Chapter I: Murder Hate (21)

This song shows that the Scottish muses did not all leave us when we lost Ramsay and Oswald, as I have good reason to believe that the verses and music are both posterior to the days of these two gentlemen. It is a beautiful song, and in the genuine Scots taste. We have few pastoral compositions, I mean the pastoral of nature, that are equal to this.

* * * * *

OH, OPEN THE DOOR, LORD GREGORY.

It is somewhat singular, that in Lanark, Renfrew, Ayr, Wigton, Kirkudbright, and Dumfries-shires, there is scarcely an old song or tune which, from the title, &c., can be guessed to belong to, or be the production of these countries. This, I conjecture, is one of these very few; as the ballad, which is a long one, is called, both by tradition and in printed collections, "The Lass of Lochroyan," which I take to be Lochroyan, in Galloway.

* * * * *

THE BANKS OF THE TWEED.

This song is one of the many attempts that English composers have made to imitate the Scottish manner, and which I shall, in these strictures, beg leave to distinguish by the appellation of Anglo-Scottish productions. The music is pretty good, but the verses are just above contempt.

* * * * *

THE BEDS OF SWEET ROSES.

This song, as far as I know, for the first time appears here in print.--When I was a boy, it was a very popular song in Ayrshire. I remember to have heard those fanatics, the Buchanites, sing some of their nonsensical rhymes, which they dignify with the name of hymns, to this air.

* * * * *

ROSLIN CASTLE.

These beautiful verses were the production of a Richard Hewit, a young man that Dr. Blacklock, to whom I am indebted for the anecdote, kept for some years as amanuensis. I do not know who is the author of the second song to the tune. Tytler, in his amusing history of Scots music, gives the air to Oswald; but in Oswald's own collection of Scots tunes, where he affixes an asterisk to those he himself composed, he does not make the least claim to the tune.

* * * * *

SAW YE JOHNNIE CUMMIN? QUO' SHE.

This song, for genuine humour in the verses, and lively originality in the air, is unparalleled. I take it to be very old.

* * * * *

CLOUT THE CALDRON.

A tradition is mentioned in the "Bee," that the second Bishop Chisholm, of Dunblane, used to say, that if he were going to be hanged, nothing would soothe his mind so much by the way as to hear "Clout the Caldron" played.

I have met with another tradition, that the old song to this tune,

"Hae ye onie pots or pans,
Or onie broken chanlers,"

was composed on one of the Kenmure family, in the cavalier times; and alluded to an amour he had, while under hiding, in the disguise of an itinerant tinker. The air is also known by the name of

"The blacksmith and his apron,"

which from the rhythm, seems to have been a line of some old song to the tune.

* * * * *

SAW YE MY PEGGY.

This charming song is much older, and indeed superior to Ramsay's verses, "The Toast," as he calls them. There is another set of the words, much older still, and which I take to be the original one, but though it has a very great deal of merit, it is not quite ladies' reading.

The original words, for they can scarcely be called verses, seem to be as follows; a song familiar from the cradle to every Scottish ear.

"Saw ye my Maggie,
Saw ye my Maggie,
Saw ye my Maggie
Linkin o'er the lea?

High kilted was she,
High kilted was she,
High kilted was she,
Her coat aboon her knee.

What mark has your Maggie,
What mark has your Maggie,
What mark has your Maggie,
That ane may ken her be?"

Though it by no means follows that the silliest verses to an air must, for that reason, be the original song; yet I take this ballad, of which I have quoted part, to be old verses. The two songs in Ramsay, one of them evidently his own, are never to be met with in the fire-side circle of our peasantry; while that which I take to be the old song, is in every shepherd's mouth. Ramsay, I suppose, had thought the old verses unworthy of a place in his collection.

* * * * *

THE FLOWERS OF EDINBURGH.

This song is one of the many effusions of Scots Jacobitism.--The title "Flowers of Edinburgh," has no manner of connexion with the present verses, so I suspect there has been an older set of words, of which the title is all that remains.

By the bye, it is singular enough that the Scottish muses were all Jacobites.--I have paid more attention to every description of Scots songs than perhaps anybody living has done, and I do not recollect one single stanza, or even the title of the most trifling Scots air, which has the least panegyrical reference to the families of Nassau or Brunswick; while there are hundreds satirizing them.--This may be thought no panegyric on the Scots Poets, but I mean it as such. For myself, I would always take it as a compliment to have it said, that my heart ran before my head,--and surely the gallant though unfortunate house of Stewart, the kings of our fathers for so many heroic ages, is a theme * * * * * *

* * * * *

JAMIE GAY.

Jamie Gay is another and a tolerable Anglo-Scottish piece.

* * * * *

MY DEAR JOCKIE.

Another Anglo-Scottish production.

* * * * *

FYE, GAE RUB HER O'ER WI' STRAE.

