Then fy, let us a' to the wedding, For they will be lilting there, Frae mony a far-distant ha'ding, The fun and the feasting to share. For they will get sheep's-head and haggis, And browst o' the barley-mow; E'en he that comes latest and lagis May feast upon dainties enow.

Veal florentines, in the o'en baken, Weel plenish'd wi' raisins and fat; Beef, mutton, and chuckies, a' taken Het reekin' frae spit and frae pat. And glasses (I trow 'tis nae said ill) To drink the young couple gude luck, Weel fill'd wi' a braw beechen ladle, Frae punch-bowl as big as Dumbuck.

And then will come dancing and daffing, And reelin' and crossin' o' han's, Till even auld Lucky is laughing, As back by the aumry she stan's. Sic bobbing, and flinging, and whirling, While fiddlers are making their din; And pipers are droning and skirling, As loud as the roar o' the linn.

Then fy, let us a' to the wedding, For they will be lilting there; For Jock 's to be married to Maggie, The lass wi' the gowden hair.

[30] This song is a new version of "The Blythesome Bridal," beginning, "Fy, let us a' to the bridal," which first appeared in Watson's Collection, in 1706, and of which the authorship was generally assigned to Francis Semple of Beltrees, in Renfrewshire, who lived in the middle of the seventeenth century, though more recently it has been attributed to Sir William Scott of Thirlestane, in Selkirkshire, who flourished in the beginning of last century. The words of the original song are coarse, but humorous.



HOOLY AND FAIRLY.[31]

Oh, neighbours! what had I to do for to marry? My wife she drinks posset and wine o' Canary; And ca's me a niggardly, thrawn-gabbit cairly. O gin my wife wad drink hooly and fairly! Hooly and fairly, hooly and fairly; O gin my wife wad drink hooly and fairly!

She sups, wi' her kimmers, on dainties enow, Aye bowing, and smirking, and wiping her mou'; While I sit aside, and am helpit but sparely. O gin my wife wad feast hooly and fairly! Hooly and fairly, hooly and fairly; O gin my wife wad feast hooly and fairly!

To fairs, and to bridals, and preachings an' a', She gangs sae light-headed, and buskit sae braw, In ribbons and mantuas, that gar me gae barely. O gin my wife wad spend hooly and fairly! Hooly and fairly, hooly and fairly; O gin my wife wad spend hooly and fairly!

I' the kirk sic commotion last Sabbath she made, Wi' babs o' red roses, and breast-knots o'erlaid; The dominie stickit the psalm very nearly. O gin my wife wad dress hooly and fairly! Hooly and fairly, hooly and fairly; O gin my wife wad dress hooly and fairly!

She 's warring and flyting frae mornin' till e'en, And if ye gainsay her, her een glower sae keen; Then tongue, neive, and cudgel, she 'll lay on me sairly. O gin my wife wad strike hooly and fairly! Hooly and fairly, hooly and fairly; O gin my wife wad strike hooly and fairly!

When tired wi' her cantrips, she lies in her bed— The wark a' negleckit, the chalmer unred— While a' our gude neighbours are stirring sae early. O gin my wife wad wark timely and fairly! Timely and fairly, timely and fairly; O gin my wife wad wark timely and fairly!

A word o' gude counsel or grace she 'll hear none; She bandies the elders, and mocks at Mess John; While back in his teeth his own text she flings sairly. O gin my wife wad speak hooly and fairly! Hooly and fairly, hooly and fairly; O gin my wife wad speak hooly and fairly!

I wish I were single, I wish I were freed; I wish I were doited, I wish I were dead; Or she in the mouls, to dement me nae mairly. What does it 'vail to cry, Hooly and fairly! Hooly and fairly, hooly and fairly; Wasting my health to cry, Hooly and fairly.

[31] The style of this song and the chorus are borrowed from "The Drucken Wife o' Gallowa'," a song which first appeared in the "Charmer," a collection of songs, published at Edinburgh in 1751, but the authorship of which is unknown.



THE WEARY PUND O' TOW.

A young gudewife is in my house, And thrifty means to be, But aye she 's runnin' to the town Some ferlie there to see. The weary pund, the weary pund, the weary pund o' tow, I soothly think, ere it be spun, I 'll wear a lyart pow.

And when she sets her to her wheel, To draw her threads wi' care, In comes the chapman wi' his gear, And she can spin nae mair. The weary pund, &c.

And then like ony merry May, At fairs maun still be seen, At kirkyard preachings near the tent, At dances on the green. The weary pund, &c.

Her dainty ear a fiddle charms, A bagpipe 's her delight, But for the crooning o' her wheel She disna care a mite. The weary pund, &c.

"You spake, my Kate, of snaw-white webs Made o' your hinkum twine, But, ah! I fear our bonnie burn Will ne'er lave web o' thine. The weary pund, &c.

"Nay, smile again, my winsome mate, Sic jeering means nae ill; Should I gae sarkless to my grave, I'll loe and bless thee still." The weary pund, &c.



THE WEE PICKLE TOW.[32]

A lively young lass had a wee pickle tow, And she thought to try the spinnin' o't; She sat by the fire, and her rock took alow, And that was an ill beginnin' o't. Loud and shrill was the cry that she utter'd, I ween; The sudden mischanter brought tears to her een; Her face it was fair, but her temper was keen; O dole for the ill beginnin' o't!

She stamp'd on the floor, and her twa hands she wrung, Her bonny sweet mou' she crookit, O! And fell was the outbreak o' words frae her tongue; Like ane sair demented she lookit, O! "Foul fa' the inventor o' rock and o' reel! I hope, gude forgi'e me! he 's now wi' the d—l, He brought us mair trouble than help, wot I weel; O dole for the ill beginnin' o't!

"And now, when they 're spinnin' and kempin' awa', They 'll talk o' my rock and the burnin' o't, While Tibbie, and Mysie, and Maggie, and a', Into some silly joke will be turnin' it: They 'll say I was doited, they 'll say I was fu'; They 'll say I was dowie, and Robin untrue; They 'll say in the fire some luve-powther I threw, And that made the ill beginning o't.

"O curst be the day, and unchancy the hour, When I sat me adown to the spinnin' o't! Then some evil spirit or warlock had power, And made sic an ill beginnin' o't. May Spunkie my feet to the boggie betray, The lunzie folk steal my new kirtle away, And Robin forsake me for douce Effie Gray, The next time I try the spinnin' o't."

[32] "The Wee Pickle Tow" is an old air, to which the words of this song were written.



THE GOWAN GLITTERS ON THE SWARD.

The gowan glitters on the sward, The lav'rock's in the sky, And collie on my plaid keeps ward, And time is passing by. Oh, no! sad and slow, And lengthen'd on the ground; The shadow of our trysting bush It wears so slowly round.

My sheep-bells tinkle frae the west, My lambs are bleating near; But still the sound that I lo'e best, Alack! I canna hear. Oh, no! sad and slow, The shadow lingers still; And like a lanely ghaist I stand, And croon upon the hill.

I hear below the water roar, The mill wi' clacking din, And lucky scolding frae the door, To ca' the bairnies in. Oh, no! sad and slow, These are nae sounds for me; The shadow of our trysting bush It creeps sae drearily!

I coft yestreen, frae chapman Tam, A snood o' bonnie blue, And promised, when our trysting cam', To tie it round her brow. Oh, no! sad and slow, The mark it winna pass; The shadow o' that dreary bush Is tether'd on the grass.

O now I see her on the way! She 's past the witch's knowe; She 's climbing up the brownie's brae— My heart is in a lowe. Oh, no! 'tis not so, 'Tis glamrie I hae seen; The shadow o' that hawthorn bush Will move nae mair till e'en.

My book o' grace I 'll try to read, Though conn'd wi' little skill; When collie barks I 'll raise my head, And find her on the hill. Oh, no! sad and slow, The time will ne'er be gane; The shadow o' our trysting bush Is fix'd like ony stane.



SAW YE JOHNNIE COMIN'?

"Saw ye Johnnie comin'?" quo' she; "Saw ye Johnnie comin'? Wi' his blue bonnet on his head, And his doggie rinnin'. Yestreen, about the gloamin' time, I chanced to see him comin', Whistling merrily the tune That I am a' day hummin'," quo' she; "I am a' day hummin'.

"Fee him, faither, fee him," quo' she; "Fee him, faither, fee him; A' the wark about the house Gaes wi' me when I see him: A' the wark about the house I gang sae lightly through it; And though ye pay some merks o' gear, Hoot! ye winna rue it," quo' she; "No; ye winna rue it."

"What wad I do wi' him, hizzy? What wad I do wi' him? He 's ne'er a sark upon his back, And I hae nane to gi'e him." "I hae twa sarks into my kist, And ane o' them I 'll gi'e him; And for a merk o' mair fee, Oh, dinna stand wi' him," quo' she; "Dinna stand wi' him.

"Weel do I lo'e him," quo' she; "Weel do I lo'e him; The brawest lads about the place Are a' but hav'rels to him. Oh, fee him, father; lang, I trow, We 've dull and dowie been: He 'll haud the plough, thrash i' the barn, And crack wi' me at e'en," quo' she; "Crack wi' me at e'en."



IT FELL ON A MORNING.[33]

It fell on a morning when we were thrang— Our kirn was gaun, our cheese was making, And bannocks on the girdle baking— That ane at the door chapp'd loud and lang; But the auld gudewife, and her Mays sae tight, Of this stirring and din took sma' notice, I ween; For a chap at the door in braid daylight Is no like a chap when heard at e'en.

Then the clocksie auld laird of the warlock glen, Wha stood without, half cow'd, half cheerie. And yearn'd for a sight of his winsome dearie, Raised up the latch and came crousely ben. His coat was new, and his owrelay was white, And his hose and his mittens were coozy and bein; But a wooer that comes in braid daylight Is no like a wooer that comes at e'en.

He greeted the carlin' and lasses sae braw, And his bare lyart pow he smoothly straikit, And looked about, like a body half glaikit, On bonny sweet Nanny, the youngest of a': "Ha, ha!" quo' the carlin', "and look ye that way? Hoot! let nae sic fancies bewilder ye clean— An elderlin' man, i' the noon o' the day, Should be wiser than youngsters that come at e'en."

"Na, na," quo' the pawky auld wife; "I trow You 'll fash na your head wi' a youthfu' gilly, As wild and as skeigh as a muirland filly; Black Madge is far better and fitter for you." He hem'd and he haw'd, and he screw'd in his mouth, And he squeezed his blue bonnet his twa hands between; For wooers that come when the sun 's in the south Are mair awkward than wooers that come at e'en.

