There's
somebody
weary wi' lying her lane;
There's somebody weary wi' lying her lane;
There's some that are dowie, I trow would be fain
To see the bit tailor come skippin' again.
There's somebody weary wi' lying her lane;
There's some that are dowie, I trow would be fain
To see the bit tailor come skippin' again.
Robert Burns-
]
I.
The ploughman he's a bonnie lad,
His mind is ever true, jo,
His garters knit below his knee,
His bonnet it is blue, jo.
Then up wi' him my ploughman lad,
And hey my merry ploughman!
Of a' the trades that I do ken,
Commend me to the ploughman.
II.
My ploughman he comes hame at e'en,
He's aften wat and weary;
Cast off the wat, put on the dry,
And gae to bed, my dearie!
III.
I will wash my ploughman's hose,
And I will dress his o'erlay;
I will mak my ploughman's bed,
And cheer him late and early.
IV.
I hae been east, I hae been west,
I hae been at Saint Johnston;
The bonniest sight that e'er I saw
Was the ploughman laddie dancin'.
V.
Snaw-white stockins on his legs,
And siller buckles glancin';
A gude blue bonnet on his head--
And O, but he was handsome!
VI.
Commend me to the barn-yard,
And the corn-mou, man;
I never gat my coggie fou,
Till I met wi' the ploughman.
Up wi' him my ploughman lad,
And hey my merry ploughman!
Of a' the trades that I do ken,
Commend me to the ploughman.
* * * * *
LI.
LANDLADY, COUNT THE LAWIN.
Tune--"_Hey tutti, taiti. _"
[Of this song, the first and second verses are by Burns: the closing
verse belongs to a strain threatening Britain with an invasion from
the iron-handed Charles XII. of Sweden, to avenge his own wrongs and
restore the line of the Stuarts. ]
I.
Landlady, count the lawin,
The day is near the dawin;
Ye're a' blind drunk, boys,
And I'm but jolly fou,
Hey tutti, taiti,
How tutti, taiti--
Wha's fou now?
II.
Cog an' ye were ay fou,
Cog an' ye were ay fou,
I wad sit and sing to you
If ye were ay fou.
III.
Weel may ye a' be!
Ill may we never see!
God bless the king,
And the companie!
Hey tutti, taiti,
How tutti, taiti--
Wha's fou now?
* * * * *
LII.
RAVING WINDS AROUND HER BLOWING.
Tune--"_Macgregor of Rura's Lament. _"
["I composed these verses," says Burns, "on Miss Isabella M'Leod, of
Raza, alluding to her feelings on the death of her sister, and the
still more melancholy death of her sister's husband, the late Earl of
Loudon, in 1796. "]
I.
Raving winds around her blowing,
Yellow leaves the woodlands strowing,
By a river hoarsely roaring,
Isabella stray'd deploring--
"Farewell hours that late did measure
Sunshine days of joy and pleasure;
Hail, thou gloomy night of sorrow,
Cheerless night that knows no morrow!
II.
"O'er the past too fondly wandering,
On the hopeless future pondering;
Chilly grief my life-blood freezes,
Fell despair my fancy seizes.
Life, thou soul of every blessing,
Load to misery most distressing,
Gladly how would I resign thee,
And to dark oblivion join thee! "
* * * * *
LIII.
HOW LONG AND DREARY IS THE NIGHT.
_To a Gaelic air. _
[Composed for the Museum: the air of this affecting strain is true
Highland: Burns, though not a musician, had a fine natural taste in
the matter of national melodies. ]
I.
How long and dreary is the night
When I am frae my dearie!
I sleepless lie frae e'en to morn,
Tho' I were ne'er sae weary.
I sleepless lie frae e'en to morn,
Tho' I were ne'er sae weary.
II.
When I think on the happy days
I spent wi' you, my dearie,
And now what lands between us lie,
How can I but be eerie!
And now what lands between us lie,
How can I be but eerie!
III.
How slow ye move, ye heavy hours,
As ye were wae and weary!
It was na sae ye glinted by,
When I was wi' my dearie.
It was na sae ye glinted by,
When I was wi' my dearie.
* * * * *
LIV.
MUSING ON THE ROARING OCEAN.
Tune--"_Druimion dubh. _"
[The air of this song is from the Highlands: the verses were written
in compliment to the feelings of Mrs. M'Lauchlan, whose husband was an
officer serving in the East Indies. ]
I.
Musing on the roaring ocean,
Which divides my love and me;
Wearying heaven in warm devotion,
For his weal where'er he be.
II.
Hope and fear's alternate billow
Yielding late to nature's law,
Whisp'ring spirits round my pillow
Talk of him that's far awa.
III.
Ye whom sorrow never wounded,
Ye who never shed a tear,
Care-untroubled, joy-surrounded,
Gaudy day to you is dear.
IV.
Gentle night, do thou befriend me;
Downy sleep, the curtain draw;
Spirits kind, again attend me,
Talk of him that's far awa!
* * * * *
LV.
BLITHE WAS SHE.
Tune--"_Andro and his cutty gun. _"
[The heroine of this song, Euphemia Murray, of Lintrose was justly
called the "Flower of Strathmore:" she is now widow of Lord Methven,
one of the Scottish judges, and mother of a fine family. The song was
written at Ochtertyre, in June 1787. ]
CHORUS.
Blithe, blithe and merry was she,
Blithe was she but and ben:
Blithe by the banks of Ern,
And blithe in Glenturit glen.
I.
By Auchtertyre grows the aik,
On Yarrow banks the birken shaw;
But Phemie was a bonnier lass
Than braes of Yarrow ever saw.
II.
Her looks were like a flow'r in May,
Her smile was like a simmer morn;
She tripped by the banks of Ern,
As light's a bird upon a thorn.
III.
Her bonnie face it was as meek
As any lamb upon a lea;
The evening sun was ne'er sae sweet,
As was the blink o' Phemie's ee.
IV.
The Highland hills I've wander'd wide,
And o'er the Lowlands I hae been;
But Phemie was the blithest lass
That ever trod the dewy green.
Blithe, blithe and merry was she,
Blithe was she but and ben:
Blithe by the banks of Ern.
And blithe in Glenturit glen.
* * * * *
LVI.
THE BLUDE RED ROSE AT YULE MAY BLAW.
Tune--"_To daunton me. _"
[The Jacobite strain of "To daunton me," must have been in the mind of
the poet when he wrote this pithy lyric for the Museum. ]
I.
The blude red rose at Yule may blaw,
The simmer lilies bloom in snaw,
The frost may freeze the deepest sea;
But an auld man shall never daunton me.
To daunton me, and me so young,
Wi' his fause heart and flatt'ring tongue.
That is the thing you ne'er shall see;
For an auld man shall never daunton me.
II.
For a' his meal and a' his maut,
For a' his fresh beef and his saut,
For a' his gold and white monie,
An auld man shall never daunton me.
III.
His gear may buy him kye and yowes,
His gear may buy him glens and knowes;
But me he shall not buy nor fee,
For an auld man shall never daunton me.
IV.
He hirples twa fauld as he dow,
Wi' his teethless gab and Ma auld beld pow,
And the rain rains down frae his red bleer'd ee--
That auld man shall never daunton me.
To daunton me, and me sae young,
Wi' his fause heart and flatt'ring tongue,
That is the thing you ne'er shall see;
For an auld man shall never daunton me.
* * * * *
LVII.
COME BOAT ME O'ER TO CHARLIE.
Tune--"_O'er the water to Charlie. _"
[The second stanza of this song, and nearly all the third, are by
Burns. Many songs, some of merit, on the same subject, and to the same
air, were in other days current in Scotland. ]
I.
Come boat me o'er, come row me o'er,
Come boat me o'er to Charlie;
I'll gie John Ross another bawbee,
To boat me o'er to Charlie.
We'll o'er the water and o'er the sea,
We'll o'er the water to Charlie;
Come weal, come woe, we'll gather and go,
And live or die wi' Charlie.
