No homeward scene near me,No comrade to cheer me,I cling to my dearie,And sigh till I marry.Sing ever O, and ra-ill O,Ra-ill O,Sing ever O, and ra-ill O,Was ever a May like my fairy?My youth with the stranger,[44]Next on mountains a ranger,I pass'd—but no change, here,Will sever from Mary.What ringlets discoverTheir gloss thy brows over—Forget thee! thy lover,Ah, first shall they bury.Thy aspect of kindness,Thy graces they bind us,And, like Feili,[45]remind usOf a heaven undreary.Than the treasures of SpainI would toil more to gainThy love—but my pain,Ah, 'tis cruel, my Mary!When the shell is o'erflowing,And its dew-drops are glowing,No, never, thy snow onA slander shall tarry.When viols are playing,And dancers are Maying,My eyes may be straying,But my soul is with Mary.That white hand of thineMight I take into mine,Could I ever repine,Or from tenderness vary?No, never! no, never!My troth on 't for ever,Lip to lip, I 'd deliverMy being to Mary.
No homeward scene near me,No comrade to cheer me,I cling to my dearie,And sigh till I marry.Sing ever O, and ra-ill O,Ra-ill O,Sing ever O, and ra-ill O,Was ever a May like my fairy?
My youth with the stranger,[44]Next on mountains a ranger,I pass'd—but no change, here,Will sever from Mary.
What ringlets discoverTheir gloss thy brows over—Forget thee! thy lover,Ah, first shall they bury.
Thy aspect of kindness,Thy graces they bind us,And, like Feili,[45]remind usOf a heaven undreary.
Than the treasures of SpainI would toil more to gainThy love—but my pain,Ah, 'tis cruel, my Mary!
When the shell is o'erflowing,And its dew-drops are glowing,No, never, thy snow onA slander shall tarry.
When viols are playing,And dancers are Maying,My eyes may be straying,But my soul is with Mary.
That white hand of thineMight I take into mine,Could I ever repine,Or from tenderness vary?
No, never! no, never!My troth on 't for ever,Lip to lip, I 'd deliverMy being to Mary.
Angus Fletcher was born at Coirinti, a wild and romantic spot on the west bank of Loch Eck, in June 1776. His education was chiefly conducted at the parish school of Kilmodan, Glendaruel. From Glendaruel he went to Bute, in 1791, where he was variously employed till May 1804, when he was elected schoolmaster of Dunoon, his native parish. His death took place at Dunoon in 1852. The first of the two following songs was contributed anonymously to theWeekly Journalnewspaper, whence it was transferred by Turner into his Gaelic collection. It soon became popular in the Highlands, and the authorship came to be assigned to different individuals. Fletcher afterwards announced himself as the author, and completely established his claim. He was the author of various metrical compositions both in Gaelic and English.
Thy wily eyes, my darling,Thy graces bright, my jewel,Have grieved me since our partingAt the kirk of Glendaruel.'Twas to the Kirkton wendingBright eyes encounter'd duty,And mavis' notes were blendingWith the rosy cheeks of beauty.Oh, jimpsome is her shapely waist,Her arms, her instep queenly;And her sweet parting lips are gracedWith rows of ivory inly.When busy tongues are railing,Lown is her word unsaucy,And with modest grace unfailingShe trips it o'er the causey.Should royalty prefer me,Preferment none I crave,But to live a shepherd near thee,On the howes of Corrichnaive.Would fortune crown my wishes—The shealing of the hill,With my darling, and the rushesTo couch on, were my will.I hear, but not instruction,Though faithful lips are pleading—I read thy eyes' perfection,On their dew of mildness feeding.My hand is swiftly scrolling,In the courts of reverend men;[46]But, ah! my restless soul inIs triumphing my Jean.I fear, I fear their frowning—But though they chased me overWhere Holland's flats[47]are drowning,I 'll live and die thy lover.
Thy wily eyes, my darling,Thy graces bright, my jewel,Have grieved me since our partingAt the kirk of Glendaruel.
'Twas to the Kirkton wendingBright eyes encounter'd duty,And mavis' notes were blendingWith the rosy cheeks of beauty.
Oh, jimpsome is her shapely waist,Her arms, her instep queenly;And her sweet parting lips are gracedWith rows of ivory inly.
When busy tongues are railing,Lown is her word unsaucy,And with modest grace unfailingShe trips it o'er the causey.
Should royalty prefer me,Preferment none I crave,But to live a shepherd near thee,On the howes of Corrichnaive.
Would fortune crown my wishes—The shealing of the hill,With my darling, and the rushesTo couch on, were my will.
I hear, but not instruction,Though faithful lips are pleading—I read thy eyes' perfection,On their dew of mildness feeding.
My hand is swiftly scrolling,In the courts of reverend men;[46]But, ah! my restless soul inIs triumphing my Jean.
I fear, I fear their frowning—But though they chased me overWhere Holland's flats[47]are drowning,I 'll live and die thy lover.
Versified from the Gaelic Original by the Author.