It is self-evident that the first four lines of this song are part of a song more ancient than Ramsay's beautiful verses which are annexed to them. As music is the language of nature; and poetry, particularly songs, are always less or more localized (if I may be allowed the verb) by some of the modifications of time and place, this is the reason why so many of our Scots airs have outlived their original, and perhaps many subsequent sets of verses; except a single name or phrase, or sometimes one or two lines, simply to distinguish the tunes by.

To this day among people who know nothing of Ramsay's verses, the following is the song, and all the song that ever I heard:

"Gin ye meet a bonnie lassie,
Gie her a kiss and let her gae;
But gin ye meet a dirty hizzie,
Fye, gae rub her o'er wi' strae.

Fye, gae rub her, rub her, rub her,
Fye, gae rub her o'er wi' strae:
An' gin ye meet dirty hizzie,
Fye, gae rub her o'er wi' strae."

* * * * *

THE LASS O' LIVISTON.

The old song, in three eight-line stanzas, is well known, and has merit as to wit and humour; but it is rather unfit for insertion.--It begins,

"The Bonnie lass o' Liviston,
Her name ye ken, her name ye ken,
And she has written in her contract
To lie her lane, to lie her lane."
&c. &c.

* * * * *

THE LAST TIME I CAME O'ER THE MOOR.

Ramsay found the first line of this song, which had been preserved as the title of the charming air, and then composed the rest of the verses to suit that line. This has always a finer effect than composing English words, or words with an idea foreign to the spirit of the old title. Where old titles of songs convey any idea at all, it will generally be found to be quite in the spirit of the air.

* * * * *

JOCKIE'S GRAY BREEKS.

Though this has certainly every evidence of being a Scottish air, yet there is a well-known tune and song in the north of Ireland, called "The Weaver and his Shuttle O," which, though sung much quicker, is every note the very tune.

* * * * *

THE HAPPY MARRIAGE.

Another, but very pretty Anglo-Scottish piece.

* * * * *

THE LASS OF PATIE'S MILL.

In Sinclair's Statistical Account of Scotland, this song is localized (a verb I must use for want of another to express my idea) somewhere in the north of Scotland, and likewise is claimed by Ayrshire.--The following anecdote I had from the present Sir William Cunningham, of Robertland, who had it from the last John, Earl of Loudon. The then Earl of Loudon, and father to Earl John before mentioned, had Ramsay at Loudon, and one day walking together by the banks of Irvine water, near New-Mills, at a place called Patie's Mill, they were struck with the appearance of a beautiful country girl. His lordship observed that she would be a fine theme for a song.--Allan lagged behind in returning to Loudon Castle, and at dinner produced this identical song.

* * * * *

THE TURNIMSPIKE.

There is a stanza of this excellent song for local humour, omitted in this set.--Where I have placed the asterisms.

"They tak the horse then by te head,
And tere tey mak her stan', man;
Me tell tem, me hae seen te day,
Tey no had sic comman', man."

* * * * *

HIGHLAND LADDIE.

As this was a favourite theme with our later Scottish muses, there are several airs and songs of that name. That which I take to be the oldest, is to be found in the "Musical Museum," beginning, "I hae been at Crookieden." One reason for my thinking so is, that Oswald has it in his collection, by the name of "The Auld Highland Laddie." It is also known by the name of "Jinglan Johnie," which is a well-known song of four or five stanzas, and seems to be an earlier song than Jacobite times. As a proof of this, it is little known to the peasantry by the name of "Highland Laddie;" while everybody knows "Jinglan Johnie." The song begins

"Jinglan John, the meickle man,
He met wi' a lass was blythe and bonie."

Another "Highland Laddie" is also in the "Museum," vol. v., which I take to be Ramsay's original, as he has borrowed the chorus--"O my bonie Highland lad," &c. It consists of three stanzas, besides the chorus; and has humour in its composition--it is an excellent, but somewhat licentious song.--It begins

"As I cam o'er Cairney mount,
And down among the blooming heather."

This air, and the common "Highland Laddie," seem only to be different sets.

Another "Highland Laddie," also in the "Museum," vol. v., is the tune of several Jacobite fragments. One of these old songs to it, only exists, as far as I know, in these four lines--

"Where hae ye been a' day,
Bonie laddie, Highland laddie?
Down the back o' Bell's brae,
Courtin Maggie, courtin Maggie."

Another of this name is Dr. Arne's beautiful air, called the new "Highland Laddie."

* * * * *

THE GENTLE SWAIN.

To sing such a beautiful air to such execrable verses, is downright prostitution of common sense! The Scots verses indeed are tolerable.

* * * * *

HE STOLE MY TENDER HEART AWAY.

This is an Anglo-Scottish production, but by no means a bad one.

* * * * *

FAIREST OF THE FAIR.

It is too barefaced to take Dr. Percy's charming song, and by means of transposing a few English words into Scots, to offer to pass it for a Scots song.--I was not acquainted with the editor until the first volume was nearly finished, else, had I known in time, I would have prevented such an impudent absurdity.

* * * * *

THE BLAITHRIE O'T.

The following is a set of this song, which was the earliest song I remember to have got by heart. When a child, an old woman sung it to me, and I picked it up, every word, at first hearing.

