud the wind blaws frae the fer - ry; The ship ri shore Wad mak’ me lang - er wish to tar - ry; Nor shout des by the Ber-wick o’ war that’s heard a - / ^ ~ 1 ^ — 1 1 ir^ ‘ / ? ^ i j i • r *■ i i i: 1 [ 1 J - t f ^ 5 i w rwu* - A I Cr •i <~d \ ^ T ^ 1 2 M ^ m • ^ • * • 7 f 1 -#L C? _ •. V' [' :— .r' :m' J' m' .,r' :d' .1 :s .,d m .r ;— .d :d .,i*i S ;— .1 :s .,1 ! r % IM i w ^ w m S— J r ^ 0 II W ^ ^ • m • r i ^ - M -1 ^ S LI ^ wine, And fill it ^pU • in a sil - ver tas- sie, That I may dri nk, b e-fore I / /r — T“ J ^ M ^ • l w ^ m 9 . n ■ • 9 \ «f ^ 1. -^-1 r 1 J *9 1 V 9 i ; . r r i 1 > ■: □ J \ 9 • ^ J \ 9 9 \ y * n 1 m 7 fl • w J i • — t = s) _ '9 f : J ^9 6 OF A’ THE AIRTS THE WIND CAN BLAW Moderately slow, with expression. Tune “Miss Admiral Gordon’s Strathspey.” $ $ .,m ”*;r .d I**' 1, .s, ,li dear - ly lo’e the "West, mang the leaf - y trees; For Wi’ r ^ mm d .,d :d .,d Id .s, ;d there the hon - nie las - sie lives, The gen - tie gale, frae muir and dale, Bring s .,1 :d' .PI Is :-.l lass that I lo’e best: Tho’ hame the la -den bees; And ) I 7 8 LASSIE WI’ THE LINT-WHITE LOCKS. Tune: “Rothiemurchus Rant.” 0 1^' .,S| :1| .,S| Id .,S| .1| ,d . n, .,r, :pii .,d. In, .s, :s, | s Ik ^ Sk » k a m _s S 5 m • S S * ^ . 1/n LZ m • M •m !? ^ S 5 s m ^ • K M r c) • Bon - nie lass - ie, art - less lass-ie, Wi ^ L > It thou rj • n me te — nt the flocks? / /5k-? ■■ ' - -- — 1 H i M ■■ — ■ J J \ ir i 5 : = 1 i . — . 1 J _ t i ■ - ^ 5 / , I ^7* ? t ** 4:^ \ « i « ^ « ^ « Z —0 — 2 0 7 0 ^ 0 Z *9 •» 1 I 9 J d .,s, :1| .,S| Id rJ 1 k. .,S| .1| ,d n, ..r, :n, .,di Im, .s, :s, j ' s r s s r k rr ^ * s 8 — M * S S — m* s k ^ • T! A • J N m m. s S m A Bon - nie lass - ie, art - less lass-ie; Wilt thou wi’ me tent the flocks? L > 1 XtB— 1 1 L 1 V'J J J ) 4 J -0 [ ^ - 1,5 ^ =1 ■n ^ */ i ^ 7 ^ 7 ^ L M 7 ^ z ^ 7 ^ 7 \ r • • • • • •] -0 d - j 3 . When Cynthia lights wi’ silver ray The weary shearer’s hameward way, Thro’ yellow waving fields we’ll stray, And talk o’ love, ray dearie, O, Lassie wi’ the lint -white locks, &c. 4 . And when the howling wintry blast Disturbs ray lassie’s midnight rest. Enclasped to my faithful breast, 1 11 comfort thee, my dearie, O. Lassie wi’ the lint- white locks, &c. 10 CRAIGIE-BURN WOOD. . Tune: Craigieburn wood. Slow and expressive. 11 1 1 .t :d' Is ,t*i :d d' :— .t :1 Is ;n ;d r : — : — Is : — ;s ^ ^ <1. J 0t m J ■nK — i • ZL L m _T W ^ U T. M -? L 1 _ V V s b 3ring’s r reak m B - turn, Can y heart, If yield me n I con - c ocht but eal it m so la • r - - ro n - - g€ W. I 5r. If : ^ — 4 = • • — — ^ V 4 M M -0 ^ -9 m f m 7 f f ^ } 1 r rm:\* ^ • ^f* • 0 • J * ^ •/ 1 y p • 7 • ^ • J • M p B • 12 I GAED A WAEFU’ GATE YESTREEN. Lali is B. 0 !- f) 1 :- — .t Id' .t :1 .se 1 1 — .m Irt .d ! 2H 0 3B d 1 ^ ==f== IT + r. 1 r * :M=i — ^ S — ^ "-=5 K m. 0 ■“ * 1. I gaed a wae - fu’ gate yes - treen, A i> tt 2. She talk’d, she smil’d, my heart she wy I’d, She /Li =■ — f ® -kf- — — 4 t 1 1 t 8 r — - - '|r i ^ o o TT TT 13 j| r' .d * :t .1 II .t Lx r‘ ^ .1 Id' .t :1 .se c cj-.-GP 1 .t ;d| .t' In' ; — .d (O Hlower wat wi’ to my dew, Her heav vow: Should she (b i i ■ST i ing bo - som re - fuse, i’ll li - ly - white. It lav mv dead To 5 a* A I '■ In .r :d .t. n :— . 1 | ll| : ■H ■■ P 'T i I 1 s f 1 J J • ^ 1 was her een sae bon - nie bli her twa een sae bon - nie bli • le. le. 1 1 T r -/L J fa 0 4 4 > ■ z m J ^ Vj m • 1 ^9 ^ ^ ^ co//a voce P : -» : 9 p o — O A m ^ V — ■ 'w ' ^ k? • . I » i t c 7 9 ~ S' “ 9 I I I 1 ^ ^ f *• ^ 14 IT IS NA, JEAN, THY BONNIE FACE. Tune... “Pinkie House.” 15 16 WHISTLE O’ER THE LAVE O’T. 18 AFTON WATER. Melody by A. HUME. Slow and tenderly. 19 Ek A k 20 O WILLIE BREW’D A PECK O’ MAUT. Not too fast. Piano. V i* mf r. 3: i i /* /Y^//. "i i i Doh is C. cam’ to pree; Three blyth - er lads, that lee - lang night, Ye trow, are we; And mony a night we’ve mer - ry been. And 21 II " \\ m 1 :d' Id :d Id ^ 1 ^ ^ ^ - -m ■ T 1 cj r ^ bar - ley bree. A ^ i IJ! ^ 1 1 * m i T Dm. m 1 1 1 < i • R ^ L — 0 w * 1 4 X. y j i — ^ — 3 — f H- rail. ^ 4 9 4 9 f 0 K . i r 13 J ^ — • r m . L 0 —d ¥ , 1 i J 4 1 \ r -j- 1 ' 3. It is the moon, I ken her horn, That’s hlinkin’ in the lift sae hie; She shines sae briglit to wyle us liame. But by my sooth she'll wait a wee! We are na fou, &c. 1 . Wha first shall rise to gan^ awa, A cu(;kold, eoward loon is he! Wha first hesid(; his chair shall fa’. Ho is the Kinj2^ among us three! We are na fou, &c. 22 CORN RIGS ARE BONNIE. II d :s Im .f :s .d tfi ’fl 1 . t| , d F . S| d :s .,f In .f :r .n d :s .,1 Is :S| / t — Ti" >mZZ_ L ('• 1 * iUiJ ^ ^ b ■ — 0 — time f’lew hy wi’ tent - less heed, Till ’tween th(^ late and ear - ly, Wi’ k(nit her lieart was a’ my ain, I lov’d her maist sin - cere - ly; I 23 3 . I lock d her in my fonrl embrace; Her heait was heating rarely; My blessings on that happy j)lace, Amang the rigs o' barley. But by the moon and stars sae bright, That shone that hour sae clearly. She aye shall bless that hapj)y night, Amang the rigs o’ barley. Corn rigs, &c. 4 . I ha'e been hlythe wi’ comrad(;s dear; I ha’e. he(m merry didukin’; I ha'(; been joyfu’ gath’rin’ geai-; I ha’e been happy thinkin’, lint a’ the pleasures e’ei- I saw. Though three times flouhled fairly, That hap{)y night was worth them a', Amang the rigs o’ barley. Corn rigs, &c. 21 TAM GLEN. Not too, slow. Tune: “The muckin’ o’ Geordie’s Byre.” Lah is E. 25 poor-tith I might mak’ a fen’; What care I in rich - es to wal-low, If bids me be - ware o’ young men; Tliey flat- ter, she says, to de - ceive me; But 3. My daddie says, gin lH forsake him. He’ll gie me guid hunder marks ten: But, if it’s ordain’d I maun take him, O wha will I get but Tam Glen? Yestreen at the Valentines’ dealing. My heart to my mou’ gied a stem For thrice I drew ane without failing. And thrice it was written, ‘‘Tam Glen.” 4. The last Hallowe’en I was waukin My droukit sark-sleeve, as ye ken; His likeness cam’ up the house staukin_ And the very grey breeks o’ Tam Glen! Come counsel, dear Tittie! don’t tarry; 111 gi’e you my bonnie black hen. Gif ye will advise me to marry The lad I lo’e dearly, Tam Glen. 26 MY LOVE SHE’S BUT A LASSIE YET. Air_LPut up your dagger, Jamie.” 27 J| d Ji :l^i 111 :t| j d :d| ld| :m S s :n If :— .r m :d Id :m .f i c/y,y. Jr rb ^ ^ ^ m 9T ^ ^ A ^ U' ^ 1 ^ A “ ^ K rvT7 ^ m ^ 1 * "J ^ ir E : ^ 1 ^ if 1 no be half sae sau - cy ye here I nev - er miss'd it ye t. I rue the day I sought her, 0, I t. We’re a’ dry wi’ drink -in’ o’t. We’re / jr rrj __ _ i #T- ^ ^ .... 1 i V IW V V 1 W^\ ^ 7 ! 1 ' L 2 Z L t VT7 ^ 1 / ^ ^ 1 •A 1 ^ 1 n , m r^'^9 1 A 1 f 1 b * V 1 V if 1 ■' h 1 7 7 ^ ?± 2 ^ A \ ” 1 i • 7 p / r r > W ! 1 s :pi If ;— .m L ^ 1 r :ri Ir, :pi ,f lT^ s ;ni If :r 1 m :d Ir :— .t| 1 rail. ^ O ^ • k. jr A m A ... s ■> : r r r m ^ ^ r : B T p ...^ ^ f/^ .1 - 4 . .... F A :xnz: ’’ r a > [ ^ 1 ^ ^ 4 E L ^ r rue the day I sc a’ dry wi’ di L r :gr ^ ^ y r lught her, O; Wha gets her need - na say she's woo’d, But rink - in’ o’t; Tlie minis- ter kiss’d the fid - dler’s wife, An’ o o 1 a *< [= L 5# & ^ ai 1 / J L / 1 1 ^ 1 y A ^ J cres. 1 ^ 7' 7 ^ rail. r* ./ O ^ ^ ^ ^ ^ ^ J 2 p m ^ iP r r P m V * • _ p \ ^ r / p / J — b 4^ 7 - 1 28 THE WEARY FUND O’ TOW. Doh is F. A ' n ^ d .,d :d ; .d d .r ,m :r : — .d t, ,,d :f ;— .1*1 r :— : ,t*i vrP ! S s — z Is Si ^ j f ^ 2 m - T a — i _! m. m A eJ V The wea - ry pimd, the wea - ry pund, The wea - ry pund o’ tow, I 9 1 ^ r £ L ^ \ 4 & m ^ h ■* r- r 1 % • 1® w 1 L r 1 1 ^ i '• M m ^ ^ j' \y / ^ } • s r m & 4 1 d .,d :d ;— .d d ,r . 1*1 :r : — .d li .,d :t*i : — .r d :— : S, Ik ^ an p \ r^Th 9 2 ik ^ K J Z Lz A M ^ -• > Iz •_! M 7 "vu/ «_! m. w ^ a ^ • • think my wife will end her life, Be - fore she spin her tow. ■~r\ 1 ^ %± r ^ 1 J 7 1 Vy a J IL ^ c a « • a -0 f • M 1 / — — f /'—'V • 1 ■ 1 \ - 1 - r— - _ •/ fd. 7 1 • (T, -m ? & 29 j -S| d .,d :d : .d d ,r ,n :r : — .d t| .,d :f : — .m 1 s. r : — : .m \ Jr ^ 1 l> V/ n — l! 2 J w « 1 • n * m 7 W Vi/ L_ m. m. m m. ^ • The wea - rypund, the wea- ry pund. The wea - ry pund o’ tow, I / '' ' d 9l ^ • 1 1 ) ^ L ^ • ■0 0 ^ r- > 1 ■S3 “ ■ 1 m • .. ^ y -i ‘ 0ri r r " ^ \r J & m A 3 . Quoth I, For shame, ye dirty dame, Gae spin your tap o’ tow! She took the rock, and wi’ a knock She brak it o’er my pow. The weary pund, &c. 1 . At last lier feet _ I san^ to see’t_ Gaed foremost o’er tiie knowe; And or I wad anither jad, III wallop in a tow. The weary puml, &c. 30 MY NANNIE’S AWA’. ^ Doh is A. 1 :d ;d ! m .T :d :d — N d ;- P — s: :d Is, 1 ;b.i j P = — d‘ ■ ■ - - a V- — J ■ j ' birds pnin w;u- - l)le my sad wel - bo - (‘onu*s som, in sac il sweet ka ly ^reen they shaw; blaw, -d -d But to They k 31 M: fi .S| :1| lsi .d :d r :-.d :r Im im, .m. f i .m , ;fj :1| Is, .d ;d | S' I me it's de- light -less, my mind me o’ Nan-nie, my Nan-nie’s a - wa, But to Nan-nie’s a - wa. They j'’ ■ ■ ■ 0 - 3 : S" *1* j’ ^ 5 0 me it's mind me de- light- less, my o’ Nan - nie, my ff M w 3 . Thou laverock that springs frae the dews o' the law'n, The shepherd to warn o’ the grey-hi-eaking dawn, And thou, mellow mavis, that hails the iiight-fa’, Gie ovei" for pity — my Nannie’s awa’. 1. Come, autumn sae pensive, in yellow and grey. And soothe me wi’ tidings o’ nature’s decay; The dark, dreaiy winter, and wild-di'iving snaw, Alane can delight me — now Nannie's awa’. 32 JOCKEY’S TA’EN THE PARTING KISS. Tune: Bonnie lassie tak’ a man. Doh is C. “ 14^ here Cart rins rowin’ to the sea, By mony a floic’r and spreading tree." 34 DUNCAN GRAY. Piano. i lb Lively and humorous. Tune; Duncan Gray. f r P I P r ““S? ,/* accel . —m i ir -zr id Doll is G. S| :d lt| P ;n d : — Ir .f 1 . Dun - can Gray cam’ 2. Dun- can fleech’d, an’ here to woo, Ha, ha, the Dun- can pray'd, Ha, ha, the woo - ing o’t; On woo - ing o’t; - ^ — 4 — ^ ^ « — « — ^ w - I P t i. 4 h -j f T 1 » =i_A ^ : ^ (S' — s ■d f ?7 m • S • — 1 0 '9 m 0 m i i-0 m — f — ' > j ► — — - * f S' ^ M M ^ M M ^ 35 I t| :r Is, : I ® ^ I ^ :f _ .r It,. :— ) l/| .1 «0| # 1 r— n J -I- ■ ( 9 A -}m~ ^ 1 1 - J fl J ■ \ r F 1 II ” m ^+77 U 1 L - ^ ^ r J 1 un - CO sk bleer’t an’ b eigh, G in’, S art pak poor o’ r E Ic ►un - can stand a - beigh; )W'p - in’ o’er a linn; K ^ 1 4— 4 ^ { J ^ J V* 1 i a 1 i 1 1 J m ^ 1 3 ^ _ r SJ 9 4 i T -6 a A ■4 t ■ 1 ' '' 1 1 9 - <— !r y ^ r d 7 ^ J 1 1 I i .L C 1 1 F 1 0 a./ — — ~1 _ — ^ 1 9 m " " • 1 m • , m I • 1 1 Ha, h Ha, h ^ ik a, tl] a, til le wc le wc N )o - ing o’t. )0 - ing o’t. - M 1 ll! 9 — M • -to 5 ^ • J 1 1 • • 4 5 • -0 f F ^ • > • J 1 ^ C* ~4 ,f accel. 9 ^ i • '9 ^ 1 r (5 « m 9 9 K A : 9 • V* A • V p • s 9 9 9 — F ^ 1 • 3 . Time and chance are but a tide, Ha, ha, the wooing o’t; Slighted love is sair to bide, Ha, ha, the wooing o't. Shall I, like a fool, quo’ he. For a haughty hizzie dee? She may gae to — France— for me! Ha, ha, the wooing o’t. 4 . How it comes let doctors tell, Ha, ha, the wooing o’t; Meg grew sick as he grew hale, Ha, ha, the wooing o’t; Something in her bosom wrings. For relief a sigh she brings; And, O! her een they spak’ sic things! Ha, ha, the wooing o’t. 5 . Duncan was a lad o’ grace, fla, 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. 36 AE FOND KISS. Slow and expressive. Voice. Piano. s Who .,1 ;d' .1 :1 .s m shall say P m for - time 1 .s :m 37 'I s .,1 :d' .t ;r' .d‘ t : 1 s .1 :d .s :1 ,,ta | V L>, M • m fci p ^ h • P-* lO ^ yf. - ,y ^ - ^ --t - — ' ■ / ^ Tjj r IT — r- F While the star of hope she leaves him? Me, nae cheer - fu’ twin - kle 2. Ill ne'er blame my partial fanc.y, Naethinj^ could resist my Nancy; But to see her. was to love h(;r; Love but her, ami love for ever. Had we never lov'd sae kindly, Had we jievej- lov'd sae blindly, Never met_ or never parted. We had ne'er been broken hearted. Ae fond kiss! 3. Fare thee weed, thou first and fairest! Fare thee we(d, thou best and dearest! Thim; he ilka joy and treasuie. Peace, (uijoyment, love, and j)h;asure. A(- fond kiss, and then we s(wer; Ae faiaiweel, alas, for (iv(n‘! Deep in heart- wrun^ tears FU pledge thee, Warring sighs and groans 1 11 wage thee. Ae fond kiss! 38 WILT THOU BE MY DEARIE? Key G. j| d .,S| :1| .,S| Id :S| d .,r ;m .s If .,m :m ; ~W » ^ ■■ ”7' ■ ' ■ 1 T S ^ S K fe ^ WL* ^ ^ wr\ ^ • V 1 K ^ ^ / m * ^ r r. r • L > wilt thou let me cheer th S«y na thou’lt re-fuse m ee? By the trea - si e: If it win - ire la, c ^ V \ of my soul, .an - na be, £ 39 - Ij d .,S| :1| .,S| Id :S| ■ ^ ^ • H . J . ... 