The very name of Peter Pindar is an acquisition to your work. His "Gregory" is beautiful. I have tried to give you a set of stanzas in Scots, on the same subject, which are at your service. Not that I intend to enter the lists with Peter; that would be presumption indeed. My song, though much inferior in poetic merit, has, I think, more of the ballad simplicity in it.

LORD GREGORY. O mirk, mirk is this midnight hour, (etc.)

Your remark on the first stanza of my "Highland Mary" is just, but I cannot alter it, without injuring the poetry.

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VI.

20th March 1793.

My Dear Sir,—The song prefixed ("Mary Morison") is one of my juvenile works. I leave it in your hands. I do not think it very remarkable, either for its merits or demerits. It is impossible (at least I feel it so in my stinted powers) to be always original, entertaining, and witty.

What is become of the list, etc., of your songs? I shall be out of all temper with you by and by. I have always looked on myself as the prince of indolent correspondents, and valued myself accordingly; and I will not, cannot bear rivalship from you, nor anybody else.

* * * * *

VII.

7th April 1793.

Thank you, my dear Sir, for your packet. You cannot imagine how much this business of composing for your publication has added to my enjoyments. What, with my early attachment to ballads, your book, etc., ballad-making is now as completely my hobby-horse as ever fortification was Uncle Toby's; so I'll e'en canter it away till I come to the limit of my race (God grant that I may take the right side of the winning-post!) and then cheerfully looking back on the honest folks with whom I have been happy, I shall say, or sing, "Sae merry as we a' hae been" and raising my last looks to the whole human race, the last words of the voice of Coila shall be, "Good night, and joy be wi' you a'!" So much for my last words; now for a few present remarks as they have occurred at random, on looking over your list.

The first lines of "The last time I came o'er the Moor", and several other lines in it, are beautiful; but in my opinion—pardon me, revered shade of Ramsay!—the song is unworthy of the divine air. I shall try to make or mend. "For ever, Fortune, wilt thou prove," is a charming song; but "Logan Burn and Logan Braes" are sweetly susceptible of rural imagery; I'll try that likewise, and if I succeed, the other song may class among the English ones. I remember the two last lines of a verse in some of the old songs of "Logan Water" (for I know a good many different ones), which I think pretty—

Now my dear lad maun face his faes, Far, far frae me, and Logan braes.

"My Patie is a lover gay", is unequal. "His mind is never muddy," is a muddy expression indeed.

Then I'll resign and marry Pate, And syne my cockernony—

This is surely far unworthy of Ramsay, or your book. My song, "Rigs of Barley", to the same tune, does not altogether please me; but if I can mend it, and thresh a few loose sentiments out of it, I will submit it to your consideration. The "Lass o' Patie's Mill" is one of Ramsay's best songs; but there is one loose sentiment in it, which my much-valued friend, Mr. Erskine, will take into his critical consideration. In Sir J. Sinclair's statistical volumes are two claims, one I think, from Aberdeenshire, and the other from Ayrshire, for the honour of this song. The following anecdote, which I had from the present Sir William Cunningham, of Robertland, who had it of the late John, Earl of Loudon, I can on such authorities believe.

Allan Ramsay was residing at Loudon Castle with the then Earl, father to Earl John; and one forenoon, riding or walking out together, his lordship and Allan passed a sweet romantic spot on Irwine water, still called "Patie's Mill," where a bonnie lass was "tedding hay, bareheaded on the green." My lord observed to Allan, that it would be a fine theme for a song, Ramsay took the hint, and lingering behind, he composed the first sketch of it, which he produced at dinner.

"One day I heard Mary say," is a fine song; but for consistency's sake, alter the name "Adonis." Was there ever such banns published, as a purpose of marriage between Adonis and Mary? I agree with you that my song, "There's nought but care on every hand," is much superior to "Poortith Cauld." The original song, "The Mill, Mill, O," though excellent, is, on account of delicacy, inadmissible; still I like the title, and think a Scottish song would suit the notes best; and let your chosen song, which is very pretty, follow, as an English set. The "Banks of Dee" is, you know, literally "Langolee" to slow time. The song is well enough, but has some false imagery in it, for instance,

And sweetly the nightingale sung from the tree.

