No More Learning

III.

How slow ye move, ye heavy hours;
The joyless day how dreary!
It was na sae ye glinted by,
When I was wi' my dearie.
For oh! her lanely nights are lang;
And oh, her dreams are eerie;
And oh, her widow'd heart is sair,
That's absent frae her dearie.

* * * * *




CCXXIX.

LET NOT WOMAN E'ER COMPLAIN.

Tune--"_Duncan Gray. _"

["These English songs," thus complains the poet, in the letter which
conveyed this lyric to Thomson, "gravel me to death: I have not that
command of the language that I have of my native tongue. I have been
at 'Duncan Gray,' to dress it in English, but all I can do is
deplorably stupid. For instance:"]


I.

Let not woman e'er complain
Of inconstancy in love;
Let not woman e'er complain
Fickle man is apt to rove:
Look abroad through nature's range,
Nature's mighty law is change;
Ladies, would it not be strange,
Man should then a monster prove?

II.

Mark the winds, and mark the skies;
Ocean's ebb, and ocean's flow:
Sun find moon but set to rise,
Round and round the seasons go:
Why then ask of silly man
To oppose great nature's plan?
We'll be constant while we can--
You can be no more, you know.

* * * * *




CCXXX.

THE LOVER'S MORNING SALUTE TO HIS MISTRESS.

Tune--"_Deil tak the Wars. _"

[Burns has, in one of his letters, partly intimated that this morning
salutation to Chloris was occasioned by sitting till the dawn at the
punch-bowl, and walking past her window on his way home. ]


I.

Sleep'st thou, or wak'st thou, fairest creature?
Rosy Morn now lifts his eye,
Numbering ilka bud which nature
Waters wi' the tears o' joy:
Now through the leafy woods,
And by the reeking floods,
Wild nature's tenants freely, gladly stray;
The lintwhite in his bower
Chants o'er the breathing flower;
The lav'rock to the sky
Ascends wi' sangs o' joy,
While the sun and thou arise to bless the day.

II.

Phoebus gilding the brow o' morning,
Banishes ilk darksome shade,
Nature gladdening and adorning;
Such to me my lovely maid.
When absent frae my fair,
The murky shades o' care
With starless gloom o'ercast my sullen sky;
But when, in beauty's light,
She meets my ravish'd sight,
When thro' my very heart
Her beaming glories dart--
'Tis then I wake to life, to light, and joy.

* * * * *




CCXXXI.

CHLORIS.

Air--"_My lodging is on the cold ground. _"

[The origin of this song is thus told by Burns to Thomson. "On my
visit the other day to my fair Chloris, that is the poetic name of the
lovely goddess of my inspiration, she suggested an idea which I, on my
return from the visit, wrought into the following song. " The poetic
elevation of Chloris is great: she lived, when her charms faded, in
want, and died all but destitute. ]


I.

My Chloris, mark how green the groves,
The primrose banks how fair:
The balmy gales awake the flowers,
And wave thy flaxen hair.

II.

The lav'rock shuns the palace gay,
And o'er the cottage sings;
For nature smiles as sweet, I ween,
To shepherds as to kings

III.

Let minstrels sweep the skilfu' string
In lordly lighted ha':
The shepherd stops his simple reed,
Blythe, in the birken shaw.

IV.

The princely revel may survey
Our rustic dance wi' scorn;
But are their hearts as light as ours,
Beneath the milk-white thorn?

V.

The shepherd, in the flow'ry glen,
In shepherd's phrase will woo:
The courtier tells a finer tale--
But is his heart as true?

VI.

These wild-wood flowers I've pu'd, to deck
That spotless breast o' thine:
The courtier's gems may witness love--
But 'tis na love like mine.

* * * * *




CCXXXII.

CHLOE.

Air--"_Daintie Davie. _"

[Burns, despairing to fit some of the airs with such verses of
original manufacture as Thomson required, for the English part of his
collection, took the liberty of bestowing a Southron dress on some
genuine Caledonian lyrics. The origin of this song may be found in
Ramsay's miscellany: the bombast is abated, and the whole much
improved. ]


I.