6 ^ ^ _ 7 _ _ _ _ _ 1 ^ 1 . . . " . ^ . _ . . . . . 1 _ ■ tJ • ^ • • ev - er be my dear - if Trust - ing that thou lo’es m \ e. ,-y-4 ■ 1^ T ~ ' fc ' 1 \ ^ i fra « I ^ • 1 1 1 ^ ^1 \ «T , I- -•I- ~¥ -m p mil. \ 1 1 1 J 1 J ■ r '*/• tr 4 \ ^ 1 G S» G 40 A HIGHLAND LAD MY LOVE WAS BORN. 11 m' .r' :d' .t 1 r' .d' ;t .1 s ;n Im ; |j jf ffj,. ■ A ^ 1 1 1 II r F h* 1 B ■ J L I ! 1 1 R ^ i \ 1 V-J ^ L.J ... J 1 1 match for 0 it PL my Jolm High- land-man! S ^ ^ / Jr Jfii [\ L__ ^ e'r— y i: J • m ^ 0 s J L Tfn 'T E 7 \ 1 « j J m ! * ' f-i m. m 1 -iM ^ i 1 m * : ^ |i j.J ' N » i y 1’ ► 5 -f . / Jr / V 7 r y \ u !«. ? ^ . « "1 . > ^ ^ rS } ^ fll V* _v _V- A La --f- Vi , 5 / ' s * ■ 7 r s • • L f.w^ j \ . . / ,r. ^ P ■4— - —U pT f 1 ft M w -9 3 A^_r — P 3. They hanisli'd him f)(!Vond the sea; But, ere tlie hud was ou the tr<;e, Adovvii my cheeks tlie pearls rau, Embracing my Joliu Ilighlandmau. Sing hey, &c. 1 . Ihit oh! they catcli’d liim at the last, An’ bound liim in a dungeon fast; My curse uj)on tl)em every one; They’ve hang'd my braw John Ilighlandman. Sing }joy, &(;. 42 THE GALLANT WEAVER. Tune -“The Weaver’s March.” Voice. Piano. Doh is Bk 1 ;4| -d lt| ;d 1 f :m Ir ;— .s, tirf s, :s, .f, In, .f, :S| M [7 I ^ r J : J r p « m m m 1^ m m ^ m mo - ny a flow’r and spi gie the lad tliat hf (\ 1 ^ ■ead - ing tr IS the la 1 P ee, There lives a h nd; But to my h id, the eart i’ll jr u . _ i r -W - - , % — -- "‘ • 3 1 i_i z i L M * • -1 1 r i T P m 1 1 ... ‘M. . ] t» )# i * J r ^ \ m C !- — ^ 43 )J li .ti :d .1| Is, :— .s n=^ 1 1 -ti : d d= It 1 :d .r — PI :r ]• ji Id ;d .r | » ^ — m «_! :u 1 — 4 i — w i r r tJ 1 lad for me, He is a gal - lant weav er. 0, add my /-d-4, ^ — hand, And de it t o the i ^ weav ^ er. While i ^ ( fH > 1 — — — r — i 1 J — 2 ■ M f \^^=t ^ > i: 1 t 1 1^ *— 5 — 4 ^ 3 / f f 'f — i 1 1 V f — p — • H- — • M )- -J ^ =j 44 JOHN ANDERSON, MY JO. Slow, with expression, Tune: John Anderson my jo. Voice. Piano. • ^-0 — p i P i It* h 1 mm m i i rail. h ~4 . 6 • j — r% — — K J — a M — 1 . <> ±f — — 6 r wl • S r } ^ Key B k 1. !. J m, :1| 11, ;t, d : — Id :r .d ti :1, Is, ;fe, j L/ HI! _ _ __ _ _ ^ n fr\ y ^ .m — P r r P M. .... ^ V ^ — — T V » 1 r r 1. John An - der - so 2. John An - der - so -d ^ . n my jo, n my jo, Jolm, John, ^ 1 ^en we were first ac - A^e clamb the hill the - / Jr [7 > J 1 1 V ^ V m • r 5 h i 1 a K L _ vf 1 P 9 ^ J 1 ^ i } • jl r _ A 1 r r ^ t • i t i * \ ^ • 1 m 45 II m : — ,r Id ;r u 1 m : — 1 — :s n : — .r Id ;t*i | Slorrer Jr .._L? ^ • A * ^ /V b r to ^ ' r 1 T r V J 1 .. h r 1 1 ' on - nie brow was brent; But n ad wi’ ane a - nither: Now \ ow your t)row ve maun tot. - is ter / ^ < • t* : I • J T L v * i f TLZ5 • m \ ^ i 9 0 r • . • 0 P Slow 67' r i Z^ltT2ZZ3 V y 9 — 1 1 -5> V — o ■5T. 46 SLEEP’ST THOU OR WAK’ST THOU Tune-“Deil tak the wars.” 47 48 I HAE A WIFE O’ MY AIN. TDown by the burn, where scented birhs IVi’ dew are hanging clear, my jo, I'll meet thee on the lea-rig. My ain hind dearie. O. 50 MY AIN KIND DEARIE, O. THE LEA RIG. Tune The Lea Rig.” .,m : f ,w . r ,d \d r . 1 , d r • S, :si . 1 , •,r .d J :sc m — — ~w — ~9 — 9~ bught - in time is near, my And ow - sen frae the fur - row’d field Re - rove, and ne’er be eer - ie, 0, If thro’ that glen I gaed to thee. My rouse the mountain deer, my P’ At noon the fish - er seeks the glen. A - 51 52 HERE’S A HEALTH TO ANE I LO’E DEAR. Moderate time. Tune: Here’s a health to ane that’s awa’. j :pi' .r' d' : :s 11 : — .s :n s : — : — 1 — : — :m' .r' i -JL ■ A s m _ ^1 . w 1 m e A L* M • ^ _ K & r & ^ w o "U Here’s a hea 1th to an e I lo’e dear, Here’s a / V ' ' ! & 7 _ T t v./ i ^ M ) ^ 1 P 'a ii i C 3 1 if if Si \ ^ " i ^ • a 2 a m 7 2 -a [ • 53 aught in the world be - side, Jes-sie! then I am lockt in thy arms, Jes-sie! for- tune’s fell cru - el de - cree, Jes-sie! 54 AY WAKIN’ O! Voice. Piano. Slow, with much expression. Si Doh is D. :n .,r :d Ay wak - in’, O! ;1 d' .,1 >s 55 d' .,t Quicker .s • r' .,d' :t .s ,s f 1. Spring’s a plea - sant time, Flow’rs of ev’ - ry CO - lour; The 2, When I sleep I dream, When I wank Im eer - ie; 3. Lane ly night comes on. A’ the lave are sleep - O in’; I * i I I r j- i j| d' 4' ,t :1 .,s :rt =fe s ,s .s .^1 .,t :1 .s wa - ter rins o’er the heugh, And I long for my lov - er. Sleep I can get nane For think - iiig on my dear - ie. think on my bon nie lad, And I bleer my een wi’ greet - in’ 56 MY HEART IS SAIR. 1. My heart is sair, I daur - na tell, My 2. Ye pow’rs that smile on vir - tuous love, O * d .,d :pi .,s 11 : s , tn .,pi :s .,pi Ir .,d :r f heart is sair for some - bo - dy; I could wake a win - ter night, sweet - ly smile on some - bo - dy! Frae il - ka dan - ger keep him free. And I i T 57 .,Ii :li •,S, For the sake o’ some send me safe my some :m ,d . — d? bo - dy. bo - dy. i Oh Oh :f .,1 Is g' g r bon, for some hon, for some :m ,d f m bo - dy! bo - dv! //f 1 f :n .,d Ir ;t| ,S| . — d .,ni ;r .,f Im .1 rld f ad ] 1 - rc 1 )und, lOt^ s j 1 /rL *i t i -m TO ' 4 7 m 7 V l/ 1 1 4 * \ \ T w «/ <3 ■» 1- • 1 -9 L i p IP , , 1 accel. [s J ii '1 ^ .. ± m 4 2 1 • 1 1 ' 58 TO MARY IN HEAVEN. 59 3 . Ayr gurgling kiss’d his pebbled shore, O’erhung with wild woods, thick’ning green; The fragrant birch, and hawthorn hoar. Twin’d am’rous round the raptur’d scene. The flowers sprang wanton to be prest. The birds sang love on ev’ry spray. Till too, too soon, the glowing west Proclaim’d the speed of winged day. A. Still o’er these scenes my mem’ry wakes. And fondly broods with miser care! Time but the impression deeper makes. As streams their channels deeper wear. My Mary, dear departed shade! Where is thy blissful place of rest? See’st thou thy lover lowly laid? Hear’st thou the groans that rend his breast? 60 O WERE MY LOVE YON LILAC FAIR Lah is F. S| • -li ^1 m •tj ji 1 , d :-r :t^ ^1, 1, :— :t, i rude! night; But Seal’d [z: I on wad her sing silk on wan - ton saft faulds to 5==T wing, When rest, Till m f 25 : m 62 OH! WHISTLE AND I’LL COME TO YOU, MY LAD. Piano. With much spirit. Tune; “Whistle, and i’ll come to you’’ — > < P — 4 — 4 " ^ f » . 4 ■tjj — i r c, " S" ^ 1 1^- T~ 7 r -T^-C ^ -f-j- 7 f# 1# — =1 rail. 9-- r —0 "J -f — p~ > ^ i=±= • — — -9 Doh is Bk 63 I d :ni :s : — :m .r :t*i ;s Id ;s i come to court me. And come na ' un - less the back e’er ye meet me, Gang by me as tho’ that ye care na for me. And whiles ye may light - ly my ’T 1 4 , U^= 0 - f z :r :r : — :n .r i :s :r*i ;s yett be a - jee; Syne up the back - stile. and let car’d na a flie: But steal me a blink o’ your beau - ty a wee; But court na a ni - ther. tho’ t: 7 :d rail. Is :— :s J ^ jo — - m :d :1| Isi if, :m r, .r :— :r Ir :s .f re- ^ bo - dy see, And nie black e’e, Yet in’ ye be, For W=- come as — V — ye were - na com-in to =F= me. And look as ye Mere - na look- in’ at me. Yet fear that she wyle your fan - cy frae me. For i P O :d :1| Isj :S| N - 1, .d :-:d Id O come as ye were - na com-in’ to me. look as ye were - na look-in’ at me. r. 1 1 m ■ ™ \ m • M ..M- - ^ i: = r=sn=7 — 1 !: 1 • 1^:' \ -=y= nrf f s: T“^TT?r P 1 P P — s. P ^=1 M f > y - 'j • —» — 5 64 PHILLIS THE FAIR. Piano. Not too slow. Tune: “Robin Adair.” ^ 'issi . fuTT j s: E r / ' jl - M fl! >• 1 f/S TT 1 0 a' . r L ALi i 0 ^ fl J * \ cJ * ^ • r A J r f » ■s _J rn r Ti. Lz ^ ^ ^ ^ \ ‘tuTt fJ ... •/ i n V# \ / 1 ■ 7 • 1 I . r * 1 T3 Doh is A. ‘ Yet, rich in kindest, truest love, life'll tent our flocks by Gala Water." 66 O MY LOVE IS LIKE A RED, RED ROSE. Key C. .,d :r .n Id' .,t :1 .s .,s ;1 .d' Ir' :d .r' ,pi' ) J'. S'- p m 1. O my love is like a red, red rose, That’s new - ly sprung in June! O my 2. Till a’ the seas gang dry, my dear. And the rocks melt wi’ the sun. And ^ j j J j ■I --1-- I I love is like a me - lo - dy. That’s sweet - ly play’d in tune. I will love thee still, my dear. While the sands 6’ life shall run. %>, *• As And 67 68 COMIN’ THRO’ THE RYE. Doh is Gr. 69 $ .,m :d ,t*i . — .,d :r ,m .,r*i :d .m ^ S • II o .1 o II - ka las - sie II - ka las - sie f ^ « has her lad -die, has her lad - die, Nane, Nane, they say, ha’e they say, ha’e I! I! - ^ ^ — = ,o Yet But O "if zza; 3. Gin a body meet a body Cornin’ frae the well; Gin a body kiss a body, Need a body tell? Ilka lassie has her laddie. Ne’er a ane ha’e I; But a’ the lads they smile on me When cornin’ through the rye. 4. [Amang the train there is a swain I dearly lo’e mysel’; But what his name, or where his hame, I dinna care to tell. Ilka lassie has her laddie, Nane, they say, ha’e I, Yet a’ the lads they smile at me W’hen cornin’ through the rye^ 70 WANDERING WILLIE. 0 f" :1 :— s :— .f :p 1 .r d : — .r :p 1 1 : — .se :1 | j/'l _ .A • m M- m m y M P ^ 1 .a i 1 n — 1 -i w Wil - h le, H ere a - \ v'a', th( jre a - a, h 1 aud 1 __ a - wa’ ^ J / Jr • J W i -jI ^ t A 'a M P \ ■ 2^ : 1 2 V sr; — # ^ • r r 1 sr 3 ^ • i ^ \ > \ - / C • .... . . 1 t 1 E 71 j| s :1 :s .f m : — .f :s m [ :se 1 .t :d' j A ^ ^ • m w r a > ■■ Tj i 1 w frf\ ^ r r • ^ ' M f ’ V / 1 — ¥ cJ a in 0 n - h f dear ie, 0 tell r ne t] lou bri ngst me n ^ J ifvl ^ ' 4 • V i 4 1 V d 1 1 1 2 1 1 V • .A ci A ■m L ^ 1 V ! 1 r ( p iti 2. r 1 a • V* * ^ _ V M T r V € A 1 2 . Winter winds blew loud and cauld at our parting; Fears for my Willie brought tears in my e’e; Welcome now, Simmer, and welcome my Willie, The Simmer to nature, my Willie to me. 3 . Rest, ye wild storms, in the cave of your slumbers; How your dread howling a lover alarms! Wauken, ye breezes! row gently, ye billows! And waft my dear laddie ance mair to my arms. 4 . But, oh! if he’s faithless, and minds na his Nannie, Flow still between us, thou wide roaring main! May I never see it, may I never trow it. But, dying, believe that my Willie’s my ain! 72 AULD ROB MORRIS. Piano Moderately slow. - m ■ ■■■ L 11 >'7 A ^ ^ 3 - * •ZZZI^: • 1 ^ -f,-.y. j \-f. — ' 4=0 >' ' • - ■--:g= — 0 S 73 3 . But oh! she’s an heiress— auld Robin’s a laird, And my daddie has nought but a cot-house and yard; A wooer like me maunna hope to come speed; The wounds I maun hide that will soon be my dead. 4 . 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. 5 . Oh, had she but been of a lower degree, I then might ha’e hoped she wad smil’d upon me; Oh! how past descriving had then been my bliss. As now my distraction no words can express. 74 THE BIRKS OF ABERFELDY. Piano 75 ,,r :m .,T' :m' .n' ,r' rail. ,1 :s :1 i * us spend the light - some days, In tlie Birks ly flit on wan - ton wing, In the Birks of A - her - fel of A - her - fel The braes ascend like lofty wa’s, The foaming stream deep roaring fa’s, O’erhung wi’ fragrant spreading shaw’s. The Birks of Aberfeldy. Bonnie lassie, &c. The hoary cliffs are crown’d wi’ flowers. White o’er the linns the burnie pours, And rising, weets wi’ misty showers The Birks of Aberfeldy. Bonnie lassie, &c. 5 . Let fortune’s gifts at random flee, They ne’er shall draw a wish frae me. Supremely blest wi’ love and thee. In the Birks of Aberfeldy. Bonnie lassie, &c. 76 MY HEART’S IN THE HIGHLANDS. Tune: “Crochallan.” I :d .,r 1 P * 1 — t*i — r .m :s .PI F=st — r :d :d PI :s : ^ a i ! j. Gg= i - M Jj- L— — > J m G r 0 «j ' — ^ 1. My heart’s in the High - lands, My heart is not 2. Fare well to the moun - tains high cov - er’d with 3. Fare , 0 well to the High - lands fare well to the / ■>- t» J — H -d. J 1 — L- -4 , M "m \v — P ^ i t ^ ■0 ) — 1 -3 — ^ • — Si 0 i — _ — _ . . — si Si F 77 d m s -&■ 78 MY TOCHER’S THE JEWEL. Tune- “The Muckin’ o’ Gieordie’s Byre.” Voice. Piano. j :s, 0 ii. m, .1, :1| 11, :s, li .d :— ;r In :1 :s n .n :— :r Id .r ;n ;r I Jr tr /l. ” ^ S S j — fk — .. .» » I 1 1 J 1 % Lj ! [j AM/ ' K ^ M ^ J ? Ll ^ J g 1 ^ 1. 