Beneath a hill 'mang birken bushes,By a burnie's dimplit linn,I told my love with artless blushesTo the lassie o' the glen.Oh! the birken bank sae grassy,Hey! the burnie's dimplit linn;Dear to me 's the bonnie lassieLiving in yon rashy glen!Lanely Ruail! thy stream sae glassyShall be aye my fav'rite theme,For on thy banks my Highland lassieFirst confess'd a mutual flame.What bliss to sit, and nane to fash us,In some sweet wee bow'ry den!Or fondly stray amang the rashes,Wi' the lassie o' the glen!And though I wander now unhappy,Far frae scenes we haunted then,I'll ne'er forget the bank sae grassy,Nor the lassie o' the glen.
Beneath a hill 'mang birken bushes,By a burnie's dimplit linn,I told my love with artless blushesTo the lassie o' the glen.
Oh! the birken bank sae grassy,Hey! the burnie's dimplit linn;Dear to me 's the bonnie lassieLiving in yon rashy glen!
Lanely Ruail! thy stream sae glassyShall be aye my fav'rite theme,For on thy banks my Highland lassieFirst confess'd a mutual flame.
What bliss to sit, and nane to fash us,In some sweet wee bow'ry den!Or fondly stray amang the rashes,Wi' the lassie o' the glen!
And though I wander now unhappy,Far frae scenes we haunted then,I'll ne'er forget the bank sae grassy,Nor the lassie o' the glen.
Aboon, above.
Aumry, a store-place.
Baum, balm.
Beuk, book.
Bicker, a drinking vessel.
Burnie, a small stream.
Caller, cool.
Cled, clad.
Clud, cloud.
Couthy, frank.
Daffin', merry-making.
Dighted, wiped.
Doit, a small coin.
Doitet, dotard.
Douf, sad.
Dree, endure.
Dwine, dwindle.
Fauld, fold.
Fleechit, cajoled.
Fykes, troubles, anxieties.
Gaed, went.
Gar, compel.
Gate, way.
Glour, look earnestly.
Grannie, grandmother.
Grat, wept.
Grit, great.
Haill, whole.
Haud, hold, keep.
Heuk, reaping-hook.
Hie, high.
Hinny, honey.
Hizzie,Hussy, a thoughtless girl.
Ken, know.
Knows, knolls, hillocks.
Laith, loth.
Lift, firmament.
Lowin', burning.
Minnie, mother.
Parochin', parish.
Pu', pull.
Roos'd, praised.
Sabbit, sobbed.
Scour, search.
Slee, sly.
Speerin', inquiring.
Swiggit, swallowed.
Syne, then.
Thole, endure.
Toom, empty.
Troth, truth, vow.
Trow, believe.
Tyne, lose.
Unco, uncommon.
Wag, shake.
Waur, worse.
Ween, guess.
Yirth, earth.
Yowes, ewes.
END OF VOL. IV.
EDINBURGH: PRINTED BY BALLANTYNE AND COMPANY.
FOOTNOTES:[1]A flock of sheep.[2]See Minstrel, vol. iii. p. 186.[3]"Songs of the Ark, with other Poems." Edin. 1831. 8vo.[4]"The Christian Politician, or the Right Way of Thinking." Edinburgh, 1844, 8vo. This work, now nearly out of print, we would especially commend to the favourable attention of the Religious Tract Society.—Ed.[5]"Poems, Songs, and Miscellaneous Pieces." Edinburgh, 1847, 12mo.[6]This song, set to music by Mr Peter M'Leod, was published in a separate form, and the profits, which amounted to a considerable sum, given for the purpose of placing a parapet and railing around the monument of Burns on the Calton Hill, Edinburgh.[7]This exquisite lay forms a portion of "The Cottagers of Glendale," Mr Riddell's longest ballad poem.[8]This song was composed by Mrs Inglis, in honour of the Ettrick Shepherd, shortly after the period of his death.[9]Printed for the first time.[10]Of this song a new version was composed by Burns, the original chorus being retained. Burns' version commences—"Hark the mavis' evening sang."[11]This song was addressed by Mr Jamieson to Miss Jane Morrison of Alloa, the heroine of Motherwell's popular ballad of "Jeanie Morrison," and who had thus the singular good fortune to be celebrated by two different poets. For some account of Miss Morrison, now Mrs Murdoch, see vol. iii. p. 233.[12]A MS. copy of this song had been sent by the author to the Ettrick Shepherd. Having been found among the Shepherd's papers after his decease, it was regarded as his own composition, and has consequently been included in the posthumous edition of his songs, published by the Messrs Blackie. The song appears in Imlah's "May Flowers," published in 1827.[13]The chorus of this song, which is said to have been originally connected with a plaintive Jacobite ditty, now lost, has suggested several modern songs similar in manner and sentiment. Imlah composed two songs with this chorus. The earlier of these compositions appears in the "May Flowers." It is evidently founded upon a rumour, which prevailed in Aberdeenshire during the first quarter of the century, to the effect, that a Scottish officer, serving in Egypt, had been much affected on hearing a soldier's wifecrooningto herself the original words of the air. We have inserted in the text Imlah's second version, as being somewhat smoother in versification. It is the only song which we have transcribed from his volume, published in 1841. But the most popular words which have been attached to the air and chorus were the composition of a student in one of the colleges of Aberdeen, nearly thirty years since, who is now an able and accomplished clergyman of the Scottish Church. Having received the chorus and heard the air from a comrade, he immediately composed the following verses, here printed from the author's MS.:—Oh, an' I were where Gadie rins,Where Gadie rins, where Gadie rins,Oh, an' I were where Gadie rins,At the back o' Bennachie!I wish