"Black Madge she is prudent." "What 's that to me?" "She is eident and sober, has sense in her noddle— Is douce and respeckit." "I carena a boddle; I 'll baulk na my luve, and my fancy 's free." Madge toss'd back her head wi' a saucy slight, And Nanny run laughing out to the green; For wooers that come when the sun shines bright Are no like the wooers that come at e'en.

Awa' flung the laird, and loud mutter'd he, "All the daughters of Eve, between Orkney and Tweed, O: Black and fair, young and old, dame, damsel, and widow, May gang, wi' their pride, to the wuddy for me." But the auld gudewife, and her Mays sae tight, For a' his loud banning cared little, I ween; For a wooer that comes in braid daylight Is no like a wooer that comes at e'en.

[33] This song was contributed by Miss Baillie to "The Harp of Caledonia."



WOO'D, AND MARRIED, AND A'.[34]

The bride she is winsome and bonnie, Her hair it is snooded sae sleek; And faithful and kind is her Johnnie, Yet fast fa' the tears on her cheek. New pearlings are cause o' her sorrow— New pearlings and plenishing too; The bride that has a' to borrow Has e'en right muckle ado. Woo'd, and married, and a'; Woo'd, and married, and a'; And is na she very weel aff, To be woo'd, and married, and a'?

Her mither then hastily spak— "The lassie is glaikit wi' pride; In my pouches I hadna a plack The day that I was a bride. E'en tak to your wheel and be clever, And draw out your thread in the sun; The gear that is gifted, it never Will last like the gear that is won. Woo'd, and married, an' a', Tocher and havings sae sma'; I think ye are very weel aff To be woo'd, and married, and a'."

"Toot, toot!" quo' the gray-headed faither; "She 's less of a bride than a bairn; She 's ta'en like a cowt frae the heather, Wi' sense and discretion to learn. Half husband, I trow, and half daddy, As humour inconstantly leans; A chiel maun be constant and steady, That yokes wi' a mate in her teens. Kerchief to cover so neat, Locks the winds used to blaw; I 'm baith like to laugh and to greet, When I think o' her married at a'."

Then out spak the wily bridegroom, Weel waled were his wordies, I ween,— "I 'm rich, though my coffer be toom, Wi' the blinks o' your bonnie blue een; I 'm prouder o' thee by my side, Though thy ruffles or ribbons be few, Than if Kate o' the Craft were my bride, Wi' purples and pearlings enew. Dear and dearest of ony, I 've woo'd, and bookit, and a'; And do you think scorn o' your Johnnie, And grieve to be married at a'?"

She turn'd, and she blush'd, and she smiled, And she lookit sae bashfully down; The pride o' her heart was beguiled, And she play'd wi' the sleeve o' her gown; She twirl'd the tag o' her lace, And she nippit her boddice sae blue; Syne blinkit sae sweet in his face, And aff like a maukin she flew. Woo'd, and married, and a', Married and carried awa'; She thinks hersel' very weel aff, To be woo'd, and married, and a'.

[34] Of the song, "Woo'd, and married, and a'," there is another version, published in Johnson's "Musical Museum," vol. i. p. 10, which was long popular among the ballad-singers. This was composed by Alexander Ross, schoolmaster of Lochlee, author of "Helenore, or the Fortunate Shepherdess." A song, having a similar commencement, had previously been current on the Border.



WILLIAM DUDGEON.

Though the author of a single popular song, William Dudgeon is entitled to a place among the modern contributors to the Caledonian minstrelsy. Of his personal history, only a very few facts have been recovered. He was the son of a farmer in East-Lothian, and himself rented an extensive farm at Preston, in Berwickshire. During his border tour in May 1787, the poet Burns met him at Berrywell, the residence of the father of his friend Mr Robert Ainslie, who acted as land-steward on the estate of Lord Douglas in the Merse. In his journal, Burns has thus recorded his impression of the meeting:—"A Mr Dudgeon, a poet at times, a worthy, remarkable character, natural penetration, a great deal of information, some genius, and extreme modesty." Dudgeon died in October 1813, about his sixtieth year.



UP AMONG YON CLIFFY ROCKS.

Up among yon cliffy rocks Sweetly rings the rising echo, To the maid that tends the goats Lilting o'er her native notes. Hark, she sings, "Young Sandy 's kind, An' he 's promised aye to lo'e me; Here 's a brooch I ne'er shall tine, Till he 's fairly married to me. Drive away, ye drone, Time, And bring about our bridal day.

"Sandy herds a flock o' sheep; Aften does he blaw the whistle In a strain sae saftly sweet, Lammies list'ning daurna bleat. He 's as fleet 's the mountain roe, Hardy as the Highland heather, Wading through the winter snow, Keeping aye his flock together; But a plaid, wi' bare houghs, He braves the bleakest norlan' blast.

"Brawly can he dance and sing, Canty glee or Highland cronach; Nane can ever match his fling, At a reel or round a ring, In a brawl he 's aye the bangster: A' his praise can ne'er be sung By the langest-winded sangster; Sangs that sing o' Sandy, Seem short, though they were e'er sae lang."



WILLIAM REID.

William Reid was born at Glasgow on the 10th of April 1764. His father, a baker by trade, was enabled to give him a good education at the school of his native city. At an early age he was apprenticed to Messrs Dunlop and Wilson, booksellers; and in the year 1790, along with another enterprising individual, he commenced a bookselling establishment, under the firm of "Brash and Reid." In this business, both partners became eminently successful, their shop being frequented by the literati of the West. The poet Burns cultivated the society of Mr Reid, who proved a warm friend, as he was an ardent admirer, of the Ayrshire bard. He was an enthusiastic patron of literature, was fond of social humour, and a zealous promoter of the interests of Scottish song. Between 1795 and 1798, the firm published in numbers, at one penny each, "Poetry, Original and Selected," which extended to four volumes. To this publication, both Mr Reid, and his partner, Mr Brash, made some original contributions. The work is now very scarce, and is accounted valuable by collectors. Mr Reid died at Glasgow, on the 29th of November 1831, leaving a widow and a family.



THE LEA RIG.[35]

Will ye gang o'er the lea rig, My ain kind dearie, O! And cuddle there fu' kindly Wi' me, my kind dearie, O! At thorny bush, or birken tree, We 'll daff and never weary, O! They 'll scug ill een frae you and me, My ain kind dearie, O!

Nae herds wi' kent or colly there, Shall ever come to fear ye, O! But lav'rocks, whistling in the air, Shall woo, like me, their dearie, O! While ithers herd their lambs and ewes, And toil for warld's gear, my jo, Upon the lea my pleasure grows, Wi' thee, my kind dearie, O!

At gloamin', if my lane I be, Oh, but I'm wondrous eerie, O! And mony a heavy sigh I gie, When absent frae my dearie, O! But seated 'neath the milk-white thorn, In ev'ning fair and clearie, O! Enraptured, a' my cares I scorn, When wi' my kind dearie, O!

Whare through the birks the burnie rows, Aft hae I sat fu' cheerie, O! Upon the bonny greensward howes, Wi' thee, my kind dearie, O! I've courted till I've heard the craw Of honest chanticleerie, O! Yet never miss'd my sleep ava, Whan wi' my kind dearie, O!

For though the night were ne'er sae dark, And I were ne'er sae weary, O! I'd meet thee on the lea rig, My ain kind dearie, O! While in this weary world of wae, This wilderness sae dreary, O! What makes me blythe, and keeps me sae? 'Tis thee, my kind dearie, O!

[35] The two first stanzas of this song are the composition of the gifted and unfortunate Robert Fergusson. It is founded on an older ditty, beginning, "I'll rowe thee o'er the lea-rig." See Johnson's "Musical Museum," vol. iv. p. 53.



JOHN ANDERSON, MY JO.[36]

John Anderson, my jo, John, I wonder what ye mean, To rise sae early in the morn, And sit sae late at e'en; Ye 'll blear out a' your een, John, And why should you do so? Gang sooner to your bed at e'en, John Anderson, my jo.

John Anderson, my jo, John, When Nature first began To try her canny hand, John, Her masterpiece was man; And you amang them a', John, Sae trig frae tap to toe— She proved to be nae journeyman, John Anderson, my jo.

John Anderson, my jo, John, Ye were my first conceit; And ye needna think it strange, John, That I ca' ye trim and neat; Though some folks say ye 're auld, John, I never think ye so; But I think ye 're aye the same to me, John Anderson, my jo.

John Anderson, my jo, John, We 've seen our bairns' bairns; And yet, my dear John Anderson, I 'm happy in your arms; And sae are ye in mine, John, I 'm sure ye 'll ne'er say, No; Though the days are gane that we have seen, John Anderson, my jo.

[36] These stanzas are in continuation of Burns's song, "John Anderson, my jo." Five other stanzas have been added to the continuation by some unknown hand, which will be found in the "Book of Scottish Song," p. 54. Glasgow, 1853.



FAIR, MODEST FLOWER.

TUNE—"Ye Banks and Braes o' bonnie Doon."

Fair, modest flower, of matchless worth! Thou sweet, enticing, bonny gem; Blest is the soil that gave thee birth, And bless'd thine honour'd parent stem. But doubly bless'd shall be the youth To whom thy heaving bosom warms; Possess'd of beauty, love, and truth, He 'll clasp an angel in his arms.

Though storms of life were blowing snell, And on his brow sat brooding care, Thy seraph smile would quick dispel The darkest gloom of black despair. Sure Heaven hath granted thee to us, And chose thee from the dwellers there; And sent thee from celestial bliss, To shew what all the virtues are.



KATE O' GOWRIE.[37]

TUNE—"Locherroch Side."

When Katie was scarce out nineteen, Oh, but she had twa coal-black een! A bonnier lass ye wadna seen In a' the Carse o' Gowrie. Quite tired o' livin' a' his lane, Pate did to her his love explain, And swore he 'd be, were she his ain, The happiest lad in Gowrie.

Quo' she, "I winna marry thee, For a' the gear that ye can gi'e; Nor will I gang a step ajee, For a' the gowd in Gowrie. My father will gi'e me twa kye; My mother 's gaun some yarn to dye; I 'll get a gown just like the sky, Gif I 'll no gang to Gowrie."

"Oh, my dear Katie, say nae sae! Ye little ken a heart that 's wae; Hae! there 's my hand; hear me, I pray, Sin' thou 'lt no gang to Gowrie: Since first I met thee at the shiel, My saul to thee 's been true and leal; The darkest night I fear nae deil, Warlock, or witch in Gowrie.

"I fear nae want o' claes nor nocht, Sic silly things my mind ne'er taught; I dream a' nicht, and start about, And wish for thee in Gowrie. I lo'e thee better, Kate, my dear, Than a' my rigs and out-gaun gear; Sit down by me till ance I swear, Thou 'rt worth the Carse o' Gowrie."