0 mei-kle thinks my love o’ my beau - ty, A 2. Your prof-fer o’ love's an ar - le-pen - ny, A ll 4+ . . 1 nd mei-kle thinks my love 'y tocher’s the bar - gain k ^ , 1 rL ^ *1 [ ifH ‘ 7 M • • ' A A • — " \ «f • 1 % t: f f 1 J s S 1 r. ■• • f ' .-J—, M J I “!• t • •i M * ■ • 1 ^ ^ 7 J » ^ -0 -0 0 0 — € M J • 79 || rn .d' :] r i Mf • Is .m :— :r ^ k d ,1|'' : — :1| 111 : — :m u s :— .1 :s Is .rn : — :d i ^ • w ^ ^ s ^ — L< Q ? ^_! ^ % ^ ^ ! ' A 1 ii !? A * -m ^ w r ^ ^ m m \ r -\:n7 'ud ir a ! ■ ? ^ ^ ^ L- if ^ fflirz- • X) ^ tocher's tl ye ^\^l f r r ^ ^ le jew- el has charms for him. It’s i - ni-ther your for-tune maun try. Ye’re ^ ^ a’ for tlio ap - pie he’ like to the tim-mer o 11 > U # 1 , - JT S j m 04 1 1^^ ^ / ^ ^ 3 • ?1 fa % m ri^ 4 ^ m ' 1 1 1 z L 5 Z ^ 5 z • ■VT7 • 1 J 1 Ji 9 W nccel. / 1 f p 1 J ^ m 1 • s 1 ■ 1 _] i i — 1 i fa M «— u ^ fa gd m V 1, _ — 9 9 z h- J— ^ _z ? • z • •< i 1 D H ^ ^ — 9- « • i| r .m : — :§ 11 : — :1 0 k Ik s :m :r Id .m ; — :r k Ik k d ,S| : — :S| |S| :— ;S| | JT g 1 ’ ^1 r m ^ ^ iPi 1 A J ^ • ' J \ -k k A r? > \A L F U( yo 0 it jurish the tree, It n rot - ten wood, Ye r • • • • s a’ for the hin- ey he'll che-rish the b re like to the bark o’ yon rot - ten tr d ee; Y ee. Ye’ y 11 ' Jr 9 r fa fa _ W-? % — fa — J ^ k ro * Z 4 J « Z fl F F Z — i y — 4 i — ■ - r ^ -9 |U F: r— 1 i i -;res. 9 . (k J — ^ J s 9 1 ^ • 1 K '919 ,li .. *1 * F * fa . 1 V y T* • 7 • z ^ • 7 9 J -f F P ^ ^ ^ 1 » j| 1, .d :-:s, 11, .d X'' ^ :— ;s, 1, :d :r Im .1 ; — :s :::z^ ^ in d' : — :1 Is .in :— :r 9 ! k. W k fa . S L fa n fa 9 • 4 m |l 9 9 ^ fa m R ■ Jk H z J J r 1 ^ A • • L? ^ ^ • L? 1 J_ m Lm L F \A F_ 9 ^07 ^ a: ^ ! .k ' ^ r p ^ ^ V \ . lad-die’s sae meikle in lo shp frae me like a 1 (LJk ^ k ve wi’ th □lot - lej re sil-ler. He can-na h 3S thread. An’ ye’ll crack yo S ^ N ^ ae 1( ur c] N 3ve to •edit wi’ N i / /2k - pk J — 4 1 m — J * 5 . .. 4 1 • s ^ m L A J M M ■ ^ i 1 i. 1 • 1 — \ cJ 4 f- F 4 w 9 a 9 d i r 1 <• ' J » J . m [ rrt* '' f ^ E r 1 T 9 \ • 1 1 1 X Wt 1^. ■ .- . L L 1 \ ^ T1 ( 1 r ^ L — t t m ^ ' ^ ^ / i V 80 GALA WATER. Doh is D. 3 . Altho’, his (laddie was iiae laird, An’ tlio’ I ha’e nae meikle tocher; Yet, rich in kindest, truest love. We’ll tent our flocks by Gala water. 4 . It ne’er was wealth, it ne’er was wealth. That coft contentment, peace, or pleasure; The bands and bliss o’ mutual love, O, that’s the chiefest warld’s treasure. " We twa ha’e paidl’t i' the burn. From mornin' sun till dine,” 82 MARY MORISON. II n .f tm .r :d .ti 1, :— ,t| Id :r n :d' It :— .d 1 ^ 1 :-.m In Jr 1 r r .. .. . 1 1 p 1 P 1 ^ ^ 1 " ' r ■ — ^ fl W ^ m ^ m smiles and glan - ces le thee my fan - cy to canst thou break that hea w it me see, That mal ok its wing, I sa irt of his, Whase o ie the m t, but n( n - ly fai i - ser’s tr< ji - ther hea it is lo 3a - sure poor, ird nor saw. V - ing thee? / Xf !k '' 5, rj 4 • M ■ • . 5 & • ) r f r • M 1 . . ' [ J . © . C • — -n — © ■ ^ — — • r-; - k, — w — _ • & ... . _. ^ ■6 5 ■z r. (' opy right. 83 love - ly Ma - ry Mo - ri- son. are na Ma - ry Mo - ri - son.’ thou^t o’ Ma - ry Mo - ri - son. £ I 8i DAINTY DAVIE. Lively. Tune: “Dainty Davie’.’ Doh is D. )| d :s .f In :d' 0 it s :— .f In :— .r ! ^ d :1, Id :-.r n :d' Ir' .d' :t .d' j . 1 n i A & t ^ i /i., "a □ T j ^ J ^.- , . f — w f n m ^ j ^ ^ L_ i r ^ m • ^ J J M spread-ing bo^ ear - ly fa k\'’rs,And now come in my li re, Then thro’ the dews I w w ^ m- ^ - m ap-py hours, To wan-der wi’ r ill re- pair, To meet my faith -f ny u’ / ...jr 1 / /i. ‘ a , r \ ^ r. 1 ^ * 1 7 \ , <> 'v 1 C. i ^ i ^ o r ► f ^• 1 1 'i i- 1 , r (Si* ff ^ r } M ^ m ^ i m ti • T ■ y. » 3 \ • T _t * » / ? L d — ^ ^ — 1! — ^ _j _4- " — ^4- Copyright. 85 86 O POORTITH CAULD. Tune: 1 had a horse.” 1. O poor - tith cauld, an' rest - less love, 2. This warld’s wealth when I think on, Ye wreck Its pride, 3 : 3 : my peace be - and a’ the J d .,d :d : — ,r 0 1 * m .1, :— : A k 1*1^ f .,f :f : — .f ! Jr 1 b ^ -u S ft 1 1 z_ L- [5 1 z m* m. ■ Vl/ ‘ ^ ■ ^ • ■ ^ 1 ^ __J ^ w W ^ W 'twere - na for my Jean - ie. > ^ , , , , « . , 1 ,, , f O why should rate sic he should be the slave ot.) ' u 1 ( Jr 1 TJ r ' ' ^ 1 t» " 7 . ...a I \ A Ci 1 VT7 i ^ 1 A • 9 * -9 ^ 1 r r 1 — ■ ' 1 t>. V * V* 1 ^ tr r ^ ^ ^ f'opy right. 87 /. i " 0 1 .,n :n .d r .,r :r : — .n m .1 ; : .d' j vrf S B k. 1^ KT- ^ tr-m s *r 1#^ ^ lI ^ • m • 1 _ 0 T m . w a V — r plea - sure have, Life’s dear - est bands un - t\vdn - i 1 , : ng? Or V* 1 ifTl ' M f ) ^ i * ■ I (T, V \ ^ ^ 1 •« Her een sae bonnie blue betray How she repays my passion; But prudence is her o’er word aye, She talks of rank and fashion. O why, &c. O wha can prudence think upon. And sic a lassie by him? O wha can prudence think upon, And sae in love as I am? O why, &c. 5 . How blest the humble cottar’s fate! He WOOS his simple dearie; The silly bogles, wealth and state, Can never make them eerie. O why, &c. A ROSE-BUD BY MY EARLY WALK. Tone: “The Shepherd’s wife.” ^ 'n . d : — :r Im :— :f s : — :d' Id' :t :s 1 :t :d' Is ;f :m . Jtr .if . ^ ^ % j m L m W ■ 1 ^ la ! f — M m I ]_^ m w r 1 ^ M M ^ < f — — -w B ^ -0 L rose - bud by my ear - ly walk, A - c lowui a corn er 1 - a / ' a % d iz !■ II 1 ^ L_L_ i i m iza 1 ^ J M W ^ ■ J ^ i 1 ■ ■ ^ '•■ 1 1. [ |s ■ 1 ^ • 1 1 T J 1 M i 1 • > r \ ■** 'TJ . »( £ • m ^ • 1 • , 2 n 1 i 1 1 • 1 i • jt • w Copyright. 89 j| r :m :d llj : — :s is — n' : — :r*i' Ir' :d' :t ^ r -w- d' ; — :d' Id' :t :s 0 P- m 9 glo - ry spread, And droop - ing rich the dew - y head, It --f— 7 m 1 / * ^ 1 It • • # _ 1 i ^ ■ j- ^ 4 It 1 -0 /JV« ik — — f- • - ' ' ~ 9 7 7 ^ 1 / 'T • m ^ ^ m 0 it ^ t :d' Ir' d- :t d' : — : — Id 1 r r 1 -9-- ^ — r- -■ 7 r — \ k — J k ■» — j scents the ear - ly morn - - ing. 2 . Within the bush, her covert nest A little linnet fondly prest. The dew sat chilly on her breast Sae early in the morning. She soon shall see her tender brood. The pride, the pleasure o’ the wood, Amang the fresh green leaves bedew’d. Awake the early morning. 3 . So thou, dear bird, young Jeanie fair. On trembling string or vocal air, Shalt sweetly pay the tender care That tents thy early morning. So thou, sweet rose-bud, young and gay, Shalt beauteous blaze upon the day. And bless the parent’s evening ray That watch’d thy early morning. 90 THE SODGER’S RETURN. Moderate time. Tune; “The Mill, Mill O” Copyright. 91 3 . She gaz’d— she redden’d like a rose, Syne pale as ony lily; She sank within my arms, and cried, Art thou my ain dear Willie? By Him wha made yon sun and sky, By whom true love’s regarded; I am the man _ and thus may still True lovers be rewarded. 4 . The wars are o’er, and I’m come hame. And find thee still true hearted; Though poor in gear, we’re rich in love. And mair, we’se ne’er be parted. Quo’ she, My grandsire left me gowd, A mailen plenish’d fairly; Then come, my faithfu’ sodger lad, Thou’rt welcome to it dearly. 92 O WERT THOU IN THE CAULD BLAST. MENDELSSOHN. Andante. 93 A _l OJ :d .d s, .1, :t ;— .m r .,d :d :— .s, u fi ..n, :m, ;— 1 ^ * 1 ' 1 ’ 1 a \ s ^ W _! P P 0 • ^ ^ * Z — S Ik J f rri ^ 7 »■ »• m ^ ^ a • I ■ r _, 1 '4 1 R a ^ ^ ■ Thy bield sliould b The bright-est je h \ ^ e my bo - som To share it. a’, To sliare it a', w-el in my crown, Wad be my Queen, Wad be my Queen. u Jf U * V ^ - K| s -% C# n V S V— M m j 1 g % V 1 1 V \y w w w w 0 m A 0 ^ L_ S 1 1 l| .1| ;1| .1| :t| .1| ■ 0 1 S| ,S| :s :- ,S| 0 m r, .,m, :pi * 1 •'^1 J. 4 / ir b w 1 i l5 _ ^ _i_... 1 ' I A • _! J ( ! • k VL/ M m ^ m m ■ ! ) ^ 1 1 i 0 h -0-> p I — M 5 1 4pl f , 1 -a a a M m n n ” __ _ _ - . \2^±=b= G-« L -J L -# L -0 d - -0 i 0 i 94 O THIS IS NO MY AIN LASSIE. Not too fast. Tune: “This is no my ain lassie” 95 2. O this is no, &c. She’s bonnie, bloomin’, straight, and tall. An’ lang has had my heart in thrall; An’ aye it charms my very saul, The kind love that’s in her e’e. 3. O this is no, &c. A thief sae pawkie is my Jean, To steal a blink, by a’ unseen; But gleg as light are lovers’ e'en. When kind love is in the e’e. 4. O this is no, &c. It may escape the courtly sparks. It may escape the learned clerks; But weel the watchin’ lover marks The kind love that’s in her e’e. m O BONNIE WAS YON ROSY BRIER. Melody adapted by J. K. L. Tune_“Laggan Burn.” Cop}Tight. " ‘Bm/ soon may peace bring happry days, t/!nd Willie hame to Logan Braes ! ” 98 THE BONNIE LASS O’ BALLOCHMYLE. Melody by W31 JACKSON. Copyright. 99 Fair is the morn in flowery May, And sweet is night in Autumn mild, When roving thro’ the garden gay. Or wandering in a 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. The honnie lass! &c. O, had she been a country maid. And I the happy country swain, Tho’ shelter’d in the lowest shed That ever rose on Scotland’s plain! Thto’ weary winter’s wind and rain. With joy, with rapture, I would toil; And nightly to my bosom strain The bonnie lass o’ Ballochmyle. The bonnie lass! &c. 100 THE HIGHLAND LASSIE Moderate time. • Time -“The deuks dang o’er my daddie.” Copyright. 101 But fickle fortune frowns on me, And I maun cross the raging sea; But while my crimson currents flow i’ll love my Highland lassie, O. Within the glen, &c. 5 . She has my heart, she has my hand. By sacred truth and honour’s hand! Till the mortal stroke shall lay me low. I’m thine, my Highland lassie, O, 4 . Altho’ thro’ foreign climes I range, I know her heart will never change, For her bosom burns with honour’s glow. My faithful Highland lassie, O. Within the glen, &c. Fareweel the glen sae bushy, O! Fareweel the plain sae rushy, O! To other lands I now must go. To sing my Highland lassie, O! 102 OH! OPEN THE DOOR. Tune: “The Braes o’ Boyndlie.” Slow and pathetic. II ® • 1 .,s lr*i .,s 1 :1 t Id' :r' d' d' 1 t :m .,s 1 — r-v. e (ICC el. ^ * — r’~H P ~~F .1 - J [-r pi - ty to shew, Oh! o - pen the door to me, Oh! Tho’ hind the white wave. And time is set - ting with me, Oli! False thou hast been false, i’ll ev - er prove true. Oh! o - pen the door to friends, false love, fare - well! for mair 111 ne’er trou-ble them, nor Copyright. 103 r Id :d .,r' rail. a temprt :n' .r' Id' :d' .1 :1 .,s :s mp r c 8 B ZE21 me, Oh! Oh! thee, Oh! She has cauld is the blast up o - pend the door, she has on my pale cheek. But o - pen’d it wide; She cauld - er sees his far thy love for me. Oh! The pale corse on the plain, Oh! My frost that freez - es the true love, she cried, and sa (ik II 1 d' ,1 .-:s ,1 Id' .s 1 :s .n Is :d .,f*i rail, e dhn. r : — Id j — ir — b m r. ^ 1 mil* r ^ » ' 'w — * ^ — |i J ] r ^ ^ 7 r F r. m J -W— : — 1 4 ^ s. — ^ « J life at my heart. Is nought to my pains frae thee. Oh! down by his side, Nev - er to rise a - gain. Oh! 104 LOGAN BRAES. Tune: Logan Water.” Lah is Bk CopjTight. 105 $ 1 .’1| 111 .'S| .1| d :jti : d ,r In .m m f :n» .r Itn :r .d Lff & i Lr^ r .d :ti ,li lsi .d drum - lie win - ter, ev -’ning’s tears are dark and drear, While my dear lad maun face his faes, Far, tears of joy; My soul, de- light - less, a’ sur-veys, While i f=f zr r f r - — 'jB... . j 1 J . -p f-— — : I - ■ „ J W Cd 1 r 1 II 1| .t| :d .r In - .r ^ d :t| F==^ .,1, 11 • .1 far frae me Wil - lie’s far J^.i; I ^ and frae T Lo - gan Br Lo - gan Br aes. aes. J — ‘1 1 7^ ^ — i \ p\ \ k= P P - c C't ' -■! ■ - j --— ^0 i — p « — r ►- — ^ — 3. Within yon milk-white hawthorn bush, Amang her nestlings, sits the thrush; Her faithfu’ mate will share her toil, Or wi’ his song her cares beguile: But I wi’ my sweet nurslings here, Nae mate to help, nae mate to cheer, Pass widow’d nights and joyless days, While Willie’s far frae Logan Braes. 4. O wae upon you, men o’ state, That brethren rouse to deadly hate! As ye mak’ monie a fond heart mourn, Sae may it on your heads return! How can your flinty hearts enjoy The widow’s tears, the orphan’s cry? But soon may peace bring happy days. And Willie hame to Logan Braes! 106 LAST MAY A BRAW WOOER. Time:**The Lothian lassie’.’ Doh is F. rt 1 d ,r :d \m :— .f :m S r : — .d ;r Id :— :d , 1 V p S k. ^ k 1 • z S P L_ AZ 12 s ^ 1 • rS ^ ^ m • i ^ .A VJ 1 1 m ^ m ^ m ^ _ __ _ m 1. 