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diff --git a/40639-0.txt b/40639-0.txt new file mode 100644 index 0000000..d04e6d9 --- /dev/null +++ b/40639-0.txt @@ -0,0 +1,8608 @@ +*** START OF THE PROJECT GUTENBERG EBOOK 40639 *** + +[Illustration: ALLAN RAMSAY.] + + + + THE + + GENTLE SHEPHERD. + + A Pastoral Comedy. + + BY + + ALLAN RAMSAY. + + WITH A LIFE OF THE AUTHOR, + + _AND THE OPINIONS OF VARIOUS EMINENT MEN ON THE WORK_. + + TO WHICH IS ADDED, + + A GREATLY IMPROVED GLOSSARY, + + AND A CATALOGUE OF THE SCOTTISH POETS. + + "_Away sic fears! Gae spread my fame, + And fix me an immortal name; + Ages to come shall thee revive, + And gar thee with new honours live; + The future critics, I foresee, + Shall have their notes on notes on thee; + The wits unborn shall beauties find, + That never entered in my mind._" + + ALLAN RAMSAY TO HIS BOOK. + + "The Gentle Shepherd has exhibited rusticity without vulgarity, + and elegant sentiment without affectation. Like the heroes of + Homer, the characters of this piece can engage in the humblest + occupation without degradation. Its verses have passed into + proverbs, and it continues to be the delight and solace of the + peasantry whom it describes." + + W. ROSCOE. + + [Illustration] + + NEW YORK: WILLIAM GOWANS. + + 1852. + + + Entered, according to Act of Congress, in the year 1852, + BY WILLIAM GOWANS, + In the Clerk's Office of the District Court of the United States + for the Southern District of New York. + + + + +CONTENTS. + + + PAGE + PREFACE, v + LIFE OF ALLAN RAMSAY, BY WILLIAM TENNANT, xi + Remarks on the Writings of Ramsay, by Wm. Tennant, xxv + ESSAY ON RAMSAY'S GENTLE SHEPHERD, BY LORD WOODHOUSELEE, xxxi + OPINIONS AND REMARKS ON THE GENTLE SHEPHERD, BY + VARIOUS AUTHORS, lxi + John Aikin, LL. D., ib. + James Beattie, LL. D., ib. + William Tytler, lxii + Hugh Blair, D. D., lxiii + John Pinkerton, lxiv + Joseph Ritson, lxvi + William Roscoe, lxvi + Thomas Campbell, lxvii + Leigh Hunt, lxviii + Anecdote of Lady Strange, lxxiii + List of Allan Ramsay's Works, lxxiv + Dedication to the Countess of Eglintoun, by Ramsay, i + Dedication to the Countess of Eglintoun, by Wm. Hamilton, of + Bangour, iv + Epistle to Josiah Burchett, ix + THE GENTLE SHEPHERD, 1 + Notes, 89 + Glossary, 95 + + + + +PREFACE. + + +The Publisher being desirous to present the American public with a +correct edition of the "GENTLE SHEPHERD," considerable pains have been +taken to ascertain the best or standard text. Fortunately, there were, +within reach, several of the best editions, as well as others of +inferior character. A careful examination of these satisfied us, that, +the subscription edition in quarto, printed for the Author by Thomas +Ruddiman, in 1728, has higher claims to be considered the standard +one, than any other within our knowledge. + +For this conclusion, perhaps it might be a sufficient reason to state, +that, it was so considered by Andrew Foulis, of Glasgow, who reprinted +it in David Allan's celebrated quarto of 1788, undoubtedly the most +sumptuous edition of the "GENTLE SHEPHERD" ever published.[1] From the +well-known intelligence and proverbial accuracy of the Foulis', and +from the fact that the same house reprinted the 10th edition of the +Pastoral in 1750, (about eight years before the Author's death,) there +can be very little doubt that Andrew Foulis possessed both the means +and the inclination to ascertain which was the genuine text, and did +so accordingly. But, besides this, the publishers of the octavo of +1798, who seem to have taken unusual pains to give a correct text, +have adopted the same edition as the standard, and have given a +reprint, still more literal than that of Foulis. Moreover, the same +text has been selected for the very elaborate edition of 1808, in two +volumes, royal octavo; as well as for the royal quarto, printed by +Ballantyne in the same year. It is true the orthography of both these +editions of 1808 is altered; that of the octavo being considerably +Anglicised; while that of the quarto is changed throughout to the mode +of spelling adopted by Burns. The verbal changes, however, are very +few. + +[Footnote 1: The poet Burns writes of it thus:--"I once, and but once, +got a glance of that noble edition of the noblest pastoral in the +world; and dear as it was, I mean dear as to my pocket, I would have +bought it; but I was told that it was printed and engraved for +subscribers only." + + [Burns to Mr. Cunningham, 3d March, 1793.] + +The text of the editions of 1761, 1800, and 1850, differs, in several +places, from that of the editions before-mentioned. A list of the +principal variations, with some further remarks, will be found in the +Notes to the present edition. We have searched diligently for an +explanation of the origin of these variations, but without success. +They may belong either to the first edition, or, to some one +subsequent to 1728. But, be this as it may, we cannot look upon them +as improvements. + +Neither have we been able to see any warrant for changes in +orthography, such as those we have alluded to: we have rather supposed +that readers generally, and especially the admirers of Ramsay, would +prefer to see his best poem in precisely the same dress in which he +ushered it into the world when his poetical powers were in their +prime. + +In accordance with these views, we have adopted, as the standard text, +the quarto of 1728; of which the present edition is nearly a literal +reprint. Some obvious typographical errors we have corrected, and a +very few changes in orthography have been made; all of which, with one +exception, are authorized by the editions of 1788 and 1798. Some what +greater liberties have been taken with the punctuation, but in this +also, we have been guided by the same editions, with the aid of the +octavo of 1808. + +Of the "SONGS," the 9th, 11th, and 21st, with the verse at page 57, +are the only ones that appear in the quarto of 1728, or in the +preceding editions: the remaining eighteen were added, probably, in +1729. In Foulis' edition of 1788, these additional songs are excluded +from the body of the poem; but are given, with the music, at the end. +Every other edition, that we have seen, contains the whole twenty-one +songs inserted in their proper places, as in the present edition. +Another song (of which the last verse occurs at page 57) was added +subsequently, probably after 1750, for it is not to be found among the +other songs belonging to the "GENTLE SHEPHERD," published in that year +in the "Tea-table Miscellany."[2] It occurs in the edition of 1761, +but it is not in those of 1788 and 1798. We have given it complete in +the Notes at page 90. In a foot-note to the "Life" at page xviii, will +be found a statement, explanatory of the causes why these additional +songs were inserted. We quite agree with the writer of that Note, that +they mar the beauty of the poem; and, in this edition, we would have +preferred to follow the example of David Allan and Foulis in that of +1788; but, it being the opinion of the Publisher, that the Pastoral, +in such a form, would be generally considered incomplete, they have +been inserted in the usual manner. + +[Footnote 2: We have before us two editions of the "Tea-table +Miscellany;" one in 3 parts or volumes, 9th edition, London, 1733; the +other in 4 volumes, 11th edition, London, 1750. Near the end of the +second volume this notice occurs in both editions:-- + +"The following SONGS to be sung in their proper Places on the acting +of the _Gentle Shepherd_, at each the page marked where they come in." + +Then follow the first twenty songs; (Song XXI., which concludes the +Pastoral, not being noticed;) at the head of each it is stated by whom +sung, and the page where it "comes in" is given. It would seem, +therefore, that the songs were mainly intended for "_the acting_;" and +that many copies of the Pastoral were extant without the songs, to the +pages of which these references in the "Miscellany" thus formed an +index or guide.] + +For these eighteen extra songs we have not had what we can consider a +standard text: they have been printed from the edition of 1798, +collated with those of 1788 and 1808. We also compared them with those +in the "Tea-table Miscellany" of 1733, the oldest copy in our +possession, and found no difference of any consequence. + +The GLOSSARIES heretofore appended to the "GENTLE SHEPHERD" have been, +usually, reprints of that given by Ramsay in the quarto of 1728, which +was prepared for his Poems, complete: that in the edition of 1800 +being considerably enlarged. In the present edition the Glossary has +been restricted chiefly to those words and phrases which occur in the +Pastoral; of which, upwards of a hundred and fifty have been omitted +in every former edition that we have seen: those are now added, with +explanations. The rest of the Glossary has been carefully examined, +and some corrections made. + +In the "LIFE of Ramsay, by Tennant," we have made one or two +corrections; and some additions, derived from various sources, have +been inserted. These are distinguished by being enclosed in brackets. + +The elaborate ESSAY by Lord Woodhouselee "on the Genius and Writings +of Allan Ramsay," so far as it refers to the "GENTLE SHEPHERD," we +have given complete, excepting a few quotations in Italian. To this +have been added, opinions and criticisms on the Pastoral, by various +celebrated authors. These are not entirely confined to expressions of +approbation; that of Pinkerton being quite the reverse, although, as +we think, singularly unjust. + +The PORTRAIT prefixed to this edition is a careful and accurate copy +of the print given by Cadell and Davies, in their edition of 1800; +respecting which they make the following statement:--"there is +prefixed a portrait of the author, which has been finely engraved by +Mr. Ryder, from a drawing which was made by Allan Ramsay, the poet's +son; the original of which is now in the possession of A. F. Tytler, +Esq., of Edinburgh." + +In order that we may not be charged with negligence, we subjoin a list +of all the editions of the "GENTLE SHEPHERD" to which we have had +access during the preparation of the present edition; with a few +slight remarks as to the character of these editions. + + POEMS:--"Printed for the Author at the Mercury, opposite, to + Niddry's Wynd;" 1 vol. small 8vo. Edinburgh, 1720-1. + + This is, perhaps, the first collected edition. It contains exactly + the same poems (though differently arranged) and glossary, as + the subscription 4to. of 1721. It has the _first_ scene of the + Pastoral, and the 11th Song. + + POEMS:--"Printed by Mr. Thomas Ruddiman, for the Author." 2 vols. + 4to. Edinburgh, 1721-28. + + This is the subscription and, probably, the "_best edition_." The + 1st volume has the _first_ scene of the Pastoral, and the 11th + Song: the 2d volume has the Pastoral complete. + + *POEMS:--Millar, Rivington, and others; 2 vols. 12mo. London, 1761. + + A neat edition, containing exactly the same poems as that of + 1721-28. + + *POEMS:--Phorson; cheap edition; 2 vols. 12mo. Berwick, 1793. + + *POEMS:--Cadell and Davies; 2 vols. 8vo. London, 1800. + + This edition is well printed, on good paper: it is commonly called + the "best edition;" but, so far as the "Gentle Shepherd" is + concerned, it is not so. + + POEMS AND PROVERBS:--Oliver and Co.; 3 vols. 18mo. Edinburgh, no + date. + + Neat edition, with plates, and music to the Songs in the "Gentle + Shepherd." + + POEMS AND PROVERBS:--Chapman; 2 vols. 8vo. Philadelphia, 1813. + + POEMS:--Fairbairn and Anderson; 1 vol. 24mo. Edinburgh, 1819. + + Neat but abridged edition; with Life of Ramsay by Wm. Tennant, + author of "Anster fair." + + *POEMS:--Fullarton and Co.; 3 vols. 12mo. London, 1850. + + A very neat edition; a reprint of that of 1800, with additions; + appendix, &c. + + GENTLE SHEPHERD:--Printed by A. Foulis; 4to. Glasgow, 1788. + + An elegant and correct edition, with David Allan's plates, and the + songs set to music. + + GENTLE SHEPHERD:--Geo. Reid and Co.; 8vo. Edinburgh, 1798. + + A very accurate edition, with 5 plates. + + GENTLE SHEPHERD:--A. Constable and Co., and others: printed by + Abernethy and Walker; 2 vols. roy. 8vo. Edinburgh, 1808. + + One of the best editions, with many plates and an elaborate + dissertation on the scenery, &c. Understood to have been edited + by Robert Brown, Esq., advocate. + + GENTLE SHEPHERD:--Watt and Baillie, Leith: Printed by Jas. + Ballantyne and Co.; Edinburgh. roy. 4to. 1808. + + A good edition, (with copies of David Allan's plates,) but the + orthography much changed. + + GENTLE SHEPHERD:--Griffin and Co.; 32mo. Glasgow, 1828. + +In all the above editions, with the exception of those of 1788 and +1798, the orthography of the "GENTLE SHEPHERD" is more or less changed +from that of the original quarto of 1728. + +The editions marked thus (*) follow a different text of the "GENTLE +SHEPHERD" from that of the present edition. See the Notes. + + + + +THE LIFE + +OF + +ALLAN RAMSAY. + +_Born 1686.--Died 1758._ + + +Allan Ramsay, the restorer of Scottish Poetry, was born on the 15th +day of October, 1686, at Leadhills, in the parish of Crawfordmoor, in +Lanarkshire. His father, John Ramsay, superintended Lord Hopetoun's +lead mines at that place; and his grandfather, Robert Ramsay, a writer +or attorney in Edinburgh, had possessed the same appointment: his +great-grandfather, Captain John Ramsay, was the son of Ramsay of +Cockpen in Mid-Lothian, who was brother of Ramsay of Dalhousie. His +mother, Alice Bower, was daughter of Allan Bower, a gentleman of +Derbyshire, whom Lord Hopetoun had brought to Scotland to instruct and +superintend his miners. His grandmother, Janet Douglas, was daughter +of Douglas of Muthil. In his lineage, therefore, our Poet had +something to boast of, and, though _born to nae lairdship_, he fails +not to congratulate himself on being sprung from the loins of a +Douglas. He did not long enjoy the blessing of paternal care and +instruction; for, shortly after his birth, his father died, leaving +the widow and family in a condition rather destitute. His mother soon +after married a Mr. Crichton, a petty landholder of the same county, +by whom she had several children. Under these unfortunate +circumstances, young Allan entered upon the career of life; and, for +fourteen years he remained in the house of his stepfather, with no +other education than was supplied by the school of the parish. Here, +surrounded by wild and mountainous scenery, and amid an artless and +secluded people, whose manners and language were of patriarchal +simplicity, his childhood received those pastoral and Arcadian +impressions, which were too lively to be effaced by future habits, +however uncongenial, and of which he in his manhood, amid all the +artificial life of the city, made so lively and fascinating a +transcription. + +Of his progress and attainments at school, we have no record. It does +not appear that he read much poetry prior to his twentieth year; and +his emulation, and _ambitious thoughts_, of which he says _he had +some_, seem to have slumbered in inactivity, till they were awakened +to unceasing exercise by the society and the excitements of Edinburgh. + +To Edinburgh he was sent in his fifteenth year, when the felicity of +his boyhood had been broken by the death of his mother. We have the +assurance of undoubted testimony, that at that early age, when his +mind was beginning to search about for the choice of a profession, his +wishes were to be a painter; a circumstance too little known, and too +little noticed by his biographers, but strongly indicative, in our +opinion, of the aspirations of his youthful disposition. While yet in +the country, he had been in the practice of amusing himself with +copying such prints as he found in the books of his mother's house. +This early predilection for an art kindred to that wherein he +afterwards excelled, very likely followed bins through life, and led +him to devote his son to that favourite study, from which he himself +was so harshly precluded. For his stepfather, little consulting the +inclination of young Allan, and wishing as soon as possible, and at +any rate, to disencumber himself of the charge of his support, bound +this nursling of the Muses apprentice to a wig-maker. Lowly as this +profession is, it has been vindicated by one of Ramsay's biographers +into comparative dignity, by separating it from the kindred business +of barber, with which it is vulgarly, and too frequently confounded. +Ramsay was never, it seems, a barber; his enemies never blotted him +with that ignominy; his calling of "scull-thacker," as he himself +ludicrously terms it, was too dignified to be let down into an +equality with the men of the razor. + +Thus from the beginning his business was with _the heads of men_. We +know not on what authority it is asserted by some of his biographers, +that he abandoned this profession on finishing his apprenticeship: he +is called wig-maker in the parish record down to the year 1716; and we +suspect he continued so till the year 1718, or 1719, for in one of +Hamilton's letters to him, dated 24th of July, 1719, mention is made +of his "new profession." + +He was in 1712 induced, as one of his biographers observes, _by the +example of other citizens_, to enter into the state of marriage. His +wife's name was Christian Ross, daughter of a writer in Edinburgh, who +brought him, year after year, a numerous family of three sons and five +daughters. Of this family, Allan, the eldest, and the only son who +survived him, inherited the genius of his father, and, having received +a liberal education, became afterwards conspicuous as a scholar, and a +painter.[3] + +[Footnote 3: Allan Ramsay the painter studied his art both at London +and Rome. He was the projector and founder of the Select Society of +Edinburgh in 1754. In 1767 he was appointed portrait painter to his +Majesty. On his return from Italy he died at Dover, on the 10th of +August, 1784, leaving a fortune of £40,000. He was twice married, +first to Miss Bayne, daughter of Professor Bayne of Edinburgh, and +sister of the late gallant Capt. Bayne of the Navy. She brought him +one daughter, who died young. His second wife was the eldest daughter +of Sir Alexander Lindsay of Evelich, Baronet, by Emilia, daughter of +the Viscount of Stormont, and niece to the great Earl of Mansfield; +she was also the sister of the late Sir David and Sir John Lindsay. +She died in 1782, and left by Allan Ramsay two daughters and a son. +One of his daughters was married to the late General Sir Archibald +Campbell, K. B. of Inverneil in Argyleshire, and the other to Colonel +Malcolm. His son, John Ramsay, has attained the rank of +Lieutenant-General in the army. + +Of our Poet's daughters only two survived him; Christian, who died +about the year 1800, and Janet, who died in New-street, Canongate, +Edinburgh, on the 14th of January, 1804.] + +About the year 1711 or 1712 our Poet seems first to have ventured into +the regions of rhyme. The clubs and societies of Edinburgh had +provoked in him this new passion, and his earliest effort, so far as +is known, is an Address, supplicatory of admission, "To the most happy +members of the Easy Club," a production bearing every mark of +unskilfulness and juvenility. Of this club he was afterwards appointed +poet-laureate, in which capacity he was wont to recite to that jolly +fraternity his successive productions, for their criticisms and their +applause. + +Many of these poems were published in a detached form at a penny +a-piece, and his name became by this means celebrated in the city. +About the year 1716, and ere he relinquished his avocation of +wig-maker, he published an edition of the excellent old poem of +"Christ's Kirk on the Green," with a second canto by himself. Having +thus associated himself in the walks of humour with the King of +Scotland, he was induced, by the approbation which he gained, and the +rapid sale of the book, to "keep a little more company with these +comical characters," and to complete the story, by adding afterwards a +third canto. This attempt was crowned with all the success he +anticipated, and numerous editions of the work afforded him +satisfactory proof, that, in the public opinion, he had not unworthily +put himself into partnership with the royal humourist.[4] + +[Footnote 4: A passage in one of those modern cantos of Ramsay's, +describing a husband fascinated homewards from a scene of drunkenness +by the gentle persuasions of his wife, has been tastefully selected by +Wilkie, and been made the subject of his admirable pencil. + +Hogarth dedicated to Ramsay, in 1726, his twelve plates of Hudibras.] + +Elevated by the distinction his productions had now procured him, and +losing at last all liking to a business which was at utter variance +with his ambition and darling amusements; he commenced bookseller, +most probably in the year 1718, when he was in the thirty-second year +of his age. This was a trade at once more congenial to his habits, and +more likely to be lucrative, on account of his being already +recommended by his authorship to the buyers of books. His first shop +as a bookseller was in the High-street opposite to Niddry's-wynd, with +the figure of Mercury for his sign. From this shop proceeded, in 1721, +a collection of his various poems in one quarto volume, published by +subscription, which contained every eminent name in Scotland. It was +thus advertised in the Edinburgh Evening Courant: "The poems of Allan +Ramsay, in a large quarto volume, fairly printed, with notes, and a +complete glossary (as promised to the subscribers), being now +finished; all who have generously contributed to carrying on of the +design, may call for their copies as soon as they please, from the +author, at the Mercury, opposite to Niddry's-wynd, Edinburgh." + +From the sale of this volume he realized 400 guineas, which was in +those days a very considerable profit on a book of Scottish poetry. In +1722 he gave to the world his Fables and Tales; in the same year his +tale of The Three Bonnets; and in 1724 his poem on Health. In January, +1724, he published the first volume of the Tea-table Miscellany, being +a collection of Scottish and English songs; this volume was speedily +followed by a second; [in 1727] by a third; [and some years afterwards +by a fourth; all] under the same title. Hamilton of Bangour, and +Mallet, assisted him by their lyrical contributions. Encouraged by the +popularity of these books, he published, in October, 1724, the +Evergreen, "a collection of Scots poems written by the ingenious +before 1600." For the duties of an editor of such a work, it is +generally agreed that Ramsay was not well fitted. For, neither had he +a complete knowledge of the ancient Scottish language, nor was his +literary conscience sufficiently tender and scrupulous to that +fidelity, which is required by the office of editor. He abridged, he +varied, modernized, and superadded. In that collection first appeared +under a feigned signature his Vision, a poem, full of genius, and +rich with Jacobitism, but disguising the author and his principles +under the thin concealment of antique orthography. + +At length appeared in 1725 his master-work, the Gentle Shepherd, of +which two scenes had been previously printed, [the first] in 1721, +under the title of Patie and Roger, and [the second] in 1723, under +that of Jenny and Meggy. [In the quarto of 1721, there is likewise to +be found (Sang XI.) the dialogue song between Patie and Peggy, +afterwards introduced into the second act.] The reputation he had +obtained by these detached scenes, and the admonitions of his friends, +who perceived how easily and how happily they could be connected, +induced him to re-model and embody them into a regular pastoral drama. +Its success corresponded to his own hopes, and to his friends' +anticipations. [In the following letter, (published for the first time +by R. Chambers in his Scottish Biographical Dictionary, 1835,) it will +be seen that he was engaged on this task in spring, 1724. + + + ALLAN RAMSAY to WILLIAM RAMSAY, of TEMPLEHALL, Esq. + + "Edinburgh, _April_ 8th, 1724. + + "Sir,--These come to bear you my very heartyest and grateful + wishes. May you long enjoy your Marlefield, see many a returning + spring pregnant with new beautys; may everything that's excellent + in its kind continue to fill your extended soul with pleasure. + Rejoyce in the beneficence of heaven, and let all about ye + rejoyce--whilst we, alake, the laborious insects of a smoaky city, + hurry about from place to place in one eternal maze of fatiguing + cares, to secure this day our daylie bread--and something till't. + For me, I have almost forgot how springs gush from the earth. + Once, I had a notion how fragrant the fields were after a soft + shower; and often, time out of mind! the glowing blushes of the + morning have fired my breast with raptures. Then it was that the + mixture of rural music echo'd agreeable from the surrounding + hills, and all nature appear'd in gayety. + + "However, what is wanting to me of rural sweets I endeavour to + make up by being continually at the acting of some new farce, for + I'm grown, I know not how, so very wise, or at least think so + (which is much about one), that the mob of mankind afford me a + continual diversion; and this place, tho' little, is crowded with + merry-andrews, fools, and fops, of all sizes, [who] intermix'd + with a few that can think, compose the comical medley of actors. + + "Receive a sang made on the marriage of my young chief.--I am, + this vacation, going through with a Dramatick Pastoral, which I + design to carry the length of five acts, in verse a' the gate, and + if I succeed according to my plan, I hope to tope[5] with the + authors of Pastor Fido and Aminta. + +[Footnote 5: Cope.] + + "God take care of you and yours, is the constant prayer of, sir, + your faithful humble servant, + + "ALLAN RAMSAY."] + +A second edition followed next year, and numerous impressions spread +his fame, not only through Scotland, but through the united kingdom, +and the colonies. His name became known, principally through this +drama, to the wits of England, and Pope took delight in reading his +pastoral, the obscurer phraseology of which was interpreted to him by +Gay, who, during his residence in Scotland, had been careful to +instruct himself in its dialect, that he might act as interpreter to +the poet of Twickenham. + +In 1726 our Poet, now a thriving bookseller, removed from his original +dwelling at the Mercury opposite Niddry's-wynd, to a shop in the east +end of the Luckenbooths, which was afterwards occupied by the late Mr. +Creech, (whose Fugitive Pieces are well known), and, after his death, +by his successor Mr. Fairbairn. With his shop he changed his sign, and +leaving Mercury, under the protection of whose witty godship he had so +flourished, he set up the friendly heads of Ben Jonson and Drummond of +Hawthornden. Here he sold books, and established a circulating +library, the first institution of that kind, not only in Scotland, but +we believe in Great Britain.[6] The situation being near the Cross, +and commanding a full view of the High-street, his shop became the +resort of all the wits of the city; and here Gay, who is described by +Mr. Tytler, as "a little pleasant-looking man, with a tyewig," used +to look out upon the population of Edinburgh, while Ramsay pointed out +to him the principal characters as they passed. Of this house no +vestiges now remain, for as the beauty and magnificence of the +High-street had been long disfigured by the cumbrous and gloomy +buildings called the Luckenbooths, they were, a few years ago, +completely removed, and the street cleared of that misplaced mass of +deformity. + +[Footnote 6: To this library Mr. Sibbald succeeded, who greatly +augmented it. It is now (1819) in possession of Mr. Mackay, +High-street.] + +In 1728 he printed in quarto a second volume, containing, [his +portrait by Smibert, and,] with other poems, a Masque on the Marriage +of the Duke of Hamilton, one of his most ingenious productions; [also +the Gentle Shepherd, complete.[7]] Of this quarto an octavo edition +followed next year; and so extended was now the circle of his +reputation, and so universal the demand for his poems, that the London +booksellers published an edition of his Works in 1731, and two years +after an edition also appeared at Dublin. His collection of thirty +Fables appeared in 1730, when he was in his 45th year, after which +period the public received nothing from his pen. "I e'en gave o'er in +good time," he says, in his letter to Smibert, "ere the coolness of +fancy attending advanced years made me risk the reputation I had +acquired." + +[Footnote 7: ["Soon after the first edition, in octavo, of this +pastoral was published, and about the time of the publication of his +second volume in quarto, the 'Beggar's Opera' made its appearance, +with such success that it soon produced a great number of other pieces +upon the same musical plan. Amongst the rest, Ramsay, who had always +been a great admirer of Gay, especially for his ballads, was so far +carried away by the current as to print a new edition of his pastoral, +interspersed with songs adapted to the common Scotch tunes, He did not +reflect at the time that the 'Beggar's Opera' was only meant as a +piece of ironical satire; whereas his 'Gentle Shepherd' was a simple +imitation of nature, and neither a mimickry nor mockery of any other +performance. He was soon, however, sensible of his error, and would +have been glad to have retracted those songs; but it was too late; the +public was already in possession of them, and as the number of singers +is always greater than that of sound critics, the many editions since +printed of that pastoral have been almost uniformly in this vitiated +taste. He comforted himself, however, with the thought that the +contagion had not infected his second volume in quarto, where the +'Gentle Shepherd' is still to be found in its original purity." + + (General Biographical Dictionary, Vol. XXVI.)] + +[The following letter was first published in the Scots Magazine, +August, 1784: we give it verbatim et literatim. + + ALLAN RAMSAY To MR. JOHN SMIBERT,[8] in BOSTON, NEW ENGLAND. + + "Edinburgh, _May_ 10, 1736. + + "My dear old friend, your health and happiness are ever ane + addition to my satisfaction. God make your life ever easy and + pleasant--half a century of years have now row'd o'er my pow; yes, + row'd o'er my pow, that begins now to be lyart; yet, thanks to my + Author, I eat, drink, and sleep as sound as I did twenty years + syne; yes, I laugh heartily too, and find as many subjects to + employ that faculty upon as ever: fools, fops, and knaves, grow as + rank as formerly; yet here and there are to be found good and + worthy men, who are an honour to human life. We have small hopes + of seeing you again in our old world; then let us be virtuous, and + hope to meet in heaven.--My good auld wife is still my bedfellow: + my son, Allan, has been pursuing your science since he was a dozen + years auld--was with Mr. Hyssing, at London, for some time, about + two years ago; has been since at home, painting here like a + Raphael--sets out for the seat of the Beast, beyond the Alps, + within a month hence--to be away about two years.--I'm sweer[9] to + part with him, but canna stem the current which flows from the + advice of his patrons and his own inclinations.--I have three + daughters, one of seventeen, one of sixteen, one of twelve years + old, and no waly-dragle[10] among them, all fine girls. These six + or seven years past, I have not wrote a line of poetry; I e'en + gave o'er in good time, before the coolness of fancy that attends + advanced years should make me risk the reputation I had acquired. + +[Footnote 8: [John Smibert, who drew his first breath in the +Grass-Market of Edinburgh, was the son of a dyer, and bred a coach +painter: but travelling into Italy for instruction, he painted +portraits, on his return, at London, till he was induced, by the +fascination of Bishop Berkeley, to emigrate with him to Bermuda, and +thence to New England. Smibert was born in 1684 and died at Boston, in +1751. + +(Life of Ramsay by George Chalmers, in Works, Edition of 1800.)]] + +[Footnote 9: Unwilling.] + +[Footnote 10: A feeble ill-grown person.] + + + "Frae twenty-five to five-and-forty, + My Muse was nowther sweer[11] nor dorty; + My Pegasus wad break his tether, + E'en at the shakking[12] of a feather, + And through ideas scour like drift, + Streaking[13] his wings up to the lift: + Then, then my saul was in a low, + That gart my numbers safely row; + But eild and judgment 'gin to say, + Let be your sangs, and learn to pray. + +[Footnote 11: Unwilling.] + +[Footnote 12: Shaking.] + +[Footnote 13: Stretching.] + + "I am, sir, your friend and servant, + + "ALLAN RAMSAY."] + + +He now therefore intermeddled no longer with the anxieties of +authorship, but sat down in the easy chair of his celebrity to enjoy +his laurels and his profits. After a lapse of six years of silence, +and of happiness, his ardour for dramatic exhibitions involved him in +some circumstances of perplexity, attended, it is believed, with +pecuniary loss. As Edinburgh possessed as yet no fixed place for the +exhibition of the drama, he endeavoured to supply that deficiency to +the citizens, by building, at his own expense a theatre in +Carrubber's-close. Shortly after, the Act for licensing the stage was +passed, which at once blasted all his hopes of pleasure and advantage; +for, the Magistrates availing themselves of the power entrusted to +them by the Act, shewed no indulgence to the author of the Gentle +Shepherd, but, in the true spirit of that puritanism which reckons as +ungodly all jollity of heart, and relaxation of countenance, they shut +up his theatre, leaving the citizens without exhilaration, and our +poet without redress. This was not all; he was assailed with the +satirical mockery of his laughter-hating enemies, who turned against +him his own weapons of poetical raillery. Pamphlets appeared, +entitled, "The flight of religious piety from Scotland, upon the +account of Ramsay's lewd books, and the hell-bred playhouse comedians, +who debauch all the faculties of the soul of our rising +generation;"--"A looking-glass for Allan Ramsay;"--"The dying words of +Allan Ramsay." These maligners, in the bitterness of their +sanctimonious resentments, reproached him with "having acquired +wealth,"--with "possessing a fine house,"--with "having raised his kin +to high degree;" all which vilifications must have carried along with +them some secret and sweet consolations into the bosom of our bard. +Amid the perplexities caused by the suppression of his theatre, he +applied by a poetical petition to his friend the Honourable Duncan +Forbes, then Lord President of the Court of Session, in order that he +might obtain some compensation for his expenses; but with what success +is not recorded by any of his biographers. + +His theatrical adventure being thus unexpectedly crushed, he devoted +himself to the duties of his shop, and the education of his children. +He sent in 1736 his son Allan to Rome, there to study that art by +which he rose to such eminence. In the year 1743 he lost his wife, who +was buried on the 28th of March in the cemetery of the Greyfriars. He +built, probably about this time, a whimsical house of an octagon form, +on the north side of the Castle-hill, where his residence is still +known by the name of Ramsay-Garden. [The site of this house was +selected with the taste of a poet and the judgment of a painter. It +commanded a reach of scenery probably not surpassed in Europe, +extending from the mouth of the Forth on the east to the Grampians on +the west, and stretching far across the green hills of Fife to the +north; embracing in the including space every variety of beauty, of +elegance, and of grandeur.[14]] This house he deemed a paragon of +architectural invention. He showed it with exultation to the late Lord +Elibank, telling his Lordship at the same time, that the wags of the +town likened it to a "goose-pye:" "Indeed, Allan," replied his +Lordship, "now that I see you in it, I think it is well named." + +[Footnote 14: Chambers' Scottish Biographical Dictionary.] + +Having for several years before his death retired from business, he +gave himself up in this fantastical dwelling to the varied amusements +of reading, conversation, and the cultivation of his garden. Being now +"loose frae care and strife," he enjoyed, in the calmness and +happiness of a philosophical old age, all the fruits of his many and +well rewarded labours. A considerable part of every summer was spent +in the country with his friends, of whom he had many, distinguished +both for talents and rank. The chief of these were, Sir Alexander Dick +of Prestonfield, and Sir John Clerk of Pennycuik, one of the Barons of +Exchequer, a gentleman who united taste to scholarship, and had +patronized and befriended Ramsay from the beginning. This amiable +gentleman died in 1756, a loss which must have been severely felt by +our Poet, and which he himself did not long survive. He had been +afflicted for some time with a scorbutic complaint in his gums, which +after depriving him of his teeth, and consuming part of the jaw-bone, +at last put an end to his sufferings and his existence on the 7th of +January, 1758, in the 72d year of his age. He was interred in the +cemetery of Greyfriars' church on the 9th of that month, and in the +record of mortality he is simply called, "Allan Ramsay, Poet, who died +of old age." + +Of his person, Ramsay has given us a minute and pleasant description. +He was about five feet four inches high, + + "A blackavic'd[15] snod[16] dapper fallow, + Nor lean, nor overlaid with tallow." + +[Footnote 15: Of a dark complexion.] + +[Footnote 16: Neat.] + +He is described by those who knew him towards the latter part of his +life, as a squat man, with a belly rather portly, and a countenance +full of smiles and good humour. He wore a round goodly wig rather +short. His disposition may be easily collected from his writings. He +possessed that happy Horatian temperament of mind, that forbids, for +its own ease, all entrance to the painful and irascible passions. He +was a man rather of pleasantry and laughter, than of resentment and +moody malignancy. His enemies, of whom he had some, he did not deem +so important as on their account to ruffle his peace of mind, by +indulging any reciprocal hostility, by which they would have been +flattered. He was kind, benevolent, cheerful; possessing, like Burns, +great susceptibility for social joys, but regulating his indulgences +more by prudence, and less impetuous and ungovernable than the +impassioned poet of Ayrshire. By his genius he elevated himself to the +notice of all those of his countrymen who possessed either rank or +talents; but these attentions proceeded spontaneously from their +admiration of his talents, and were not courted by any servilities or +unworthy adulations. Never drawn from business by the seductions of +the bowl, or the invitations of the great, he consulted his own +respect, and the comfort of his family, by attending to the duties of +his shop, which so faithfully and liberally rewarded him. His vanity +(that constitutional failing of all bards) is apparent in many of his +writings, but it is seasoned with playfulness and good humour. He +considered, indeed, that "pride in poets is nae sin," and on one +occasion jocularly challenges superiority in the temple of Fame, even +to Peter the Great of Russia, by saying, "But haud, proud Czar, I +wadna niffer[17] fame."