In the first place, the nightingale sings in a low bush, but never from a tree; and in the second place, there never was a nightingale seen or heard on the banks of the Dee, or on the banks of any other river in Scotland. Exotic rural imagery is always comparatively flat. If I could hit on another stanza equal to "The small birds rejoice," etc., I do myself honestly avow that I think it a superior song. "John Anderson, my jo"—the song to this tune in Johnson's Museum is my composition, and I think it not my worst: if it suit you, take it and welcome. Your collection of sentimental and pathetic songs is, in my opinion, very complete; but not so your comic ones. Where are "Tullochgorum," "Lumps o' Puddin'," "Tibbie Fowler," and several others, which, in my humble judgment, are well worthy of preservation? There is also one sentimental song of mine in the Museum, which never was known out of the immediate neighbourhood, until I got it taken down from a country girl's singing. It is called "Craigie-burn Wood;" and in the opinion of Mr. Clarke is one of our sweetest Scottish songs. He is quite an enthusiast about it; and I would take his taste in Scottish music against the taste of most connoisseurs.

You are quite right in inserting the last five in your list, though they are certainly Irish. "Shepherds, I have lost my love," is to me a heavenly air—what would you think of a set of Scottish verses to it? I have made one a good while ago, which I think is the best love song[141] I ever composed in my life; but in its original state it is not quite a lady's song. I enclose an altered, not amended copy for you, if you choose to set the tune to it, and let the Irish verses follow.

Mr. Erskine's songs are all pretty, but his "Lone Vale" is divine.—Yours, etc.

Let me know just how you like these random hints.

[Footnote 141: "Yestreen I had a pint o' wine."]

* * * * *

VIII.

April 1793.

My Dear Sir,—I own my vanity is flattered when you give my songs a place in your elegant and superb work; but to be of service to the work is my first wish. As I have often told you, I do not in a single instance wish you, out of compliment to me, to insert anything of mine. One hint let me give you—whatever Mr. Peyel does, let him not alter one iota of the original Scottish airs; I mean in the song department; but let our national music preserve its native features. They are, I own, frequently wild, and irreducible to the more modern rules; but on that very eccentricity, perhaps, depends a great part of their effect.

* * * * *

IX.

June 1793.

When I tell you, my dear Sir, that a friend of mine, in whom I am much interested, has fallen a sacrifice to these accursed times, you will easily allow that it might unhinge me for doing any good among ballads. My own loss, as to pecuniary matters, is trifling; but the total ruin of a much-loved friend is a loss indeed. Pardon my seeming inattention to your last commands.

I cannot alter the disputed lines in the "Mill, Mill, O."[142] What you think a defect I esteem as a positive beauty; so you see how doctors differ. I shall now, with as much alacrity as I can muster, go on with your commands.

You know Frazer, the hautboy player in Edinburgh—he is here instructing a band of music for a fencible corps quartered in this country. Among many of the airs that please me, there is one well known as a reel, by the name of "The Quaker's Wife"; and which I remember a grand-aunt of mine used to sing, by the name of "Liggeram Cosh, my bonnie wee lass". Mr. Frazer plays it slow, and with an expression that quite charms me. I became such an enthusiast about it that I made a song for it, which I here subjoin, and inclose Frazer's set of the tune. If they hit your fancy, they are at your service; if not, return me the tune, and I will put it in Johnson's Museum. I think the song is not in my worst manner.

Blithe hae I been on yon hill, (etc.)

I should wish to hear how this pleases you.

[Footnote 142: The lines were the third and fourth—

Wi' mony a sweet babe fatherless, And mony a widow mourning.]

* * * *

X.

June 25th 1793.

Have you ever, my dear Sir, felt your bosom ready to burst with indignation on reading of those mighty villains who divide kingdom against kingdom, desolate provinces, and lay nations waste, out of the wantonness of ambition, or often from still more ignoble passions? In a mood of this kind to-day I recollected the air of "Logan Water;" and it occurred to me that its querulous melody probably had its origin from the plaintive indignation of some swelling, suffering heart, fired at the tyrannic strides of some public destroyer, and overwhelmed with private distress, the consequence of a country's ruin. If I have done anything at all like justice to my feelings, the following song, composed in three quarters of an hour's meditation in my elbow-chair, ought to have some merit.

[Here follows "Logan Water."]

Do you know the following beautiful little fragment in Witherspoon's Collection of Scots Songs?

Air—Hughie Graham.

O gin my love were yon red rose, That grows upon the castle wa', And I mysel' a drap o' dew Into her bonnie breast to fa'!

Oh, there beyond expression blest, I'd feast on beauty a' the night; Seal'd on her silk saft faulds to rest, Till fley'd awa by Phoebus light.

This thought is inexpressibly beautiful; and quite, so far as I know, original. It is too short for a song, else I would forswear you altogether, unless you gave it a place. I have often tried to eke a stanza to it, but in vain. After balancing myself for a musing five minutes, on the hind legs of my 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 might be first in place; as every poet, who knows anything of his trade, will husband his best thoughts for a concluding stroke.

O were my love yon lilac fair, Wi' purple blossoms to the spring; And I a bird to shelter there, When wearied on my little wing;

How I wad mourn, when it was torn By autumn wild, and winter rude! But I wad sing on wanton wing, When youthfu' May its bloom renew'd.