I were where Gadie rins,'Mong fragrant heath and yellow whins,Or, brawlin' doun the bosky linsAt the back o' Bennachie;To hear ance mair the blackbird's sang,To wander birks and braes amang,Wi' friens and fav'rites, left sae lang,At the back o' Bennachie.How mony a day, in blithe spring-time,How mony a day, in summer's prime,I wil'd awa' my careless timeOn the heights o' Bennachie.Ah! Fortune's flowers wi' thorns are rife,And walth is won wi' grief and strife—Ae day gie me o' youthfu' lifeAt the back o' Bennachie.Oh, Mary! there, on ilka nicht,When baith our hearts were young and licht,We've wander'd whan the moon was brichtWi' speeches fond and free.Oh! ance, ance mair where Gadie rins,Where Gadie rins, where Gadie rins—Oh! micht I dee where Gadie rinsAt the back o' Bennachie."The air," communicates the reverend author of this song, "is undoubtedly old, from its resemblance to several Gaelic and Irish airs. 'Cuir's chiste moir me,' and several others, might be thought to have been originally the samein the first part. The second part of the air is, I think, modern." The Gadie is a rivulet, and Bennachie a mountain, in Aberdeenshire.[14]In the "Cottagers of Glendale," Mr H. S. Riddell alludes to two of Tweedie's brothers, who perished among the snow in the manner described in that poem. The present memoir is prepared from materials chiefly supplied by Mr Riddell.[15]At the request of one Roger, a music-master in Edinburgh, who had obtained a copy of the first two stanzas, a third was added by Mr Robert Chambers, and in this form the song appears in some of the collections. Mr Chambers's stanza proceeds thus:—In southern climes the radiant sunA brighter light displays;But I love best his milder beamsThat shine on Scotland's braes.Then dear, romantic native landIf e'er I roam from thee,I'll ne'er forget the cheering lay;O Scotland's hills for me![16]See Lockhart's "Life of Sir Walter Scott."[17]We have to acknowledge our obligations to Mr Robert Chambers for many of the particulars contained in this memoir.[18]Printed from the author's MS., in the possession of Mr H. S. Riddell.[19]Printed for the first time from the original MS.[20]We are indebted to William Pagan, Esq. of Clayton, author of "Road Reform," for much of the information contained in this memoir. Mr Pagan kindly procured for our use the whole of Mr Allan's papers and MSS.[21]In Blackie's "Book of Scottish Song," this song is attributed to the Rev. George Allan, D.D. It is also inserted among the songs of the Ettrick Shepherd, published by the Messrs Blackie. The latter blunder is accounted for by the fact that a copy of the song, which was sent to the Shepherd by Mr H. S. Riddell, as a specimen of Mr Allan's poetical talents, had been found among his papers subsequent to his decease. This song, with the two immediately following, appeared in M'Leod's "National Melodies," but they are here transcribed from the author's MSS.[22]Printed, for the first time, from the author's MS.[23]Printed for the first time.[24]Captain Doyne Sillery was born in Drogheda, Ireland, of which place his father was mayor during the Rebellion of 1798, and where he possessed considerable property. He was descended from one of the most ancient and illustrious families in France, of which the representative took refuge in England during the infamous persecution of the Protestants in the sixteenth century. On the reduction of priestly power in Ireland by Cromwell, the family settled in that portion of the United Kingdom. The family name was originally Brulart. Nicolas Brulart, Marquis de Sillery, Lord de Pinsieux, de Marinis, and de Berny, acquired much reputation from the many commissions in which he served in France. (See "L'Histoire Généalogique et Chronologique des Chanceliers de France," tom. vi. p. 524). On the maternal side Captain Sillery was lineally descended from Edward Hyde, Earl of Clarendon, the famous chancellor.[25]Admiral Sir Charles Napier.[26]Alexander Bethune, the elder brother of the poet, and his constant companion and coadjutor in literary work, was born at Upper Rankeillor, in the parish of Monimail, in July 1804. His education was limited to a few months' attendance at a subscription school in his sixth year, with occasional lessons from his parents. Like his younger brother, he followed the occupation of a labourer, frequently working in the quarry or breaking stones on the public road. Early contracting a taste for literature, his leisure hours were devoted to reading and composition. In 1835, several of his productions appeared inChambers' Edinburgh Journal. "Tales and Sketches of the Scottish Peasantry," a volume by the brothers, of which the greater portion was written by Alexander, was published in 1838; their joint-treatise on "Practical Economy" in the year following. In 1843, Alexander published a small volume of tales, entitled "The Scottish Peasant's Fireside," which was favourably received. During the same year he was offered the editorship of theDumfries Standardnewspaper, with a salary of £100 a-year, but he was unable to accept the appointment from impaired health. He died at Mount Pleasant, near Newburgh, on the 13th June 1843, and his remains were interred in his brother's grave in Abdie churchyard. An interesting volume of his Memoirs, "embracing Selections from his Correspondence and Literary Memoirs," was published in 1845 by Mr William M'Combie.