--He is called by Mr. William Tytler, who +enjoyed his familiarity, "an honest man, and of great pleasantry." + +[Footnote 17: Exchange.] + +Of learning he had but little, yet he understood Horace faintly in the +original; a congenial author, with whom he seems to have been much +delighted, and in the perusal of whose writings he was assisted by +Ruddiman. He read French, but knew nothing of Greek. He did not, +however, like Burns, make an appearance of vilifying that learning of +which he was so small a partaker; he bewailed his "own little +knowledge of it;" and, like the Ayrshire bard, he was sufficiently +ostentatious and pedantic in the display of what little he possessed. + +He composed his verses with little effort or labour; his poetry seems +to have evaporated lightly and airily from the surface of a mind +always jocose and at its ease. And as _it lightly came_, he was wont +to say, _so it lightly went_; for after composition, he dismissed it +from his mind without further care or anxiety. + +In 1759 an elegant obelisk was erected to the memory of Ramsay, by Sir +James Clerk, at his family-seat of Pennycuik, containing the following +inscription: + + Allano Ramsay, Poetae egregio, + Qui Fatis concessit VII. Jan. MDCCLVIII. + Amico paterno et suo, + Monumentum inscribi jussit + D. Jacobus Clerk. + Anno MDCCLIX. + +At Woodhouselee, near the [supposed] scene of the Gentle Shepherd,[18] +a rustic temple was dedicated, by the late learned and accomplished +Lord Woodhouselee, with the Inscription + + ALLANO RAMSAY, et Genio Loci. + +[Footnote 18: "According to Mr. Tytler, this supposition is founded in +error; and the estate of New Hall in the parish of Pennycuik, was to a +certainty the legitimate parent of the pastoral. This fact has been +since farther confirmed, in a dissertation[19] from the elegant pen of +Sir David Rae, Lord Justice-Clerk; a descendant of Sir David Forbes, +proprietor of New Hall, and contemporary of Ramsay. Even without such +respectable evidence, however, we would inevitably be led to the same +conclusion, by the poet's well known acquaintance with the natural +beauties of the landscape at New Hall, where he was a constant and +welcome visitor; and because within the boundaries of that fine +estate, there is actually to be found all the peculiar scenery, so +graphically and beautifully described in the drama." + + (Gentle Shepherd, edition of 1828.)] + +[Footnote 19: Sir John Sinclair's Statistical account of Scotland; +Vol. XVII., appendix.] + + + + +REMARKS ON THE WRITINGS OF ALLAN RAMSAY. + +BY W. TENNANT. + + +Of Ramsay's Poems, the largest, and that on which his fame chiefly +rests, is his _Gentle Shepherd_. Though some of his smaller poems +contain passages of greater smartness, yet its more general interest +as a whole, and the uniformity of talent visible in its scenes, render +it one of the finest specimens of his genius. We have no hesitation in +asserting, that it is one of the best pastoral dramas in the wide +circle of European literature; an excellent production in a department +of writing in which the English language has as yet nothing to boast +of. While other modern tongues have been enriching themselves with +pastoral, the English, copious in all other kinds, continues, in this, +barren and deficient. No English production, therefore, can enter into +competition with the Gentle Shepherd. We must look to the south of +Europe for similar and rival productions, with which it can be +compared. The shepherd plays of Tasso, and Guarini, and Bonarelli, +contain more invention, and splendour, and variety of incident and of +dialogue, than our Scottish drama; but they have also more conceit and +flimsiness of sentiment, more artifice of language, more unnatural and +discordant contrivance of fable. _In its plot_, the Gentle Shepherd is +simple and natural, founded on a story whose circumstances, if they +did not really happen, are at least far within the compass of +verisimilitude. Its development is completed by means interesting but +probable, without the intervention of gods, or satyrs, or oracles, or +such heathenish and preposterous machinery. _The characters_ of the +Gentle Shepherd are all framed by the hand of one evidently well +acquainted with rural life and manners. They are not the puling, +sickly, and unimpressive phantoms that people the bowers of Italian +pastoral; they are lively, stirring creatures, bearing in their +countenances the hardy lineaments of the country, and expressing +themselves with a plainness, and downright sincerity, with which every +mind sympathizes. They are rustics, it is true, but they are polished, +not only by their proximity to the metropolis, but by the influence of +the principal shepherd, who, besides the gentility of blood that +operates in his veins, + + ----also reads and speaks, + With them that kens them, Latin words and Greeks. + +The situations in which the persons are placed are so ingeniously +devised, as to draw forth from their bosoms all those feelings and +passions which accompany the shepherd, life, and which are described +with a happiness and a simplicity, the truer to nature, on account of +its being removed from that over-wrought outrageousness of passion +which we sometimes think is the fault of modern writing. The +tenderness of correspondent affections,--the hesitation and anxiety of +a timid lover,--the mutual bliss on the mutual discovery of long +concealed attachment,--the uneasiness of jealousy, with the humorous +and condign punishment of its evil devices,--the fidelity of the +shepherd notwithstanding his elevation to an unexpected rank,--the +general happiness that crowns, and winds up the whole, are all +impressively and vividly delineated. + +With regard to _its sentiments_, the Gentle Shepherd has nothing to be +ashamed of; though in a very few places coarse, the thoughts are +nowhere impure; they have somewhat of the purity of Gesner, with +rather more vivacity and vigour. There is no affectation; every +character thinks as country people generally do, artlessly, and +according to nature. With regard to _its language_, we know not +whether to say much, or to say little. Much has been already said, to +redeem from the charge of vulgarity a language once courtly and +dignified, but now associated with meanness of thought, and rudeness +of manners. We do not think it necessary, however, to stand up in +defence of a dialect which has, since the days of Ramsay, been +ennobled by the poems of Burns, and is eternized more lately in the +tales of that mighty genius, who sits on the summit of Northern +Literature, and flashes forth from behind his cloud his vivid and his +fiery productions. In the use of this dialect, Ramsay is extremely +fortunate; for Scottish shepherds he could have employed none other; +and he wields his weapon with a dexterity which we do not think has +been since exceeded. Out of his own familiar language, he is indeed +heavy and wearisome; English armour is too cumbrous for him; he cannot +move in it with grace and activity. We find, accordingly, that in his +Gentle Shepherd the most unskilful passages are in English, without +beauty or energy; whereas his Scottish has in it a felicity which has +rendered it popular with all ranks, and caused his verses to pass with +proverbial currency among the peasants of his native country. + +Next in value to his Gentle Shepherd, we think, are his imitations of +Horace. To this good-humoured author Ramsay had, from congeniality of +mind, a strong predilection; and he in some places has fully equalled, +if not surpassed, his prototype in happy hits of expression. Pope +himself is not so fortunate. Take for instance, + + Daring and unco stout he was, + With heart _hool'd in three sloughs_[20] of brass, + Wha ventur'd first on the rough sea, + With _hempen branks_,[21] _and horse of tree_. + +Again, + + Be sure ye dinna quat the grip + O' ilka joy when ye are young, + Before auld age your vitals nip, + And _lay ye twafald o'er a rung_.[22] + +[Footnote 20: Coats.] + +[Footnote 21: A sort of bridle.] + +[Footnote 22: A stout staff.] + +In his _Vision_ there is more grandeur, and a nearer approach to +sublimity than in any other of his poems. He is indeed, here, superior +to himself, and comes nearer to the strength and splendour of Dunbar, +whose antiquated style he copied. The 5th stanza may be a specimen. + + Grit[23] daring dartit frae his ee, + A braid-sword schogled[24]at his thie,[25] + On his left arm a targe; + A shinnand[26] speir filld his richt hand, + Of stalwart[27] mak, in bane and brawnd, + Of just proportions large; + A various rainbow-colourt plaid + Owre[28] his left spawl[29] he threw, + Doun his braid back, frae his quhyte[30] heid, + The silver wymplers[31] grew. + +[Footnote 23: Great.] + +[Footnote 24: Dangled.] + +[Footnote 25: Thigh.] + +[Footnote 26: Shining] + +[Footnote 27: Strong.] + +[Footnote 28: Over.] + +[Footnote 29: Shoulder.] + +[Footnote 30: White.] + +[Footnote 31: Waving locks of hair.] + +His _Tales_ and _Fables_, a species of writing which he himself deemed +as "casten for his share," display great ease and readiness of +versification, with much comic vivacity. The best of these are the +_Twa Cats and the Cheese_; the _Lure_, in which the Falconer's +"foregathering with auld Symmie" is excellently described; and the +_Monk and the Miller's Wife_, for the story of which he is indebted to +Dunbar. As a song writer we are not inclined to give Ramsay a very +high place. His mind had not those deep and energetic workings of +feeling that fitted Burns so admirably for this difficult species of +writing. He is stiff, where passion is required; and is most easy, as +usual, where he is comic. Several of his songs yet retain their +popularity; but even of these none are without some faults. We prefer +the Highland Laddie, Gie me a Lass wi' a Lump o' Land, The Carle he +came o'er the Craft, The Lass of Patie's Mill and Jenny Nettles. + +His _Christ's Kirk_ is no mean effort of his muse; the idea of +continuing King James's production was good, and he has executed it +happily. Ramsay's humour must, however, be acknowledged to be inferior +to the pure, strong, irresistible merriment that shines even through +the dim and nearly obsolete language of his royal master. In the +_Third Canto_, the morning, with its effect on the crapulous +assemblage, is well painted. + + _Now frae east nook o' Fife the dawn + Speel'd[32] westlins up the lift_, + Carles wha heard the cock had crawn + Begoud, &c. + + An' greedy wives, wi' girning thrawn, + Cry'd lasses up to thrift; + Dogs barked, an' the lads frae hand + Bang'd[33] to their breeks,[34] like drift, + Be break o' day + +[Footnote 32: Climbed.] + +[Footnote 33: Started up from bed.] + +[Footnote 34: Breeches.] + +Of a character similar to the first two lines of the above stanza, are +the following other passages of Ramsay's works, which remind us a +little of the Italian poets;-- + + Now Sol wi' his lang whip gae cracks + Upon his nichering coosers'[35] backs, + _To gar them tak th' Olympian brae, + Wi' a cart-lade o' bleezing day_. + +[Footnote 35: Stallions.] + + _Tale of the Three Bonnets._ + + And ere the sun, though he be dry, + Has driven down the westlin sky, + To drink his wamefu' o' the sea. + + _Fables and Tales._ + + Soon as the clear goodman o' day + Does bend his morning draught o' dew. + + _Fables and Tales._ + +To sum up our opinion of Ramsay's merits as a poet--he was fortunate, +and he deserved well, in being the first to redeem the Muse of +Scotland from wasting her strength in a dead language, which, since +the _days_ of Buchanan, had been the freezing vehicle of her +exertions. He re-established the popularity of a dialect, which, since +the removal of the Scottish Court, had received no honour from the pen +of genius, but which, near two hundred years before, had been sublimed +into poetical dignity by Dunbar and the bards of that age. To Ramsay, +and to his treasures of Scottish phraseology, succeeding poets have +been much indebted; he knew the language well, and had imbibed the +facetious and colloquial spirit of its idioms. Ramsay, therefore, when +he employs his beloved dialect, manages it masterly, and, though never +lofty, he is always at his ease: Burns, in his highest flights, soared +out of it. The genius of the first was pleasing, placid, versatile, in +quest rather of knacks, and felicities of expression, than originating +bold and masculine thoughts: The genius of the latter was richer, more +original, more impressive, and formidable, but less equal, and less +careful of the niceties and tricks of phraseology. The tone of +Ramsay's mind was good-humoured composure, and facile pleasantry; of +Burns's, intensity of feeling, tenderness, and daring elevation +approaching to sublimity. Of Burns's superiority no man is doubtful; +but Ramsay's merits will not be forgotten; and the names of _both_ +will be forever cherished by the lovers of Scottish poetry. + + + + +ESSAY + +ON + +RAMSAY'S GENTLE SHEPHERD. + +BY LORD WOODHOUSELEE. + + +As the writings of _Allan Ramsay_ have now stood the test of the +public judgment, during more than seventy years;[36] and, in the +opinion of the best critics, he seems to bid fair to maintain his +station among our poets, it may be no unpleasing, nor uninstructive +employment, to examine the grounds, on which that judgment is founded; +to ascertain the rank, which he holds in the scale of merit; and to +state the reasons, that may be given, for assigning him that +distinguished place among the original poets of his country, to which +I conceive he is entitled. + +[Footnote 36: Written in 1800.] + +The genius of Ramsay was original; and the powers of his untutored +mind were the gift of nature, freely exercising itself within the +sphere of its own observation. Born in a wild country, and accustomed +to the society of its rustic inhabitants, the poet's talents found +their first exercise in observing the varied aspects of the mountains, +rivers, and vallies; and the no less varied, though simple manners, +of the rude people, with whom he conversed. He viewed the former with +the enthusiasm which, in early childhood, is the inseparable attendant +of genius; and on the latter he remarked, with that sagacity of +discriminating observation, which instructed the future moralist, and +gave the original intimations to the contemporary satirist. With this +predisposition of mind, it is natural to imagine, that the education, +which he certainly received, opened to him such sources of instruction +as English literature could furnish; and his kindred talents directed +his reading chiefly to such of the _poets_ as occasion threw in his +way. + +Inheriting that ardour of feeling, which is generally accompanied with +strong sentiments of moral excellence, and keenly awake even to those +slighter deviations from propriety, which constitute the foibles of +human conduct, he learned, as it were from intuition, the glowing +language, which is best fitted for the scourge of vice; as well as the +biting ridicule, which is the most suitable corrective of gross +impropriety, without deviating into personal lampoon. + +A consciousness of his own talents induced _Ramsay_ to aspire beyond +the situation of a mere mechanic; and the early notice, which his +first poetical productions procured him, was a natural motive for the +experiment of a more liberal profession, which connected him easily +with those men of wit, who admired, and patronised him. As a +book-seller, he had access to a more respectable class in society. We +may discern, in the general tenor of his compositions, a respectful +demeanour towards the great, and the rich, which, though it never +descends to adulation or servility, and generally seeks for an apology +in some better endowments than mere birth or fortune, is yet a +sensible mark, that these circumstances had a strong influence on his +mind. + +As he extended the sphere of his acquaintance, we may presume, that +his knowledge of men, and acquaintance with manners, were enlarged; +and, in his latter compositions, we may discern a sufficient +intelligence of those general topics, which engaged the public +attention. The habits of polite life, and the subjects of fashionable +conversation, were become familiar, at this time, to the citizens of +Edinburgh, from the periodical papers of _Addison_ and _Steele_; and +the wits of _Balfour's_ Coffee-house, _Forrester_, _Falconer_, +_Bennet_, _Clerk_, _Hamilton_ of Bangour, _Preston_, and +_Crawford_,[37] were a miniature of the society, which was to be met +with at _Will's_ and _Button's_. + +[Footnote 37: To the last three of these we owe the words of some of +the best of the Scotish songs, which are to be found in the collection +published by Ramsay, called _The Tea-table Miscellany_.] + +The political principles of _Ramsay_ were those of an old Scotsman, +proud of his country, delighted to call to mind its ancient honours, +while it held the rank of a distinct kingdom, and attached to the +succession of its ancient princes. Of similar sentiments, at that +time, were many of the Scotish gentry. The chief friends of the poet +were probably men, whose sentiments on those subjects agreed with his +own; and the Easy Club, of which he was an original member, consisted +of youths who were anti-unionists. Yet, among the patrons of _Ramsay_, +were some men of rank, who were actuated by very different principles, +and whose official situation would have made it improper for them, +openly, to countenance a poet, whose opinions were obnoxious to the +rulers of his country. Of this he was aware; and putting a just value +on the friendship of those distinguished persons, he learnt to be +cautious in the expression of any opinions, which might risk the +forfeiture of their esteem: hence he is known to have suppressed some +of his earlier productions, which had appeared only in manuscript; and +others, which prudence forbad him to publish, were ushered into the +world without his name, and even with false signatures. Among the +former was a poem to the memory of the justly celebrated _Dr. +Pitcairne_, which was printed by the Easy Club, but never published; +and among the latter, is _The Vision_, which he printed in the +_Evergreen_, with the signature of AR. SCOT.[38] + +[Footnote 38: See _Observations on The Vision_, by William Tytler, +Esq., of Woodhouselee, in the first volume of the Transactions of +Scotish Antiquaries; where that poem, and The Eagle and Robin +Redbreast, are proved to be both written by Allan Ramsay.] + +In Ramsay's _Vision_, the author, in order to aid the deception, has +made use of a more antiquated phraseology, than that, which we find in +his other Scotish poems: but, it evidently appears from this attempt, +and from the two cantos, which he added to _King James the First's_ +ludicrous satire of _Christ's Kirk on the Green_, that _Ramsay_ was +not much skilled in the ancient Scotish dialect. Indeed the Glossary, +which he annexed to the two quarto volumes of his poems, wherein are +many erroneous interpretations, is of itself sufficient proof of this +assertion. In compiling the Glossary of his Evergreen, _Lord Hailes_ +has remarked, that he does not seem ever to have consulted the +Glossary to _Douglas's Virgil_; "and yet they who have not consulted +it, cannot acquire a competent knowledge of the ancient Scotish +dialect, unless by infinite and ungrateful labour."[39] A part of this +labour undoubtedly may be ascribed to _Ramsay_, when he selected and +transcribed, from the _Bannatyne manuscript_, those ancient poems, +which chiefly compose the two volumes of his _Evergreen_: and hence, +it is probable, he derived the most of what he knew of the older +dialect of his country. His own stock was nothing else than the oral +language of the farmers of the _Lothians_, and the common talk of the +citizens of Edinburgh, to which his ears were constantly accustomed. A +Scotsman, in the age of Ramsay, generally _wrote_ in English; that is, +he imitated the style of the English writers; but when he _spoke_, he +used the language of his country. The sole peculiarity of the style of +Ramsay is, that he transferred the oral language to his writings. He +could write, as some of his compositions evince, in a style which may +be properly termed English verse; but he wrote with more ease in the +Scotish dialect, and he preferred it, as judging, not unreasonably, +that it conferred a kind of Doric simplicity, which, when he wished to +paint with fidelity the manners of his countrymen, and the +peculiarities of the lower orders, was extremely suitable to such +subjects. + +[Footnote 39: I am convinced, however, from a comparison of many of +Ramsay's interpretations, both in the Glossary to the _Evergreen_, +printed in 1724, and in that, which is subjoined to his _Poems_, with +the interpretations given by Ruddiman in the Glossary to _G. Douglas's +Virgil_, that Ramsay had made frequent use of the latter for the +explanation of the most antiquated words; though he does not seem to +have studied it with that care, which his duty as an editor of ancient +Scotish poetry certainly required. In proof of this, his obligations +to Ruddiman's Glossary, the reader has only to compare, with the +interpretations in that work, the following, given by Ramsay in the +Glossary to his Poems: _Bodin_, _Brankan_, _Camschough_, _Dern_, +_Douks_, _Dynles_, _Elritch_, _Ettle_, _Freck_, _Gousty_, _Moup_, +_Pawky_, _Withershins_; and the following, in the Glossary to the +Evergreen: _Crawdon_, _Galziart_, _Ithandly_, _Ourefret_, _Ruse_, +_Schent_, &c.] + +From these considerations, one cannot but wonder at the observation, +which is sometimes made even by Scotsmen of good taste, that the +language of _The Gentle Shepherd_ disgusts from its vulgarity. It is +true, that in the present day, the Scotish dialect is heard only in +the mouths of the lowest of the populace, in whom it is generally +associated with vulgarity of sentiment; but those critics should +recollect, that it was the language of the Scotish people, which was +to be imitated, and that too of the people upwards of a century ago, +if we carry our mind back to the epoch of the scene. + +If _Ramsay_ had made the shepherds of the Lowlands of Scotland, in the +middle of the seventeenth century, speak correct English, how +preposterous would have been such a composition! But, with perfect +propriety, he gave them the language which belonged to them; and if +the sentiments of the speakers be not reproachable with unnecessary +vulgarity, we cannot with justice associate vulgarism with a dialect, +which in itself is proper, and in its application is characteristic. +After all, what is the language of Ramsay, but the common speech of +Yorkshire during the last century?[40] + +[Footnote 40: See "A Yorkshire Dialogue in its pure natural dialect;" +printed at York, 1684.] + +But, as associated ideas arise only where the connection is either in +itself necessary, or the relation is so intimate, the two ideas are +seldom found disunited; so of late years, that disunion has taken +place in a twofold manner; for the language, even of the common people +of Scotland, is gradually refining, and coming nearer to the English +standard; and it has fortunately happened, that the Scotish dialect +has lately been employed in compositions of transcendant merit, which +have not only exhibited the finest strokes of the pathetic, but have +attained even to a high pitch of the sublime. For the truth of this +observation, we may appeal to _The Cotter's Saturday Night_, and _The +Vision of Burns_. In these, the language, so far from conveying the +idea of vulgarity, appears most eminently suited to the sentiment, +which seems to derive, from its simplicity, additional tenderness, and +superior elevation. + +The Scots, and the English, languages are, indeed, nothing more than +different dialects of the same radical tongue, namely, the +Anglo-Saxon; and, setting prejudice apart, (which every preference, +arising from such associations, as we have mentioned, must be,) it +would not perhaps be difficult, on a fair investigation of the actual +merits of both the dialects, to assert the superior advantages of the +Scotish to the English, for many species of original composition. But +a discussion of this kind would lead too far; and it is but +incidentally connected with the proper subject of these remarks.[41] +It is enough to say, that the merits of those very compositions, on +which we are now to offer some remarks, are of themselves a sufficient +demonstration of the powers of that language in which, chiefly, they +are composed, for many, if not for all the purposes of poetry. + +[Footnote 41: A learned writer has published, in the Transactions of +the Society of Scotish Antiquaries, a Dissertation on the Scoto-Saxon +Dialect; of which, as the work is not in every body's hands, the +reader may not be displeased with a short account. The author +maintains this proposition; that the Scoto-Saxon dialect was, at the +time of the union of the two nations, equal in every respect, and in +some respects superior, to the Anglo-Saxon dialect. He lays it down as +a principle, that three things constitute the perfection, or rather +the relative superiority, of a language: richness, energy, and +harmony. He observes, that a language is rich in proportion to the +copiousness of its vocabulary, which will principally depend, 1. on +the number of its primitive or radical words; 2. on the multiplicity +of its derivations and compounds; and, 3. on the variety of its +inflections. In all, or almost all of these respects, he shows the +superiority of the Scotish dialect of the Saxon to the English. The +Scots have all the English primitives, and many hundreds besides. The +Scots have derivatives from diminution, which the English entirely +want: e. g. _hat_, _hatty_, _hattiky_; _lass_, _lassie_, _lassiky_. +The degrees of diminution are almost unlimited: _wife_, _wifie_, +_wifiky_, _wee wifiky_, _wee wee wifiky_, &c. Both the English, and +Scots, dialects are poor in the inflections; but the Glossary to +Douglas's Virgil will shew that the Scotish inflections are both more +various, and less anomalous, than the English. Energy is the boast +both of the English, and the Scotish, dialects; but, in this author's +opinion, the Scotish poetry can furnish some compositions of far +superior energy to any cotemporary English production. With respect to +harmony, he gives his suffrage likewise in favour of the Scotish +dialect. He observes, that the _sh_ rarely occurs; its place being +supplied by the simple _s_, as in _polis_, _punis_, _sal_, &c. The _s_ +itself is often supplied by the liquids _m_ or _n_; as in _expreme_, +_depreme_; _compone_, _depone_. Harsh combinations of consonants are +avoided: as in using _sel_, _twal_, _neglek_, _temp_, _stown_ or +_stawn_, for _self_, _twelve_, _neglect_, _tempt_, _stolen_. Even the +vowel sounds are, in this author's opinion, more harmonious, in the +Scots, than in the English, dialect; as the open _a_, and the proper +Italic sound of _i_. For further elucidation of this curious subject, +the Dissertation itself must be referred to, which will abundantly +gratify the critical reader. It is proper here to observe, that the +remarks of this writer are the more worthy of attention, that he is +himself an excellent Scotish poet, as the compositions subjoined to +his Dissertation clearly evince. _Three Scotish Poems, with a previous +Dissertation on the Scoto-Saxon Dialect, by the Rev. Alexander Geddes, +LL.D., Transactions of the Society of Antiquaries of Scotland_, vol. +i., p. 402.] + + (_Remarks on Ramsay's miscellaneous poems are here omitted._) + +In the year 1725, _Ramsay_ published his pastoral comedy of _The +Gentle Shepherd_, the noblest and most permanent monument of his fame. +A few years before, he had published, in a single sheet, _A Pastoral +Dialogue between Patie and Roger_, which was reprinted in the first +collection of his poems, in 1721. This composition being much admired, +his literary friends urged him to extend his plan to a regular drama: +and to this fortunate suggestion the literary world is indebted for +one of the most perfect pastoral poems that has ever appeared.[42] + +[Footnote 42: In the quarto of 1728, the following note is subjoined +to the first scene of the Gentle Shepherd:--"This first scene is the +only piece in this volume that was printed in the first: having +carried the pastoral the length of five acts, at the desire of some +persons of distinction, I was obliged to print this preluding scene +with the rest."] + +The _pastoral drama_ is an invention of the moderns. The first who +attempted this species of poetry was _Agostino de Beccari_, in his +_Sacrificio Favola Pastorale_, printed in 1553. _Tasso_ is supposed to +have taken the hint from him; and is allowed, in his _Aminta_, +published in 1573, to have far surpassed his master. _Guarini_ +followed, whose _Pastor Fido_ contends for the palm with the _Aminta_, +and, in the general opinion of the Italians, is judged to have +obtained it. _Tasso_ himself is said to have confessed the superior +merit of his rival's work; but to have added, in his own defence, that +had _Guarini_ never seen his _Aminta_, he never would have surpassed +it. Yet, I think, there is little doubt, that this preference is +ill-founded. Both these compositions have resplendent beauties, with +glaring defects and improprieties. I am, however, much mistaken, if +the latter are not more abundant in the _Pastor Fido_, as the former +are predominant in the _Aminta_. Both will ever be admired, for beauty +of poetical expression, for rich imagery, and for detached sentiments +of equal delicacy and tenderness: but the fable, both of the _Aminta_, +and _Pastor Fido_, errs against all probability; and the general +language and sentiments of the characters are utterly remote from +nature. The fable of the _Aminta_ is not dramatic; for it is such, +that the principal incidents, on which the plot turns, are incapable +of representation: the beautiful _Silvia_, stripped naked, and bound +by her hair to a tree by a brutal satyr, and released by her lover +_Amyntas_;--her flight from the wolves;--the precipitation of +_Amyntas_ from a high rock, who narrowly escapes being dashed in +pieces, by having his fall broken by the stump of a tree;--are all +incidents, incapable of being represented to the eye; and must +therefore be thrown into narration. The whole of the last act is +narrative, and is taken up entirely with the history of _Amyntas's_ +fall, and the happy change produced in the heart of the rigorous +_Silvia_, when she found her lover thus miraculously preserved from +the cruel death, to which her barbarity had prompted him to expose +himself. + +Yet, the fable of the _Aminta_, unnatural and undramatic, as it is, +has the merit of simplicity. That of the _Pastor Fido_, equally +unnatural and incredible, has the additional demerit of being +complicated as well as absurd. The distress of _Amyntas_, arising from +an adequate and natural cause--rejected love, excites our sympathy; +but the distress in the _Pastor Fido_ is altogether chimerical; we +have no sympathy with the calamities arising from the indignation of +_Diana_, or the supposed necessity of accomplishing the absurd and +whimsical response of an _oracle_. We cannot be affected by the +passions of fictitious beings. The love of a _satyr_ has nothing in it +but what is odious and disgusting. + +The defects of these celebrated poems have arisen from the erroneous +idea entertained by their authors, that the province of this species +of poetry was not to imitate nature, but to paint that chimerical +state of society, which is termed the _golden age_. _Mr. Addison_, +who, in the Guardian, has treated the subject of pastoral poetry at +considerable length, has drawn his critical rules from that absurd +principle; for he lays it down as a maxim, that, to form a right +judgment of pastoral poetry, it is necessary to cast back our eyes on +the first ages of the world, and inquire into the manners of men, +"before they were formed into large societies, cities built, or +commerce established: a state," says he, "of ease, innocence, and +contentment; where plenty begot pleasure, and pleasure begot singing, +and singing begot poetry, and poetry begot singing again:" a +description this, which is so fantastical, as would almost persuade +us, that the writer meant to ridicule his own doctrine, if the general +strain of his criticism did not convince us it was seriously +delivered. Is it necessary to prove, that this notion of pastoral +poetry, however founded, in the practice of celebrated writers, has no +foundation in fact, no basis in reason, nor conformity to good sense? +To a just taste, and unadulterated feelings, the natural beauties of +the country, the simple manners, rustic occupations, and rural +enjoyments of its inhabitants, brought into view by the medium of a +well-contrived dramatic fable, must afford a much higher degree of +pleasure, than any chimerical fiction, in which Arcadian nymphs and +swains hold intercourse with Pan and his attendant fauns and satyrs. +If the position be disputed, let the _Gentle Shepherd_ be fairly +compared with the _Aminta_, and, _Pastor Fido_. + +The _story_ of the _Gentle Shepherd_ is fitted to excite the warmest +interest, because the situations, into which the characters are +thrown, are strongly affecting, whilst they are strictly consonant to +nature and probability. The whole of the _fable_ is authorized by the +circumstances of the times, in which the action of the piece is laid. +The era of _Cromwell's_ usurpation, when many loyal subjects, sharing +the misfortunes of their exiled sovereign, were stripped of their +estates, and then left to the neglect and desolation of forfeiture; +the necessity under which those unhappy sufferers often lay, of +leaving their infant progeny under the charge of some humble but +attached dependant, till better days should dawn upon their fortunes; +the criminal advantages taken by false friends in usurping the rights +of the sufferers, and securing themselves against future question by +deeds of guilt; these circumstances, too well founded in truth, and +nature, are sufficient to account for every particular in this most +interesting drama, and give it perfect verisimilitude. + +The _fables_ of the _Aminta_ and _Pastor Fido_, drawn from a state of +society which never had an existence, are, for that reason, incapable +of exciting any high degree of interest; and the mind cannot for a +moment remain under the influence of that deception, which it is the +great purpose of the drama to produce. + +The _characters_ or _persons_ of the Italian pastorals are coy nymphs +and swains, whose sole occupation is hunting wild beasts, brutal +satyrs who plot against the chastity of those nymphs, shepherds +deriving their origin from the gods, stupid priests of these gods who +are the dupes of their ambiguous will, and gods themselves disguised +like shepherds, and influencing the conduct and issue of the piece. +The manners of these unnatural and fictitious beings are proper to +their ideal character. A dull moralizing chorus is found necessary to +explain what the characters themselves must have left untold, or +unintelligible. + +The _persons_ of the Scotish pastoral are the actual inhabitants of +the country where the scene is laid; their manners are drawn from +nature with a faithful pencil. The contrast of the different +characters is happily imagined, and supported with consummate skill. +_Patie_, of a cheerful and sanguine temperament; spirited, yet free +from vain ambition; contented with his humble lot; endowed by nature +with a superior understanding, and feeling in himself those internal +sources of satisfaction, which are independent of the adventitious +circumstances of rank and fortune. _Roger_, of a grave and phlegmatic +constitution; of kind affections, but of that ordinary turn of mind, +which is apt to suppose some necessary connection between the +possession of wealth and felicity. The former, from native dignity of +character, assuming a bold pre-eminence, and acting the part of a +tutor and counsellor to his friend, who bends, though with some +reluctance, to the authority of a nobler mind. The principal female +characters are contrasted with similar skill, and equal power of +discrimination. _Peggy_, beautiful in person as in mind, endowed with +every quality that can adorn the character of woman; gentle, +tender-hearted, constant in affection, free from vanity as from +caprice; of excellent understanding; judging of others by the +criterion of her own innocent mind, and therefore forming the most +amiable views of human nature. _Jenny_, sensible and affectionate, +sprightly and satirical; possessing the ordinary qualities of her sex, +self-love, simulation, and the passion of conquest; and pleased with +exercising a capricious dominion over the mind of a lover; judging of +mankind rather from the cold maxims of instilled prudential caution, +than from the native suggestions of the heart.