It was the charming month of May,
When all the flow'rs were fresh and gay,
One morning, by the break of day,
The youthful charming Chloe
From peaceful slumber she arose,
Girt on her mantle and her hose,
And o'er the flowery mead she goes,
The youthful charming Chloe.
Lovely was she by the dawn,
Youthful Chloe, charming Chloe,
Tripping o'er the pearly lawn,
The youthful charming Chloe.

II.

The feather'd people you might see,
Perch'd all around, on every tree,
In notes of sweetest melody
They hail the charming Chloe;
Till painting gay the eastern skies,
The glorious sun began to rise,
Out-rivall'd by the radiant eyes
Of youthful, charming Chloe.
Lovely was she by the dawn,
Youthful Chloe, charming Chloe,
Tripping o'er the pearly lawn,
The youthful, charming Chloe.

* * * * *




CCXXXIII.

LASSIE WI' THE LINT-WHITE LOCKS.

Tune--"_Rothemurche's Rant. _"

["Conjugal love," says the poet, "is a passion which I deeply feel and
highly venerate: but somehow it does not make such a figure in poesie
as that other species of the passion, where love is liberty and nature
law. Musically speaking, the first is an instrument of which the gamut
is scanty and confined, but the tones inexpressibly sweet, while the
last has powers equal to all the intellectual modulations of the human
soul. " It must be owned that the bard could render very pretty reasons
for his rapture about Jean Lorimer. ]


I.

Lassie wi' the lint-white locks,
Bonnie lassie, artless lassie,
Wilt thou wi' me tent the flocks?
Wilt thou be my dearie, O?
Now nature cleeds the flowery lea,
And a' is young and sweet like thee;
O wilt thou share its joy wi' me,
And say thoul't be my dearie, O?

II.

And when the welcome simmer shower
Has cheer'd ilk drooping little flower,
We'll to the breathing woodbine bower
At sultry noon, my dearie, O.

III.

When Cynthia lights wi' silver ray,
The weary shearer's hameward way;
Thro' yellow waving fields we'll stray,
And talk o' love my dearie, O.

IV.

And when the howling wintry blast
Disturbs my lassie's midnight rest;
Enclasped to my faithfu' breast,
I'll comfort thee, my dearie, O.
Lassie wi' the lint-white locks,
Bonnie lassie, artless lassie,
Wilt thou wi' me tent the flocks?
Wilt thou be my dearie, O?

* * * * *




CCXXXIV.

FAREWELL, THOU STREAM.

Air--"_Nancy's to the greenwood gane. _"

[This song was written in November, 1794: Thomson pronounced it
excellent. ]


I.

Farewell, thou stream that winding flows
Around Eliza's dwelling!
O mem'ry! spare the cruel throes
Within my bosom swelling:
Condemn'd to drag a hopeless chain,
And yet in secret languish,
To feel a fire in ev'ry vein,
Nor dare disclose my anguish.

II.

Love's veriest wretch, unseen, unknown,
I fain my griefs would cover;
The bursting sigh, th' unweeting groan,
Betray the hapless lover.
I know thou doom'st me to despair,
Nor wilt, nor canst relieve me;
But oh, Eliza, hear one prayer--
For pity's sake forgive me!

III.

The music of thy voice I heard,
Nor wist while it enslav'd me;
I saw thine eyes, yet nothing fear'd,
'Till fears no more had sav'd me:
The unwary sailor thus aghast,
The wheeling torrent viewing;
'Mid circling horrors sinks at last
In overwhelming ruin.

* * * * *




CCXXXV.

O PHILLY, HAPPY BE THAT DAY.

Tune-"_The Sow's Tail. _"

["This morning" (19th November, 1794), "though a keen blowing frost,"
Burns writes to Thomson, "in my walk before breakfast I finished my
duet: whether I have uniformly succeeded, I will not say: but here it
is for you, though it is not an hour old. "]


HE.

O Philly, happy be that day,
When roving through the gather'd hay,
My youthfu' heart was stown away,
And by thy charms, my Philly.