II.
I lo'e weel my Charlie's name,
Tho' some there be abhor him:
But O, to see auld Nick gaun hame,
And Charlie's faes before him!
III.
I swear and vow by moon and stars,
And sun that shines so early,
If I had twenty thousand lives,
I'd die as aft for Charlie.
We'll o'er the water and o'er the sea,
We'll o'er the water to Charlie;
Come weal, come woe, we'll gather and go,
And live or die wi' Charlie!
* * * * *
LVIII.
A ROSE-BUD BY MY EARLY WALK.
Tune--"_The Rose-bud. _"
[The "Rose-bud" of these sweet verses was Miss Jean Cruikshank,
afterwards Mrs. Henderson, daughter of William Cruikshank, of St.
James's Square, one of the masters of the High School of Edinburgh:
she is also the subject of a poem equally sweet. ]
I.
A rose-bud by my early walk,
Adown a corn-enclosed bawk,
Sae gently bent its thorny stalk,
All on a dewy morning.
Ere twice the shades o' dawn are fled,
In a' its crimson glory spread,
And drooping rich the dewy head,
It scents the early morning.
II.
Within the bush, her covert nest
A little linnet fondly prest,
The dew sat chilly on her breast
Sae early in the morning.
She soon shall see her tender brood,
The pride, the pleasure o' the wood,
Amang the fresh green leaves bedew'd,
Awake the early morning.
III.
So thou, dear bird, young Jeany fair,
On trembling string or vocal air,
Shall sweetly pay the tender care
That tends thy early morning.
So thou, sweet rose-bud, young and gay,
Shalt beauteous blaze upon the day,
And bless the parent's evening ray
That watch'd thy early morning.
* * * * *
LIX.
RATTLIN', ROARIN' WILLIE.
Tune--"_Rattlin', roarin' Willie. _"
["The hero of this chant," says Burns "was one of the worthiest
fellows in the world--William Dunbar, Esq. , Write to the Signet,
Edinburgh, and Colonel of the Crochallan corps--a club of wits, who
took that title at the time of raising the fencible regiments. "]
I.
O rattlin', roarin' Willie,
O, he held to the fair,
An' for to sell his fiddle,
An' buy some other ware;
But parting wi' his fiddle,
The saut tear blint his ee;
And rattlin', roarin' Willie,
Ye're welcome hame to me!
II.
O Willie, come sell your fiddle,
O sell your fiddle sae fine;
O Willie, come sell your fiddle,
And buy a pint o' wine!
If I should sell my fiddle,
The warl' would think I was mad;
For mony a rantin' day
My fiddle and I hae had.
III.
As I cam by Crochallan,
I cannily keekit ben--
Rattlin', roarin' Willie
Was sittin' at yon board en';
Sitting at yon board en',
And amang good companie;
Rattlin', roarin' Willie,
Ye're welcome hame to me I
* * * * *
LX.
BRAVING ANGRY WINTER'S STORMS.
Tune--"_Neil Gow's Lamentations for Abercairny. _"
["This song," says the poet, "I composed on one of the most
accomplished of women, Miss Peggy Chalmers that was, now Mrs. Lewis
Hay, of Forbes and Co. 's bank, Edinburgh. " She now lives at Pau, in
the south of France. ]
I.
Where, braving angry winter's storms,
The lofty Ochels rise,
Far in their shade my Peggy's charms
First blest my wondering eyes;
As one who by some savage stream,
A lonely gem surveys,
Astonish'd, doubly marks its beam,
With art's most polish'd blaze.
II.
Blest be the wild, sequester'd shade,
And blest the day and hour,
Where Peggy's charms I first survey'd,
When first I felt their power!
The tyrant Death, with grim control,
May seize my fleeting breath;
But tearing Peggy from my soul
Must be a stronger death.
* * * * *
LXI.
TIBBIE DUNBAR.
Tune--"_Johnny M'Gill. _"
[We owe the air of this song to one Johnny M'Gill, a fiddler of
Girvan, who bestowed his own name on it: and the song itself partly to
Burns and partly to some unknown minstrel. They are both in the
Museum. ]
I.
O, Wilt thou go wi' me,
Sweet Tibbie Dunbar?
O, wilt thou go wi' me,
Sweet Tibbie Dunbar?
Wilt thou ride on a horse,
Or be drawn in a car,
Or walk by my side,
O, sweet Tibbie Dunbar?
II.
I care na thy daddie,
His lands and his money,
I care na thy kindred,
Sae high and sae lordly:
But say thou wilt hae me
For better for waur--
And come in thy coatie,
Sweet Tibbie Dunbar!
* * * * *
LXII.
STREAMS THAT GLIDE IN ORIENT PLAINS.
Tune--"_Morag. _"
[We owe these verses to the too brief visit which the poet, in 1787,
made to Gordon Castle: he was hurried away, much against his will, by
his moody and obstinate friend William Nicol. ]
I.
Streams that glide in orient plains,
Never bound by winter's chains;
Glowing here on golden sands,
There commix'd with foulest stains
From tyranny's empurpled bands;
These, their richly gleaming waves,
I leave to tyrants and their slaves;
Give me the stream that sweetly laves
The banks by Castle-Gordon.
II.
Spicy forests, ever gay,
Shading from the burning ray,
Hapless wretches sold to toil,
Or the ruthless native's way,
Bent on slaughter, blood, and spoil:
Woods that ever verdant wave,
I leave the tyrant and the slave,
Give me the groves that lofty brave
The storms by Castle-Gordon.
III.
Wildly here without control,
Nature reigns and rules the whole;
In that sober pensive mood,
Dearest to the feeling soul,
She plants the forest, pours the flood;
Life's poor day I'll musing rave,
And find at night a sheltering cave,
Where waters flow and wild woods wave,
By bonnie Castle-Gordon.
* * * * *
LXIII.
MY HARRY WAS A GALLANT GAY.
Tune--"_Highland's Lament. _"
["The chorus," says Burns, "I picked up from an old woman in Dumblane:
the rest of the song is mine. " He composed it for Johnson: the tone is
Jacobitical. ]
I.
My Harry was a gallant gay,
Fu' stately strode he on the plain:
But now he's banish'd far away,
I'll never see him back again,
O for him back again!
O for him back again!
I wad gie a' Knockhaspie's land
For Highland Harry back again.
II.
When a' the lave gae to their bed,
I wander dowie up the glen;
I set me down and greet my fill,
And ay I wish him back again.
III.
O were some villains hangit high.
And ilka body had their ain!
Then I might see the joyfu' sight,
My Highland Harry back again.
O for him back again!
O for him back again!
I wad gie a' Knockhaspie's land
For Highland Harry back again.
* * * * *
LXIV.
THE TAILOR.
Tune--"_The Tailor fell thro' the bed, thimbles an' a'. _"
[The second and fourth verses are by Burns, the rest is very old, the
air is also very old, and is played at trade festivals and processions
by the Corporation of Tailors. ]
I.
The Tailor fell thro' the bed, thimbles an' a',
The Tailor fell thro' the bed, thimbles an' a';
The blankets were thin, and the sheets they were sma',
The Tailor fell thro' the bed, thimbles an' a'.
II.
The sleepy bit lassie, she dreaded nae ill,
The sleepy bit lassie, she dreaded nae ill;
The weather was cauld, and the lassie lay still,
She thought that a tailor could do her nae ill.
III.
Gie me the groat again, canny young man;
Gie me the groat again, canny young man;
The day it is short, and the night it is lang,
The dearest siller that ever I wan!
IV.
There's somebody weary wi' lying her lane;
There's somebody weary wi' lying her lane;
There's some that are dowie, I trow would be fain
To see the bit tailor come skippin' again.
* * * * *
LXV.
SIMMER'S A PLEASANT TIME.
Tune--"_Ay waukin o'. _"
[Tytler and Ritson unite in considering the air of these words as one
of our most ancient melodies. The first verse of the song is from the
hand of Burns; the rest had the benefit of his emendations: it is to
be found in the Museum. ]
I.