2. Last He May a brf spak’ o’ th iw woo - er ca e darts o’ m m’ y down the lang glen, A bon - nie black een, A nd nd • %± if I ^ • 7 / •i 1 V' \y t M _a M / ^ M P . -9 k 1 r 'Bgi if if if \ / t . 7 M 2 4 m 1 m m 7 m M \ ^ V — ^ — — 3 d m — ^ 3 J Ij r :d :r li^_^d :1, s, :-.l| :S| lsi :1| ;t. d :— .r ;n Ir :— .d :r i k. ^ r 5 r s ^ J - -k ^ s J B A M • I? m Vl/ • ^ L_ j □ « m ' « ^ ^ m £1 9 2^. 9 hat - ed like men, The deuce gs lik - ed, for Jean; The Guid le wi’ him to be - lieve me, be-lieve me, The for-gie me for lee - in’, for lee - in’. The \ A - -'L A— f . - _ S-J !• i l' \ 3 t ! / 1 j — ■ II W 1 1 - 1 1 1 1 w 7 M M 7 j • m 7 1 1 ri • \i — ^ ■ d — # 1 L- • -rd 0 ■ ■■■ 3 . A weel-stockit mailin’, himserfor the laird, And marriage aff - hand, was his proffer. I never loot on that I kenn’d it, or cared; But thocht I micht ha’e a waur offer, waur offer. But thocht I micht ha’e a waur offer. 4 . But what wad ye think? in a fortnicht or less_ The deil tak’ his taste to gang near her!_ He up the lang loan to my black cousin Bess_ Guess ye how, the jaud! I could bear her, could bear her, Guess ye how, the jaud! I could bear her! 5 . But a’ the next week, as I fretted wi’ care, I gaed to the tryst o’ Dalgarnock; And wha but my fine fickle lover was there? T glower’d as Id seen a warlock, a warlock, I glower’d as I d seen a warlock. 6 . Out owre my left shouther I gae him a blink, Lest neebors micht say I was saucy; My wooer he caper’d as he’d been in drink. And vow’d that I was his dear lassie, dear lassie. And vow’d that I was his dear lassie. 7 . I spier’d for my cousin, fu’ couthie and sweet. Gin she had recovered her bearin’? And how her new shoon fit her auld shauchl’d feet? But heavens! how he fell a swearin’, a swearin’. But heavens! how he fell a swearin’. 8 . He begged forGudesake! I wad be his wife. Or else I wad kill him wi’ sorrow; Sae, e’en to preserve the puir body in life, I think I maun wed him to-morrow, to-morrow, I think I maun wed him to - morrow. POWERS CELESTIAL!" lOS Melody adapted by J. K.L. Tune_“Macgilchrist’s Lament.” Piano. Slow, with sympath)^ Doh is D. Copyrig-ht . See Note regarding- tliis Song. MY PEGGY’S FACE; 109 Copyright. no O LAY THY LOOP IN MINE, LASS. Moderate time. Tune -“The Cordwainer’s March.” 4i- .,d :t, .,li Ise, ..n. •T Itj :S| .,t| j r — r g m o lay thy loof in mine, lass, In mine, lass, in mine, lass. And CopATight. .,r :d rail. .,t| ll| * less ev thou’lt be er to my am. re - main. Lant time i ''' ^ f~ ’ i i: $ r p ralL lI; == ■ V m mf m rail. V -9 112 WHERE ARE THE JOYS? 3. Is it that summer’s forsaken our valleys, AikJ grim, surly winter is near? No, no, the bees humming round the gay roses, Proclaim it the pride of the year. 4. Fain would I hide what I fear to discover, Yet long, long too well have I known: All that has caus’d this wreck in my bosom. Is Jenny, fair Jenny alone. Time cannot aid me, my griefs are immortal. Nor hoj)e dare a comfort bestow: Come, then, enamour'd and fond of my anguish, Enjoyment i’ll seek in my woe. Copyright " Ye banks and braes o’ Bonnie Doon, How can ye bloom sae fresh and fair?" 114 YE BANKS AND BRAES. Doh is Gr. fresh and fair! How can ye chant, ye lit - tie birds, And wood - V)ine twine; And il - ka bird sang o’ its love. And ( 'op V right. 115 116 THERE WAS A LASS AND SHE WAS FAIR. Tune-“Willie was a wanton wag.” Doh is A. • S| t*i| .S| ;S| . I| ,t | Id .,r :d .s M, .Si :S| .n •,d :1| .,S| hi — w f 1. There was a lass and she was fair, At 2. But hawks will rob the ten - der joys That V kirk andmar-ket to be seen, When bless the lit - tie lint - white’s nest. And __J. 7 Copyright. 117 II m .s :r .n Id .,r ;r»i .f A ^ s -S| :S| .m Ir .,rn :d E l3 ^ m T5: 1 ^ # ^ ^ m ♦ -M j m %- 1 I t Ld ■ Z 7 1 * [A Id A f r ^ r ^ r - - - r ^ r bljdhest bird up _ on the bush, Had ne'er a light.er heart than she. he had ow - sen, sheep and kye. And wanton naigies nine or ten. ^ / C 1 =1— — — m-9 9 / ' 1 T*" 7 7 J J— a — F r 1 0 — i V' 1 m - ^ A T 1 1 \ z < M ^ s 9 i r 1 S J ^ • t s ) ,L r ■1 1 1 ' t r 1 '''i+ ' •/ ® % H 0 m . , 7 * 7 1 7 * • 7 b0 \ ^ m 7 w 9 ■9 -J 3 . He gaed wi’ Jeanie to the tryste, 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 o’ the stream The moon-beam dwells at dewy e’en; So trembling, pure, was tender love. Within the breast o’ bonnie Jean. 4 . And now she works her mammie’s wark, And aye she sighs wi’ care and pain; Yet wistna what her ail might be. Or what wad mak’ her weel again. But didna Jeanie’s heart loup light. And didna joy blink in her ee. As Robie tauld a tale o’ love, Ae e’enin’ on the lily lea? 5 . The sun was sinking in the west, The birds sang sweet in ilka grove; His cheek to hers he fondly prest. And whisper’d thus his tale o’ love: “O Jeanie fair, I lo'e thee dear; O canst thou think to fancy me? Or wilt thou leave thy mammie’s cot. And learn to tent the farms wi’ me? 6 . At barn or byre thou shaltna drudge, Or naething else to trouble thee; But stray amang the heath(*r bells. And tent the waving coiii 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. IIH CA’ THE YOWES TO THE KNOWES. Not too slow. Piano. hea - ther grows, dear - ie. Copyright. 119 Then a faiild - in’ let us gang, My bon - nie dear - ie. O’er the waves that sweet - ly glide To the moon sae clear - ly. Ca’ the yowes to the knowes, Ca’ them where the hea - ther grows, Ca’ them where the burn-ie rows, My bon-nie dear - ie. 3 Yonder Cluden’s silent towers, WTiere at moonshine midnight hours, o’er the dewy- bending flowers, Fairies dance sae cheery. Ca’ the, &c. 4 Ghaist nor bogle shalt thou fear; Thou’rt to love and heaven sae dear, Nocht of ill may come thee near. My bonnie dearie. Ca’ the, &c. 5 Fair and lovely as thou art. Thou hast stown my very heart, I can die —but canna part. My bonnie dearie. Ca’ the, &c. 6 While waters wimple to the sea; While day blinks in the lift sae hie; Till clay-cauld death shall blin’ my ee. Ye shall be my dearie. Ca’ the, &c. 120 GREEN GROW THE RASHES, O! Copyright. .,f .,r Id ,1, . :d' .,t Id' ,s :s i21 Were - na for the las-ses, O. hearts can ne’er en-joy them, O. Green grow the rash-es, i $ O! > l > i 3. Gi’e me a cannie hour at e’en, My arms about my dearie, O; An’ warldly cares an’ warldly men May a’ gae tapsalteerie, O. Green grow, &c. 4. For you sae douce, wlia sneer at this, Ye’re nouglit but senseless asses, O; The wisest man the warld e’er saw He dearly lo’ed the lasses, O. Green grow, &c. Auld nature swears, the lovely dears, Her noblest work she classes, O; Her prentice han’ she tried dn man, An’ then she made the lasses, O. Green grow, &c. ON CESSNOCK BANKS In moderate time. Voice. Piano. *4 Doh is E. ii i\ 1 .r Tune: “The cardin’ o’t’.’ d .r I PI .f r p e* m m 0t a o ♦ — ^ 1. On 2. She’s Cess spot nock banks less like cl the r=^ f i=zS j j j :d ,1 Is ,n .— :r .d m .1 Is .PI :r .d t, .d :r .PI Ir .PI t-7^' lass flow’ le ring dwells; Could thorn With J. J I flow’rs des - cribe her so white and shape and mien; Our leaves so green, When i V- j U ^ ('opyright. 123 3. Her forehead’s like the show’ry bow, "WTien gleaming sunbeams intervene And gild the distant mountain's brow; An’ she has twa sparkling roguish een. Her cheeks are like yon crimson gem, The pride of all the flowery scene. Just opening on its thorny stem; An’ she’s twa sparkling roguish een. 4. Her teeth are like the nightly snow When pale the morning rises keen. While hid the murmuring streamlets flow; An’ she has twa sparkling roguish een. Her lips are like yon cherries ripe, That sunny walls from Boreas screen: They tempt the taste and charm tlie sight; An’ she’s twa sparkling roguish een. 5. Her teeth are like a flock of sheep. With fleeces newly washen clean. That slowly mount the rising steep: An’ she has twa glancin’ sparkling een. Her breath is like the fragrant breeze That gently stirs the blossom’d bean. When Pho-bus sinks behind the seas; An’ she’s twa sparkling roguish een. (>. Her voice is like the ev'ning thrush That sings on Cessnock banks unseen. While his mate sits nestling in the bush; An’ she has twa sparkling roguish een. But it’s not her air, her form, her face, Tho’ matching beauty’s fabled queen, ’Tis the mind that shines in ev’ry grace. An’ chiefly in her roguish een. 124 BLYTHE, BLYTHE, AND MERRY WAS SHE. Tune: “Andro and his cutty gun.” :L •,ti r ,r .— :t| ,s. •)t| .,t| :1| Blythe, blythe, and mer - ry was she, Blythe was she but and ben, * /;/ Hf £ s- Blythe by the banks of Earn, And blythe in Glen - tur - rit glen. Copyright. 125 $ r ,t| :1, .,t| -m. ,r ,S| •>t| * ev- er saw. Blythe , blythe. and mer- ry was she. Blythe was she on a thorn. Blythe, blythe. and mer - ry was she. Blythe was she Phemie’s e’e. Blythe, blythe. and mer - ry was she, Blythe was she dew - y green. Blythe, blythe. and mer - ry was she, Blythe was she ? m "!f I 126 AN’ O, FOR ANE- AN’- TWENTY, TAM. Doh is C. A s :r*i :d Im :f ;s 1 :— :r Ir :— :d' 1 S ;pi :d Ir :m, :se -Jf. c .^L 9 x: ; S-.. 9 1 Xq 1 M J 9 C Ik W id ” m U M m ^ Ld 1 i ^ ///" ^ An’ 0, fo 0 ^ L T ^ • 9 ^ r Zg. P ^ r ane - an’ - twen - ty, Tam! An’ hey, sweet ane - an’ - / tSh- ■ % if 1 lO 2 V %L 2 , 2 J 2 ^ ' m 4 M m m : 7 ^ E 7 \ %; -r -9 ^>lf f J t J 1 t -9 #5” 3 / YttV _iz :: - 1" ■■■:_- \ %± %f J % ^ \ 2 m 2 9 2 m M 2 M d 2 m M 2 9 1 ^ 1 ^ : •9 -9- ^ -9 Copyright. 127 d' :r :d' id' :t ;1 r' ;rn' :r' Ir' :d' :t d' :t :d' Ir' :d' :r' cres. n' ;— :1 11 :— :t '' A ^ 1 1 > — aL A 0 r. m M J r— — P F- ?— ® 0 -j t .^.... 0 .. " ’ 0 r ~ A ^ c r • L P 1 r m m V'J L 1 ^ L 1 ^ ^ ^ 1 . They snool me 2. A gleib o’ 3. They'll ha’e me n sair an’ hand me doun, An’ lan\ a claut o’ gear, Were 1 wed a weal -thy coof, Though ] ^ar r eft r r J ne look like blunt - i( ne by my aunt - ie ay - sel’ ha’e plen - b 1 i, Tam; But i, Tam; At Tam; But / M ^ : j 1 « «< \ & 4 , 1 i j j J «i» . - -J.. Ifrl ‘ ' ^ ' A / « L m m 1 ' ^ J m 1 ^ i m P * ♦ ^ r ! ! 1 "■ ^ ^ ^ ^ •/ •r •/ 4 II *7 I / ‘ i T ^ 7 7 n 7 7 • / 1 \ ^ m i a ^ • "a •*r 12 S THOU HAST LEFT ME EVER, JAMIE. Tune; “Fee him, Father.” Voice. Piano. d .,d :r .t*i Is ,m — , s _ - s d .,d :r .t*i Is ,r*i .-:m ,d' .- d .,d ;r .n Is ,pi — # • 0 ^ ^ ■ 0 ^ Thou hast left me ev- er; Thou hast me for-sak-en; Thou hast left me ev-er, Jam-ic! Thou hast left me ev - er! Thou hast me for-sak-en, Jam-ie! Thou hast me for-sak-en! I :s: PP I Copj-right. cv " Behind yon hills where Lugar flows, ’Mang moors and mosses mony, O.” 130 HIGHLAND MARY. Copyrii^ht. O’ my sweet High - land Was my sweet High - land Wi mony a vow and lock’d embrace, Our parting was fu’ tender; And, pledging aft to meet again. We tore ourselves asunder; But, oh! fell death’s untimely frost, That nipt my flower sae early! Now green’s the sod, and canid’s the clay That wraps rny Highland Mary! O pale, pale now, those rosy lips I aft ha’e kissed sae fondly! And closed for aye the sparkling glance That dwelt on me sae kindly! And mouldering now in silent dust That heart that lo’ed me dearly! But still within my bosom’s coi’c Shall live my Highland Mary! 132 O LUVE WILL VENTURE IN. Tune: “The Posie.” Lah is C. Cop^-right. 133 3. I’ll pu' the budding rose, when Phoebus peeps in view, For it’s like a baumy kiss o’ her sweet bonnie mou; The hyacinth’s for constancy, wi’ its unchanging blue. And a’ to be a Posie to my ain dear May. 4. The lily it is pure, and the lily it is fair, And in her lovely bosom 1 11 place the lily there; The daisy’s for simplicity and unaffected air. And a’ to be a Posie to my ain dear May. 5. The hawthorn I will pu’, wi’ its locks o’ siller grey. Where, like an aged man, it stands at break o’ day, But the songster’s nest within the bush I winna tak’ away; And a’ to be a Posie to my ain dear May. 6. The W'oodbine I will pu’ wiien the e’ening star is near. And the diamond drops o’ dew' shall be her een sae clear: The violet’s for modesty which weel she fa’s to wear. And a’ to be a Posie to my ain dear May. 7. I ll tie the Posie round wi’ the silken band o luve, And 1 11 place it in her breast, and I’ll swear by a’ above, That to my latest draught o’ life the band shall ne’er remove. And this will be a Posie to my ain dear May. 134 MUSING ON THE ROARING OGEAN. Gaelic tune — “Druimionn Dhu.” Copyright. 