--A contrast of +characters strongly and skilfully opposed, and therefore each most +admirably fitted to bring the other into full display. + +The subordinate persons of the drama are drawn with equal skill and +fidelity to their prototypes. _Glaud_ and _Symon_ are the genuine +pictures of the old Scotish yeomanry, the Lothian farmers of the last +age, in their manners, sentiments, and modes of life; humble, but +respectable; homely, yet comfortable. The episode of _Bauldy_, while +it gives a pleasing variety, without interrupting the principal +action, serves to introduce a character of a different species, as a +foil to the honest and simple worth of the former. It paints in strong +colours, and exposes to merited reprobation and contempt, that low +and sordid mind, which seeks alone the gratification of its own +desires, though purchased by the misery of the object of its +affection. Bauldy congratulates himself on the cruel disappointment of +Peggy's love;--"_I hope we'll a' sleep sound, but ane, this +night_;"--and judges her present situation of deep distress to be the +most favourable moment for preferring his own suit. His punishment, as +it is suitable to his demerits, gives entire satisfaction. + +The _Aminta_, and _Pastor Fido_, abound in beautiful sentiments, and +passages of the most tender and natural simplicity; but it is seldom +we find a single page, in which this pleasing impression is not +effaced by some affected and forced conceit. Nothing can be more +delicately beautiful, or more agreeable to the true simplicity of +pastoral, than _Amyntas's_ recounting to _Tircis_ the rise of his +passion for Silvia. The description of their joint occupations and +sports, till love insensibly arose in the breast of _Tircis_; the +natural and innocent device he employed to obtain a kiss from +_Silvia_; the discovery of his affection, and his despair on finding +her heart insensible to his passion, are proofs that _Tasso_ was a +true poet, and knew [how] to touch those strings, with which our +genuine feelings must ever harmonize. In elegant and just description +he is equally to be admired. The scene in which _Tircis_ describes the +lovely _Silvia_ bound naked to a tree by a brutal satyr, and released +by _Amyntas_, whose passion she treated with scorn, is one of the most +beautiful pieces of poetic painting. But, when _Amyntas_, unloosing +his disdainful mistress, addresses himself to the tree, to which she +was tied; when he declares its rugged trunk to be unworthy of the +bonds of that beautiful hair, which encircled it, and reproaches its +cruelty in tearing and disfiguring those charming tresses, we laugh at +such despicable conceits, and lament that vicious taste, to which even +a true poet found himself (we presume against his better judgment) so +often compelled to sacrifice. So likewise when, forgetting nature, he +resorts to the ordinary cant of pastoral, the language and thoughts of +_Theocritus_ and _Virgil_, and even superadds to those common-places, +the false refinement, which in his age delighted his countrymen, we +turn with dissatisfaction from his page. If we compare him, where the +similarity of the subject allows a comparison, with the Scotish poet, +how poor does the Italian appear in the competition! + +Thus, let the first scene of the _Aminta_, between _Silvia_ and +_Daphne_, be compared with the scene between _Jenny_ and _Peggy_, in +the _Gentle Shepherd_. The subject of both is the preference between a +single and a married life: + + DAPHNE. + + But whence can spring thy hate? + + SILVIA. + + Whence? from his love. + + DAPHNE. + + Too cruel offspring of so kind a sire! + When was it heard that e'er the tender lamb + Produced a tiger, or the rook a swan?-- + Sure you deceive yourself, or jest with me. + + SILVIA. + + How can I choose but hate his love, + Which hates my chastity? + + DAPHNE. + + Now tell me, should another thus address thee, + Would'st thou in such harsh kind receive his love? + + SILVIA. + + In such harsh kind I ever would receive + The traitor who would steal my virgin jewel. + Whom you term lover I account a foe. + + DAPHNE. + + Thus to the ewe the ram + Thou deem'st a foe; or to the tender heifer, + The sturdy bull; the turtle to its mate. + Thus the delightful spring + Seems in thy mind the season of fell hate, + And deadly enmity; the lovely spring + That smiling prompts to universal love, + That rouses nature's flame thro' all her bounds: + Nor less in animals of every kind, + Than favour'd man. See how creation glows, + In all her works, with love's imperious flame! + Mark yonder doves that bill, and sport, and kiss: + Hear'st thou the nightingale, as on the bough + She evermore repeats, "I love, I love:" + The wily snake sheaths her envenom'd fang, + And sinuous glides her to her glossy mate: + The savage tiger feels the potent flame: + The grim majestic lion growls his love + To the resounding forest.--Wilder thou + Than nature's wildest race, spurn'st at that power + To which all nature bows.--But why of these, + Of the grim lion, or the spotted lynx, + Or wily serpent?--these have sense and feeling. + Even trees inanimate confess the god: + See how the vine clings with a fond embrace; + The mountain fir, the pine, the elm, the beech, + Have each their favour'd mate: they burn, they sigh, &c. + + SILVIA. + + Well, when my ear shall hear their sighs of love, + Perhaps I too may learn to love like them. + +By a similar strain of argument, _Linco_, in the _Pastor Fido_, +endeavours to persuade _Silvio_ to love, whose sole delight is in the +chase, and who tells his adviser, that he would not give one wild +beast, taken by his dog _Melampo_, for a thousand beautiful nymphs. +_Linco_ bids him "See how all nature loves, the heavens, the earth, +the sea; and that beautiful morning star that now shines so bright, +she likewise loves, and shines more splendid from her amorous flame: +see how she blushes, for now perhaps she has just left the stolen +embraces of her lover. The woods, and alltheir savage inhabitants, the +seas, the dolphins. the huge whales, &c., &c." + +How poor is all this refinement and conceit, when compared with the +language of truth and nature! When Pegg, in the confidence of a wamr +and innocent heart, describes to her copanion the delights of a mutual +passion, the enjoyments of domestic bliss, and the happiness arising +from the exercise of the parental duties and affections; contrasting +these with the cold and selfish feelings of determined celibacy, it is +nature that speaks in every line, and the heart yields its warmest +sympathy, as the judgment its complete conviction: + + PEGGY. + + Sic coarse-spun thoughts as thae want pith to move + My settl'd mind; I'm o'er far gane in love. + Patie to me is dearer than my breath; + But want of him I dread nae other skaith. + There's nane of a' the herds that tread the green + Has sic a smile, or sic twa glancening een. + And then he speaks with sic a taking art, + His words they thirle like musick thro' my heart. + How blythly can he sport, and gently rave, + And jest a feckless fears that fright the lave! + Ilk day that he's alane upon the hill, + He reads fell books that teach him meikle skill. + He is--but what need I say that or this? + I'd spend a month to tell you what he is! + +To the sarcastical picture which Jenny draws of the anxieties and +turmoil of a wedded life, Peggy thus warmly replies: + + Yes, 'tis a heartsome thing to be a wife, + When round the ingle-edge young sprouts are rife. + Gif I'm sae happy, I shall have delight + To hear their little plaints, and keep them right. + Wow! Jenny, can there greater pleasure be, + Than see sic wee tots toolying at your knee; + When a' they ettle at--their greatest wish, + Is to be made of, and obtain a kiss? + Can there be toil in tenting day and night, + The like of them, when love makes care delight?[43] + +[Footnote 43: When the sentiments are drawn from nature, it is not +surprising that, where the subject is similar, there should be a +concurrence of thought between two genuine poets, who never saw each +other's works. How similar is the following passage of the 10th +satire of Boileau to the imagery of this beautiful family picture! + + Quelle joie en effet, quelle douceur extreme + De se voir caresser d'une epouse qu'on aime;-- + De voir autour de soi croitre dans la maison, + Sous les paisibles loix d'une agréable mere + De petits citoyens dont on croit être pere! + Quel charme au moindre mal qui nous vient menacer + De la voir aussitot accourir, s'empresser, &c.] + + JENNY. + + But poortith, Peggy, is the warst of a', + Gif o'er your heads ill chance shou'd beggary draw: + Your nowt may die--the spate may bear away + Frae aff the howms your dainty rucks of hay.-- + The thick blawn wreaths of snaw, or blashy thows, + May smoor your wathers, and may rot your ews. &c, + + PEGGY. + + May sic ill luck befa' that silly she, + Wha has sic fears; for that was never me. + Let fowk bode well, and strive to do their best; + Nae mair's requir'd, let Heaven make out the rest. + I've heard my honest uncle aften say, + That lads shou'd a' for wives that's vertuous pray: + For the maist thrifty man cou'd never get + A well stor'd room, unless his wife wad let: + Wherefore nocht shall be wanting on my part, + To gather wealth to raise my Shepherd's heart. + What e'er he wins, I'll guide with canny care, } + And win the vogue, at market, tron, or fair, } + For halesome, clean, cheap and sufficient ware. } + A flock of lambs, cheese, butter, and some woo, + Shall first be said, to pay the laird his due; + Syne a' behind's our ain.--Thus, without fear, + With love and rowth we thro' the warld will steer: + And when my Pate in bairns and gear grows rife, + He'll bless the day he gat me for his wife. + + JENNY. + + But what if some young giglit on the green, + With dimpled cheeks, and twa bewitching een, + Shou'd gar your Patie think his haff-worn Meg, + And her kend kisses, hardly worth a feg? + + PEGGY. + + Nae mair of that;--Dear Jenny, to be free, + There's some men constanter in love than we: + Nor is the ferly great, when nature kind + Has blest them with solidity of mind. + They'll reason calmly, and with kindness smile, + When our short passions wad our peace beguile. + Sae, whensoe'er they slight their maiks at hame, + 'Tis ten to ane the wives are maist to blame. + Then I'll employ with pleasure a' my art, + To keep him chearfu', and secure his heart. + At even, when he comes weary frae the hill, + I'll have a' things made ready to his will. + In winter, when he toils thro' wind and rain, + A bleezing ingle, and a clean hearth-stane. + And soon as he flings by his plaid and staff, + The seething pot's be ready to take aff. + Clean hagabag I'll spread upon his board, + And serve him with the best we can afford. + Good-humour and white bigonets shall be + Guards to my face, to keep his love for me. + + _Act 1, Scene 2._ + +Such are the sentiments of nature; nor is the language, in which they +are conveyed, inadequate to their force and tenderness: for to those +who understand the Scotish dialect, the expression will be found to be +as beautiful as the thought. It is in those touches of simple nature, +those artless descriptions, of which the heart instantly feels the +force, thus confessing their consonance to truth, that Ramsay excels +all the pastoral poets that ever wrote. + +Thus _Patie_ to _Peggy_, assuring her of the constancy of his +affection: + + I'm sure I canna change, ye needna fear; + Tho' we're but young, I've loo'd you mony a year. + I mind it well, when thou cou'd'st hardly gang, + Or lisp out words, I choos'd ye frae the thrang + Of a' the bairns, and led thee by the hand, + Aft to the Tansy-know, or Rashy-strand. + Thou smiling by my side,--I took delite, + To pu' the rashes green, with roots sae white, + Of which, as well as my young fancy cou'd, + For thee I plet the flowry belt and snood. + + _Act 2, Scene 4._ + +Let this be contrasted with its corresponding sentiment in the _Pastor +Fido_, when _Mirtillo_ thus pleads the constancy of his affection for +_Amaryllis_: + + _Sooner than change my mind, my darling thought, + Oh may my life be changed into death!_ + +(and mark the pledge of this assurance) + + For cruel tho', tho' merciless she be, + Yet my whole life is wrapt in Amaryllis; + Nor can the human frame, I think, contain + A double heart at once, a double soul! + + _Pastor Fido, Act 3, Scene 6._ + +The charm of the _Gentle Shepherd_ arises equally from the nature of +the passions, which are there delineated, and the engaging simplicity +and truth, with which their effects are described. The poet paints an +honourable and virtuous affection between a youthful pair of the most +amiable character; a passion indulged on each side from the purest and +most disinterested motives, surmounting the severest of all +trials--the unexpected elevation of the lover to a rank which, +according to the maxims of the world, would preclude the possibility +of union; and crowned at length by the delightful and most unlooked +for discovery, that this union is not only equal as to the condition +of the parties, but is an act of retributive justice. In the anxious +suspense, that precedes this discovery, the conflict of generous +passions in the breasts of the two lovers is drawn with consummate +art, and gives rise to a scene of the utmost tenderness, and the most +pathetic interest. Cold indeed must be that heart, and dead to the +finest sensibilities of our nature, which can read without emotion the +interview between _Patie_ and _Peggy_, after the discovery of +_Patie's_ elevated birth, which the following lines describe: + + PATIE. + + ----My Peggy, why in tears? + Smile as ye wont, allow nae room for fears: + Tho' I'm nae mair a shepherd, yet I'm thine. + + PEGGY. + + I dare not think sae high: I now repine + At the unhappy chance, that made not me + A gentle match, or still a herd kept thee. + Wha can, withoutten pain, see frae the coast + The ship that bears his all like to be lost? + Like to be carry'd, by some rover's hand, + Far frae his wishes, to some distant land? + + PATIE. + + Ne'er quarrel fate, whilst it with me remains, + To raise thee up, or still attend these plains. + My father has forbid our loves, I own: + But love's superior to a parent's frown. + I falshood hate: Come, kiss thy cares away; + I ken to love, as well as to obey. + Sir William's generous; leave the task to me, + To make strict duty and true love agree. + + + PEGGY. + + Speak on!--speak ever thus, and still my grief; + But short I dare to hope the fond relief. + New thoughts a gentler face will soon inspire, + That with nice air swims round in silk attire: + Then I, poor me!--with sighs may ban my fate, + When the young laird's nae mair my heartsome Pate: + Nae mair again to hear sweet tales exprest, + By the blyth shepherd that excell'd the rest: + Nae mair be envy'd by the tattling gang, + When Patie kiss'd me, when I danc'd or sang: + Nae mair, alake! we'll on the meadow play! + And rin haff breathless round the rucks of hay; + As aftimes I have fled from thee right fain, + And fawn on purpose, that I might be tane. + Nae mair around the Foggy-know I'll creep, + To watch and stare upon thee, while asleep. + But hear my vow--'twill help to give me ease; + May sudden death, or deadly sair disease, + And warst of ills attend my wretched life, + If e'er to ane but you, I be a wife. + + PATIE. + + Sure Heaven approves--and be assur'd of me, + I'll ne'er gang back of what I've sworn to thee: + And time, tho' time maun interpose a while, + And I maun leave my Peggy and this isle; + Yet time, nor distance, nor the fairest face, + If there's a fairer, e'er shall fill thy place. + I'd hate my rising fortune, &c.---- + +With similar fervent assurances of the constancy of his affection, +_Patie_ prevails in calming the agitation of _Peggy's_ mind, and +banishing her fears. She declares she will patiently await the happy +period of his return, soothing the long interval with prayers for his +welfare, and sedulous endeavours to improve and accomplish her mind, +that she may be the more worthy of his affection. The scene concludes +with an effusion of her heart in a sentiment of inimitable tenderness +and beauty: + + With every setting day, and rising morn, + I'll kneel to Heaven, and ask thy safe return. + Under that tree, and on the Suckler Brae, + Where aft we wont, when bairns, to run and play; + And to the Hissel-shaw where first ye vow'd + Ye wad be mine, and I as eithly trow'd, + I'll aften gang, and tell the trees and flowers, + With joy, that they'll bear witness I am yours. + +_Act 4, Scene 2._ + +To a passion at once so pure, so delicate, so fervent, and so +disinterested in its object, with what propriety may we apply that +beautiful apostrophe of _Burns_, in his _Cottar's Saturday Night_! + + O happy love! where love like this is found; + O heartfelt raptures! bliss beyond compare! + If Heaven a draught of heavenly pleasure spare, + One cordial in this melancholy vale, + 'Tis when a youthful, loving, modest pair, + In other's arms breathe out the tender tale, + Beneath the milk-white thorn that scents the evening gale. + +In intimate knowledge of human nature Ramsay yields to few poets +either of ancient or of modern times. How naturally does poor Roger +conjecture the insensibility of his mistress to his passion, from the +following simple, but finely-imagined circumstances: + + My Bawty is a cur I dearly like, + Even while he fawn'd, she strak the poor dumb tyke: + If I had fill'd a nook within her breast, + She wad have shawn mair kindness to my beast. + When I begin to tune my stock and horn, + With a' her face she shaws a caulrife scorn. + Last night I play'd, ye never heard sic spite, + _O'er Bogie_ was the spring, and her delyte; + Yet tauntingly she at her cousin speer'd, + Gif she cou'd tell what tune I play'd, and sneer'd. + + _Act 1, Scene 1._ + + +The counsel, which _Patie_ gives his friend, to prove with certainty +the state of _Jenny's_ affections, is the result of a profound +acquaintance with the human heart: + + Daft gowk! leave off that silly whindging way; + Seem careless, there's my hand ye'll win the day. + Hear how I serv'd my lass I love as well + As ye do Jenny, and with heart as leel. + +Then follows a picture so natural, and at the same time so exquisitely +beautiful, that there is nothing in antiquity that can parallel it: + + Last morning I was gay and early out, + Upon a dike I lean'd, glowring about, + I saw my Meg come linkan o'er the lee; + I saw my Meg, but Meggy saw na me: + For yet the sun was wading thro' the mist, + And she was closs upon me ere she wist; + Her coats were kiltit, and did sweetly shaw + Her straight bare legs that whiter were than snaw; + Her cockernony snooded up fou sleek, + Her haffet-locks hang waving on her cheek; + Her cheek sae ruddy, and her een sae clear; + And O! her mouth's like ony hinny pear. + Neat, neat she was, in bustine waste-coat clean, + As she came skiffing o'er the dewy green. + Blythsome, I cry'd, My bonny Meg, come here, + I ferly wherefore ye're sae soon asteer; + But I can guess, ye're gawn to gather dew: + She scour'd awa, and said, _What's that to you?_ + Then fare ye well, Meg Dorts, and e'en's ye like, + I careless cry'd, and lap in o'er the dike. + I trow, when that she saw, within a crack, + She came with a right thievless errand back; + Misca'd me first,--then bade me hound my dog + To wear up three waff ews stray'd on the bog. + I leugh, and sae did she; then with great haste + I clasp'd my arms about her neck and waste; + About her yielding waste, and took a fouth, + Of sweetest kisses frae her glowing mouth. + While hard and fast I held her in my grips, + My very saul came lowping to my lips. + Sair, sair she flet wi' me 'tween ilka smack; + But well I kent she meant nae as she spake. + Dear Roger, when your jo puts on her gloom, + Do ye sae too, and never fash your thumb. + Seem to forsake her, soon she'll change her mood; + Gae woo anither, and she'll gang clean wood. + + _Act 1, Scene 1._ + +If, at times, we discern in the _Aminta_ the proofs of a knowledge of +the human heart, and the simple and genuine language of nature, our +emotions of pleasure are soon checked by some frivolous stroke of +refinement, or some cold conceit. In the _Pastor Fido_, the latter +impression is entirely predominant, and we are seldom gratified with +any thing like a natural or simple sentiment. The character of +_Silvio_, utterly insensible to the charms of beauty or of female +excellence, and who repays an ardent passion with insolence and +hatred, if it exists at all in nature, is fitted only to excite +contempt and detestation. _Dorinda's_ courtship of _Silvio_ is equally +nauseous, and the stratagem she employs to gain his love is alike +unnatural. She steals and hides his favourite dog _Melampo_, and then +throwing herself in his way while he is whooping after him through the +forest, tells him she has found both the dog and a wounded doe, and +claims her reward for the discovery. "What shall that be?" says +_Silvio_.--"Only," replies the nymph, "one of those things that your +mother so often gives you."--"What," says he, "a box o' the +ear?"--"Nay, nay, but," says Dorinda, "does she never give thee a +kiss?"--"She neither kisses me, nor wants that others should kiss +me."--The dog is produced, and _Silvio_ asks, "Where is the +doe?"--"That poor doe," says she, "am I." A petulance which, though +rudely, we cannot say is unjustly punished, by Silvio giving a +thousand kisses to his dear dog, and leaving the forward nymph, with a +flat assurance of his hatred, to ruminate on his scorn, and her own +indelicacy. If this is nature, it is at least not _la belle nature_. + +But the circumstance, on which turns the conversion of the obdurate +Silvio, bids defiance even to possibility. Hunting in the forest, he +holds a long discourse with an echo, and is half persuaded, by the +reflected sounds of his own voice, that there is some real pleasure in +love, and that he himself must one day yield to its influence. Dorinda +clothes herself in the skin of a wolf, and is shot by him with an +arrow, mistaking her for that animal. Then all at once he becomes her +most passionate lover, sucks out the barb of the arrow with a plaister +of green herbs, and swears to marry her on her recovery, which, by the +favour of the gods, is fortunately accomplished in an instant. + +Equally unnatural with the fable are the sentiments of this pastoral. +_Amaryllis_, passionately adored by _Mirtillo_, and secretly loving +him, employs a long and refined metaphysical argument to persuade him, +that if he really loves her, he ought to love her virtue; and that +man's true glory lies in curbing his appetites. The _moral_ chorus +seems to have notions of love much more consonant to human nature, who +discourses for a quarter of an hour on the different kinds of kisses, +and the supreme pleasure felt, when they are the expression of a +mutual passion. But we need no chorus to elucidate _arcana_ of this +nature. + +True it is that in this drama, as in the _Aminta_, there are passages +of such transcendent beauty, of such high poetic merit, that we cannot +wonder if, to many readers, they should veil every absurdity of fable, +or of the general strain of sentiment: for who is there that can read +the apostrophe of _Amaryllis_ to the groves and woods, the eulogy of +rural + + Care selve beate, &c.; + +the charming address of _Mirtillo_ to the spring-- + + O primavera gioventi del anno, &c.; + +or the fanciful, but inspired description of the age of gold-- + + O bella età de l'oro! &c.; + +who is there that can read these passages without the highest +admiration and delight? but it must at the same time be owned, that +the merit of these Italian poets lies in those highly finished, but +thinly sown passages of splendour; and not in the structure of their +fables, or the consonance of their general sentiments to truth and +nature. + +The principal difficulty in pastoral poetry, when it attempts an +actual delineation of nature, (which we have seen is too seldom its +object,) lies in the association of delicate and affecting sentiments +with the genuine manners of rustic life; an union so difficult to be +accomplished, that the chief pastoral poets, both ancient and modern, +have either entirely abandoned the attempt, by choosing to paint a +fabulous and chimerical state of society; or have failed in their +endeavour, either by indulging in such refinement of sentiment as is +utterly inconsistent with rustic nature, or by endowing their +characters with such a rudeness and vulgarity of manners as is hostile +to every idea of delicacy. It appears to me that _Ramsay_ has most +happily avoided these extremes; and this he could the better do, from +the singularly fortunate choice of his subject. The principal persons +of the drama, though trained from infancy in the manners of rustic +life, are of generous birth; to whom therefore we may allow, from +nature and the influence of blood, an elevation of sentiment, and a +nobler mode of thinking, than to ordinary peasants. To these +characters the poet has therefore, with perfect propriety and +knowledge of human nature, given the generous sentiments that accord +with their condition, though veiled a little by the manners, and +conveyed in the language which suits their accidental situation. The +other characters, who are truly peasants, are painted with fidelity +from nature; but even of these, the situation chosen by the poet was +favourable for avoiding that extreme vulgarity and coarseness of +manners which would have offended a good taste. The peasantry of the +_Pentland hills_, within six or seven miles of the metropolis, with +which of course they have frequent communication, cannot be supposed +to exhibit the same rudeness of manners which distinguishes those of +the remote part of the country. As the models, therefore, from which +the poet drew were cast in a finer mould than mere provincial rustics, +so their copies, as drawn by him, do not offend by their vulgarity, +nor is there any greater degree of rusticity than what merely +distinguishes their mode of life and occupations. + +In what I have said of the manners of the characters in the _Gentle +Shepherd_, I know that I encounter the prejudices of some _Scotish +critics_, who allowing otherwise the very high merits of Ramsay as a +poet, and giving him credit in particular for his knowledge of human +nature, and skill to touch the passions, quarrel with him only on the +score of his language; as they seem to annex inseparably the idea of +coarseness and vulgarity to every thing that is written in the native +dialect of their country: but of this I have said enough before. To +every Englishman, and, I trust, to every Scotsman not of fastidious +refinement, the dialect of the _Gentle Shepherd_ will appear to be +most perfectly consonant to the characters of the speakers, and the +times in which the action is laid. To this latter circumstance the +critics I have just mentioned seem not to have been sufficiently +attentive. The language of this pastoral is not precisely the Scotish +language of the present day: the poet himself spoke the language of +the beginning of the century, and his persons were of the age +preceding that period. To us their dialect is an antiquated tongue, +and as such it carries with it a Doric simplicity. But when we +consider both the characters and the times, it has an indispensable +propriety; and to have given the speakers in the _Gentle Shepherd_ a +more refined and pollished dialect, or more modern tone of +conversation, would have been a gross violation of truth and nature. + +In the faithful painting of rustic life, _Ramsay_ seems to have been +indebted to his own situation and early habits, as well as to the want +of a learned education. He was familiarly acquainted with rural nature +from actual observation; and his own impressions were not weakened or +altered by much acquaintance with the classical common-places, or with +those artificial pictures which are presented by the poets.[44] It is +not therefore the general characters of the country, which one poet +can easily draw from the works of others, that we find in his +pastoral; it was the country in which he lived, the genuine manners of +its inhabitants, the actual scenes with which he was conversant, that +fixed his observation, and guided his imitative pencil. The character +which, in the preface to his Evergreen, he assigns to the Scotish +poetry in general, is in the most peculiar manner assignable to his +own: "The morning rises in the poet's description, as she does in the +Scotish horizon: we are not carried to Greece and Italy for a shade, a +stream, or a breeze; the groves rise in our own valleys, the rivers +flow from our own fountains, and the winds blow upon our own hills." +Ramsay's landscapes are drawn with the most characteristic precision: +we view the scene before us, as in the paintings of a _Claude_ or a +_Waterloo_; and the hinds and shepherds of the Pentland hills, to all +of whom this delightful pastoral is as familiar as their catechism, +can trace the whole of its scenery in nature, and are eager to point +out to the inquiring stranger--the waterfall of _Habbie's how_--the +cottages of _Glaud_ and _Symon_--_Sir William's ancient tower_, +ruinated in the civil wars, but since rebuilt--the _auld avenue_ and +_shady groves_, still remaining in defiance of the modern taste for +naked, shadeless lawns. And here let it be remarked, as perhaps the +surest criterion of the merit of this pastoral as a _true delineation +of nature_, that it is universally relished and admired by that class +of people whose habits of life and manners are there described. Its +sentiments and descriptions are in unison with their feelings. It is +recited, with congenial animation and delight, at the fireside of the +farmer, when in the evening the lads and lasses assemble to solace +themselves after the labours of the day, and share the rustic meal. +There is not a milk-maid, a plough-boy, or a shepherd, of the Lowlands +of Scotland, who has not by heart its favourite passages, and can +rehearse its entire scenes. There are many of its couplets that, like +the verses of Homer, are become proverbial, and have the force of an +adage, when introduced in familiar writing, or in ordinary +conversation. + +[Footnote 44: So little has Ramsay borrowed from the ordinary language +of pastoral, which is generally a tame imitation of the dialogue of +Virgil and. Theocritus, that in the whole of the Scotish poem there +are (I think) only _three_ passages that bring to mind those +common-places which, in the eclogues of Pope, we find almost in every +line: + + The bees shall loath the flower, and quit the hive, + The saughs on boggie-ground shall cease to thrive, + Ere scornful queans, &c. ACT 1, SCENE 1. + + I've seen with shining fair the morning rise, + And soon the sleety clouds mirk a' the skies. + I've seen the silver spring a while rin clear, + And soon in mossy puddles disappear. + The bridegroom may rejoice, &c. _Act 3, Scene 3._ + + See yon twa elms that grow up side by side, + Suppose them, some years syne, bridegroom and bride; &c. + + _Act 1, Scene 2._] + + * * * * * + + + + +OPINIONS AND REMARKS + +ON + +"THE GENTLE SHEPHERD," + +_BY VARIOUS AUTHORS_. + + +JOHN AIKIN, LL.D. 1772. + +"No attempt to naturalize _pastoral poetry_, appears to have succeeded +better than Ramsay's Gentle Shepherd: it has a considerable air of +reality, and the descriptive parts, in general, are in the genuine +taste of beautiful simplicity."[45] + +[Footnote 45: Aikin's Essays on Song-Writing, p. 33.] + + +JAMES BEATTIE, LL.D. 1776. + +"The sentiments of [the 'Gentle Shepherd'], are natural, the +circumstances interesting; the characters well drawn, well +distinguished, and well contrasted; and the fable has more probability +than any other pastoral drama I am acquainted with. To an Englishman +who has never conversed with the common people of Scotland, the +language would appear only antiquated, obscure, or unintelligible; but +to a Scotchman who thoroughly understands it, and is aware of its +vulgarity, it appears _ludicrous_; from the contrast between +_meanness_ of phrase and _dignity_ or _seriousness_ of sentiment. + +This gives a farcical air even to the most affecting part of the +_poem_; and occasions an impropriety of a peculiar kind, which is very +observable in the representation. And accordingly, this play, with all +its merit, and with a strong national partiality in its favour, has +never given general satisfaction upon the stage."[46] + +[Footnote 46: Beattie's Essays, p. 652. Ed. 1776.] + + +WILLIAM TYTLER. 1783. + +"_Ramsay_ was a man of strong natural, though few acquired parts, +possessed of much humour, and native poetic fancy. Born in a pastoral +country, he had strongly imbibed the manners and humours of that life. +As I knew him well, an honest man, and of great pleasantry, it is with +peculiar satisfaction I seize this opportunity of doing justice to his +memory, in giving testimony to his being the author of the _Gentle +Shepherd_, which, for the natural ease of the dialogue, the propriety +of the characters, perfectly similar to the pastoral life in Scotland, +the picturesque scenery, and, above all, the simplicity and beauty of +the fable, may justly rank amongst the most eminent pastoral dramas +that our own or any other nation can boast of. Merit will ever be +followed by detraction. The envious tale, that the _Gentle Shepherd_ +was the joint composition of some wits with whom _Ramsay_ conversed, +is without truth. It might be sufficient to say, that none of these +gentlemen have left the smallest fragment behind them that can give +countenance to such a claim. While I passed my infancy at _Newhall_, +near _Pentland hills_, where the scenes of this pastoral poem are +laid, the seat of Mr. _Forbes_, and the resort of many of the +_literati_ at that time, I well remember to have heard _Ramsay_ +recite, as his own production, different scenes of the _Gentle +Shepherd_, particularly the first two, before it was printed. I +believe my honourable friend Sir _James Clerk of Pennycuik_, where +_Ramsay_ frequently resided, and who I know is possessed of several +original poems composed by him, can give the same testimony." + +"_P.S._ The above note was shewn to Sir _James Clerk_, and had his +approbation."[47] + +[Footnote 47: Poetical Remains of James 1st of Scotland; p. 189.] + + +HUGH BLAIR, D.D. 1783. + +"I must not omit the mention of another _pastoral drama_, which will +bear being brought into comparison with any composition of this kind, +in any language; that is, Allan Ramsay's Gentle Shepherd. It is a +great disadvantage to this beautiful poem, that it is written in the +old rustic dialect of Scotland, which, in a short time, will probably +be entirely obsolete, and not intelligible; and it is a farther +disadvantage that it is so entirely formed on the rural manners of +Scotland, that none but a native of that country can thoroughly +understand or relish it. But, though subject to these local +disadvantages, which confine its reputation within narrow limits, it +is full of so much natural description, and tender sentiment, as would +do honour to any poet. The characters are well drawn, the incidents +affecting; the scenery and manners lively and just. It affords a +strong proof, both of the power which nature and simplicity possess, +to reach the heart in every sort of writing; and of the variety of +pleasing characters and subjects with which _pastoral poetry_, when +properly managed, is capable of being enlivened."[48] + +[Footnote 48: Blair's Lectures on Rhetoric, vol. iii. p. 126.] + + +JOHN PINKERTON. 1786. + +"ALLAN RAMSAY. The convivial buffoonery of this writer has acquired +him a sort of reputation, which his poetry by no means warrants; being +far beneath the middling, and showing no spark of genius. Even his +buffoonery is not that of a tavern, but that of an ale-house. + +"The _Gentle Shepherd_ all now allow the sole foundation of his fame. +Let us put it in the furnace a little; for, if it be gold, it will +come out the purer. Dr. Beattie, in his Essay on Laughter and +Ludicrous Composition, observes, that the effect of the Gentle +Shepherd is ludicrous from the contrast between meanness of phrase, +and dignity or seriousness of sentiment. This is not owing to its +being written in the Scotish dialect, now left to the peasantry, as +that ingenious writer thinks; for the first part of Hardyknute, +written in that very dialect, strikes every English reader as sublime +and pathetic to the highest degree. In fact this glaring defect +proceeds from Allan Ramsay's own character as a buffoon, so evident +from all his poems, and which we all know he bore in private life; and +from Allan's total ignorance of the Scotish tongue, save that spoken +by the mob of Mid Lothian. It is well known that a comic actor of the +Shuter or Edwin class, though highly meritorious in his line, yet, +were he to appear in any save _queer_ characters, the effect would +even be more ludicrous than when he was in his proper parts, from the +contrast of the man with his assumed character. This applies also to +authors; for Sterne's sermons made us laugh, though there was nothing +laughable in them: and, had Rabelais, or Sterne, written a pastoral +opera, though the reader had been ignorant of their characters, still +a something, a je ne sçai quoi, in the phraseology, would have ever +provoked laughter. But this effect Ramsay has even pushed further; +for, by his entire ignorance of the Scotish tongue, save that spoken +by the mob around him, he was forced to use the very phraseology of +the merest vulgar, rendered yet more ridiculous by his own turn to low +humour; being himself indeed one of the mob, both in education and in +mind. So that putting such _queer_ language into the mouth of +respectable characters--nay, pretending to clothe sentiments, pathos, +and all that, with such phraseology--his whole Gentle Shepherd has the +same effect as a gentleman would have who chose to drive sheep on the +highway with a harlequin's coat on. This radical defect at once throws +the piece quite out of the class of good compositions. + + * * * * * + +"Allan was indeed so much a _poet_, that in his _Evergreen_ he even +puts rhyming titles to the old poems he publishes; and by this silly +idea, and his own low character, has stamped a kind of ludicrous hue +on the old Scotish poetry, of which he pretended to be a publisher, +that even now is hardly eradicated, though many editors of great +learning and high respectability have arisen. + + * * * * * + +"I have been the fuller on this subject, because, to the great +discredit of taste in Scotland, while we admire the effusions of this +scribbler, we utterly neglect our really great poets, such as Barbour, +Dunbar, Drummond, &c. There is even a sort of national prejudice in +favour of the Gentle Shepherd, because it is our only drama in the +Scotish language; yet we ought to be ashamed to hold prejudices so +ridiculous to other nations, and so obnoxious to taste, and just +criticism. I glory in Scotland as my native country; and, while I try +to root up all other prejudices out of my mind, shall ever nourish my +partiality to my country; as, if that be a prejudice, it has been +esteemed an honest and a laudable one in all ages; and is, indeed, the +only prejudice perfectly consonant to reason, and vindicable by truth. +But Scotland has no occasion to recur to false history, false taste, +false science, or false honours of any kind. In the severest light of +truth she will stand very conspicuous. Her sons, in trying to adorn +her, have shown remarkable defects of judgment. The ancient history of +the Picts, so splendid in the page of Tacitus, is lost in our own +fables. We neglect all our great poets, and are in raptures with Allan +Ramsay. Our prejudices are as pitiful as strong; and we know not that +the truth would make us far more illustrious, than all our dreams of +prejudice, if _realized_, to use an expression of impossibility. Good +sense in antiquities, and good taste in poetry, are astonishingly +wanting in Scotland to this hour."[49] + +[Footnote 49: Ancient Scotish Poems. Vol. I. London, 1786.] + + +JOSEPH RITSON. 