Part 2

1792

Song—I do Confess Thou Art Sae Fair Lines On Fergusson, The Poet Song—The Weary Pund O’ Tow Song—When She Cam’ Ben She Bobbed Song—Scroggam, My Dearie Song—My Collier Laddie Song—Sic A Wife As Willie Had Song—Lady Mary Ann Song—Kellyburn Braes Song—The Slave’s Lament Song—O Can Ye Labour Lea? Song—The Deuks Dang O’er My Daddie Song—The Deil’s Awa Wi’ The Exciseman Song—The Country Lass Song—Bessy And Her Spinnin’ Wheel Song—Fragment—Love For Love Song—Saw Ye Bonie Lesley Song—Fragment Of Song Song—I’ll Meet Thee On The Lea Rig Song—My Wife’s A Winsome Wee Thing Song—Highland Mary Song—Auld Rob Morris The Rights Of Woman—Spoken by Miss Fontenelle Epigram On Miss Fontenelle Extempore On Some Commemorations Of Thomson Song—Duncan Gray Song—A Health To Them That’s Awa A Tippling Ballad—When Princes and Prelates

1793

Song—Poortith Cauld And Restless Love Epigram On Politics Song—Braw Lads O’ Galla Water Sonnet Written On The Author’s Birthday, Song—Wandering Willie Wandering Willie (Revised Version) Lord Gregory: A Ballad Song—Open The Door To Me, Oh Song—Lovely Young Jessie Song—Meg O’ The Mill Song—Meg O’ The Mill (Another Version) The Soldier’s Return: A Ballad Epigram—The True Loyal Natives Epigram—On Commissary Goldie’s Brains Lines Inscribed In A Lady’s Pocket Almanac Epigram—Thanksgiving For A National Victory Epigram—The Raptures Of Folly Epigram—Kirk and State Excisemen Extempore Reply To An Invitation A Grace After Meat Grace Before And After Meat Impromptu On General Dumourier’s Desertion From The French Republican Army Song—The Last Time I Came O’er The Moor Song—Logan Braes Song—Blythe Hae I been On Yon Hill Song—O Were My Love Yon Lilac Fair Bonie Jean—A Ballad Lines On John M’Murdo, ESQ. Epitaph On A Lap-Dog Epigrams Against The Earl Of Galloway Epigram On The Laird Of Laggan Song—Phillis The Fair Song—Had I A Cave Song.—By Allan Stream Song—Whistle, And I’ll Come To You, My Lad Song—Phillis The Queen O’ The Fair Song—Come, Let Me Take Thee To My Breast Song—Dainty Davie Song—Robert Bruce’s March To Bannockburn Song—Behold The Hour, The Boat Arrive Song—Down The Burn, Davie Song—Thou Hast Left Me Ever, Jamie Song—Where Are The Joys I have Met? Song—Deluded Swain, The Pleasure Song—Thine Am I, My Faithful Fair Impromptu On Mrs. Riddell’s Birthday Song—My Spouse Nancy Address Spoken by Miss Fontenelle Complimentary Epigram On Maria Riddell

1794

Remorseful Apology Song—Wilt Thou Be My Dearie? Song—A Fiddler In The North The Minstrel At Lincluden A Vision Song—A Red, Red Rose Song—Young Jamie, Pride Of A’ The Plain Song—The Flowery Banks Of Cree Monody On a lady famed for her Caprice. The Epitaph On the Same Epigram Pinned To Mrs. Walter Riddell’s Carriage Epitaph For Mr. Walter Riddell Epistle From Esopus To Maria Epitaph On A Noted Coxcomb Epitaph On Capt. Lascelles Epitaph On Wm. Graham, Esq., Of Mossknowe Epitaph On John Bushby, Esq., Tinwald Downs Sonnet On The Death Of Robert Riddell Song—The Lovely Lass O’ Inverness Song—Charlie, He’s My Darling Song—Bannocks O’ Bear Meal Song—The Highland Balou The Highland Widow’s Lament Song—It Was A’ For Our Rightfu’ King Ode For General Washington’s Birthday Inscription To Miss Graham Of Fintry Song—On The Seas And Far Away Song—Ca’ The Yowes To The Knowes Song—She Says She Loes Me Best Of A’ Epigram—On Miss Jessy Staig’s recovery. To The Beautiful Miss Eliza J-N On her Principles of Liberty and Equality. On Chloris Requesting me to give her a Spring of Blossomed Thorn. On Seeing Mrs. Kemble In Yarico Epigram On A Country Laird (Cardoness) Epigram on the Same Laird’s Country Seat Epigram on Dr. Babinton’s Looks Epigram On A Suicide Epigram On A Swearing Coxcomb Epigram On An Innkeeper Nicknamed (The Marquis) Epigram On Andrew Turner Song—Pretty Peg Esteem For Chloris Song—Saw Ye My Dear, My Philly Song—How Lang And Dreary Is The Night Song—Inconstancy In Love The Lover’s Morning Salute To His Mistress Song—The Winter Of Life Song—Behold, My Love, How Green The Groves Song—The Charming Month Of May Song—Lassie Wi’ The Lint-White Locks Dialogue song—Philly And Willy Song—Contented Wi’ Little And Cantie Wi’ Mair Song—Farewell Thou Stream Song—Canst Thou Leave Me Thus, My Katie Song—My Nanie’s Awa Song—The Tear-Drop—Wae is my heart Song—For The Sake O’ Somebody