Simmer's a pleasant time,
Flow'rs of ev'ry colour;
The water rins o'er the heugh,
And I long for my true lover.
Ay waukin O,
Waukin still and wearie:
Sleep I can get nane
For thinking on my dearie.
II.
When I sleep I dream,
When I wauk I'm eerie;
Sleep I can get nane
For thinking on my dearie.
III.
Lanely night comes on,
A' the lave are sleeping;
I think on my bonnie lad
And I bleer my een with greetin'.
Ay waukin O,
Waukin still and wearie:
Sleep I can get nane
For thinking on my dearie.
* * * * *
LXVI.
BEWARE O' BONNIE ANN.
Tune--"_Ye gallants bright. _"
[Burns wrote this song in honour of Ann Masterton, daughter of Allan
Masterton, author of the air of Strathallan's Lament: she is now Mrs.
Derbishire, and resides in London. ]
I.
Ye gallants bright, I red ye right,
Beware o' bonnie Ann;
Her comely face sae fu' o' grace,
Your heart she will trepan.
Her een sae bright, like stars by night,
Her skin is like the swan;
Sae jimply lac'd her genty waist,
That sweetly ye might span.
II.
Youth, grace, and love attendant move,
And pleasure leads the van:
In a' their charms, and conquering arms,
They wait on bonnie Ann.
The captive bands may chain the hands,
But love enclaves the man;
Ye Gallants braw, I red you a',
Beware of bonnie Ann!
* * * * *
LXVII.
WHEN ROSY MAY.
Tune--"_The gardener wi' his paidle. _"
[The air of this song is played annually at the precession of the
Gardeners: the title only is old; the rest is the work of Burns. Every
trade had, in other days, an air of its own, and songs to correspond;
but toil and sweat came in harder measures, and drove melodies out of
working-men's heads. ]
I.
When rosy May comes in wi' flowers,
To deck her gay green-spreading bowers,
Then busy, busy are his hours--
The gard'ner wi' his paidle
The crystal waters gently fa';
The merry birds are lovers a';
The scented breezes round him blaw--
The gard'ner wi' his paidle.
II.
When purple morning starts the hare
To steal upon her early fare,
Then thro' the dews he maun repair--
The gard'ner wi' his paidle.
When day, expiring in the west,
The curtain draws of nature's rest,
He flies to her arms he lo'es best--
The gard'ner wi' his paidle.
* * * * *
LXVIII.
BLOOMING NELLY.
Tune--"_On a bank of flowers. _"
[One of the lyrics of Allan Ramsay's collection seems to have been in
the mind of Burns when he wrote this: the words and air are in the
Museum. ]
I.
On a bank of flowers, in a summer day,
For summer lightly drest,
The youthful blooming Nelly lay,
With love and sleep opprest;
When Willie wand'ring thro' the wood,
Who for her favour oft had sued,
He gaz'd, he wish'd, he fear'd, he blush'd,
And trembled where he stood.
II.
Her closed eyes like weapons sheath'd,
Were seal'd in soft repose;
Her lips still as she fragrant breath'd,
It richer dy'd the rose.
The springing lilies sweetly prest,
Wild--wanton, kiss'd her rival breast;
He gaz'd, he wish'd, he fear'd, he blush'd--
His bosom ill at rest.
III.
Her robes light waving in the breeze
Her tender limbs embrace;
Her lovely form, her native ease,
All harmony and grace:
Tumultuous tides his pulses roll,
A faltering, ardent kiss he stole;
He gaz'd, he wish'd, he fear'd, he blush'd,
And sigh'd his very soul.
IV.
As flies the partridge from the brake,
On fear-inspired wings,
So Nelly, starting, half awake,
Away affrighted springs:
But Willie follow'd, as he should,
He overtook her in a wood;
He vow'd, he pray'd, he found the maid
Forgiving all and good.
* * * * *
LXIX.
THE DAY RETURNS.
Tune--"_Seventh of November. _"
[The seventh of November was the anniversary of the marriage of Mr.
and Mrs. Riddel, of Friars-Carse, and these verses were composed in
compliment to the day. ]
I.
The day returns, my bosom burns,
The blissful day we twa did meet,
Tho' winter wild in tempest toil'd,
Ne'er summer-sun was half sae sweet.
Than a' the pride that loads the tide,
And crosses o'er the sultry line;
Than kingly robes, than crowns and globes,
Heaven gave me more--it made thee mine!
II.
While day and night can bring delight,
Or nature aught of pleasure give,
While joys above my mind can move,
For thee, and thee alone I live.
When that grim foe of life below,
Comes in between to make us part,
The iron hand that breaks our band,
It breaks my bliss--it breaks my heart.
* * * * *
LXX.
MY LOVE SHE'S BUT A LASSIE YET.
Tune--"_Lady Bandinscoth's Reel. _"
[These verses had their origin in an olden strain, equally lively and
less delicate: some of the old lines keep their place: the title is
old. Both words and all are in the Musical Museum. ]
I.
My love she's but a lassie yet,
My love she's but a lassie yet,
We'll let her stand a year or twa,
Shell no be half so saucy yet.
I rue the day I sought her, O;
I rue the day I sought her, O;
Wha gets her needs na say he's woo'd,
But he may say he's bought her, O!
II.
Come, draw a drap o' the best o't yet;
Come, draw a drap o' the best o't yet;
Gae seek for pleasure where ye will,
But here I never miss'd it yet.
We're a' dry wi' drinking o't;
We're a' dry wi' drinking o't;
The minister kiss'd the fiddler's wife,
An' could na preach for thinkin' o't.
* * * * *
LXXI.
JAMIE, COME TRY ME.
Tune--"_Jamy, come try me. _"
[Burns in these verses caught up the starting note of an old song, of
which little more than the starting words deserve to be remembered:
the word and air are in the Musical Museum. ]
CHORUS.
Jamie, come try me,
Jamie, come try me;
If thou would win my love,
Jamie, come try me.
I.
If thou should ask my love,
Could I deny thee?
If thou would win my love,
Jamie, come try me.
II.
If thou should kiss me, love,
Wha could espy thee?
If thou wad be my love,
Jamie, come try me.
Jamie, come try me,
Jamie, come try me;
If thou would win my love,
Jamie, come try me.
* * * * *
LXXII.
MY BONNIE MARY.
Tune--"_Go fetch to me a pint o' wine. _"
[Concerning this fine song, Burns in his notes says, "This air is
Oswald's: the first half-stanza of the song is old, the rest is mine. "
It is believed, however, that the whole of the song is from his hand:
in Hogg and Motherwell's edition of Burns, the starting lines are
supplied from an olden strain: but some of the old strains in that
work are to be regarded with suspicion. ]
I.
Go fetch to me a pint o' wine,
An' fill it in a silver tassie;
That I may drink, before I go,
A service to my bonnie lassie;
The boat rocks at the pier o' Leith;
Fu' loud the wind blaws frae the ferry;
The ship rides by the Berwick-law,
And I maun leave my bonnie Mary.
II.
The trumpets sound, the banners fly,
The glittering spears are ranked ready;
The shouts o' war are heard afar,
The battle closes thick and bloody;
It's not the roar o' sea or shore
Wad make me langer wish to tarry;
Nor shouts o' war that's heard afar--
It's leaving thee, my bonnie Mary.
* * * * *
LXXIII.
THE LAZY MIST.
Tune--"_The lazy mist. _"
[All that Burns says about the authorship of The Lazy Mist, is, "This
song is mine. " The air, which is by Oswald, together with the words,
is in the Musical Museum. ]
I.
The lazy mist hangs from the brow of the hill,
Concealing the course of the dark winding rill;
How languid the scenes, late so sprightly, appear!
As Autumn to Winter resigns the pale year.
The forests are leafless, the meadows are brown,
And all the gay foppery of summer is flown:
Apart let me wander, apart let me muse,
How quick Time is flying, how keen Fate pursues!