1794. + +"Ramsay was a man of strong natural parts, and a fine poetical genius, +of which his celebrated _pastoral_ The Gentle Shepherd will ever +remain a substantial monument; and though some of his songs may be +deformed by far-fetched allusions and pitiful conceits, _The Lass of +Patie's Mill_, _The Yellow-hair'd Laddie_, _Farewell to Lochaber_, and +some others, must be allowed equal to any, and even superior, in point +of pastoral simplicity, to most lyric productions, either in the +Scotish or any other language."[50] + +[Footnote 50: Ritson's Hist. Essay on Scotish Song, p. lxiii.] + + +WILLIAM ROSCOE. 1795. + +"Whether the dialect of Scotland be more favourable to attempts of +this nature, or whether we are to seek for the fact in the character +of the people, or the peculiar talents of the writers, certain it is, +that the idiom of that country has been much more successfully +employed in poetical composition, than that of any other part of these +kingdoms, and that this practice may here be traced to a very early +period. In later times the beautiful _dramatic poem_ of The Gentle +Shepherd has exhibited rusticity without vulgarity, and elegant +sentiment without affectation. Like the heroes of Homer, the +characters of this piece can engage in the humblest occupations +without degradation."[51] + +[Footnote 51: Roscoe's Life of Lorenzo de' Medici, vol. i. p. 296.] + + +THOMAS CAMPBELL. 1819. + +"The admirers of the Gentle Shepherd, must perhaps be contented to +share some suspicion of national partiality, while they do justice to +their own feeling of its merit. Yet as this drama is a picture of +rustic Scotland, it would perhaps be saying little for its fidelity, +if it yielded no more agreeableness to the breast of a native than he +could expound to a stranger by the strict letter of criticism. We +should think the painter had finished the likeness of a mother very +indifferently, if it did not bring home to her children traits of +undefinable expression which had escaped every eye but that of +familiar affection. Ramsay had not the force of Burns; but, neither, +in just proportion to his merits, is he likely to be felt by an +English reader. The fire of Burns' wit and passion glows through an +obscure dialect by its confinement to short and concentrated bursts. +The interest which Ramsay excites is spread over a long poem, +delineating manners more than passions; and the mind must be at home +both in the language and manners, to appreciate the skill and comic +archness with which he has heightened the display of rustic character +without giving it vulgarity, and refined the view of peasant life by +situations of sweetness and tenderness, without departing in the +least degree from its simplicity. The Gentle Shepherd stands quite +apart from the general pastoral poetry of modern Europe. It has no +satyrs, nor featureless simpletons, nor drowsy and still landscapes of +nature, but distinct characters and amusing incidents. The principal +shepherd never speaks out of consistency with the habits of a peasant, +but he moves in that sphere with such a manly spirit, with so much +cheerful sensibility to its humble joys, with maxims of life so +rational and independent, and with an ascendency over his fellow +swains so well maintained by his force of character, that if we could +suppose the pacific scenes of the drama to be suddenly changed into +situations of trouble and danger, we should, in exact consistency with +our former idea of him, expect him to become the leader of the +peasants, and the Tell of his native hamlet. Nor is the character of +his mistress less beautifully conceived. She is represented, like +himself, as elevated, by a fortunate discovery, from obscure to +opulent life, yet as equally capable of being the ornament of either. +A Richardson or a D'Arblay, had they continued her history, might have +heightened the portrait, but they would not have altered its outline. +Like the poetry of Tasso and Ariosto, that of the Gentle Shepherd is +engraven on the memory of its native country. Its verses have passed +into proverbs and it continues to be the delight and solace of the +peasantry whom it describes."[52] + +[Footnote 52: Campbell's British Poetry, vol. v. pp. 344-346.] + + +LEIGH HUNT. 1848. + +"Poetical expression in humble life is to be found all over the south. +In the instances of Burns, Ramsay, and others, the north also has seen +it. Indeed, it is not a little remarkable, that Scotland, which is +more northern than England, and possesses not even a nightingale, has +had more of it than its southern neighbour." + +"Allan Ramsay is the prince of the homely pastoral drama. He and Burns +have helped Scotland for ever to take pride in its heather, and its +braes, and its bonny rivers, and be ashamed of no honest truth in high +estate or in low; an incalculable blessing. Ramsay is entitled not +only to the designation we have given him, but in some respects is the +best pastoral writer in the world. There are, in truth, two sorts of +genuine pastoral--the high ideal of Fletcher and Milton, which is +justly to be considered the more poetical,--and the homely ideal, as +set forth by Allan Ramsay and some of the Idyls of Theocritus, and +which gives us such feelings of nature and passion as poetical rustics +not only can, but have entertained and eloquently described. And we +think the Gentle Shepherd, 'in some respects,' the best pastoral that +ever was written, not because it has anything, in a poetical point of +view, to compare with Fletcher and Milton, but because there is, upon +the whole, more faith and more love in it, and because the kind of +idealized truth which it undertakes to represent, is delivered in a +more corresponding and satisfactory form than in any other entire +pastoral drama. In fact, the Gentle Shepherd has no alloy whatsoever +to its pretensions, _such as they are_--no failure in plot, language, +or character--nothing answering to the coldness and irrelevances of +'Comus,' nor to the offensive and untrue violations of decorum in the +'Wanton Shepherdess' of Fletcher's pastoral, and the pedantic and +ostentatious chastity of his Faithful one. It is a pure, healthy, +natural, and (of its kind) perfect plant, sprung out of an unluxuriant +but not ungenial soil; not hung with the beauty and fragrance of the +productions of the higher regions of Parnassus; not waited upon by +spirits and enchanted music; a dog-rose, if you will; say rather, a +rose in a cottage-garden, dabbled with the morning dew, and plucked by +an honest lover to give to his mistress. + +"Allan Ramsay's poem is not only a probable and pleasing story, +containing charming pictures, much knowledge of life, and a good deal +of quiet humour, but in some respects it may be called classical, if +by classical is meant ease, precision, and unsuperfluousness of style. +Ramsay's diction is singularly straightforward, seldom needing the +assistance of inversions; and he rarely says anything for the purpose +of 'filling up;'--two freedoms from defect the reverse of vulgar and +commonplace; nay, the reverse of a great deal of what pretends to be +fine writing, and is received as such. We confess we never tire of +dipping into it, 'on and off,' any more than into Fletcher or Milton, +or into Theocritus himself, who, for the union of something higher +with true pastoral, is unrivalled in short pieces. The Gentle Shepherd +is not a forest, nor a mountain-side, nor Arcady; but it is a field +full of daisies, with a brook in it, and a cottage 'at the sunny end;' +and this we take to be no mean thing, either in the real or the ideal +world. Our Jar of Honey may well lie for a few moments among its +heather, albeit filled with Hybla. There are bees, 'look you,' in +Habbie's How. Theocritus and Allan shake hands over a shepherd's pipe. +Take the beginning of Scene ii., Act i., both for description and +dialogue:-- + + 'A flowrie howm between twa verdant braes, + Where lasses use to wash and spread their claiths, + _A trotting burnie wimpling thro' the ground, + Its channel peebles, shining, smooth, and round_; + Here view _twa barefoot beauties_ clean and clear; + First please your eye, next gratify your ear, + While Jenny _what she wishes discommends_, + And Meg, with better sense true love defends. + + JENNY. + + Come, Meg, let's fa' to wark upon this green, + The shining day will bleech our linen clean; + The water's clear, the lift unclouded blew, + Will make them _like a lilly wet with dew_. + + PEGGY. + + Go farer up the burn to Habby's How, + Where a' the sweets of spring and summer grow; + _Between twa birks, out o'er a little lin + The water fa's, and makes a singand din; + A pool breast-deep beneath, as clear as glass, + Kisses with easy whirles the bordring grass_: + We'll end our washing while the morning's cool, + And when the day grows het, we'll to the pool, + There wash our sells--'tis healthfu' now in May, + And sweetly cauler on sae warm a day.' + +"This is an out-door picture. Here is an in-door one quite as +good--nay, better. + + '_While Peggy laces up her bosom fair, + With a blew snood Jenny binds up her hair_; + Glaud by his morning ingle takes a beek, + _The rising sun shines motty thro' the reek, + A pipe his mouth; the lasses please his een, + And now and than his joke maun interveen._' + +"We would quote, if we could--only it might not look so proper, when +isolated--the whole song at the close of Act the Second. The first +line of it alone is worth all Pope's pastorals put together, and (we +were going to add) half of those of Virgil; but we reverence too much +the great follower of the Greeks, and true lover of the country. There +is more sentiment, and equal nature, in the song at the end of Act the +Fourth. Peggy is taking leave of her lover, who is going abroad:-- + + At setting day, and rising morn, + With soul that still shall love thee, + I'll ask of Heaven thy safe return, + With all that can improve thee. + I'll visit aft the Birken Bush, + Where first thou kindly told me + Sweet tales of love, _and hid my blush, + Whilst round thou didst enfold me_. + 'To all our haunts I will repair, + By Greenwood-shaw or fountain; + Or where the summer-day I'd share + With thee upon yon mountain. + There will I tell the trees and flowers, + From thoughts unfeign'd and tender, + _By vows_ you're mine, _by love_ is yours + A heart which cannot wander.' + +"The charming and so (to speak) natural flattery of the loving +delicacy of this distinction-- + + '_By vows_ you're mine, _by love_ is yours,' + +was never surpassed by a passion the most refined. It reminds us of a +like passage in the anonymous words (Shakspeare might have written +them) of the fine old English madrigal by Ford, 'Since first I saw +your face.' Perhaps Ford himself wrote them; for the author of that +music had sentiment enough in him for anything. The passage we allude +to is-- + + 'What, I that _loved_, and you that _liked_, + Shall _we_ begin to wrangle?' + +The highest refinement of the heart, though too rare in most classes, +is luckily to be found in all; and hence it is, that certain meetings +of extremes in lovers of different ranks in life are not always to be +attributed either to a failure of taste on the one side, or unsuitable +pretensions on the other. Scotish dukes have been known to meet with +real Gentle-Shepherd heroines; and everybody knows the story of a +lowly Countess of Exeter, who was too sensitive to survive the +disclosure of the rank to which her lover had raised her."[53] + +[Footnote 53: A Jar of Honey from Mount Hybla, by L. Hunt, p. 106. +London, 1848.] + + + + +ANECDOTE OF LADY STRANGE. + + +During nearly twenty years of the latter part of Ramsay's life, "he +continued occasionally to write epistles in verse, and other short +pieces, as he had done before, for the entertainment of his private +friends. When urged by some of them to give some more of his works to +the press, he said that he was more inclined, if it were in his power, +to recall much of what he had already written, and that if half his +printed books were burnt, the other half, like the Sybil's books, +would become more valuable by it."[54] Still more deeply was this +feeling entertained by his son, who hesitated not to express it in a +manner more emphatic than respectful to his father's memory. On one +occasion, in London, and in the house of Lady Strange, widow of the +celebrated engraver of that name--a lady whose kindness to her +countrymen and predilection for Scotland will long be remembered--he +is said to have declared that if he could purchase every copy of his +father's writings, even at the cost of a thousand pounds, he would +commit them to the flames. "Indeed, sir," replied the lady, +misunderstanding his meaning, "then let me tell you that if you could, +and should do so, your labour would be lost, for I can," says she, +"repeat from memory _every word_ of the Gentle Shepherd, and were you +to consume every copy of it, I would write out that matchless poem +with my own hand, and cause it to be printed at my own charges."[55] + +[Footnote 54: Lives of Eminent Scotsmen. London, 1821.] + +[Footnote 55: We are indebted for this anecdote to the venerable +George Thomson, Esq., the correspondent of Burns and publisher of his +finest songs, now living and in the 93d year of his age, who had it +from--Macgowan, Esq., a gentleman formerly well known in this city, as +having been told him by Lady Strange herself. + + [Ramsay's Poems. Ed. 1850] + + + + +LIST OF ALLAN RAMSAY'S WORKS. + + + POEMS.--Edinburgh, 1721-28. 4to. 2 vols. First collective edition. + Many other editions. _See Preface, page_ ix. + + THE EVERGREEN, being a Collection of Scots Poems, wrote by the + Ingenious before 1600. Edinburgh, 1724. 16mo. 2 vols. Reprinted, + 1761 and 1824. + + THE TEA-TABLE MISCELLANY. Edinburgh, 1724, &c.--4 vols. 12mo. A + well-known collection of Songs, English as well as Scotish, by + several hands. Many other editions. + + TEA-TABLE MISCELLANY--circa 1726. "Music for Allan Ramsay's + collection of Scots Songs: Set by Alexander Stuart, and engraved + by R. Cooper, vol. First. Edinburgh; printed and sold by Allan + Ramsay." + + This is a small oblong volume of 156 pages, divided into six parts, + and contains the music of seventy-one Songs, selected from the + first volume of the Tea-Table Miscellany, printed in 1724. It is + very scarce, and no second volume ever appeared. + + THE GENTLE SHEPHERD, a Scots Pastoral Comedy. Edinburgh, 1725. First + edition. Numerous other editions. _See Preface, page_ x. + Included in all the collective editions of the Poems. + + _Translations._--By Cornelius Vanderstop. London, 1777. 8vo.--By W. + Ward. London, 1785. 8vo.--By Margaret Turner. London, 1790. 8vo. + + FABLES.--A Collection of thirty Fables. Edinburgh, 1730. First + collective edition. The greater part of these were included in + the quarto of 1728, and are to be found in all the more recent + editions of the Poems. + + PROVERBS.--A Collection of Scots Proverbs. Edinburgh, 1737. 12mo. + Numerous editions. + + + + +TO + +THE RIGHT HONOURABLE + +SUSANNA, + +_COUNTESS OF EGLINTOUN_.[56] + + +MADAM, + +The love of approbation, and a desire to please the best, have ever +encouraged the Poets to finish their designs with chearfulness. But, +conscious of their own inability to oppose a storm of spleen and +haughty ill-nature, it is generally an ingenious custom amongst them +to chuse some honourable shade. + +Wherefore, I beg leave to put my Pastoral under your Ladyship's +protection. If my Patroness says, the Shepherds speak as they ought, +and that there are several natural flowers that beautify the rural +wild, I shall have good reason to think myself safe from the awkward +censure of some pretending judges that condemn before examination. + +[Footnote 56: "This is the same dignified lady, to whom, at the age of +eighty-five, Johnson, and Boswell, offered their homage; whose powers +of pleasing continued so resplendent as to charm the fastidious sage +into a declaration that, in visiting such a woman, he had spent his +day well. This celebrated patroness of poets was the accomplished +daughter of the noble house of Kennedy, who having married, in 1708, +Alexander the Earl of Eglinton, by whom she had three sons, two of +whom succeeded to the earldom, and seven daughters who married into +honourable families, died on the 18th of March, 1780, at the +patriarchal age of ninety-one."--_Geo. Chalmers' Life of Ramsay, page +xxxiv., edition of 1800._] + +I am sure of vast numbers that will crowd into your Ladyship's +opinion, and think it their honour to agree in their sentiments with +the Countess of EGLINTOUN, whose penetration, superior wit, and sound +judgment, shines with an uncommon lustre, while accompanied with the +diviner charms of goodness and equality of mind. + +If it were not for offending only your Ladyship, here, Madam, I might +give the fullest liberty to my muse to delineate the finest of women, +by drawing your Ladyship's character, and be in no hazard of being +deemed a flatterer; since flattery lyes not in paying what's due to +merit, but in praises misplaced. + +Were I to begin with your Ladyship's honourable birth and alliance, +the field's ample, and presents us with numberless great and good +Patriots that have dignified the names of KENNEDY and MONTGOMERY: Be +that the care of the herauld and historian. 'Tis personal merit, and +the heavenly sweetness of the fair, that inspire the tuneful lays. +Here every Lesbia must be excepted, whose tongues give liberty to the +slaves, which their eyes had made captives. Such may be flatter'd; but +your Ladyship justly claims our admiration and profoundest respect: +for, whilst you are possest of every outward charm in the most perfect +degree, the never-fading beauties of wisdom and piety, which adorn +your Ladyship's mind, command devotion. + +"All this is very true," cries one of better sense than good nature, +"but what occasion have you to tell us the sun shines, when we have +the use of our eyes, and feel his influence?"--Very true; but I have +the liberty to use the Poet's privilege, which is, "To speak what +every body thinks." Indeed, there might be some strength in the +reflection, if the Idalian registers were of as short duration as +life: but the bard, who fondly hopes immortality, has a certain +praise-worthy pleasure in communicating to posterity the fame of +distinguished characters.----I write this last sentence with a hand +that trembles between hope and fear: But if I shall prove so happy as +to please your Ladyship in the following attempt, then all my doubts +shall vanish like a morning vapour:--I shall hope to be classed with +Tasso and Guarini, and sing with Ovid, + + "If 'tis allowed to Poets to divine, + One half of round eternity is mine." + + MADAM, + + Your Ladyship's most obedient, + + and most devoted servant, + + ALLAN RAMSAY. + + EDINBURGH, _June_, 1725. + + + + +TO THE + +COUNTESS OF EGLINTOUN, + +WITH THE FOLLOWING PASTORAL. + + + ACCEPT, O EGLINTOUN! the rural lays, + That, bound to thee, thy duteous Poet pays! + The muse, that oft has rais'd her tuneful strains, + A frequent guest on SCOTIA'S blissful plains, + That oft has sung, her list'ning youth to move, + The charms of beauty and the force of love, + Once more resumes the still successful lay, + Delighted, thro' the verdant meads to stray. + O! come, invok'd, and pleas'd, with Her repair, + To breathe the balmy sweets of purer air, + In the cool evening negligently laid, + Or near the stream, or in the rural shade, + Propitious hear, and, as thou hear'st, approve + The GENTLE SHEPHERD'S tender tale of love. + Instructed from these scenes, what glowing fires + Inflame the breast that real love inspires! + The fair shall read of ardours, sighs, and tears, + All that a lover hopes, and all he fears: + Hence, too, what passions in his bosom rise! + What dawning gladness sparkles in his eyes! + When first the fair one, piteous of his fate, + Cur'd of her scorn, and vanquish'd of her hate, + With willing mind, is bounteous to relent, + And blushing, beauteous, smiles the kind consent! + Love's passion here in each extreme is shown, + In Charlot's smile, or in Maria's frown. + With words like these, that fail'd not to engage, + Love courted beauty in a golden age, + Pure and untaught, such nature first inspir'd, + Ere yet the fair affected phrase desir'd. + His secret thoughts were undisguis'd with art, + His words ne'er knew to differ from his heart: + He speaks his love so artless and sincere, + As thy Eliza might be pleas'd to hear. + Heaven only to the Rural State bestows + Conquest o'er life, and freedom from its woes: + Secure alike from Envy and from Care; + Nor rais'd by Hope, nor yet depress'd by Fear: + Nor Want's lean hand its happiness constrains, + Nor Riches torture with ill-gotten gains. + No secret Guilt its stedfast peace destroys, + No wild Ambition interrupts its joys. + Blest still to spend the hours that Heav'n has lent + In humble goodness, and in calm content: + Serenely gentle, as the thoughts that roll, + Sinless and pure, in fair Humeia's soul. + But now the Rural State these joys has lost; + Even swains no more that innocence can boast: + Love speaks no more what beauty may believe, + Prone to betray, and practis'd to deceive. + Now happiness forsakes her blest retreat, + The peaceful dwellings where she fix'd her seat; + The pleasing fields she wont of old to grace, + Companion to an upright sober race; + When on the sunny hill, or verdant plain, + Free and familiar with the sons of men, + To crown the pleasures of the blameless feast, + She uninvited came a welcome guest; + Ere yet an age, grown rich in impious arts, + Brib'd from their innocence incautious hearts: + Then grudging hate, and sinful pride succeed, + Cruel revenge, and false unrighteous deed; + Then dow'rless beauty lost the power to move; + The rust of lucre stain'd the gold of love: + Bounteous no more, and hospitably good, + The genial hearth first blush'd with stranger's blood: + The friend no more upon the friend relies, + And semblant falsehood puts on truth's disguise: + The peaceful houshold fill'd with dire alarms; + The ravish'd virgin mourns her slighted charms: + The voice of impious mirth is heard around; + In guilt they feast, in guilt the bowl is crowned: + Unpunish'd violence lords it o'er the plains, + And Happiness forsakes the guilty swains. + Oh Happiness! from human search retir'd, + Where art thou to be found, by all desir'd? + Nun, sober and devout! why art thou fled, + To hide in shades thy meek contented head? + Virgin of aspect mild! ah! why, unkind, + Fly'st thou, displeas'd, the commerce of mankind? + O! teach our steps to find the secret cell, + Where, with thy sire, Content, thou lov'st to dwell. + Or say, dost thou, a duteous handmaid, wait + Familiar at the chambers of the great? + Dost thou pursue the voice of them that call + To noisy revel, and to midnight ball? + O'er the full banquet when we feast our soul, + Dost thou inspire the mirth, or mix the bowl? + Or, with th' industrious planter dost thou talk, + Conversing freely in an evening walk? + Say, does the miser e'er thy face behold, + Watchful and studious of the treasur'd gold? + Seeks Knowledge, not in vain, thy much lov'd pow'r, + Still musing silent at the morning hour? + May we thy presence hope in war's alarms, + The Statesman's wisdom, or the Fair-one's charms? + In vain our flatt'ring hopes our steps beguile, + The flying good eludes the searcher's toil: + In vain we seek the city or the cell, + Alone with Virtue knows the Pow'r to dwell. + Nor need mankind despair these joys to know, + The gift themselves may on themselves bestow. + Soon, soon we might the precious blessing boast, + But many passions must the blessing cost; + Infernal Malice, inly pining Hate, + And Envy, grieving at another's state: + Revenge no more must in our hearts remain, + Or burning Lust, or Avarice of gain. + When these are in the human bosom nurst, + Can Peace reside in dwellings so accurst? + Unlike, O EGLINTOUN! thy happy breast, + Calm and serene enjoys the heavenly guest; + From the tumultuous rule of passions free'd, + Pure in thy thought, and spotless in thy deed: + In virtues rich, in goodness unconfin'd, + Thou shin'st a fair example to thy kind; + Sincere and equal to thy neighbour's fame, + How swift to praise, but how averse to blame! + Bold in thy presence bashful Sense appears, + And backward Merit loses all its fears. + Supremely blest by Heav'n, Heav'n's richest grace, + Confest is thine, an early blooming race; + Whose pleasing smiles shall guardian Wisdom arm, + Divine Instruction! taught of thee to charm: + What transports shall they to thy soul impart, + (The conscious transports of a parent's heart) + When thou behold'st them of each grace possest, + And sighing youths imploring to be blest! + After thy image form'd, with charms like thine, + Or in the visit, or the dance to shine: + Thrice happy! who succeed their mother's praise, + The lovely EGLINTOUNS of future days. + Meanwhile peruse the following tender scenes, + And listen to thy native Poet's strains: + In ancient garb the home-bred muse appears, + The garb our Muses wore in former years: + As in a glass reflected, here behold + How smiling goodness look'd in days of old: + Nor blush to read where beauty's praise is shown, + And virtuous love, the likeness of thy own; + While, 'midst the various gifts that gracious Heaven, + Bounteous to thee, with righteous hand has given, + Let this, O EGLINTOUN! delight thee most, + T' enjoy that Innocence the world has lost. + + W. H. + + + + +TO + +JOSIAH BURCHET, ESQ., + +SECRETARY OF THE ADMIRALTY, + +WITH THE FIRST SCENE OF THE GENTLE SHEPHERD. + + + The nipping frosts, the driving snaw, + Are o'er the hills and far awa'; + Bauld Boreas sleeps, the Zephyres blaw, + And ilka thing + Sae dainty, youthfou, gay, and bra', + Invites to sing. + + Then let's begin by creek of day, + Kind muse skiff to the bent away, + To try anes mair the landart lay, + With a' thy speed, + Since BURCHET awns that thou can play + Upon the reed. + + Anes, anes again beneath some tree + Exert thy skill and nat'ral glee, + To him wha has sae courteously, + To weaker sight, + Set these[57] rude sonnets sung by me + In truest light. + +[Footnote 57: _To weaker sight, set these_, &c.] Having done me the +honour of turning some of my pastoral poems into English, justly and +elegantly.] + + In truest light may a' that's fine + In his fair character still shine, + Sma' need he has of sangs like mine + To beet his name; + For frae the north to southern line, + Wide gangs his fame. + + His fame, which ever shall abide, + Whilst hist'ries tell of tyrants pride, + Wha vainly strave upon the tide + T' invade these lands, + Where Britain's royal fleet doth ride, + Which still commands. + + These doughty actions frae his pen,[58] + Our age, and these to come, shall ken, + How stubborn navies did contend + Upon the waves, + How free-born Britons faught like men, + Their faes like slaves. + + [Footnote 58: _Frae his pen._] His valuable Naval History.] + + Sae far inscribing, Sir, to you, + This country sang, my fancy flew, + Keen your just merit to pursue; + But ah! I fear, + In giving praises that are due, + I grate your ear. + + Yet tent a poet's zealous pray'r; + May powers aboon, with kindly care, + Grant you a lang and muckle skair + Of a' that's good, + Till unto langest life and mair + You've healthfu' stood. + + May never care your blessings sowr, + And may the muses, ilka hour, + Improve your mind, and haunt your bow'r; + I'm but a callan: + Yet may I please you, while I'm your + Devoted _Allan_. + + + + +THE PERSONS. + + +MEN. + + SIR WILLIAM WORTHY. + PATIE, the Gentle Shepherd, in love with Peggy. + ROGER, a rich young shepherd, in love with Jenny. + SYMON, } two old shepherds, tenants to Sir William. + GLAUD, } + BAULDY, a hynd engaged with Neps. + +WOMEN. + + PEGGY, thought to be Glaud's niece. + JENNY, Glaud's only daughter. + MAUSE, an old woman, supposed to be a witch. + ELSPA, Symon's wife. + MADGE, Glaud's sister. + + +SCENE.--A Shepherd's Village, and Fields some few miles from Edinburgh. + +_Time of Action within twenty hours._ + + First act begins at eight in the morning. + Second act begins at eleven in the forenoon. + Third act begins at four in the afternoon. + Fourth act begins at nine o'clock at night. + Fifth act begins by day light next morning. + + + + +THE + +GENTLE SHEPHERD. + + + + +ACT FIRST. + + +_SCENE I._ + + Beneath the south-side of a craigy beild, + Where crystal springs the halesome waters yield, + Twa youthful shepherds on the gowans lay, + Tenting their flocks ae bonny morn of May. + Poor Roger granes, till hollow echoes ring; + But blyther Patie likes to laugh and sing. + +PATIE _and_ ROGER. + + +SANG I.--The wawking of the fauld. + +PATIE sings. + + _My_ Peggy _is a young thing, + Just enter'd in her teens, + Fair as the day, and sweet as May, + Fair as the day, and always gay. + My_ Peggy _is a young thing, + And I'm not very auld; + Yet well I like to meet her, at + The wawking of the fauld._ + + _My_ Peggy _speaks sae sweetly, + Whene'er we meet alane, + I wish nae mair to lay my care, + I wish nae mair of a' that's rare. + My_ Peggy _speaks sae sweetly, + To a' the lave I'm cauld; + But she gars a' my spirits glow + At wawking of the fauld._ + + _My_ Peggy _smiles sae kindly, + Whene'er I whisper love, + That I look down on a' the town, + That I look down upon a crown. + My_ Peggy _smiles sae kindly, + It makes me blyth and bauld; + And naething gi'es me sic delight, + As wawking of the fauld._ + + _My_ Peggy _sings sae saftly, + When on my pipe I play; + By a' the rest it is confest, + By a' the rest that she sings best. + My_ Peggy _sings sae saftly, + And in her sangs are tauld, + With innocence, the wale of sense, + At wawking of the fauld._ + + PATIE. + + This sunny morning, Roger, chears my blood, + And puts all nature in a jovial mood. + How heartsome 'tis to see the rising plants! + To hear the birds chirm o'er their pleasing rants! + How halesome 'tis to snuff the cauler air, + And all the sweets it bears, when void of care! + What ails thee, Roger, then? what gars thee grane? + Tell me the cause of thy ill-season'd pain. + + _Rog._ I'm born, O Patie! to a thrawart fate; + I'm born to strive with hardships sad and great. + Tempests may cease to jaw the rowan flood, + Corbies and tods to grein for lambkins blood; + But I, opprest with never ending grief, + Maun ay despair of lighting on relief. + + _Pat._ The bees shall loath the flower, and quit the hive, + The saughs on boggie-ground shall cease to thrive, + Ere scornful queans, or loss of warldly gear, + Shall spill my rest, or ever force a tear. + + _Rog._ Sae might I say; but 'tis no easy done + By ane whase saul is sadly out of tune. + You have sae saft a voice, and slid a tongue, + You are the darling of baith auld and young. + If I but ettle at a sang, or speak, + They dit their lugs, syne up their leglens cleek; + And jeer me hameward frae the loan or bught, + While I'm confus'd with mony a vexing thought; + Yet I am tall, and as well built as thee, + Nor mair unlikely to a lass's e'e. + For ilka sheep ye have, I'll number ten, + And should, as ane may think, come farer ben. + + _Pat._ But ablins, nibour, ye have not a heart, + And downa eithly wi' your cunzie part. + If that be true, what signifies your gear? + A mind that's scrimpit never wants some care. + + _Rog._ My byar tumbled, nine braw nowt were smoor'd, + Three elf-shot were; yet I these ills endur'd: + In winter last, my cares were very sma', + Tho' scores of wathers perish'd in the snaw. + + _Pat._ Were your bein rooms as thinly stock'd as mine, + Less you wad lose, and less you wad repine. + He that has just enough, can soundly sleep; + The o'ercome only fashes fowk to keep. + + _Rog._ May plenty flow upon thee for a cross, + That thou may'st thole the pangs of mony a loss. + O may'st thou doat on some fair paughty wench, + That ne'er will lout thy lowan drouth to quench, + 'Till bris'd beneath the burden, thou cry dool, + And awn that ane may fret that is nae fool. + + _Pat._ Sax good fat lambs I said them ilka clute + At the West-Port, and bought a winsome flute, + Of plum-tree made, with iv'ry virles round; + A dainty whistle, with a pleasant sound: + I'll be mair canty wi't, and ne'er cry dool, + Than you with all your cash, ye dowie fool! + + _Rog._ Na, Patie, na! I'm nae sic churlish beast, + Some other thing lyes heavier at my breast: + I dream'd a dreary dream this hinder night, + That gars my flesh a' creep yet with the fright. + + _Pat._ Now, to a friend, how silly's this pretence, + To ane wha you and a' your secrets kens: + Daft are your dreams, as daftly wad ye hide + Your well seen love, and dorty Jenny's pride. + Take courage, Roger, me your sorrows tell, + And safely think nane kens them but your sell. + + _Rog._ Indeed now, Patie, ye have guess'd o'er true, + And there is naething I'll keep up frae you: + Me dorty Jenny looks upon a-squint; + To speak but till her I dare hardly mint: + In ilka place she jeers me air and late, + And gars me look bumbaz'd, and unko blate: + But yesterday I met her 'yont a know, + She fled as frae a shellycoat or kow. + She Bauldy loes, Bauldy that drives the car; + But gecks at me, and says I smell of tar. + + _Pat._ But Bauldy loes not her, right well I wat; + He sighs for Neps--sae that may stand for that. + + _Rog._ I wish I cou'dna loo her--but in vain, + I still maun doat, and thole her proud disdain. + My Bawty is a cur I dearly like, + Even while he fawn'd, she strak the poor dumb tyke: + If I had fill'd a nook within her breast, + She wad have shawn mair kindness to my beast. + When I begin to tune my stock and horn, + With a' her face she shaws a caulrife scorn. + Last night I play'd, ye never heard sic spite, + _O'er Bogie_ was the spring, and her delyte; + Yet tauntingly she at her cousin speer'd, + Gif she could tell what tune I play'd, and sneer'd. + Flocks, wander where ye like, I dinna care, + I'll break my reed, and never whistle mair. + + _Pat._ E'en do sae, Roger, wha can help misluck, + Saebeins she be sic a thrawn-gabet chuck? + Yonder's a craig, since ye have tint all hope, + Gae till't your ways, and take the lover's lowp. + + _Rog._ I needna mak' sic speed my blood to spill, + I'll warrant death come soon enough a will. + + _Pat._ Daft gowk! leave off that silly whindging way; + Seem careless, there's my hand ye'll win the day. + Hear how I serv'd my lass I love as well + As ye do Jenny, and with heart as leel: + Last morning I was gay and early out, + Upon a dike I lean'd glowring about, + I saw my Meg come linkan o'er the lee; + I saw my Meg, but Meggy saw na me: + For yet the sun was wading thro' the mist, + And she was closs upon me ere she wist; + Her coats were kiltit, and did sweetly shaw + Her straight bare legs that whiter were than snaw; + Her cockernony snooded up fou sleek, + Her haffet-locks hang waving on her cheek; + Her cheek sae ruddy, and her een sae clear; + And O! her mouth's like ony hinny pear. + Neat, neat she was, in bustine waste-coat clean, + As she came skiffing o'er the dewy green. + Blythsome, I cry'd, My bonny Meg, come here, + I ferly wherefore ye're sae soon asteer; + But I can guess, ye'er gawn to gather dew: + She scour'd awa, and said, _What's that to you?_ + Then fare ye well, Meg Dorts, and e'en's ye like, + I careless cry'd, and lap in o'er the dike. + I trow, when that she saw, within a crack, + She came with a right thievless errand back; + Misca'd me first,--then bade me hound my dog + To wear up three waff ews stray'd on the bog. + I leugh, and sae did she; then with great haste + I clasp'd my arms about her neck and waste, + About her yielding waste, and took a fouth + Of sweetest kisses frae her glowing mouth. + While hard and fast I held her in my grips, + My very saul came lowping to my lips. + Sair, sair she flet wi' me 'tween ilka smack; + But well I kent she meant nae as she spake. + Dear Roger, when your jo puts on her gloom, + Do ye sae too, and never fash your thumb. + Seem to forsake her, soon she'll change her mood; + Gae woo anither, and she'll gang clean wood. + + +SANG II.--_Tune_, Fy gar rub her o'er wi' strae. + + _Dear_ Roger, _if your_ Jenny _geck, + And answer kindness with a slight, + Seem unconcern'd at her neglect, + For women in a man delight; + But them despise who're soon defeat, + And with a simple face give way + To a repulse;--then be not blate, + Push boldly on, and win the day. + When maidens, innocently young, + Say aften what they never mean, + Ne'er mind their pretty lying tongue, + But tent the language of their een: + If these agree, and she persist + To answer all your love with hate, + Seek elsewhere to be better blest, + And let her sigh when 'tis too late._ + + + _Rog._ Kind Patie, now fair fa' your honest heart, + Ye're ay sae cadgy, and have sic an art + To hearten ane: For now as clean's a leek, + Ye've cherish'd me since ye began to speak. + Sae for your pains, I'll make ye a propine. + My mother, (rest her saul!) she made it fine, + A tartan plaid, spun of good hawslock woo, + Scarlet and green the sets, the borders blew, + With spraings like gowd and siller, cross'd with black; + I never had it yet upon my back. + Well are ye wordy o't, wha have sae kind + Red up my revel'd doubts, and clear'd my mind. + + _Pat._ Well, hald ye there;--and since ye've frankly made + A present to me of your braw new plaid, + My flute's be your's, and she too that's sae nice + Shall come a will, gif ye'll tak my advice. + + _Rog._ As ye advise, I'll promise to observ't; + But ye maun keep the flute, ye best deserv't. + Now tak it out, and gie's a bonny spring; + For I'm in tift to hear you play and sing. + + _Pat._ But first we'll tak a turn up to the height, + And see gif all our flocks be feeding right. + Be that time, bannocks, and a shave of cheese, + Will make a breakfast that a laird might please; + Might please the daintiest gabs, were they sae wise, + To season meat with health instead of spice. + When we have tane the grace-drink at this well, + I'll whistle fine, and sing t'ye like mysell. [_Exeunt._ + + + +_ACT I.--SCENE II._ + + A flowrie howm between twa verdant braes, + Where lasses use to wash and spread their claiths, + A trotting burnie wimpling thro' the ground, + Its channel peebles, shining, smooth and round; + Here view twa barefoot beauties clean and clear; + First please your eye, next gratify your ear, + While Jenny what she wishes discommends, + And Meg with better sense true love defends. + + PEGGY _and_ JENNY. + + _Jenny._ + + Come, Meg, let's fa' to wark upon this green, + The shining day will bleech our linen clean; + The water's clear, the lift unclouded blew, + Will make them like a lilly wet with dew. + + _Peg._ Go farer up the burn to Habby's How, + Where a' the sweets of spring and summer grow; + Between twa birks, out o'er a little lin + The water fa's, and makes a sing and din; + A pool breast-deep beneath, as clear as glass, + Kisses with easy whirles the bordring grass: + We'll end our washing while the morning's cool, + And when the day grows het, we'll to the pool, + There wash our sells--'tis healthfu' now in May, + And sweetly cauler on sae warm a day. + + _Jen._ Daft lassie, when we're naked, what'll ye say, + Gif our twa herds come brattling down the brae, + And see us sae? that jeering fallow Pate + Wad taunting say, Haith, lasses, ye're no blate. + + _Peg._ We're far frae ony road, and out of sight; + The lads they're feeding far beyont the height: + But tell me now, dear Jenny, (we're our lane,) + What gars ye plague your wooer with disdain? + The nibours a' tent this as well as I, + That Roger loes you, yet ye carna by. + What ails ye at him? Trowth, between us twa, + He's wordy you the best day e'er ye saw. + + _Jen._ I dinna like him, Peggy, there's an end; + A herd mair sheepish yet I never kend. + He kaims his hair indeed, and gaes right snug, + With ribbon-knots at his blew bonnet-lug; + Whilk pensily he wears a thought a-jee, + And spreads his garters die'd beneath his knee. + He falds his owrlay down his breast with care; + And few gang trigger to the kirk or fair. + For a' that, he can neither sing nor say, + Except, _How d'ye?