SHE.

O Willy, ay I bless the grove
Where first I own'd my maiden love,
Whilst thou didst pledge the powers above,
To be my ain dear Willy.

HE.

As songsters of the early year
Are ilka day mair sweet to hear,
So ilka day to me mair dear
And charming is my Philly.

SHE.

As on the brier the budding rose
Still richer breathes and fairer blows,
So in my tender bosom grows
The love I bear my Willy.

HE.

The milder sun and bluer sky
That crown my harvest cares wi' joy,
Were ne'er sae welcome to my eye
As is a sight o' Philly.

SHE.

The little swallow's wanton wing,
Tho' wafting o'er the flowery spring,
Did ne'er to me sic tidings bring,
As meeting o' my Willy.

HE.

The bee that thro' the sunny hour
Sips nectar in the opening flower,
Compar'd wi' my delight is poor,
Upon the lips o' Philly.

SHE.

The woodbine in the dewy weet
When evening shades in silence meet,
Is nocht sae fragrant or sae sweet
As is a kiss o' Willy.

HE.

Let Fortune's wheel at random rin,
And fools may tyne, and knaves may win
My thoughts are a' bound up in ane,
And that's my ain dear Philly.

SHE.

What's a' joys that gowd can gie?
I care nae wealth a single flie;
The lad I love's the lad for me,
And that's my ain dear Willy.

* * * * *




CCXXXVI.

CONTENTED WI' LITTLE.

Tune--"_Lumps o' Pudding. _"

[Burns was an admirer of many songs which the more critical and
fastidious regarded as rude and homely. "Todlin Hame" he called an
unequalled composition for wit and humour, and "Andro wi' his cutty
Gun," the work of a master. In the same letter, where he records
these sentiments, he writes his own inimitable song, "Contented wi'
Little. "]


I.

Contented wi' little, and cantie wi' mair,
Whene'er I forgather wi' sorrow end care,
I gie them a skelp, as they're creepin alang,
Wi' a cog o' guid swats, and an auld Scottish sang.

II.

I whyles claw the elbow o' troublesome thought;
But man is a sodger, and life is a faught:
My mirth and guid humour are coin in my pouch,
And my freedom's my lairdship nae monarch dare touch.

III.

A towmond o' trouble, should that be my fa',
A night o' guid fellowship sowthers it a':
When at the blithe end o' our journey at last,
Wha the deil ever thinks o' the road he has past?

IV.

Blind chance, let her snapper and stoyte on her way;
Be't to me, be't frae me, e'en let the jade gae:
Come ease, or come travail; come pleasure or pain;
My warst word is--"Welcome, and welcome again! "

* * * * *




CCXXXVII.

CANST THOU LEAVE ME THUS.

Tune--"_Roy's Wife. _"

[When Burns transcribed the following song for Thomson, on the 20th of
November, 1794, he added, "Well! I think this, to be done in two or
three turns across my room, and with two or three pinches of Irish
blackguard, is not so far amiss. You see I am resolved to have my
quantum of applause from somebody. " The poet in this song complains of
the coldness of Mrs. Riddel: the lady replied in a strain equally
tender and forgiving. ]


I.

Canst thou leave me thus, my Katy?
Canst thou leave me thus, my Katy?
Well thou know'st my aching heart--
And canst thou leave me thus for pity?
In this thy plighted, fond regard,
Thus cruelly to part, my Katy?
Is this thy faithful swain's reward--
An aching, broken heart, my Katy!

II.

Farewell! and ne'er such sorrows tear
That fickle heart of thine, my Katy!
Thou may'st find those will love thee dear--
But not a love like mine, my Katy!
Canst thou leave me thus, my Katy?
Canst thou leave me thus, my Katy?
Well thou know'st my aching heart--
And canst thou leave me thus for pity?

* * * * *




CCXXXVIII.

MY NANNIE'S AWA.

Tune--"_There'll never be peace. _"

[Clarinda, tradition avers, was the inspirer of this song, which the
poet composed in December, 1794, for the work of Thomson. His thoughts
were often in Edinburgh: on festive occasions, when, as Campbell
beautifully says, "The wine-cup shines in light," he seldom forgot to
toast Mrs. Mac. ]


I.