135 || ^ ^ Pi' :r' .d' It .1 :s .1 ^ iie^ _ d' .,1 * w J f - /v\» / m ^ M M J ^ « 'J'/. 7 • ^ M ^ \ y • \ m X ' 7 _ V : Copyright. 139 d’ ZML :s ^1 Is :a .t ; — .t Id' .t :d' .r' f m blaws loud and shrill, The nichts haith mirk and her heart is true, As spot - less as she’s f f U -- l-d W ^ 3. A country lad is my degree, And few there he that ken me, O; But what care I how few they he? I’m welcome aye to Nannie, O . My riches a’ ’s my penny- fee. An I maun guide it cannie, O; But warl’s gear ne’er troubles me. My thoughts are a’ my Nannie, O. 4. Our auld guidman delights to view His sheep and kye thrive honnie, O; But I’m as blythe that bauds his pleugh, An’ has nae care but Nannie, O. Come weal, come wae, I care na by, 1 11 tak’ what Heaven will sen’ me, O; Nae ither care in life hae I But live, an' love my Nannie, O. 110 CONTENTED Wl’ LITTLE. Tune-‘*Tlie wee, wee man.” Melody adapted by J. K. L. CopATight 141 I s :tn .r : — Ir ; — ; K . •••• a ^ •} "" flH __ s z \ ___ 7 V auld Scot - tish sang, road he has past? ^ r-l oi: J 1 rr^ — ^ m .. ^ V r r* J J J 0_ f r ra/l. 1 • * M - F//ie. J • • m m f -!lJ B • \ y :< 1 j 1 1 ' , ^ ^ ^ — « Li ^ U V • ; 11 d' :t :d' Ir' ; — :n' .m' ^ ^ d' :— .t :1 11 1 :t :d' s .m : — :r Ir : — tJe ■ • 'M' 5 p ^ s 1 ■ ^ & L_ A M S H • 1 rm r V _ ^ fl r I P • 1 A 1 . — w ZJT .a . - . Ad ^ • _1 . . J •7 — ** cc ►in in r ea-sure r ^ ny por 3r pa ich, And my in, My — r ^ r free - dom’s my laird- ship nae i warst word is “Wei -come, and non -arch dare touch, wel-come a - gain!” / ft/ ^ 1 I ^ - -«< • 1 Tl^ i 1 T f 1 1 2 i 2 2 • 1 aJtt : ! • -H 3 _ _ 1 \ tf~4 t » r" V ./ lL * > > i J h f "TTR » a 1 ^ M m 1 «r— i±f. J • \ T 2 L Z • ■ / -.i . . M 142 AWA’, WHIGS, AWA’! Voice. o Piano. Doll is Bk With spirit. ^ i ' / X Copyright. 143 ^ !l d .t : .s k. A s .,f»i :m .,d j IT ^ r A ^ • . S P' - ^ f® ' M _L r - m Z 1^ r U* - A 1 jt bon - nie bl( blin’ them \ r ^ ^ r 3om’d our ros - es; But Wliigs cam’ If vf the stoure o’t; And write their na ie mes ¥ in / ^ ^ 1 wt^ ' L -J M P fl ) res. ■a 1 t f f’A*' V \ ■% M 7 *1 / 7 7 • \ ^ V L • • ■« t Our sad decay in Church and State Surpasses my descriving; The Whigs came o’er us for a curse, And we ha’e done with thriving. Awa’, Whigs, awa’! &c. 4 . Grim vengeance lang has ta’en a nap, But we may see him wauken; Gude help the day when royal heads Are hunt(;d like a maukin. Awa’, Whigs, awa’! &c. HEY, CA’ THRO’. ( Boat Song. ) Copyright. From a Drawing by Richard West all, R.A O Mi/k, mirh is this midnight hour, sylnd loud the tempest's roar; ivaefu' wanderer seeks thy tower, l.ord Gregory, ope thy door. 146 A man’s a man for a’ that. d .,r :d .s, ll 1 .d :r .f m .,r :d .s, 11 • S, j ^ .A- s m ^ • A • 0 ^ 1 ^ 1 i - ^ -tCJ— ^ U a . ^ ^ .4 4 - V — — 1 . Is th( 2. Wliat th 3re, for hon-est p o’ on hame-ly fa O - V re \ er - t ve di w 1 y, That h; ne,Wear 1 V 0 ^ mgs his head, and a lod - den-grey, and a th til at? The at; Gie / JF ^ ^ 0 * - 1 fL, •»- - " # • p 1 1 ^ 1 xA_i! 7 j J 1 V 1/ A i a ( «_5 4 1 • J / 0 i • i » < I ^ m • 1 •_? |i P » |i ► . f . 1^ • i 1 z^J P r *r ■ > • k 1 • L_! I * \ ^ u 1^ ^ - p r ^ w Copyright. 147 3 Ye see yon birkie, ca’d a lord, Wlia struts, and stares, and a’ that; Tho’ hundreds worship at his word, He’s but a coof for a’ that: For a’ that, and a’ tliat, His riband, star, and a that. The man of independent mind. He looks and laughs at a’ that, 4 . A prince can mak a belted knight, A marquis, duke, and a’ that; But an honest man’s aboon his might, Guid faith he mauna fa’ that! For a’ that, and a’ that. Their dignities, and a’ that. The pith o’ sense, and pride o’ worth. Are higher rank than a’ that. 5 . Then let us pray that come it may, As come it will for a’ that; That sense and worth, o’er a’ the earth, May bear the gree, and a’ that. For a that, and a’ that. It’s coming yet, for a’ that, That . man to man, the warld o’er. Shall brothers be for a’ that. 148 THE GLOOMY NIGHT. Air_l‘Roslin Castle.” Copyright. 149 m' .,r' .r' ,d' 1'^' t :r .m j, p s/^er f .n :r .d Iti :d .r n .d :ti .li se :1 .t meet se storm -y cure, While here I wan - der, wave, Where many a dan - ger press'd wi’ I must care, A dare, Far r7\ r.nlJa rof • ^ 1 -g 7^ 1#—!^ 1 p d 1 ^ • J r ^ ) ^ f 1 7, Mr 4 r' f '0 0 ' m' f I / / =t -i- U i — • — ■ i • \ 1 long from :t .se the the lone - ly banks bon - nie banks ;t, of of II, * Irtsf time V very alow 3. ’Tis not the surging billow’s roar, ’Tis not that fatal, deadly shore; Tho’ death in ev’ry shape appear, The wretched have no more to fear: But round my heart the ties are bound. That heart transpierc’d with many a wound: These bleed afresh, those ties I tear. To leave the bonnie banks of Ayr. 4. Farewell, old Coila’s hills and dales. Her heathy moors and winding vales; The scenes where wretched fancy 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 honnie banks of Ayr! 150 O WERE I ON PARNASSUS HILL. Lali is E. Copyright. 151 i m .T ':w .se ll : — .s ^ ;r .d If ;r ^d ra/7. dim. ;ti :1 .t # d w et - ic skill, To sing how dear I could na say, How much, how dear, I sing thy name_ I on - ly live to love, love love. thee : thee, thee. But I Tho’ I i "P=i f 22T ■ 9 - / \P mil. w ^ :d .t ll : — .se 1 .se :1 .t Im .fe s d :t d I s .tn . — :s jn .— | Nith see I maun be thee danc were doom’d my ing to Mu o’er wan ses the der ■i Muse maun waist sae yond the be jimp, sea. thy thy be Z2I i $ i r ^ :t| .1| ls| ;lj d. :t| .1, Ir :d .t. PI .r :pi .se ll : — .s ,f m bon - nie sel’; On Cor - sin - con 111 limbs sae clean. Thy temp - ting looks, thy yond the sun. Till my last wea - ry glow’r and spell. And ro - guish een_ By sand was run; Till $ :r .J If ,m :r ^d rail. d :t, ll, write how heav’n and then- and dear I earth I then I d love love love thee, thee! thee . 1 iip rail. V r- 1, i 'nr ■ 9 - r> rail. 152 LORD GREGORY. Lah is G. Copyright. 153 !|d 0 1 — :^.w rn : — ;r rail. .,d d ^ :t, .,1: 1, :— *■ 1 J 1 1 ^ P' 5 ■ 1 — 1 ri i A ' _ _t» ■1 B 1 * a • ^ ^ \ 1 \3>y I _L 1 shaw, true, love, 0 1 I-' If It His love ii ne’er ri wrangs t b may na be. nis - trust - ed thine, o heav’n and me! ( 7>^/.sY //>//(? /r/\y .sVoAr ^ i l»9 b 1 1 - — . ^ 1 R ^ / i ! ^ J J « , ^ m r^jJ 1 m ^ r J* L 5 ; 1 I ww \ ^ ? £ f ^ ’ f /> /V?//. t r 73 rail. 1 . r * f 1 1 ~r. 1 / — ^ J M ' It r J 1 * r r — • ^ r T. • » O’ _ i -s O' 154 LOVELY POLLY STEWART. Copyright. 155 156 O LET ME IN THIS AE NIGHT. Voice. Piano. Slow and expressive. ^ c r 1 / i I J :: — 1 0 •' 'fit ^ p : — n / P 'i- i =l^^g=zz=j / » — * — » ^=z==J==J rail. fj- ^^1‘ ^ . r r C £ - J 1 \y V _j« 4 -m- Lah is D. Copyright. 157 :r P d .t, 111 :ti d r Id :d eres. T .n If :m J- ^ s .f In I y . J y J - » • d O let me in this ae night, This ae night, this ae night, For r ^ r 5: p I I cre-H. p m o 731 ■r 1^ d .t| 111 :n i 1 X Id' :1 ~ ^ P s ;n rail. Ir ;d I i pi - ty’s sake this r w ae night, O rise and let me in. JO- i Tf' i i rail. 1 . O tell na me o’ wind and rain. Upbraid na me wi’ cauld disdain! Gae back the gait ye cam’ again, I winna let you in, jo. Choras. I tell you now this ae night. This ae, ae, ae night; And ance for a’ this ae night, I winna let you in, jo. HER ANSWER. 3 . The sweetest flower that deckd the mead, Now trodden like the vilest weed; Let simple maid the lesson read. The weird may be her ain, jo. I tell you now, &c. 4 . The bird that charm d his summer day Is now the cruel fowler’s prey; Let witless, trusting- woman say How aft her fate’s the same, jo. 2 . The snellest blast, at mirkest hours. That round the pathless wand’rer pours. Is nocht to what poor she endures. That’s trusted faithless man, jo. I tell you now, &c. C ho run. I tell you now this ae night This ae, ae, ae night; And ance for a’ this ae night, I winna let you in, jo. 158 O! WILLIE BREW’D A PECK O’ MAUT. SHORE. Doh is D. Copyright. 160 Verse 3. {.1 V /i 4 1? . d' :- .r' Ir f*i :- . s 1 c 1 N . 1' :i l' :s 1 <1 1 r s ' ;d' Id :m lt» J ^ 1' :s :r J .f 1 .r m :— .f Is d :-.r In :d :p 1' J n c « i' :r' Ir :s Ifi J ^ ' :- .r :— .s J —o — fla S - ^ X m » ^ a M • M S i — 1 ^ P p_ m » 1 Vt? T ffj L L m. « m s M' • & J C L ^ ^ ^ 1 It is the moon, ] ' 1 1 L ken her horn, 1 ^ r' c "hat’s blink - i ; 1 n’ i 1 ^ T n the lift sae h ie; She i — ffff «t; * * * \ - 1 TI — a ^ u : 1 : : 1 : : 1 : : 1 ; .s, j 1 M ^ . _ J _> 1 1 1 1 ■■ - ■ _L 1 K \ 1 s 1 1 J L V/ A 1 I ^ ' 4 ^ J 4 — ) ^ ] p A M — ^ ■€ M i A 4 ; i A 1 A • 3 3 1- i _ V* ^ \ ^ _5 I \ w r T : ^ n ! h 1 1 1"' - .Pi' If- .Pi' :r' .d' 1 ;d’ Is : .s d' :- .r' |pi' :r' r' :d' Id' .s 11 .s :f .PI f :1 1 PI : .s s :— .s 1 s :f f :pi 1 PI J^jP dolce _ A ^ J — 1 r-,^- p ' r -- c U T ^ 1 r =^= =f= -f — ' -r- -1^ shines so bright to wyle us hame, But, by my sooth. she’ll wait a wee. dolce 7=vr-l* i ir c-f r J f---r d :-.d Id :d f :f, Id dolce .d f m .r Id »■ 4 5 Id l). S. fo r C/t orii ft . "U^ow's the day an’ now's the hour; See the front of battle lour — See approach proud Edward’s power. Chains and slaverie ! ” 162 SCOTS, WHA HA’E Wl’ WALLACE BLED. Doh is Bk . !l 1, -,S| Is .m 1 S • - .1, Id 1 - .1, 11 - -s, I, .t, Id :r ( ^ S — [ — \ ^ r ft m -jdl d h d — — i K — 0 — 0 9 • US =j 1. Scots, wha ha’e wi’ Wal - lace bled, Scots, wham Bruce has aft - en led; 2. Wha will be a trait - or knave? Wha can fill a cow - ard’s grave ? 3. (P)By L op-pres - sion’s woes and pains. B y your so ns in ser - vile chains, / JT \ 1 ~i 1 / rt _J ^ 1 \ VI ^ — - 4-0 , ’*--0 { -0 L ji : II ■■ i-0 ill f ; it k |l . \ mark tvell - 1 "H 0 0 — -f • — d m — 0 0 0 — 0 — « 0 — z: — a M ■■■ -0 i — 9 1 j 5 ^ h-J Conyright. 163 164 FROM THEE, ELIZA. Very slow and tenderly. Tune: “Donald.” Piano. \ V — = -J ^ J' J j' J-. s — P f ' 1 -.zQ j j ' J* 1 ^ ^ ^ - k-'t-'- z J tj T| :Sj T, Ifj J5i : s. i~] .n m, ,S| .- :d .,r Im :r M r "-~Lr d .r ,rn Ir :d ^ I li - — must go. And from za dear, Tlie maid my na that I tive a shore; dore! The A 1 ^ -t- ' '1 i .IlJZ M ^ ^ 1 r **LJ| b 1 |^_ ^ r ■: ^ f — 1 — 1 — m *“ f — — ^ ■ ■ ■ m K - J Copyright. 165 166 THE BANKS OF THE DEVON. Not too slow. Tune: ^*The maids of Arrochar!’ Melody adapted by J. K. L. Voice Piano Doh is C. :d .r In : — .r :d : — .r :d PI :s :s il :s :d'^ .r' 1 of the som, ye 1. How plea - sant the banks 2. O, spare the dear bios clear wind - ing De - von, With o - ri - ent breez - es, With j j j j -I ’ j 1 ■< ^ y ^ y i }) H moot hi y (’opyright. 167 bailies of the De - von Was once a sweet bud on the braes of the Ayr. Mild rep - tile that seiz - es The ver - dure and pride of the gar - den and lawn! Let m :s ;1 Im :s :1 a tempo d' .r' :m' .r' Id' ; — ;s .s m :s :1 m ;s :d be the sun on this Bour-bon ex - ult in his sweet blushing flowr, In the gay gild-ed lil - ies, And gay ros - y morn, as it Eng- land tri - umphant dis I V a tempo P K'f f 168 THE ELUDE RED ROSE AT YULE MAY BLAW. Tune: “To daunton me.” Copyright. 169 d :d' Id : — .r' ;d^ J Is ralL ~w^ •d' I 1 ,ff tempo :r' ..n' Ir' : — .m' i t daim - ton me, and me sae young, Wi’ his fause lieart and m Z1 -0 r -9 0 ^ — f fa tempo — o 1 « m mu. 5 ■ ====£ TT 3 . His gear may buy him kye and yowes. His gear may buy him glens and knowes; But me he shall not buy nor fee, For an auld man shall never daunton me. To daunton me, &c. i. He hirples twa fauld as he dow, Wi’ his teethless gab and his auld held pow. And the rain rains down frae his red bleer’d ee That auld man shall never daunton me. To daunton me, &c. 170 UP IN THE MORNING EARLY. Tune: “Cold and Raw.” 1 , : 1 : 1, :— :t| Id :— :r X n :— .f :s Is, : — :s, | Jr ft J- ^ ^ ^ ^ ^ ^ — J- m • M rr^ i L i m m. r ’’ M m J ^ tJ ^ V 1. Cauld blaws the wind frae 2. The birds sit chitt’ - ring i East to We ji the th( p p st, The 3rn, A’ / Vf 1 IV - - ^ 3 M L i) — ^ 1 i ^ \ ^ c 4 i » i J f- -4 c 1 r TSli* i r~- g ^ ^ A 9 m ^ . f , i ' I f • K ^1 • • % 1 ^ J ^ / 1 ■ \ — J i $ ^ * Copyright. 