II.
How long have I liv'd, but how much liv'd in vain!
How little of life's scanty span may remain!
What aspects, old Time, in his progress, has worn!
What ties cruel Fate in my bosom has torn!
How foolish, or worse, till our summit is gain'd!
And downward, how weaken'd, how darken'd, how pain'd!
Life is not worth having with all it can give--
For something beyond it poor man sure must live.
* * * * *
LXXIV.
THE CAPTAIN'S LADY.
Tune--"_O mount and go. _"
[Part of this song belongs to an old maritime strain, with the same
title: it was communicated, along with many other songs, made or
amended by Burns, to the Musical Museum. ]
CHORUS.
O mount and go,
Mount and make you ready;
O mount and go,
And be the Captain's Lady.
I.
When the drums do beat,
And the cannons rattle,
Thou shall sit in state,
And see thy love in battle.
II.
When the vanquish'd foe
Sues for peace and quiet,
To the shades we'll go,
And in love enjoy it.
O mount and go,
Mount and make you ready;
O mount and go,
And be the Captain's Lady.
* * * * *
LXXV.
OF A' THE AIRTS THE WIND CAN BLAW
Tune--"_Miss Admiral Gordon's Strathspey. _"
[Bums wrote this charming song in honour of Joan Armour: he archly
says in his notes, "P. S. it was during the honeymoon. " Other
versions are abroad; this one is from the manuscripts of the poet. ]
I.
Of a' the airts the wind can blaw,
I dearly like the west,
For there the bonnie lassie lives,
The lassie I lo'e best:
There wild-woods grow, and rivers row,
And mony a hill between;
But day and night my fancy's flight
Is ever wi' my Jean.
II.
I see her in the dewy flowers,
I see her sweet and fair:
I hear her in the tunefu' birds,
I hear her charm the air:
There's not a bonnie flower that springs
By fountain, shaw, or green,
There's not a bonnie bird that sings,
But minds me o' my Jean.
III.
O blaw, ye westlin winds, blaw saft
Among the leafy trees,
Wi' balmy gale, frae hill and dale
Bring hame the laden bees;
And bring the lassie back to me
That's aye sae neat and clean;
Ae smile o' her wad banish care,
Sae charming is my Jean.
IV.
What sighs and vows amang the knowes
Hae passed atween us twa!
How fond to meet, how wae to part,
That night she gaed awa!
The powers aboon can only ken,
To whom the heart is seen,
That nane can be sae dear to me
As my sweet lovely Jean!
* * * * *
LXXVI.
FIRST WHEN MAGGY WAS MY CARE.
Tune--"_Whistle o'er the lave o't. "_
[The air of this song was composed by John Bruce, of Dumfries,
musician: the words, though originating in an olden strain, are wholly
by Burns, and right bitter ones they are. The words and air are in the
Museum. ]
I.
First when Maggy was my care,
Heaven, I thought, was in her air;
Now we're married--spier nae mair--
Whistle o'er the lave o't. --
Meg was meek, and Meg was mild,
Bonnie Meg was nature's child;
Wiser men than me's beguil'd--
Whistle o'er the lave o't.
II.
How we live, my Meg and me,
How we love, and how we 'gree,
I care na by how few may see;
Whistle o'er the lave o't. --
Wha I wish were maggot's meat,
Dish'd up in her winding sheet,
I could write--but Meg maun see't--
Whistle o'er the lave o't.
* * * * *
LXXVII.
O WERE I ON PARNASSUS HILL.
Tune--"_My love is lost to me. _"
[The poet welcomed with this exquisite song his wife to Nithsdale: the
air is one of Oswald's. ]
I.
O, were I on Parnassus' hill!
Or had of Helicon my fill;
That I might catch poetic skill,
To sing how dear I love thee.
But Nith maun be my Muse's well;
My Muse maun be thy bonnie sel':
On Corsincon I'll glow'r and spell,
And write how dear I love thee.
II.
Then come, sweet Muse, inspire my lay!
For a' the lee-lang simmer's day
I coudna sing, I coudna say,
How much, how dear, I love thee.
I see thee dancing o'er the green,
Thy waist sae jimp, thy limbs sae clean,
Thy tempting lips, thy roguish een--
By heaven and earth I love thee!
III.
By night, by day, a-field, at hame,
The thoughts o' thee my breast inflame;
And aye I muse and sing thy name--
I only live to love thee.
Tho' I were doom'd to wander on
Beyond the sea, beyond the sun,
Till my last weary sand was run;
Till then--and then I love thee.
* * * * *
LXXVIII.
THERE'S A YOUTH IN THIS CITY.
_To a Gaelic Air. _
["This air," says Burns, "is claimed by Neil Gow, who calls it a
Lament for his Brother. The first half-stanza of the song is old: the
rest is mine. " They are both in the Museum. ]
I.
There's a youth in this city,
It were a great pity
That he frae our lasses shou'd wander awa:
For he's bonnie an' braw,
Weel-favour'd an' a',
And his hair has a natural buckle an' a'.
His coat is the hue
Of his bonnet sae blue;
His feck it is white as the new-driven snaw;
His hose they are blae,
And his shoon like the slae.
And his clear siller buckles they dazzle us a'.
II.
For beauty and fortune
The laddie's been courtin';
Weel-featured, weel-tocher'd, weel-mounted and braw;
But chiefly the siller,
That gars him gang till her,
The pennie's the jewel that beautifies a'.
There's Meg wi' the mailen
That fain wad a haen him;
And Susie, whose daddy was laird o' the ha';
There's lang-tocher'd Nancy
Maist fetters his fancy--
But the laddie's dear sel' he lo'es dearest of a'.
* * * * *
LXXIX.
MY HEART'S IN THE HIGHLANDS.
Tune--"_Failte na Miosg. _"
[The words and the air are in the Museum, to which they were
contributed by Burns. He says, in his notes on that collection, "The
first half-stanza of this song is old; the rest mine. " Of the old
strain no one has recorded any remembrance. ]
I.
My heart's in the Highlands, my heart is not here;
My heart's in the Highlands a-chasing the deer;
A-chasing the wild deer, and following the roe--
My heart's in the Highlands wherever I go.
Farewell to the Highlands, farewell to the North,
The birth-place of valour, the country of worth;
Wherever I wander, wherever I rove,
The hills of the Highlands for ever I love.
II.
Farewell to the mountains high cover'd with snow;
Farewell to the straths and green valleys below:
Farewell to the forests and wild-hanging woods;
Farewell to the torrents and loud-pouring floods.
My heart's in the Highlands, my heart is not here,
My heart's in the Highlands a-chasing the deer;
Chasing the wild deer, and following the roe--
My heart's in the Highlands wherever I go.
* * * * *
[Illustration:]
LXXX.
JOHN ANDERSON.
Tune--"_John Anderson, my jo. _"
[Soon after the death of Burns, the very handsome Miscellanies of
Brash and Reid, of Glasgow, contained what was called an improved John
Anderson, from the pen of the Ayrshire bard; but, save the second
stanza, none of the new matter looked like his hand.
"John Anderson, my jo, John,
When nature first began
To try her cannie hand, John,
Her master-piece was man;
And you amang them a', John,
Sae trig frae tap to toe,
She proved to be nae journey-work,
John Anderson, my jo. "]
I.
"John Anderson, my jo, John,
When we were first acquent,
Your locks were like the raven,
Your bonnie brow was brent;
But now your brow is beld, John,
Your locks are like the snaw;
But blessings on your frosty pow,
John Anderson, my jo.
II.
John Anderson, my jo, John,
We clamb the hill thegither;
And mony a canty day, John,
We've had wi' ane anither:
Now we maun totter down, John,
But hand in hand we'll go;
And sleep thegither at the foot,
John Anderson, my jo.
* * * * *
LXXXI.
OUR THRISSLES FLOURISHED FRESH AND FAIR.