"O Willy, weel I mind, I lent you my hand
To sing you a song which you did me command;
But my memory's so bad I had almost forgot
That you called it the gear and the blaithrie o't.--

I'll not sing about confusion, delusion or pride,
I'll sing about a laddie was for a virtuous bride;
For virtue is an ornament that time will never rot,
And preferable to gear and the blaithrie o't.--

Tho' my lassie hae nae scarlets or silks to put on,
We envy not the greatest that sits upon the throne;
I wad rather hae my lassie, tho' she cam in her smock,
Than a princess wi' the gear and the blaithrie o't.--

Tho' we hae nae horses or menzies at command,
We will toil on our foot, and we'll work wi' our hand;
And when wearied without rest, we'll find it sweet in any spot,
And we'll value not the gear and the blaithrie o't.--

If we hae ony babies, we'll count them as lent;
Hae we less, hae we mair, we will ay be content;
For they say they hae mair pleasure that wins bu groat,
Than the miser wi' his gear and the blaithrie o't--

I'll not meddle wi' th' affairs of the kirk or the queen;
They're nae matters for a sang, let them sink, let them swim;
On your kirk I'll ne'er encroach, but I'll hold it stil remote,
Sae tak this for the gear and the blaithrie o't."

* * * * *

MAY EVE, OR KATE OF ABERDEEN.

"Kate of Aberdeen" is, I believe, the work of poor Cunningham the player; of whom the following anecdote, though told before, deserves a recital. A fat dignitary of the church coming past Cunningham one _Sunday_, as the poor poet was busy plying a fishing-rod in some stream near Durham, his native country, his reverence reprimanded Cunningham very severely for such an occupation on such a day. The poor poet, with that inoffensive gentleness of manners which was his peculiar characteristic, replied, that he hoped God and his reverence would forgive his seeming profanity of that sacred day, "_as he had no dinner to eat, but what lay at the bottom of that pool_!" This, Mr. Woods, the player, who knew Cunningham well, and esteemed him much, assured me was true.

* * * * *

TWEED SIDE.

In Ramsay's Tea-table Miscellany, he tells us that about thirty of the songs in that publication were the works of some young gentlemen of his acquaintance; which songs are marked with the letters D. C. &c.--Old Mr. Tytler of Woodhouselee, the worthy and able defender of the beauteous Queen of Scots, told me that the songs marked C, in the _Tea-table_, were the composition of a Mr. Crawfurd, of the house of Achnames, who was afterwards unfortunately drowned coming from France.--As Tytler was most intimately acquainted with Allan Ramsay, I think the anecdote may be depended on. Of consequence, the beautiful song of Tweed Side is Mr. Crawfurd's, and indeed does great honour to his poetical talents. He was a Robert Crawfurd; the Mary he celebrates was a Mary Stewart, of the Castle-Milk family, afterwards married to a Mr. John Ritchie.

I have seen a song, calling itself the original Tweed Side, and said to have been composed by a Lord Yester. It consisted of two stanzas, of which I still recollect the first--

"When Maggy and I was acquaint,
I carried my noddle fu' hie;
Nae lintwhite on a' the green plain,
Nor gowdspink sae happy as me:
But I saw her sae fair and I lo'ed:
I woo'd, but I came nae great speed;
So now I maun wander abroad,
And lay my banes far frae the Tweed."--

* * * * *

THE POSY.

It appears evident to me that Oswald composed his _Roslin Castle_ on the modulation of this air.--In the second part of Oswald's, in the three first bars, he has either hit on a wonderful similarity to, or else he has entirely borrowed the three first bars of the old air; and the close of both tunes is almost exactly the same. The old verses to which it was sung, when I took down the notes from a country girl's voice, had no great merit.--The following is a specimen:

"There was a pretty May, and a milkin she went;
Wi' her red rosy cheeks, and her coal black hair;
And she has met a young man a comin o'er the bent,
With a double and adieu to thee, fair May.

O where are ye goin, my ain pretty May,
Wi' thy red rosy cheeks, and thy coal black hair?
Unto the yowes a milkin, kind sir, she says,
With a double and adieu to thee, fair May.

What if I gang alang with thee, my ain pretty May,
Wi' thy red rosy cheeks, any thy coal-black hair;
Wad I be aught the warse o' that, kind sir, she says,
With a double and adieu to thee, fair May."

* * * * *

MARY'S DREAM.

The Mary here alluded to is generally supposed to be Miss Mary Macghie, daughter to the Laird of Airds, in Galloway. The poet was a Mr. John Lowe, who likewise wrote another beautiful song, called Pompey's Ghost.--I have seen a poetic epistle from him in North America, where he now is, or lately was, to a lady in Scotland.--By the strain of the verses, it appeared that they allude to some love affair.

* * * * *

THE MAID THAT TENDS THE GOATS.

BY MR. DUDGEON.

This Dudgeon is a respectable farmer's son in Berwickshire.

* * * * *