Syne on her mou' sweet kisses laid, Till blushes a' her cheeks o'erspread; She sigh'd, and in soft whispers said, "Oh, Pate, tak me to Gowrie!" Quo' he, "Let 's to the auld folk gang; Say what they like, I 'll bide their bang, And bide a' nicht, though beds be thrang; But I 'll hae thee to Gowrie."

The auld folk syne baith gi'ed consent; The priest was ca'd: a' were content; And Katie never did repent That she gaed hame to Gowrie. For routh o' bonnie bairns had she; Mair strappin' lads ye wadna see; And her braw lasses bore the gree Frae a' the rest o' Gowrie.

[37] See postea, in this volume, under article "Lady Nairn."



UPON THE BANKS O' FLOWING CLYDE.[38]

Upon the banks o' flowing Clyde The lasses busk them braw; But when their best they hae put on, My Jeanie dings them a'; In hamely weeds she far exceeds The fairest o' the toun; Baith sage and gay confess it sae, Though drest in russit goun.

The gamesome lamb that sucks its dam, Mair harmless canna be; She has nae faut, if sic ye ca't, Except her love for me; The sparkling dew, o' clearest hue, Is like her shining een; In shape and air wha can compare, Wi' my sweet lovely Jean.

[38] These two stanzas were written as a continuation of Burns's popular song, "Of a' the airts the wind can blaw." Two other stanzas were added by John Hamilton. See ante, p. 124.



ALEXANDER CAMPBELL.

A miscellaneous writer, a poet, and a musical composer, Alexander Campbell first saw the light at Tombea, on the banks of Loch Lubnaig, in Perthshire. He was born in 1764, and received such education as his parents could afford him, which was not very ample, at the parish school of Callander. An early taste for music induced him to proceed to Edinburgh, there to cultivate a systematic acquaintance with the art. Acquiring a knowledge of the science under the celebrated Tenducci and others, he became himself a teacher of the harpsichord and of vocal music, in the metropolis. As an upholder of Jacobitism, when it was scarcely to be dreaded as a political offence, he officiated as organist in a non-juring chapel in the vicinity of Nicolson Street; and while so employed had the good fortune to form the acquaintance of Burns, who was pleased to discover in an individual entertaining similar state sentiments with himself, an enthusiastic devotion to national melody and song.

Mr Campbell was twice married; his second wife was the widow of a Highland gentleman, and he was induced to hope that his condition might thus be permanently improved. He therefore relinquished his original vocation, and commenced the study of physic, with the view of obtaining an appointment as surgeon in the public service; but his sanguine hopes proved abortive, and, to complete his mortification, his wife left him in Edinburgh, and sought a retreat in the Highlands. He again procured some employment as a teacher of music; and about the year 1810, one of his expedients was to give lessons in drawing. He was a man of a fervent spirit, and possessed of talents, which, if they had been adequately cultivated, and more concentrated, might have enabled him to attain considerable distinction; but, apparently aiming at the reputation of universal genius, he alternately cultivated the study of music, poetry, painting, and physic. At a more recent period, Sir Walter Scott found him occasional employment in transcribing manuscripts; and during the unhappy remainder of his life he had to struggle with many difficulties.

One of his publications bears the title of "Odes and Miscellaneous Poems, by a Student of Medicine in the University of Edinburgh," Edinburgh, 1790, 4to. These lucubrations, which attracted no share of public attention, were followed by "The Guinea Note, a Poem, by Timothy Twig, Esquire," Edinburgh, 1797, 4to. His next work is entitled, "An Introduction to the History of Poetry in Scotland, with Illustrations by David Allan," Edinburgh, 1798, 4to. This work, though written in a rambling style, contains a small proportion of useful materials very unskilfully digested. "A Dialogue on Scottish Music," prefixed, had the merit of conveying to Continental musicians for the first time a correct acquaintance with the Scottish scale, the author receiving the commendations of the greatest Italian and German composers. The work likewise contains "Songs of the Lowlands," a selection of some of the more interesting specimens of the older minstrelsy. In 1802 he published "A Tour from Edinburgh through various parts of North Britain," in two volumes quarto, illustrated with engravings from sketches executed by himself. This work met with a favourable reception, and has been regarded as the most successful of his literary efforts. In 1804 he sought distinction as a poet by giving to the world "The Grampians Desolate," a long poem, in one volume octavo. In this production he essays "to call the attention of good men, wherever dispersed throughout our island, to the manifold and great evils arising from the introduction of that system which has within these last forty years spread among the Grampians and Western Isles, and is the leading cause of a depopulation that threatens to extirpate the ancient race of the inhabitants of those districts." That system to which Mr Campbell refers, he afterwards explains to be the monopoly of sheep-stores, a subject scarcely poetical, but which he has contrived to clothe with considerable smoothness of versification. The last work which issued from Mr Campbell's pen was "Albyn's Anthology, a Select Collection of the Melodies and Vocal Poetry Peculiar to Scotland and the Isles, hitherto Unpublished." The publication appeared in 1816, in two parts, of elegant folio. It was adorned by the contributions of Sir Walter Scott, James Hogg, and other poets of reputation. The preface contains "An Epitome of the History of Scottish Poetry and Music from the Earliest Times." His musical talents have a stronger claim to remembrance than either his powers as a poet or his skill as a writer. Yet his industry was unremitted, and his researches have proved serviceable to other writers who have followed him on the same themes. Only a few lyrical pieces proceeded from his pen; these were first published in "Albyn's Anthology." From this work we have extracted two specimens.

Mr Campbell died of apoplexy on the 15th of May 1824, after a life much chequered by misfortune. He left various MSS. on subjects connected with his favourite studies, which have fortunately found their way into the possession of Mr Laing, to whom the history of Scottish poetry is perhaps more indebted than to any other living writer. The poems in this collection, though bearing marks of sufficient elaboration, could not be recommended for publication. Mr Campbell was understood to be a contributor to The Ghost, a forgotten periodical, which ran a short career in the year 1790. It was published in Edinburgh twice a week, and reached the forty-sixth number; the first having appeared on the 25th of April, the last on the 16th of November. He published an edition of a book, curious in its way—Donald Mackintosh's "Collection of Gaelic Proverbs, and Familiar Phrases; Englished anew!" Edinburgh, 1819, 12mo. The preface contains a characteristic account of the compiler, who described himself as "a priest of the old Scots Episcopal Church, and last of the non-jurant clergy in Scotland."



NOW WINTER'S WIND SWEEPS.

Now winter's wind sweeps o'er the mountains, Deeply clad in drifting snow; Soundly sleep the frozen fountains; Ice-bound streams forget to flow: The piercing blast howls loud and long, The leafless forest oaks among.

Down the glen, lo! comes a stranger, Wayworn, drooping, all alone;— Haply, 'tis the deer-haunt Ranger! But alas! his strength is gone! He stoops, he totters on with pain, The hill he 'll never climb again.

Age is being's winter season, Fitful, gloomy, piercing cold; Passion weaken'd, yields to reason, Man feels then himself grown old; His senses one by one have fled, His very soul seems almost dead.



THE HAWK WHOOPS ON HIGH.

The hawk whoops on high, and keen, keen from yon' cliff, Lo! the eagle on watch eyes the stag cold and stiff; The deer-hound, majestic, looks lofty around, While he lists with delight to the harp's distant sound; Is it swept by the gale, as it slow wafts along The heart-soothing tones of an olden times' song? Or is it some Druid who touches, unseen, "The Harp of the North," newly strung now I ween?

'Tis Albyn's own minstrel! and, proud of his name, He proclaims him chief bard, and immortal his fame!— He gives tongue to those wild lilts that ravish'd of old, And soul to the tales that so oft have been told; Hence Walter the Minstrel shall flourish for aye, Will breathe in sweet airs, and live long as his "Lay;" To ages unnumber'd thus yielding delight, Which will last till the gloaming of Time's endless night.



MRS DUGALD STEWART.

Helen D'Arcy Cranstoun, the second wife of the celebrated Professor Stewart, is entitled to a more ample notice in a work on Modern Scottish Song than the limited materials at our command enable us to supply. She was the third daughter of the Hon. George Cranstoun, youngest son of William, fifth Lord Cranstoun. She was born in the year 1765, and became the wife of Professor Dugald Stewart on the 26th July 1790. Having survived her husband ten years, she died at Warriston House, in the neighbourhood of Edinburgh, on the 28th of July 1838. She was the sister of the Countess Purgstall (the subject of Captain Basil Hall's "Schloss Hainfeld"), and of George Cranstoun, a senator of the College of Justice, by the title of Lord Corehouse.

The following pieces from the pen of the accomplished author are replete with simple beauty and exquisite tenderness.



THE TEARS I SHED MUST EVER FALL.

TUNE—"Ianthe the Lovely."

The tears I shed must ever fall: I mourn not for an absent swain; For thoughts may past delights recall, And parted lovers meet again. I weep not for the silent dead: Their toils are past, their sorrows o'er; And those they loved their steps shall tread, And death shall join to part no more.

Though boundless oceans roll'd between, If certain that his heart is near, A conscious transport glads each scene, Soft is the sigh and sweet the tear. E'en when by death's cold hand removed, We mourn the tenant of the tomb, To think that e'en in death he loved, Can gild the horrors of the gloom.

But bitter, bitter are the tears Of her who slighted love bewails; No hope her dreary prospect cheers, No pleasing melancholy hails. Hers are the pangs of wounded pride, Of blasted hope, of wither'd joy; The flattering veil is rent aside, The flame of love burns to destroy.

In vain does memory renew The hours once tinged in transport's dye; The sad reverse soon starts to view, And turns the past to agony. E'en time itself despairs to cure Those pangs to every feeling due: Ungenerous youth! thy boast how poor, To win a heart, and break it too!

No cold approach, no alter'd mien, Just what would make suspicion start; No pause the dire extremes between— He made me blest, and broke my heart:[39] From hope, the wretched's anchor, torn, Neglected and neglecting all; Friendless, forsaken, and forlorn, The tears I shed must ever fall.

[39] The four first lines of the last stanza are by Burns.



RETURNING SPRING, WITH GLADSOME RAY.[40]

Returning spring, with gladsome ray, Adorns the earth and smoothes the deep: All nature smiles, serene and gay, It smiles, and yet, alas! I weep.

But why, why flows the sudden tear, Since Heaven such precious boons has lent, The lives of those who life endear, And, though scarce competence, content?

Sure, when no other bliss was mine Than that which still kind Heaven bestows, Yet then could peace and hope combine To promise joy and give repose.

Then have I wander'd o'er the plain, And bless'd each flower that met my view; Thought Fancy's power would ever reign, And Nature's charms be ever new.

I fondly thought where Virtue dwelt, That happy bosom knew no ill— That those who scorn'd me, time would melt, And those I loved be faultless still.