Tune--"_Awa Whigs, awa. _"
[Burns trimmed up this old Jacobite ditty for the Museum, and added
some of the bitterest bits: the second and fourth verses are wholly
his.
I.
The ploughman he's a bonnie lad,
His mind is ever true, jo,
His garters knit below his knee,
His bonnet it is blue, jo.
Then up wi' him my ploughman lad,
And hey my merry ploughman!
Of a' the trades that I do ken,
Commend me to the ploughman.
II.
My ploughman he comes hame at e'en,
He's aften wat and weary;
Cast off the wat, put on the dry,
And gae to bed, my dearie!
III.
I will wash my ploughman's hose,
And I will dress his o'erlay;
I will mak my ploughman's bed,
And cheer him late and early.
IV.
I hae been east, I hae been west,
I hae been at Saint Johnston;
The bonniest sight that e'er I saw
Was the ploughman laddie dancin'.
V.
Snaw-white stockins on his legs,
And siller buckles glancin';
A gude blue bonnet on his head--
And O, but he was handsome!
VI.
Commend me to the barn-yard,
And the corn-mou, man;
I never gat my coggie fou,
Till I met wi' the ploughman.
Up wi' him my ploughman lad,
And hey my merry ploughman!
Of a' the trades that I do ken,
Commend me to the ploughman.
* * * * *
LI.
LANDLADY, COUNT THE LAWIN.
Tune--"_Hey tutti, taiti. _"
[Of this song, the first and second verses are by Burns: the closing
verse belongs to a strain threatening Britain with an invasion from
the iron-handed Charles XII. of Sweden, to avenge his own wrongs and
restore the line of the Stuarts. ]
I.
Landlady, count the lawin,
The day is near the dawin;
Ye're a' blind drunk, boys,
And I'm but jolly fou,
Hey tutti, taiti,
How tutti, taiti--
Wha's fou now?
II.
Cog an' ye were ay fou,
Cog an' ye were ay fou,
I wad sit and sing to you
If ye were ay fou.
III.
Weel may ye a' be!
Ill may we never see!
God bless the king,
And the companie!
Hey tutti, taiti,
How tutti, taiti--
Wha's fou now?
* * * * *
LII.
RAVING WINDS AROUND HER BLOWING.
Tune--"_Macgregor of Rura's Lament. _"
["I composed these verses," says Burns, "on Miss Isabella M'Leod, of
Raza, alluding to her feelings on the death of her sister, and the
still more melancholy death of her sister's husband, the late Earl of
Loudon, in 1796. "]
I.
Raving winds around her blowing,
Yellow leaves the woodlands strowing,
By a river hoarsely roaring,
Isabella stray'd deploring--
"Farewell hours that late did measure
Sunshine days of joy and pleasure;
Hail, thou gloomy night of sorrow,
Cheerless night that knows no morrow!
II.
"O'er the past too fondly wandering,
On the hopeless future pondering;
Chilly grief my life-blood freezes,
Fell despair my fancy seizes.
Life, thou soul of every blessing,
Load to misery most distressing,
Gladly how would I resign thee,
And to dark oblivion join thee! "
* * * * *
LIII.
HOW LONG AND DREARY IS THE NIGHT.
_To a Gaelic air. _
[Composed for the Museum: the air of this affecting strain is true
Highland: Burns, though not a musician, had a fine natural taste in
the matter of national melodies. ]
I.
How long and dreary is the night
When I am frae my dearie!
I sleepless lie frae e'en to morn,
Tho' I were ne'er sae weary.
I sleepless lie frae e'en to morn,
Tho' I were ne'er sae weary.
II.
When I think on the happy days
I spent wi' you, my dearie,
And now what lands between us lie,
How can I but be eerie!
And now what lands between us lie,
How can I be but eerie!
III.
How slow ye move, ye heavy hours,
As ye were wae and weary!
It was na sae ye glinted by,
When I was wi' my dearie.
It was na sae ye glinted by,
When I was wi' my dearie.
* * * * *
LIV.
MUSING ON THE ROARING OCEAN.
Tune--"_Druimion dubh. _"
[The air of this song is from the Highlands: the verses were written
in compliment to the feelings of Mrs. M'Lauchlan, whose husband was an
officer serving in the East Indies. ]
I.
Musing on the roaring ocean,
Which divides my love and me;
Wearying heaven in warm devotion,
For his weal where'er he be.
II.
Hope and fear's alternate billow
Yielding late to nature's law,
Whisp'ring spirits round my pillow
Talk of him that's far awa.
III.
Ye whom sorrow never wounded,
Ye who never shed a tear,
Care-untroubled, joy-surrounded,
Gaudy day to you is dear.
IV.
Gentle night, do thou befriend me;
Downy sleep, the curtain draw;
Spirits kind, again attend me,
Talk of him that's far awa!
* * * * *
LV.
BLITHE WAS SHE.
Tune--"_Andro and his cutty gun. _"
[The heroine of this song, Euphemia Murray, of Lintrose was justly
called the "Flower of Strathmore:" she is now widow of Lord Methven,
one of the Scottish judges, and mother of a fine family. The song was
written at Ochtertyre, in June 1787. ]
CHORUS.
Blithe, blithe and merry was she,
Blithe was she but and ben:
Blithe by the banks of Ern,
And blithe in Glenturit glen.
I.
By Auchtertyre grows the aik,
On Yarrow banks the birken shaw;
But Phemie was a bonnier lass
Than braes of Yarrow ever saw.
II.
Her looks were like a flow'r in May,
Her smile was like a simmer morn;
She tripped by the banks of Ern,
As light's a bird upon a thorn.
III.
Her bonnie face it was as meek
As any lamb upon a lea;
The evening sun was ne'er sae sweet,
As was the blink o' Phemie's ee.
IV.
The Highland hills I've wander'd wide,
And o'er the Lowlands I hae been;
But Phemie was the blithest lass
That ever trod the dewy green.
Blithe, blithe and merry was she,
Blithe was she but and ben:
Blithe by the banks of Ern.
And blithe in Glenturit glen.
* * * * *
LVI.
THE BLUDE RED ROSE AT YULE MAY BLAW.
Tune--"_To daunton me. _"
[The Jacobite strain of "To daunton me," must have been in the mind of
the poet when he wrote this pithy lyric for the Museum. ]
I.
The blude red rose at Yule may blaw,
The simmer lilies bloom in snaw,
The frost may freeze the deepest sea;
But an auld man shall never daunton me.
To daunton me, and me so young,
Wi' his fause heart and flatt'ring tongue.
That is the thing you ne'er shall see;
For an auld man shall never daunton me.
II.
For a' his meal and a' his maut,
For a' his fresh beef and his saut,
For a' his gold and white monie,
An auld man shall never daunton me.
III.
His gear may buy him kye and yowes,
His gear may buy him glens and knowes;
But me he shall not buy nor fee,
For an auld man shall never daunton me.
IV.
He hirples twa fauld as he dow,
Wi' his teethless gab and Ma auld beld pow,
And the rain rains down frae his red bleer'd ee--
That auld man shall never daunton me.
To daunton me, and me sae young,
Wi' his fause heart and flatt'ring tongue,
That is the thing you ne'er shall see;
For an auld man shall never daunton me.
* * * * *
LVII.
COME BOAT ME O'ER TO CHARLIE.
Tune--"_O'er the water to Charlie. _"
[The second stanza of this song, and nearly all the third, are by
Burns. Many songs, some of merit, on the same subject, and to the same
air, were in other days current in Scotland. ]
I.
Come boat me o'er, come row me o'er,
Come boat me o'er to Charlie;
I'll gie John Ross another bawbee,
To boat me o'er to Charlie.
We'll o'er the water and o'er the sea,
We'll o'er the water to Charlie;
Come weal, come woe, we'll gather and go,
And live or die wi' Charlie.
II.
I lo'e weel my Charlie's name,
Tho' some there be abhor him:
But O, to see auld Nick gaun hame,
And Charlie's faes before him!
