No More Learning

XIV.

"I hae been a devil the feck o' my life;
(Hey, and the rue grows bonnie wi' thyme),
But ne'er was in hell, till I met wi' a wife;
And the thyme it is wither'd, and rue is in prime. "

* * * * *




CXXXVII.

JOCKEY'S TA'EN THE PARTING KISS.

Tune--"_Jockey's ta'en the parting kiss. _"

[Burns, when he sent this song to the Museum, said nothing of its
origin: and he is silent about it in his memoranda. ]


I.

Jockey's ta'en the parting kiss,
O'er the mountains he is gane;
And with him is a' my bliss,
Nought but griefs with me remain.
Spare my luve, ye winds that blaw,
Plashy sleets and beating rain!
Spare my luve, thou feathery snaw,
Drifting o'er the frozen plain.

II.

When the shades of evening creep
O'er the day's fair, gladsome e'e,
Sound and safely may he sleep,
Sweetly blithe his waukening be!
He will think on her he loves,
Fondly he'll repeat her name;
For where'er he distant roves,
Jockey's heart is still at hame.

* * * * *




CXXXVIII.

LADY ONLIE.

Tune--"_The Ruffian's Rant. _"

[Communicated to the Museum in the handwriting of Burns: part, but not
much, is believed to be old. ]


I.

A' the lads o' Thornie-bank,
When they gae to the shore o' Bucky,
They'll step in an' tak' a pint
Wi' Lady Onlie, honest Lucky!
Lady Onlie, honest Lucky!
Brews good ale at shore o' Bucky;
I wish her sale for her gude ale,
The best on a' the shore o' Bucky.

II.

Her house sae bien, her curch sae clean,
I wat she is a dainty chucky;
And cheerlie blinks the ingle-gleed
Of Lady Onlie, honest Lucky!
Lady Onlie, honest Lucky,
Brews good ale at shore o' Bucky
I wish her sale for her gude ale,
The best on a' the shore o' Bucky.

* * * * *




CXXXIX.

THE CHEVALIER'S LAMENT.

Tune--"_Captain O'Kean. _"

["Composed," says Burns to M'Murdo, "at the desire of a friend who had
an equal enthusiasm for the air and subject. " The friend alluded to is
supposed to be Robert Cleghorn: he loved the air much, and he was much
of a Jacobite. ]


I.

The small birds rejoice in the green leaves returning,
The murmuring streamlet winds clear thro' the vale;
The hawthorn trees blow in the dew of the morning,
And wild scatter'd cowslips bedeck the green dale:
But what can give pleasure, or what can seem fair,
While the lingering moments are number'd by care?
No flow'rs gaily springing, nor birds sweetly singing,
Can soothe the sad bosom of joyless despair.

II.

The deed that I dared, could it merit their malice,
A king and a father to place on his throne?
His right are these hills, and his right are these valleys,
Where the wild beasts find shelter, but I can find none;
But 'tis not my sufferings thus wretched, forlorn:
My brave gallant friends! 'tis your ruin I mourn;
Your deeds proved so loyal in hot-bloody trial--
Alas! I can make you no sweeter return!

* * * * *




CXL.

SONG OF DEATH.

Air--"_Oran an Aoig. _"

["I have just finished the following song," says Burns to Mrs. Dunlop,
"which to a lady, the descendant of Wallace, and herself the mother of
several soldiers, needs neither preface nor apology. "]

_Scene_--A field of battle. Time of the day, evening. The wounded and
dying of the victorious army are supposed to join in the following
song:


I.

Farewell, thou fair day, thou green earth, and ye skies,
Now gay with the bright setting sun;
Farewell loves and friendships, ye dear tender ties--
Our race of existence is run!

II.

Thou grim king of terrors, thou life's gloomy foe!
Go frighten the coward and slave;
Go, teach them to tremble, fell tyrant! but know,
No terrors hast thou to the brave!

III.

Thou strik'st the dull peasant--he sinks in the dark,
Nor saves e'en the wreck of a name;
Thou strik'st the young hero--a glorious mark!
He falls in the blaze of his fame!

IV.