Now in her green mantle blythe nature arrays,
And listens the lambkins that bleat o'er the braes,
While birds warble welcome in ilka green shaw;
But to me it's delightless--my Nannie's awa!

II.

The snaw-drap and primrose our woodlands adorn,
And violets bathe in the weet o' the morn;
They pain my sad bosom, sae sweetly they blaw,
They mind me o' Nannie--and Nanny's awa!

III.

Thou lav'rock that springs frae the dews of the lawn,
The shepherd to warn o' the gray-breaking dawn,
And thou mellow mavis that hails the night fa',
Give over for pity--my Nannie's awa!

IV.

Come autumn sae pensive, in yellow and gray,
And soothe me with tidings o' nature's decay:
The dark dreary winter, and wild driving snaw,
Alane can delight me--now Nannie's awa!

* * * * *




CCXXXIX.

O WHA IS SHE THAT LOVES ME.

Tune--"_Morag. _"

["This song," says Sir Harris Nicolas, "is said, in Thomson's
collection, to have been written for that work by Burns: but it is not
included in Mr. Cunningham's edition. " If sir Harris would be so good
as to look at page 245; vol. V. , of Cunningham's edition of Burns, he
will find the song; and if he will look at page 28, and page 193 of
vol. III. , of his own edition, he will find that he has not committed
the error of which he accuses his fellow-editor, for he has inserted
the same song twice. The same may be said of the song to Chloris,
which Sir Harris has printed at page 312, vol. II,. and at page 189,
vol. III. , and of "Ae day a braw wooer came down the lang glen," which
appears both at page 224 of vol. II. , and at page 183 of vol, III. ]


I.

O wha is she that lo'es me,
And has my heart a-keeping?
O sweet is she that lo'es me,
As dews of simmer weeping,
In tears the rosebuds steeping!
O that's the lassie of my heart,
My lassie ever dearer;
O that's the queen of womankind,
And ne'er a ane to peer her.

II.

If thou shalt meet a lassie
In grace and beauty charming,
That e'en thy chosen lassie,
Erewhile thy breast sae warming
Had ne'er sic powers alarming.

III.

If thou hadst heard her talking,
And thy attentions plighted,
That ilka body talking,
But her by thee is slighted,
And thou art all delighted.

IV.

If thou hast met this fair one;
When frae her thou hast parted,
If every other fair one,
But her, thou hast deserted,
And thou art broken-hearted;
O that's the lassie o' my heart,
My lassie ever dearer;
O that's the queen o' womankind,
And ne'er a ane to peer her.

* * * * *




CCXL.

CALEDONIA.

Tune--"_Caledonian Hunt's Delight. _"

[There is both knowledge of history and elegance of allegory in this
singular lyric: it was first printed by Currie. ]


I.

There was once a day--but old Time then was young--
That brave Caledonia, the chief of her line,
From some of your northern deities sprung,
(Who knows not that brave Caledonia's divine? )
From Tweed to the Orcades was her domain,
To hunt, or to pasture, or do what she would:
Her heav'nly relations there fixed her reign,
And pledg'd her their godheads to warrant it good.

II.

A lambkin in peace, but a lion in war,
The pride of her kindred the heroine grew;
Her grandsire, old Odin, triumphantly swore
"Whoe'er shall provoke thee, th' encounter shall rue! "
With tillage or pasture at times she would sport,
To feed her fair flocks by her green rustling corn;
But chiefly the woods were her fav'rite resort,
Her darling amusement, the hounds and the horn.

III.

Long quiet she reign'd; till thitherward steers
A flight of bold eagles from Adria's strand:
Repeated, successive, for many long years,
They darken'd the air, and they plunder'd the land:
Their pounces were murder, and terror their cry,
They'd conquer'd and ruin'd a world beside;
She took to her hills, and her arrows let fly--
The daring invaders they fled or they died.

IV.