III.
I swear and vow by moon and stars,
And sun that shines so early,
If I had twenty thousand lives,
I'd die as aft for Charlie.
We'll o'er the water and o'er the sea,
We'll o'er the water to Charlie;
Come weal, come woe, we'll gather and go,
And live or die wi' Charlie!
* * * * *
LVIII.
A ROSE-BUD BY MY EARLY WALK.
Tune--"_The Rose-bud. _"
[The "Rose-bud" of these sweet verses was Miss Jean Cruikshank,
afterwards Mrs. Henderson, daughter of William Cruikshank, of St.
James's Square, one of the masters of the High School of Edinburgh:
she is also the subject of a poem equally sweet. ]
I.
A rose-bud by my early walk,
Adown a corn-enclosed bawk,
Sae gently bent its thorny stalk,
All on a dewy morning.
Ere twice the shades o' dawn are fled,
In a' its crimson glory spread,
And drooping rich the dewy head,
It scents the early morning.
II.
Within the bush, her covert nest
A little linnet fondly prest,
The dew sat chilly on her breast
Sae early in the morning.
She soon shall see her tender brood,
The pride, the pleasure o' the wood,
Amang the fresh green leaves bedew'd,
Awake the early morning.
III.
So thou, dear bird, young Jeany fair,
On trembling string or vocal air,
Shall sweetly pay the tender care
That tends thy early morning.
So thou, sweet rose-bud, young and gay,
Shalt beauteous blaze upon the day,
And bless the parent's evening ray
That watch'd thy early morning.
* * * * *
LIX.
RATTLIN', ROARIN' WILLIE.
Tune--"_Rattlin', roarin' Willie. _"
["The hero of this chant," says Burns "was one of the worthiest
fellows in the world--William Dunbar, Esq. , Write to the Signet,
Edinburgh, and Colonel of the Crochallan corps--a club of wits, who
took that title at the time of raising the fencible regiments. "]
I.
O rattlin', roarin' Willie,
O, he held to the fair,
An' for to sell his fiddle,
An' buy some other ware;
But parting wi' his fiddle,
The saut tear blint his ee;
And rattlin', roarin' Willie,
Ye're welcome hame to me!
II.
O Willie, come sell your fiddle,
O sell your fiddle sae fine;
O Willie, come sell your fiddle,
And buy a pint o' wine!
If I should sell my fiddle,
The warl' would think I was mad;
For mony a rantin' day
My fiddle and I hae had.
III.
As I cam by Crochallan,
I cannily keekit ben--
Rattlin', roarin' Willie
Was sittin' at yon board en';
Sitting at yon board en',
And amang good companie;
Rattlin', roarin' Willie,
Ye're welcome hame to me I
* * * * *
LX.
BRAVING ANGRY WINTER'S STORMS.
Tune--"_Neil Gow's Lamentations for Abercairny. _"
["This song," says the poet, "I composed on one of the most
accomplished of women, Miss Peggy Chalmers that was, now Mrs. Lewis
Hay, of Forbes and Co. 's bank, Edinburgh. " She now lives at Pau, in
the south of France. ]
I.
Where, braving angry winter's storms,
The lofty Ochels rise,
Far in their shade my Peggy's charms
First blest my wondering eyes;
As one who by some savage stream,
A lonely gem surveys,
Astonish'd, doubly marks its beam,
With art's most polish'd blaze.
II.
Blest be the wild, sequester'd shade,
And blest the day and hour,
Where Peggy's charms I first survey'd,
When first I felt their power!
The tyrant Death, with grim control,
May seize my fleeting breath;
But tearing Peggy from my soul
Must be a stronger death.
* * * * *
LXI.
TIBBIE DUNBAR.
Tune--"_Johnny M'Gill. _"
[We owe the air of this song to one Johnny M'Gill, a fiddler of
Girvan, who bestowed his own name on it: and the song itself partly to
Burns and partly to some unknown minstrel. They are both in the
Museum. ]
I.
O, Wilt thou go wi' me,
Sweet Tibbie Dunbar?
O, wilt thou go wi' me,
Sweet Tibbie Dunbar?
Wilt thou ride on a horse,
Or be drawn in a car,
Or walk by my side,
O, sweet Tibbie Dunbar?
II.
I care na thy daddie,
His lands and his money,
I care na thy kindred,
Sae high and sae lordly:
But say thou wilt hae me
For better for waur--
And come in thy coatie,
Sweet Tibbie Dunbar!
* * * * *
LXII.
STREAMS THAT GLIDE IN ORIENT PLAINS.
Tune--"_Morag. _"
[We owe these verses to the too brief visit which the poet, in 1787,
made to Gordon Castle: he was hurried away, much against his will, by
his moody and obstinate friend William Nicol. ]
I.
Streams that glide in orient plains,
Never bound by winter's chains;
Glowing here on golden sands,
There commix'd with foulest stains
From tyranny's empurpled bands;
These, their richly gleaming waves,
I leave to tyrants and their slaves;
Give me the stream that sweetly laves
The banks by Castle-Gordon.
II.
Spicy forests, ever gay,
Shading from the burning ray,
Hapless wretches sold to toil,
Or the ruthless native's way,
Bent on slaughter, blood, and spoil:
Woods that ever verdant wave,
I leave the tyrant and the slave,
Give me the groves that lofty brave
The storms by Castle-Gordon.
III.
Wildly here without control,
Nature reigns and rules the whole;
In that sober pensive mood,
Dearest to the feeling soul,
She plants the forest, pours the flood;
Life's poor day I'll musing rave,
And find at night a sheltering cave,
Where waters flow and wild woods wave,
By bonnie Castle-Gordon.
* * * * *
LXIII.
MY HARRY WAS A GALLANT GAY.
Tune--"_Highland's Lament. _"
["The chorus," says Burns, "I picked up from an old woman in Dumblane:
the rest of the song is mine. " He composed it for Johnson: the tone is
Jacobitical. ]
I.
My Harry was a gallant gay,
Fu' stately strode he on the plain:
But now he's banish'd far away,
I'll never see him back again,
O for him back again!
O for him back again!
I wad gie a' Knockhaspie's land
For Highland Harry back again.
II.
When a' the lave gae to their bed,
I wander dowie up the glen;
I set me down and greet my fill,
And ay I wish him back again.
III.
O were some villains hangit high.
And ilka body had their ain!
Then I might see the joyfu' sight,
My Highland Harry back again.
O for him back again!
O for him back again!
I wad gie a' Knockhaspie's land
For Highland Harry back again.
* * * * *
LXIV.
THE TAILOR.
Tune--"_The Tailor fell thro' the bed, thimbles an' a'. _"
[The second and fourth verses are by Burns, the rest is very old, the
air is also very old, and is played at trade festivals and processions
by the Corporation of Tailors. ]
I.
The Tailor fell thro' the bed, thimbles an' a',
The Tailor fell thro' the bed, thimbles an' a';
The blankets were thin, and the sheets they were sma',
The Tailor fell thro' the bed, thimbles an' a'.
II.
The sleepy bit lassie, she dreaded nae ill,
The sleepy bit lassie, she dreaded nae ill;
The weather was cauld, and the lassie lay still,
She thought that a tailor could do her nae ill.
III.
Gie me the groat again, canny young man;
Gie me the groat again, canny young man;
The day it is short, and the night it is lang,
The dearest siller that ever I wan!
IV.
There's somebody weary wi' lying her lane;
There's somebody weary wi' lying her lane;
There's some that are dowie, I trow would be fain
To see the bit tailor come skippin' again.
* * * * *
LXV.
SIMMER'S A PLEASANT TIME.
Tune--"_Ay waukin o'. _"
[Tytler and Ritson unite in considering the air of these words as one
of our most ancient melodies. The first verse of the song is from the
hand of Burns; the rest had the benefit of his emendations: it is to
be found in the Museum. ]
I.
Simmer's a pleasant time,
Flow'rs of ev'ry colour;
The water rins o'er the heugh,
And I long for my true lover.