In the field of proud honour--our swords in our hands,
Our king and our country to save--
While victory shines on life's last ebbing sands,
Oh! who would not die with the brave!

* * * * *




CXLI.

FLOW GENTLY, SWEET AFTON.

Tune--"_Afton Water. _"

[The scenes on Afton Water are beautiful, and the poet felt them, as
well as the generous kindness of his earliest patroness, Mrs. General
Stewart, of Afton-lodge, when he wrote this sweet pastoral. ]


I.

Flow gently, sweet Afton! among thy green braes,
Flow gently, I'll sing thee a song in thy praise;
My Mary's asleep by thy murmuring stream--
Flow gently, sweet Afton, disturb not her dream.

II.

Thou stock-dove, whose echo resounds thro' the glen;
Ye wild whistling blackbirds in yon thorny den;
Thou green-crested lapwing, thy screaming forbear--
I charge you disturb not my slumbering fair.

III.

How lofty, sweet Afton! thy neighbouring hills,
Far mark'd with the courses of clear, winding rills;
There daily I wander as noon rises high,
My flocks and my Mary's sweet cot in my eye.

IV.

How pleasant thy banks and green valleys below,
Where wild in the woodlands the primroses blow!
There, oft as mild evening weeps over the lea,
The sweet-scented birk shades my Mary and me.

V.

Thy crystal stream, Afton, how lovely it glides,
And winds by the cot where my Mary resides;
How wanton thy waters her snowy feet lave,
As gathering sweet flow'rets she stems thy clear wave.

VI.

Flow gently, sweet Afton! among thy green braes,
Flow gently, sweet river, the theme of my lays!
My Mary's asleep by thy murmuring stream--
Flow gently, sweet Afton! disturb not her dream.

* * * * *




CXLII.

THE SMILING SPRING.

Tune--"_The Bonnie Bell. _"

["Bonnie Bell," was first printed in the Museum: who the heroine was
the poet has neglected to tell us, and it is a pity. ]


I.

The smiling Spring comes in rejoicing,
And surly Winter grimly flies;
Now crystal clear are the falling waters,
And bonnie blue are the sunny skies;
Fresh o'er the mountains breaks forth the morning,
The ev'ning gilds the ocean's swell;
All creatures joy in the sun's returning,
And I rejoice in my bonnie Bell.

II.

The flowery Spring leads sunny Summer,
And yellow Autumn presses near,
Then in his turn comes gloomy Winter,
Till smiling Spring again appear.
Thus Seasons dancing, life advancing,
Old Time and Nature their changes tell,
But never ranging, still unchanging,
I adore my bonnie Bell.

* * * * *




CXLIII.

THE CARLES OF DYSART.

Tune--"_Hey ca' thro'. _"

[Communicated to the Museum by Burns in his own handwriting: part of
it is his composition, and some believe the whole. ]


I.

Up wi' the carles o' Dysart,
And the lads o' Buckhaven,
And the kimmers o' Largo,
And the lasses o' Leven.
Hey, ca' thro', ca' thro',
For we hae mickle ado;
Hey, ca' thro', ca' thro',
For we hae mickle ado.

II.

We hae tales to tell,
And we hae sangs to sing;
We hae pennies to spend,
And we hae pints to bring.

III.

We'll live a' our days,
And them that come behin',
Let them do the like,
And spend the gear they win.
Hey, ca' thro', ca' thro',
For we hae mickle ado,
Hey, ca' thro', ca' thro',
For we hae mickle ado.

* * * * *




CXLIV.

THE GALLANT WEAVER.

Tune--"_The Weavers' March. _"

[Sent by the poet to the Museum. Neither tradition nor criticism has
noticed it, but the song is popular among the looms, in the west of
Scotland. ]


I.

Where Cart rins rowin to the sea,
By mony a flow'r and spreading tree,
There lives a lad, the lad for me,
He is a gallant weaver.
Oh, I had wooers aught or nine,
They gied me rings and ribbons fine;
And I was fear'd my heart would tine,
And I gied it to the weaver.

II.