The fell harpy-raven took wing from the north,
The scourge of the seas, and the dread of the shore;
The wild Scandinavian boar issu'd forth
To wanton in carnage, and wallow in gore;
O'er countries and kingdoms their fury prevail'd,
No arts could appease them, no arms could repel;
But brave Caledonia in vain they assail'd,
As Largs well can witness, and Loncartie tell.

V.
The Cameleon-savage disturbed her repose,
With tumult, disquiet, rebellion, and strife;
Provok'd beyond bearing, at last she arose,
And robb'd him at once of his hope and his life:
The Anglian lion, the terror of France,
Oft prowling, ensanguin'd the Tweed's silver flood:
But, taught by the bright Caledonian lance,
He learned to fear in his own native wood.

VI.

Thus bold, independent, unconquer'd, and free,
Her bright course of glory for ever shall run:
For brave Caledonia immortal must be;
I'll prove it from Euclid as clear as the sun:
Rectangle-triangle, the figure we'll choose,
The upright is Chance, and old Time is the base;
But brave Caledonia's the hypothenuse;
Then ergo, she'll match them, and match them always.

* * * * *




CCXLI.

O LAY THY LOOF IN MINE, LASS.

Tune--"_Cordwainer's March. _"

[The air to which these verses were written, is commonly played at the
Saturnalia of the shoemakers on King Crispin's day. Burns sent it to
the Museum. ]


I.

O lay thy loof in mine, lass,
In mine, lass, in mine, lass;
And swear on thy white hand, lass,
That thou wilt be my ain.
A slave to love's unbounded sway,
He aft has wrought me meikle wae;
But now he is my deadly fae,
Unless thou be my ain.

II.

There's monie a lass has broke my rest,
That for a blink I hae lo'ed best;
But thou art queen within my breast,
For ever to remain.
O lay thy loof in mine, lass,
In mine, lass, in mine, lass;
And swear on thy white hand, lass,
That thou wilt be my ain.

* * * * *




CCXLII.

THE FETE CHAMPETRE.

Tune--"_Killiecrankie. _"

[Written to introduce the name of Cunninghame, of Enterkin, to the
public. Tents were erected on the banks of Ayr, decorated with shrubs,
and strewn with flowers, most of the names of note in the district
were invited, and a splendid entertainment took place; but no
dissolution of parliament followed as was expected, and the Lord of
Enterkin, who was desirous of a seat among the "Commons," poured out
his wine in vain. ]


I.

O wha will to Saint Stephen's house,
To do our errands there, man?
O wha will to Saint Stephen's house,
O' th' merry lads of Ayr, man?
Or will we send a man-o'-law?
Or will we send a sodger?
Or him wha led o'er Scotland a'
The meikle Ursa-Major?

II.

Come, will ye court a noble lord,
Or buy a score o' lairds, man?
For worth and honour pawn their word,
Their vote shall be Glencaird's, man?
Ane gies them coin, ane gies them wine,
Anither gies them clatter;
Anbank, wha guess'd the ladies' taste,
He gies a Fete Champetre.

III.

When Love and Beauty heard the news,
The gay green-woods amang, man;
Where gathering flowers and busking bowers,
They heard the blackbird's sang, man;
A vow, they seal'd it with a kiss,
Sir Politicks to fetter,
As theirs alone, the patent-bliss
To hold a Fete Champetre.

IV.

Then mounted Mirth, on gleesome wing,
O'er hill and dale she flew, man;
Ilk wimpling burn, ilk crystal spring,
Ilk glen and shaw she knew, man:
She summon'd every social sprite
That sports by wood or water,
On th' bonny banks of Ayr to meet,
And keep this Fete Champetre.

V.

Cauld Boreas, wi' his boisterous crew,
Were bound to stakes like kye, man;
And Cynthia's car, o' silver fu',
Clamb up the starry sky, man:
Reflected beams dwell in the streams,
Or down the current shatter;
The western breeze steals thro' the trees,
To view this Fete Champetre.

VI.