[27]The last four lines of this stanza are not the production of Nicoll, but have been contributed for the present work by Mr Alexander Wilson, of Perth. The insertion of the lines prevents the occurrence of a half stanza, which has hitherto interfered with the singing of this popular song.[28]We are indebted to Mr James Ballantine, of Edinburgh, for the particulars contained in this memoir.[29]"Glen-na-h'Albyn, or Glen-more-na-h'Albyn, the great Glen of Caledonia, is a name applied to the valley which runs in a direction from north-east to south-west, the whole breadth of the kingdom, from the Moray Firth at Inverness to the Sound of Mull below Fort-William, and is almost filled with lakes."[30]The title of this song seems to have been suggested by that of a ballad recovered by Cromek, and published in his "Remains of Nithsdale and Galloway Song," p. 219. The first line of the old ballad runs thus: "Oh, who is this under my window."—Ed.[31]The former words to this air commenced, "Oh, the shearing's no for you, bonnie lassie, O!"[32]The wooded scenery of the Kelvin will in a few years be included within the boundaries of the city, which has already extended within a very limited space of the "grove" celebrated in the song.[33]See vol. iii., p. 226.[34]Contributed by Mr Lyle to the present work.[35]This song was formerly introduced in this work (vol. ii. p. 70) as the composition of the Ettrick Shepherd. The error is not ours; we found the song in the latest or posthumous edition of the Shepherd's songs, p. 201 (Blackie, Glasgow), and we had no reason to suspect the authenticity. We have since ascertained that a copy of the song, having been handed to the Shepherd by the late Mr Peter Roger, of Peebles, Hogg, with the view of directing attention to the real author, introduced it shortly after in hisNoctes Bengerianæ, in the "Edinburgh Literary Journal" (vol. i. p. 258). Being included in this periodical paper, the editor of his posthumous works had assumed that the song was the Shepherd's own composition. So much for uncertainty as to the authorship of our best songs![36]Portions of the first and second verses of this song are fragments of an older ditty.—Note by the Author.[37]The stream that flows through Glen Pean.[38]The Gaelic name of Clunes, where the bard was entertained for many years of his tutor life.[39]Cowal is that portion of Argyllshire bordering the Frith of Clyde, and extending inland to the margin of Lochfine.[40]Brunach—The Brown, viz., the poet himself.[41]The Macdougalls of Dunolly claim descent from the Scoto-Irish kings who reigned in Dunstaffnage.[42]Supposed to be the first of our Christian kings.[43]Prince Charles Edward.[44]Invernahyle removed with his family to Edinburgh, and became very intimate with the father of Sir Walter Scott. He seems to have made a great impression on the future poet.[45]Festivals, saint-days.[46]The poet waxes professional. He was session-clerk and clerk-depute of presbytery.[47]The war was raging in Holland, under the command of the Duke of York. The bard threatens to exchange the pen for the sword.
[1]A flock of sheep.
[1]A flock of sheep.
[2]See Minstrel, vol. iii. p. 186.
[2]See Minstrel, vol. iii. p. 186.
[3]"Songs of the Ark, with other Poems." Edin. 1831. 8vo.
[3]"Songs of the Ark, with other Poems." Edin. 1831. 8vo.
[4]"The Christian Politician, or the Right Way of Thinking." Edinburgh, 1844, 8vo. This work, now nearly out of print, we would especially commend to the favourable attention of the Religious Tract Society.—Ed.
[4]"The Christian Politician, or the Right Way of Thinking." Edinburgh, 1844, 8vo. This work, now nearly out of print, we would especially commend to the favourable attention of the Religious Tract Society.—Ed.
[5]"Poems, Songs, and Miscellaneous Pieces." Edinburgh, 1847, 12mo.
[5]"Poems, Songs, and Miscellaneous Pieces." Edinburgh, 1847, 12mo.
[6]This song, set to music by Mr Peter M'Leod, was published in a separate form, and the profits, which amounted to a considerable sum, given for the purpose of placing a parapet and railing around the monument of Burns on the Calton Hill, Edinburgh.
[6]This song, set to music by Mr Peter M'Leod, was published in a separate form, and the profits, which amounted to a considerable sum, given for the purpose of placing a parapet and railing around the monument of Burns on the Calton Hill, Edinburgh.
[7]This exquisite lay forms a portion of "The Cottagers of Glendale," Mr Riddell's longest ballad poem.
[7]This exquisite lay forms a portion of "The Cottagers of Glendale," Mr Riddell's longest ballad poem.
[8]This song was composed by Mrs Inglis, in honour of the Ettrick Shepherd, shortly after the period of his death.
[8]This song was composed by Mrs Inglis, in honour of the Ettrick Shepherd, shortly after the period of his death.
[9]Printed for the first time.
[9]Printed for the first time.
[10]Of this song a new version was composed by Burns, the original chorus being retained. Burns' version commences—"Hark the mavis' evening sang."