Ay waukin O,
Waukin still and wearie:
Sleep I can get nane
For thinking on my dearie.
II.
When I sleep I dream,
When I wauk I'm eerie;
Sleep I can get nane
For thinking on my dearie.
III.
Lanely night comes on,
A' the lave are sleeping;
I think on my bonnie lad
And I bleer my een with greetin'.
Ay waukin O,
Waukin still and wearie:
Sleep I can get nane
For thinking on my dearie.
* * * * *
LXVI.
BEWARE O' BONNIE ANN.
Tune--"_Ye gallants bright. _"
[Burns wrote this song in honour of Ann Masterton, daughter of Allan
Masterton, author of the air of Strathallan's Lament: she is now Mrs.
Derbishire, and resides in London. ]
I.
Ye gallants bright, I red ye right,
Beware o' bonnie Ann;
Her comely face sae fu' o' grace,
Your heart she will trepan.
Her een sae bright, like stars by night,
Her skin is like the swan;
Sae jimply lac'd her genty waist,
That sweetly ye might span.
II.
Youth, grace, and love attendant move,
And pleasure leads the van:
In a' their charms, and conquering arms,
They wait on bonnie Ann.
The captive bands may chain the hands,
But love enclaves the man;
Ye Gallants braw, I red you a',
Beware of bonnie Ann!
* * * * *
LXVII.
WHEN ROSY MAY.
Tune--"_The gardener wi' his paidle. _"
[The air of this song is played annually at the precession of the
Gardeners: the title only is old; the rest is the work of Burns. Every
trade had, in other days, an air of its own, and songs to correspond;
but toil and sweat came in harder measures, and drove melodies out of
working-men's heads. ]
I.
When rosy May comes in wi' flowers,
To deck her gay green-spreading bowers,
Then busy, busy are his hours--
The gard'ner wi' his paidle
The crystal waters gently fa';
The merry birds are lovers a';
The scented breezes round him blaw--
The gard'ner wi' his paidle.
II.
When purple morning starts the hare
To steal upon her early fare,
Then thro' the dews he maun repair--
The gard'ner wi' his paidle.
When day, expiring in the west,
The curtain draws of nature's rest,
He flies to her arms he lo'es best--
The gard'ner wi' his paidle.
* * * * *
LXVIII.
BLOOMING NELLY.
Tune--"_On a bank of flowers. _"
[One of the lyrics of Allan Ramsay's collection seems to have been in
the mind of Burns when he wrote this: the words and air are in the
Museum. ]
I.
On a bank of flowers, in a summer day,
For summer lightly drest,
The youthful blooming Nelly lay,
With love and sleep opprest;
When Willie wand'ring thro' the wood,
Who for her favour oft had sued,
He gaz'd, he wish'd, he fear'd, he blush'd,
And trembled where he stood.
II.
Her closed eyes like weapons sheath'd,
Were seal'd in soft repose;
Her lips still as she fragrant breath'd,
It richer dy'd the rose.
The springing lilies sweetly prest,
Wild--wanton, kiss'd her rival breast;
He gaz'd, he wish'd, he fear'd, he blush'd--
His bosom ill at rest.
III.
Her robes light waving in the breeze
Her tender limbs embrace;
Her lovely form, her native ease,
All harmony and grace:
Tumultuous tides his pulses roll,
A faltering, ardent kiss he stole;
He gaz'd, he wish'd, he fear'd, he blush'd,
And sigh'd his very soul.
IV.
As flies the partridge from the brake,
On fear-inspired wings,
So Nelly, starting, half awake,
Away affrighted springs:
But Willie follow'd, as he should,
He overtook her in a wood;
He vow'd, he pray'd, he found the maid
Forgiving all and good.
* * * * *
LXIX.
THE DAY RETURNS.
Tune--"_Seventh of November. _"
[The seventh of November was the anniversary of the marriage of Mr.
and Mrs. Riddel, of Friars-Carse, and these verses were composed in
compliment to the day. ]
I.
The day returns, my bosom burns,
The blissful day we twa did meet,
Tho' winter wild in tempest toil'd,
Ne'er summer-sun was half sae sweet.
Than a' the pride that loads the tide,
And crosses o'er the sultry line;
Than kingly robes, than crowns and globes,
Heaven gave me more--it made thee mine!
II.
While day and night can bring delight,
Or nature aught of pleasure give,
While joys above my mind can move,
For thee, and thee alone I live.
When that grim foe of life below,
Comes in between to make us part,
The iron hand that breaks our band,
It breaks my bliss--it breaks my heart.
* * * * *
LXX.
MY LOVE SHE'S BUT A LASSIE YET.
Tune--"_Lady Bandinscoth's Reel. _"
[These verses had their origin in an olden strain, equally lively and
less delicate: some of the old lines keep their place: the title is
old. Both words and all are in the Musical Museum. ]
I.
My love she's but a lassie yet,
My love she's but a lassie yet,
We'll let her stand a year or twa,
Shell no be half so saucy yet.
I rue the day I sought her, O;
I rue the day I sought her, O;
Wha gets her needs na say he's woo'd,
But he may say he's bought her, O!
II.
Come, draw a drap o' the best o't yet;
Come, draw a drap o' the best o't yet;
Gae seek for pleasure where ye will,
But here I never miss'd it yet.
We're a' dry wi' drinking o't;
We're a' dry wi' drinking o't;
The minister kiss'd the fiddler's wife,
An' could na preach for thinkin' o't.
* * * * *
LXXI.
JAMIE, COME TRY ME.
Tune--"_Jamy, come try me. _"
[Burns in these verses caught up the starting note of an old song, of
which little more than the starting words deserve to be remembered:
the word and air are in the Musical Museum. ]
CHORUS.
Jamie, come try me,
Jamie, come try me;
If thou would win my love,
Jamie, come try me.
I.
If thou should ask my love,
Could I deny thee?
If thou would win my love,
Jamie, come try me.
II.
If thou should kiss me, love,
Wha could espy thee?
If thou wad be my love,
Jamie, come try me.
Jamie, come try me,
Jamie, come try me;
If thou would win my love,
Jamie, come try me.
* * * * *
LXXII.
MY BONNIE MARY.
Tune--"_Go fetch to me a pint o' wine. _"
[Concerning this fine song, Burns in his notes says, "This air is
Oswald's: the first half-stanza of the song is old, the rest is mine. "
It is believed, however, that the whole of the song is from his hand:
in Hogg and Motherwell's edition of Burns, the starting lines are
supplied from an olden strain: but some of the old strains in that
work are to be regarded with suspicion. ]
I.
Go fetch to me a pint o' wine,
An' fill it in a silver tassie;
That I may drink, before I go,
A service to my bonnie lassie;
The boat rocks at the pier o' Leith;
Fu' loud the wind blaws frae the ferry;
The ship rides by the Berwick-law,
And I maun leave my bonnie Mary.
II.
The trumpets sound, the banners fly,
The glittering spears are ranked ready;
The shouts o' war are heard afar,
The battle closes thick and bloody;
It's not the roar o' sea or shore
Wad make me langer wish to tarry;
Nor shouts o' war that's heard afar--
It's leaving thee, my bonnie Mary.
* * * * *
LXXIII.
THE LAZY MIST.
Tune--"_The lazy mist. _"
[All that Burns says about the authorship of The Lazy Mist, is, "This
song is mine. " The air, which is by Oswald, together with the words,
is in the Musical Museum. ]
I.
The lazy mist hangs from the brow of the hill,
Concealing the course of the dark winding rill;
How languid the scenes, late so sprightly, appear!
As Autumn to Winter resigns the pale year.
The forests are leafless, the meadows are brown,
And all the gay foppery of summer is flown:
Apart let me wander, apart let me muse,
How quick Time is flying, how keen Fate pursues!
II.
How long have I liv'd, but how much liv'd in vain!
How little of life's scanty span may remain!