1795

Song—A Man’s A Man For A’ That The Solemn League And Covenant Lines to John Syme with a Dozen of Porter. Inscription On Mr. Syme’s Crystal Goblet Apology To Mr. Syme For Not Dining with him Epitaph For Mr. Gabriel Richardson Epigram On Mr. James Gracie Song—Bonie Peg-a-Ramsay Inscription At Friars’ Carse Hermitage Song—Fragment—There Was A Bonie Lass Song—Fragment—Wee Willie Gray Song—O Aye My Wife She Dang Me Song—Gude Ale Keeps The Heart Aboon Song—O Steer Her Up An’ Haud Her Gaun Song—The Lass O’ Ecclefechan Song—O Let Me In Thes Ae Night Song—I’ll Aye Ca’ In By Yon Town Ballads on Mr. Heron’s Election—Ballad First Ballads on Mr. Heron’s Election—Ballad Second Ballads on Mr. Heron’s Election—Ballad Third Inscription For An Altar Of Independence Song—The Cardin O’t, The Spinnin O’t Song—The Cooper O’ Cuddy Song—The Lass That Made The Bed To Me Song—Had I The Wyte? She Bade Me Song—Does Haughty Gaul Invasion Threat? Song—Address To The Woodlark Song.—On Chloris Being Ill Song—How Cruel Are The Parents Song—Yonder Pomp Of Costly Fashion Song—’Twas Na Her Bonie Blue E’e Song—Their Groves O’Sweet Myrtle Song—Forlorn, My Love, No Comfort Near Song—Fragment,—Why, Why Tell The Lover Song—The Braw Wooer Song—This Is No My Ain Lassie Song—O Bonie Was Yon Rosy Brier Song—Song Inscribed To Alexander Cunningham Song—O That’s The Lassie O’ My Heart

Inscription to Chloris Song—Fragment.—The Wren’s Nest Song—News, Lassies, News Song—Crowdie Ever Mair Song—Mally’s Meek, Mally’s Sweet Song—Jockey’s Taen The Parting Kiss Verses To Collector Mitchell

1796

The Dean Of Faculty Epistle To Colonel De Peyster Song—A Lass Wi’ A Tocher Song—The Trogger. Complimentary Versicles To Jessie Lewars 1. The Toast 2. The Menagerie 3. Jessie’s illness 4. On Her Recovery Song—O Lay Thy Loof In Mine, Lass Song—A Health To Ane I Loe Dear Song—O Wert Thou In The Cauld Blast Inscription To Miss Jessy Lewars Song—Fairest Maid On Devon Banks Glossary

POEMS AND SONGS OF ROBERT BURNS

Preface

Robert Burns was born near Ayr, Scotland, 25th of January, 1759. He was the son of William Burnes, or Burness, at the time of the poet’s birth a nurseryman on the banks of the Doon in Ayrshire. His father, though always extremely poor, attempted to give his children a fair education, and Robert, who was the eldest, went to school for three years in a neighboring village, and later, for shorter periods, to three other schools in the vicinity. But it was to his father and to his own reading that he owed the more important part of his education; and by the time that he had reached manhood he had a good knowledge of English, a reading knowledge of French, and a fairly wide acquaintance with the masterpieces of English literature from the time of Shakespeare to his own day. In 1766 William Burness rented on borrowed money the farm of Mount Oliphant, and in taking his share in the effort to make this undertaking succeed, the future poet seems to have seriously overstrained his physique. In 1771 the family move to Lochlea, and Burns went to the neighboring town of Irvine to learn flax-dressing. The only result of this experiment, however, was the formation of an acquaintance with a dissipated sailor, whom he afterward blamed as the prompter of his first licentious adventures. His father died in 1784, and with his brother Gilbert the poet rented the farm of Mossgiel; but this venture was as unsuccessful as the others. He had meantime formed an irregular intimacy with Jean Armour, for which he was censured by the Kirk-session. As a result of his farming misfortunes, and the attempts of his father-in-law to overthrow his irregular marriage with Jean, he resolved to emigrate; and in order to raise money for the passage he published (Kilmarnock, 1786) a volume of the poems which he had been composing from time to time for some years. This volume was unexpectedly successful, so that, instead of sailing for the West Indies, he went up to Edinburgh, and during that winter he was the chief literary celebrity of the season. An enlarged edition of his poems was published there in 1787, and the money derived from this enabled him to aid his brother in Mossgiel, and to take and stock for himself the farm of Ellisland in Dumfriesshire. His fame as poet had reconciled the Armours to the connection, and having now regularly married Jean, he brought her to Ellisland, and once more tried farming for three years. Continued ill-success, however, led him, in 1791, to abandon Ellisland, and he moved to Dumfries, where he had obtained a position in the Excise. But he was now thoroughly discouraged; his work was mere drudgery; his tendency to take his relaxation in debauchery increased the weakness of a constitution early undermined; and he died at Dumfries in his thirty-eighth year.