How many a robe sae gaily floats!
What sparkling jewels glance, man!
To Harmony's enchanting notes,
As moves the mazy dance, man.
The echoing wood, the winding flood,
Like Paradise did glitter,
When angels met, at Adam's yett,
To hold their Fete Champetre.

VII.

When Politics came there, to mix
And make his ether-stane, man!
He circled round the magic ground,
But entrance found he nane, man:
He blush'd for shame, he quat his name,
Forswore it, every letter,
Wi' humble prayer to join and share
This festive Fete Champetre.

* * * * *




CCXLIII.

HERE'S A HEALTH.

Tune--"_Here's a health to them that's awa. _"

[The Charlie of this song was Charles Fox; Tammie was Lord Erskine;
and M'Leod, the maiden name of the Countess of Loudon, was then, as
now, a name of influence both in the Highlands and Lowlands. The buff
and blue of the Whigs had triumphed over the white rose of Jacobitism
in the heart of Burns, when he wrote these verses. ]


I.

Here's a health to them that's awa,
Here's a health to them that's awa;
And wha winna wish guid luck to our cause,
May never guid luck be their fa'!
It's guid to be merry and wise,
It's guid to be honest and true,
It's good to support Caldonia's cause,
And bide by the buff and the blue.

II.

Here's a health to them that's awa,
Here's a health to them that's awa,
Here's a health to Charlie the chief of the clan,
Altho' that his band be sma'.
May liberty meet wi' success!
May prudence protect her frae evil!
May tyrants and tyranny tine in the mist,
And wander their way to the devil!

III.

Here's a health to them that's awa,
Here's a health to them that's awa;
Here's a health to Tammie, the Norland laddie,
That lives at the lug o' the law!
Here's freedom to him that wad read,
Here's freedom to him that wad write!
There's nane ever fear'd that the truth should be heard,
But they wham the truth wad indite.

IV.

Here's a health to them that's awa,
Here's a health to them that's awa,
Here's Chieftain M'Leod, a chieftain worth gowd,
Tho' bred amang mountains o' snaw!
Here's a health to them that's awa,
Here's a health to them that's awa;
And wha winna wish guid luck to our cause,
May never guid luck be their fa'!

* * * * *




CCXLIV.

IS THERE, FOR HONEST POVERTY.

Tune--"_For a' that, and a' that. _"

[In this noble lyric Burns has vindicated the natural right of his
species. He modestly says to Thomson, "I do not give you this song for
your book, but merely by way of _vive la bagatelle_; for the piece is
really not poetry, but will be allowed to be two or three pretty good
prose thoughts inverted into rhyme. " Thomson took the song, but
hazarded no praise. ]


I.

Is there, for honest poverty,
That hangs his head, and a' that?
The coward-slave, we pass him by,
We dare be poor for a' that!
For a' that, and a' that,
Our toils obscure, and a' that;
The rank is but the guinea's stamp,
The man's the gowd for a' that!

II.

What tho' on hamely fare we dine,
Wear hoddin gray, and a' that;
Gie fools their silks, and knaves their wine,
A man's a man, for a' that!
For a' that, and a' that,
Their tinsel show, and a' that;
The honest man, though e'er sae poor,
Is king o' men for a' that!

III.

Ye see yon birkie, ca'd--a lord,
Wha struts, and stares, and a' that;
Though hundreds worship at his word,
He's but a coof for a' that:
For a' that, and a' that,
His riband, star, and a' that,
The man of independent mind,
He looks and laughs at a' that.

IV.

A king can make a belted knight,
A marquis, duke, and a' that,
But an honest man's aboon his might,
Guid faith, he maunna fa' that!
For a' that, and a' that,
Their dignities, and a' that,
The pith o' sense, and pride o' worth,
Are higher ranks than a' that.

V.

Then let us pray that come it may--
As come it will for a' that--
That sense and worth, o'er a' the earth,
May bear the gree, and a' that;
For a' that, and a' that,
It's comin' yet for a' that,
That man to man, the warld o'er,
Shall brothers be for a' that!

* * * * *




CCXLV.

CRAIGIE-BURN WOOD.