171 n .r :d It, .1, :se, 1, ; — : — In H 1 1 — ■ 1 l^J " J ■ . la.sf Ft -I I,- - — ^ • 7 : ~ ^ ^ -1 li : — : — Im : — sure it is win - ter fair ly- fair - - ly. $ it f ±=z^ rail. f *: / fi __K 172 STAY, MY CHARMER. Gaelic Tune: ‘‘The Black- haired lad.” Tenderly. How pleasant the banks of the dear-winding T)evon, With green-spreading bushes, ami flowers blooming fair 174 MY WIFE’S A WINSOME WEE THING. Doh is C. P* 1 :n' .r' d' :— :s 11 :d' :s d' : — : — Is : — ^:n f ;-.s :f Id :1, :d 1 > ■ r p m ^ m m « 1 TW^ W » 1 M * a ' p r F • TL L P i 1 ■ -j 1 m m 1. My wife’s a win - some 2. She is a win - some wee thing, She wee thing, She i i — 3 a hand - some 3 a hand - some /L ^ — - !< 1 lO ' / _ l VJ 7 J «L 1 J M 7 □ “ \ cJ t -9 f'6 ? * ? t i 1 1 \?i ■€ i 4 1 -0- ^ [ 1 1 %i c. 1 ^ 1 \ ^ ' a 7 m 7 7 J 7 u ^ / ^ / \ ^ * 1/ • -# - ^ •» • C. Copyright. 175 n' ;d' ;pi' Ir' :t ; r~~p » •~'o r' 0- -m-. - m ^ — ^ ^ 1 LS ^ / r r 1 fear my jew - el tine think my lot di - vine 176 BEHOLD THE HOUR, THE BOAT ARRIVE! Voice. Piano. Tune: *‘Oraii GaoilV , Tenderly. Lah is C. 1 : ;m d T, n 11 : 1 ^ • ^ l7 — Id — ^ 1. Be - hold the hour, the 2. A - long the so - li - — > ff — -*L- ^ J . ^ i S ^ 1> b H - j - P V ^ • ij— i f r , — ttT —•li • f j -d d ^ ^ P if g F y V 1 — 7 t r ^ ^ 177 1 d .r ;t| If :— ;m A , rail. / 1 .t. :1 Ise : — :n tempo ^ — = P m N — 1 d' : r ' d' 1 ■ t :l j ^ r ' ^ 1 we must part! Ill of - ten greet this surg - ing swell, Yon wist - ful eye: “Hap - py, thou In - dian grove,” 111 say, “Where a tempo d ,r : pi ,f Is ^ :d cres. r :rn :s II :d dis - tant isle will of - ten hail: ‘‘E’en here I took the last fare-well. There now my Nan - cy’s path may be! While thro’ thy sweets she loves to stray, O 178 there’ll never be peace till JAMIE COMES HAME. Tune: “There are few good fellows when Jamie’s awa’.* Lah is G. Copyright. 179 1 rti :1| .'ll .,t| li : — :li ,t| d : — .r :n .f s : — .f ;n | -y- aJI ^ ^ r ^ - ^ =z? * 9 ^ \ d -J d m ^-5 ■ F — 1 w J A A-* €1 « — L -Vtt ^ ^ head it was grey; And as ] mur - de - rous wars; We dare i le V la V ^as sing - ing, the eel say’t, but we ! 1 ^ • 1 1* « V i , 1 4 P K — ^ ^ dolce . m 1 ^ i i - - ^ • 1 in.* 1 -Wi b \ J \ / 1 i ^ _ (1 r ^ ^ l> — :s A s, : :li .ti b: r* -I d .t, :1, j JF P -* r S C J J-! L im ' ^ m — m _ - c, l _ z w •J ' t k ears fast do en wha’s t wn came. There’ll nev - er be 0 blame _ There’ll nev - er be /Jr 1 r> / a C i J 1 l€ ■■ frri I' —1 a \ L Z S' m. i -6 1 p A 1 •_! m ^ P « L ( ■P L^=^- ^ ^ .... L T \ y 9 — ^ ■ 1 3 . My seven braw sons for Jamie drew sword, And now I greet round their green beds in the yird; It brak the sweet heart o’ my faithfu’ auld dame_ There’ll never be peace till Jamie comes hame. 4 . Now life is a burden that bows me down, Sin’ I tint my bairns, and he tint his crown; But till my last moment my words are the same_ There’ll never be peace till Jamie comes hame. ISO FAREWELL, THOU FAIR DAY; or, The Song of Death. Tune; “Oran an aoig.” Very slow and solemn. li ,S| :1, .d Ir .n :f m .r :d ll. PI -,f :s ,f ;pt .r Id :d li li ipi^i N N # 0 - w well, loves and friendships, ye dear ten-derties, Our race of ex -is -fence is strik’st the young he - ro, a glo - ri-ousmark! He falls in the blaze of his 3 i -i- Ff \ J' Oopyright. ISl Quicker 1 S| 1— ^ jf ttff- s :s :d « [' 11 :1 :d \ [' .ta 1 :— .s :f 11, :— ;f J Jr S "it — ^ 1 [ 1 f • A ^ m L I r r ^ 1 1 Ifn ^ 1 L d ^ r r V'L/ e i ? ^ p w: i ' S . _ L tf * ri fc ti ik ^ V ^ ir im! Thou gri ime! In the fie m king o Id of prc f te )ud h( K r r ^ ^ r- rors, thou life’s gloom-y foe, G 3n-our, our swords in our hands, On 0, ir M P • ^ > /V ' ^ ^ a • ^ a 1 Z a vJ J m ■ i 5 ii 1 tj F P accel. a 1 T- s ■ m ' • ^ i i • 4 i <-91. ,i‘ J _5 1 %± 1 a • T y ^ n J L J • i ^ 1 r 1 -d * 3 ■< i ■» -€ |l- 1 i 182 O KENMURE’S ON AND AWA’, WILLIE. A d :— .r :tn Id' :s :n s : — : — Is .s ;— ;1 d : - .r :n Id' :s :m 1 '/, 1 *y N « > U T* n q 4- T ^ ^ ^ • m J2 1? M L d ^ ^ p w ^ w ^ 1 rz ~i m ^-0- 1 * F 0 ,-0-^ ^ ~ i ^ ^ 1.0 Ken - mure’s on and a - wa’, Wil-lie, ( F ^ ^ ^ ^ ) Ken - mure’s on and a - / ^ — ^ i \r) ^ « 7 . %t z z 7 - 7 Z i 7 1 r • 1 — W f ^ ^ r ^i: ■ 7. \ y k . 7 %4 ^ ^ 7 2 • •« i |L 1 : 7 -0 *4 Copyright. 183 |d ,o hand! 1 1 f^=r '< -1 IV - arfclr \f [_/ j -0-^ t21} ij. j-..- f II j ^ ^ \ '0 '0' p m~ ' — & L -jt 0 A ^ % r r- '-0 — ^ — 0—0 — ^ 0 :-0- ^ 0^ . V?; -0—L- ^ J 1-^ ^ o 2 . Here’s Kenmure’s health in wine, Willie! Here’s Kenmure’s health in wine; There ne’er was a coward o’ Kenmure’s blude, Nor yet o’ Gordon’s line. O Kenmure’s lads are men, Willie! O Kenmure’s lads are men; Their hearts and swords are metal true_ And that their f'aes shall ken. 3 . They’ll live or die wi’ fame, Willie! They’ll live or die wi’ fame; But soon, wi’ sounding victorie May Kenmure’s lord come hame. Here’s him that’s far awa', Willie! Here’s him that’s far awa’; And here’s the flower that I love best_ The rose that’s like the snaw! 184 O WHA IS SHE THAT LO’ES ME? Voice. Slow and expressive. Lah is B. Tune: “Morag.” 'w= w=¥ 1 .,t :d' .,1 It :pi .,n :* ’# e 7 I Piano. P ra//. ~ - - 1. O wha is she that lo’es me, And 2. If thou shaltmeet a las - sie, In ^E . y If thou hadst heard her talking, And thy attentions plighted, That ilka body talking, But her by tb'ee is slighted. And thou art all delighted; O that’s, &c. If thou hast met this fair one; When frae her thou hast parted, If every other fair one. But her, thou hast deserted. And thou art broken-hearted; O that’s, &c. Copyright. TURN AGAIN, THOU FAIR ELIZA. 185 186 BONNIE WEE THING. Tune: The bonnie wee thing.” Copyright. 187 II Si :lj ijti Id : d : — .1 Is .n :r .d s ,m . — :r .d If .,s 1 :s . \ 1 « A 1 ZJ ; m ^ • m L r -J a ' • r J I «f ^ S-i c m ^ ■■ -d 7 ^ s^r- ^ tzH 1 M £ m ' I should tine. 2. Q # Wist - ful - ly I Wit and grace and look and 1 love and b an - guish eau - ty 1 / J/ ft 1 '' 1 ■ 1 I 1 1 /L ' €: 1 ! - ^ . i J 1 ^ ^ 5 E VlL/__.. 1 T!J ^ 1 1 — m 1 i 1 S 1 ; & i 1^^ a ■ 1 ' ~ J r .1 J £1 J m <= ^ ^ ^ 3 —0 0 G o )| s ,m .-:1 1 s .m :r .d ' f .m :r .d pmll. ^ 11, .,t| :d -W- - s, :1, .t, Id \§ L" -1 ^ * • -J ^ Cj* * J kj J Ea^ wj stomids wi’ an - guish, Lest my wee thing be na mine, is my dll - ty, God - dess o’ this soul o’ mine! 188 HOW LANG AND DREARY IS THE NIGHT. Slow and pathetic. Tune:“Cauld Kail in Aberdeen? Voice Piano Doh is C. PI :s Id' : — .1 s s :pi I*" r .d j n PB ^ p m • Az frri J [_ s ^ Bl vy 1. He 2. Wh 3. He L • ♦ )W lang and drear - y is the night, When ten I think on the light - some days I >w slow ye move, ye heav - y hours; The 7^-^ — 2 J 1 d ■ ■ ’ ^ m M P ^ 4 1 9- ■4 ^ -J ^ f » . f«iV* w |l ' '3), ^ ^ i — ^ — rt IP - Id' :-.l s Id :d PI :s Id' .1 j 8 R K m • r S _ r _ _ _ _ n M ^ 1 1 ^ «j w I am frae my de spent wi’ thee, my de joy - less dtiy how dre ar - i ar - i ar - ^ e ; I re e. And no f\ It Wt W st - less lie frae w that seas be - IS - na sae ye ' i 1 __ __ __ — • r r it L # 1 m. . I'ST* " 1 9 /• 1 / P P t 1 rj f L ^ — ^ ^ f 1 — — Copyright. 189 I d' .r' In' :d' I f' :n' K r ' :s I d' .r' In' :d' J/ - ^ — 1 » T 1* * • J ^ A 1 m- i » m < ft r > 4 r r > 4 r S 1 ^ 1 r r L fi Li tf fc ( ¥ )h, 1 ler lane - ly nights are h mg; And c f )h, 1 r ^ ^ ler dreams are t — - > / ^ ... - < 1 - - ■ \lr 4 < * t ^ > • -< * i;- 4 — — i m r \ » p i W \ * 190 I’M OWRE YOUNG TO MARRY YET. 191 ! p •,t :d' ,1 Is .rn :n' -,r' -,t ,t*i . — :n • S i 1. I am my mammie’s ae 2. For I have had my ain bairn, Nor way, Nane 3. Fu’ loud and shrill the frosty wind Blaws o’ my ha me am wea-ry yet. And daur to con - tra-dict me yet, Sae thro’ the leaf - less tim-mer. Sir; But I wad ha’e ye learn. lads. That ye for me maun tar - ry yet. soon to say I wad o - bey. In truth. I daur - na ven - ture yet. if ye come this gate a - gain I’ll auld - er be gin sim- mer. Sir. 192 O SAW YE BONNIE LESLEY? Copyright. MY SPOUSE, NANCY. 193 :s .,n :r PI ,d J |pi :s 1 i Is it man or wo - man, say, Yet 111 try to make a shift. spouse. Nan - cy?’’ spouse. Nan - cy.” 3. My poor heart then break it must, My last hour Im near it: When you lay me in the dust. Think, think how you will bear it!’ I will hope and trust in' Heaven, Nancy, Nancy; Strength to bear it will be given, Copyright ’“y spouse, Nancy.” 4‘.‘Well, sir, from the silent dead Still I’ll try to daunt you; Ever round your midnight bed Horrid sprites shall haunt you? ‘‘i’ll wed another, like my dear Nancy, Nancy; Then all hell will fly for fear. My spouse, Nancy.” 194 I DREAM’D I LAY. Lali is C. Copyright. 195 j| ft :li :d -,r ^ 1. ^ m :1 s :f .m w ,r d ; — .s :s .1 ,t inf — sr- s ■ - ~->s. , ^ '‘it ! .. S s m « j m m 9 T f— > ^ X M E. m. m fL p r 1 . - ^ d m ^ L L ^ J '■ — - ^ w g*- sing - ing, By a fall - ing cry - stal stream. Straight the storm - ing A’ my flow’ - ry bliss de - stroy’d. Tho’ fic - kle j| d' .t ;1 .,s 1 .,s :n .s :s .1 ,t 1' :d' .t :1 .se i ^ — 7 p L? A 1 .iT' 1 m • m ^ — - ft! ^ »_! A m p- ■ ^ — r 0 7 r r ' 1 u w ^ Lj I J r L 1 y y ^ =H- ^ r y sky grew black and for - tune has de - J [ dar - ii ceiv’d n ig; Thro’ le, She pro - w the woods the wh mis’d fair and per- for irl - winds m’d but r. -j — 1 / ft jrr\' 2 m m _ m. : ( 1 mf ir^ ^ 1 f 1 , f. t • 2 ^ r 7 : A i \ A ' ^ ; • L 7 L I ___ \-& r* 1 rave; Trees with ag - ed arms were war - ring O’er the ill; Of mony a joy and hope be - reav’d me, I bear a || m :1 .s :f .m ,r 1 ^ d j# r? ■ /a. j m ^ ^ ij *1 t» K# Cy 1 1 « 1 L ff M ^ iJ 2 L r 2 1 ■ Lj . m ^ • :: 1 swel - lin heart sh. g drum - lie wave. Ill sup-port me still. - ^ ^ O 177^ , ^ •% • 1 f f 2 J M • ^ ^ • w ^ ” m ^ w m ^ ^ r y all. PP r r t| rail. b. • £ mi ■ m -i M *_! L t* 3 S ^ i_ 7 \ r r a ZJl i 1 196 SHE’S FAIR AND PAUSE. Tune: “The lads o’ Leith!’ Lah is E. * I :d_j‘ n .f :n Im :r .d :li Ise, :n. m 1, .t, :d .t | :se, =P^ f nrf 1 . She’s 2. Wha - fair and fause that can e’er ye be that wo ses my smart, I man love, To lo’ed her mei-kle and this be nev - er ( 1 i ' 1 A 1 . 1 ^ — J ^ ^ ^ J — V « _ F aS " f 1 ' id ' - js ^ js -i f: — * : — f ^ y ^ t — J r ■ 0 / Copyright. 197 '1 s :n :1 Is : — :m 0 # - p d ;— .r :d Is ;f :m r — ' :d I'M, :— :S| j r ^ I— J tZ. -»r n w i < - K A ^ Lj ' I Ld r M tL* m m 1 r 1 ^ A M J ^ ^ ^ 1 1 — — ' ^ ” J Vj ' I *outh o’ ge VO - man f? 1 N iar, And I ha’e 1 lir! An an - gel 1 jnt my c orm’s fa’n t ^ 9 ear - est dear, But 0 thy share, ’Twad 1 J_ j 1 m i 1 • - -4 iLs fs-^ «Y 1 iflr i 1 1 * M • 4 • J 7 1 VL/ • ! ^ i iLs 2 • i 1 • • 4 — 1 ■♦• u # I i • } P • JSr. ^ r i m . r 1 '^f* . m _5 A i \ ^ ^ — < * W j" P * 7T / 1 h 198 O WAT YE WHA’S IN YON TOWN? Cheerfully. Tune: “I'jl gae nae mair to yon toun!” Piano N ^ ^ « # ^ J-..- f j ^ X % \-y -—4 — ^ — Y — —M ^ ' r 1 i Doll is D. m .,s :d .,s Im •, r :r .,t .,t :d .,s Im •,s see tlie e’e - niiY sun up - on, The fair - est dame’s in yon towm, That I f I / C\ eopyright. 199 3 . The sun blinks blithe on yon town, And on yon bonnie braes of Ayr; But my delight in yon town, And dearest bliss, is Lucy fair. O wat ye wha’s, &c. 4 . Without my love, not a’ the charms o’ Paradise could yield me joy; But gie me Lucy in. .my arms. And welcome Lapland’s dreary sky. O wat ye wha’s, &c. 5 . My cave wad be a lover’s bower, Tho’ raging winter rent the air; And she a lovely little flower. That I wad tent and shelter there. O wat ye wha’s, Awa\—Th&\-Q can be no doubt that Clarinda (Mrs. J f M. M‘Lehose) was the subject of :TMy Nannies A°is>a\ She had left Edinburgh for the West Indies, there to make a last and unsuccessful experiment of living with her besotted and licentious husband. Moreover, she had adjured the poet to let the scenes of nature remind him of Clarinda, and he had replied, “ There is one passage in your charming letter — Thomson nor Shenstone never exceeded it, nor often came up to it — ’tis where you bid the scenes of nature remind me of Clarinda. I shall certainly steal it, and set it in some future poetic production, and get immortal fame by it!” He carried out his tiattering threat in <3\ly Nannie's ensure. But, alas I for human hopes, Mrs. Oswald shortly afterwards fell into a decline and died at Lisbon in Januaiy, n<)S- NOTES TO THE SONGS. 