It is not necessary here to attempt to disentangle or explain away the numerous amours in which he was engaged through the greater part of his life. It is evident that Burns was a man of extremely passionate nature and fond of conviviality; and the misfortunes of his lot combined with his natural tendencies to drive him to frequent excesses of self-indulgence. He was often remorseful, and he strove painfully, if intermittently, after better things. But the story of his life must be admitted to be in its externals a painful and somewhat sordid chronicle. That it contained, however, many moments of joy and exaltation is proved by the poems here printed.

Burns’ poetry falls into two main groups: English and Scottish. His English poems are, for the most part, inferior specimens of conventional eighteenth-century verse. But in Scottish poetry he achieved triumphs of a quite extraordinary kind. Since the time of the Reformation and the union of the crowns of England and Scotland, the Scots dialect had largely fallen into disuse as a medium for dignified writing. Shortly before Burns’ time, however, Allan Ramsay and Robert Fergusson had been the leading figures in a revival of the vernacular, and Burns received from them a national tradition which he succeeded in carrying to its highest pitch, becoming thereby, to an almost unique degree, the poet of his people.

He first showed complete mastery of verse in the field of satire. In “The Twa Herds,” “Holy Willie’s Prayer,” “Address to the Unco Guid,” “The Holy Fair,” and others, he manifested sympathy with the protest of the so-called “New Light” party, which had sprung up in opposition to the extreme Calvinism and intolerance of the dominant “Auld Lichts.” The fact that Burns had personally suffered from the discipline of the Kirk probably added fire to his attacks, but the satires show more than personal animus. The force of the invective, the keenness of the wit, and the fervor of the imagination which they displayed, rendered them an important force in the theological liberation of Scotland.

The Kilmarnock volume contained, besides satire, a number of poems like “The Twa Dogs” and “The Cotter’s Saturday Night,” which are vividly descriptive of the Scots peasant life with which he was most familiar; and a group like “Puir Mailie” and “To a Mouse,” which, in the tenderness of their treatment of animals, revealed one of the most attractive sides of Burns’ personality. Many of his poems were never printed during his lifetime, the most remarkable of these being “The Jolly Beggars,” a piece in which, by the intensity of his imaginative sympathy and the brilliance of his technique, he renders a picture of the lowest dregs of society in such a way as to raise it into the realm of great poetry.

But the real national importance of Burns is due chiefly to his songs. The Puritan austerity of the centuries following the Reformation had discouraged secular music, like other forms of art, in Scotland; and as a result Scottish song had become hopelessly degraded in point both of decency and literary quality. From youth Burns had been interested in collecting the fragments he had heard sung or found printed, and he came to regard the rescuing of this almost lost national inheritance in the light of a vocation. About his song-making, two points are especially noteworthy: first, that the greater number of his lyrics sprang from actual emotional experiences; second, that almost all were composed to old melodies. While in Edinburgh he undertook to supply material for Johnson’s “Musical Museum,” and as few of the traditional songs could appear in a respectable collection, Burns found it necessary to make them over. Sometimes he kept a stanza or two; sometimes only a line or chorus; sometimes merely the name of the air; the rest was his own. His method, as he has told us himself, was to become familiar with the traditional melody, to catch a suggestion from some fragment of the old song, to fix upon an idea or situation for the new poem; then, humming or whistling the tune as he went about his work, he wrought out the new verses, going into the house to write them down when the inspiration began to flag. In this process is to be found the explanation of much of the peculiar quality of the songs of Burns. Scarcely any known author has succeeded so brilliantly in combining his work with folk material, or in carrying on with such continuity of spirit the tradition of popular song. For George Thomson’s collection of Scottish airs he performed a function similar to that which he had had in the “Museum”; and his poetical activity during the last eight or nine years of his life was chiefly devoted to these two publications. In spite of the fact that he was constantly in severe financial straits, he refused to accept any recompense for this work, preferring to regard it as a patriotic service. And it was, indeed, a patriotic service of no small magnitude. By birth and temperament he was singularly fitted for the task, and this fitness is proved by the unique extent to which his productions were accepted by his countrymen, and have passed into the life and feeling of his race.

1771 - 1779

Song—Handsome Nell^1

Tune—“I am a man unmarried.”

Once I lov’d a bonie lass, Ay, and I love her still; And whilst that virtue warms my breast, I’ll love my handsome Nell.

As bonie lasses I hae seen, And mony full as braw; But, for a modest gracefu’ mein, The like I never saw.

A bonie lass, I will confess, Is pleasant to the e’e; But, without some better qualities, She’s no a lass for me.

But Nelly’s looks are blythe and sweet, And what is best of a’, Her reputation is complete, And fair without a flaw.

She dresses aye sae clean and neat, Both decent and genteel; And then there’s something in her gait Gars ony dress look weel.

A gaudy dress and gentle air May slightly touch the heart; But it’s innocence and modesty That polishes the dart.