[Craigie-burn Wood was written for George Thomson: the heroine was
Jean Lorimer. How often the blooming looks and elegant forms of very
indifferent characters lend a lasting lustre to painting and poetry. ]


I.

Sweet fa's the eve on Craigie-burn,
And blithe awakes the morrow;
But a' the pride o' spring's return
Can yield me nocht but sorrow.

II.

I see the flowers and spreading trees
I hear the wild birds singing;
But what a weary wight can please,
And care his bosom wringing?

III.

Fain, fain would I my griefs impart,
Yet dare na for your anger;
But secret love will break my heart,
If I conceal it langer.

IV.

If thou refuse to pity me,
If thou shall love anither,
When yon green leaves fade frae the tree,
Around my grave they'll wither.

* * * * *




CCXLVI.

O LASSIE, ART THOU SLEEPING YET.

Tune--"_Let me in this ae night. _"

[The thoughts of Burns, it is said, wandered to the fair Mrs. Riddel,
of Woodleigh Park, while he composed this song for Thomson. The idea
is taken from an old lyric, of more spirit than decorum. ]


I.

O Lassie, art thou sleeping yet,
Or art thou waking, I would wit?
For love has bound me hand and foot,
And I would fain be in, jo.
O let me in this ae night,
This ae, ae, ae night;
For pity's sake this ae night,
O rise and let me in, jo!

II.

Thou hear'st the winter wind and weet!
Nae star blinks thro' the driving sleet:
Tak pity on my weary feet,
And shield me frae the rain, jo.

III.

The bitter blast that round me blaws,
Unheeded howls, unheeded fa's;
The cauldness o' thy heart's the cause
Of a' my grief and pain, jo.
O let me in this ae night,
This ae, ae, ae night;
For pity's sake this ae night,
O rise and let me in, jo!

* * * * *




CCXLVII.

O TELL NA ME O' WIND AND RAIN.

[The poet's thoughts, as rendered in the lady's answer, are, at all
events, not borrowed from the sentiments expressed by Mrs. Riddel,
alluded to in song CCXXXVII. ; there she is tender and forgiving: here
she in stern and cold. ]


I.

O tell na me o' wind and rain,
Upbraid na me wi' cauld disdain!
Gae back the gate ye cam again,
I winna let you in, jo.
I tell you now this ae night,
This ae, ae, ae night,
And ance for a' this ae night,
I winna let you in, jo!

II.

The snellest blast, at mirkest hours,
That round the pathless wand'rer pours,
Is nocht to what poor she endures,
That's trusted faithless man, jo.

III.

The sweetest flower that deck'd the mead,
Now trodden like the vilest weed:
Let simple maid the lesson read,
The weird may be her ain, jo.

IV.

The bird that charm'd his summer-day,
Is now the cruel fowler's prey;
Let witless, trusting woman say
How aft her fate's the same, jo.
I tell you now this ae night,
This ae, ae, ae night;
And ance for a' this ae night,
I winna let you in jo!

* * * * *




CCXLVIII.

THE DUMFRIES VOLUNTEERS.

Tune--"_Push about the jorum. _"

[This national song was composed in April, 1795. The poet had been at
a public meeting, where he was less joyous than usual: as something
had been expected from him, he made these verses, when he went home,
and sent them, with his compliments, to Mr. Jackson, editor of the
Dumfries Journal. The original, through the kindness of my friend,
James Milligan, Esq. , is now before me. ]


I.

Does haughty Gaul invasion threat,
Then let the loons beware, Sir,
There's wooden walls upon our seas,
And volunteers on shore, Sir.
The Nith shall run to Corsincon,
And Criffel sink in Solway,
Ere we permit a foreign foe
On British ground to rally!

II.

O let us not, like snarling tykes,
In wrangling be divided;
Till slap come in an unco loon
And wi' a rung decide it.
Be Britain still to Britain true,
Amang oursels united;
For never but by British hands
Maun British wrangs be righted!

III.

The kettle o' the kirk and state,
Perhaps a clout may fail in't;
But deil a foreign tinkler loon
Shall ever ca' a nail in't.
Our fathers' bluid the kettle bought,
And wha wad dare to spoil it;
By heaven! the sacrilegious dog
Shall fuel be to boil it.