[10]Of this song a new version was composed by Burns, the original chorus being retained. Burns' version commences—"Hark the mavis' evening sang."
[11]This song was addressed by Mr Jamieson to Miss Jane Morrison of Alloa, the heroine of Motherwell's popular ballad of "Jeanie Morrison," and who had thus the singular good fortune to be celebrated by two different poets. For some account of Miss Morrison, now Mrs Murdoch, see vol. iii. p. 233.
[11]This song was addressed by Mr Jamieson to Miss Jane Morrison of Alloa, the heroine of Motherwell's popular ballad of "Jeanie Morrison," and who had thus the singular good fortune to be celebrated by two different poets. For some account of Miss Morrison, now Mrs Murdoch, see vol. iii. p. 233.
[12]A MS. copy of this song had been sent by the author to the Ettrick Shepherd. Having been found among the Shepherd's papers after his decease, it was regarded as his own composition, and has consequently been included in the posthumous edition of his songs, published by the Messrs Blackie. The song appears in Imlah's "May Flowers," published in 1827.
[12]A MS. copy of this song had been sent by the author to the Ettrick Shepherd. Having been found among the Shepherd's papers after his decease, it was regarded as his own composition, and has consequently been included in the posthumous edition of his songs, published by the Messrs Blackie. The song appears in Imlah's "May Flowers," published in 1827.
[13]The chorus of this song, which is said to have been originally connected with a plaintive Jacobite ditty, now lost, has suggested several modern songs similar in manner and sentiment. Imlah composed two songs with this chorus. The earlier of these compositions appears in the "May Flowers." It is evidently founded upon a rumour, which prevailed in Aberdeenshire during the first quarter of the century, to the effect, that a Scottish officer, serving in Egypt, had been much affected on hearing a soldier's wifecrooningto herself the original words of the air. We have inserted in the text Imlah's second version, as being somewhat smoother in versification. It is the only song which we have transcribed from his volume, published in 1841. But the most popular words which have been attached to the air and chorus were the composition of a student in one of the colleges of Aberdeen, nearly thirty years since, who is now an able and accomplished clergyman of the Scottish Church. Having received the chorus and heard the air from a comrade, he immediately composed the following verses, here printed from the author's MS.:—Oh, an' I were where Gadie rins,Where Gadie rins, where Gadie rins,Oh, an' I were where Gadie rins,At the back o' Bennachie!I wish I were where Gadie rins,'Mong fragrant heath and yellow whins,Or, brawlin' doun the bosky linsAt the back o' Bennachie;To hear ance mair the blackbird's sang,To wander birks and braes amang,Wi' friens and fav'rites, left sae lang,At the back o' Bennachie.How mony a day, in blithe spring-time,How mony a day, in summer's prime,I wil'd awa' my careless timeOn the heights o' Bennachie.Ah! Fortune's flowers wi' thorns are rife,And walth is won wi' grief and strife—Ae day gie me o' youthfu' lifeAt the back o' Bennachie.Oh, Mary! there, on ilka nicht,When baith our hearts were young and licht,We've wander'd whan the moon was brichtWi' speeches fond and free.Oh! ance, ance mair where Gadie rins,Where Gadie rins, where Gadie rins—Oh! micht I dee where Gadie rinsAt the back o' Bennachie."The air," communicates the reverend author of this song, "is undoubtedly old, from its resemblance to several Gaelic and Irish airs. 'Cuir's chiste moir me,' and several others, might be thought to have been originally the samein the first part. The second part of the air is, I think, modern." The Gadie is a rivulet, and Bennachie a mountain, in Aberdeenshire.
[13]The chorus of this song, which is said to have been originally connected with a plaintive Jacobite ditty, now lost, has suggested several modern songs similar in manner and sentiment. Imlah composed two songs with this chorus. The earlier of these compositions appears in the "May Flowers." It is evidently founded upon a rumour, which prevailed in Aberdeenshire during the first quarter of the century, to the effect, that a Scottish officer, serving in Egypt, had been much affected on hearing a soldier's wifecrooningto herself the original words of the air. We have inserted in the text Imlah's second version, as being somewhat smoother in versification. It is the only song which we have transcribed from his volume, published in 1841. But the most popular words which have been attached to the air and chorus were the composition of a student in one of the colleges of Aberdeen, nearly thirty years since, who is now an able and accomplished clergyman of the Scottish Church. Having received the chorus and heard the air from a comrade, he immediately composed the following verses, here printed from the author's MS.:—
Oh, an' I were where Gadie rins,Where Gadie rins, where Gadie rins,Oh, an' I were where Gadie rins,At the back o' Bennachie!I wish I were where Gadie rins,'Mong fragrant heath and yellow whins,Or, brawlin' doun the bosky linsAt the back o' Bennachie;To hear ance mair the blackbird's sang,To wander birks and braes amang,Wi' friens and fav'rites, left sae lang,At the back o' Bennachie.How mony a day, in blithe spring-time,How mony a day, in summer's prime,I wil'd awa' my careless timeOn the heights o' Bennachie.Ah! Fortune's flowers wi' thorns are rife,And walth is won wi' grief and strife—Ae day gie me o' youthfu' lifeAt the back o' Bennachie.Oh, Mary! there, on ilka nicht,When baith our hearts were young and licht,We've wander'd whan the moon was brichtWi' speeches fond and free.Oh! ance, ance mair where Gadie rins,Where Gadie rins, where Gadie rins—Oh! micht I dee where Gadie rinsAt the back o' Bennachie.