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XI.

July 1793.

I assure you, my dear Sir, that you truly hurt me with your pecuniary parcel. It degrades me in my own eyes. However, to return it would savour of affectation; but as to any more traffic of that debtor or creditor kind, I swear by that HONOUR which crowns the upright statue of ROBERT BURNS'S INTEGRITY—on the least motion of it, I will indignantly spurn the by—past transaction, and from that moment commence entire stranger to you! BURNS'S character for generosity of sentiment and independence of mind will, I trust, long outlive any of his wants, which the cold, unfeeling ore can supply: at least, I will take care that such a character he shall deserve.

Thank you for my copy of your publication. Never did my eyes behold, in any musical work, such elegance and correctness. Your preface, too, is admirably written; only, your partiality to me has made you say too much: however, it will bind me down to double every eifort in the future progress of the work. The following are a few remarks on the songs in the list you sent me. I never copy what I write to you, so I may be often tautological, or perhaps contradictory.

"The Flowers of the Forest" is charming as a poem; and should be, and must be, set to the notes; but, though out of your rule, the three stanzas, beginning,

I hae seen the smiling o' fortune beguiling,

are worthy of a place, were it but to immortalise the author of them, who is an old lady[143] of my acquaintance, and at this moment living in Edinburgh. She is a Mrs. Cockburn; I forget of what place; but from Roxburghshire. What a charming apostrophe is

O fickle Fortune, why this cruel sporting, Why, why torment us—poor sons of a day!

The old ballad, "I wish I were where Helen lies," is silly, to contemptibility. My alteration of it, in Johnson's, is not much better.

[Footnote 142: Nee Rutherford, of Selkirkshire. She was then 81 years old.]

* * * * *

XII.

August 1793.

That tune, "Cauld Kail," is such a favourite of yours, that I once more roved out yesterday for a gloamin-shot at the muses; when the muse that presides o'er the shores of Nith, or rather my old inspiring dearest nymph, Coila, whispered me the following. I have two reasons for thinking that it was my early, sweet, simple inspirer that was by my elbow, "smooth gliding without step," and pouring the song on my glowing fancy. In the first place, since I left Coila's haunts, not a fragment of a poet has arisen to cheer her solitary musings, by catching inspiration from her; so I more than suspect she has followed me hither, or at least makes me occasional visits; secondly, the last stanza of this song I send you is the very words that Coila taught me many years ago, and which I set to an old Scots reel in Johnson's Museum.

Autumn is my propitious season. I make more verses in it than in all the year else. God bless you.

* * * *

XIII.

Sept. 1793.

You may readily trust, my dear Sir, that any exertion in my power is heartily at your service. But one thing I must hint to you; the very name of Peter Finder is of great service to your publication, so get a verse from him now and then; though I have no objection, as well as I can, to bear the burden of the business.

You know that my pretensions to musical taste are merely a few of nature's instincts, untaught and untutored by art. For this reason, many musical compositions, particularly where much of the merit lies in counterpoint, however they may transport and ravish the ears of your connoisseurs, affect my simple lug no otherwise than merely as melodious din. On the other hand, by way of amends, I am delighted with many little melodies which the learned musician despises as silly and insipid. I do not know whether the old air "Hey tuttie taittie" may rank among this number; but well I know that, with Frazer's hautboy, it has often filled my eyes with tears. There is a tradition, which I have met with in many places of Scotland, that it was Robert Bruce's march at the battle of Bannockburn. This thought, in my solitary wanderings, warmed me to a pitch of enthusiasm on the theme of Liberty and Independence, which I threw into a kind of Scottish ode, fitted to the air, that one might suppose to be the gallant Royal Scot's address to his heroic followers on that eventful morning.

BRUCE TO HIS TROOPS, On the Eve of the Battle of Bannockburn. Hey tuttie taittie. Scots, wha hae wi' Wallace bled, (etc.)

So may God ever defend the cause of Truth and Liberty, as He did that day!—Amen.

P.S.—I showed the air to Urbani, who was highly pleased with it, and begged me to make soft verses for it; but I had no idea of giving myself any trouble on the subject, till the accidental recollection of that glorious struggle for freedom, associated with the glowing ideas of some other struggles of the same nature, not quite so ancient, roused my rhyming mania. Clarke's set of the tune, with his bass, you will find in the Museum; though I am afraid that the air is not what will entitle it to a place in your elegant selection.

* * * * *

XIV.

September 1793.

I have received your list, my dear Sir, and here go my observations on it.[143]

"Down the burn, Davie." I have this moment tried an alteration, leaving out the last half of the third stanza, and the first half of the last stanza, thus:—

As down the burn they took their way, And thro' the flowery dale, His cheek to hers he aft did lay, And love was aye the tale.