_--or, _There's a bonny day_. + + _Peg._ Ye dash the lad with constant slighting pride, + Hatred for love is unco sair to bide: + But ye'll repent ye, if his love grows cauld. + What like's a dorty maiden when she's auld? + Like dawted we'an, that tarrows at its meat, + That for some feckless whim will orp and greet. + The lave laugh at it, till the dinner's past, } + And syne the fool thing is oblig'd to fast, } + Or scart anither's leavings at the last. } + Fy, Jenny, think, and dinna sit your time. + + +SANG III.--_Tune_, Polwart on the Green. + + _The dorty will repent, + If lover's heart grow cauld,_ + _And nane her smiles will tent, + Soon as her face looks auld._ + + _The dawted bairn thus takes the pet, + Nor eats, tho' hunger crave, + Whimpers and tarrows at its meat, + And's laught at by the lave._ + + _They jest it till the dinner's past; + Thus by itself abus'd, + The fool thing is oblig'd to fast, + Or eat what they've refus'd._ + + _Jen._ I never thought a single life a crime. + + _Peg._ Nor I--but love in whispers lets us ken, + That men were made for us, and we for men. + + _Jen._ If Roger is my jo, he kens himsell; + For sic a tale I never heard him tell. + He glowrs and sighs, and I can guess the cause, + But wha's oblig'd to spell his _hums_ and _haws_? + Whene'er he likes to tell his mind mair plain, + I'se tell him frankly ne'er to do't again. + They're fools that slavery like, and may be free: + The cheils may a' knit up themsells for me. + + _Peg._ Be doing your ways; for me, I have a mind + To be as yielding as my Patie's kind. + + _Jen._ Heh! lass, how can you loo that rattle-skull, + A very deil that ay maun hae his will? + We'll soon hear tell what a poor fighting life + You twa will lead, sae soon's ye're man and wife. + + _Peg._ I'll rin the risk; nor have I ony fear, + But rather think ilk langsome day a year, + Till I with pleasure mount my bridal-bed, + Where on my Patie's breast I'll lean my head. + There we may kiss as lang as kissing's good, + And what we do, there's nane dare call it rude. + He's get his will: Why no? 'Tis good my part + To give him that; and he'll give me his heart. + + _Jen._ He may indeed, for ten or fifteen days, + Mak meikle o' ye, with an unco fraise, + And daut ye baith afore fowk and your lane: + But soon as his newfangleness is gane, + He'll look upon you as his tether-stake, + And think he's tint his freedom for your sake. + Instead then of lang days of sweet delite, + Ae day be dumb, and a' the neist he'll flite: + And may be, in his barlickhoods, ne'er stick + To lend his loving wife a loundering lick. + + +SANG IV.--_Tune_, O dear mother, what shall I do? + + _O dear_ Peggy, _love's beguiling, + We ought not to trust his smiling; + Better far to do as I do, + Lest a harder luck betyde you. + Lasses, when their fancy's carry'd, + Think of nought but to be marry'd: + Running to a life destroys + Heartsome, free, and youthfu' joys._ + + _Peg._ Sic coarse-spun thoughts as thae want pith to move + My settl'd mind, I'm o'er far gane in love. + Patie to me is dearer than my breath; + But want of him I dread nae other skaith. + There's nane of a' the herds that tread the green + Has sic a smile, or sic twa glancing een. + And then he speaks with sic a taking art, + His words they thirle like musick thro' my heart. + How blythly can he sport, and gently rave, + And jest at feckless fears that fright the lave? + Ilk day that he's alane upon the hill, + He reads fell books that teach him meikle skill. + He is--but what need I say that or this? + I'd spend a month to tell you what he is! + In a' he says or does, there's sic a gait, + The rest seem coofs compar'd with my dear Pate. + His better sense will lang his love secure: + Ill-nature heffs in sauls are weak and poor. + + +SANG V.--_Tune_, How can I be sad on my wedding-day? + + _How shall I be sad, when a husband I hae, + That has better sense than ony of thae + Sour weak silly fallows, that study like fools, + To sink their ain joy, and make their wives snools. + The man who is prudent ne'er lightlies his wife, + Or with dull reproaches encourages strife; + He praises her virtues, and ne'er will abuse + Her for a small failing, but find an excuse._ + + _Jen._ Hey! bonny lass of Branksome, or't be lang, + Your witty Pate will put you in a sang. + O! 'tis a pleasant thing to be a bride; + Syne whindging getts about your ingle-side, + Yelping for this or that with fasheous din, + To mak them brats then ye maun toil and spin. + Ae we'an fa's sick, ane scads it sell wi' broe, + Ane breaks his shin, anither tynes his shoe; + The Deel gaes o'er John Wobster, hame grows hell, + When Pate misca's ye war than tongue can tell. + + _Peg._ Yes, 'tis a heartsome thing to be a wife, + When round the ingle-edge young sprouts are rife. + Gif I'm sae happy, I shall have delight, + To hear their little plaints, and keep them right. + Wow! Jenny, can there greater pleasure be, + Than see sic wee tots toolying at your knee; + When a' they ettle at--their greatest wish, + Is to be made of, and obtain a kiss? + Can there be toil in tenting day and night, + The like of them, when love makes care delight? + + _Jen._ But poortith, Peggy, is the warst of a', + Gif o'er your heads ill chance should beggary draw: + But little love, or canty chear can come, + Frae duddy doublets, and a pantry toom. + Your nowt may die--the spate may bear away + Frae aff the howms your dainty rucks of hay.-- + The thick blawn wreaths of snaw, or blashy thows, + May smoor your wathers, and may rot your ews. + A dyvour buys your butter, woo and cheese, + But, or the day of payment, breaks and flees. + With glooman brow the laird seeks in his rent: + 'Tis no to gi'e; your merchant's to the bent; + His Honour mauna want, he poinds your gear: + Syne, driven frae house and hald, where will ye steer? + Dear Meg, be wise, and live a single life; + Troth 'tis nae mows to be a marry'd wife. + + _Peg._ May sic ill luck befa' that silly she, + Wha has sic fears; for that was never me. + Let fowk bode well, and strive to do their best; + Nae mair's requir'd, let Heaven make out the rest. + I've heard my honest uncle aften say, + That lads shou'd a' for wives that's vertuous pray: + For the maist thrifty man you'd never get + A well stor'd room, unless his wife wad let: + Wherefore nocht shall be wanting on my part, + To gather wealth to raise my Shepherd's heart. + What e'er he wins, I'll guide with canny care, } + And win the vogue, at market, tron, or fair, } + For halesome, clean, cheap and sufficient ware. } + A flock of lambs, cheese, butter, and some woo, + Shall first be sald, to pay the laird his due; + Syne a' behind's our ain.--Thus, without fear, + With love and rowth we thro' the warld will steer: + And when my Pate in bairns and gear grows rife, + He'll bless the day he gat me for his wife. + + _Jen._ But what if some young giglit on the green, + With dimpled cheeks, and twa bewitching een, + Shou'd gar your Patie think his haff-worn Meg, + And her kend kisses, hardly worth a feg? + + _Peg._ Nae mair of that:--Dear Jenny, to be free, + There's some men constanter in love than we: + Nor is the ferly great, when nature kind + Has blest them with solidity of mind. + They'll reason calmly, and with kindness smile, + When our short passions wad our peace beguile. + Sae, whensoe'er they slight their maiks at hame, + 'Tis ten to ane the wives are maist to blame. + Then I'll employ with pleasure a' my art + To keep him chearfu', and secure his heart. + At even, when he comes weary frae the hill, + I'll have a' things made ready to his will. + In winter, when he toils thro' wind and rain, + A bleezing ingle, and a clean hearth-stane. + And soon as he flings by his plaid and staff, + The seething pot's be ready to take aff. + Clean hagabag I'll spread upon his board, + And serve him with the best we can afford. + Good humour and white bigonets shall be + Guards to my face, to keep his love for me. + + _Jen._ A dish of married love right soon grows cauld, + And dosens down to nane, as fowk grow auld. + + _Peg._ But we'll grow auld togither, and ne'er find + The loss of youth, when love grows on the mind. + Bairns, and their bairns, make sure a firmer ty, + Than ought in love the like of us can spy. + See yon twa elms that grow up side by side, + Suppose them, some years syne, bridegroom and bride; + Nearer and nearer ilka year they've prest, } + 'Till wide their spreading branches are increast, } + And in their mixture now are fully blest. } + This shields the other frae the eastlin blast, + That in return defends it frae the west. + Sic as stand single,--a state sae lik'd by you! + Beneath ilk storm, frae every airth, maun bow. + + _Jen._ I've done,--I yield, dear lassie, I maun yield, + Your better sense has fairly won the field, + With the assistance of a little fae + Lyes darn'd within my breast this mony a day. + + + +SANG VI.--_Tune_, Nansy's to the green-wood gane. + + _I yield, dear lassie, you have won, + And there is nae denying, + That sure as light flows frae the sun, + Frae love proceeds complying. + For a' that we can do or say + 'Gainst love, nae thinker heeds us, + They ken our bosoms lodge the fae + That by the heartstrings leads us._ + + _Peg._ Alake! poor prisoner! Jenny, that's no fair, + That ye'll no let the wee thing tak the air: + Haste, let him out, we'll tent as well's we can, + Gif he be Bauldy's or poor Roger's man. + + _Jen._ Anither time's as good,--for see the sun + Is right far up, and we're no yet begun + To freath the graith;--if canker'd Madge our aunt + Come up the burn, she'll gie's a wicked rant: + But when we've done, I'll tell ye a' my mind; + For this seems true,--nae lass can be unkind. + + [_Exeunt._ + + +_End of the_ FIRST ACT. + + + + +ACT SECOND. + + +_SCENE I._ + + A snug thack-house, before the door a green; + Hens on the midding, ducks in dubs are seen. + On this side stands a barn, on that a byre; + A peat-stack joins, and forms a rural square. + The house is Gland's;--there you may see him lean, + And to his divot-seat invite his frien'. + + GLAUD _and_ SYMON. + + _Glaud._ + + Good-morrow, nibour Symon,--come sit down, + And gie's your cracks.--What's a' the news in town? + They tell me ye was in the ither day, + And sald your Crummock and her bassend quey. + I'll warrant ye've coft a pund of cut and dry; + Lug out your box, and gie's a pipe to try. + + _Sym._ With a' my heart;--and tent me now, auld boy, + I've gather'd news will kittle your mind with joy. + I cou'dna rest till I came o'er the burn, + To tell ye things have taken sic a turn, + Will gar our vile oppressors stend like flaes, + And skulk in hidlings on the hether braes. + + _Glaud._.Fy, blaw! Ah! Symie, ratling chiels ne'er stand + To cleck and spread the grossest lies aff hand, + Whilk soon flies round like will-fire far and near: + But loose your poke, be't true or fause, let's hear. + + _Sym._ Seeing's believing, Glaud, and I have seen + Hab, that abroad has with our Master been; + Our brave good Master, wha right wisely fled, + And left a fair estate, to save his head: + Because ye ken fou well he bravely chose + To stand his liege's friend with great Montrose. + Now Cromwell's gane to Nick; and ane ca'd Monk + Has play'd the Rumple a right slee begunk, + Restor'd King Charles, and ilka thing's in tune: + And Habby says, we'll see Sir William soon. + + _Glaud._ That makes me blyth indeed;--but dinna flaw: + Tell o'er your news again! and swear till't a'; + And saw ye Hab! and what did Halbert say? + They have been e'en a dreary time away. + Now God be thanked that our laird's come hame; + And his estate, say, can he eithly claim? + + _Sym._ They that hag-raid us till our guts did grane, } + Like greedy bairs, dare nae mair do't again; } + And good Sir William sall enjoy his ain. } + + +SANG VII.--_Tune_, Cauld kail in Aberdeen. + + _Cauld be the rebels cast, + Oppressors base and bloody, + I hope we'll see them at the last + Strung a' up in a woody. + Blest be he of worth and sense, + And ever high his station, + That bravely stands in the defence + Of conscience, king and nation._ + + _Glaud._ And may he lang; for never did he stent + Us in our thriving, with a racket rent: + Nor grumbl'd, if ane grew rich; or shor'd to raise + Our mailens, when we pat on Sunday's claiths. + + _Sym._ Nor wad he lang, with senseless saucy air, + Allow our lyart noddles to be bare. + "Put on your bonnet, Symon;--tak a seat.-- + How's all at hame?--How's Elspa? How does Kate? + How sells black cattle?--What gi'es woo this year?" + And sic like kindly questions wad he speer. + + +SANG VIII.--_Tune_, Mucking of Geordy's byar. + + _The laird wha in riches and honour + Wad thrive, should be kindly and free, + Nor rack the poor tenants wha labour + To rise aboon poverty: + Else like the pack-horse that's unfother'd, + And burden'd, will tumble down faint: + Thus virtue by hardship is smother'd, + And rackers aft tine their rent._ + + _Glaud._ Then wad he gar his Butler bring bedeen + The nappy bottle ben, and glasses clean, + Whilk in our breast rais'd sic a blythsome flame, + As gart me mony a time gae dancing hame. + My heart's e'en rais'd! Dear nibour, will ye stay, + And tak your dinner here with me the day? + We'll send for Elspath too--and upo' sight, + I'll whistle Pate and Roger frae the height: + I'll yoke my sled, and send to the neist town, + And bring a draught of ale baith stout and brown, + And gar our cottars a', man, wife and we'an, + Drink till they tine the gate to stand their lane. + + _Sym._ I wad na bauk my friend his blyth design, + Gif that it hadna first of a' been mine: + For heer-yestreen I brew'd a bow of maut, + Yestreen I slew twa wathers prime and fat; + A firlot of good cakes my Elspa beuk, + And a large ham hings reesting in the nook: + I saw my sell, or I came o'er the loan, + Our meikle pot that scads the whey put on, + A mutton-bouk to boil:--And ane we'll roast; + And on the haggies Elspa spares nae cost; + Sma' are they shorn, and she can mix fu' nice + The gusty ingans with a curn of spice: + Fat are the puddings,--heads and feet well sung. + And we've invited nibours auld and young, + To pass this afternoon with glee and game, + And drink our Master's health and welcome-hame. + Ye mauna then refuse to join the rest, + Since ye're my nearest friend that I like best. + Bring wi'ye a' your family, and then, + When e'er you please, I'll rant wi' you again. + + _Glaud._ Spoke like ye'r sell, auld-birky, never fear + But at your banquet I shall first appear. + Faith we shall bend the bicker, and look bauld, + Till we forget that we are fail'd or auld. + Auld, said I!--troth I'm younger be a score, + With your good news, than what I was before. + I'll dance or e'en! Hey! Madge, come forth: D'ye hear? + +_Enter_ MADGE. + + _Mad._ The man's gane gyte! Dear Symon, welcome here. + What wad ye, Glaud, with a' this haste and din? + Ye never let a body sit to spin. + + _Glaud._ Spin! snuff--Gae break your wheel, and burn your tow, + And set the meiklest peat-stack in a low; + Syne dance about the bane-fire till ye die, + Since now again we'll soon Sir William see. + + _Mad._ Blyth news indeed! And wha was't tald you o't? + + _Glaud._ What's that to you?--Gae get my Sunday's coat; + Wale out the whitest of my bobbit bands, + My white-skin hose, and mittons for my hands; + Then frae their washing, cry the bairns in haste, + And make yoursells as trig, head, feet, and waist, + As ye were a' to get young lads or e'en; + For we're gaun o'er to dine with Sym bedeen. + + _Sym._ Do, honest Madge:--And, Glaud, I'll o'er the gate, + And see that a' be done as I wad hae't. [_Exeunt._ + + + _ACT II.--SCENE II._ + + The open field.--A cottage in a glen, + An auld wife spinning at the sunny end.-- + At a small distance, by a blasted tree, + With falded arms, and haff rais'd look, ye see + BAULDY his lane. + + BAULDY. + + What's this!--I canna bear't! 'tis war than hell, + To be sae burnt with love, yet darna tell! + O Peggy, sweeter than the dawning day, + Sweeter than gowany glens, or new mawn hay; + Blyther than lambs that frisk out o'er the knows; + Straighter than ought that in the forest grows: + Her een the clearest blob of dew outshines; + The lilly in her breast its beauty tines. + Her legs, her arms, her cheeks, her mouth, her een, + Will be my dead, that will be shortly seen! + For Pate loes her,--waes me! and she loes Pate; + And I with Neps, by some unlucky fate, + Made a daft vow:--O but ane be a beast + That makes rash aiths till he's afore the priest! + I dare na speak my mind, else a' the three, + But doubt, wad prove ilk ane my enemy. + 'Tis sair to thole;--I'll try some witchcraft art, + To break with ane, and win the other's heart. + Here Mausy lives, a witch, that for sma' price + Can cast her cantrips, and give me advice. + She can o'ercast the night, and cloud the moon, + And mak the deils obedient to her crune. + At midnight hours, o'er the kirk-yards she raves, + And howks unchristen'd we'ans out of their graves; + Boils up their livers in a warlock's pow, + Rins withershins about the hemlock low; + And seven times does her prayers backward pray, + Till Plotcock comes with lumps of Lapland clay, + Mixt with the venom of black taids and snakes; + Of this unsonsy pictures aft she makes + Of ony ane she hates--and gars expire + With slaw and racking pains afore a fire; + Stuck fu' of prins, the devilish pictures melt, + The pain, by fowk they represent, is felt. + And yonder's Mause: Ay, ay, she kens fu' well, + When ane like me comes rinning to the deil. + She and her cat sit beeking in her yard, + To speak my errand, faith amaist I'm fear'd: + But I maun do't, tho' I should never thrive; + They gallop fast that deils and lasses drive. [_Exit._ + + + _ACT II.--SCENE III._ + + A green kail-yard, a little fount, + Where water poplan springs; + There sits a wife with wrinkled-front, + And yet she spins and sings. + + +SANG IX.--_Tune_, Carle an the King come. + + MAUSE sings. + + Peggy, _now the King's come_, + Peggy, _now the King's come_; + _Thou may dance, and I shall sing,_ + Peggy, _since the King's come. + Nae mair the hawkies shalt thou milk, + But change thy plaiding-coat for silk, + And be a lady of that ilk, + Now,_ Peggy, _since the King's come._ + + _Enter_ BAULDY. + + _Baul._ How does auld honest lucky of the glen? + Ye look baith hale and fere at threescore ten. + + _Mause._ E'en twining out a threed with little din, + And beeking my cauld limbs afore the sun. + What brings my bairn this gate sae air at morn? + Is there nae muck to lead?--to thresh nae corn? + + _Baul._ Enough of baith:--But something that requires + Your helping hand, employs now all my cares. + + _Mause._ My helping hand, alake! what can I do, + That underneath baith eild and poortith bow? + + _Baul._ Ay, but ye're wise, and wiser far than we, + Or maist part of the parish tells a lie. + + _Mause._ Of what kind wisdom think ye I'm possest, + That lifts my character aboon the rest? + + _Bauld._ The word that gangs, how ye're sae wise and fell, + Ye'll may be take it ill gif I shou'd tell. + + _Mause._ What fowk says of me, Bauldy, let me hear; + Keep nathing up, ye nathing have to fear. + + _Baul._ Well, since ye bid me, I shall tell ye a', + That ilk ane talks about you, but a flaw. + When last the wind made Glaud a roofless barn; + When last the burn bore down my Mither's yarn; + When Brawny elf-shot never mair came hame; + When Tibby kirn'd, and there nae butter came; + When Bessy Freetock's chuffy-cheeked we'an + To a fairy turn'd, and cou'd na stand its lane; + When Watie wander'd ae night thro' the shaw, + And tint himsell amaist amang the snaw; + When Mungo's mear stood still, and swat with fright, + When he brought east the howdy under night; + When Bawsy shot to dead upon the green, + And Sara tint a snood was nae mair seen: + You, Lucky, gat the wyte of a' fell out, + And ilka ane here dreads you round about. + And sae they may that mint to do ye skaith: + For me to wrang ye, I'll be very laith; + But when I neist make grots, I'll strive to please + You with a firlot of them mixt with pease. + + _Mause._ I thank ye, lad;--now tell me your demand, + And, if I can, I'll lend my helping hand. + + _Baul._ Then, I like Peggy,--Neps is fond of me;-- } + Peggy likes Pate,--and Patie's bauld and slee, } + And loes sweet Meg.--But Neps I downa see.-- } + Cou'd ye turn Patie's love to Neps, and than + Peggy's to me,--I'd be the happiest man. + + _Mause._ I'll try my art to gar the bowls row right; + Sae gang your ways, and come again at night; + 'Gainst that time I'll some simple things prepare, + Worth all your pease and grots; tak ye nae care. + + _Baul._ Well, Mause, I'll come, gif I the road can find: + But if ye raise the deil, he'll raise the wind; + Syne rain and thunder may be, when 'tis late, + Will make the night sae rough, I'll tine the gate. + We're a' to rant in Symie's at a feast, + O! will ye come like badrans, for a jest? + And there ye can our different 'haviours spy: + There's nane shall ken o't there but you and I. + + _Mause._ 'Tis like I may,--but let na on what's past + 'Tween you and me, else fear a kittle cast. + + _Baul._ If I ought of your secrets e'er advance, + May ye ride on me ilka night to France. + +[_Exit_ BAULDY. + + MAUSE _her lane_. + + Hard luck, alake! when poverty and eild, + Weeds out of fashion, and a lanely beild, + With a sma' cast of wiles, should in a twitch, + Gi'e ane the hatefu' name a wrinkled Witch. + This fool imagines, as do mony sic, + That I'm a wretch in compact with Auld Nick; + Because by education I was taught + To speak and act aboon their common thought. + Their gross mistake shall quickly now appear; + Soon shall they ken what brought, what keeps me here; + Nane kens but me,--and if the morn were come, + I'll tell them tales will gar them a' sing dumb. [_Exit._ + + + +_ACT II.--SCENE IV._ + + Behind a tree, upon the plain, + Pate and his Peggy meet; + In love, without a vicious stain, + The bonny lass and chearfu' swain + Change vows and kisses sweet. + +PATIE _and_ PEGGY. + + _Peggy._ + + O Patie, let me gang, I mauna stay, + We're baith cry'd hame, and Jenny she's away. + + _Pat._ I'm laith to part sae soon; now we're alane, + And Roger he's awa with Jenny gane: + They're as content, for ought I hear or see, + To be alane themsells, I judge, as we. + Here, where primroses thickest paint the green, + Hard by this little burnie let us lean. + Hark how the lavrocks chant aboon our heads! + How saft the westlin winds sough thro' the reeds. + + _Peg._ The scented meadows,--birds,--and healthy breeze, + For ought I ken, may mair than Peggy please. + + _Pat._ Ye wrang me sair, to doubt my being kind; + In speaking sae, ye ca' me dull and blind, + Gif I cou'd fancy ought's sae sweet or fair + As my dear Meg, or worthy of my care. + Thy breath is sweeter than the sweetest brier; + Thy cheek and breast the finest flowers appear. + Thy words excel the maist delightfu' notes, + That warble through the merl or mavis' throats. + With thee I tent nae flowers that busk the field, + Or ripest berries that our mountains yield. + The sweetest fruits that hing upon the tree, + Are far inferior to a kiss of thee. + + _Peg._ But Patrick, for some wicked end, may fleech, + And lambs should tremble when the foxes preach. + I dare na stay--ye joker, let me gang, } + Anither lass may gar ye change your sang; } + Your thoughts may flit, and I may thole the wrang. } + + _Pat._ Sooner a mother shall her fondness drap, + And wrang the bairn sits smiling on her lap; + The sun shall change, the moon to change shall cease, + The gaits to clim,--the sheep to yield the fleece, + Ere ought by me be either said or done, + Shall skaith our love; I swear by all aboon. + + _Peg._ Then keep your aith:--But mony lads will swear, + And be mansworn to twa in haff a year. + Now I believe ye like me wonder well; + But if a fairer face your heart shou'd steal, + Your Meg forsaken, bootless might relate, + How she was dauted anes by faithless Pate. + + _Pat._ I'm sure I canna change, ye needna fear; + Tho' we're but young, I've loo'd you mony a year. + I mind it well, when thou cou'd'st hardly gang, + Or lisp out words, I choos'd ye frae the thrang + Of a' the bairns, and led thee by the hand, + Aft to the Tansy-know or Rashy-strand. + Thou smiling by my side,--I took delite, + To pu' the rashes green, with roots sae white, + Of which, as well as my young fancy cou'd, + For thee I plet the flowry belt and snood. + + _Peg._ When first thou gade with shepherds to the hill, + And I to milk the ews first try'd my skill; + To bear a leglen was nae toil to me, + When at the bught at e'en I met with thee. + + _Pat._ When corns grew yellow, and the hether-bells + Bloom'd bonny on the moor and rising fells, + Nae birns, or briers, or whins e'er troubled me, + Gif I cou'd find blae berries ripe for thee. + + _Peg._ When thou didst wrestle, run, or putt the stane, + And wan the day, my heart was flightering fain: + At all these sports thou still gave joy to me; + For nane can wrestle, run, or putt with thee. + + _Pat._ Jenny sings saft the _Broom of Cowden-knows_, + And Rosie lilts the _Milking of the Ews_; + There's nane like Nansie, _Jenny Nettles_ sings; + At turns in _Maggy Lauder_ Marion dings: + But when my Peggy sings, with sweeter skill, + The _Boat-man_, or the _Lass of Patie's Mill_; + It is a thousand times mair sweet to me: + Tho' they sing well, they canna sing like thee. + + _Peg._ How eith can lasses trow what they desire! + And roos'd by them we love, blaws up that fire: + But wha loves best, let time and carriage try; + Be constant, and my love shall time defy. + Be still as now, and a' my care shall be, + How to contrive what pleasant is for thee. + +_The foregoing, with a small variation, was sung at the acting, as +follows._ + + +SANG X.--_Tune_, The Yellow-hair'd Laddie. + + PEGGY. + + _When first my dear laddie gade to the green hill, + And I at ew-milking first sey'd my young skill, + To bear the milk-bowie, nae pain was to me, + When I at the bughting forgather'd with thee._ + + PATIE. + + _When corn-riggs wav'd yellow, and blue hether-bells + Bloom'd bonny on moorland and sweet rising fells, + Nae birns, briers, or breckens gave trouble to me, + If I found the berries right ripen'd for thee._ + + PEGGY. + + _When thou ran, or wrestled, or putted the stane, + And came aff the victor, my heart was ay fain; + Thy ilka sport manly gave pleasure to me; + For nane can putt, wrestle, or run swift as thee._ + + PATIE. + + _Our_ Jenny _sings saftly the_ Cowden Broom-knows, + _And_ Rosie _lilts sweetly the_ Milking the Ews; + _There's few_ Jenny Nettles _like_ Nansie _can sing; + At_ Throw the Wood Laddie, Bess _gars our lugs ring. + But when my dear_ Peggy _sings with better skill, + The_ Boat-man, Tweed-side, _or the_ Lass of the Mill, + _'Tis many times sweeter and pleasing to me; + For tho' they sing nicely, they cannot like thee._ + + PEGGY. + + _How easy can lasses trow what they desire! + And praises sae kindly encreases love's fire: + Give me still this pleasure, my study shall be, + To make myself better and sweeter for thee._ + + _Pat._ Wert thou a giglit gawky like the lave, + That little better than our nowt behave; + At nought they'll ferly;--senseless tales believe; + Be blyth for silly heghts, for trifles grieve:-- + Sic ne'er you'd win my heart, that kenna how, + Either to keep a prize, or yet prove true. + But thou, in better sense, without a flaw, + As in thy beauty, far excels them a', + Continue kind; and a' my care shall be, + How to contrive what pleasing is for thee. + + _Peg._ Agreed;--but harken! yon's auld aunty's cry; + I ken they'll wonder what can make us stay. + + _Pat._ And let them ferly.--Now, a kindly kiss, + Or five score good anes wad not be amiss; + And syne we'll sing the sang with tunefu' glee, + That I made up last owk on you and me. + + _Peg._ Sing first, syne claim your hire.-- + + _Pat._----Well, I agree. + + +SANG XI.--To its own Tune. + +PATIE sings. + + _By the delicious warmness of thy mouth, + And rowing eyes that smiling tell the truth,_ + _I guess, my lassie, that as well as I, + You're made for love; and why should ye deny?_ + + PEGGY sings. + + _But ken ye, lad, gin we confess o'er soon, + Ye think us cheap, and syne the wooing's done? + The maiden that o'er quickly tines her power, + Like unripe fruit, will taste but hard and sowr._ + + PATIE sings. + + _But gin they hing o'er lang upon the tree, + Their sweetness they may tine; and sae may ye. + Red checked you completely ripe appear; + And I have thol'd and woo'd a lang haff year._ + + PEGGY singing, falls into PATIE'S arms. + + _Then dinna pu' me, gently thus I fa' + Into my_ Patie's _arms, for good and a'. + But stint your wishes to this kind embrace; + And mint nae farther till we've got the grace._ + + PATIE, with his left hand about her waste. + + _O charming armfu'! hence ye cares away! + I'll kiss my treasure a' the live-lang day; + All night I'll dream my kisses o'er again, + Till that day come that ye'll be a' my ain._ + +Sung by both. + + _Sun, gallop down the westlin skies, + Gang soon to bed, and quickly rise; + O lash your steeds, post time away, + And haste about our bridal day: + And if ye're wearied, honest light, + Sleep, gin ye like, a week that night._ + +[_Exeunt._ + + +End of the SECOND ACT. + + + + +ACT THIRD. + + +_SCENE I._ + + Now turn your eyes beyond yon spreading lime, + And tent a man whase beard seems bleech'd with time; + An elvand fills his hand, his habit mean: + Nae doubt ye'll think he has a pedlar been. + But whisht! it is the knight in masquerade, + That comes hid in this cloud to see his lad. + Observe how pleas'd the loyal sufferer moves + Thro' his auld av'news, anes delightfu' groves. + + SIR WILLIAM _solus_. + + The gentleman thus hid in low disguise, + I'll for a space unknown delight mine eyes, + With a full view of every fertile plain, + Which once I lost,--which now are mine again. + Yet 'midst my joys, some prospects pain renew, + Whilst I my once fair seat in ruins view. + Yonder, ah me! it desolately stands, + Without a roof; the gates faln from their bands; + The casements all broke down; no chimney left; + The naked walls of tap'stry all bereft: + My stables and pavilions, broken walls! + That with each rainy blast decaying falls: + My gardens, once adorn'd the most compleat, + With all that nature, all that art makes sweet; + Where, round the figur'd green, and peeble walks, + The dewy flowers hung nodding on their stalks: + But, overgrown with nettles, docks and brier, + No jaccacinths or eglintines appear. + How do those ample walls to ruin yield, + Where peach and nect'rine branches found a beild, + And bask'd in rays, which early did produce + Fruit fair to view, delightfu' in the use! + All round in gaps, the most in rubbish ly, + And from what stands the wither'd branches fly. + These soon shall be repair'd:--And now my joy + Forbids all grief,--when I'm to see my Boy, + My only prop, and object of my care, + Since Heaven too soon call'd hame his Mother fair. + Him, ere the rays of reason clear'd his thought, + I secretly to faithful Symon brought, + And charg'd him strictly to conceal his birth, + 'Till we should see what changing times brought forth. + Hid from himself, he starts up by the dawn, + And ranges careless o'er the height and lawn, + After his fleecy charge, serenely gay, + With other shepherds whistling o'er the day. + Thrice happy life! that's from ambition free; + Remov'd from crowns and courts, how chearfully + A quiet contented mortal spends his time + In hearty health, his soul unstain'd with crime! + + _Or sung as follows._ + + +SANG XII.--_Tune_, Happy Clown. + + _Hid from himself, now by the dawn, + He starts as fresh as roses blawn; + And ranges o'er the heights and lawn, + After his bleeting flocks. + Healthful, and innocently gay, + He chants and whistles out the day; + Untaught to smile, and then betray, + Like courtly weathercocks._ + + _Life happy, from ambition free, + Envy, and vile hypocrisie, + Where truth and love with joy agree, + Unsully'd with a crime: + Unmov'd with what disturbs the great, + In propping of their pride and state, + He lives, and unafraid of fate, + Contented spends his time._ + + Now tow'rds good Symon's house I'll bend my way, + And see what makes yon gamboling to day, + All on the green, in a fair wanton ring, + My youthful tenants gayly dance and sing. [_Exit._ + + +_ACT III.--SCENE II._ + + 'Tis Symon's house, please to step in, + And vissy't round and round; + There's nought superfluous to give pain, + Or costly to be found. + Yet all is clean: a clear peat-ingle + Glances amidst the floor; + The green-horn spoons, beech-luggies mingle, + On skelfs foregainst the door. + While the young brood sport on the green, + The auld anes think it best, + With the Brown Cow to clear their een, + Snuff, crack, and take their rest. + + SYMON, GLAUD, _and_ ELSPA. + + _Glaud._ + + We anes were young our sells--I like to see + The bairns bob round with other merrilie. + Troth, Symon, Patie's grown a strapan lad, + And better looks than his I never bade. + Amang our lads, he bears the gree awa', + And tells his tale the cleverest of them a'. + + _Els._ Poor man!--he's a great comfort to us baith: + God mak him good, and hide him ay frae skaith. + He is a bairn, I'll say't, well worth our care, + That ga'e us ne'er vexation late or air. + + _Glaud._ I trow, goodwife, if I be not mistane, } + He seems to be with Peggy's beauty tane, } + And troth, my niece is a right dainty we'an, } + As ye well ken: a bonnier needna be, + Nor better,--be't she were nae kin to me. + + _Sym._ Ha! Glaud, I doubt that ne'er will be a match + My Patie's wild, and will be ill to catch: + And or he were, for reasons I'll no tell, + I'd rather be mixt with the mools my sell. + + _Glaud._ What reason can ye have? There's nane, I'm sure, + Unless ye may cast up that she's but poor: + But gif the lassie marry to my mind, + I'll be to her as my ain Jenny kind. + Fourscore of breeding ews of my ain birn, + Five ky that at ae milking fills a kirn, + I'll gi'e to Peggy that day she's a bride; + By and attour, gif my good luck abide, + Ten lambs at spaining-time, as lang's I live, + And twa quey cawfs I'll yearly to them give. + + _Els._ Ye offer fair, kind Glaud; but dinna speer + What may be is not fit ye yet should hear. + + _Sym._ Or this day eight days likely he shall learn, + That our denial disna slight his bairn. + + _Glaud._ Well, nae mair o't,--come, gie's the other bend; + We'll drink their healths, whatever way it end. + + [_Their healths gae round._ + + _Sym._ But will ye tell me, Glaud,--by some 'tis said, + Your niece is but a Fundling that was laid + Down at your hallon-side, ae morn in May, + Right clean row'd up, and bedded on dry hay? + + _Glaud._ That clatteran Madge, my titty, tells sic flaws, + When e'er our Meg her cankart humour gaws. + + _Enter_ JENNY. + + _Jen._ O father! there's an auld man on the green, + The fellest fortune-teller e'er was seen: + He tents our loofs, and syne whops out a book, + Turns o'er the leaves, and gie's our brows a look; + Syne tells the oddest tales that e'er ye heard. + His head is gray, and lang and gray his beard. + + _Sym._ Gae bring him in; we'll hear what he can say: + Nane shall gang hungry by my house to day. + + [_Exit_ JENNY. + + But for his telling fortunes, troth I fear, + He kens nae mair of that than my gray mare. + + _Glaud._ Spae-men! the truth of a' their saws I doubt; + For greater liars never ran there out. + + _Returns_ JENNY, _bringing in_ SIR WILLIAM; _with them_ PATIE. + + _Sym._ Ye're welcome, honest carle;--here take a seat. + + _Sir Will._ I give ye thanks, Goodman; I'se no be blate. + + _Glaud._ [_drinks._] Come t'ye, friend:--How far came ye the day? + + _Sir Will._ I pledge ye, nibour:--E'en but little way: + Rousted with eild, a wee piece gate seems lang; + Twa miles or three's the maist that I dow gang. + + _Sym._ Ye're welcome here to stay all night with me, + And take sic bed and board as we can gi' ye. + + _Sir Will._ That's kind unsought.--Well, gin ye have a bairn + That ye like well, and wad his fortune learn, + I shall employ the farthest of my skill, + To spae it faithfully, be't good or ill. + + _Sym._ [_pointing to Patie._] Only that lad;--alake! I have nae mae, + Either to make me joyful now, or wae. + + _Sir Will._ Young man, let's see your hand;--what gars ye sneer? + + _Pat._ Because your skill's but little worth I fear. + + _Sir Will._ Ye cut before the point.--But, billy, bide, + I'll wager there's a mouse mark on your side. + + _Els._ Betooch-us-to! and well I wat that's true: + Awa, awa! the deil's o'er grit wi' you. + Four inch aneath his oxter is the mark, + Scarce ever seen since he first wore a sark. + + _Sir Will._ I'll tell ye mair, if this young lad be spar'd + But a short while, he'll be a braw rich laird. + + _Els._ A laird! Hear ye, Goodman!--what think ye now? + + _Sym._ I dinna ken: Strange auld man! What art thou? + Fair fa' your heart; 'tis good to bode of wealth: + Come turn the timmer to laird Patie's health. + + [PATIE'S _health gaes round_. + + _Pat._ A laird of twa good whistles, and a kent, + Twa curs, my trusty tenants, on the bent, + Is all my great estate--and like to be: + Sae, cunning carle, ne'er break your jokes on me. + + _Sym._ Whisht, Patie,--let the man look o'er your hand, + Aftimes as broken a ship has come to land. + +[SIR WILLIAM _looks a little at_ PATIE'S _hand, then counterfeits +falling into a trance, while they endeavour to lay him right_.] + + _Els._ Preserve's!--the man's a warlock, or possest + With some nae good,--or second sight, at least: + Where is he now?---- + + _Glaud._ ----He's seeing a' that's done + In ilka place, beneath or yont the moon. + + _Els._ These second sighted fowk, his peace be here! + See things far aff, and things to come, as clear + As I can see my thumb.