Oh, an' I were where Gadie rins,Where Gadie rins, where Gadie rins,Oh, an' I were where Gadie rins,At the back o' Bennachie!
I wish I were where Gadie rins,'Mong fragrant heath and yellow whins,Or, brawlin' doun the bosky linsAt the back o' Bennachie;
To hear ance mair the blackbird's sang,To wander birks and braes amang,Wi' friens and fav'rites, left sae lang,At the back o' Bennachie.
How mony a day, in blithe spring-time,How mony a day, in summer's prime,I wil'd awa' my careless timeOn the heights o' Bennachie.
Ah! Fortune's flowers wi' thorns are rife,And walth is won wi' grief and strife—Ae day gie me o' youthfu' lifeAt the back o' Bennachie.
Oh, Mary! there, on ilka nicht,When baith our hearts were young and licht,We've wander'd whan the moon was brichtWi' speeches fond and free.
Oh! ance, ance mair where Gadie rins,Where Gadie rins, where Gadie rins—Oh! micht I dee where Gadie rinsAt the back o' Bennachie.
"The air," communicates the reverend author of this song, "is undoubtedly old, from its resemblance to several Gaelic and Irish airs. 'Cuir's chiste moir me,' and several others, might be thought to have been originally the samein the first part. The second part of the air is, I think, modern." The Gadie is a rivulet, and Bennachie a mountain, in Aberdeenshire.
[14]In the "Cottagers of Glendale," Mr H. S. Riddell alludes to two of Tweedie's brothers, who perished among the snow in the manner described in that poem. The present memoir is prepared from materials chiefly supplied by Mr Riddell.
[14]In the "Cottagers of Glendale," Mr H. S. Riddell alludes to two of Tweedie's brothers, who perished among the snow in the manner described in that poem. The present memoir is prepared from materials chiefly supplied by Mr Riddell.
[15]At the request of one Roger, a music-master in Edinburgh, who had obtained a copy of the first two stanzas, a third was added by Mr Robert Chambers, and in this form the song appears in some of the collections. Mr Chambers's stanza proceeds thus:—In southern climes the radiant sunA brighter light displays;But I love best his milder beamsThat shine on Scotland's braes.Then dear, romantic native landIf e'er I roam from thee,I'll ne'er forget the cheering lay;O Scotland's hills for me!
[15]At the request of one Roger, a music-master in Edinburgh, who had obtained a copy of the first two stanzas, a third was added by Mr Robert Chambers, and in this form the song appears in some of the collections. Mr Chambers's stanza proceeds thus:—
In southern climes the radiant sunA brighter light displays;But I love best his milder beamsThat shine on Scotland's braes.Then dear, romantic native landIf e'er I roam from thee,I'll ne'er forget the cheering lay;O Scotland's hills for me!
In southern climes the radiant sunA brighter light displays;But I love best his milder beamsThat shine on Scotland's braes.Then dear, romantic native landIf e'er I roam from thee,I'll ne'er forget the cheering lay;O Scotland's hills for me!
[16]See Lockhart's "Life of Sir Walter Scott."
[16]See Lockhart's "Life of Sir Walter Scott."
[17]We have to acknowledge our obligations to Mr Robert Chambers for many of the particulars contained in this memoir.
[17]We have to acknowledge our obligations to Mr Robert Chambers for many of the particulars contained in this memoir.
[18]Printed from the author's MS., in the possession of Mr H. S. Riddell.
[18]Printed from the author's MS., in the possession of Mr H. S. Riddell.
[19]Printed for the first time from the original MS.
[19]Printed for the first time from the original MS.
[20]We are indebted to William Pagan, Esq. of Clayton, author of "Road Reform," for much of the information contained in this memoir. Mr Pagan kindly procured for our use the whole of Mr Allan's papers and MSS.
[20]We are indebted to William Pagan, Esq. of Clayton, author of "Road Reform," for much of the information contained in this memoir. Mr Pagan kindly procured for our use the whole of Mr Allan's papers and MSS.
[21]In Blackie's "Book of Scottish Song," this song is attributed to the Rev. George Allan, D.D. It is also inserted among the songs of the Ettrick Shepherd, published by the Messrs Blackie. The latter blunder is accounted for by the fact that a copy of the song, which was sent to the Shepherd by Mr H. S. Riddell, as a specimen of Mr Allan's poetical talents, had been found among his papers subsequent to his decease. This song, with the two immediately following, appeared in M'Leod's "National Melodies," but they are here transcribed from the author's MSS.
[21]In Blackie's "Book of Scottish Song," this song is attributed to the Rev. George Allan, D.D. It is also inserted among the songs of the Ettrick Shepherd, published by the Messrs Blackie. The latter blunder is accounted for by the fact that a copy of the song, which was sent to the Shepherd by Mr H. S. Riddell, as a specimen of Mr Allan's poetical talents, had been found among his papers subsequent to his decease. This song, with the two immediately following, appeared in M'Leod's "National Melodies," but they are here transcribed from the author's MSS.