With "Mary, when shall we return, Sic pleasure to renew?" Quoth Mary, "Love, I like the burn, And aye shall follow you."

"Thro' the wood, laddie." I am decidedly of opinion that both in this and "There'll never be peace till Jamie comes hame," the second or high part of the tune being a repetition of the first part an octave higher, is only for instrumental music, and would be much better omitted in singing.

"Cowden-knowes." Remember in your index that the song in pure English, to this tune, beginning

When summer comes, the swains on Tweed,

is the production of Crawford; Robert was his Christian name.

"Laddie lie near me," must lie by me for some time. I do not know the air; and until I am complete master of a tune in my own singing (such as it is), I never can compose for it. My way is: I consider the poetic sentiment correspondent to my idea of the musical expression, then choose my theme, begin one stanza; when that is composed, which is generally the most difficult part of the business, I walk out, sit down now and then, look out for objects in nature around me that are in unison 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. What cursed egotism!

"Gil Morice" I am for leaving out. It is a plaguy length; the air itself is never sung, and its place can well be supplied by one or two songs for fine airs that are not in your list. For instance, "Craigieburn-wood" and "Roy's Wife". The first, besides its intrinsic merit, has novelty; and the last has high merit, as well as great celebrity. I have the original words of a song for the last air in the handwriting of the lady who composed it, and they are superior to any edition of the song which the public has yet seen.

"Highland Laddie". The old set will please a mere Scotch ear best; and the new an Italianised one. There is a third, and what Oswald calls the "Old Highland Laddie", which pleases we more than either of them. It is sometimes called "Jinglan Johnnie", it being the air of an old humorous tawdry song of that name. You will find it in the Museum, "I hae been at Crookie-den," etc. I would advise you in this musical quandary, to offer up your prayers to the muses for inspiring direction; and, in the meantime, waiting for this direction, bestow a libation to Bacchus, and there is not a doubt but you will hit on a judicious choice. Probatum est.

"Auld Sir Simon," I must beg you to leave out, and put in its place "The Quaker's Wife".

"Blythe hae I been on yon hill" is one of the finest songs ever I made in my life; and, besides, is composed on a young lady positively the most beautiful, lovely woman in the world. As I purpose giving you the names and designations of all my heroines, to appear in some future edition of your work, perhaps half a century hence, you must certainly include the bonniest lass in a' the warld in your collection.

"Daintie Davie" I have heard sung nineteen thousand, nine hundred, and ninety-nine times, and always with the low part of the tune; and nothing has surprised me so much as your opinion on this subject. If it will not suit, as I propose, we will lay two of the stanzas together, and then make the chorus follow.

"Fee him, Father". I enclose you Frazer's set of this tune when he plays it slow; in fact, he makes it the language of despair, I shall here give you two stanzas in that style, merely to try if it will be any improvement. Were it possible, in singing, to give it half the pathos which Frazer gives it in playing, it would make an admirable pathetic song. I do not give these verses for any merit they have. I composed them at the time at which Patie Allan's mither died; that was the back o' midnight; and by the lee-side of a bowl of punch, which had overset every mortal in the company, except the hautbois and the muse.

Thou hast left me ever, Jamie, (etc.)

"Jockie and Jenny" I would discard, and in its place would put "There's nae luck about the house", which has a very pleasant air; and which is positively the finest love-ballad in that style in the Scottish, or perhaps in any other language. "When she came ben she bobbet", as an air, is more beautiful than either, and in the andante way would unite with a charming sentimental ballad.

"Saw ye my father" is one of my greatest favourites. The evening before last I wandered out, and began a tender song, in what I think its native style. I must premise that the old way, and the way to give most effect, is to have no starting note, as the fiddlers call it, but to burst at once into the pathos. Every country girl sings-"Saw ye my father", etc.

My song is just begun; and I should like, before I proceed, to know your opinion of it. I have sprinkled it with the Scottish dialect, but it may be easily turned into correct English.

Fragment.—Tune—"Saw ye my Father" Where are the joys I hae met in the morning, (etc.)

"Todlin hame": Urbani mentioned an idea of his, which has long been mine; and this air is highly susceptible of pathos; accordingly, you will soon hear him, at your concert, try it to a song of mine in the Museum—"Ye banks and braes o' bonnie Doon". One song more and I have done: "Auld lang syne". The air is but mediocre; but the following song, the old song of the olden times, and which has never been in print, nor even in manuscript, until I took it down from an old man's singing, is enough to recommend any air.[144]

AULD LANG SYNE. Should auld acquaintance be forgot, (etc.)