My daddie sign'd my tocher-band,
To gie the lad that has the land;
But to my heart I'll add my hand,
And gie it to the weaver.
While birds rejoice in leafy bowers;
While bees delight in op'ning flowers;
While corn grows green in simmer showers,
I'll love my gallant weaver.

* * * * *




CXLV.

THE BAIRNS GAT OUT.

Tune--"_The deuks dang o'er my daddie. _"

[Burns found some of the sentiments and a few of the words of this
song in a strain, rather rough and home-spun, of Scotland's elder day.
He communicated it to the Museum. ]


I.

The bairns gat out wi' an unco shout,
The deuks dang o'er my daddie, O!
The fien'-ma-care, quo' the feirrie auld wife,
He was but a paidlin body, O!
He paidles out, an' he paidles in,
An' he paidles late an' early, O!
This seven lang years I hae lien by his side,
An' he is but a fusionless carlie, O!

II.

O, hand your tongue, my feirrie auld wife,
O, haud your tongue, now Nansie, O!
I've seen the day, and sae hae ye,
Ye wadna been sae donsie, O!
I've seen the day ye butter'd my brose,
And cuddled me late and early, O!
But downa do's come o'er me now,
And, oh! I feel it sairly, O!

* * * * *




CXLVI.

SHE'S FAIR AND FAUSE.

Tune--"_She's fair and fause. _"

[One of the happiest as well as the most sarcastic of the songs of the
North: the air is almost as happy as the words. ]


I.

She's fair and fause that causes my smart,
I lo'ed her meikle and lang;
She's broken her vow, she's broken my heart,
And I may e'en gae hang.
A coof cam in wi' routh o' gear,
And I hae tint my dearest dear;
But woman is but warld's gear,
Sae let the bonnie lass gang.

II.

Whae'er ye be that woman love,
To this be never blind,
Nae ferlie 'tis tho' fickle she prove,
A woman has't by kind.
O woman, lovely woman fair!
An angel form's fa'n to thy share,
'Twad been o'er meikle to gien thee mair--
I mean an angel mind.

* * * * *




CXLVII.

THE EXCISEMAN.

Tune--"_The Deil cam' fiddling through the town. _"

[Composed and sung by the poet at a festive meeting of the excisemen
of the Dumfries district. ]


I.

The deil cam' fiddling through the town,
And danced awa wi' the Exciseman,
And ilka wife cries--"Auld Mahoun,
I wish you luck o' the prize, man! "
The deil's awa, the deil's awa,
The deil's awa wi' the Exciseman;
He's danc'd awa, he's danc'd awa,
He's danc'd awa wi' the Exciseman!

II.

We'll mak our maut, we'll brew our drink,
We'll dance, and sing, and rejoice, man;
And mony braw thanks to the meikle black deil
That danc'd awa wi' the Exciseman.

III.

There's threesome reels, there's foursome reels,
There's hornpipes and strathspeys, man;
But the ae best dance e'er cam to the land
Was--the deil's awa wi' the Exciseman.
The deil's awa, the deil's awa,
The deil's awa wi' the Exciseman:
He's danc'd awa, he's danc'd awa,
He's danc'd awa wi' the Exciseman.

* * * * *




CXLVIII.

THE LOVELY LASS OF INVERNESS.

Tune--"_Lass of Inverness. _"

[As Burns passed slowly over the moor of Culloden, in one of his
Highland tours, the lament of the Lass of Inverness, it is said, rose
on his fancy: the first four lines are partly old. ]


I.

The lovely lass o' Inverness,
Nae joy nor pleasure can she see;
For e'en and morn, she cries, alas!
And ay the saut tear blin's her e'e:
Drumossie moor--Drumossie day--
A waefu' day it was to me!
For there I lost my father dear,
My father dear, and brethren three.

II.

Their winding sheet the bluidy clay,
Their graves are growing green to see:
And by them lies the dearest lad
That ever blest a woman's e'e!
Now wae to thee, thou cruel lord,
A bluidy man I trow thou be;
For mony a heart thou host made sair,
That ne'er did wrong to thine or thee.

* * * * *




CXLIX.

A RED, RED ROSE.