--Wow, can he tell + (Speer at him, soon as he comes to himsell) + How soon we'll see Sir William? Whisht, he heaves, + And speaks out broken words like ane that raves. + + _Sym._ He'll soon grow better;--Elspa, haste ye, gae, + And fill him up a tass of Usquebae. + + _Sir_ WILLIAM _starts up, and speaks_. + + A Knight that for a _Lyon_ fought, + Against a herd of bears, + Was to lang toil and trouble brought, + In which some thousands shares. + + But now again the _Lyon_ rares, + And joy spreads o'er the plain: + The _Lyon_ has defeat the bears, + The Knight returns again. + + That Knight, in a few days, shall bring + A Shepherd frae the fauld, + And shall present him to his King, + A subject true and bauld. + + He Mr. Patrick shall be call'd: + All you that hear me now, + May well believe what I have tald; + For it shall happen true. + + _Sym._ Friend, may your spaeing happen soon and weel; + But, faith, I'm redd you've bargain'd with the deil, + To tell some tales that fowks wad secret keep: + Or do ye get them tald you in your sleep? + + _Sir Will._ Howe'er I get them, never fash your beard; + Nor come I to redd fortunes for reward: + But I'll lay ten to ane with ony here, + That all I prophesy shall soon appear. + + _Sym._ You prophesying fowks are odd kind men! + They're here that ken, and here that disna ken, + The wimpled meaning of your unco tale, + Whilk soon will mak a noise o'er moor and dale. + + _Glaud._ 'Tis nae sma' sport to hear how Sym believes, + And takes't for gospel what the spae-man gives + Of flawing fortunes, whilk he evens to Pate: + But what we wish, we trow at ony rate. + + _Sir Will._ Whisht, doubtfu' carle: for ere the sun + Has driven twice down to the sea, + What I have said ye shall see done + In part, or nae mair credit me. + + _Glaud._ Well, be't sae, friend, I shall say nathing mair; + But I've twa sonsy lasses young and fair, + Plump ripe for men: I wish ye cou'd foresee + Sic fortunes for them might prove joy to me. + + _Sir Will._ Nae mair thro' secrets can I sift, + Till darkness black the bent: + I have but anes a day that gift; + Sae rest a while content. + + _Sym._ Elspa, cast on the claith, fetch butt some meat, + And, of your best, gar this auld stranger eat. + + _Sir Will._ Delay a while your hospitable care; + I'd rather enjoy this evening calm and fair, + Around yon ruin'd tower, to fetch a walk + With you, kind friend, to have some private talk. + + _Sym._ Soon as you please I'll answer your desire:-- + And, Glaud, you'll take your pipe beside the fire; + We'll but gae round the Place, and soon be back, + Syne sup together, and tak our pint, and crack. + + _Glaud._ I'll out a while, and see the young anes play. + My heart's still light, abeit my locks be gray. + + [_Exeunt._ + + +_ACT III.--SCENE III._ + + Jenny pretends an errand hame, + Young Roger draps the rest, + To whisper out his melting flame, + And thow his lassie's breast.. + Behind a bush, well hid frae sight, they meet: + See Jenny's laughing; Roger's like to greet. + Poor Shepherd! + + ROGER _and_ JENNY. + + _Roger._ + + Dear Jenny, I wad speak to ye, wad ye let; + And yet I ergh, ye're ay sae scornfu' set. + + _Jen._ And what would Roger say, if he could speak? + Am I oblig'd to guess what ye're to seek? + + _Rog._ Yes, ye may guess right eith for what I grein, + Baith by my service, sighs, and langing een. + And I maun out wi't, tho' I risk your scorn; + Ye're never frae my thoughts baith ev'n and morn. + Ah! cou'd I loo ye less, I'd happy be; + But happier far, cou'd ye but fancy me. + + _Jen._ And wha kens, honest lad, but that I may; + Ye canna say that e'er I said ye nay. + + _Rog._ Alake! my frighted heart begins to fail, + When e'er I mint to tell ye out my tale, + For fear some tighter lad, mair rich than I, + Has win your love, and near your heart may ly. + + _Jen._ I loo my father, cousin Meg I love; + But to this day, nae man my mind could move: + Except my kin, ilk lad's alike to me; + And frae ye all I best had keep me free. + + _Rog._ How lang, dear Jenny?--Sayna that again; + What pleasure can ye tak in giving pain? + I'm glad, however, that ye yet stand free: + Wha kens but ye may rue, and pity me? + + _Jen._ Ye have my pity else, to see ye set + On that whilk makes our sweetness soon forget. + Wow! but we're bonny, good, and every thing; + How sweet we breathe, whene'er we kiss, or sing! + But we're nae sooner fools to give consent, + Than we our daffine and tint power repent: + When prison'd in four waws, a wife right tame, + Altho' the first, the greatest drudge at hame. + + _Rog._ That only happens, when for sake of gear, + Ane wales a wife, as he wad buy a mear; + Or when dull parents bairns together bind + Of different tempers, that can ne'er prove kind. + But love, true downright love, engages me, + Tho' thou should scorn,--still to delight in thee. + + _Jen._ What suggar'd words frae wooers lips can fa'! + But girning marriage comes and ends them a'. + I've seen with shining fair the morning rise, + And soon the sleety clouds mirk a' the skies. + I've seen the silver spring a while rin clear, + And soon in mossy puddles disappear. + The bridegroom may rejoice, the bride may smile; + But soon contentions a' their joys beguile. + + _Rog._ I've seen the morning rise with fairest light, + The day unclouded sink in calmest night. + I've seen the spring rin wimpling thro' the plain, + Increase and join the ocean without stain. + The bridegroom may be blyth, the bride may smile; + Rejoice thro' life, and all your fears beguile. + + _Jen._ Were I but sure you lang wou'd love maintain, + The fewest words my easy heart could gain: + For I maun own, since now at last you're free, + Altho' I jok'd, I lov'd your company; + And ever had a warmness in my breast, + That made ye dearer to me than the rest. + + _Rog._ I'm happy now! o'er happy! had my head!-- + This gush of pleasure's like to be my dead. + Come to my arms! or strike me! I'm all fir'd + With wondring love! let's kiss till we be tir'd. + Kiss, kiss! we'll kiss the sun and starns away, + And ferly at the quick return of day! + O Jenny! let my arms about thee twine, + And briss thy bonny breasts and lips to mine. + + _Which may be sung as follows._ + + +SANG XIII.--_Tune_, Leith Wynd. + + JENNY. + + _Were I assur'd you'd constant prove, + You should nae mair complain; + The easy maid, beset with love, + Few words will quickly gain: + For I must own, now since you're free, + This too fond heart of mine + Has lang, a black-sole true to thee, + Wish'd to be pair'd with thine._ + + ROGER. + + _I'm happy now; ah! let my head + Upon thy breast recline; + The pleasure strikes me near-hand dead; + Is_ Jenny _then sae kind?---- + O! let me briss thee to my heart, + And round my arms entwine: + Delytfu' thought! we'll never part: + Come press thy lips to mine._ + + _Jen._ With equal joy my easy heart gi'es way, + To own thy well try'd love has won the day. + Now by these warmest kisses thou has tane, + Swear thus to love me, when by vows made ane. + + _Rog._ I swear by fifty thousand yet to come, + Or may the first ane strike me deaf and dumb, + There shall not be a kindlier dawted wife, + If you agree with me to lead your life. + + _Jen._ Well, I agree:--Neist, to my parent gae, + Get his consent,--he'll hardly say ye nay. + Ye have what will commend ye to him well, + Auld fowks, like them, that wants na milk and meal. + + +SANG XIV.--_Tune_, O'er Bogie. + + _Well, I agree, ye're sure of me; + Next to my father gae: + Make him content to give consent, + He'll hardly say you nay: + For you have what he wad be at, + And will commend you well, + Since parents auld think love grows cauld, + Where bairns want milk and meal._ + + _Shou'd he deny, I care na by, + He'd contradict in vain; + Tho' a' my kin had said and sworn, + But thee I will have nane. + Then never range, nor learn to change, + Like those in high degree; + And if ye prove faithful in love, + You'll find nae faut in me._ + + _Rog._ My faulds contain twice fifteen forrow nowt, + As mony newcal in my byars rowt; + Five pack of woo I can at Lammas sell, + Shorn frae my bob-tail'd bleeters on the fell: + Good twenty pair of blankets for our bed, + With meikle care, my thrifty mither made. + Ilk thing that makes a heartsome house and tight, + Was still her care, my father's great delight. + They left me all; which now gie's joy to me, + Because I can give a', my dear, to thee: + And had I fifty times as meikle mair, + Nane but my Jenny should the samen skair. + My love and all is yours; now had them fast, + And guide them as ye like, to gar them last. + + _Jen._ I'll do my best.--But see wha comes this way, + Patie and Meg;--besides, I mauna stay: + Let's steal frae ither now, and meet the morn; + If we be seen, we'll drie a deal of scorn. + + _Rog._ To where the saugh-trees shades the mennin-pool, + I'll frae the hill come down, when day grows cool: + Keep triste, and meet me there;--there let us meet, + To kiss, and tell our love;--there's nought sae sweet. + + +_ACT III--SCENE IV._ + + This scene presents the Knight and Sym + Within a Gallery of the Place, + Where all looks ruinous and grim; + Nor has the Baron shown his face, + But joking with his shepherd leel, + Aft speers the gate he kens fu' well. + + SIR WILLIAM _and_ SYMON. + + _Sir William._ + + To whom belongs this house so much decay'd? + + _Sym._ To ane that lost it, lending generous aid, + To bear the Head up, when rebellious Tail + Against the laws of nature did prevail. + Sir William Worthy is our master's name, + Whilk fills us all with joy, now _He's come hame_. + + (_Sir William draps his masking beard, + Symon transported sees + The welcome Knight, with fond regard, + And grasps him round the knees._) + + My master! my dear master!--do I breathe, + To see him healthy, strong, and free frae skaith; + Return'd to chear his wishing tenants sight, + To bless his son, my charge, the world's delight! + + _Sir Will._ Rise, faithful Symon; in my arms enjoy + A place, thy due, kind guardian of my boy: + I came to view thy care in this disguise, + And am confirm'd thy conduct has been wise; + Since still the secret thou'st securely seal'd, + And ne'er to him his real birth reveal'd. + + _Sym._ The due obedience to your strict command + Was the first lock;--neist, my ain judgment fand + Out reasons plenty: since, without estate, + A youth, tho' sprung frae kings, looks baugh and blate. + + _Sir Will._ And aften vain and idly spend their time, + 'Till grown unfit for action, past their prime, + Hang on their friends--which gi'es their sauls a cast, + That turns them downright beggars at the last. + + _Sym._ Now well I wat, Sir, ye have spoken true; + For there's laird Kytie's son, that's loo'd by few: + His father steght his fortune in his wame, + And left his heir nought but a gentle name. + He gangs about sornan frae place to place, + As scrimp of manners, as of sense and grace; + Oppressing all as punishment of their sin, + That are within his tenth degree of kin: + Rins in ilk trader's debt, wha's sae unjust + To his ain fam'ly, as to give him trust. + + _Sir Will._ Such useless branches of a common-wealth, + Should be lopt off, to give a state mair health. + Unworthy bare reflection.--Symon, run + O'er all your observations on my son; + A parent's fondness easily finds excuse: + But do not with indulgence truth abuse. + + _Sym._ To speak his praise, the langest simmer day + Wad be o'er short,--cou'd I them right display. + In word and deed he can sae well behave, + That out of sight he runs before the lave; + And when there's e'er a quarrel or contest, + Patrick's made judge to tell whase cause is best; + And his decreet stands good;--he'll gar it stand: + Wha dares to grumble, finds his correcting hand; + With a firm look, and a commanding way, + He gars the proudest of our herds obey. + + _Sir Will._ Your tale much pleases;--my good friend, proceed: + What learning has he? Can he write and read? + + _Sym._ Baith wonder well; for, troth, I didna spare + To gi'e him at the school enough of lair; + And he delites in books:--He reads, and speaks + With fowks that ken them, Latin words and Greeks. + + _Sir Will._ Where gets he books to read?--and of what kind? + Tho' some give light, some blindly lead the blind. + + _Sym._ Whene'er he drives our sheep to Edinburgh port, + He buys some books of history, sangs or sport: + Nor does he want of them a rowth at will, + And carries ay a poutchfu' to the hill. + About ane Shakspear, and a famous Ben, + He aften speaks, and ca's them best of men. + How sweetly Hawthrenden and Stirling sing, } + And ane ca'd Cowley, loyal to his king, } + He kens fu' well, and gars their verses ring. } + I sometimes thought he made o'er great a frase, + About fine poems, histories and plays. + When I reprov'd him anes,--a book he brings, + With this, quoth he, on braes I crack with kings. + + _Sir Will._ He answer'd well; and much ye glad my ear, + When such accounts I of my shepherd hear. + Reading such books can raise a peasant's mind + Above a lord's that is not thus inclin'd. + + _Sym._ What ken we better, that sae sindle look, + Except on rainy Sundays, on a book; + When we a leaf or twa haff read haff spell, + 'Till a' the rest sleep round as well's our sell? + + _Sir Will._ Well jested, Symon:--But one question more + I'll only ask ye now, and then give o'er. + The youth's arriv'd the age when little loves + Flighter around young hearts like cooing doves: + Has nae young lassie, with inviting mien, + And rosy cheek, the wonder of the green, + Engag'd his look, and caught his youthfu' heart? + + _Sym._ I fear'd the warst, but kend the smallest part, + 'Till late I saw him twa three times mair sweet, + With Glaud's fair Neice, than I thought right or meet: + I had my fears; but now have nought to fear, + Since like your sell your son will soon appear. + A gentleman, enrich'd with all these charms, + May bless the fairest best born lady's arms. + + _Sir Will._ This night must end his unambitious fire, + When higher views shall greater thoughts inspire. + Go, Symon, bring him quickly here to me; + None but your self shall our first meeting see. + Yonder's my horse and servants nigh at hand, + They come just at the time I gave command; + Straight in my own apparel I'll go dress: + Now ye the secret may to all confess. + + _Sym._ With how much joy I on this errand flee! + There's nane can know, that is not downright me. + + [_Exit_ SYMON. + + _Sir_ WILLIAM _solus_. + + When the event of hopes successfully appears, + One happy hour cancells the toil of years. + A thousand toils are lost in Lethe's stream, + And cares evanish like a morning dream: + When wish'd for pleasures rise like morning light, + The pain that's past enhances the delight. + These joys I feel that words can ill express, + I ne'er had known without my late distress. + But from his rustick business and love, } + I must in haste my Patrick soon remove, } + To courts and camps that may his soul improve. } + Like the rough diamond, as it leaves the mine, + Only in little breakings shews its light, + Till artfu' polishing has made it shine: + Thus education makes the genius bright. + + _Or sung as follows._ + + +SANG XV.--_Tune_, Wat ye wha I met Yestreen. + + _Now from rusticity and love, + Whose flames but over lowly burn, + My gentle shepherd must be drove, + His soul must take another turn: + As the rough diamond from the mine, + In breakings only shews its light, + Till polishing has made it shine: + Thus learning makes the genius bright._ [_Exit_ + + +End of the THIRD ACT. + + + + +ACT FOURTH. + + +_SCENE I._ + + The scene describ'd in former page, + Gland's onstead,--Enter _Mause_ and _Madge._ + + MAUSE _and_ MADGE. + + _Mause._ + + Our laird's come hame! and owns young Pate his heir! + That's news indeed!---- + + _Mad._----As true as ye stand there. + As they were dancing all in Symon's yard, + Sir William, like a warlock, with a beard + Live nives in length, and white as driven snaw, + Amang us came, cry'd, _Had ye merry a'_. + We ferly'd meikle at his unco look, + While frae his pouch he whirled forth a book. + As we stood round about him on the green, + He view'd us a', but fix'd on Pate his een; + Then pawkily pretended he cou'd spae, + Yet for his pains and skill wad nathing ha'e. + + _Mause._ Then sure the lasses, and ilk gaping coof, + Wad rin about him, and had out their loof. + + _Mad._ As fast as flaes skip to the tate of woo, + Whilk slee Tod Lawrie hads without his mow, + When he to drown them, and his hips to cool, + In simmer days slides backward in a pool: + In short he did, for Pate, braw things fortell, + Without the help of conjuring or spell. + At last, when well diverted, he withdrew, + Pow'd aff his beard to Symon, Symon knew + His welcome master;--round his knees he gat, + Hang at his coat, and syne for blythness grat. + Patrick was sent for;--happy lad is he! + Symon tald Elspa, Elspa tald it me. + Ye'll hear out a' the secret story soon; + And troth 'tis e'en right odd when a' is done, + To think how Symon ne'er afore wad tell, + Na, no sae meikle as to Pate himsell. + Our Meg, poor thing, alake! has lost her jo. + + _Mause._ It may be sae; wha kens? and may be no. + To lift a love that's rooted, is great pain; } + Even kings have tane a queen out of the plain: } + And what has been before, may be again. } + + _Mad._ Sic nonsense! love tak root, but tocher-good, + 'Tween a herd's bairn, and ane of gentle blood! + Sic fashions in King Bruce's days might be; + But siccan ferlies now we never see. + + _Mause._ Gif Pate forsakes her, Bauldy she may gain; } + Yonder he comes, and wow but he looks fain! } + Nae doubt he thinks that Peggy's now his ain. } + + _Mad._ He get her! slaverin doof; it sets him weil + To yoke a plough where Patrick thought to till. + Gif I were Meg, I'd let young Master see-- + + _Mause._ Ye'd be as dorty in your choice as he: + And so wad I. But whisht, here Bauldy comes. + + _Enter_ BAULDY _singing._ + + Jenny _said to_ Jocky, _gin ye winna tell, + Ye shall be the lad, I'll be the lass mysell; + Ye're a bonny lad, and I'm a lassie free; + Ye're welcomer to tak me than to let me be._ + + I trow sae.--Lasses will come to at last, + Tho' for a while they maun their snaw-ba's cast. + + _Mause._ Well, Bauldy, how gaes a'?-- + + _Baul._ ----Faith unco right: + I hope we'll a' sleep sound but ane this night. + + _Mad._ And wha's the unlucky ane, if we may ask? + + _Baul._ To find out that, is nae difficult task; + Poor bonny Peggy, wha maun think nae mair + On Pate, turn'd Patrick, and Sir William's heir. + Now, now, good Madge, and honest Mause, stand be, + While Meg's in dumps, put in a word for me. + I'll be as kind as ever Pate could prove; + Less wilful, and ay constant in my love. + + _Mad._ As Neps can witness, and the bushy thorn, + Where mony a time to her your heart was sworn: + Fy! Bauldy, blush, and vows of love regard; + What other lass will trow a mansworn herd? + The curse of Heaven hings ay aboon their heads, + That's ever guilty of sic sinfu' deeds. + I'll ne'er advise my niece sae gray a gate; + Nor will she be advis'd, fu' well I wate. + + _Baul._ Sae gray a gate! mansworn! and a' the rest: + Ye leed, _auld Roudes_--and, in faith, had best + Eat in your words; else I shall gar ye stand + With a het face afore the haly band. + + _Mad._ Ye'll gar me stand! ye sheveling-gabit brock; + Speak that again, and, trembling, dread my rock, + And ten sharp nails, that when my hands are in, + Can flyp the skin o'ye'r cheeks out o'er your chin. + + _Baul._ I tak ye witness, Mause, ye heard her say, + That I'm mansworn:--I winna let it gae. + + _Mad._ Ye're witness too, he ca'd me bonny names, + And should be serv'd as his good breeding claims. + Ye filthy dog!---- + +[_Flees to his hair like a fury.--A stout battle.--Mause endeavours to +redd them._ + + _Mause._ Let gang your grips, fy, Madge! howt, Bauldy leen: + I wadna wish this tulzie had been seen; + 'Tis sae daft like.---- + +[_Bauldy gets out of Madge's clutches with a bleeding nose._ + + _Mad._ ----'Tis dafter like to thole + An ether-cap, like him, to blaw the coal: + It sets him well, with vile unscrapit tongue, + To cast up whether I be auld or young; + They're aulder yet than I have married been, + And or they died their bairns' bairns have seen. + + _Mause._ That's true; and Bauldy ye was far to blame, } + To ca' Madge ought but her ain christen'd name. } + + _Baul._ My lugs, my nose, and noddle finds the same. } + + _Mad._ Auld Roudes! filthy fallow; I shall auld ye. + + _Mause._ Howt no!--ye'll e'en be friends with honest Bauldy. + Come, come, shake hands; this maun nae farder gae: + Ye maun forgi'e'm. I see the lad looks wae. + + _Baul._ In troth now, Mause, I have at Madge nae spite: + But she abusing first, was a' the wite + Of what has happen'd: And should therefore crave + My pardon first, and shall acquittance have. + + _Mad._ I crave your pardon! Gallows-face, gae greet, + And own your faut to her that ye wad cheat: + Gae, or be blasted in your health and gear, + 'Till ye learn to perform, as well as swear. + Vow, and lowp back!--was e'er the like heard tell? + Swith, tak him deil; he's o'er lang out of hell. + + _Baul._ [_running off._] His presence be about us! Curst were he + That were condemn'd for life to live with thee. + + [_Exit_ BAULDY. + + _Mad._ [_laughing._] I think I've towzl'd his harigalds a wee; + He'll no soon grein to tell his love to me. + He's but a rascal that wad mint to serve + A lassie sae, he does but ill deserve. + + _Mause._ Ye towin'd him tightly,--I commend ye for't; + His blooding snout gave me nae little sport: + For this forenoon he had that scant of grace, + And breeding baith,--to tell me to my face, + He hop'd I was a Witch, and wadna stand, + To lend him in this case my helping hand. + + _Mad._ A Witch!--How had ye patience this to bear, + And leave him een to see, or lugs to hear? + + _Mause._ Auld wither'd hands, and feeble joints like mine, + Obliges fowk resentment to decline; + Till aft 'tis seen, when vigour fails, then we + With cunning can the lake of pith supplie. + Thus I pat aff revenge till it was dark, + Syne bade him come, and we should gang to wark: + I'm sure he'll keep his triste; and I came here + To seek your help, that we the fool may fear. + + _Mad._ And special sport we'll have, as I protest; + Ye'll be the Witch, and I shall play the Ghaist; + A linen sheet wond round me like ane dead, + I'll cawk my face, and grane, and shake my head. + We'll fleg him sae, he'll mint nae main to gang + A conjuring, to do a lassie wrang. + + _Mause._ Then let us go; for see, 'tis hard on night, + The westlin cloud shines red with setting light. + + [_Exeunt._ + + +_ACT IV.--SCENE II._ + + When birds begin to nod upon the bough, + And the green swaird grows damp with falling dew, + While good Sir William is to rest retir'd, + The Gentle Shepherd tenderly inspir'd, + Walks through the broom with Roger ever leel, + To meet, to comfort Meg, and tak farewell. + + PATIE _and_ ROGER. + + _Roger._ + + Wow! but I'm cadgie, and my heart lowps light. + O, Mr. Patrick! ay your thoughts were right: + Sure gentle fowk are farther seen than we, + That nathing ha'e to brag of pedigree. + My Jenny now, wha brak my heart this morn, + Is perfect yielding,--sweet,--and nae mair scorn. + I spake my mind--she heard--I spake again, + She smil'd--I kiss'd--I woo'd, nor woo'd in vain. + + _Pat._ I'm glad to hear't--But O my change this day + Heaves up my joy, and yet I'm sometimes wae. + I've found a father, gently kind as brave, + And an estate that lifts me 'boon the lave. + With looks all kindness, words that love confest; } + He all the father to my soul exprest, } + While close he held me to his manly breast. } + Such were the eyes, he said, thus smil'd the mouth + Of thy lov'd mother, blessing of my youth; + Who set too soon!--And while he praise bestow'd, + Adown his graceful cheek a torrent flow'd. + My new-born joys, and this his tender tale, + Did, mingled thus, o'er a' my thoughts prevail: + That speechless lang, my late kend Sire I view'd, + While gushing tears my panting breast bedew'd. + Unusual transports made my head turn round, } + Whilst I myself with rising raptures found } + The happy son of ane sae much renown'd. } + But he has heard!--too faithful Symon's fear + Has brought my love for Peggy to his ear: + Which he forbids.--Ah! this confounds my peace, + While thus to beat, my heart shall sooner cease. + + _Rog._ How to advise ye, troth I'm at a stand: + But were't my case, ye'd clear it up aff hand. + + _Pat._ Duty, and haflen reason plead his cause: + But what cares love for reason, rules and laws? + Still in my heart my shepherdess excells, + And part of my new happiness repells. + + _Or sung as follows._ + + +SANG XVI.--_Tune_, Kirk wad let me be. + + _Duty and part of reason + Plead strong on the parent's side, + Which love so superior calls treason; + The strongest must be obey'd: + For now, tho' I'm one of the gentry, + My constancy falshood repells; + For change in my heart has no entry, + Still there my dear_ Peggy _excells._ + + _Rog._ Enjoy them baith.--Sir William will be won: + Your Peggy's bonny;--you're his only son. + + _Pat._ She's mine by vows, and stronger ties of love; + And frae these bands nae change my mind shall move. + I'll wed nane else; thro' life I will be true: + But still obedience is a parent's due. + + _Rog._ Is not our master and yoursell to stay + Amang us here?--or are ye gawn away + To London court, or ither far aff parts, + To leave your ain poor us with broken hearts? + + _Pat._ To Edinburgh straight to-morrow we advance, } + To London neist, and afterwards to France, } + Where I must stay some years, and learn--to dance, } + And twa three other monky-tricks.--That done, + I come hame struting in my red-heel'd shoon. + Then 'tis design'd, when I can well behave, + That I maun be some petted thing's dull slave, + For some few bags of cash, that I wat weel + I nae mair need nor carts do a third wheel. + But Peggy, dearer to me than my breath, + Sooner than hear sic news, shall hear my death. + + _Rog._ _They wha have just enough, can soundly sleep; + The o'ercome only fashes fowk to keep._---- + Good Mr. Patrick, tak your ain tale hame. } + + _Pat._ What was my morning thought, at night's the same. } + The poor and rich but differ in the name. } + Content's the greatest bliss we can procure + Frae 'boon the lift.--Without it kings are poor. + + _Rog._ But an estate like your's yields braw content, + When we but pick it scantly on the bent: + Fine claiths, saft beds, sweet houses, and red wine, + Good chear, and witty friends, whene'er ye dine; + Obeysant servants, honour, wealth and ease: + Wha's no content with these, are ill to please. + + _Pat._ Sae Roger thinks, and thinks not far amiss; + But mony a cloud hings hovering o'er the bliss. + The passions rule the roast,--and, if they're sowr, + Like the lean ky, will soon the fat devour. + The spleen, tint honour, and affronted pride, + Stang like the sharpest goads in gentry's side. + The gouts and gravels, and the ill disease, + Are frequentest with fowk o'erlaid with ease; + While o'er the moor the shepherd, with less care, + Enjoys his sober wish, and halesome air. + + _Rog._ Lord, man! I wonder ay, and it delights + My heart, whene'er I hearken to your flights. + How gat ye a' that sense, I fain wad lear, + That I may easier disappointments bear? + + _Pat._ Frae books, the wale of books, I gat some skill; + These best can teach what's real good and ill. + Ne'er grudge ilk year to ware some stanes of cheese, + To gain these silent friends that ever please. + + _Rog._ I'll do't, and ye shall tell me which to buy: + Faith I'se ha'e books, tho' I should sell my ky. + But now let's hear how you're design'd to move, + Between Sir William's will, and Peggy's love? + + _Pat._ Then here it lyes;--His will maun be obey'd; } + My vows I'll keep, and she shall be my bride: } + But I some time this last design maun hide. } + Keep you the secret close, and leave me here; + I sent for Peggy, yonder comes my dear. + + _Rog._ Pleas'd that ye trust me with the secret, I + To wyle it frae me a' the deils defy. [_Exit_ ROGER. + + _Pat._ [_solus._] With what a struggle must I now impart + My father's will to her that hads my heart! + I ken she loves, and her saft saul will sink, + While it stands trembling on the hated brink + Of disappointment.--Heaven! support my fair, + And let her comfort claim your tender care. + Her eyes are red!---- + + _Enter_ PEGGY. + + ----My Peggy, why in tears? + Smile as ye wont, allow nae room for fears: + Tho' I'm nae mair a shepherd, yet I'm thine. + + _Peg._ I dare not think sae high: I now repine + At the unhappy chance, that made not me + A gentle match, or still a herd kept thee. + Wha can, withoutten pain, see frae the coast + The ship that bears his all like to be lost? + Like to be carry'd, by some rever's hand, + Far frae his wishes, to some distant land? + + _Pat._ Ne'er quarrel fate, whilst it with me remains, + To raise thee up, or still attend these plains. + My father has forbid our loves, I own: + But love's superior to a parent's frown. + I falshood hate: Come, kiss thy cares away; + I ken to love, as well as to obey. + Sir William's generous; leave the task to me, + To make strict duty and true love agree. + + _Peg._ Speak on!--speak ever thus, and still my grief; + But short I dare to hope the fond relief. + New thoughts a gentler face will soon inspire, + That with nice air swims round in silk attire: + Then I, poor me!--with sighs may ban my fate, + When the young laird's nae mair my heartsome Pate: + Nae mair again to hear sweet tales exprest, + By the blyth shepherd that excell'd the rest: + Nae mair be envy'd by the tattling gang, + When Patie kiss'd me, when I danc'd or sang: + Nae mair, alake! we'll on the meadow play! + And rin haff breathless round the rucks of hay; + As aftimes I have fled from thee right fain, + And fawn on purpose, that I might be tane. + Nae mair around the Foggy-know I'll creep, + To watch and stare upon thee, while asleep. + But hear my vow--'twill help to give me ease; + May sudden death, or deadly sair disease, + And warst of ills attend my wretched life, + If ere to ane, but you, I be a wife. + + _Or sung as follows._ + + +SANG XVII.--_Tune_, Wae's my heart that we should sunder. + + _Speak on,--speak thus, and still my grief, + Hold up a heart that's sinking under + These fears, that soon will want relief, + When_ Pate _must from his_ Peggy _sunder. + A gentler face, and silk attire, + A lady rich in beauty's blossom, + Alake poor me! will now conspire + To steal thee from thy_ Peggy's _bosom._ + + _No more the shepherd, who excell'd + The rest, whose wit made them to wonder, + Shall now his_ Peggy's _praises tell: + Ah! I can die, but never sunder. + Ye meadows where we often stray'd, + Ye banks where we were wont to wander, + Sweet-scented rucks, round which we play'd, + You'll lose your sweets when we're asunder._ + + _Again, ah! shall I never creep + Around the Know with silent duty, + Kindly to watch thee, while asleep, + And wonder at thy manly beauty? + Hear, Heaven, while solemnly I vow, + Tho' thou shouldst prove a wand'ring lover, + Thro' life to thee I shall prove true, + Nor be a wife to any other_ + + + _Pat._ Sure Heaven approves--and be assur'd of me, + I'll ne'er gang back of what I've sworn to thee: + And time, tho' time maun interpose a while, + And I maun leave my Peggy and this isle; + Yet time, nor distance, nor the fairest face, + If there's a fairer, e'er shall fill thy place. + I'd hate my rising fortune, should it move + The fair foundation of our faithful love. + If at my foot were crowns and scepters laid, + To bribe my soul frae thee, delightful maid; + For thee I'd soon leave these inferior things + To sic as have the patience to be kings. + Wherefore that tear? Believe, and calm thy mind. + + _Peg._ I greet for joy, to hear thy words sae kind. + When hopes were sunk, and nought but mirk despair + Made me think life was little worth my care, + My heart was like to burst; but now I see + Thy generous thoughts will save thy love for me. + With patience then I'll wait each wheeling year, + Hope time away, till thou with joy appear; + And all the while I'll study gentler charms, + To make me fitter for my traveller's arms: + I'll gain on uncle Glaud,--he's far frae fool, + And will not grudge to put me thro' ilk school; + Where I may manners learn---- + + _Or sung as follows._ + + +SANG XVIII.--_Tune_, Tweedside. + + _When hope was quite sunk in despair, + My heart it was going to break; + My life appear'd worthless my care, + But now I will save't for thy sake. + Where'er my love travels by day, + Wherever he lodges by night, + With me his dear image shall stay, + And my soul keep him ever in sight._ + + _With patience I'll wait the long year, + And study the gentlest charms; + Hope time away till thou appear, + To lock thee for ay in those arms. + Whilst thou was a shepherd, I priz'd + No higher degree in this life; + But now I'll endeavour to rise + To a height is becoming thy wife._ + + _For beauty that's only skin-deep, + Must fade like the gowans of May, + But inwardly rooted, will keep + For ever, without a decay. + Nor age, nor the changes of life, + Can quench the fair fire of love, + If virtue's ingrain'd in the wife, + And the husband have sense to approve._ + + _Pat._ ----That's wisely said, + And what he wares that way shall be well paid. + Tho' without a' the little helps of art, + Thy native sweets might gain a prince's heart: + Yet now, lest in our station, we offend, + We must learn modes, to innocence unkend; + Affect aftimes to like the thing we hate, + And drap serenity, to keep up state: + Laugh, when we're sad; speak, when we've nought to say; + And, for the fashion, when we're blyth, seem wae: + Pay compliments to them we aft have scorn'd; + Then scandalize them, when their backs are turn'd. + + _Peg._ If this is gentry, I had rather be + What I am still;--But I'll be ought with thee. + + _Pat._ No, no, my Peggy, I but only jest + With gentry's apes; for still amangst the best, + Good manners give integrity a bleez, + When native vertues join the arts to please. + + _Peg._ Since with nae hazard, and sae small expence, + My lad frae books can gather siccan sense; + Then why, ah! why should the tempestuous sea, + Endanger thy dear life, and frighten me? + Sir William's cruel, that wad force his son, + For watna-whats, sae great a risk to run. + + _Pat._ There is nae doubt, but travelling does improve, + Yet I would shun it for thy sake, my love. + But soon as I've shook aff my landwart cast, + In foreign cities, hame to thee I'll haste. + + _Peg._ With every setting day, and rising morn, + I'll kneel to Heaven, and ask thy safe return. + Under that tree, and on the Suckler Brae, + Where aft we wont, when bairns, to run and play; + And to the Hissel-shaw where first ye vow'd + Ye wad be mine, and I as eithly trow'd, + I'll aften gang, and tell the trees and flowers, + With joy, that they'll bear witness I am yours. + + _Or sung as follows._ + + +SANG XIX.--_Tune_, Bush aboon Traquair. + + _At setting day, and rising morn, + With soul that still shall love thee, + I'll ask of Heaven thy safe return, + With all that can improve thee. + I'll visit aft the Birken Bush, + Where first thou kindly told me + Sweet tales of love, and hid my blush, + Whilst round thou didst enfold me._ + + _To all our haunts I will repair, + By Greenwood-shaw or fountain; + Or where the summer-day I'd share + With thee upon yon mountain. + There will I tell the trees and flowers, + From thoughts unfeign'd and tender, + By vows you're mine, by love is yours + A heart which cannot wander._ + + _Pat._ My dear, allow me, frae thy temples fair, + A shining ringlet of thy flowing hair; + Which, as a sample of each lovely charm, + I'll aften kiss, and wear about my arm. + + _Peg._ Were't in my power with better boons to please, + I'd give the best I could with the same ease; + Nor wad I, if thy luck had faln to me, + Been in ae jot less generous to thee. + + _Pat._ I doubt it not; but since we've little time, + To ware't on words, wad border on a crime: + Love's safter meaning better is exprest, + When 'tis with kisses on the heart imprest. [_Exeunt._ + + +End of the FOURTH ACT. + + + + +ACT FIFTH. + + +_SCENE I._ + + + See how poor Bauldy stares like ane possest, + And roars up Symon frae his kindly rest. + Bare-leg'd, with night-cap, and unbutton'd coat, + See, the auld man comes forward to the sot. + + SYMON _and_ BAULDY. + + _Symon._ + + What want ye, Bauldy, at this early hour, + While drowsy sleep keeps a' beneath its pow'r? + Far to the north, the scant approaching light + Stands equal 'twixt the morning and the night. + What gars ye shake and glowr, and look sae wan? + Your teeth they chitter, hair like bristles stand. + + _Baul._ O len me soon some water, milk or ale, + My head's grown giddy,--legs with shaking fail; + I'll ne'er dare venture forth at night my lane: + Alake! I'll never be mysell again. + I'll ne'er o'erput it! Symon! O Symon! O! + + [_Symon gives him a drink._ + + _Sym._ What ails thee, gowk!--to make sae loud ado? + You've wak'd Sir William, he has left his bed; + He comes, I fear ill pleas'd: I hear his tred. + + _Enter_ SIR WILLIAM. + + _Sir Will._ How goes the night? Does day-light yet appear? + Symon, you're very timeously asteer. + + _Sym._ I'm sorry, Sir, that we've disturb'd your rest: } + But some strange thing has Bauldy's sp'rit opprest; } + He's seen some witch, or wrestl'd with a ghaist. } + + _Baul._ O ay,--dear Sir, in troth 'tis very true; + And I am come to make my plaint to you. + + _Sir Will._ [_smiling._] I lang to hear't---- + + _Baul._ ----Ah! Sir, the witch ca'd Mause, + That wins aboon the mill amang the haws, + First promis'd that she'd help me with her art, + To gain a bonny thrawart lassie's heart. + As she had tristed, I met wi'er this night; + But may nae friend of mine get sic a fright! + For the curs'd hag, instead of doing me good, + (The very thought o't's like to freeze my blood!) + Rais'd up a ghaist or deil, I kenna whilk, + Like a dead corse in sheet as white as milk; + Black hands it had, and face as wan as death, + Upon me fast the Witch and it fell baith, + And gat me down; while I, like a great fool, + Was laboured as I wont to be at school. + My heart out of its hool was like to lowp; + I pithless grew with fear, and had nae hope, + Till, with an elritch laugh, they vanish'd quite: + Sync I, haff dead with anger, fear and spite, + Crap up, and fled straight frae them, Sir, to you, + Hoping your help, to gi'e the deil his due. + I'm sure my heart will ne'er gi'e o'er to dunt, + Till in a fat tar-barrel Mause be burnt. + + _Sir Will._ Well, Bauldy, whate'er's just shall granted be; + Let Mause be brought this morning down to me. + + _Baul._ Thanks to your Honour; soon shall I obey: + But first I'll Roger raise, and twa three mae, + To catch her fast, or she get leave to squeel, + And cast her cantraips that bring up the deil. + + [_Exit_ BAULDY. + + _Sir Will._ Troth, Symon, Bauldy's more afraid than hurt, + The witch and ghaist have made themselves good sport. + What silly notions crowd the clouded mind, + That is thro' want of education blind! + + _Sym._ But does your Honour think there's nae sic thing + As witches raising deils up thro' a ring? + Syne playing tricks, a thousand I cou'd tell, + Cou'd never be contriv'd on this side hell. + + _Sir Will._ Such as the devil's dancing in a moor, + Amongst a few old women craz'd and poor, + Who are rejoic'd to see him frisk and lowp + O'er braes and bogs, with candles in his dowp; + Appearing sometimes like a black-horn'd cow, + Aftimes like Bawty, Badrans, or a Sow: + Then with his train thro' airy paths to glide, + While they on cats, or clowns, or broom-staffs ride; + Or in the egg-shell skim out o'er the main, + To drink their leader's health in France or Spain: + Then aft by night, bumbaze hare-hearted fools, + By tumbling down their cup-board, chairs and stools. + Whate'er's in spells, or if there witches be, + Such whimsies seem the most absurd to me. + + _Sym._ 'Tis true enough, we ne'er heard that a witch + Had either meikle sense, or yet was rich. + But Mause, tho' poor, is a sagacious wife, + And lives a quiet and very honest life; + That gars me think this hobleshew that's past + Will land in naithing but a joke at last. + + _Sir Will._ I'm sure it will:--But see increasing light + Commands the imps of darkness down to night; + Bid raise my servants, and my horse prepare, + Whilst I walk out to take the morning air. + + +SANG XX.