Enchanting dreams! kind was your art That bliss bestow'd without alloy; Or if soft sadness claim'd a part, 'Twas sadness sweeter still than joy.

Oh! whence the change that now alarms, Fills this sad heart and tearful eye, And conquers the once powerful charms Of youth, of hope, of novelty?

'Tis sad Experience, fatal power! That clouds the once illumined sky, That darkens life's meridian hour, And bids each fairy vision fly.

She paints the scene—how different far From that which youthful fancy drew! Shews joy and freedom oft at war, Our woes increased, our comforts few.

And when, perhaps, on some loved friend Our treasured fondness we bestow, Oh! can she not, with ruthless hand, Change even that friend into a foe?

See in her train cold Foresight move, Shunning the rose to 'scape the thorn; And Prudence every fear approve, And Pity harden into scorn!

The glowing tints of Fancy fade, Life's distant prospects charm no more; Alas! are all my hopes betray'd? Can nought my happiness restore?

Relentless power! at length be just, Thy better skill alone impart; Give Caution, but withhold Distrust, And guard, but harden not, my heart!

[40] These tender and beautiful verses are transcribed from Johnson's "Musical Museum," in a note to which they were first published by the editor, Mr David Laing. He remarks that he "has reason to believe" that they are from the pen of Mrs Stewart. (See Johnson's "Musical Museum," vol. iv. p. 366, new edition. Edinburgh, 1853.)



ALEXANDER WILSON.

The author of the celebrated "American Ornithology" is entitled to an honourable commemoration as one of the minstrels of his native land. Alexander Wilson was born at Paisley on the 6th of July 1766. His father had for some time carried on a small trade as a distiller; but the son was destined by his parents for the clerical profession, in the National Church—a scheme which was frustrated by the death of his mother in his tenth year, leaving a large family of children to the sole care of his father. He had, however, considerably profited by the instruction already received at school; and having derived from his mother a taste for music and a relish for books, he invoked the muse in solitude, and improved his mind by miscellaneous reading. His father contracted a second marriage when Alexander had reached his thirteenth year; and it became necessary that he should prepare himself for entering upon some handicraft employment. He became an apprentice to his brother-in-law, William Duncan, a weaver in his native town; and on completing his indenture, he wrought as a journeyman, during the three following years, in the towns of Paisley, Lochwinnoch, and Queensferry. But the occupation of weaving, which had from the first been unsuitable to his tastes, growing altogether irksome, he determined to relinquish it for a vocation which, if in some respects scarcely more desirable, afforded him ample means of gratifying his natural desire of becoming familiar with the topography of his native country. He provided himself with a pack, as a pedlar, and in this capacity, in company with his brother-in-law, continued for three years to lead a wandering life. His devotedness to verse-making had continued unabated from boyhood; he had written verses at the loom, and had become an enthusiastic votary of the muse during his peregrinations with his pack. He was now in his twenty-third year; and with the buoyancy of ardent youth, he thought of offering to the public a volume of his poems by subscription. In this attempt he was not successful; nor would any bookseller listen to proposals of publishing the lucubrations of an obscure pedlar. In 1790, he at length contrived to print his poems at Paisley, on his own account, in the hope of being able to dispose of them along with his other wares. But this attempt was not more successful than his original scheme, so that he was compelled to return to his father's house at Lochwinnoch, and resume the obnoxious shuttle. His aspirations for poetical distinction were not, however, subdued; he heard of the institution of the Forum, a debating society established in Edinburgh by some literary aspirants, and learning, in 1791, that an early subject of discussion was the comparative merits of Ramsay and Fergusson as Scottish poets, he prepared to take a share in the competition. By doubling his hours of labour at the loom, he procured the means of defraying his travelling expenses; and, arriving in time for the debate in the Forum, he repeated a poem which he had prepared, entitled the "Laurel Disputed," in which he gave the preference to Fergusson. He remained several weeks in Edinburgh, and printed his poem. To Dr Anderson's "Bee" he contributed several poems, and a prose essay, entitled "The Solitary Philosopher." Finding no encouragement to settle in the metropolis, he once more returned to his father's house in the west. He now formed the acquaintance of Robert Burns, who testified his esteem for him both as a man and a poet. In 1792, he published anonymously his popular ballad of "Watty and Meg," which he had the satisfaction to find regarded as worthy of the Ayrshire Bard.

The star of the poet was now promising to be in the ascendant, but an untoward event ensued. In the ardent enthusiasm of his temperament, he was induced to espouse in verse the cause of the Paisley hand-loom operatives in a dispute with their employers, and to satirise in strong invective a person of irreproachable reputation. For this offence he was prosecuted before the sheriff, who sentenced him to be imprisoned for a few days, and publicly to burn his own poem in the front of the jail. This satire is entitled "The Shark; or, Long Mills detected." Like many other independents, he mistook anarchy in France for the dawn of liberty in Europe; and his sentiments becoming known, he was so vigilantly watched by the authorities, that he found it was no longer expedient for him to reside in Scotland. He resolved to emigrate to America; and, contriving by four months' extra labour, and living on a shilling weekly, to earn his passage-money, he sailed from Portpatrick to Belfast, and from thence to Newcastle, in the State of Delaware, where he arrived on the 14th July 1794. During the voyage he had slept on deck, and when he landed, his finances consisted only of a few shillings; yet, with a cheerful heart, he walked to Philadelphia, a distance of thirty-three miles, with only his fowling-piece on his shoulder. He shot a red-headed woodpecker by the way,—an omen of his future pursuits, for hitherto he had devoted no attention to the study of ornithology.

He was first employed by a copperplate-printer in Philadelphia, but quitted this occupation for the loom, at which he worked about a year in Philadelphia, and at Shepherdstown, in Virginia. In 1795, he traversed a large portion of the State of New Jersey as a pedlar, keeping a journal,—a practice which he had followed during his wandering life in Scotland. He now adopted the profession of a schoolmaster, and was successively employed in this vocation at Frankford, in Pennsylvania, at Milestown, and at Bloomfield, in New Jersey. In preparing himself for the instruction of others, he essentially extended his own acquaintance with classical learning, and mathematical science; and by occasional employment as a land-surveyor, he somewhat improved his finances. In 1801, he accepted the appointment of teacher in a seminary in Kingsessing, on the river Schuylkill, about four miles from Philadelphia,—a situation which, though attended with limited emolument, proved the first step in his path to eminence. He was within a short distance of the residence of William Bartram, the great American naturalist, with whom he became intimately acquainted; he also formed the friendship of Alexander Lawson, an emigrant engraver, who initiated him in the art of etching, colouring, and engraving. Discovering an aptitude in the accurate delineation of birds, he was led to the study of ornithology; with which he became so much interested, that he projected a work descriptive, with drawings, of all the birds of the Middle States, and even of the Union. About this period he became a contributor to the "Literary Magazine," conducted by Mr Brockden Brown, and to Denny's "Portfolio."

Along with a nephew and another friend, Wilson made a pedestrian tour to the Falls of Niagara, in October 1804, and on his return published in the "Portfolio" a poetical narrative of his journey, entitled "The Foresters,"—a production surpassing his previous efforts, and containing some sublime apostrophes. But his energies were now chiefly devoted to the accomplishment of the grand design he had contemplated. Disappointed in obtaining the co-operation of his friend Mr Lawson, who was alarmed at the extent of his projected adventure, and likewise frustrated in obtaining pecuniary assistance from the President Jefferson, on which he had some reason to calculate, he persevered in his attempts himself, drawing, etching, and colouring the requisite illustrations. In 1806, he was employed as assistant-editor of a new edition of Rees' Cyclopedia, by Mr Samuel Bradford, bookseller in Philadelphia, who rewarded his services with a liberal salary, and undertook, at his own risk, the publication of his "Ornithology." The first volume of the work appeared in September 1808, and immediately after its publication the author personally visited, in the course of two different expeditions, the Eastern and Southern States, in quest of subscribers. These journeys were attended with a success scarcely adequate to the privations which were experienced in their prosecution; but the "Ornithology" otherwise obtained a wide circulation, and, excelling in point of illustration every production that had yet appeared in America, gained for the author universal commendation. In January 1810, his second volume appeared, and in a month after he proceeded to Pittsburg, and from thence, in a small skiff, made a solitary voyage down the Ohio, a distance of nearly six hundred miles. During this lonely and venturous journey he experienced relaxation in the composition of a poem, which afterwards appeared under the title of "The Pilgrim." In 1813, after encountering numerous hardships and perils, which an enthusiast only could have endured, he completed the publication of the seventh volume of his great work. But the sedulous attention requisite in the preparation of the plates of the eighth volume, and the effect of a severe cold, caught in rashly throwing himself into a river to swim in pursuit of a rare bird, brought on him a fatal dysentery, which carried him off, on the 23d of August 1813, in his forty-eighth year. He was interred in the cemetery of the Swedish church, Southwark, Philadelphia, where a plain marble monument has been erected to his memory. A ninth volume was added to the "Ornithology" by Mr George Ord, an intimate friend of the deceased naturalist; and three supplementary volumes have been published, in folio, by Charles Lucien Bonaparte, uncle of the present Emperor of the French.

Amidst his extraordinary deserts as a naturalist, the merits of Alexander Wilson as a poet have been somewhat overlooked. His poetry, it may be remarked, though unambitious of ornament, is bold and vigorous in style, and, when devoted to satire, is keen and vehement. The ballad of "Watty and Meg," though exception may be taken to the moral, is an admirable picture of human nature, and one of the most graphic narratives of the "taming of a shrew" in the language. Allan Cunningham writes: "It has been excelled by none in lively, graphic fidelity of touch: whatever was present to his eye and manifest to his ear, he could paint with a life and a humour which Burns seems alone to excel."[41] In private life, Wilson was a model of benevolence and of the social virtues; he was devoid of selfishness, active in beneficence, and incapable of resentment. Before his departure for America, he waited on every one whom he conceived he had offended by his juvenile escapades, and begged their forgiveness; and he did not hesitate to reprove Burns for the levity too apparent in some of his poems. To his aged father, who survived till the year 1816, he sent remittances of money as often as he could afford; and at much inconvenience and pecuniary sacrifice, he established the family of his brother-in-law on a farm in the States. He was sober even to abstinence; and was guided in all his transactions by correct Christian principles. In person, he was remarkably handsome; his countenance was intelligent, and his eye sparkling. He never attained riches, but few Scotsmen have left more splendid memorials of their indomitable perseverance.[42] FOOTNOTES:

[41] The "Songs of Scotland," by Allan Cunningham, vol. i. p. 247.