Tune--"_Graham's Strathspey. _"

[Some editors have pleased themselves with tracing the sentiments of
this song in certain street ballads: it resembles them as much as a
sour sloe resembles a drop-ripe damson. ]


I.

O, my luve's like a red, red rose,
That's newly sprung in June:
O, my luve's like the melodie,
That's sweetly play'd in tune.

II.

As fair art thou, my bonnie lass,
So deep in luve am I:
And I will luve thee still, my dear,
'Till a' the seas gang dry.

III.

'Till a' the seas gang dry, my dear,
And the rocks melt wi' the sun:
I will luve thee still, my dear,
While the sands o' life shall run.

IV.

And fare thee weel, my only luve!
And fare thee weel a-while!
And I will come again, my luve,
Tho' it were ten thousand mile.

* * * * *




CL.

LOUIS, WHAT RECK I BY THEE. Tune--"_Louis, what reck I by thee. _"

[The Jeannie of this very short, but very clever song, is Mrs. Burns.
Her name has no chance of passing from the earth if impassioned verse
can preserve it. ]


I.

Louis, what reck I by thee,
Or Geordie on his ocean?
Dyvor, beggar loons to me--
I reign in Jeannie's bosom.

II.

Let her crown my love her law,
And in her breast enthrone me.
Kings and nations--swith, awa!
Reif randies, I disown ye!

* * * * *




CLI.

HAD I THE WYTE.

Tune--"_Had I the wyte she bade me. _"

[Burns in evoking this song out of the old verses did not cast wholly
out the spirit of ancient license in which our minstrels indulged. He
sent it to the Museum. ]


I.

Had I the wyte, had I the wyte,
Had I the wyte she bade me;
She watch'd me by the hie-gate side.
And up the loan she shaw'd me;
And when I wadna venture in,
A coward loon she ca'd me;
Had kirk and state been in the gate,
I lighted when she bade me.

II.

Sae craftilie she took me ben,
And bade me make nae clatter;
"For our ramgunshoch glum gudeman
Is out and owre the water:"
Whae'er shall say I wanted grace
When I did kiss and dawte her,
Let him be planted in my place,
Syne say I was the fautor.

III.

Could I for shame, could I for shame,
Could I for shame refused her?
And wadna manhood been to blame,
Had I unkindly used her?
He claw'd her wi' the ripplin-kame,
And blue and bluidy bruised her;
When sic a husband was frae hame,
What wife but had excused her?

IV.

I dighted ay her een sae blue,
And bann'd the cruel randy;
And weel I wat her willing mou',
Was e'en like sugar-candy.
A gloamin-shot it was I wot,
I lighted on the Monday;
But I cam through the Tysday's dew,
To wanton Willie's brandy.

* * * * *




CLII.

COMING THROUGH THE RYE.

Tune--"_Coming through the rye. _"

[The poet in this song removed some of the coarse chaff, from the old
chant, and fitted it for the Museum, when it was first printed. ]


I.

Coming through the rye, poor body,
Coming through the rye,
She draiglet a' her petticoatie,
Coming through the rye.
Jenny's a' wat, poor body,
Jenny's seldom dry;
She draiglet a' her petticoatie,
Coming through the rye.

II.

Gin a body meet a body--
Coming through the rye,
Gin a body kiss a body--
Need a body cry?

III.

Gin a body meet a body
Coming through the glen,
Gin a body kiss a body--
Need the world ken?
Jenny's a' wat, poor body;
Jenny's seldom dry;
She draiglet a' her petticoatie,
Coming through the rye.

* * * * *




CLIII.

YOUNG JAMIE, PRIDE OF A' THE PLAIN.

Tune--"_The carlin o' the glen. _"

[Sent to the Museum by Burns in his own handwriting: part only is
thought to be his]


I.

Young Jamie, pride of a' the plain,
Sae gallant and sae gay a swain;
Thro' a' our lasses he did rove,
And reign'd resistless king of love:
But now wi' sighs and starting tears,
He strays amang the woods and briers;
Or in the glens and rocky caves
His sad complaining dowie raves.

II.