IV.

The wretch that wad a tyrant own,
And the wretch his true-born brother,
Who would set the mob aboon the throne,
May they be damned together!
Who will not sing, "God save the King,"
Shall hang as high's the steeple;
But while we sing, "God save the King,"
We'll ne'er forget the people.

* * * * *




CCXLIX.

ADDRESS TO THE WOOD-LARK.

Tune--"_Where'll bonnie Ann lie. _"

[The old song to the same air is yet remembered: but the humour is
richer than the delicacy; the same may be said of many of the fine
hearty lyrics of the elder days of Caledonia. These verses were
composed in May, 1795, for Thomson. ]


I.

O stay, sweet warbling woodlark, stay!
Nor quit for me the trembling spray;
A hapless lover courts thy lay,
Thy soothing fond complaining.

II.

Again, again that tender part,
That I may catch thy melting art;
For surely that would touch her heart,
Wha kills me wi' disdaining.

III.

Say, was thy little mate unkind,
And heard thee as the careless wind?
Oh, nocht but love and sorrow join'd,
Sic notes o' woe could wauken.

IV.

Thou tells o' never-ending care;
O' speechless grief and dark despair:
For pity's sake, sweet bird, nae mair!
Or my poor heart is broken!

* * * * *




CCL.

ON CHLORIS BEING ILL.

Tune--"_Ay wakin', O. _"

[An old and once popular lyric suggested this brief and happy song for
Thomson: some of the verses deserve to be held in remembrance.

Ay waking, oh,
Waking ay and weary;
Sleep I canna get
For thinking o' my dearie. ]


I.

Long, long the night,
Heavy comes the morrow,
While my soul's delight
Is on her bed of sorrow.

Can I cease to care?
Can I cease to languish?
While my darling fair
Is on the couch of anguish?

II.

Every hope is fled,
Every fear is terror;
Slumber even I dread,
Every dream is horror.

III.

Hear me, Pow'rs divine!
Oh, in pity hear me!
Take aught else of mine,
But my Chloris spare me!
Long, long the night,
Heavy comes the morrow,
While my soul's delight
Is on her bed of sorrow.

* * * * *




CCLI.

CALEDONIA.

Tune--"_Humours of Glen. _"

[Love of country often mingles in the lyric strains of Burns with his
personal attachments, and in few more beautifully than in the
following, written for Thomson the heroine was Mrs. Burns. ]


I.

Their groves o' sweet myrtle let foreign lands reckon,
Where bright-beaming summers exalt the perfume;
Far dearer to me yon lone glen o' green brockan,
Wi' the burn stealing under the lang yellow broom:
Far dearer to me are yon humble broom bowers,
Where the blue-bell and gowan lurk lowly unseen;
For there, lightly tripping amang the wild flowers,
A listening the linnet, aft wanders my Jean.

II.

Tho' rich is the breeze in their gay sunny valleys,
And cauld CALEDONIA'S blast on the wave;
Their sweet-scented woodlands that skirt the proud palace,
What are they? --The haunt of the tyrant and slave!
The slave's spicy forests, and gold-bubbling fountains,
The brave Caledonian views wi' disdain;
He wanders as free as the winds of his mountains,
Save love's willing fetters, the chains o' his Jean.

* * * * *




CCLII.

'TWAS NA HER BONNIE BLUE EEN.

Tune--"_Laddie, lie near me. _"

[Though the lady who inspired these verses is called Mary by the poet,
such, says tradition, was not her name: yet tradition, even in this,
wavers, when it avers one while that Mrs. Riddel, and at another time
that Jean Lorimer was the heroine. ]


I.

'Twas na her bonnie blue een was my ruin;
Fair tho' she be, that was ne'er my undoing:
'Twas the dear smile when naebody did mind us,
'Twas the bewitching, sweet stown glance o' kindness.

II.

Sair do I fear that to hope is denied me,
Sair do I fear that despair maun abide me!