[22]Printed, for the first time, from the author's MS.
[22]Printed, for the first time, from the author's MS.
[23]Printed for the first time.
[23]Printed for the first time.
[24]Captain Doyne Sillery was born in Drogheda, Ireland, of which place his father was mayor during the Rebellion of 1798, and where he possessed considerable property. He was descended from one of the most ancient and illustrious families in France, of which the representative took refuge in England during the infamous persecution of the Protestants in the sixteenth century. On the reduction of priestly power in Ireland by Cromwell, the family settled in that portion of the United Kingdom. The family name was originally Brulart. Nicolas Brulart, Marquis de Sillery, Lord de Pinsieux, de Marinis, and de Berny, acquired much reputation from the many commissions in which he served in France. (See "L'Histoire Généalogique et Chronologique des Chanceliers de France," tom. vi. p. 524). On the maternal side Captain Sillery was lineally descended from Edward Hyde, Earl of Clarendon, the famous chancellor.
[24]Captain Doyne Sillery was born in Drogheda, Ireland, of which place his father was mayor during the Rebellion of 1798, and where he possessed considerable property. He was descended from one of the most ancient and illustrious families in France, of which the representative took refuge in England during the infamous persecution of the Protestants in the sixteenth century. On the reduction of priestly power in Ireland by Cromwell, the family settled in that portion of the United Kingdom. The family name was originally Brulart. Nicolas Brulart, Marquis de Sillery, Lord de Pinsieux, de Marinis, and de Berny, acquired much reputation from the many commissions in which he served in France. (See "L'Histoire Généalogique et Chronologique des Chanceliers de France," tom. vi. p. 524). On the maternal side Captain Sillery was lineally descended from Edward Hyde, Earl of Clarendon, the famous chancellor.
[25]Admiral Sir Charles Napier.
[25]Admiral Sir Charles Napier.
[26]Alexander Bethune, the elder brother of the poet, and his constant companion and coadjutor in literary work, was born at Upper Rankeillor, in the parish of Monimail, in July 1804. His education was limited to a few months' attendance at a subscription school in his sixth year, with occasional lessons from his parents. Like his younger brother, he followed the occupation of a labourer, frequently working in the quarry or breaking stones on the public road. Early contracting a taste for literature, his leisure hours were devoted to reading and composition. In 1835, several of his productions appeared inChambers' Edinburgh Journal. "Tales and Sketches of the Scottish Peasantry," a volume by the brothers, of which the greater portion was written by Alexander, was published in 1838; their joint-treatise on "Practical Economy" in the year following. In 1843, Alexander published a small volume of tales, entitled "The Scottish Peasant's Fireside," which was favourably received. During the same year he was offered the editorship of theDumfries Standardnewspaper, with a salary of £100 a-year, but he was unable to accept the appointment from impaired health. He died at Mount Pleasant, near Newburgh, on the 13th June 1843, and his remains were interred in his brother's grave in Abdie churchyard. An interesting volume of his Memoirs, "embracing Selections from his Correspondence and Literary Memoirs," was published in 1845 by Mr William M'Combie.
[26]Alexander Bethune, the elder brother of the poet, and his constant companion and coadjutor in literary work, was born at Upper Rankeillor, in the parish of Monimail, in July 1804. His education was limited to a few months' attendance at a subscription school in his sixth year, with occasional lessons from his parents. Like his younger brother, he followed the occupation of a labourer, frequently working in the quarry or breaking stones on the public road. Early contracting a taste for literature, his leisure hours were devoted to reading and composition. In 1835, several of his productions appeared inChambers' Edinburgh Journal. "Tales and Sketches of the Scottish Peasantry," a volume by the brothers, of which the greater portion was written by Alexander, was published in 1838; their joint-treatise on "Practical Economy" in the year following. In 1843, Alexander published a small volume of tales, entitled "The Scottish Peasant's Fireside," which was favourably received. During the same year he was offered the editorship of theDumfries Standardnewspaper, with a salary of £100 a-year, but he was unable to accept the appointment from impaired health. He died at Mount Pleasant, near Newburgh, on the 13th June 1843, and his remains were interred in his brother's grave in Abdie churchyard. An interesting volume of his Memoirs, "embracing Selections from his Correspondence and Literary Memoirs," was published in 1845 by Mr William M'Combie.
[27]The last four lines of this stanza are not the production of Nicoll, but have been contributed for the present work by Mr Alexander Wilson, of Perth. The insertion of the lines prevents the occurrence of a half stanza, which has hitherto interfered with the singing of this popular song.
[27]The last four lines of this stanza are not the production of Nicoll, but have been contributed for the present work by Mr Alexander Wilson, of Perth. The insertion of the lines prevents the occurrence of a half stanza, which has hitherto interfered with the singing of this popular song.
[28]We are indebted to Mr James Ballantine, of Edinburgh, for the particulars contained in this memoir.
[28]We are indebted to Mr James Ballantine, of Edinburgh, for the particulars contained in this memoir.