I wha sae late did range and rove,
And chang'd with every moon my love,
I little thought the time was near,
Repentance I should buy sae dear:
The slighted maids my torment see,
And laugh at a' the pangs I dree;
While she, my cruel, scornfu' fair,
Forbids me e'er to see her mair!

* * * * *




CLIV.

OUT OVER THE FORTH.

Tune--"_Charlie Gordon's welcome hame. _"

[In one of his letters to Cunningham, dated 11th March 1791, Burns
quoted the four last lines of this tender and gentle lyric, and
inquires how he likes them. ]


I.

Out over the Forth I look to the north,
But what is the north and its Highlands to me?
The south nor the east gie ease to my breast,
The far foreign land, or the wild rolling sea.

II.

But I look to the west, when I gae to rest,
That happy my dreams and my slumbers may be;
For far in the west lives he I Io'e best,
The lad that is dear to my babie and me.

* * * * *




CLV.

THE LASS OF ECCLEFECHAN.

Tune--"_Jacky Latin. _"

[Burns in one of his professional visits to Ecclefechan was amused
with a rough old district song, which some one sung: he rendered, at a
leisure moment, the language more delicate and the sentiments less
warm, and sent it to the Museum. ]


I.

Gat ye me, O gat ye me,
O gat ye me wi' naething?
Rock and reel, and spinnin' wheel,
A mickle quarter basin.
Bye attour, my gutcher has
A hich house and a laigh ane,
A' for bye, my bonnie sel',
The toss of Ecclefechan.

II.

O haud your tongue now, Luckie Laing,
O hand your tongue and jauner;
I held the gate till you I met,
Syne I began to wander:
I tint my whistle and my sang,
I tint my peace and pleasure:
But your green graff, now, Luckie Laing,
Wad airt me to my treasure.

* * * * *




CLVI.

THE COOPER O' CUDDIE.

Tune--"_Bab at the bowster. _"

[The wit of this song is better than its delicacy: it is printed in
the Museum, with the name of Burns attached. ]


I.

The cooper o' Cuddie cam' here awa,
And ca'd the girrs out owre us a'--
And our gudewife has gotten a ca'
That anger'd the silly gude-man, O.
We'll hide the cooper behind the door;
Behind the door, behind the door;
We'll hide the cooper behind the door,
And cover him under a mawn, O.

II.

He sought them out, he sought them in,
Wi', deil hae her! and, deil hae him!
But the body was sae doited and blin',
He wist na where he was gaun, O.

III.

They cooper'd at e'en, they cooper'd at morn,
'Till our gude-man has gotten the scorn;
On ilka brow she's planted a horn,
And swears that they shall stan', O.
We'll hide the cooper behind the door,
Behind the door, behind the door;
We'll hide the cooper behind the door,
And cover him under a mawn, O.

* * * * *




CLVII.

SOMEBODY.

Tune--"_For the sake of somebody. _"

[Burns seems to have borrowed two or three lines of this lyric from
Ramsay: he sent it to the Museum. ]


I.

My heart is sair--I dare na tell--
My heart is sair for somebody;
I could wake a winter night
For the sake o' somebody.
Oh-hon! for somebody!
Oh-hey! for somebody!
I could range the world around,
For the sake o' somebody!

II.

Ye powers that smile on virtuous love,
O, sweetly smile on somebody!
Frae ilka danger keep him free,
And send me safe my somebody.
Oh-hon! for somebody!
Oh-hey! for somebody!
I wad do--what wad I not?
For the sake o' somebody!

* * * * *




CLVIII.

THE CARDIN' O'T.

Tune--"_Salt-fish and dumplings. _"

["This song," says Sir Harris Nicolas, "is in the Musical Museum, but
not with Burns's name to it. " It was given by Burns to Johnson in his
own handwriting. ]


I.

I coft a stane o' haslock woo',
To make a wat to Johnny o't;
For Johnny is my only jo,
I lo'e him best of ony yet.
The cardin' o't, the spinnin' o't,
The warpin' o't, the winnin' o't;
When ilka ell cost me a groat,
The tailor staw the lynin o't.