--_Tune_, Bonny grey-ey'd morn. + + _The bonny grey-ey'd morn begins to peep, + And darkness flies before the rising ray; + The hearty hind starts from his lazy sleep, + To follow healthful labours of the day: + Without a guilty sting to wrinkle his brow, + The lark and the linnet tend his levee, + And he joins their concert, driving his plow, + From toil of grimace and pageantry free._ + + _While fluster'd with wine, or madden'd with loss + Of half an estate, the prey of a main, + The drunkard and gamester tumble and toss, + Wishing for calmness and slumber in vain. + Be my portion health, and quietness of mind, + Plac'd at due distance from parties and state; + Where neither ambition, nor avarice blind, + Reach him who has happiness link'd to his fate._ + + [_Exeunt._ + + +_ACT V.--SCENE II._ + + While Peggy laces up her bosom fair, + With a blew snood Jenny binds up her hair; + Glaud, by his morning ingle takes a beek, + The rising sun shines motty thro' the reek, + A pipe his mouth; the lasses please his een, + And now and than his joke maun interveen. + + GLAUD, JENNY _and_ PEGGY. + + _Glaud._ + + I Wish, my bairns, it may keep fair till night; + Ye do not use sae soon to see the light. + Nae doubt now ye intend to mix the thrang, + To take your leave of Patrick or he gang. + But do ye think that now when he's a laird, + That he poor landwart lasses will regard? + + _Jen._ Tho' he's young Master now, I'm very sure + He has mair sense than slight auld friends, tho' poor. + But yesterday he ga'e us mony a tug, + And kiss'd my cousin there frae lug to lug. + + _Glaud._ Ay, ay, nae doubt o't, and he'll do't again; + But, be advis'd, his company refrain: + Before, he as a shepherd, sought a wife, + With her to live a chast and frugal life; + But now grown gentle, soon he will forsake + Sic godly thoughts, and brag of being a rake. + + _Peg._ A rake! what's that?--Sure if it means ought ill, + He'll never be't, else I have tint my skill. + + _Glaud._ Daft lassie, ye ken nought of the affair, + Ane young and good and gentle's unco rare. + A rake's a graceless spark, that thinks nae shame, + To do what like of us thinks sin to name: + Sic are sae void of shame, they'll never stap + To brag how aften they have had the clap. + They'll tempt young things, like you, with youdith flush'd, + Syne make ye a' their jest, when ye're debauched. + Be warry then, I say, and never gi'e + Encouragement, or bourd with sic as he. + + _Peg._ Sir William's vertuous, and of gentle blood; + And may not Patrick too, like him, be good? + + _Glaud._ That's true, and mony gentry mae than he, + As they are wiser, better are than we; + But thinner sawn: They're sae puft up with pride, + There's mony of them mocks ilk haly guide, + That shaws the gate to Heaven.--I've heard mysell, + Some of them laugh at doomsday, sin and hell. + + _Jen._ Watch o'er us, father! heh! that's very odd; + Sure him that doubts a doomsday, doubts a God. + + _Glaud._ Doubt! why, they neither doubt, nor judge, nor think, + Nor hope, nor fear; but curse, debauch and drink; + But I'm no saying this, as if I thought + That Patrick to sic gates will e'er be brought. + + _Peg._ The Lord forbid! Na, he kens better things: + But here comes aunt; her face some ferly brings. + + _Enter_ MADGE. + + _Mad._ Haste, haste ye; we're a' sent for o'er the gate, + To hear, and help to redd some odd debate + 'Tween Mause and Bauldy, 'bout some witchcraft spell, + At Symon's house: The Knight sits judge himsell. + + _Glaud._ Lend me my staff;--Madge, lock the outer-door, + And bring the lasses wi' ye; I'll step before. + + [_Exit_ GLAUD. + + _Mad._ Poor Meg!--Look, Jenny, was the like e'er seen, + How bleer'd and red with greeting look her een? + This day her brankan wooer takes his horse, + To strute a gentle spark at Edinburgh cross; + To change his kent, cut frae the branchy plain, + For a nice sword, and glancing headed cane; + To leave his ram-horn spoons, and kitted whey, + For gentler tea, that smells like new won hay; + To leave the green-swaird dance, when we gae milk, + To rustle amang the beauties clad in silk. + But Meg, poor Meg! maun with the shepherd stay, + And tak what God will send, in hodden-gray. + + _Peg._ Dear aunt, what need ye fash us wi' your scorn? + That's no my faut that I'm nae gentler born. + Gif I the daughter of some laird had been, + I ne'er had notic'd Patie on the green: + Now since he rises, why should I repine? + If he's made for another, he'll ne'er be mine: + And then, the like has been, if the decree + Designs him mine, I yet his wife may be. + + _Mad._ A bonny story, trowth!--But we delay: + Prin up your aprons baith, and come away. [_Exeunt._ + + +_ACT V.--SCENE III._ + + Sir William fills the twa-arm'd chair, + While Symon, Roger, Glaud and Mause, + Attend, and with loud laughter hear + Daft Bauldy bluntly plead his cause: + For now 'tis tell'd him that the taz + Was handled by revengefu' Madge, + Because he brak good breeding's laws, + And with his nonsense rais'd their rage. + + SIR WILLIAM, PATIE, ROGER, SYMON, GLAUD, BAULDY _and_ MAUSE. + + _Sir William._ + + And was that all?--Well, Bauldy, ye was serv'd + No otherwise than what ye well deserv'd. + Was it so small a matter, to defame, + And thus abuse an honest woman's name? + Besides your going about to have betray'd + By perjury an innocent young maid. + + _Baul._ Sir, I confess my faut thro' a' the steps, + And ne'er again shall be untrue to Neps. + + _Mause._ Thus far, Sir, he oblig'd me on the score; + I kend not that they thought me sic before. + + _Baul._ An't like your Honour, I believ'd it well; + But trowth I was e'en doilt to seek the deil: + Yet, with your Honour's leave, tho' she's nae Witch, + She's baith a slee and a revengefu'---- + And that my _Some-place_ finds;--but I had best + Had in my tongue; for yonder comes the _Ghaist_, + And the young bonny _Witch_, whase rosy cheek + Sent me, without my wit, the deil to seek. + + _Enter_ MADGE, PEGGY _and_ JENNY. + + _Sir Will._ [_looking at Peggy._] Whose daughter's she + that wears th' Aurora gown, + With face so fair, and locks a lovely brown? + How sparkling are her eyes! What's this! I find + The girl brings all my sister to my mind. + Such were the features once adorn'd a face, + Which death too soon depriv'd of sweetest grace. + Is this your daughter, Glaud?---- + + _Glaud._ ----Sir, she's my niece;-- + And yet she's not:--but I should hald my peace. + + _Sir Will._ This is a contradiction: What d'ye mean? + She is, and is not! Pray thee, Glaud, explain. + + _Glaud._ Because I doubt, if I should make appear } + What I have kept a secret thirteen year. } + + _Mause._ You may reveal what I can fully clear. } + + _Sir Will._ Speak soon; I'm all impatience!-- + + _Pat._ ----So am I! + For much I hope, and hardly yet know why. + + _Glaud._ Then, since my master orders, I obey. + This Bonny Fundling, ae clear morn of May, + Close by the lee-side of my door I found, + All sweet and clean, and carefully hapt round, + In infant-weeds of rich and gentle make. + What cou'd they be, thought I, did thee forsake? + Wha, warse than brutes, cou'd leave expos'd to air + Sae much of innocence sae sweetly fair, + Sae helpless young? for she appear'd to me + Only about twa towmands auld to be. + I took her in my arms, the bairnie smil'd + With sic a look wad made a savage mild. + I hid the story: She has pass'd sincesyne + As a poor orphan, and a niece of mine. + Nor do I rue my care about the we'an, + For she's well worth the pains that I have tane. + Ye see she's bonny, I can swear she's good, + And am right sure she's come of gentle blood: + Of whom I kenna.--Nathing ken I mair, + Than what I to your Honour now declare. + + _Sir Will._ This tale seems strange!---- + + _Pat._ ----The tale delights my ear: + + _Sir Will._ Command your joys, young man, till truth appear. + + _Mause._ That be my task.--Now, Sir, bid all be hush: + Peggy may smile;--thou hast nae cause to blush. + Long have I wish'd to see this happy day, + That I might safely to the truth give way; + That I may now Sir William Worthy name, + The best and nearest friend that she can claim: + He saw't at first, and with quick eye did trace + His sister's beauty in her daughter's face. + + _Sir Will._ Old woman, do not rave,--prove what you say; + 'Tis dangerous in affairs like this to play. + + _Pat._ What reason, Sir, can an old woman have + To tell a lie, when she's sae near her grave? + But how, or why, it should be truth, I grant, + I every thing looks like a reason want. + + _Omnes._ The story's odd! we wish we heard it out. + + _Sir Will._ Mak haste, good woman, and resolve each doubt. + + [_Mause goes forward, leading Peggy to Sir William._] + + _Mause._ Sir, view me well: Has fifteen years so plow'd + A wrinkled face that you have often view'd, + That here I as an unknown stranger stand, } + Who nurs'd her mother that now holds my hand? } + Yet stronger proofs I'll give, if you demand. } + + _Sir Will._ Ha! honest nurse, where were my eyes before? + I know thy faithfulness, and need no more: + Yet, from the lab'rinth to lead out my mind, + Say, to expose her who was so unkind? + + [_Sir William embraces Peggy, and makes her sit by him._] + + Yes, surely thou'rt my niece; truth must prevail: + But no more words, till Mause relate her tale. + + _Pat._ Good nurse, go on; nae musick's haff sae fine, + Or can give pleasure like these words of thine. + + _Mause._ Then, it was I that sav'd her infant-life, + Her death being threatned by an uncle's wife. + The story's lang; but I the secret knew, + How they pursu'd, with avaritious view, + Her rich estate, of which they're now possest: + All this to me a confident confest. + I heard with horror, and with trembling dread, + They'd smoor the sakeless orphan in her bed! + That very night, when all were sunk in rest, + At midnight hour, the floor I saftly prest, + And staw the sleeping innocent away; + With whom I travel'd some few miles ere day: + All day I hid me,--when the day was done, + I kept my journey, lighted by the moon, + Till eastward fifty miles I reach'd these plains, + Where needful plenty glads your chearful swains; + Afraid of being found out, I to secure + My Charge, e'en laid her at this shepherd's door, + And took a neighbouring cottage here, that I, + Whate'er should happen to her, might be by. + Here honest Glaud himsell, and Symon may + Remember well, how I that very day + Frae Roger's father took my little crove. + + _Glaud._ [_with tears of joy happing down his beard._] + I well remember't. Lord reward your love: + Lang have I wish'd for this; for aft I thought, + Sic knowledge sometime should about be brought. + + _Pat._ 'Tis now a crime to doubt,--my joys are full, + With due obedience to my parent's will. + Sir, with paternal love survey her charms, + And blame me not for rushing to her arms. + She's mine by vows; and would, tho' still unknown, + Have been my wife, when I my vows durst own. + + _Sir Will._ My niece! my daughter! welcome to my care, + Sweet image of thy mother good and fair, + Equal with Patrick: Now my greatest aim + Shall be, to aid your joys, and well match'd flame. + My boy, receive her from your father's hand, + With as good will as either would demand. + + [_Patie and Peggy embrace, and kneel to Sir William._] + + _Pat._ With as much joy this blessing I receive, + As ane wad life, that's sinking in a wave. + + _Sir Will._ [_raises them._] I give you both my blessing: may your + love + Produce a happy race, and still improve. + + _Peg._ My wishes are compleat,--my joys arise, + While I'm haff dizzy with the blest surprise. + And am I then a match for my ain lad, + That for me so much generous kindness had? + Lang may Sir William bless these happy plains, + Happy while Heaven grant he on them remains. + + _Pat._ Be lang our guardian, still our Master be; } + We'll only crave what you shall please to gi'e: } + The estate be your's, my Peggy's ane to me. } + + _Glaud._ I hope your Honour now will take amends + Of them that sought her life for wicked ends. + + _Sir Will._ The base unnatural villain soon shall know, + That eyes above watch the affairs below. + I'll strip him soon of all to her pertains, + And make him reimburse his ill got gains. + + _Peg._ To me the views of wealth and an estate, + Seem light when put in ballance with my Pate: + For his sake only, I'll ay thankful bow + For such a kindness, _best of men_, to you. + + _Sym._ What double blythness wakens up this day! + I hope now, Sir, you'll no soon haste away. + Sall I unsadle your horse, and gar prepare + A dinner for ye of hale country fare? + See how much joy unwrinkles every brow; + Our looks hing on the twa, and doat on you: + Even Bauldy the bewitch'd has quite forgot + Fell Madge's taz, and pawky Mause's plot. + + _Sir Will._ Kindly old man, remain with you this day! + I never from these fields again will stray: + Masons and wrights shall soon my house repair, + And bussy gardners shall new planting rear: + My father's hearty table you soon shall see + Restor'd, and my best friends rejoice with me. + + _Sym._ That's the best news I heard this twenty year; + New day breaks up, rough times begin to clear. + + _Glaud._ God save the King, and save Sir William lang, + To enjoy their ain, and raise the shepherd's sang. + + _Rog._ Wha winna dance? wha will refuse to sing? + What shepherd's whistle winna lilt the spring? + + _Baul._ I'm friends with Mause,--with very Madge I'm 'greed, + Altho' they skelpit me when woodly fleid: + I'm now fu' blyth, and frankly can forgive, + To join and sing, "Lang may Sir William live." + + _Mad._ Lang may he live:--And, Bauldy, learn to steek + Your gab a wee, and think before ye speak; + And never ca' her auld that wants a man, + Else ye may yet some witches' fingers ban. + This day I'll wi' the youngest of ye rant, + And brag for ay, that I was ca'd the aunt + Of our young lady,--my dear bonny bairn! + + _Peg._ No other name I'll ever for you learn.-- + And, my good nurse, how shall I gratefu' be, + For a' thy matchless kindness done for me? + + _Mause._ The flowing pleasures of this happy day + Does fully all I can require repay. + + _Sir Will._ To faithful Symon, and, kind Glaud, to you, } + And to your heirs I give in endless feu, } + The mailens ye possess, as justly due, } + For acting like kind fathers to the pair, + Who have enough besides, and these can spare. + Mause, in my house in calmness close your days, + With nought to do, but sing your Maker's praise. + + _Omnes._ The Lord of Heaven return your Honour's love, + Confirm your joys, and a' your blessings roove. + + _Patie_, [_presenting Roger to Sir William._] Sir, here's my trusty + friend, that always shar'd + My bosom-secrets, ere I was a laird; + Glaud's daughter Janet (Jenny, thinkna shame) + Rais'd, and maintains in him a lover's flame: + Lang was he dumb, at last he spake, and won, + And hopes to be our honest uncle's son: + Be pleas'd to speak to Glaud for his consent, + That nane may wear a face of discontent. + + _Sir Will._ My son's demand is fair,-- + Glaud, let me crave, That trusty + Roger may your daughter have, + With frank consent; and while he does remain + Upon these fields, I make him chamberlain. + + _Glaud._ You crowd your bounties, Sir, what can we say, } + But that we're dyvours that can ne'er repay? } + Whate'er your Honour wills, I shall obey. } + Roger, my daughter, with my blessing, take, + And still our master's right your business make. + Please him, be faithful, and this auld gray head + Shall nod with quietness down amang the dead. + + _Rog._ I ne'er was good a speaking a' my days, + Or ever loo'd to make o'er great a fraise: + But for my master, father and my wife, + I will employ the cares of all my life. + + _Sir Will._ My friends, I'm satisfied you'll all behave, + Each in his station, as I'd wish or crave. + Be ever vertuous, soon or late you'll find + Reward, and satisfaction to your mind. + The maze of life sometimes looks dark and wild; + And oft when hopes are highest, we're beguil'd: + Aft, when we stand on brinks of dark despair, } + Some happy turn with joy dispells our care. } + Now all's at rights, who sings best let me hear. } + + _Peg._ When you demand, I readiest should obey: + I'll sing you ane, the newest that I ha'e. + + +SANG XXI.--_Tune_, Corn-riggs are bonny. + + _My_ Patie _is a lover gay, + His mind is never muddy; + His breath is sweeter than new hay, + His face is fair and ruddy: + His shape is handsome, middle size; + He's comely in his wauking: + The shining of his een surprise; + 'Tis Heaven to hear him tawking._ + + _Last night I met him on a bawk, + Where yellow corn was growing, + There mony a kindly word he spake, + That set my heart a glowing. + He kiss'd, and vow'd he wad be mine, + And loo'd me best of ony, + That gars me like to sing since syne, + O corn-riggs are bonny._ + + _Let lasses of a silly mind + Refuse what maist they're wanting; + Since we for yielding were design'd, + We chastly should be granting. + Then I'll comply, and marry_ Pate, + _And syne my cockernonny + He's free to touzel air or late, + Where corn-riggs are bonny._ + + [_Exeunt omnes._ + + + + +NOTES. + + +Page 5, line 11 from top; the reading in the text is:-- + + + "She fled as frae a shellycoat or kow." + + This is the reading in the 8vo and 4to editions of 1721; (and also + in the 12mo edition of 1761;) where was published the _first + scene_ of the Pastoral, as a separate poem, under the title of + "Patie and Roger." But, in all the editions of the _Gentle + Shepherd_ that we have seen, the reading stands thus:-- + + "She fled as frae a shellycoated kow." + + We think the first reading is the true one; and that the second + is, probably, a typographical error. We have come to this + conclusion after an inquiry into the meaning of the words + "Shellycoat" and "Kow." The definitions of these words, from the + best authorities we know of, are subjoined; which will enable such + of our readers as have any curiosity in the matter to judge for + themselves. + + "_Shellycoat_, a spirit, who resides in the waters, and has given + his name to many a rock and stone upon the Scottish coast, belongs + also to the class of bogles. When he appeared, he seemed to be + decked with marine productions, and in particular with _shells_, + whose clattering announced his approach. From this circumstance he + derived his name.--_Shellycoat_ must not be confounded with + _Kelpy_, a water spirit also, but of a much more powerful and + malignant nature." + + [_Scott's Minstrelsy_, vol. i., Introd. civ. cv. + + + "_Shellycoat._ One of those frightful spectres the ignorant people + are terrified at, and tell us strange stories of; that they are + clothed with a coat of shells, which make a horrid rattling; that + they'll be sure to destroy one, if he gets not a running water + between him and it: it dares not meddle with a woman with child, + &c." + + [_Ramsay's Poems._ vol. i., 4to edition, 1721. + + "_Kow_ or _Cow_" a hobgoblin; also, a scarecrow, a bugbear. + _Cow-man_, the devil." + + [_Jamieson's Scottish Dictionary._ + + "_Wirrikow_," the devil. + + [_Hogg's Mountain Bard._ + + The above definitions of _Shellycoat._are very precise: that of + _Kow_ is less so. Both are spirits, and frightful in character; yet + apparently of distinct habits. Hence the _first_ of the readings + given above,--the oldest and that adopted in the text-- + + "She fled as frae a shellycoat or kow," + + is quite natural and proper: the _second_ (though susceptible of + explanation,) seems much less so. + + * * * * * + +At page 57, a variation from the text given in the present edition, is +found in nearly all the more modern editions: it is as follows:-- + + "_Enter_ BAULDY [_singing_]. + + SANG XVI. + + Jocky _said to_ Jenny, Jenny, _wilt thou do't? + Ne'er a fit, quoth_ Jenny, _for my tocher-good; + For my tocher-good, I winna marry thee: + E'en's-ye-like, quoth,_ Jocky, _I can let you be._ + + _Mause,_[59] Well liltit, Bauldy, that's a dainty sang. + + [Footnote 59: In some editions, _Madge_.] + + _Bauldy,_ I'se gie ye't a', it's better than it's lang. + + _I have gowd and gear, I have land eneugh, + I have sax good owsen ganging in a pleugh; + Ganging in a pleugh, and linkan o'er the lee, + And gin ye winna tak me, I can let ye be._ + + _I have a good ha' house, a barn, and a byre; + A peat-stack 'fore the door, will mak a ranting fire; + I'll mak a ranting fire, and merry shall we be, + And gin ye winna tak me, I can let ye be._ + + Jenny _said to_ Jocky, _gin ye winna tell, + Ye shall be the lad, I'll be the lass mysell; + Ye're a bonny lad, and I'm a lassie free; + Y'ere welcomer to tak me than to let me be._" + + * * * * * + + In "Ramsay's Poems," published in London, by Millar, Rivington & + Co., 2 vols. 12mo, 1761; (three years after the author's death;) + there occur several variations from the text of the present + edition. As the more important of these changes, with one + exception, have been adopted in the edition edited by George + Chalmers, published by Cadell & Co., London, 2 vols. 8vo, 1800; + (usually considered the "best edition" of Ramsay's collected + works;) and as they have been again adopted in the recent reprint + of Cadell's edition by Fullarton & Co., London, 3 vols. 12mo, + 1850, it has been thought best to present them here in the form of + notes. The following, therefore, are to be understood as the + readings in the editions just referred to:-- + +Page 5, line 13 from bottom:-- + + "'Till he yowl'd sair she strak the poor dumb tyke:" + + This is the reading in the 8vo and 4to editions of 1721, before + referred to. In the 4to subscription edition of 1728, the author + rejected the above reading, and substituted that given in the + text. This would seem to be conclusive; and produces a + considerable degree of suspicion as to the authority for the other + alterations which we find in the editions of 1761 and 1800. + +Page 11, line 4 from bottom:-- + + "We soon will hear what a poor feightan life" + + [_Edition of_ 1800. + + The editions of 1761 and 1850 give the reading in the text. + +Page 19, line 8 from top:-- + + "To shine, or set in glory with Montrose." + +Page 25, line 8 from bottom:-- + + "_Bauldy._ Well vers'd in herbs and seasons of the moon, + By skilfu' charms 'tis kend what ye have done." + + [_Edition of_ 1761. + + The editions of 1800 and 1850 give the reading in the text. + +Page 27:-- + + MAUSE _her lane_. + + "This fool imagines, as do mony sic, + That I'm a witch in compact with _Auld Nick_, + Because by education I was taught + To speak and act aboon their common thought. + Their gross mistake shall quickly now appear, + Soon shall they ken what brought, what keeps me here. + Now since the royal _Charles_, and right's restor'd, + A shepherdess is daughter to a lord. + The _bonny foundling_ that's brought up by _Glaud_, + Wha has an uncle's care on her bestow'd, + Her infant life I sav'd, when a false friend + Bow'd to th' _Usurper_, and her death design'd, + To establish him and his in all these plains + That by right heritage to her pertains. + She's now in her sweet bloom, has blood and charms + Of too much value for a shepherd's arms: + None knows't but me;--and if the morn were come, + I'll tell them tales will gar them all sing dumb." + +Page 29, line 7 from top:-- + + "I darna stay,--ye joker, let me gang, + Or swear ye'll never tempt to do me wrang." + +Page 29, line 15 from top:-- + + "Shall do thee wrang, I swear by all aboon." + +Page 36, line 4 from top:-- + + "No _Jaccacinths_ or _Eglantines_ appear. + Here fail'd and broke's the rising ample shade, + Where _peach_ and _nect'rine_ trees their branches spread, + Basking in rays, and early did produce + Fruit fair to view, delightful in the use; + All round in gaps, the walls in ruin lie, + And from what stands the wither'd branches fly." + +Page 47, line 10 from bottom:-- + + "With equal joy my safter heart does yield, + To own thy well-try'd love has won the field." + +Page 62, top line:-- + + "But love rebels against all bounding laws; + Fixt in my soul the shepherdess excells," + +Page 63, line 15 from bottom:-- + + "Fine claiths, saft beds, sweet houses, sparkling wine, + Rich fare, and witty friends, whene'er ye dine, + Submissive servants, honour, wealth and ease," + +Page 64, line 14 from bottom:-- + + "_Roger._ And proud of being your secretary, I + To wyle it frae me a' the deels defy." + +Page 67, line 10 from bottom:-- + + "Dream thro' that night, 'till my day-star appear;" + +Page 70, line 5 from bottom:-- + + "_Peggy._ Were ilka hair that appertains to me + Worth an estate, they all belong to thee: + My sheers are ready, take what you demand, + And aught what love with virtue may command. + _Patie._ Nae mair I'll ask; but since we've little time," + +Page 72, line 9 from top:-- + + "What want ye, Bauldy, at this [early silent] hour, + When nature nods beneath the drowsy pow'r:" + +Page 73, line 8 from bottom:-- + + "Lows'd down my breeks, while I like a great fool," + + [_Not in edition of 1850._ + +Page 82, line 12 from bottom:-- + + "_Patie._ Good nurse, dispatch thy story wing'd with blisses, + That I may give my cusin fifty kisses." + + Besides the above, there occur, in the edition of 1761, about 50 + _verbal_ alterations, additions, and omissions; and about 75 in + the edition of 1800. In the edition of 1850 there are fewer + changes, it having been partially corrected, probably from the 8vo + edition of 1808. These verbal changes are rarely, if ever, + improvements; frequently of little consequence, and sometimes they + appear silly; for instance, towards the end of the Pastoral there + is substituted, in two or three instances, Archbald instead of + Bauldy! We have not, therefore, thought it worth while to note + them here. We rather think that our readers, generally, will not + consider the readings above given, as improvements on those in the + text. + + + + +A + +GLOSSARY; + +OR, + +AN EXPLANATION OF THE SCOTTISH WORDS + +WHICH ARE USED IN + +_ALLAN RAMSAY'S "GENTLE SHEPHERD;"_ + +AND WHICH ARE RARELY FOUND IN MODERN ENGLISH WRITINGS: + +WITH ADDITIONS AND CORRECTIONS. + + * * * * * + + + A. + + + _A'_, all. + _Abeit_, albeit, although. + _Ablins_, perhaps. + _Aboon_, above. + _Ae_, or _ane_, one. + _Aff_, off. + _Aften_, often. + _Ain_, or _awn_, own. + _Air_, long since, early. + _Air up_, soon up in the morning. + _Airth_, quarter of the heaven. + _Alane_, alone. + _Amaist_, almost. + _Amang_, among. + _Aneath_, beneath. + _Anes_, once. + _Anither_, another. + _Asteer_, stirring. + _Atanes_, at once, at the same time. + _Attour_, out-over. + _Auld_, old. + _Awa_, away. + _A-will_, voluntarily. + _Awner_, owner. + + + B. + + _Ba'_, ball. + _Badrans_, a cat. + _Bairns_, children. + _Bair_, bear, boar. + _Baith_, both. + _To ban_, to curse. + _Banefire_, bonfire. + _Bannocks_, a sort of unleavened bread, thicker than cakes, and round. + _Barlickhood_, a fit of drunken angry passion. + _Bassend_, see _Bawsy_. + _Baugh_, sorry, indifferent. + _Bauk_, balk. + _Bauld_, bold. + _Bawk_, a rafter, joist; likewise, the space between cornfields; to + frustrate. + _Bawsy_, bawsand-fac'd, is a cow, or horse, with a white face. + _Be_, by. + _Bedeen_, immediately, in haste. + _Begunk_, a trick, a cheat. + _Beik_, to bask. + _Beild_, or _beil_, a shelter. + _Bein_, or _been_, wealthy, comfortable. A _been_ house, a warm + well-furnished one. + _Ben_, the inner room of a house. + _Come farer ben_, be better received. + _Bend_, a pull of liquor. + _Bend the bicker_, quaff out the cup. + _Bent_, a coarse kind of grass growing on hilly ground; the open + field, the plain. + _To the bent_, fled out of reach. + _Betooch-us-to_, Heaven preserve us. + _Beuk_, baked. + _Bicker_, a wooden dish. + _Bide_, to await. + _Bigonet_, a linen cap or coif. + _Billy_, brother, a young man. + _Birks_, birch-trees. + _Birky_,--_auld birky_, old boy. + _Birn_, a burnt mark. + _Birns_, the stalks of burnt heath. + _Black-sole_, a confidant in courtship. + _Blae_, black and blue, the colour of the skin when bruised. + _Blaeberry_, bilberry. + _Blashy_, plashy, deluging. + _Blate_, bashful. + _Blaw_, blow; to boast. + _Bleech_, to blanch or whiten. + _Bleer_, to bedim with tears. + _Bleez_, blaze. + _Blob_, a drop. + _Bob_, to move up and down as in dancing. + _Bobbit bands_, tasselled bands (worn about the neck). + _Bode_, to proffer. + _Bonny_, beautiful. + _Bouk_, bulk. + _Bourd_, jest or dally. + _Bowt_, bolt. + _Brae_, the side of a hill, a steep bank. + _Braid_, broad. + _Brankan_, prancing, a capering. + _Brattle_, to advance rapidly, making a noise with the feet. + _Brats_, aprons of coarse linen. + _Braw_, brave; fine in apparel. + _Breaks_, becomes bankrupt. + _Brecken_, fern. + _Briss_, to press. + _Brock_, a badger. + _Broe_, broth. + _Brown cow_, a ludicrous expression for ale or beer, as opposed to + milk. + _Bught_, the little fold where the ewes are inclosed at milking-time. + _Bumbazed_, confused; made to stare and look like an idiot. + _Burn_, or _burnie_, a brook. + _Busk_, to deck, dress. + _Bustine_, fustian (cloth.) + _But_, often used for _without_; as "_but_ feed or favour." + _But a flaw_, without a lie. + _But_,--_fetch but_, bring into the outer apartment, or that used as a + kitchen. + _By and attour_, over and above. + _By_,--_flings by_, throws aside. + _Byre_, or _byar_, a cow-house. + + + C. + + _Ca_, call. + _Cadgy_, good-humoured, happy, fond. + _Canker'd_, angry, passionately snarling. + _Canna_, cannot. + _Canny_, prudent. (See _Kanny_.) + _Cantraips_, incantations. + _Canty_, cheerful and merry. + _Car_, sledge. + _Carle_, a word for an old man. + _Carna_, care not. + _Cast up_, to upbraid one with a thing. + _Cauld_, cold. + _Cauldrife_, spiritless; wanting cheerfulness in address. + _Cauler_, cool or fresh. + _Cawf_, or _caff_, a calf; chaff. + _Cawk_, chalk. + _Chiel_, or _chield_, a general term like fellow; used sometimes with + respect, as, "he's a very good _chiel_;" and contemptuously, "that + _chiel_." + _Chirm_, chirp and sing like a bird. + _Chitter_, chatter. + _Chucky_, a hen. + _Claith_, cloth. + _Clatter_, to chatter. + _Claw_, scratch. + _Cleck_, to hatch. + _Cleek_, to catch as with a hook. + _Closs_, close. + _Clute_, or cloot, hoof of cows or sheep. + _Cockernony_, the gathering of a woman's hair, when it is wrapt or + snooded up with a band or snood. + _Coft_, bought. + _Coof_, a stupid fellow. + _Corby_, a raven. + _Cottar_, a cottager. + _Crack_, to chat, to talk. + _Craig_, a rock. + _Crap_, crept. + _Croon_, or _crune_, to murmur or hum over a song. + _Crove_, a cottage. + _Crummy_, or _crummock_, a cow's name. + _Cunzie_, or _coonie_, coin. + _Curn_, a small quantity. + _Cut and dry_, a kind of tobacco. + + + D. + + _Daffine_, folly, waggery. + _Daft_, foolish. + _Dainty_, is used as an epithet of a fine man or woman. + _Dang_, _did ding_, beat, thrust, drive. + _Darn_, to hide. + _Darna_, dare not. + _Dash_, to put out of countenance. + _Dawty_, a fondling, darling. _To dawt_, or _daut_, to cocker and + caress with tenderness. + _Decreet_, award. + _Deil_, or _deel_, the devil. + _Dike_, or _dyke_, a fence of stone or turf. + _To Ding_, to drive down, to beat, to overcome. + _Dinna_, do not. + _Disna_, does not. + _Dit_, to stop or close up a hole. + _Divot_, thin turf. + _Doilt_, confused and silly. + _Doof_, a dull, heavy-headed fellow. + _Dool_, pain, grief. + _Dorts_, a proud pet. + _Dorty_, proud; not to be spoken to; conceited; appearing as + dis-obliged. + _Dosens_, becomes torpid. + _Dow_, to will, to incline, to thrive; to be able. + _Dowie_, sickly, melancholy, doleful, sad. + _Downa_, _dow not_, i. e., though one has the power, he wants the + heart to do it. + _Dowp_, the arse; the small remains of a candle. + _Drap_, drop. + _Dreery_, wearisome, frightful. + _Drie_, to suffer, endure. + _Drouth_, drought, thirst. + _Dubs_, mire, small pools of water. + _Duds_, rags. _Duddy_, ragged. + _Dung_, driven down, overcome. + _Dunt_, stroke or blow; to beat, to palpitate. + _Dyvour_, a bankrupt, a debtor. + + + E. + + _Eastlin_, easterly, eastward. + _Een_, eyes. + _Eild_, old age. + _Eith_, easy. _Eithly_, easily. + _Elf-shot_, bewitched, shot by fairies. + _Elritch_, wild, hideous, uninhabited except by imaginary ghosts. + _Elvand_, the ell measure. + _Ergh_, scrupulous; when one makes faint attempts to do a thing, + without a steady resolution; to be timorous. + _Ether_, an adder. + _Ethercap_, or _ettercap_, a venomous spiteful creature. + _Ettle_, to aim, design. + _Even'd_, compared. + _Evens_, equals, compares, allies. + + + F. + + _Fa_, fall. + _Fae_, foe. + _Fain_, joyful, tickled with pleasure. + _Fairfa'_, when we wish well to one, that a good or fair fate may + befall him. + _Fand_, found. + _Farder_, farther. + _Farer seen_, more knowing. + _Fash_,--_never fash your thumb_, be not the least vexed, be easy. + _Fash_, to vex or trouble. _Fasheous_, troublesome. + _Fauld_, fold. + _Fause_, false. + _Faut_, fault. + _Fawn_, fallen. + _Feckless_, feeble, little and weak. + _Feg_, a fig. + _Fell_, good, valuable, keen; a rocky, or wild, hill. + _Fere_, sound, entire. + _Ferlie_, wonder. + _Feu_, tenure, a fief. + _Firlot_, four pecks, the fourth part of a boll. + _Fit_, the foot. + _Flaes_, fleas. + _Flaw_, lie or fib. + _Flawing_, lying, fibbing. + _Fleetch_, to coax or flatter. + _Fleg_, fright. + _Flesh a' creep_, a phrase which expresses shuddering. + _Flet_, the preterit of _flyte_, did chide. + _Fley_, or _flie_, to affright. _Fleyt_, or _fleid_, afraid or + terrified. + _Flighter_, flutter. + _Flit_, to remove. + _Flite_, or _flyte_, to scold or chide. _Flet_, did scold. + _Flyp_, to turn inside out. + _Fog_, moss. + _Forby_, besides. + _Forgainst_, opposite to. + _Forgather_, to meet, encounter. + _Forrow cow_, a cow that is not with calf, and therefore continues to + give milk throughout the winter. + _Fou_, or _fu_, full. + _Fouth_, abundance, plenty. + _Fowk_, folk. + _Fow-weel_, full well. + _Frae_, fro, or from. + _Fraise_, to make a noise. We use to say "one makes a _fraise_," when + they boast, wonder, and talk more of a matter than it is worthy of, + or will bear. + _Freath the graith_, to froth the suds about the clothes in washing. + _Fundling_, foundling. + + + G. + + _Ga_, _gaw_, gall. + _Gab_, the mouth. _To Gab_, to prate. + _Gade_, went, did go. + _To Gae_, to go. + _Gait_, a goat. + _Gane_, gone. + _Gar_, to cause, make, or force. + _Gat_, got. + _Gate_, or _gait_, way. + _Gaw_, to take the pet, to be galled. + _Gawky_, an idle, staring, idiotical person. + _Gawn_, going. + _Gaws_, galls. + _Gay and early_, pretty early. + _To geck_, to mock, to toss the head with disdain. + _Gett_, a brat, a child, by way of contempt or derision. + _Ghaist_, a ghost. + _Gif_, if. + _Gin_, if. + _Girn_, to grin, snarl. + _Glen_, a narrow valley between mountains. + _Gloom_, to scowl or frown. + _Glowr_, to stare. + _Gowans_, daisies. + _Gowd_, gold. + _Gowk_, the cuckoo. In derision, we call a thoughtless fellow, and one + who harps too long on one subject, a _gowk_. + _Grace-drink_, the drink taken by a company after the giving of thanks + at the end of a meal. + _Graith_, furniture, harness, armour. + _To Grane_, to groan. + _Grany_, grandmother, any old woman. + _Gree_, prize, victory. + _Green_, or _grien_, to long for. + _Greet_, to weep. _Grat_, wept. + _Grit_, familiar. + _Grots_, milled oats. + _Gusty_, savoury. + _Gyte_, _gane gyte_, acts extravagantly. + + + H. + + _Ha_, hall. + _Had_, hold. + _Hae_, have. + _Haff_, half. + _Haffet_, the cheek, side of the head. + _Haflen_, partly, in part. + _Hagabag_, coarse table-linen. + _Haggies_, a kind of pudding made of the lungs and liver of a sheep, + and boiled in the big bag. + _Hag-raid_, witch-ridden, tormented by hags or phantoms. + _Hait_, or _het_, hot. + _Haith_, (a minced oath,) faith. + _Hald_, or _had_, hold. + _Hale_, whole. + _Halesome_, wholesome. + _Hallen_, a fence of turf, twigs, or stone, built at the side of a + cottage door, to screen from the wind. + _Haly_, holy. + _Haly band_, kirk session. + _Hame_, home. + _Hamely_, friendly, frank, open, kind. + _Happing_, hopping. + _Hapt_, covered. + _Harigalds_, the heart, liver, and lights of an animal. + _Hawky_, a cow; a white-faced cow. + _Hawse_, or _hauss_, the throat or gullet. + _Hawslock_, the wool that grows on the hawse or throat. + _Heartsome_, blythe and happy. + _Heeryestreen_, the night before yesternight. + _Heffs_, or _hefts_, dwells. + _Heghts_, or _hechts_, promises, engagements, proffers. + _Het_, hot. + _Hether-bells_, the heath-blossom. + _Hiddils_, or _hidlings_, lurking, hiding-places. To do a thing in + _hidlings_, i. e., privately. + _Hinder_, last. + _To Hing_, to hang. + _Hinny_, honey. + _Hissel-shaw_, hazel-wood. + _Hobleshew_, confused racket, uproar. + _Hodden-grey_, coarse grey cloth. + _Hool_, husk, shell. + _How_, low ground, a hollow. + _Howdy_, a midwife. + _Howk_, to dig. + _Howms_, _holms_, plains on river-sides. + _Howt!