Now, I suppose I have tired your patience fairly. You must, after all is over, have a number of ballads, properly so called, "Gil Morice", "Tranent Muir", "M'Pherson's Farewell", "Battle of Sheriff-Muir", or "We ran and they ran" (I know the author of this charming ballad, and his history); "Hardiknute", "Barbara Allan" (I can furnish a finer set of this tune than any that has yet appeared), and besides, do you know that I really have the old tune to which "The Cherry and the Slae" was sung? and which is mentioned as a well-known air in Scotland's Complaint, a book published before poor Mary's days. It was then called "The Banks o' Helicon"; an old poem which Pinkerton has brought to light. You will see all this in Tytler's History of Scottish Music. The tune, to a learned ear, may have no great merit; but it is a great curiosity. I have a good many original things of this kind.

[Footnote 143: Songs for his publication. Burns goes through the whole; but only his remarks of any importance are presented here.]

[Footnote 144: It is believed to have been his own composition.]

* * * * *

XV.

September 1793.

"Who shall decide when doctors disagree?" My ode[145] pleases me so much that I cannot alter it. Your proposed alterations would, in my opinion, make it tame. I am exceedingly obliged to you for putting me on reconsidering it; as I think I have much improved it. Instead of "sodger! hero!" I will have it "Caledonian! on wi' me!"

I have scrutinised it over and over; and to the world some way or other it shall go as it is. At the same time it will not in the least hurt me, should you leave it out altogether, and adhere to your first intention of adopting Logan's verses.

I have finished my song to "Saw ye my Father;" and in English, as you will see. That there is a syllable too much for the expression of the air, is true; but allow me to say, that the mere dividing of a dotted crotchet into a crotchet and a quaver is not a great matter; however, in that, I have no pretensions to cope in judgment with you. Of the poetry I speak with confidence; but the music is a business where I hint my ideas with the utmost diffidence.

[Footnote 145: Scots wha hae.]

* * * * *

XVI.

May 1794.

My Dear Sir,—I return you the plates, with which I am highly pleased. I would humbly propose, instead of the younker knitting stockings, to put a stock and horn into his hands. A friend of mine, who is positively the ablest judge on the subject I have ever met with, and though an unknown, is yet a superior artist with the burin, is quite charmed with Allan's manner. I got him a peep of the "Gentle Shepherd", and he pronounces Allan a most original artist of great excellence.

For my part, I look on Mr. Allan's choosing my favourite poem for his subject to be one of the highest compliments I have ever received.

I am quite vexed at Pleyel's being cooped up in France, as it will put an entire stop to our work. Now, and for six or seven months, I shall be quite in song, as you shall see by-and-by. I got an air, pretty enough, composed by Lady Elizabeth Heron, of Heron, which she calls "The Banks of Cree." Cree is a beautiful romantic stream, and, as her ladyship is a particular friend of mine, I have written the following song to it:—

Here is the glen, and here the bower, (etc.)

* * * * *

XVII.

Sept. 1794.

I shall withdraw my "On the seas and far away" altogether; it is unequal, and unworthy of the work. Making a poem is like begetting a son; you cannot know whether you have a wise man or a fool, until you produce him to the world and try him.

For that reason I have sent you the offspring of my brain, abortions and all; and as such, pray look over them, and forgive them, and burn them. I am flattered at your adopting "Ca' the yowes to the knowes", as it was owing to me that it ever saw the light. About seven years ago I was well acquainted with a worthy little fellow of a clergyman, a Mr. Clunie, who sung it charmingly: and, at my request, Mr. Clarke took it down from his singing. When I gave it to Johnson, I added some stanzas to the song, and mended others, but still it will not do for you. In a solitary stroll which I took to-day, I tried my hand on a few pastoral lines, following up the idea of the chorus, which I would preserve. Here it is, with all its crudities and imperfections on its head.

Ca' the yowes, (etc.)

I shall give you my opinion of your other newly adopted songs, my first scribbling fit.

* * * * *

XVIII.

19th October 1794.

My Dear Friend,—By this morning's post I have your list, and, in general, I highly approve of it. I shall, at more leisure, give you a critique on the whole. Clarke goes to your town by to-day's fly, and I wish you would call on him and take his opinion in general; you know his taste is a standard. He will return here again in a week or two, so please do not miss asking for him. One thing I hope he will do—persuade you to adopt my favourite, "Craigie-burn wood", in your selection; it is as great a favourite of his as of mine. The lady on whom it was made is one of the finest women in Scotland; and, in fact (entre nous), is in a manner to me what Sterne's Eliza was to him—a mistress, a friend, or what you will, in the guileless simplicity of Platonic love. (Now, don't put any of your squinting constructions on this, or have any clishmaclaiver about it among our acquaintances.) I assure you that to my lovely friend you are indebted for many of your best songs of mine. Do you think that the sober gin-horse routine of existence could inspire a man with life, and love, and joy—could fire him with enthusiasm, or melt him with pathos, equal to the genius of your book? No! no! 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 divine 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!