[42] The most complete collection of his poems appeared in a volume published under the following title:—"The Poetical Works of Alexander Wilson; also, his Miscellaneous Prose Writings, Journals, Letters, Essays, &c., now first Collected: Illustrated by Critical and Explanatory Notes, with an extended Memoir of his Life and Writings, and a Glossary." Belfast, 1844, 18vo. A portrait of the author is prefixed.



CONNEL AND FLORA.

Dark lowers the night o'er the wide stormy main, Till mild rosy morning rise cheerful again; Alas! morn returns to revisit the shore, But Connel returns to his Flora no more.

For see, on yon mountain, the dark cloud of death, O'er Connel's lone cottage, lies low on the heath; While bloody and pale, on a far distant shore, He lies, to return to his Flora no more.

Ye light fleeting spirits, that glide o'er the steep, Oh, would ye but waft me across the wild deep! There fearless I'd mix in the battle's loud roar, I'd die with my Connel, and leave him no more.



MATILDA.

Ye dark rugged rocks, that recline o'er the deep, Ye breezes, that sigh o'er the main, Here shelter me under your cliffs while I weep, And cease while ye hear me complain.

For distant, alas! from my dear native shore, And far from each friend now I be; And wide is the merciless ocean that roars Between my Matilda and me.

How blest were the times when together we stray'd, While Phoebe shone silent above, Or lean'd by the border of Cartha's green side, And talk'd the whole evening of love!

Around us all nature lay wrapt up in peace, Nor noise could our pleasures annoy, Save Cartha's hoarse brawling, convey'd by the breeze, That soothed us to love and to joy.

If haply some youth had his passion express'd, And praised the bright charms of her face, What horrors unceasing revolved though my breast, While, sighing, I stole from the place!

For where is the eye that could view her alone, The ear that could list to her strain, Nor wish the adorable nymph for his own, Nor double the pangs I sustain?

Thou moon, that now brighten'st those regions above, How oft hast thou witness'd my bliss, While breathing my tender expressions of love, I seal'd each kind vow with a kiss!

Ah, then, how I joy'd while I gazed on her charms! What transports flew swift through my heart! I press'd the dear, beautiful maid in my arms, Nor dream'd that we ever should part.

But now from the dear, from the tenderest maid, By fortune unfeelingly torn; 'Midst strangers, who wonder to see me so sad, In secret I wander forlorn.

And oft, while drear Midnight assembles her shades, And Silence pours sleep from her throne, Pale, lonely, and pensive, I steal through the glades, And sigh, 'midst the darkness, my moan.

In vain to the town I retreat for relief, In vain to the groves I complain; Belles, coxcombs, and uproar, can ne'er soothe my grief, And solitude nurses my pain.

Still absent from her whom my bosom loves best, I languish in mis'ry and care; Her presence could banish each woe from my heart, But her absence, alas! is despair.

Ye dark rugged rocks, that recline o'er the deep; Ye breezes, that sigh o'er the main— Oh, shelter me under your cliffs while I weep, And cease while ye hear me complain!

Far distant, alas! from my dear native shore, And far from each friend now I be; And wide is the merciless ocean that roars Between my Matilda and me.



AUCHTERTOOL.[43]

From the village of Leslie, with a heart full of glee, And my pack on my shoulders, I rambled out free, Resolved that same evening, as Luna was full, To lodge, ten miles distant, in old Auchtertool.

Through many a lone cottage and farm-house I steer'd, Took their money, and off with my budget I sheer'd; The road I explored out, without form or rule, Still asking the nearest to old Auchtertool.

At length I arrived at the edge of the town, As Phoebus, behind a high mountain, went down; The clouds gather'd dreary, and weather blew foul, And I hugg'd myself safe now in old Auchtertool.

An inn I inquired out, a lodging desired, But the landlady's pertness seem'd instantly fired; For she saucy replied, as she sat carding wool, "I ne'er kept sic lodgers in auld Auchtertool."

With scorn I soon left her to live on her pride; But, asking, was told there was none else beside, Except an old weaver, who now kept a school, And these were the whole that were in Auchtertool.

To his mansion I scamper'd, and rapp'd at the door; He oped, but as soon as I dared to implore, He shut it like thunder, and utter'd a howl That rung through each corner of old Auchtertool.

Deprived of all shelter, through darkness I trode, Till I came to a ruin'd old house by the road; Here the night I will spend, and, inspired by the owl, My wrath I 'll vent forth upon old Auchtertool.

[43] We have ventured to omit three verses, and to alter slightly the last line of this song. It was originally published at Paisley, in 1790, to the tune of "One bottle more." Auchtertool is a small hamlet in Fifeshire, about five miles west of the town of Kirkcaldy. The inhabitants, whatever may have been their failings at the period when Wilson in vain solicited shelter in the hamlet, are certainly no longer entitled to bear the reproach of lacking in hospitality. We rejoice in the opportunity thus afforded of testifying as to the disinterested hospitality and kindness which we have experienced in that neighbourhood.



CAROLINA, BARONESS NAIRN.

Carolina Oliphant was born in the old mansion of Gask, in the county of Perth, on the 16th of July 1766. She was the third daughter and fifth child of Laurence Oliphant of Gask, who had espoused his cousin Margaret Robertson, a daughter of Duncan Robertson of Struan, and his wife a daughter of the fourth Lord Nairn. The Oliphants of Gask were cadets of the formerly noble house of Oliphant; whose ancestor, Sir William Oliphant of Aberdalgie, a puissant knight, acquired distinction in the beginning of the fourteenth century by defending the Castle of Stirling against a formidable siege by the first Edward. The family of Gask were devoted Jacobites; the paternal grandfather of Carolina Oliphant had attended Prince Charles Edward as aid-de-camp during his disastrous campaign of 1745-6, and his spouse had indicated her sympathy in his cause by cutting out a lock of his hair on the occasion of his accepting the hospitality of the family mansion. The portion of hair is preserved at Gask; and Carolina Oliphant, in her song, "The Auld House," has thus celebrated the gentle deed of her progenitor:—

"The Leddy too, sae genty, There shelter'd Scotland's heir, An' clipt a lock wi' her ain hand Frae his lang yellow hair."

The estate of Gask escaped forfeiture, but the father of Carolina did not renounce the Jacobite sentiments of his ancestors. He named the subject of this memoir Carolina, in honour of Prince Charles Edward; and his prevailing topic of conversation was the reiterated expression of his hope that "the king would get his ain." He would not permit the names of the reigning monarch and his queen to be mentioned in his presence; and when impaired eyesight compelled him to seek the assistance of his family in reading the newspapers, he angrily reproved the reader if the "German lairdie and his leddy" were designated otherwise than by the initial letters, "K. and Q." This extreme Jacobitism at a period when the crime was scarcely to be dreaded, was reported to George III., who is related to have confessed his respect for a man who had so consistently maintained his political sentiments.

In her youth, Carolina Oliphant was singularly beautiful, and was known in her native district by the poetical designation of "The Flower of Strathearn." She was as remarkable for the precocity of her intellect, as she was celebrated for the elegance of her person. Descended by her mother from a family which, in one instance,[44] at least, had afforded some evidence of poetical talents, and possessed of a correct musical ear, she very early composed verses for her favourite melodies. To the development of her native genius, her juvenile condition abundantly contributed: the locality of her birthplace, rich in landscape scenery, and associated with family traditions and legends of curious and chivalric adventure, might have been sufficient to promote, in a mind less fertile than her own, sentiments of poesy. In the application of her talents she was influenced by another incentive. A loose ribaldry tainted the songs and ballads which circulated among the peasantry, and she was convinced that the diffusion of a more wholesome minstrelsy would essentially elevate the moral tone of the community. Thus, while still young, she commenced to purify the older melodies, and to compose new songs, which were ultimately destined to occupy an ample share of the national heart. The occasion of an agricultural dinner in the neighbourhood afforded her a fitting opportunity of making trial of her success in the good work which she had begun. To the president of the meeting she sent, anonymously, her verses entitled "The Ploughman;" and the production being publicly read, was received with warm approbation, and was speedily put to music. She was thus encouraged to proceed in her self-imposed task; and to this early period of her life may be ascribed some of her best lyrics. "The Laird o' Cockpen," and "The Land o' the Leal," at the close of the century, were sung in every district of the kingdom.

Carolina Oliphant had many suitors for her hand: she gave a preference to William Murray Nairn, her maternal cousin, who had been Baron Nairn, barring the attainder of the title on account of the Jacobitism of the last Baron. The marriage was celebrated in June 1806. At this period, Mr Nairn was Assistant Inspector-General of Barracks in Scotland, and held the rank of major in the army. By Act of Parliament, on the 17th June 1824, the attainder of the family was removed, the title of Baron being conferred on Major Nairn. This measure is reported to have been passed on the strong recommendation of George IV.; his Majesty having learned, during his state visit to Scotland in 1822, that the song of "The Attainted Scottish Nobles" was the composition of Lady Nairn. The song is certainly one of the best apologies for Jacobitism.

On the 9th of July 1830, Lady Nairn was bereaved of her husband, to whom she had proved an affectionate wife. Her care had for several years been assiduously bestowed on the proper rearing of her only child William, who, being born in 1808, had reached his twenty-second year when he succeeded to the title on the death of his father. This young nobleman warmly reciprocated his mother's affectionate devotedness; and, making her the associate of his manhood, proved a source of much comfort to her in her bereavement. In 1837, he resolved, in her society, to visit the Continent, in the hope of being recruited by change of climate from an attack of influenza caught in the spring of that year. But the change did not avail; he was seized with a violent cold at Brussels, which, after an illness of six weeks, proved fatal. He died in that city on the 7th of December 1837. Deprived both of her husband and her only child, a young nobleman of so much promise, and of singular Christian worth, Lady Nairn, though submitting to the mysterious dispensations with becoming resignation, did not regain her wonted buoyancy of spirit. Old age was rapidly approaching,—those years in which the words of the inspired sage, "I have no pleasure in them," are too frequently called forth by the pressure of human infirmities. But this amiable lady did not sink under the load of affliction and of years: she mourned in hope, and wept in faith. While the afflictions which had mingled with her cup of blessings tended to prevent her lingering too intently on the past,[45] the remembrance of a life devoted to deeds of piety and virtue was a solace greater than any other earthly object could impart, leading her to hail the future with sentiments of joyful anticipation. During the last years of her life, unfettered by worldly ties, she devoted all her energies to the service of Heaven, and to the advancement of Christian truth. Her beautiful ode, "Would you be young again?" was composed in 1842, and enclosed in a letter to a friend; it is signally expressive of the pious resignation and Christian hope of the author.