2 1 I D uncan There was a song entitled Duncan Gray in existence long before Burns’s time, but so gross in sentiment that its supplanting by this version is a matter for congratulation. Burns owes little more than the title of his song to its predecessor. The poet aptly remarked to Thomson that “ Duncan Gray is that kind of horse- gallop of an air which precludes sentiment. The ludicrous is its ruling feature.” When the song was first made public, the Hon. Andrew Erskine wrote its author ; “ Duncan Gray possesses native, genuine humour — Drawn by T. stoikard, R.A. ‘ ^pak’ o’ lowpin’ owcr a Hnn,’ is a '*Fofa haughty itsolf that should make you She may gae to — France for me ! J rvi m o 1 ” Ha, ha, the wooing o t.” milllOridl. J ockey s Ta’’en the Parting Kiss, — Mr. W. Scott Douglas points out that, though this song was written for Johnson’s >SMuseum, it was not published in that work till after its appearance in Dr. Currie’s edition of Burns. He adds : “ The poet scarcely ever surpassed the excellence which this lyric displays.” T T^hoU be tny Deane F — in a letter to Mr. Alexander Cunningham, y r the chief, perhaps, of all his Edinburgh friends, Burns gave the following history of this song : “ Do you know the much admired old Highland air called Ehe Sutors Dochter ? It is a first-rate favourite of mine, and I have written what I reckon one of my best songs to it. I will send it to you as it was sung, with great applause in some fashionable circles by Major Robertson, of Lude, who was here with his corps.” Allan Cunningham states, but not to the satisfaction of Mr. W. Scott Douglas, that the song was composed in honour of Miss Janet Miller, of Dalswinton. Du.vikihs. 2 I 2 NOTES TO THE SONGS. 4 Highland Lad my Love was Born. — Although The "Jolly Beggars __in which this song appears— is perhaps of all Burns’s works the one most clearly stamped with the hall-mark Statue of Burks at A vr. of genius, it was not given to the world until several years after his death. It would seem that his brother persuaded him not to pub- lish it — another proof of Gilbert’s lack of critical insight. The cantata appears to have been composed at Mossgiel in 1785, and to have been based — so far as it had any foundation in fact — upon scenes witnessed by the poet in the humble inn of “ Poosie Nancy” at Mauchline. r lje Gallant IV ^aver. — According to one of his most zealous editors, “ Burns appears to have a peculiar object in writing this song : it is quite clear he framed it, and had it set to music, specially for the pleasure of hearing ‘ bonnie Jean’ sing it to him. It will be recollected that in the early spring of 1786, when Jean’s parents broke off the private marriage between the poet and her, she was packed off' to Paisley : and, in the course of a month or two, news reached Mauchline that she had been dancing the ‘Weaver’s March’ with a certain Robie Wilson., a ‘wabster gude,’ to whom she was soon to be married. This rumour nearly drove the poet distracted ; and now, when all had been mollified in the lapse of years, he had his quiet revenge in putting this song into Jean’s mouth.” J ohn Anderson., my yo. — -There are several old songs bearing the title of John Afulerson, my "Jo, hut even when they are not licentious they cannot compare with the work of Burns. For the purpose of contrast it may be well to give the opening verse of one which finds a place in David Herd’s collection : ’ 7 Vr not your beauty nor your ys>it, 'That can my heart obtain ; Eor they could nelper conquer yet Either my breast or brain ; Eor if you' ll not prove kind to me, oAnd true as heretoj'ore, Hencejbrth your slave I'll scorn to be, SNJr doat upon you more. " John Anderson, my Jo." From a Drawing by David Allan. ‘ 'Ike hoary cliffs are crown’d wi’ flowers, While o’er the linn the hiirnie pours.” (Tun Dirks o' Aberfeldy.) 214 NOTES TO THE SONGS. I Hae a Tf^ife o' my Ain.—Th^ hi story of / hae a Wife o my ain is the song’s best interpretation. Burns had passed through some of the most painful experiences of his life ; he had challenged the verdict of the world on his poetic powers with almost unexpected success ; he had reaped a substantial golden harvest from his Edinburgh edition ; he had married his “ Bonnie Jean,” and taken her home to the picturesque farm at Ellisland ; and now his outlook on life is so radiant with hope that he must needs sing his gladness out in these blithe strains. Tub Banks of A yr. ^/eep'st Ahou or M^akAt AhouP—in sending this song to Thomson, Burns explained, “ I have been out in the country taking dinner with a friend, where I met with the lady whom I mentioned in the second page in this odds and ends of a letter. As usual, I got into song ; and returning home, I composed the following.” The lady referred to was Chloris, and it is probable that the dinner was taken in the house of her father, a well-to-do farmer on the banks of the Nith. ns r hc Acd '( Ain Kf.rd Tdearie), — Thomson had sent Bur eleven old songs for which he wished to substitute others of his writing in the collection he had projected, at the same time remarking on the coarseness and vulgarity which the writers of those songs had confounded with simplicity. Burns replied: “Let me tell you that you are too fastidious in your ideas of songs and ballads. 1 own that your criticisms are just: the songs you specify in your list have, all but one, the faults you remark in them; but who shall mend the matter Who shall rise up and say, ‘Go to! I will make a better.?’ For instance, on reading over E/ie Lea~E{ig., I immediately set about trying my hand on it, and, after all, I could make nothing more of it than the following, which, Heaven knows, is poor enough.” Thomson was well pleased with My Min Kind Dearie; he only found fault with it for being short; a defect Burns remedied by adding another verse. Ellisland. NOTES TO THE SONGS. 215 T Tere^s a Health to ane 1 Lo^e Dear, — In the last sad days of A. A his life, when the hand of death was upon him, Burns had no more gentle attendant than Jessie Lewars, the sister of a brother exciseman. She was the Jessie of Here's a Health to ane I Lo'e Dear. Burns sent the song to Thomson in May 1796, with this note: “I once mentioned to you an air which I have long admired — Here's a health to them that's awa^ liiney, but I forget if you took any notice of it. I have just been trying to suit it with verses, and I beg leave to recommend the air to your attention once more.’^ Mrs. Thomson {Jessie Lesears). /t y If^aukin 5 O. — It is generally agreed among the editors of Burns that A this is an old song upon which he made only a few alterations. In the fifth volume of Johnson’s Museum only two verses and the chorus of the song were given. StenhoLise says the first verse was composed by Burns. Heart is 6Wr.— The opening stanza of Allan Ramsay’s song of the same title will show the extent of Burns’s indebtedness to his brother poet, and also the different turn he gave to the chief idea of the song : For the sa\e of somebody., I am gaun to seek a wife., For the sake of somebody ; I am gaun to buy a plaidy ; I coil d wake a winter-night I halpe three stane of woo ; For the sake oj somebody. Carling, is thy daughter ready ? NOTES TO THE SONGS. 216 r o Mary in Heaven. — As the harvest time of 1789 was drawing to a close, and the leaves began to grow sere and yellow, the memory of Highland Mary’s death came back to Burns with incredible vividness. He had spent the day in harvest work, and apparently in excellent spirits. But as the twilight deepened, he appeared to grow ‘ very sad about something,’ and at length wandered out into the barnyard, to which his wife, in her anxiety for his health, followed him, entreating him in vain to observe that the frost had set in, and to return to the fireside. On being again and again requested to do so, he always promised compliance — but still remained where he was, striding up and down slowly, and contemplating the sky, which was singularly clear and starry. At last Mrs. Burns found him stretched on a mass of straw, with eyes fixed on a beautiful planet ‘ that shone like another moon,' and prevailed on him to come in. He, immediately on entering the house, called for his desk, and wrote, exactly as they now stand, with all the ease of one copying from memory, the sublime and pathetic verses of To Mary m Heaven.'' Loculea Farm (Front View). 0 JHere tny Love yon Ltlac Fair. — Bums gave Thomson an explicit account of the origin of these verses. “ Do you know,” he wrote, “ the following beautiful little fragment in Wotherspoon’s [/.c.. Herd’s] collection of Scots songs.? O gin my love were yon red rose., That grows upon the castle wa'. And I myseT a drap o' dew Into her bonnie breast to fa' ! Oh, there beyond expression blest. I'd feast on beauty a' the night; Seal'd on her silk saft fluids to rest. Till fiey d awa' by Tluebiis' light. This thought is inexpressibly beautiful ; and quite, so far as I know, original. It is too short for a song, else I would forswear you altogether, unless you gave it a place. 1 have often tried to eke a stanza to it, but in vain. After balancing myself for a musing five minutes, on the hind legs of my elbow-chair, I produced the following. The verses are far inferior to the foregoing, I frankly confess ; but if worthy of insertion at all, they miglit be first in place ; as every poet, who knows anything of his trade, will husband liis best thoughts for a concluding stroke.” " She ga^’d — she redden’d like a rose — Syjie pale like onie lily; She sank within my arms, and cried, Art thou my ain dear Willie ? ” Robert Ainslje, Esq. Mr. A inslit was a young lawyer in Edinburgh whose acquaintance Burns made in lySy, when the poet visited the capital. A warm friendship sprang up between them, which culminated in Ainslit becoming Burns's companion in his excursion to Berwickshire and Teviotdale. The account of this tour and the correspondence between Burns and his friend are well known to all students of the poet's life. Mr. Ainslie died in i8jS, in the seventy-seco?id year of his age, after having spent a worthy and honoured life, marked by benevolence and humanity. NOTES TO THE SONGS. 2 I 9 T^hillis the Fair . — Thomson seems to have asked the poet for new words to X the tune of Robin Adair., and he rejoined by sending him Phillis the Fair, remarking in so doing : “ I have tried my hand on Robin Adair, and you will probably think, with little success ; but it is such a cursed, cramp, out-of-the-way measure that I despair of doing anything better of it.” The heroine of the song was M iss Phill is Macmurdo, beloved of Mr. Clarke, the musician who was associated with Burns in much of his work. She became Mrs. Norman Lockhart, of Carnwath. O h! JVhistle^ second attempt that Burns was able to produce a song on this theme with which he was satisfied. And even then, at a later date, he wished Thomson to alter the last line of the chorus. He declared that the iteration of that line was tiresome to his ear, and in suggesting as an improvement, “ Thy Jeannie will venture wi’ ye, my lad,” he wrote : “ In fact, a fair dame, at whose shrine I, the Priest of the Nine, and ril come to you^ my Lad,~\t was only on a offer up the incense of Parnassus — a dame whom the Graces have attired in witchcraft, and whom the Loves have armed with light- ning — a fair one, herself the heroine of the song, insists on the amend- ment, and dispute her commands if you dare!” The lady referred to by the poet was Jean Lorimer, and Dr. Currie records having heard her sing the song “ in the very spirit of arch simplicity which it Bux.vs’s Monument at Kilmarnock. requil eS. O my Love ts like a Red^ Red d^ose. — it has been asserted that Burns wrote this song as an improved version of one composed by a Lieutenant Hinches, as a farewell to his sweetheart, on which Mr. W. Scott Douglas offers this indignant note : “ This sweet song, truly in the ancient style, and as truly Burns’s own, every line, has produced a rush ot ‘ traditioners ’ who pretend to treat us with what they call ‘the old words’; but really, ‘Rhymin’ Watty,’ with his coat of many colours, who will be remembered by some of our older Edinburgh readers, could have improvised for a whole hour by St. Giles’ clock, better verses to the same text than these lovers of tradition have been at the pains to invent or transcribe, and editors tc print.” 