II.

For though his locks be lyart gray,
And tho' his brow be beld aboon;
Yet I hae seen him on a day,
The pride of a' the parishen.
The cardin' o't, the spinnin' o't,
The warpin' o't, the winnin' o't;
When ilka ell cost me a groat,
The tailor staw the lynin o't.

* * * * *




CLIX.

WHEN JANUAR' WIND.

Tune--"_The lass that made the bed for me. _"

[Burns found an old, clever, but not very decorous strain, recording
an adventure which Charles the Second, while under Presbyterian rule
in Scotland, had with a young lady of the house of Port Letham, and
exercising his taste and skill upon it, produced the present--still
too free song, for the Museum. ]


I.

When Januar' wind was blawing cauld,
As to the north I took my way,
The mirksome night did me enfauld,
I knew na where to lodge till day.

II.

By my good luck a maid I met,
Just in the middle o' my care;
And kindly she did me invite
To walk into a chamber fair.

III.

I bow'd fu' low unto this maid,
And thank'd her for her courtesie;
I bow'd fu' low unto this maid,
And bade her mak a bed to me.

IV.

She made the bed baith large and wide,
Wi' twa white hands she spread it down;
She put the cup to her rosy lips,
And drank, "Young man, now sleep ye soun'. "

V.

She snatch'd the candle in her hand,
And frae my chamber went wi' speed;
But I call'd her quickly back again
To lay some mair below my head.

VI.

A cod she laid below my head,
And served me wi' due respect;
And to salute her wi' a kiss,
I put my arms about her neck.

VII.

"Haud aff your hands, young man," she says,
"And dinna sae uncivil be:
If ye hae onto love for me,
O wrang na my virginitie! "

VIII.

Her hair was like the links o' gowd,
Her teeth were like the ivorie;
Her cheeks like lilies dipt in wine,
The lass that made the bed to me.

IX.

Her bosom was the driven snaw,
Twa drifted heaps sae fair to see;
Her limbs the polish'd marble stane,
The lass that made the bed to me.

X.

I kiss'd her owre and owre again,
And ay she wist na what to say;
I laid her between me and the wa'--
The lassie thought na lang till day.

XI.

Upon the morrow when we rose,
I thank'd her for her courtesie;
But aye she blush'd, and aye she sigh'd,
And said, "Alas! ye've ruin'd me. "

XII.

I clasp'd her waist, and kiss'd her syne,
While the tear stood twinklin' in her e'e;
I said, "My lassie, dinna cry,
For ye ay shall mak the bed to me. "

XIII.

She took her mither's Holland sheets,
And made them a' in sarks to me:
Blythe and merry may she be,
The lass that made the bed to me.

XIV.

The bonnie lass made the bed to me,
The braw lass made the bed to me:
I'll ne'er forget till the day I die,
The lass that made the bed to me!

* * * * *




CLX.

SAE FAR AWA.

Tune--"_Dalkeith Maiden Bridge. _"

[This song was sent to the Museum by Burns, in his own handwriting. ]


I.

O, sad and heavy should I part,
But for her sake sae far awa;
Unknowing what my way may thwart,
My native land sae far awa.
Thou that of a' things Maker art,
That form'd this fair sae far awa,
Gie body strength, then I'll ne'er start
At this my way sae far awa.

II.

How true is love to pure desert,
So love to her, sae far awa:
And nocht can heal my bosom's smart,
While, oh! she is sae far awa.
Nane other love, nane other dart,
I feel but hers, sae far awa;
But fairer never touch'd a heart
Than hers, the fair sae far awa.

* * * * *




CLXI.

I'LL AY CA' IN BY YON TOWN.

Tune--"_I'll gae nae mair to yon town. _"

[Jean Armour inspired this very sweet song. Sir Harris Nicolas says it
is printed in Cromek's Reliques: it was first printed in the Museum. ]


I.

I'll ay ca' in by yon town,
And by yon garden green, again;
I'll ay ca' in by yon town,
And see my bonnie Jean again.
There's nane sall ken, there's nane sall guess,
What brings me back the gate again;
But she my fairest faithfu' lass,
And stownlins we sall meet again.