After the important era of her marriage, she seems to have relinquished her literary ardour. But in the year 1821, Mr Robert Purdie, an enterprising music-seller in Edinburgh, having resolved to publish a series of the more approved national songs, made application to several ladies celebrated for their musical skill, with the view of obtaining their assistance in the arrangement of the melodies. To these ladies was known the secret of Lady Nairn's devotedness to Scottish song, enjoying as they did her literary correspondence and private intimacy; and in consenting to aid the publisher in his undertaking, they calculated on contributions from their accomplished friend. They had formed a correct estimate: Lady Nairn, whose extreme diffidence had hitherto proved a barrier to the fulfilment of the best wishes of her heart, in effecting the reformation of the national minstrelsy, consented to transmit pieces for insertion, on the express condition that her name and rank, and every circumstance connected with her history, should be kept in profound secrecy. The condition was carefully observed; so that, although the publication of "The Scottish Minstrel" extended over three years, and she had several personal interviews and much correspondence with the publisher and his editor, Mr R. A. Smith, both these individuals remained ignorant of her real name. She had assumed the signature, "B. B.," in her correspondence with Mr Purdie, who appears to have been entertained by the discovery, communicated in confidence, that the name of his contributor was "Mrs Bogan of Bogan;" and by this designation he subsequently addressed her. The nom de guerre of the two B.'s[46] is attached to the greater number of Lady Nairn's contributions in "The Scottish Minstrel."

The new collection of minstrelsy, unexceptionable as it was in the words attached to all the airs, commanded a wide circulation, and excited general attention. The original contributions were especially commended, and some of them were forthwith sung by professed vocalists in the principal towns. Much speculation arose respecting the authorship, and various conjectures were supported, each with plausible arguments, by the public journalists. In these circumstances, Lady Nairn experienced painful alarm, lest, by any inadvertence on the part of her friends, the origin of her songs should be traced. While the publication of the "Minstrel" was proceeding, her correspondents received repeated injunctions to adopt every caution in preserving her incognita; she was even desirous that her sex might not be made known. "I beg the publisher will make no mention of a lady," she wrote to one of her correspondents, "as you observe, the more mystery the better, and still the balance is in favour of the lords of creation. I cannot help, in some degree, undervaluing beforehand what is said to be a feminine production." "The Scottish Minstrel" was completed in 1824, in six royal octavo volumes, forming one of the best collections of the Scottish melodies. It was in the full belief that "Mrs Bogan" was her real name, that the following compliment was paid to Lady Nairn by Messrs Purdie and R. A. Smith, in the advertisement to the last volume of the work:—"In particular, the editors would have felt happy in being permitted to enumerate the many original and beautiful verses that adorn their pages, for which they are indebted to the author of the much-admired song, 'The Land o' the Leal;' but they fear to wound a delicacy which shrinks from all observation."

Subsequent to the appearance of "The Scottish Minstrel," Lady Nairn did not publish any lyrics; and she was eminently successful in preserving her incognita. No critic ventured to identify her as the celebrated "B. B.," and it was only whispered among a few that she had composed "The Land o' the Leal." The mention of her name publicly as the author of this beautiful ode, on one occasion, had signally disconcerted her. While she was resident in Paris, in 1842, she writes to an intimate friend in Edinburgh on this subject:—"A Scottish lady here, Lady——, with whom I never met in Scotland, is so good as, among perfect strangers, to denounce me as the origin of 'The Land o' the Leal!' I cannot trace it, but very much dislike as ever any kind of publicity." The extreme diffidence and shrinking modesty of the amiable author continued to the close of her life; she never divulged, beyond a small circle of confidential friends, the authorship of a single verse. The songs published in her youth had been given to others; but, as in the case of Lady Anne Barnard, these assignments caused her no uneasiness. She experienced much gratification in finding her simple minstrelsy supplanting the coarse and demoralising rhymes of a former period; and this mental satisfaction she preferred to fame.

The philanthropic efforts of Lady Nairn were not limited to the purification of the national minstrelsy; her benevolence extended towards the support of every institution likely to promote the temporal comforts, or advance the spiritual interests of her countrymen. Her contributions to the public charities were ample, and she

"Did good by stealth, and blush'd to find it fame."

In an address delivered at Edinburgh, on the 29th of December 1845, Dr Chalmers, referring to the exertions which had been made for the supply of religious instruction in the district of the West Port of Edinburgh, made the following remarks regarding Lady Nairn, who was then recently deceased:—"Let me speak now as to the countenance we have received. I am now at liberty to mention a very noble benefaction which I received about a year ago. Inquiry was made at me by a lady, mentioning that she had a sum at her disposal, and that she wished to apply it to charitable purposes; and she wanted me to enumerate a list of charitable objects, in proportion to the estimate I had of their value. Accordingly, I furnished her with a scale of about five or six charitable objects. The highest in the scale were those institutions which had for their design the Christianising of the people at home; and I also mentioned to her, in connexion with the Christianising at home, what we were doing at the West Port; and there came to me from her, in the course of a day or two, no less a sum than L300. She is now dead; she is now in her grave, and her works do follow her. When she gave me this noble benefaction, she laid me under strict injunctions of secrecy, and, accordingly, I did not mention her name to any person; but after she was dead, I begged of her nearest heir that I might be allowed to proclaim it, because I thought that her example, so worthy to be followed, might influence others in imitating her; and I am happy to say that I am now at liberty to state that it was Lady Nairn of Perthshire. It enabled us, at the expense of L330, to purchase sites for schools, and a church; and we have got a site in the very heart of the locality, with a very considerable extent of ground for a washing-green, a washing-house, and a play-ground for the children, so that we are a good step in advance towards the completion of our parochial economy."

After the death of her son, and till within two years of her own death, Lady Nairn resided chiefly on the Continent, and frequently in Paris. Her health had for several years been considerably impaired, and latterly she had recourse to a wheeled chair. In the mansion of Gask, on the 27th of October 1845, she gently sunk into her rest, at the advanced age of seventy-nine years.

Some years subsequent to this event, it occurred to the relatives and literary friends of the deceased Baroness that as there could no longer be any reason for retaining her incognita, full justice should be done to her memory by the publication of a collected edition of her works. This scheme was partially executed in an elegant folio, entitled "Lays from Strathearn: by Carolina, Baroness Nairn. Arranged with Symphonies and Accompaniments for the Pianoforte, by Finlay Dun." It bears the imprint of London, and has no date. In this work, of which a new edition will speedily be published by Messrs Paterson, music-sellers, Edinburgh, are contained seventy songs, but the larger proportion of the author's lyrics still remain in MS. From her representatives we have received permission to select her best lyrics for the present work, and to insert several pieces hitherto unpublished. Of the lays which we have selected, several are new versions to old airs; the majority, though unknown as the compositions of Lady Nairn, are already familiar in the drawing-room and the cottage. For winning simplicity, graceful expression, and exquisite pathos, her compositions are especially remarkable; but when her muse prompts to humour, the laugh is sprightly and overpowering.

In society, Lady Nairn was reserved and unassuming. Her countenance, naturally beautiful, wore, in her mature years, a somewhat pensive cast; and the characteristic by which she was known consisted in her enthusiastic love of music. It may be added, that she was fond of the fine arts, and was skilled in the use of the pencil.

[44] Robertson of Struan, cousin-german of Lady Nairn's mother, and a conspicuous Jacobite chief, composed many fugitive verses for the amusement of his friends; and a collection of them, said to have been surreptitiously obtained from a servant, was published, without a date, under the following title:—"Poems on various Subjects and Occasions, by the Honourable Alexander Robertson of Struan, Esq.—mostly taken from his own original Manuscripts." Edinburgh, 8vo.

[45] Writing to one of her correspondents, in November 1840, Lady Nairn thus remarks—"I sometimes say to myself, 'This is no me,' so greatly have my feelings and trains of thought changed since 'auld lang syne;' and, though I am made to know assuredly that all is well, I scarcely dare to allow my mind to settle on the past."

[46] A daughter of Baron Hume was one of the ladies who induced Lady Nairn to become a contributor to "The Scottish Minstrel." Many of the songs were sent to the Editor through the medium of Miss Hume. She thus expresses herself in a letter to a friend:—"My father's admiration of 'The Land o' the Leal' was such, that he said no woman but Miss Ferrier was capable of writing it. And when I used to shew him song after song in MS., when I was receiving the anonymous verses for the music, and ask his criticism, he said—'Your unknown poetess has only one, or rather two, letters out of taste, viz., choosing "B. B." for her signature.'"



THE PLEUGHMAN.[47]

There 's high and low, there 's rich and poor, There 's trades and crafts enew, man; But, east and west, his trade 's the best, That kens to guide the pleugh, man. Then, come, weel speed my pleughman lad, And hey my merry pleughman; Of a' the trades that I do ken, Commend me to the pleughman.

His dreams are sweet upon his bed, His cares are light and few, man; His mother's blessing 's on his head, That tents her weel, the pleughman. Then, come, weel speed, &c.

The lark, sae sweet, that starts to meet The morning fresh and new, man; Blythe though she be, as blythe is he That sings as sweet, the pleughman. Then, come, weel speed, &c.

All fresh and gay, at dawn of day Their labours they renew, man; Heaven bless the seed, and bless the soil, And Heaven bless the pleughman. Then, come, weel speed, &c.

[47] This seems to have been the author's first composition in Scottish verse. See the Memoir.



CALLER HERRIN'.[48]

Wha 'll buy caller herrin'? They 're bonnie fish and halesome farin'; Wha 'll buy caller herrin', New drawn frae the Forth?

When ye were sleepin' on your pillows, Dream'd ye ought o' our puir fellows, Darkling as they faced the billows, A' to fill the woven willows. Buy my caller herrin', New drawn frae the Forth.

Wha 'll buy my caller herrin'? They 're no brought here without brave daring; Buy my caller herrin', Haul'd thro' wind and rain. Wha 'll buy caller herrin'? &c.

Wha 'll buy my caller herrin'? Oh, ye may ca' them vulgar farin'! Wives and mithers, maist despairin', Ca' them lives o' men. Wha 'll buy caller herrin'? &c.

When the creel o' herrin' passes, Ladies, clad in silks and laces, Gather in their braw pelisses, Cast their heads, and screw their faces. Wha 'll buy caller herrin'? &c.

Caller herrin 's no got lightlie; Ye can trip the spring fu' tightlie; Spite o' tauntin', flauntin', flingin', Gow has set you a' a-singin'. Wha 'll buy caller herrin'? &c.

Neebour wives, now tent my tellin', When the bonny fish ye 're sellin', At ae word be in yer dealin'— Truth will stand when a' thing 's failin'. Wha 'll buy caller herrin'? &c.

[48] This song has acquired an extensive popularity, for which it is much indebted, in addition to its intrinsic merits, to the musical powers of the late John Wilson, the eminent vocalist, whose premature death is a source of regret to all lovers of Scottish melody. Mr Wilson sung this song in every principal town of the United Kingdom, and always with effect.