220 NOTES TO THE SONGS. ThrO^ the Rye , — chambers also includes Comm 'Thro the Rye in the V_^ category quoted above, and in so doing is well within the facts of the case. It does not appear to what extent the song is indebted to Burns, for even his re-touching has had to be retouched to bring the verses to the standard required of songs that are to be rendered in our concert-rooms. Mr. W. Scott Douglas remarks that the following additional verse is said to have been written by Burns on a window in the Globe Tavern, Dumfries: Gm a body kiss a body Comin through the grain., Need a body grudge a body What s a body s ain F Irvine. JV ’^CDldcnny^ — Bums was again working upon an old model when he composed Wandering Willie., and happily it is possible this time to quote the ancient version from David Herd’s collection : Here ati>a\ there awa\ here awa\ Willie^ 'Thro' the lang muir I have follow'd my Willie, Here awa' , there ittfoa' , here attfoa' hame ; Thro' the lang muir I have folld\y> d him hame, Lang have I sought thee, dear have I bought thee. Whatever betide us, nocht shall divide us ; ShQow I have gotten my Willie again. Lo'^e now rewards all my sorroiv and pain. Here ctVoa', there aWa', here aWa', Willie, Here aVoci , there a'Voa' , here ctvpa' hame. Come, Love, belielpe me, nothing can grieve me, Ili{a thing pleases tnhile Willie's at hame. As to the heroine of the song, it is childish to suppose, as Allan Cunningham does, that it was Mrs. Maria Riddel. There is, however, something to be said for the suggestion that Clarinda was in the poets thoughts when he penned the veises. NOTES TO THE SONGS. 22 1 r hc Birks oj^ jlbcrj^cldy , — During his Highland tour in the autumn of 1787, Burns visited the picturesque falls of Moness, near Aberfeldy, Perthshire, which he notes in his journal as having “described in rhyme.” The chorus of The Bir\s of Aberfeldy is an exact copy, save for several letters, of the opening lines of an old song : Bonnie lassie., will ye go., Will ye go., will ye go., Bonnie lassie., will ye go, To the bh\s d Abergeldie f The Cross, Kn.MARmcif. A Uild d(oh 3\4orris . — For the to an old ditty of the same name first two lines of this song, , as the following quotation Burns was indebted will show ; Auld Rob Morris that wins in yon glen. He's the king of good fellows, and wale of auld men. Has fourscore of black, sheep, and fourscore too ; Auld Rob Morris is the man ye maun lue. The old song is a dialogue between a mother and a daughter, the former taking upon herself to plead the matrimonial claims of Auld Rob on the score of his possessions. The daughter, however, is obstinate; “Auld Rob Morris I never will hae. Thus it will be seen that Burns, while adopting the first two lines, afterwards pursues an idea of his own. Chambers asserts that the second stanza was intended as a description of Charlotte Hamilton. 222 NOTES TO THE SONGS. J\/f y Tocher V the yewel, —Mrs. Begg was wont to aflirin that NVIy V r M. 'Tocher's the "Je^vel was in reality only an improvement by her brother upon an old song, but Mr. W. Scott Douglas says: “The poet’s name is attached to this favourite production. He seemed to have a forecast of its popularity, for he instructed Johnson not to state the name of its tune f Lord E/cho's ' Favourite J., but to give the music as if the song really belonged to it.” Braw, braw lads of Galla-water, 0 braw lads of Galla-water, I’ll kilt my coats above my knee. And follow my love through the water. Sue fair her hair., sae brent her brow, Sae bonny blue loer een, my dearie, Sae white her teeth, sae sweet her moii , 1 af 'ten kiss her till I'm we arte. Haydn declared that Gala Water was his The Braes o' Ballochmyle. r • v lavounte song. G ala Iter, —in re-modelling the old song of Gala Water, Burns followed his usual practice of transposing the leading idea of the verses. The old song may be quoted from Herd’s collection : O'er yon bank, and o'er yon brae. O'er yon moss amang the hether. I'll kilt my coats aboon my knee. And follow my love through the water. Down amang the broom, the broom, Down amang the broom, my dearie ; Ehe lassie lost her silketi snood, That gard her greet till she was voearie. J\/Ty Heart’* S tll the Highlands , — The following note is from chambers : J f A In this song Burns caught up the single streak of poetry which existed in a well-known old stall song, entitled 'The Strong Walls oj Derry, and which commences thus : 'The frst day I landed 'twas on Irish ground, 'The tidings came to me from fair Derry town, 'That my love was married, and to my sad wo. And I lost my frst love by courting too slow. Alter many stanzas of similar doggerel, the author breaks out, as under an inspiration, with the one hne verse, which Burns afterwards seized as a basis for his own beautilul ditty: My heart's in the Highlands, ?ny heart is not here; My heart's in the Highlands a-c hasing the deer; M-chasing the deer, and following the roe — My heart s in the Highlands wherever I go. NOTES TO THE SONGS. 223 D ainty Davie . — There is an echo of an old song in the chorus ot this lyric. The version given in Herd’s collection — which is only a fragment — runs thus: O leeze me on your curly pow, Leeze me on your curly pow. Dainty Davie., dainty Davie ; My ain dainty Davie. For once Burns agrees with the old singer in putting his song into the mouth of a lassie. Burns really wrote two versions of this song, but that given in the text has survived in popular regard by reason of the undoubted improvements it contains. Morison, — Burns is not always a safe guide in judging the merits of own songs. Of Mary Morison — a song which perfectly satisfied so rigorous The Home of Mary Morison. a critic as Hazlitt — he wrote that it was one of his “juvenile works,” and that he did not think it “ very remarkable, either for its merits or demerits.” The various editors of the poet have puzzled their brains to fit a heroine to the song, and Mr. W. Scott Douglas decides that “ Mary Morison ” is none other than the Ellison Begbie to whom Burns addressed his earliest love letters. To this it may be replied that there is a grave in Mauchline churchyard which claims to be the resting-place of the poet’s bonnie “ Mary Morison,” and that the home of her family is still to be seen in that famous Ayrshire town. T^OOrtlth Cauldo — On the manuscript of O Poortith Can Id Thomson wrote: “These verses, I humbly think, have too much of uneasy and cold refiection for the air, which is pleasing and rather gay than otherwise.” To which Burns rejoined : “ The objections are just, but I cannot make it better. The stuff won’t bear mending; yet for private reasons I should like to see it in print.” The “private reasons” consisted, undoubtedly, in his infatuation for Jean Lorimer, in whose honour the song was composed. Mr. W. Scott Douglas suggests, however, that the song was a piece of vicarious wooing on the part of Burns in tlie interests of his friend Gillespie, a fellow- officer in the excise. 224 NOTES TO THE SONGS. O h^ W^ert Thou in the Cauld "Blast,— t\\?x Jessie Lewars who was in the poet’s thoughts when he wrote Here s a Health to ane I Loe Dear was also the occasion of this exquisite song. Being in her company when his last illness was upon him, Burns told her that if she would play him any of her favourite tunes for which she desired new verses, he would try to write them. Jessie sat down at the piano, and played over several times the air of an old song beginning. The robin earn to the wrens nest, aAnd keekit in, and keekit in. Burns was not long in grasping the melody, and in a few moments he had composed his swan-song of love. The old air has long given place to Mendelssohn’s unrivalled melody. “ The Souter tauld his Queerest Stor/es." From the Original by John Faed, Esq., F.S.A. (By kind permission, j ^ BoSC-Bud by d\/Iy Barly M^alk, — Bums owed many of his pleasantest hours in Edinburgh in 1787 Janet Cruikshank, the youthful but accomplished daughter of Mr. William Cruikshank, with whom the poet lodged for a time. Dr. Walker draws this attractive picture of the poet and his young friend : “About the end of October, I called for him at the house of a friend [Mr. Cruikshank], whose daughter, though not more than twelve, was a considerable proficient in music. I found him seated by the harpsichord of this young lady, listening with the keenest interest to his own verses, which she sung and accompanied, and adjusting them to the music by repeated trials of the effect. In this occupation he was so totally absorbed that it was difficult to draw his attention from it for a moment.” The youthful Miss Cruikshank was the subject of A Rose-Bud by My F.ar/y Walk, as well as of some other verses inscribed by the poet on the blank leaf of a book with which he presented her. ''Perfection whispered, passing by, Behold the lass o' Ballochmyle ! ' Mrs. Lbsvis Hay ( M argaret Chalmers). ” My Peggy's face, my Peggy's form. The frost of hermit age might warsn , Afy Peggy's worth, my Peggy's 7nind, Might charm the first of hu?nan kind." NOTES TO THE SONGS. 227 Bonnie was yon Rosy Brier,— os this song the author writes that it was “ written on the blank leaf of a copy of the last edition of my poems, presented to the lady whom, in so many fictitious reveries of passion, but with the most ardent sentiments of real friendship, I have so often sung under the name of Chloris.” Composed, apparently, in August, 1795, it is one of the best of the lyrics inspired by the charms of Jean Lorimer. Burns himself was greatly pleased with it, and suggested that it might be set to the air of I wish my Love was in a mire. r 'he SodgeRs “ early in life, and all my life, I reckoned a re- cruiting drum as my forlorn hope.” Many of the localities of The Sodgers L^turn have been identified in the Ayrshire countryside, and a real incident akin to that on which the ballad is based is associated with the district near the “Mill o’ Ness.” A corres- pondent wrote Thom- son : “ Burns, I have been informed, was one summer evening Return, — Burns had a kindly regard for the life of a soldier ; at the inn at Brown- hill with a couple of friends, when a poor wayworn soldier passed the window : of a sudden, it struck the poet to call him in, and get the story of his adventures ; after listening to which, he all at once fell into one of those fits of abstraction not un- usual with him.” And the result was, the correspondent states, the now popular song of 'The Sodgers T(eturn, “/ pass'd the mill, and trystin thorn, Where Nancy aft I courted." From the original by John Faed, Esq., R.S.A. (By kind permission.) ^_T tghland Adary, — Bums sent the song of Highland Mary to Thomson in X d. November, 1792, with this note: “The foregoing song pleases myself; I think it is in my happiest manner: you will see at first glance that it suits the air [/.f*., Katherine Ogie\ The subject of the song is one of the most interesting passages of my youthful days, and I own that I should be much flattered to see the verses set to an air which would ensure celebrity. Perhaps, after all, ’tis the still glowing prejudice of my heart that throws a borrowed lustre over the merits of the composition.” This song is thought to have been composed on the sixth anniversary of Mary Campbell’s death, thus forming a companion to the immortal lyric f'To Mary in Heaven J with which her lover celebrated the third anniversary of that sorrowful event. 228 NOTES TO THE SONGS. O T/j/s is no 3Vly