[29]"Glen-na-h'Albyn, or Glen-more-na-h'Albyn, the great Glen of Caledonia, is a name applied to the valley which runs in a direction from north-east to south-west, the whole breadth of the kingdom, from the Moray Firth at Inverness to the Sound of Mull below Fort-William, and is almost filled with lakes."
[29]"Glen-na-h'Albyn, or Glen-more-na-h'Albyn, the great Glen of Caledonia, is a name applied to the valley which runs in a direction from north-east to south-west, the whole breadth of the kingdom, from the Moray Firth at Inverness to the Sound of Mull below Fort-William, and is almost filled with lakes."
[30]The title of this song seems to have been suggested by that of a ballad recovered by Cromek, and published in his "Remains of Nithsdale and Galloway Song," p. 219. The first line of the old ballad runs thus: "Oh, who is this under my window."—Ed.
[30]The title of this song seems to have been suggested by that of a ballad recovered by Cromek, and published in his "Remains of Nithsdale and Galloway Song," p. 219. The first line of the old ballad runs thus: "Oh, who is this under my window."—Ed.
[31]The former words to this air commenced, "Oh, the shearing's no for you, bonnie lassie, O!"
[31]The former words to this air commenced, "Oh, the shearing's no for you, bonnie lassie, O!"
[32]The wooded scenery of the Kelvin will in a few years be included within the boundaries of the city, which has already extended within a very limited space of the "grove" celebrated in the song.
[32]The wooded scenery of the Kelvin will in a few years be included within the boundaries of the city, which has already extended within a very limited space of the "grove" celebrated in the song.
[33]See vol. iii., p. 226.
[33]See vol. iii., p. 226.
[34]Contributed by Mr Lyle to the present work.
[34]Contributed by Mr Lyle to the present work.
[35]This song was formerly introduced in this work (vol. ii. p. 70) as the composition of the Ettrick Shepherd. The error is not ours; we found the song in the latest or posthumous edition of the Shepherd's songs, p. 201 (Blackie, Glasgow), and we had no reason to suspect the authenticity. We have since ascertained that a copy of the song, having been handed to the Shepherd by the late Mr Peter Roger, of Peebles, Hogg, with the view of directing attention to the real author, introduced it shortly after in hisNoctes Bengerianæ, in the "Edinburgh Literary Journal" (vol. i. p. 258). Being included in this periodical paper, the editor of his posthumous works had assumed that the song was the Shepherd's own composition. So much for uncertainty as to the authorship of our best songs!
[35]This song was formerly introduced in this work (vol. ii. p. 70) as the composition of the Ettrick Shepherd. The error is not ours; we found the song in the latest or posthumous edition of the Shepherd's songs, p. 201 (Blackie, Glasgow), and we had no reason to suspect the authenticity. We have since ascertained that a copy of the song, having been handed to the Shepherd by the late Mr Peter Roger, of Peebles, Hogg, with the view of directing attention to the real author, introduced it shortly after in hisNoctes Bengerianæ, in the "Edinburgh Literary Journal" (vol. i. p. 258). Being included in this periodical paper, the editor of his posthumous works had assumed that the song was the Shepherd's own composition. So much for uncertainty as to the authorship of our best songs!
[36]Portions of the first and second verses of this song are fragments of an older ditty.—Note by the Author.
[36]Portions of the first and second verses of this song are fragments of an older ditty.—Note by the Author.
[37]The stream that flows through Glen Pean.
[37]The stream that flows through Glen Pean.
[38]The Gaelic name of Clunes, where the bard was entertained for many years of his tutor life.
[38]The Gaelic name of Clunes, where the bard was entertained for many years of his tutor life.
[39]Cowal is that portion of Argyllshire bordering the Frith of Clyde, and extending inland to the margin of Lochfine.
[39]Cowal is that portion of Argyllshire bordering the Frith of Clyde, and extending inland to the margin of Lochfine.
[40]Brunach—The Brown, viz., the poet himself.
[40]Brunach—The Brown, viz., the poet himself.
[41]The Macdougalls of Dunolly claim descent from the Scoto-Irish kings who reigned in Dunstaffnage.
[41]The Macdougalls of Dunolly claim descent from the Scoto-Irish kings who reigned in Dunstaffnage.
[42]Supposed to be the first of our Christian kings.
[42]Supposed to be the first of our Christian kings.
[43]Prince Charles Edward.
[43]Prince Charles Edward.
[44]Invernahyle removed with his family to Edinburgh, and became very intimate with the father of Sir Walter Scott. He seems to have made a great impression on the future poet.
[44]Invernahyle removed with his family to Edinburgh, and became very intimate with the father of Sir Walter Scott. He seems to have made a great impression on the future poet.
[45]Festivals, saint-days.
[45]Festivals, saint-days.
[46]The poet waxes professional. He was session-clerk and clerk-depute of presbytery.
[46]The poet waxes professional. He was session-clerk and clerk-depute of presbytery.
[47]The war was raging in Holland, under the command of the Duke of York. The bard threatens to exchange the pen for the sword.
[47]The war was raging in Holland, under the command of the Duke of York. The bard threatens to exchange the pen for the sword.