THE LAND O' THE LEAL.[49]

I 'm wearin' awa', John, Like snaw wreaths in thaw, John; I 'm wearin' awa' To the land o' the leal. There 's nae sorrow there, John; There 's neither cauld nor care, John; The day 's aye fair I' the land o' the leal.

Our bonnie bairn 's there, John; She was baith gude and fair, John; And, oh! we grudged her sair To the land o' the leal. But sorrows sel' wears past, John, And joy 's a-comin' fast, John— The joy that 's aye to last In the land o' the leal.

Sae dear 's that joy was bought, John, Sae free the battle fought, John, That sinfu' man e'er brought To the land o' the leal. Oh, dry your glist'ning e'e, John! My saul langs to be free, John; And angels beckon me To the land o' the leal.

Oh, haud ye leal and true, John! Your day it 's wearin' thro', John; And I 'll welcome you To the land o' the leal. Now, fare ye weel, my ain John, This warld's cares are vain, John; We 'll meet, and we 'll be fain, In the land o' the leal.

[49] This exquisitely tender and beautiful lay was composed by Lady Nairn, for two married relatives of her own, Mr and Mrs C——, who had sustained bereavement in the death of a child. Such is the account of its origin which we have received from Lady Nairn's relatives.



THE LAIRD O' COCKPEN.[50]

The Laird o' Cockpen he 's proud and he 's great, His mind is ta'en up with the things o' the state; He wanted a wife his braw house to keep, But favour wi' wooin' was fashious to seek.

Down by the dyke-side a lady did dwell, At his table-head he thought she 'd look well; M'Clish's ae daughter o' Claverse-ha' Lee, A penniless lass wi' a lang pedigree.

His wig was weel pouther'd, and as gude as new; His waistcoat was white, his coat it was blue; He put on a ring, a sword, and cock'd hat, And wha' could refuse the Laird wi' a' that?

He took the gray mare, and rade cannily— And rapp'd at the yett o' Claverse-ha' Lee; "Gae tell Mistress Jean to come speedily ben, She 's wanted to speak to the Laird o' Cockpen."

Mistress Jean was makin' the elder-flower wine, "And what brings the Laird at sic a like time?" She put aff her apron, and on her silk gown, Her mutch wi' red ribbons, and gaed awa' down.

And when she cam' ben, he bowed fu' low, And what was his errand he soon let her know; Amazed was the Laird when the lady said "Na;" And wi' a laigh curtsie she turned awa'.

Dumbfounder'd he was, nae sigh did he gie; He mounted his mare—he rade cannily; And aften he thought, as he gaed through the glen, She 's daft to refuse the Laird o' Cockpen.

And now that the Laird his exit had made, Mistress Jean she reflected on what she had said; "Oh! for ane I 'll get better, it 's waur I 'll get ten, I was daft to refuse the Laird o' Cockpen."

Next time that the Laird and the Lady were seen, They were gaun arm-in-arm to the kirk on the green; Now she sits in the ha' like a weel-tappit hen, But as yet there 's nae chickens appear'd at Cockpen.

[50] This humorous and highly popular song was composed by Lady Nairn towards the close of the last century, in place of the older words connected with the air, "When she came ben, she bobbit." The older version, which is entitled "Cockpen," is exceptional on the score of refinement, but was formerly sung on account of the excellence of the air. It is generally believed to be a composition of the reign of Charles II.; and the hero of the piece, "the Laird of Cockpen," is said to have been the companion in arms and attached friend of his sovereign. Of this personage an anecdote is recorded in some of the Collections. Having been engaged with his countrymen at the battle of Worcester, in the cause of Charles, he accompanied the unfortunate monarch to Holland, and, forming one of the little court at the Hague, amused his royal master by his humour, and especially by his skill in Scottish music. In playing the tune, "Brose and Butter," he particularly excelled; it became the favourite of the exiled monarch, and Cockpen had pleasure in gratifying the royal wish, that he might be lulled to sleep at night, and awakened in the morning by this enchanting air. At the Restoration, Cockpen found that his estate had been confiscated for his attachment to the king, and had the deep mortification to discover that he had suffered on behalf of an ungrateful prince, who gave no response to his many petitions and entreaties for the restoration of his possessions. Visiting London, he was even denied an audience; but he still entertained a hope that, by a personal conference with the king, he might attain his object. To accomplish this design, he had recourse to the following artifice:—He formed acquaintance with the organist of the chapel-royal, and obtained permission to officiate as his substitute when the king came to service. He did so with becoming propriety till the close of the service, when, instead of the solemn departing air, he struck up the monarch's old favourite, "Brose and Butter." The scheme, though bordering on profanity, succeeded in the manner intended. The king proceeding hastily to the organ-gallery, discovered Cockpen, whom he saluted familiarly, declaring that he had "almost made him dance." "I could dance too," said Cockpen, "if I had my lands again." The request, to which every entreaty could not gain a response, was yielded to the power of music and old association. Cockpen was restored to his inheritance. The modern ballad has been often attributed to Miss Ferrier, the accomplished author of "Marriage," and other popular novels. She only contributed the last two stanzas. The present Laird of Cockpen is the Marquis of Dalhousie.



HER HOME SHE IS LEAVING.

AIR—"Mordelia."

In all its rich wildness, her home she is leaving, In sad and tearful silence grieving, And still as the moment of parting is nearer, Each long cherish'd object is fairer and dearer. Not a grove or fresh streamlet but wakens reflection Of hearts still and cold, that glow'd with affection; Not a breeze that blows over the flowers of the wild wood, But tells, as it passes, how blest was her childhood.

And how long must I leave thee, each fond look expresses, Ye high rocky summits, ye ivy'd recesses! How long must I leave thee, thou wood-shaded river, The echoes all sigh—as they whisper—for ever! Tho' the autumn winds rave, and the seared leaves fall, And winter hangs out her cold icy pall— Yet the footsteps of spring again ye will see, And the singing of birds—but they sing not for me.

The joys of the past, more faintly recalling, Sweet visions of peace on her spirit are falling, And the soft wing of time, as it speeds for the morrow, Wafts a gale, that is drying the dew-drops of sorrow. Hope dawns—and the toils of life's journey beguiling, The path of the mourner is cheer'd with its smiling; And there her heart rests, and her wishes all centre, Where parting is never—nor sorrow can enter.



THE BONNIEST LASS IN A' THE WARLD.

The bonniest lass in a' the warld, I 've often heard them telling, She 's up the hill, she 's down the glen, She 's in yon lonely dwelling. But nane could bring her to my mind Wha lives but in the fancy, Is 't Kate, or Shusie, Jean, or May, Is 't Effie, Bess, or Nancy?

Now lasses a' keep a gude heart, Nor e'er envy a comrade, For be your een black, blue, or gray, Ye 're bonniest aye to some lad. The tender heart, the charming smile, The truth that ne'er will falter, Are charms that never can beguile, And time can never alter.



MY AIN KIND DEARIE, O![51]

Will ye gang ower the lea-rig, My ain kind dearie, O? Will ye gang ower the lea-rig, My ain kind dearie, O? Gin ye'll tak heart, and gang wi' me, Mishap will never steer ye, O; Gude luck lies ower the lea-rig, My ain kind dearie, O!

There 's walth ower yon green lea-rig, My ain kind dearie, O! There 's walth ower yon green lea-rig, My ain kind dearie, O! Its neither land, nor gowd, nor braws— Let them gang tapsle teerie, O! It 's walth o' peace, o' love, and truth, My ain kind dearie, O!

[51] The first two lines of this song are borrowed from the "Lea-Rig," a lively and popular lyric, of which the first two verses were composed by Robert Fergusson, the three remaining being added by William Reid of Glasgow. (See ante, article "William Reid.")



HE'S LIFELESS AMANG THE RUDE BILLOWS.

AIR—"The Muckin' o' Geordie's Byre."

He 's lifeless amang the rude billows, My tears and my sighs are in vain; The heart that beat warm for his Jeanie, Will ne'er beat for mortal again. My lane now I am i' the warld, And the daylight is grievous to me; The laddie that lo'ed me sae dearly Lies cauld in the deeps o' the sea.

Ye tempests, sae boist'rously raging, Rage on as ye list—or be still; This heart ye sae often hae sicken'd, Is nae mair the sport o' your will. Now heartless, I hope not—I fear not,— High Heaven hae pity on me! My soul, tho' dismay'd and distracted, Yet bends to thy awful decree.



JOY OF MY EARLIEST DAYS.

AIR—"I'll never leave thee."

Joy of my earliest days, Why must I grieve thee? Theme of my fondest lays, Oh, I maun leave thee! Leave thee, love! leave thee, love! How shall I leave thee? Absence thy truth will prove, For, oh! I maun leave thee!

When on yon mossy stane, Wild weeds o'ergrowin', Ye sit at e'en your lane, And hear the burn rowin'; Oh! think on this partin' hour, Down by the Garry, And to Him that has a' the pow'r, Commend me, my Mary!



OH, WEEL'S ME ON MY AIN MAN.

AIR—"Landlady count the lawin'."

Oh, weel's me on my ain man, My ain man, my ain man! Oh, weel's me on my ain gudeman! He 'll aye be welcome hame.

I 'm wae I blamed him yesternight, For now my heart is feather light; For gowd I wadna gie the sight; I see him linking ower the height. Oh, weel's me on my ain man, &c.

Rin, Jamie, bring the kebbuck ben, And fin' aneath the speckled hen; Meg, rise and sweep about the fire, Syne cry on Johnnie frae the byre. For weel's me on my ain man, My ain man, my ain man! For weel's me on my ain gudeman! I see him linkin' hame.



KIND ROBIN LOE'S ME.[52]

Robin is my ain gudeman, Now match him, carlins, gin ye can, For ilk ane whitest thinks her swan, But kind Robin lo'es me. To mak my boast I 'll e'en be bauld, For Robin lo'ed me young and auld, In summer's heat and winter's cauld, My kind Robin lo'es me.

Robin he comes hame at e'en Wi' pleasure glancin' in his e'en; He tells me a' he 's heard and seen, And syne how he lo'es me. There 's some hae land, and some hae gowd, Mair wad hae them gin they could, But a' I wish o' warld's guid, Is Robin still to lo'e me.

[52] The author seems to have composed these stanzas as a sequel to a wooing song of the same name, beginning, "Robin is my only jo," which first appeared in Herd's Collection in 1776. There are some older words to the same air, but these are coarse, and are not to be found in any of the modern Collections.



KITTY REID'S HOUSE.

AIR—"Country Bumpkin."

Hech, hey! the mirth that was there, The mirth that was there, The mirth that was there; Hech, how! the mirth that was there, In Kitty Reid's house on the green, Jo! There was laughin' and singin', and dancin' and glee, In Kitty's Reid's house, in Kitty Reid's house, There was laughin' and singin', and dancin' and glee, In Kitty Reid's house on the green, Jo!