To descend to business; if you like my idea of "When she cam ben she bobbit", the enclosed stanzas of mine, altered a little from what they were formerly when set to another air, may perhaps do instead of worse stanzas.

Now for a few miscellaneous remarks. "The Posie" (in the Museum) is my composition; the air was taken down from Mrs. Burns's voice. It is well known in the West Country, but the old words are trash. By-the-bye, take a look at the tune again, and tell me if you do not think it is the original from which "Roslin Castle" is composed. The second part in particular, for the first two or three bars, is exactly the old air. "Strathallan's Lament" is mine; the music is by our right trusty and deservedly well beloved, Allan Masterton. "Donocht head" is not mine; I would give ten pounds if it were. It appeared first in the Edinburgh Herald; and came to the editor of that paper with the Newcastle post-mark on it[146]

"Whistle o'er the lave o't" is mine; the music is said to be by a John Bruce, a celebrated violin player in Dumfries, about the beginning of this century. This I know, Bruce, who was an honest man, though a redwud Highlandman, constantly claimed it; and by all the old musical people here is believed to be the author of it.

"Andrew and his cutty gun". The song to which this is set in the Museum is mine; and was composed on Miss Euphemia Murray, of Lintrose, commonly and deservedly called the "Flower of Strathmore."

"How lang and dreary is the night." I met with some such words in a collection of songs somewhere, which I altered and enlarged; and to please you, and to suit your favourite air, I have taken a stride or two across the room, and have arranged it anew, as you will find on the other page.

Tune—Cauld Kail in Aberdeen. How lang and dreary is the night, (etc.)

Tell me how you like this. I differ from your idea of the expression of the tune. There is, to me, a great deal of tenderness in it.

I would be obliged to you if you would procure me a sight of Ritson's Collection of English Songs, which you mention in your letter. I will thank you for another information, and that as speedily as you please—whether this miserable drawling hotch-potch epistle has not completely tired you of my correspondence.

[Footnote 146:

"Keen blaws the wind o'er Donocht head, The snaw drives snelly thro' the dale, The Gaberlunzie tirls my sneck, And, shivering, tells his waefu' tale. "Cauld is the night, O let me in, And dinna let your minstrel fa', And dinna let his winding-sheet Be naething but a wreath o' snaw."(etc.)]

* * * * *

XIX.

November 1794.

Many thanks to you, my dear sir, for your present: it is a book of the utmost importance to me. I have yesterday begun my anecdotes, etc., for your work. I intend drawing it up in the form of a letter to you, which will save me from the tedious dull business of systematic arrangement. Indeed, as all I have to say consists of unconnected remarks, anecdotes, scraps of old songs, etc., it would be impossible to give the work a beginning, a middle, and an end; which the critics insist to be absolutely necessary in a work. In my last, I told you my objections to the song you had selected for "My lodging is on the cold ground". On my visit the other day to my fair Chloris (that is the poetic name of the lovely goddess of my inspiration), she suggested an idea, which I, on my return from the visit, wrought into the following song:—

My Chloris, mark how green the groves, (etc,)

How do you like the simplicity and tenderness of this pastoral? I think it pretty well.

I like you for entering so candidly and so kindly into the story of ma chlre amie. I assure you, I was never more in earnest in my life than in the account of that affair which I sent you in my last. 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 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. Still, I am a very poet, in my enthusiasm of the passion. The welfare and happiness of the beloved object is the first and inviolate sentiment that pervades my soul; and whatever pleasures I might wish for, or whatever might be the raptures they would give me, yet, if they interfere with that first principle, it is having these pleasures at a dishonest price; and justice forbids, and generosity disdains, the purchase!

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XX.

I am out of temper that you should set so sweet, so tender an air, as "Deil tak the wars," to the foolish old verses. You talk of the silliness of "Saw ye my father:" by heavens, the odds is gold to brass! Besides, the old song, though now pretty well modernised into the Scottish language, is, originally, and in the early editions, a bungling low imitation of the Scottish manner, by that genius, Tom D'Urfey; so has no pretensions to be a Scottish production. There is a pretty English song by Sheridan in the "Duenna," to this air, which is out of sight superior to D'Urfey's. It begins,

When sable night each drooping plant restoring.