II.

She'll wander by the aiken tree,
When trystin-time draws near again;
And when her lovely form I see,
O haith, she's doubly dear again!
I'll ay ca' in by yon town,
And by yon garden green, again;
I'll ay ca' in by yon town,
And see my bonnie Jean again.

* * * * *




CLXII.

O, WAT YE WHA'S IN YON TOWN.

Tune--"_I'll ay ca' in by yon town. _"

[The beautiful Lucy Johnstone, married to Oswald, of Auchencruive, was
the heroine of this song: it was not, however, composed expressly in
honour of her charms. "As I was a good deal pleased," he says in a
letter to Syme, "with my performance, I, in my first fervour, thought
of sending it to Mrs. Oswald. " He sent it to the Museum, perhaps also
to the lady. ]


CHORUS.

O, wat ye wha's in yon town,
Ye see the e'enin sun upon?
The fairest dame's in yon town,
That e'enin sun is shining on.

I.

Now haply down yon gay green shaw,
She wanders by yon spreading tree;
How blest ye flow'rs that round her blaw,
Ye catch the glances o' her e'e!

II.

How blest ye birds that round her sing,
And welcome in the blooming year!
And doubly welcome be the spring,
The season to my Lucy dear.

III.

The sun blinks blithe on yon town,
And on yon bonnie braes of Ayr;
But my delight in yon town,
And dearest bliss, is Lucy fair.

IV.

Without my love, not a' the charms
O' Paradise could yield me joy;
But gie me Lucy in my arms,
And welcome Lapland's dreary sky!

V.

My cave wad be a lover's bower,
Tho' raging winter rent the air;
And she a lovely little flower,
That I wad tent and shelter there.

VI.

O sweet is she in yon town,
Yon sinkin sun's gane down upon;
A fairer than's in you town
His setting beam ne'er shone upon.

VII.

If angry fate is sworn my foe,
And suffering I am doom'd to bear;
I careless quit aught else below,
But spare me--spare me, Lucy dear!

VIII.

For while life's dearest blood is warm,
Ae thought frae her shall ne'er depart,
And she--as fairest is her form!
She has the truest, kindest heart!
O, wat ye wha's in yon town,
Ye see the e'enin sun upon?
The fairest dame's in yon town
That e'enin sun is shining on.

* * * * *




CLXIII.

O MAY, THY MORN.

Tune--_"May, thy morn. "_

[Our lyrical legends assign the inspiration of this strain to the
accomplished Clarinda. It has been omitted by Chambers in his
"People's Edition" of Burns. ]


I.

O May, thy morn was ne'er sae sweet
As the mirk night o' December;
For sparkling was the rosy wine,
And private was the chamber:
And dear was she I dare na name,
But I will ay remember.
And dear was she I dare na name,
But I will ay remember.

II.

And here's to them, that, like oursel,
Can push about the jorum;
And here's to them that wish us weel,
May a' that's guid watch o'er them,
And here's to them we dare na tell,
The dearest o' the quorum.
Ami here's to them we dare na tell,
The dearest o' the quorum!

* * * * *




CLXIV.

LOVELY POLLY STEWART.

Tune--_"Ye're welcome, Charlie Stewart. "_

[The poet's eye was on Polly Stewart, but his mind seems to have been
with Charlie Stewart, and the Jacobite ballads, when he penned these
words;--they are in the Museum. ]


I.

O lovely Polly Stewart!
O charming Polly Stewart!
There's not a flower that blooms in May
That's half so fair as thou art.
The flower it blaws, it fades and fa's,
And art can ne'er renew it;
But worth and truth eternal youth
Will give to Polly Stewart.

II.

May he whose arms shall fauld thy charms
Possess a leal and true heart;
To him be given to ken the heaven
He grasps in Polly Stewart.
O lovely Polly Stewart!
O charming Polly Stewart!
There's ne'er a flower that blooms in May
That's half so sweet as thou art.

* * * * *




CLXV.

THE HIGHLAND LADDIE.

Tune--_"If thou'lt play me fair play.