Hech, hey! the fright that was there, The fright that was there, The fright that was there; Hech, how! the fright that was there, In Kitty Reid's house on the green, Jo! The light glimmer'd in through a crack i' the wa', An' a'body thocht the lift it wad fa', And lads and lasses they soon ran awa' Frae Kitty's Reid's house on the green, Jo!

Hech, hey! the dule that was there, The dule that was there, The dule that was there; The birds and beasts it wauken'd them a', In Kitty Reid's house on the green, Jo! The wa' gaed a hurley, and scatter'd them a', The piper, the fiddler, auld Kitty, and a'; The kye fell a routin', the cocks they did craw, In Kitty Reid's house on the green, Jo!



THE ROBIN'S NEST.

AIR—"Lochiel's awa' to France."

Their nest was in the leafy bush, Sae soft and warm, sae soft and warm, And Robins thought their little brood All safe from harm, all safe from harm. The morning's feast with joy they brought, To feed their young wi' tender care; The plunder'd leafy bush they found, But nest and nestlings saw nae mair.

The mother cou'dna leave the spot, But wheeling round, and wheeling round, The cruel spoiler aim'd a shot, Cured her heart's wound, cured her heart's wound. She will not hear their helpless cry, Nor see them pine in slavery! The burning breast she will not bide, For wrongs of wanton knavery.

Oh! bonny Robin Redbreast, Ye trust in men, ye trust in men, But what their hard hearts are made o', Ye little ken, ye little ken. They 'll ne'er wi' your wee skin be warm'd, Nor wi' your tiny flesh be fed, But just 'cause you 're a living thing, It 's sport wi' them to lay you dead.

Ye Hieland and ye Lowland lads, As birdies gay, as birdies gay, Oh, spare them, whistling like yoursel's, And hopping blythe from spray to spray! Their wings were made to soar aloft, And skim the air at liberty; And as you freedom gi'e to them, May you and yours be ever free!



SAW YE NAE MY PEGGY?[53]

Saw ye nae my Peggy? Saw ye nae my Peggy? Saw ye nae my Peggy comin' Through Tillibelton's broom? I 'm frae Aberdagie, Ower the crafts o' Craigie, For aught I ken o' Peggie, She 's ayont the moon.

'Twas but at the dawin', Clear the cock was crawin', I saw Peggy cawin' Hawky by the brier. Early bells were ringin', Blythest birds were singin', Sweetest flowers were springin', A' her heart to cheer.

Now the tempest's blawin', Almond water 's flowin', Deep and ford unknowin', She maun cross the day. Almond waters, spare her, Safe to Lynedoch bear her! Its braes ne'er saw a fairer, Bess Bell nor Mary Gray.

Oh, now to be wi' her! Or but ance to see her Skaithless, far or near, I 'd gie Scotland's crown. Byeword, blind 's a lover— Wha 's yon I discover? Just yer ain fair rover, Stately stappin' down.

[53] Another song with the same title, "Saw ye nae my Peggy?" is inserted in the Collections. It first appeared in Herd's Collection, in 1769, though it is understood to be of a considerably older date. Allan Ramsay composed two songs to the same air, but they are both inferior. The air is believed to have originally been connected with some exceptionable words, beginning, "Saw ye my Maggie?"



GUDE NICHT, AND JOY BE WI' YE A'!

The best o' joys maun hae an end, The best o' friends maun part, I trow; The langest day will wear away, And I maun bid fareweel to you. The tear will tell when hearts are fu', For words, gin they hae sense ava, They 're broken, faltering, and few: Gude nicht, and joy be wi' you a'!

Oh, we hae wander'd far and wide, O'er Scotia's lands o' frith and fell! And mony a simple flower we 've pu'd, And twined it wi' the heather-bell. We 've ranged the dingle and the dell, The cot-house, and the baron's ha'; Now we maun tak a last farewell: Gude nicht, and joy be wi' you a'!

My harp, fareweel! thy strains are past, Of gleefu' mirth, and heartfelt care; The voice of song maun cease at last, And minstrelsy itsel' decay. But, oh! whar sorrow canna win, Nor parting tears are shed ava', May we meet neighbour, kith, and kin, And joy for aye be wi' us a'!



CAULD KAIL IN ABERDEEN.[54]

There 's cauld kail in Aberdeen, There 's castocks in Strabogie; And morn and e'en, they 're blythe and bein, That haud them frae the cogie. Now, haud ye frae the cogie, lads; O bide ye frae the cogie! I 'll tell ye true, ye 'll never rue, O' passin' by the cogie.

Young Will was braw and weel put on, Sae blythe was he and vogie; And he got bonnie Mary Don, The flower o' a' Strabogie. Wha wad hae thocht, at wooin' time, He 'd e'er forsaken Mary, And ta'en him to the tipplin' trade, Wi' boozin' Rob and Harry?

Sair Mary wrought, sair Mary grat, She scarce could lift the ladle; Wi' pithless feet, 'tween ilka greet, She 'd rock the borrow'd cradle. Her weddin' plenishin' was gane, She never thocht to borrow: Her bonnie face was waxin' wan— And Will wrought a' the sorrow.

He 's reelin' hame ae winter's nicht, Some later than the gloamin'; He 's ta'en the rig, he 's miss'd the brig, And Bogie 's ower him foamin'. Wi' broken banes, out ower the stanes, He creepit up Strabogie; And a' the nicht he pray'd wi' micht, To keep him frae the cogie.

Now Mary's heart is light again— She 's neither sick nor silly; For auld or young, nae sinfu' tongue, Could e'er entice her Willie; And aye the sang through Bogie rang— "O had ye frae the cogie; The weary gill 's the sairest ill On braes o' fair Strabogie."

[54] This excellent ballad is the fourth version adapted to the air, "Cauld Kail in Aberdeen." Some notice of the three former will be found ante, p. 46.



HE'S OWER THE HILLS THAT I LO'E WEEL.

He 's ower the hills that I lo'e weel, He 's ower the hills we daurna name; He 's ower the hills ayont Dunblane, Wha soon will get his welcome hame.

My father's gane to fight for him, My brithers winna bide at hame; My mither greets and prays for them, And 'deed she thinks they 're no to blame. He 's ower the hills, &c.

The Whigs may scoff, the Whigs may jeer; But, ah! that love maun be sincere Which still keeps true whate'er betide, An' for his sake leaves a' beside. He 's ower the hills, &c.

His right these hills, his right these plains; Ower Hieland hearts secure he reigns; What lads e'er did our laddies will do; Were I a laddie, I'd follow him too. He 's ower the hills, &c.

Sae noble a look, sae princely an air, Sae gallant and bold, sae young and sae fair; Oh, did ye but see him, ye 'd do as we've done! Hear him but ance, to his standard you 'll run. He 's ower the hills, &c.

Then draw the claymore, for Charlie then fight; For your country, religion, and a' that is right; Were ten thousand lives now given to me, I 'd die as aft for ane o' the three. He 's ower the hills, &c.



THE LASS O' GOWRIE.[55]

AIR—"Loch Erroch Side."

'Twas on a summer's afternoon, A wee afore the sun gaed down, A lassie, wi' a braw new gown, Cam' ower the hills to Gowrie. The rose-bud, wash'd in summer's shower, Bloom'd fresh within the sunny bower; But Kitty was the fairest flower That e'er was seen in Gowrie.

To see her cousin she cam' there, An', oh, the scene was passing fair! For what in Scotland can compare Wi' the Carse o' Gowrie? The sun was setting on the Tay, The blue hills melting into gray; The mavis' and the blackbird's lay Were sweetly heard in Gowrie.

Oh, lang the lassie I had woo'd! An' truth and constancy had vow'd, But cam' nae speed wi' her I lo'ed, Until she saw fair Gowrie. I pointed to my faither's ha', Yon bonnie bield ayont the shaw, Sae loun' that there nae blast could blaw; Wad she no bide in Gowrie?

Her faither was baith glad and wae; Her mither she wad naething say; The bairnies thocht they wad get play If Kitty gaed to Gowrie. She whiles did smile, she whiles did greet, The blush and tear were on her cheek; She naething said, an' hung her head; But now she's Leddy Gowrie.

[55] There are several other versions of this highly popular song. One of these, the composition of William Reid of Glasgow, has already been adduced. See ante, p. 157. Another, which is one of the most celebrated, in the first two verses is nearly the same with the opening stanzas of Lady Nairn's version, the sequel proceeding as follows:—

I praised her beauty loud an' lang, Then round her waist my arms I flang, And said, "My dearie, will ye gang To see the Carse o' Gowrie?

"I'll tak ye to my father's ha', In yon green field beside the shaw; I'll mak you lady o' them a'— The brawest wife in Gowrie."

Soft kisses on her lips I laid, The blush upon her cheek soon spread; She whisper'd modestly, and said, "I'll gang wi' you to Gowrie."

The auld folks soon ga'e their consent, Syne for Mess John they quickly sent, Wha tied them to their heart's content, And now she's Lady Gowrie.

Mr Lyle, in his "Ancient Ballads and Songs" (Lond. 1827, 12mo, p. 138), presents an additional version, which we subjoin. Mr Lyle remarks, that he had revised it from an old stall copy, ascribed to Colonel James Ramsay of Stirling Castle.

THE BONNIE LASS O' GOWRIE.

A wee bit north frae yon green wood, Whar draps the sunny showerie, The lofty elm-trees spread their boughs, To shade the braes o' Gowrie; An' by yon burn ye scarce can see, There stan's a rustic bowerie, Whar lives a lass mair dear to me Than a' the maids in Gowrie.

Nae gentle bard e'er sang her praise, 'Cause fortune ne'er left dowrie; The rose blaws sweetest in the shade, So does the flower o' Gowrie. When April strews her garlands roun', Her bare foot treads the flowerie; Her sang gars a' the woodlands ring, That shade the braes o' Gowrie.

Her modest blush an' downcast e'e, A flame sent beating through me; For she surpasses all I've seen, This peerless flower o' Gowrie. I've lain upon the dewy green Until the evening hourie, An' thought gin e'er I durst ca' mine The bonnie lass o' Gowrie.

The bushes that o'erhang the burn, Sae verdant and sae flowerie, Can witness that I love alane The bonnie lass o' Gowrie. Let ithers dream an' sigh for wealth, An' fashions fleet and flowery; Gi'e me that heav'nly innocence Upon the braes o' Gowrie.



THERE GROWS A BONNIE BRIER BUSH.[56]

There grows a bonnie brier bush in our kail-yard, And white are the blossoms o't in our kail-yard, Like wee bit white cockauds to deck our Hieland lads, And the lasses lo'e the bonnie bush in our kail-yard.