The air, if I understand the expression of it properly, is the very native language of simplicity, tenderness, and love. I have again gone over my song to the tune as follows.[147]

There is an air, "The Caledonian Hunt's delight", to which I wrote a song that you will find in Johnson. "Ye banks and braes o' bonnie Doon"; this air, I think, might find a place among your hundred, as Lear says of his knights. Do you know the history of the air? It is curious enough. A good many years ago, Mr. James Miller, writer in your good town, a gentleman whom possibly you know, was in company with our friend Clarke; and talking of Scottish music, Miller expressed an ardent ambition to be able to compose a Scots air. Mr. Clarke, partly by way of joke, told him to keep to the black keys of the harpsichord, and preserve some kind of rhythm, and he would infallibly compose a Scots air. Certain it is, that in a few days, Mr. Miller produced the rudiments of an air, which Mr. Clarke, with some touches and corrections, fashioned into the tune in question. Ritson, you know, has the same story of the "Black keys;" but this account which I have just given you, Mr. Clarke informed me of several years ago. Now, to shew you how difficult it is to trace the origin of our airs, I have heard it repeatedly asserted that this was an Irish air nay, I met with an Irish gentleman who affirmed he had heard it in Ireland among the old women; while, on the other hand, a countess informed me, that the first person who introduced the air into this country was a baronet's lady of her acquaintance, who took down the notes from an itinerant piper in the Isle of Man. How difficult then to ascertain the truth respecting our poesy and music! I, myself, have lately seen a couple of ballads sung through the streets of Dumfries, with my name at the head of them as the author, though it was the first time I had ever seen them.

I am ashamed, my dear fellow, to make the request; 'tis dunning your generosity; but in a moment when I had forgotten whether I was rich or poor, I promised Chloris a copy of your songs. It wrings my honest pride to write you this; but an ungracious request is doubly so, by a tedious apology. To make you some amends, as soon as I have extracted the necessary information out of them, I will return you Ritson's volumes.

The lady is not a little proud that she is to make so distinguished a figure in your collection, and I am not a little proud that I have it in my power to please her so much. Lucky it is for your patience that my paper is done, for when I am in a scribbling humour, I know not when to give over.

[Footnote 147: Our Bard remarks upon it, "I could easily throw this into an English mould; but, to my taste, in the simple and the tender of the pastoral song, a sprinkling of the old Scottish has an inimitable effect."]

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XXI.

19th Nov. 1794.

Tell my friend Allan (for I am sure that we only want the trifling circumstance of being known to one another to be the best friends on earth) that I much suspect he has, in his plates, mistaken the figure of the stock and horn. I have, at last, gotten one; but it is a very rude instrument. It is composed of three parts; the stock, which is the hinder thigh-bone of a sheep, such as you see in a mutton-ham, the horn, which is a common Highland cow's horn, cut off at the smaller end, until the aperture be large enough to admit the stock to be pushed up through the horn, until it be held by the thicker end of the thigh-bone; and, lastly, an oaten reed exactly cut and notched like that which you see every shepherd boy have, when the corn stems are green and full-grown. The reed is not made fast in the bone, but is held up by the lips, and plays loose in the smaller end of the stock; while the stock, with the horn hanging on its larger end, is held by the hands in playing. The stock has six or seven ventiges on the upper side, and one back ventige, like the common flute. This of mine was made by a man from the Braes of Athole, and is exactly what the shepherds wont to use in that country.

However, either it is not quite properly bored in the holes, or else we have not the art of blowing it rightly; for we can make little of it. If Mr. Allan chooses, I will send him a sight of mine; as I look on myself to be a kind of brother-brush with him. "Pride in poets is nae sin", and I will say it, that I look on Mr. Allan and Mr. Burns to be the only genuine and real painters of Scottish costume in the world.

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XXII.

January 1795.

I fear for my songs; however a few may please, yet originality is a coy feature in composition, and in a multiplicity of efforts in the same style, disappears altogether. For these three thousand years we poetic folks have been describing the spring, for instance; and, as the spring continues the same, there must soon be a sameness in the imagery, etc., of these said rhyming folks.

A great critic, Aikin on Songs, says that love and wine are the exclusive themes for song-writing. The following is on neither subject, and consequently is no song; but will be allowed, I think, to be two or three pretty good prose thoughts, inverted into rhyme.

FOR A' THAT AND A' THAT. Is there for honest poverty, (etc.)

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XXIII.

Ecclefechan,[148] 7th Feb. 1795.

My Dear Thomson,—You cannot have any idea of the predicament in which I write to you. In the course of my duty as supervisor (in which capacity I have acted of late) I came yesternight to this unfortunate, wicked little village. I have gone forward, but snows of ten feet deep have impeded my progress: I have tried to "gae back the gate I cam again," but the same obstacle has shut me up within insuperable bars. To add to my misfortune, since dinner, a scraper has been torturing catgut, in sounds that would have insulted the dying agonies of a sow under the hands of a butcher, and thinks himself, on that very account, exceeding good company. In fact, I have been in a dilemma, either to get drunk, to forget these miseries; or to hang myself, to get rid of them; like a prudent man (a character congenial to my every thought, word, and deed) I of two evils have chosen the least, and am very drunk at your service!