What aspects, old Time, in his progress, has worn!
What ties cruel Fate in my bosom has torn!
How foolish, or worse, till our summit is gain'd!
And downward, how weaken'd, how darken'd, how pain'd!
Life is not worth having with all it can give--
For something beyond it poor man sure must live.
* * * * *
LXXIV.
THE CAPTAIN'S LADY.
Tune--"_O mount and go. _"
[Part of this song belongs to an old maritime strain, with the same
title: it was communicated, along with many other songs, made or
amended by Burns, to the Musical Museum. ]
CHORUS.
O mount and go,
Mount and make you ready;
O mount and go,
And be the Captain's Lady.
I.
When the drums do beat,
And the cannons rattle,
Thou shall sit in state,
And see thy love in battle.
II.
When the vanquish'd foe
Sues for peace and quiet,
To the shades we'll go,
And in love enjoy it.
O mount and go,
Mount and make you ready;
O mount and go,
And be the Captain's Lady.
* * * * *
LXXV.
OF A' THE AIRTS THE WIND CAN BLAW
Tune--"_Miss Admiral Gordon's Strathspey. _"
[Bums wrote this charming song in honour of Joan Armour: he archly
says in his notes, "P. S. it was during the honeymoon. " Other
versions are abroad; this one is from the manuscripts of the poet. ]
I.
Of a' the airts the wind can blaw,
I dearly like the west,
For there the bonnie lassie lives,
The lassie I lo'e best:
There wild-woods grow, and rivers row,
And mony a hill between;
But day and night my fancy's flight
Is ever wi' my Jean.
II.
I see her in the dewy flowers,
I see her sweet and fair:
I hear her in the tunefu' birds,
I hear her charm the air:
There's not a bonnie flower that springs
By fountain, shaw, or green,
There's not a bonnie bird that sings,
But minds me o' my Jean.
III.
O blaw, ye westlin winds, blaw saft
Among the leafy trees,
Wi' balmy gale, frae hill and dale
Bring hame the laden bees;
And bring the lassie back to me
That's aye sae neat and clean;
Ae smile o' her wad banish care,
Sae charming is my Jean.
IV.
What sighs and vows amang the knowes
Hae passed atween us twa!
How fond to meet, how wae to part,
That night she gaed awa!
The powers aboon can only ken,
To whom the heart is seen,
That nane can be sae dear to me
As my sweet lovely Jean!
* * * * *
LXXVI.
FIRST WHEN MAGGY WAS MY CARE.
Tune--"_Whistle o'er the lave o't. "_
[The air of this song was composed by John Bruce, of Dumfries,
musician: the words, though originating in an olden strain, are wholly
by Burns, and right bitter ones they are. The words and air are in the
Museum. ]
I.
First when Maggy was my care,
Heaven, I thought, was in her air;
Now we're married--spier nae mair--
Whistle o'er the lave o't. --
Meg was meek, and Meg was mild,
Bonnie Meg was nature's child;
Wiser men than me's beguil'd--
Whistle o'er the lave o't.
II.
How we live, my Meg and me,
How we love, and how we 'gree,
I care na by how few may see;
Whistle o'er the lave o't. --
Wha I wish were maggot's meat,
Dish'd up in her winding sheet,
I could write--but Meg maun see't--
Whistle o'er the lave o't.
* * * * *
LXXVII.
O WERE I ON PARNASSUS HILL.
Tune--"_My love is lost to me. _"
[The poet welcomed with this exquisite song his wife to Nithsdale: the
air is one of Oswald's. ]
I.
O, were I on Parnassus' hill!
Or had of Helicon my fill;
That I might catch poetic skill,
To sing how dear I love thee.
But Nith maun be my Muse's well;
My Muse maun be thy bonnie sel':
On Corsincon I'll glow'r and spell,
And write how dear I love thee.
II.
Then come, sweet Muse, inspire my lay!
For a' the lee-lang simmer's day
I coudna sing, I coudna say,
How much, how dear, I love thee.
I see thee dancing o'er the green,
Thy waist sae jimp, thy limbs sae clean,
Thy tempting lips, thy roguish een--
By heaven and earth I love thee!
III.
By night, by day, a-field, at hame,
The thoughts o' thee my breast inflame;
And aye I muse and sing thy name--
I only live to love thee.
Tho' I were doom'd to wander on
Beyond the sea, beyond the sun,
Till my last weary sand was run;
Till then--and then I love thee.
* * * * *
LXXVIII.
THERE'S A YOUTH IN THIS CITY.
_To a Gaelic Air. _
["This air," says Burns, "is claimed by Neil Gow, who calls it a
Lament for his Brother. The first half-stanza of the song is old: the
rest is mine. " They are both in the Museum. ]
I.
There's a youth in this city,
It were a great pity
That he frae our lasses shou'd wander awa:
For he's bonnie an' braw,
Weel-favour'd an' a',
And his hair has a natural buckle an' a'.
His coat is the hue
Of his bonnet sae blue;
His feck it is white as the new-driven snaw;
His hose they are blae,
And his shoon like the slae.
And his clear siller buckles they dazzle us a'.
II.
For beauty and fortune
The laddie's been courtin';
Weel-featured, weel-tocher'd, weel-mounted and braw;
But chiefly the siller,
That gars him gang till her,
The pennie's the jewel that beautifies a'.
There's Meg wi' the mailen
That fain wad a haen him;
And Susie, whose daddy was laird o' the ha';
There's lang-tocher'd Nancy
Maist fetters his fancy--
But the laddie's dear sel' he lo'es dearest of a'.
* * * * *
LXXIX.
MY HEART'S IN THE HIGHLANDS.
Tune--"_Failte na Miosg. _"
[The words and the air are in the Museum, to which they were
contributed by Burns. He says, in his notes on that collection, "The
first half-stanza of this song is old; the rest mine. " Of the old
strain no one has recorded any remembrance. ]
I.
My heart's in the Highlands, my heart is not here;
My heart's in the Highlands a-chasing the deer;
A-chasing the wild deer, and following the roe--
My heart's in the Highlands wherever I go.
Farewell to the Highlands, farewell to the North,
The birth-place of valour, the country of worth;
Wherever I wander, wherever I rove,
The hills of the Highlands for ever I love.
II.
Farewell to the mountains high cover'd with snow;
Farewell to the straths and green valleys below:
Farewell to the forests and wild-hanging woods;
Farewell to the torrents and loud-pouring floods.
My heart's in the Highlands, my heart is not here,
My heart's in the Highlands a-chasing the deer;
Chasing the wild deer, and following the roe--
My heart's in the Highlands wherever I go.
* * * * *
[Illustration:]
LXXX.
JOHN ANDERSON.
Tune--"_John Anderson, my jo. _"
[Soon after the death of Burns, the very handsome Miscellanies of
Brash and Reid, of Glasgow, contained what was called an improved John
Anderson, from the pen of the Ayrshire bard; but, save the second
stanza, none of the new matter looked like his hand.
"John Anderson, my jo, John,
When nature first began
To try her cannie hand, John,
Her master-piece was man;
And you amang them a', John,
Sae trig frae tap to toe,
She proved to be nae journey-work,
John Anderson, my jo. "]
I.
"John Anderson, my jo, John,
When we were first acquent,
Your locks were like the raven,
Your bonnie brow was brent;
But now your brow is beld, John,
Your locks are like the snaw;
But blessings on your frosty pow,
John Anderson, my jo.
II.
John Anderson, my jo, John,
We clamb the hill thegither;
And mony a canty day, John,
We've had wi' ane anither:
Now we maun totter down, John,
But hand in hand we'll go;
And sleep thegither at the foot,
John Anderson, my jo.
* * * * *
LXXXI.
OUR THRISSLES FLOURISHED FRESH AND FAIR.
Tune--"_Awa Whigs, awa. _"
[Burns trimmed up this old Jacobite ditty for the Museum, and added
some of the bitterest bits: the second and fourth verses are wholly
his.