I wrote you yesterday from Dumfries. I had not time then to tell you all I wanted to say; and Heaven knows, at present I have not capacity.

Do you know an air—I am sure you must know it, "We'll gang nae mair to yon town?" I think, in slowish time, it would make an excellent song. I am highly delighted with it; and if you should think it worthy of your attention, I have a fair dame in my eye to whom I would consecrate it.

As I am just going to bed, I wish you a good night.

[Footnote 148: The birthplace of Carlyle.]

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XXIV.

You see how I answer your orders; your tailor could not be more punctual. I am just now in a high fit of poetising, provided that the strait-jacket of criticism don't cure me. If you can, in a post or two, administer a little of the intoxicating potion of your applause, it will raise your humble servant's frenzy to any height you want. I am at this moment "holding high converse" with the Muses, and have not a word to throw away on such a prosaic dog as you are.

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XXV.

April 1796.

Alas, my dear Thomson, I fear it will be some time ere I tune my lyre again! "By Babel streams I have sat and wept" almost ever since I wrote you last. I have only known existence by the pressure of the heavy hand of sickness, and have counted time by the repercussions of pain! Rheumatism, cold, and fever have formed to me a terrible combination. I close my eyes in misery, and open them without hope. I look on the vernal day, and say, with poor Fergusson—

Say, wherefore has an all indulgent Heaven Light to the comfortless and wretched given?

This will be delivered to you by a Mrs. Hyslop, landlady of the Globe Tavern here, which for these many years has been my howff, and where our friend Clarke and I have had many a merry squeeze. I am highly delighted with Mr. Allan's etchings. "Woo'd and married and a'", is admirable! The grouping is beyond all praise. The expression of the figures, conformable to the story in the ballad, is absolutely faultless perfection. I next admire "Turnim-spike". What I like least is, "Jenny said to Jockey". Besides the female being in her appearance quite a virago, if you take her stooping into the account, she is at least two inches taller than her lover. Poor Cleghorn! I sincerely sympathise with him! Happy am I to think that he yet has a well-grounded hope of health and enjoyment in this world. As for me—but that is a damning subject!

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XXVI.

[Probably May 1796.]

My Dear Sir,—Inclosed is a certificate which (although little different from the model) I suppose will amply answer the purpose, and I beg you will prosecute the miscreants[149] without mercy. When your publication is finished, I intend publishing a collection, on a cheap plan, of all the songs I have written for you, The Museum, and others—at least, all the songs of which I wish to be called the author. I do not propose this so much in the way of emolument as to do justice to my muse, lest I should be blamed for trash I never saw, or be defrauded by false claimants of what is justly my own. The post is going.—I will write you again to-morrow. Many thanks for the beautiful seal.

R. B.

[Footnote 149: For infringement of copyright.]

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XXVII.

BROW-ON-SOLWAY, 4th July 1796.

My Dear Sir,—I received your songs; but my health is so precarious, nay, dangerously situated, that, as a last effort, I am here at sea-bathing quarters. Besides an inveterate rheumatism, my appetite is quite gone, and I am so emaciated as to be scarce able to support myself on my own legs. Alas! Is this a time for me to woo the muses? However, I am still anxiously willing to serve your work, and if possible shall try. I would not like to see another employed—unless you could lay your hand upon a poet whose productions would be equal to the rest. Farewell, and God bless you.

R. BURNS.

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XXVIII.

BROW, on the Solway Firth, 12th July 1796.

After all my boasted independence, curst necessity compels me to implore you for five pounds. A cruel wretch of a haberdasher, to whom I owe an account, taking it into his head that I am dying, has commenced a process, and will infallibly put me into jail.

Do, for God's sake, send me that sum, and that by return of post. Forgive me this earnestness, but the horrors of a jail have made me half distracted. I do not ask all this gratuitously; for, upon returning health, I hereby promise and engage to furnish you with five pounds worth of the neatest song-genius you have seen. I tried my hand on "Rothiemurchie" this morning. The measure is so difficult that it is impossible to infuse much genius into the lines; they are on the other side. Forgive, forgive me![150]

Fairest maid on Devon banks, Crystal Devon, winding Devon, Wilt thou lay that frown aside, And smile as thou wert wont to do? (etc.)

[Footnote 150: These verses, and the letter inclosing them, are written in a character that marks the very feeble state of their author.]

THE END