_ fy! + + + I. + + _Ilk_, each. _Ilka_, every. + _Of that ilk_, of an estate having the same name as the owner. + _Ingan_, onion. + _Ingle_, fire. + _I'se_, I shall; as, _I'll_, for I will. + _Ither_, other. + + + J. + + _Jaccacinths_, hyacinths. + _Jaw_, a wave or gush of water. + _Jee_, to incline on one side. + _Jo_, sweetheart. + + + K. + _Kaim_, or _kame_, comb. + _Kale_, or _kail_, colewort; and sometimes, broth. + _Kanny_, or _canny_, fortunate; also, wary, one who manages his + affairs discreetly; cautious. + _Kedgy_, or _cadgie_, jovial. + _Keep up_, hide, or retain. + _Ken_, to know. + _Kenna_, know not. + _Kent_, a long staff, such as shepherds use for leaping over ditches. + _Kilted_, tucked up. + _Kirn_, a churn; to churn. + _Kitted_, kept in a small wooden vessel. + _Kittle_, difficult, mysterious, knotty (writings). + _Kittle_, to tickle, ticklish; vexatious. + _Knit up themsells_, hang up themselves. + _Know_, a hillock, a knoll. + _Kow_, goblin. _See Notes_, p. 89. + _Ky_, kine or cows. + + + L. + + _Lair_, or _lear_, learning; to learn. + _Laith_, loth. + _Lake_, lack. + _Landwart_, the country, or belonging to it; rustic. + _Lane_, alone. + _Lang_, long. + _Langsome_, slow, tedious. + _Lang-syne_, long ago; sometimes used as a substantive noun, auld + _lang-syne_, old times by-past. + _Lap_, leaped. + _Lave_, the rest or remainder. + _Lavrock_, the lark. + _Leal_, or _leel_, true, upright, honest, faithful to trust, loyal; "a + _leal_ heart never lied." + _Lee_, untilled ground; also an open grassy plain. + _Leek_,--_clean's a leek_, perfectly clever and right. + _Leen_, cease, give up, yield. + _Leglen_, a milking-pail with one lug or handle. + _Len_, lend, loan. + _Let na on_, do not divulge. + _Leugh_, laughed. + _Lick_, to whip or beat; a blow. + _Lied_, ye lied, ye tell a lie. + _Lift_, the sky or firmament. + _Lills_, the holes of a wind instrument of music; hence, "_lilt_ up a + spring." + _Lin_, a waterfall. + _Linkan_, walking speedily. + _Loan_, or _loaning_, a passage for the cattle to go to pasture, left + untilled; a little common, where the maids often assembled to milk + the ewes. + _Loe_, or _loo_, to love. + _Loof_, the hollow of the hand. + _Lounder_, a sound blow. + _Lout_, to bow down, making courtesy; to stoop. + _Low_, flame. _Lowan_, flaming. + _Lowp_, to leap. + _Lowrie_, _lawrie_, cunning; a designation given to the fox. + _Lucky_, grandmother, or goody. + _Lug_, ear; handle of a pot or vessel. + _Luggie_, a dish of wood with a handle. + _Lug out_, pull or draw out. + _Lyart_, hoary or grey-haired. + + + M. + + _Mae_, more. + _Maik_, or _make_, to match, equal. + _Mailen_, a farm. + _Main_, or _mane_, moan. + _Mair_, more. + _Maist_, most. + _Mansworn_, perjured. + _Mavis_, a thrush. + _Maun_, must. _Mauna_, must not, may not. + _Mawt_, malt. + _Mear_, mare. + _Meikle_, much, big, great, large. + _Mennin_, minnow. + _Merl_, the blackbird. + _Midding_, a dunghill. + _Milk-bowie_, milking-pail. + _Mint_, aim, endeavour, to attempt. + _Mirk_, dark. + _Misca_, to give names. + _Mither_, mother. + _Mittons_, woollen gloves. + _Mony_, many. + _Mools_, the earth of the grave. + _Motty_, full of motes. + _Mou_, or _mow_, mouth. + _Mows_, _nae mows_, no jest. + _Muck_, dung. + _Muckle_, see _Meikle_. + + + N. + + _Na_, _nae_, no, not. + _Nathing_, _naething_, _naithing_, nothing. + _Nane_, none. + _Near-hand_, nearly, almost. + _Neist_, next. + _Newcal_, new calved (cows.) + _Newfangle_, fond of a new thing. + _Nibour_, neighbour. + _Nick_,--_auld Nick_, the devil. + _Nive_, the fist. + _Nocht_, nought, not. + _Nor_, than. + _Nowt_, cows, kine. + _Nowther_, neither. + + + O. + + _Obeysant_, obedient. + _O'ercome_, surplus. + _O'erput_,--_ne'er o'erput it_, never get over it. + _Onstead_, the building on a farm, the farm-house. + _Ony_, any. + _Or_, sometimes used for ere, or before. _Or_ day, i. e., before + daybreak. + _Orp_, to weep with a convulsive pant. + _Owk_, week. + _Owrlay_, a cravat. + _Owsen_, oxen. + _Oxter_, the armpit. + + + P. + + _Pat_, did put. + _Paughty_, proud, haughty. + _Pawky_, witty or sly in word or action, without any harm or bad + designs. + _Peets_, turf for fire. + _Pensy_, finical, foppish, conceited. + _Pit_, to put. + _Pith_, strength, might, force. + _Plaiding_, a coarse tweeled woollen cloth. + _Plet_, plaited. + _Plotcock_, the devil. + _Poinds your gear_, distrains your effects. + _Poke_, bag. + _Pople_, or _paple_, the bubbling, purling, or boiling up of water. + _Poortith_, poverty. + _Pou_, pull. + _Poutch_, a pocket. + _Pow_, the poll, the head. + _Prin_, a pin. + _Propine_, gift or present. + _Pu_, pull. + _Pund_, pound. + _Putt a stane_, throw a big stone. + + + Q. + + _Quean_, a young woman. + _Quey_, a young cow. + + + R. + + _Racket rent_, rack-rent. + _Rae_, a roe. + _Rair_, or _rare_, roar. + _Rashes_, rushes. + _Redd_, to rid, unravel; to separate folks that are fighting. It also + signifies clearing of any passage. "I am _redd_," I am apprehensive. + _Red up_, to put in order. + _Reek_, smoke. + _Reest_, to rust, or dry in the smoke. + _Rever_, a robber or pirate. + _Rife_, or _ryfe_, plenty. + _Rigs_ of corn, ridges. + _Rin_, run. + _Rock_, a distaff. + _Roose_, or _ruse_, to commend, extol. + _Roove_, to rivet. + _Roudes_, a wrinkled, ill-natured woman. + _Rousted_, rusted. + _Row_, roll. + _Rowan_, rolling. + _Rowt_, to roar, especially the lowing of bulls and cows. + _Rowth_, plenty. + _Ruck_, a rick or stack of hay or corn. + _Rumple_, the Rump parliament. + + + S. + + _Sae_, so. + _Saebiens_, seeing it is, since. + _Saft_, soft. + _Sair_, or _sare_, sore. + _Sakeless_, or _saikless_, guiltless, innocent, free. + _Sald_, sold. + _Sall_, shall; like _soud_ for should. + _Samen_, same. + _Sang_, song. + _Sark_, a shirt. + _Saugh_, a willow or sallow tree. + _Saul_, soul. + _Saw_, an old saying, or proverbial expression. + _Sawn_, sown. + _Sax_, six. + _Scad_, or _scawd_, scald. + _Scart_, to scratch. + _Scrimp_, narrow, straitened, little. + _Sell_, self. + _Sey_, to try. + _Shaw_, a wood or forest. + _To Shaw_, to show. + _Shellycoat_, a goblin, a spirit who resides in the waters. + _Sheveling-gabit_, having a distorted mouth. + _Shoon_, shoes. + _Shore_, to threaten. + _Sic_, such. + _Siccan_, such kind of. + _Siller_, silver. + _Simmer_, summer. + _Sindle_, or _sinle_, seldom. + _Singand_, singing. + _Sinsyne_, since that time; lang _sinsyne_, long ago. + _Skair_, share. + _Skaith_, hurt, damage, loss. + _Skelf_, shelf. + _Skelp_, to run; to flog the buttocks. + _Skiff_, to move smoothly along. + _Slaw_, slow. + _Sled_, sledge, sleigh. + _Slee_, sly. + _Slid_, smooth, cunning, slippery; as, "he's a _slid_ loun." + _Sma_, small. + _Smoor_, to smother. + _Snaw_, snow. + _Snood_, the band for tying up a woman's hair. + _Snool_, to dispirit by chiding, hard labour, and the like; also, a + pitiful grovelling slave. + _Sonsy_, happy, fortunate, lucky; sometimes used for large and lusty; + plump, thriving. + _Sorn_, to spunge, or hang on others for maintenance. + _Sough_, the sound of wind among trees, or of one sleeping. + _Spae_, to foretell or divine. _Spaemen_ prophets, augurs. + _Spain_, to wean from the breast. + _Spait_, or _spate_, a torrent, flood, or inundation. + _Speer_, to ask, inquire. + _Spill_, to spoil, abuse. + _Spraings_, stripes of different colours. + _Spring_, a tune on a musical instrument. + _Sta_, stall. + _Stane_, stone; a weight of 16 lbs. + _Stang_, did sting, to sting. + _Stap_, stop. + _Starns_, the stars. + _Staw_, stole. + _Steek_, to shut, close. + _Stegh_, to cram. + _Stend_, or _sten_, to move with a hasty long pace; to spring. + _Stent_, to stretch or extend; to limit or stint. + _Stock-and-horn_, a shepherd's pipe, made by inserting a reed pierced + like a flute into a cow's horn; the mouth-piece is like that of a + hautboy. + _Stown_, stolen. + _Strae_, straw. + _Strak_, struck. + _Strapan_, clever, tall, handsome. + _Sung_, singed. + _Swat_, did sweat. + _Swith_, quickly. + _Syne_, afterwards, then; since. + + + T. + + _Taid_, a toad. + _Tald_, told. + _Tane_, taken. + _Tarrow_, to refuse what we love, from a cross humour. + _Tass_, a little dram-cup. + _Tate_, a small lock of hair, or any little quantity of wool, cotton, + &c. + _Taz_, a whip or scourge. + _Tent_, to attend, to take care of; to observe, to remark. + _Thack_, thatch. + _Thae_, those. + _Than_, then. + _Thievless_, wanting propriety, unmeaning. + _Thirle_, to thrill. + _Thole_, to endure, suffer. + _Thow_, thaw. + _Thrang_, throng. + _Thrawart_, froward, cross, crabbed. + _Thrawin_, stern and cross-grained. + _Thrawn-gabet_, wry-mouthed. + _Tift_, good order. _In tift_, in the mood. + _Till_, to. _Till't_, to it. + _Timmer_,--_turn the timmer_, put round the cup. + _Tine_, or _tyne_, to lose. _Tint_, lost. + _Titty_, sister. + _Tocher_, portion, dowry. + _Tocher_,--_but tocher-good_, without dowry. + _Tod_, a fox. + _Tod Lawrie_, a fox. + _Tooly_, to fight; to scramble; to romp. + _Toom_, empty, applied to a barrel, purse, house, &c.; also, to empty. + _Tot_, a fondling name given to a child. + _Touse_, _tousle_, or _towzle_, to rumple, to handle roughly. + _Towin'd_, tamed. + _Towmond_, a year or twelvemonth. + _Towzle_, to handle roughly. + _Trig_, neat, handsome. + _Triste_, or _tryst_, appointment. + _Tron_, an instrument erected in every burgh in Scotland, for the + weighing of wool and other heavy wares. + _Trow_, to believe. + _Tulzie_, a quarrel or broil. + _Twa three_, two or three. + _Twitch_, touch. + _Tyke_, a dog of one of the larger and common breeds. + + + U. + + _Uneith_, not easy. + _Unfother'd_, not foddered. + _Unko_, or _unco_, unknown, strange; very. + _Unsonsy_, unlucky, ugly. + + + V. + + _Virle_, a ferrule. + _Vissy_, to view with care. + + + W. + + _Wa_, or _waw_, wall. + _Wad_, would. + _Wadna_, would not. + _Wae_, sorrowful; woe. + _Waefu'_, woeful. + _Waff_, wandering by itself; worthless. + _Wale_, to pick and choose; the best. + _Wame_, womb, the belly. + _Wan_, won. + _War_, or _warse_, worse. + _Ware_, wares, merchandise; to expend. + _Wark_, work. + _Warld_, world. + _Warlock_, wizard. + _Warst_, worst. + _Wat_, or _wit_, to know. + _Wather_, a male sheep that has been gelded while a lamb. + _Watna-whats_, know-not-whats. + _Wauk_, or _wawk_, to walk; to watch. + _Wawking_, watching. + _We'an_, or _wee ane_, a child. + _Wear up_, to drive off. + _Wee_, little. + _Ween_, thought, imagined, supposed. + _Weer_, to stop or oppose. + _Westlin_, westerly, westward. + _West-Port_, the sheep market-place of Edinburgh. + _Wha_, who. + _Whase_, whose. + _Whilk_, which. + _Whindging_, whining, whimpering. + _Whins_, furze. + _Whisht_, hush, hold your peace. + _Whop_, whip. + _Will-fire_, wild fire. + _Wimpling_, a turning backward and forward, winding like the meanders + of a river. + _Win_, or _won_, to reside, dwell. + _Winna_, will not. + _Winsom_, gaining, desirable, agreeable, complete, large, handsome, + charming. + _Withershins_, motion against the sun. + _Wobster_,--_the deel gaes o'er John Wobster_, the devil's to pay. + _To Won_, to dry by exposing to the sun and air. + _Wond_, wound, wrapped around. + _Woo_, or _w_, wool. + _Wood_, mad. + _Woody_, the gallows: for, a withy was formerly used as a rope for + hanging criminals. + _Wordy_, worthy. + _Wow_, wonderful, strange. + _Wrang_, wrong. + _Wreaths_ of snow, when heaps of it are blown together by the wind. + _Wyle_, or _wile_, to entice. + _Wyte_, or _wite_, to blame, blame. + + + Y. + + _Yestreen_, yesternight. + _Yont_, beyond. + _Youdith_, youthfulness. + _Youl_, to yell. + _Yule_, Christmas. + + * * * * * + + + + + A + + CATALOGUE + + OF THE + + SCOTTISH POETS, + + FROM THE EARLIEST PERIOD. + + + _Sages and chiefs long since had birth, + Ere Cæsar was, or Newton nam'd; + These rais'd new empires o'er the earth,-- + And those, new heav'ns and systems fram'd; + Vain was the chiefs', the sages' pride! + They had no poet, and they died. + In vain they schem'd, in vain they bled! + They had no poet, and are dead._ + + A. POPE. + + Book Catalogues are to men of letters what the compass and the + lighthouse are to the mariner, the railroad to the merchant, the + telegraph wires to the editor, the digested index to the lawyer, the + pharmacop[oe]ia and the dispensatory to the physician, the sign-post + to the traveller, the screw, the wedge, and the lever to the mechanic; + in short, they are the labour-saving machines, the concordances, of + literature WESTERN MEMORABILIA. + + [Illustration] + + NEW YORK: + + WILLIAM GOWANS. + + 1852. + + + + +CATALOGUE + +OF THE + +SCOTTISH POETS, + +AND OF THE BEST EDITIONS OF THEIR WORKS. + + * * * * * + + + ADAMSON, H. The Muse's Threnodie, or, Mirthful Mournings; and a + Poetical Description of Perth. Map. 8vo. Perth, 1774. + + ADAMSON, JOHN. The Muse's Welcome to the high and mighty prince + James, king of Great Britaine, France, and Ireland, after his + happy return to his old and native kingdome of Scotland, after + XIII years absence. Folio. Edinburgh, 1618. + + ADAMSON, PATRICK. (_Archbishop of St. Andrews._) Paraphrase of the + Book of Job. 1597. + + ANDERSON, PATRICK. The Picture of a Scotish Baron Court: a Dramatic + Poem. 12mo. pp. 48. Edinburgh, 1821. + + AINSLIE, HEW. A Pilgrimage to the Land of Burns, interspersed with + Poems and Songs. 12mo. 1820. + + ALLAN, EDWARD. Original Poems. 12mo. pp. 108. Glasgow, 1836. + + ALLAN, ROBERT. Evening Hours: Poems and Songs. 12mo. pp. 237. + Glasgow, 1836. + + ALVES, ROBERT. The Weeping Bard, and other Miscellaneous Poems. + 1789. + + ANE PLEASANT GARLAND of Sweet Scented Flowers. 4to. pp. 31. 1835. + + ANSTRUTHER, SIR WILLIAM. Essays, Moral and Divine; interspersed with + Poetry. 1701. + + ARBUTHNOT, ALEXANDER. Miseries of a Poor Scholar, Praise of Women, + Love, &c., &c. 1583. + + ARBUTHNOT, JOHN, M. D. _Aye_ and _No_: a Poem. N. D. + + ARMSTRONG, JOHN. Art of Preserving Health, and other Poems and + Plays. 2 vols. 12mo. London, 1770. + + ARMSTRONG, JOHN. Juvenile Poems, with Remarks on Poetry. 1791. + + AYTON, SIR ROBERT. Poems on Woman's Inconstancy. 1600. + + BAILLIE, JOANNA. Poems, Songs, and Plays. 8vo. pp. 847. $4.00. + London, 1851. + + BALFOUR, ALEXANDER. Characters omitted in Crabbe's Parish Register, + with other Tales. 12mo. pp. 277. Edinburgh, 1825. + + BALFOUR, SIR JAMES. (Ballads, and other Fugitive Poetical Pieces, + chiefly Scottish, from the collection of) 4to. Edinburgh, 1834. + + BALNAVES, HENRY. A Poetical Rhapsody. N. D. + + BANNATYNE, GEORGE. (Ane Ballet Book, written in the year of God + 1558; and Ancient Scottish Poems, published from the MS. of) N. + D. + + BARBOUR, JOHN. The Bruce and Wallace; or, the Metrical History of + Robert I. King of Scots, and Sir William Wallace. Published from + a manuscript dated 1489, as preserved in the Advocate's Library, + with Notes, Glossary, and a Memoir of the Life of the Author. By + John Jamieson. 2 vols. 4to. pp. 625 and 664. Edinburgh, 1820. + + BARCLAY, ALEXANDER. Here begynneth the Eglogues, whereof the fyrst + thre conteyneth the Myseryes of Courters and Courts of all + Prynces in general. The fourth conteyning the Manners of Rich + Men anenst Poets and other Clerks. N. D. + + BARCLAY, JOHN. A Description, in verse, of the Roman Catholic + Church. 1679. + + BARCLAY, L. Poems, chiefly in the Scottish idiom. 12mo. pp. 185. + Glasgow, 1832. + + BARRY, THOMAS. (_Provost of Bothwell._) The Battle of Otterburn + Bower. M.S. 1338. + + BEATTIE, JAMES. Original Poems and Translations. 8vo. pp. 198. + London, 1760. + + BEATTIE, JAMES HAY. Literary and Poetical Remains. 1800. + + BELL, JOHN. Cartlane Craigs: a Poem. 12mo. pp. 73. Edinburgh, 1816. + + BELLENDEN, JOHN. (_Translator of Hector B[oe]ce._) The Proheme of + the Cosmographe. Folio. 1556. + + BINNEY, JAMES. Poems, chiefly in the Scottish dialect. 18mo. Kelso, + 1815. + + BLACK, R. JOHN. The Falls of Clyde; or, the Fairies. A Scottish + Dramatic Pastoral, in Five Acts, with Three Preliminary + Dissertations. 8vo. pp. 241. Edinburgh, 1806. + + BLACKLOCK, THOMAS. A Collection of Original Poems. 2 vols. 12mo. pp. + 239 and 260. Edinburgh, 1760. + + BLACKWOOD, ADAM. De Jure Regni. 1644. + + BLAIR, JOHN. (_Chaplain to Sir William Wallace._) A History of + Wallace, in verse; written jointly by him and Thomas Gray. N. D. + + BLAIR, ROBERT. The Grave, and other Poems. Edinburgh, 1731. + + BLAMIRE, MISS. Songs in the Scottish dialect. N. D. + + BOSWELL, SIR ALEXANDER. Songs, chiefly in the Scottish dialect. 8vo. + pp. 34. Edinburgh, 1803. + + BOYD, MARK ALEXANDER. Poems--Latin, English, and Scottish. 1601. + + BOYD, ZACHARIAH. A Poetical Version of the Bible, and other Poems. + 1643. + + BROWN, HUGH. The Covenanters, and other Poems. 1825. + + BRUCE, MICHAEL. Poems on Several Occasions. 12mo. pp. 176. + Edinburgh, 1807. + + BRUCE, GEORGE. Poems and Songs on Various Occasions. 8vo. pp. 203. + Edinburgh, 1811. + + BUCHAN, P. The Recreation of Leisure Hours; being original Songs and + Verses, chiefly in the Scottish dialect. 18mo. pp. 138. + Edinburgh, N. D. + + BUCHANAN, ANDREW. Rural Poetry. 12mo. pp. 148. Stirling, 1817. + + BUCHANAN, DUGALD. (_Schoolmaster at Rannoch._) Poems in the Gaelic + language. 1770. + + BUCHANAN, GEORGE. A Latin Version of the Psalms of David, Satires, + Epigrams, and Plays. 1600. + + BUREL, JOHN. The Description of the Queen's Majesties Maist + Honorable Entree into the Town of Edinburgh, upon the 19th day + of May, 1590. 1590. + + BURNE, NICOL. The Disputation concerning the controverted Heads of + Religion holden in the realme of Scotland. (_A poetical satire + against the Reformers._) An Admonition to the Antichristian + Ministers of the Deformed Kirk of Scotland. 1581. + + BURNES, JOHN. Plays, Poems, Tales, and other Pieces. 12mo. pp. 317. + Montrose, 1819. + + BURNS, ROBERT (of Hamilton). Poems and Songs, chiefly in the + Scottish dialect. 1798. + + BURNS, ROBERT. Poems, chiefly in the Scottish dialect. Original + edition. 8vo. Kilmarnock, 1786. + + BURNS, ROBERT. Poems, chiefly in the Scottish dialect. 8vo. pp. 368. + Portrait (_original Edinburgh edition_). Edinburgh, 1787. + + BURNS, ROBERT. Poems, chiefly in the Scottish dialect. 2 vols. Small + 8vo. pp. 249 and 283. Second edition. Edinburgh, 1793. + + BURNS, ROBERT. The Works of, with an account of his Life, and a + criticism on his Writings. To which is added Some Observations + on the Character of the Scotish Peasantry, with a copious + Glossary. By _Dr. J. Currie_. 4 vols. 8vo. pp. 395, 469, 425, + and 414. London, 1802. + + BURNS, ROBERT. The Works of, with his Life, _and numerous wood-cuts + by Bewick, after Thurston_. 2 vols. 12mo. Newcastle, 1808. + + BURNS, ROBERT. Poems, with an account of his Life and Miscellaneous + Remarks on his Writings, containing also many Poems and Letters + not printed in Dr. Currie's edition. 2 vols. 8vo. pp. 320 and + 379. Edinburgh, 1811. + + BURNS, ROBERT. The Works of, edited by the Ettrick Shepherd and + William Motherwell. 5 vols. 12mo. pp. 344, 328, 348, 383, and + 425. Fifteen engravings. Glasgow, 1830. + + BURNS, ROBERT. The Works of, with a Life by Allan Cunningham. 8 + vols. 12mo. pp. 384, 345, 346, 377, 336, 329, 344, and 384. + (_Sixteen engravings._) London, 1834. + + BURNS, ROBERT. The Works of, containing his Life by John Lockhart; + the Poetry and Correspondence of Dr. Currie's edition; + Biographical Sketches of the Poet by himself, Gilbert Burns, + Professor Stuart, and others; Essay on Scottish Poetry; Burns's + Songs from Johnson's Musical Museum and Thompson's Select + Melodies; Select Scottish Songs by other Poets, from the best + collections, with Burns's Remarks. 8vo. pp. 591. Edinburgh, + 1837. + + BURNS, ROBERT. The Poems of. A new edition, with additional Poems, a + new Life of the Author and Notes, edited by Sir Harris Nicolas. + 3 vols. 12mo. London, 1839. + + BURNS, ROBERT. The Works of, with a Life by Allan Cunningham, and + Notes by Gilbert Burns, Lord Byron, Thomas Campbell, Thomas + Carlyle, Robert Chambers, Wm. Cowper, Cromek, Allan Cunningham, + Dr. Currie, Wm. Hazlitt, James Hogg, Lord Francis Jeffrey, T. + Landseer, J. Lockhart, W. Motherwell, Sir Walter Scott, + Professor John Wilson, and Wm. Wordsworth. Royal 8vo. pp. 820. + London, 1846. + + BURNS, ROBERT. The Life and Works of, edited by Robert Chambers. 4 + vols. 12mo. Edinburgh, 1852. + + BURT, JOHN. Horæ Poeticæ; or, the Transient Musings of a solitary + Lyre, consisting of Poems and Songs in English and Scotch. 18mo. + pp. 194. Burlington, N. J., 1819. + + CAMERON, WILLIAM. A Poetical Dialogue on Religion, in the Scottish + dialect, between two Gentlemen and two Ploughmen; and, two + additional Cantos to Dr. Beattie's Minstrel. Edinburgh, 1788. + + CAMPBELL, GEORGE. Poems and Songs, &c. Born 1761. + + CAMPBELL, THOMAS. The Pleasures of Hope, Gertrude of Wyoming, + Theodoric, Pilgrims of Glencoe, and other Poems and Songs. V. Y. + + CHAMBERS, ROBERT. Poems by. 4to. pp. 48. Edinburgh, 1835. + + CRICHTON, JAMES. (_The Admirable._) Latin Poems. _Sine loco, sine + anno._ + + CHURCHYARD, THOMAS. Chips concerning Scotland, being a collection of + his Pieces relative to that country; with Historical Notes, and + a Life of the Author. (Edited by George Chalmers.) 12mo. pp. + 221. London, 1817. + + CLAPPERTON, --. Wa Worth Maryage! N. D. + + CLARKE, WILLIAM. The Grand Tryal; or, Poetical Exercitations upon + the Book of Job. 1685. + + CLELAND, WILLIAM. A collection of several Poems and Verses composed + upon various occasions. 12mo. pp. 140. 1697. + + COCHRAN, WILLIAM. The Seasons, in Four Descriptive Poems, with Moral + Reflections and Hymns. 1780. + + COCKBURN, MRS. The Flowers of the Forest, and other Songs. N. D. + + COLVIL, R. The Caledonian Hero, and other Poems. 8vo. 1788. + + COLVIL, SAMUEL. The Whigs' Supplication; or, the Scotch Hudibras: a + mock Poem, in two parts. 18mo. pp. 148. St. Andrews, 1796. + + COWPER, ROBERT. Poetry, chiefly in the Scottish language. 2 vols. + 12mo. pp. 285. Inverness, Scotland, 1808. + + CRAWFORD, ARCHIBALD. The Rash Vow, Bonnie Mary Hay, and other Songs + and Poems. 1825. + + CRAWFORD, DAVID. Poems, chiefly in the Scottish dialect; and two + Comedies, namely, Courtship à la Mode, Love at First Sight, and + Love Epistles in Verse. Edinburgh, 1798. + + CRAWFORD, ROBERT. The Bush aboon Traquair, and other Songs. 1732. + + CRAIG, ALEXANDER. Amorous Songs, Sonnets, and Elegies. 4to. London, + 1604. + + CRAIG, JOHN. Poems. 12mo. pp. 147. Edinburgh, 1827. + + CUNNINGHAM, A. (_Earl of Glencairn._) Epistles, and other Poems. + 1542. + + CUNNINGHAM, ALLAN. Sir Marmaduke Maxwell, a Dramatic Poem; the + Mermaid of Galloway; the Legend of Richard Foulder; and twenty + Scottish Songs. 12mo. pp. 210. London, 1822. + + CUNNINGHAM, ALLAN. The Maid of Elvar. A Poem, in Twelve Parts. 12mo. + London, 1832. + + CUNNINGHAM, THOMAS M. _Har'st Kirn_, and other Poems and Songs. + 1797. + + DALRYMPLE, JAMES. A Collection of Songs. 1756. + + DALYELL, JOHN. Scottish Poems of the Sixteenth Century. 2 vols. + 12mo. pp. 161 and 380. Edinburgh, 1802. + + DALZIEL, GAVIN. John and Saunders, a Pastoral; and the Downfall of + Napoleon, with other Poems. 1792. + + DAVIDSON, JOHN. The Poetical Remains of, with a Biographical Account + of the Author. 12mo. pp. 73. Edinburgh, 1829. + + DEMPSTER, THOMAS. Poems and Plays. N. D. + + DIXON, JAMES H. Scottish Traditional Versions of Ancient Ballads. + 12mo. London, 1845. + + DOIG, DAVID, LL.D. Panoramic Poems. N. D. + + DONALDSON, JAMES. (_Farmer._) A Pick Tooth for Swearers; or, a + Looking-glass for Atheists and Profane Persons: and Husbandry, + Anatomized. 1698. + + DONALD, ANDREW. Plays, Poems, and Songs. London, 1787. + + DOW, ALEXANDER. Plays and Poems. 1769. + + DOUGLAS, FRANCIS. (_Baker._) Rural Love, a Tale in the Scottish + dialect, and the Birth Day. 1741. + + DOUGLAS, GAWIN. (_Bishop of Dunkeld._) Satire on the Times; quharin + the Author schawes the Staet of thys Fals Warld, quhere all + Thyngs is turnit fra Vertue tye Vyce. N. D. + + DOUGLAS, GAWIN. (_Bishop of Dunkeld._) The Palice of Honour. 1553. + + DOUGLAS, GAWIN. (_Bishop of Dunkeld._) _The thirteen Bukes of_ + Eneados, of the Famous Poet Virgill. Translated out of Latyne + verses into Scottish metir. _Every Buke_ having hys perticular + Prologue. 4to. London, 1553. + + DOUGLAS, GAWIN. (_Bishop of Dunkeld._) Virgil's Æneis, translated + into Scottish verse by the famous Gawin Douglas, Bishop of + Dunkeld. A new edition, wherein many of the errors of the former + are corrected, and the defects supplied from an excellent + _Manuscript_. To which is added a large Glossary, explaining the + difficult words, which may serve for a Dictionary to the old + Scottish language. To which is prefixed, an Account of the + Author's Life and Writings, from the best historical records. + Folio. pp. 468, and a Glossary. Edinburgh, 1710. + + DOUGLAS, GAWIN. (_Bishop of Dunkeld._) A Description of Winter, with + his Great Storms and Tempests, and a Description of May. N. D. + + DOUGLAS, R. K. Poems and Songs, chiefly Scottish. 12mo. pp. 168. + Edinburgh, 1824. + + DOUN, ROBERT. Poems in the Gaelic language. N. D. + + DRUMMOND, SIR WILLIAM (_of Hawthornden_). The Poems of, with the + Life of the Author, by Peter Cunningham. 12mo. pp. 336. London, + 1833. + + DRUMMOND, THOMAS, LL.D. Poems Sacred to Religion. 1756. + + DUDGEON, M. Songs, Poems, &c. N. D. + + DUNBAR, JOHN. Epigrams and Elegies. 1616. + + DUNBAR, WILLIAM. The Poems of, now first collected, with Notes, and + a Memoir of his Life, by David Laing. 2 vols. 8vo. pp. 326 and + 498. $5.50. Edinburgh, 1834. + + EGLISHAM, D. (_The Detractor of Buchanan._) Latin Poems, &c. + + ELLIOT, SIR GEORGE. Amynta, and other Poems. 1725. + + ERSKINE, ANDREW. Plays, Eclogues, and Songs. 1670. + + ERSKINE, HENRY. The Emigrant, a Poem; the Sensitive Plant and the + Nettle; Songs, &c. + + ERSKINE, REV. RALPH. Gospel Sonnets, and other Poems. 1740. + + ERSKINE, SIR DAVID. King James the First of _Scotland_, a Tragedy in + Five Acts. 12mo. pp. 114. Kelso, 1827. + + ERSKINE, SIR DAVID. King James the Fifth of _Scotland_, a Tragedy in + Five Acts. 12mo. pp. 145. Kelso, 1828. + + EWEN, REV. JOHN. The Boatic Rows, and other Songs. N. D. + + FAIRLIE, ROBERT. The Kalender of Man's Life, in Rhym, and Moral + Emblems. London, 1638. + + FALCONER, WILLIAM. The Shipwreck, and other Poems. 1785. + + FENTON, PETER. (_A Monk._) A Metrical History of Robert Bruce. M. S. + 1369. + + FERGUSON, ROBERT. The Poetical Works of, with a copious Life of the + Author, and numerous engravings on wood by Bewick. 2 vols. 12mo. + pp. 272 and 254. Newcastle, N. D. + + FINLAY, JOHN. Wallace; or, The Vale of Ellerslie, with other Poems. + 12mo. pp. 170. Glasgow, 1806. + + FINLAYSON, WILLIAM. Simple Scottish Rhymes. 12mo. pp. 166. Paisley, + 1815. + + FISHER, JAMES. (_The Blind Musician._) Poems on Various Subjects. + Dumfries, 1792. + + FLEMING, JOHN. Poems, chiefly in the Scottish dialect. 12mo. pp. + 151. Cupar, Fife, 1803. + + FORBES, ROBERT. Ajax's Speech to the Grecian Knobs, a Journal to + Portsmouth and a Shop Bill. Written in the broad Buchan dialect. + Edinburgh, 1795. + + FORBES, WILLIAM. The Dominie Deposed; or, Intrigue with a Young + _Lass_. (In the Buchan dialect.) 18mo. Paisley, 1798. + + FOWLER, WILLIAM. The Tarantules of Love, and other Poems. 1627. + + FRAME, JAMES. City Odes, and other Poems. 12mo. pp. 172. Glasgow, + 1814. + + FULLERTON, JOHN. The Turtle-Dove, under the Absence and Presence of + her only Choice. 8vo. Edinburgh, 1664. + + FYFE, ARCHIBALD. Poems and Criticisms. 12mo. pp. 144. Paisley, 1806. + + GALL, RICHARD. Poems and Songs, with a Memoir of the Author. 12mo. + pp. 168. Edinburgh, 1819. + + GALLOWAY, ROBERT. (_Bookseller._) Poems, Epistles, and Songs, in the + Scottish dialect. Glasgow, 1783. + + GALT, JOHN. Poems on Various Subjects. 8vo. pp. 104. London, 1833. + + GARDEN, F. (_Lord Gardenstone._) Miscellaneous Poems on Various + Subjects. 1764. + + GAULD, HARRY. Poems and Songs. 12mo. pp. 226. Aberdeen, 1828. + + GEDDES, WILLIAM. The Saints' Recreation. 1683. + + GEDDES, ALEXANDER. The Battle of Bangor; or, the Church's Triumph, + and other Poems. 1797. + + GEMMEL, DAVID. Shaws Water, a Poem in the Scottish dialect. 12mo. + pp. 18. Glasgow, 1828. + + GERROND, JOHN. The Poetical and Prose Works, Travels, and Remarks + of. 12mo. pp. 224. Leith, 1813. + + GIBSON, JOHN. Odes and other Poems. 18mo. pp. 127. Edinburgh, 1818. + + GILFILLAN, ROBERT. Poems and Songs. Fifth edition. 12mo. pp. 382. + Edinburgh, 1851. + + GILMOUR, JOHN. Poetical Remains, Harvest Home, Sabbath Sacrament, + and other Poems. 12mo. 1828. + + GLASS, JOHN. The River Tay, a Fragment. N. D. + + GLASS, WILLIAM. Scenes of Gloamin, Original Scottish Songs. 12mo. + pp. 48. Stirling. + + GLASS, WILLIAM. The Caledonian Parnassus: a Museum of Original + Scottish Songs. 12mo. pp. 64. Edinburgh, 1812. + + GLENCAIRN, ALEXANDER. (_Earl of._) Ane Epistle directed from the + Holy Heremite of Allareit to his Brethren of the Graye Freyre. + 1566. + + GLOVER, JANE. Author of "O'er the Moor amang the Heather." 1788. + + GLASSFORD, * * * Bannockburn, a Poem in Four Books. 8vo. pp. 248. + Glasgow, 1810. + + GOLDIE, JOHN. Poems and Songs by Nichol Nano. 1821. + + GOLDIE, JOHN. (_The Poetic Seaman._) The Deil's Burial, Death and + Davie L., Ode to a Haggis, and other Poems. 1826. + + GORDON, GILBERT. A Poem in imitation of the Cherry and Slae, &c. + 1701. + + GORDON, PATRICK. The Famous _Historie of the Renouned and Valliant + Prince Robert, surnamed the Bruce, King of Scotland_, &c., and + sundrie other Valiant Knights, both Scots and English. 4to. + Dort, 1615. + + GORDON, PATRICK. The First Boke of the Famous Historye of _Penardo_ + and _Laessa_, otherwyse called the _Warres of Love_ and + _Ambition_. Done in Heroick Verse. 8vo. Dort, 1615. + + GRÆME, JAMES. Poems on several occasions, with an account of the + Life of the Author by Dr. Anderson. Edinburgh, 1773. + + GRAHAM, D. History of the Rise, Progress, and Extinction of the late + Rebellion in 1745, '46. 8vo. Glasgow, 1774. + + GRAHAME, JAMES. Poetical Works of. 3 vols. 12mo. pp. 171, 314, and + 248. Edinburgh, 1817. + + GRAHAM, JOHN (_of Yew York_). Songs, chiefly in the Scottish + dialect. V. D. + + GRAINGER, JOHN. Translation of the Elegies of Tibulius, Poems of + Sulpitia, and other Poems. London, 1758. + + GRAHAM, JAMES. (_Marquis of Montrose._) Amatory Poems. N. D. + + GRAHAME, SIMEON. The Passionate Sparke of a Relenting Minde, and the + _Anatomie of Humors_. Edinburgh, 1604. + + GRANT, MRS. The Highlanders, and other Poems. 12mo. pp. 362. + Edinburgh, 1810. + + GRAY, CHARLES. Lays and Lyrics. 12mo. pp. 272. Edinburgh, 1841. + + GRAY, CHARLES. Poems, &c., &c. 12mo. pp. 175. Cupar, 1811. + + GRAY, ROBERT. Poems in the Scotch and English dialects. 8vo. pp. + 156. Glasgow, 1793. + + GRAY, SIMON. Edinburgh: or, The Ancient Royalty: a Sketch of former + Manners; with Notes. 12mo. pp. 48. Edinburgh, 1816. + + GREENFIELD, ANDREW. Poems, &c. 1790. + + HAMILTON, CHARLES. (_Lord Binning,_) Ungrateful Nancy, and the Duke + of Argyle's Levee. 1740. + + HAMILTON, ELIZABETH. Popular Opinions; or, a Picture of Real Life + exhibited in a Dialogue between a Scottish Farmer and a Weaver, + &c., &c., &c. To which is added an Epistle from the Farmer to + Elizabeth Hamilton _in Scottish Verse_. 8vo. pp. 108. Glasgow, + 1812. + + HAMILTON, PAUL. Poems, Songs, and Translations, &c. N. D. + + HAMILTON, THOMAS. (_Earl of Haddington._) Forty Select Poems, on + several occasions, and Tales in Verse. Edinburgh, 1735. + + HAMILTON, WILLIAM (_of Bangour_). Poems on several occasions. 12mo. + pp. 262. Portrait. Edinburgh, 1760. + + HARPER, WILLIAM. A Version of the Song of Solomon. Edinburgh, 1775. + + HARVEY, JOHN. (_Schoolmaster._) A Collection of Miscellaneous Poems, + and a Life of Robert Bruce in Verse. Edinburgh, 1729. + + HAY, PETER. An Heroic Songe. Aberdeen, 1647. + + HENDERSON, ANDREW. Tragedies, &c. 1752. + + HENRYSON, ROBERT. (_Schoolmaster of Dumferling._) Borrowstown Mons + and the Landwart Mous, and other Fables. In Scottish Verse. + 1575. + + HERON, ROBERT. The Schoolmaster--a Play, and other Poems. N. D. + + HETRICK, ROBERT. (_The Dalmellington Poet._) Craigs of Ness. A Poem + and other Poems and Songs. 1826. + + HERVEY, JOHN. The Life of Robert Bruce King of Scots. An Heroic + Poem, in Three Books. 4to. pp. 232. Edinburgh, 1729. + + HEWIT, ALEXANDER. (_Ploughman._) Poems on Various Subjects, _English + and Scotch_. 12mo. pp. 159. Berwick, 1823. + + HOFLAND, MRS. Wallace; or, the Fight of Falkirk. A Metrical Romance. + 8vo. pp. 252. London, 1810. + + HOGG, JAMES. The Queen's Wake. A Legendary Poem. 8vo. pp. 356. + Edinburgh, 1813. + + HOGG, JAMES. Queen Hynde. A Poem, in Six Books. 8vo. pp. 443. + London, 1825. + + HOGG, JAMES. The Jacobite Relics of Scotland; being the Songs, Airs, + and Legends of the Adherents to the House of Stuart, collected + and illustrated by James Hogg. 2 vols. 8vo. pp. 444 and 488. + (_With Music._) Edinburgh, 1819 and 1821. + + HOGG, JAMES. Scottish Pastorals, Poems, Songs, &c., mostly written + in the dialect of the South. 8vo. pp. 62. Edinburgh, 1802. + + HOGG, JAMES. Jock Johnstone the Tinkler. A Poem. See Blackwood for + 1829. + + HOGG, JAMES. A Queer Book. (_Poems._) 12mo. pp. 397. Edinburgh, + 1832. + + HOGG, JAMES. Songs, chiefly in the Scottish dialect. 12mo. pp. 317. + Edinburgh, 1831. + + HOGG, JAMES. Dramatic Tales, _or Play in all four_, namely: + All-Hallow Eve, Sir Anthony Moore, The Profligate Prince, and + The Haunted Glen. 2 vols. 12mo. pp. 274 and 271. Edinburgh, + 1817. + + HOGG, JAMES. The Mountain Bard, consisting of Ballads and Songs + founded on Facts and Legendary Tales. 8vo. pp. 476. Edinburgh, + 1821. + + HOGG, JAMES. The Pilgrims of the Sun; a Poem. 8vo. pp. 148. London, + 1818. + + HOGG, JAMES. The Poetic Mirror; or, the Living Bards of Britain. + 12mo. pp. 275. London, 1816. + + HOGG, JOHN. Poems on Different Subjects, in the Scottish dialect. + 12mo. pp. 128. Hawick, 1806. + + HOGG, WILLIAM. Poems, chiefly in the Latin language. 1706. + + HOLLAND, SIR RICHARD. The Buke of the Houlate; or, the Danger of + Pride. An Allegorical Poem. (In MS.) 1450. + + HOME, JOHN. Douglas; or, The Noble Shepherd: a Tragedy, and other + Plays. 3 vols. 8vo. Edinburgh, 1822. + + HOPE, JOHN. Thoughts, in Prose and Verse. Edinburgh, 1780. + + HOY, JOHN. Poems on Various Subjects. Edinburgh, 1781. + + HUDSON, THOMAS. Historie of Judeth, and Essays of an Aprentese in + the Divine Art of Poesie. 1600. + + HUME, ALEXANDER. Epistle to Moncrief; viz., Defeat of the Spanish + Armada, Flyting with Montgomery, &c. 1599. + + HUME, ALEXANDER. Scottish Songs. 12mo. London, 1835. + + HUME, DAVID. Poems, chiefly Latin. Paris, 1639. + + IMLAH, JOHN. May Flowers: Poems and Songs; some in the _Scottish + dialect_. 12mo. pp. 256. London, 1827. + + INGLES, HENRY. Marican, and other Poems. 8vo. pp. 144. Edinburgh, + 1851. + + INGLIS, SIR JAMES. Poems, consisting of Songs, Ballads, Satires, + Plays, and Farces. (In MS.) About 1513. + + INGLIS, SIR JAMES. The Complaynt of Scotland, written in 1548, with + a Preliminary Dissertation and Glossary. 4to. pp. 384. + Edinburgh, 1801. + + INGRAM, WILLIAM. Poems in the English and Scottish dialects. 8vo. + pp. 126. Aberdeen, 1812. + + JAMES THE FIRST. (_King of Scotland._) The Works of; to which is + appended an Historical and Critical Dissertation on his Life and + Writings. 12mo. pp. 395. Glasgow, 1825. + + JAMES THE FIFTH. (_King of Scotland._) Chryste's Kirk on the Greene. + N. D. + + JAMES THE SIXTH. (_King of Scotland._) Ph[oe]nix; a Metaphorical + Invention, Paraphrase on Lucian, Poem on Tyme, &c., &c. 1616. + + JAMES THE SIXTH. (_King of Scotland._) The Essayes of a Prentise in + the Divine Art of Poesie. With a prefatory Memoir by R. P. + Gillies. 4to. Edinburgh, 1814. + + JAMES THE SIXTH. (_King of Scotland._) His Majestie's Poetical + Exercises at Vacant Hours. 4to. Edinburgh, N. D. + + JAMIESON, J. Songs inspired by several occasions. V. D. + + JOHNSTON, ARTHUR. Parerga and Epigrammata, and a Latin Version of + the Psalms of David. 1632. + + JOHNSTON, PATRICK. The Three Death's Heads. N. D. + + KEITH, C. The Farm's Ha, and other Poems. 1776. + + KENNEDY, JOHN. Fancy's Tour with the Genius of Cruelty, and Geordie + Chalmers, or the Law in Glenbuckie. 1807. + + KENNEDY, WALTER. The Flyting between Dunbar and Kennedy, and other + Poems. 1508. + + KERR, LYON. Scottish Poems, Songs, &c. 18mo. pp. 128. Perth, 1802. + + KERR, ROBERT. (_Earl of Ancram._) Poems and Sonnets. Edinburgh, + 1624. + + KNOX, WILLIAM. The Harp of Zion. A Series of Lyrics founded on the + Hebrew Scriptures. 12mo. pp. 190. Edinburgh, 1825. + + LAIDLAW, WILLIAM. Lucy's Flittin, and other Songs. N. D. + + LAMONT, Æ. M. Poems and Tales in Verse. 12mo. pp. 179. London, 1811. + + LANDSBOROUGH, DAVID. Arron: a Poem. 12mo. pp. 176. Edinburgh, 1827. + + LAPRAIK, JOHN. (_Contemporary and friend of Burns._) Poems on + Several Occasions. 8vo. pp. 248. Kilmarnock, 1788. + + LEMON, JAMES. Original Poems and Songs--partly in the Scottish + dialect. 12mo. pp. 108. Glasgow, 1840. + + LEYDEN, JOHN. Scottish Descriptive Poems; with some Illustrations of + Scotch Literary Antiquity. 12mo. pp. 248: and Scenes of Infancy, + descriptive of Teviotdale. 12mo. pp. 184. Edinburgh, 1803. + + LEYDEN, JOHN. The Poetical Remains of. With Memoirs of his Life by + James Morton. 8vo. pp. 415. Edinburgh, 1819. + + LIDDLE, WILLIAM. Poems on Different Occasions, chiefly in the + Scottish dialect. 12mo. pp. 244. Edinburgh, 1821. + + LINEN, ALEXANDER. Poems, in the Scottish dialect, on Various + Occasions. 12mo. pp. 300. Edinburgh, 1815. + + LINDESAY, SIR DAVID. The Workis of the famous and worthie _Knicht + Schir Lyndesny of the Mount, alias Lyoun King of Armes. Newly + correctit_, and vindicated from the former errouris quhairwith + they war befoir corruptit, and augmentit with sundrie Warkis + quhilk was not before imprentit. The Contents of the Buke, and + quhat Warkis or augmentit, the nixt syde sail schaw. (_First + collected edition of this author's works._) 4to. Edinburgh, + 1568. + + LINDSAY, SIR DAVID. (_Of the Mount, Lion King at Arms under James + V._) The Poetical Works of. A new edition, corrected and + enlarged, with the Life of the Author, prefatory dissertations, + and an appropriate Glossary by _George Chalmers_. 3 vols. 12mo. + pp. 470, 420, and 524. Edinburgh, 1810. + + LINDSEY, ANN. Auld Robin Gray, and other Songs. N. D. + + LITHGOW, WILLIAM. Pilgrim's Farewell to his Native Country of + Scotland, wherein is contained, in way of Dialogue, the Joyes + and Miseries of Peregrination. With his Lamantado in his Second + Travels. 4to. Edinburgh, 1618. + + LITHGOW, WILLIAM. The Gushing Teares of Godly Sorrow, containing the + Causes, Conditions, and Remedies of Sinne, depending mainly upon + Contrition and Confession. 4to. Edinburgh, 1640. + + LITTLE, JANET. (_The Scottish Milkmaid._) Songs, &c. 1784. + + LOCHORE, ROBERT. Poems and Songs in the Scottish dialect. 1799. + + LOCKHART, CHARLES. Poems of, on Various Subjects, in which are + blended the Humourous and Pathetic. 12mo. pp. 178. Ayr, 1836. + + LOCKHART, SIR MUNGO. Poems, &c. This author's works are entirely + lost. 1530. + + LOGAN, JOHN. Poems and Plays, including a Life of the Author. 12mo. + pp. 223. Edinburgh, 1804. + + LOVE, JAMES. Poems on Several Occasions. 8vo. pp. 115. Edinburgh, + 1756. + + LOWE, DR. ALEXANDER. Mary's Dream, and other Songs and Poems. N. D. + + LYLE, THOMAS. Ancient Ballads and Songs, chiefly from Tradition, + Manuscripts, and Scarce Works, with Biographical and + Illustrative Notices, including Original Poetry. 12mo. pp. 250. + London, 1827. + + MACAULAY, JAMES. Poems on Various Subjects, in Scotch and English. + 12mo. pp. 332. Edinburgh, 1788. + + MACDONALD, ALEXANDER. Poems, in Gaelic. 8vo. 1751. + + MAC'INDOE, G. The Wandering Muse; or, a Miscellany of Original + Poetry. 12mo. pp. 228. Paisley, 1818. + + MACLAURIN, JOHN. (_Lord Dreghorn._) The Works of. 2 vols. 8vo. pp. + 189 and 391. Edinburgh, 1798. + + MACNEIL, HECTOR. The Poetical Works of. A new edition, corrected and + enlarged. Five plates and portrait. 2 vols. 12mo. pp. 163 and + 196. Edinburgh, 1806. + + MACNEIL, HECTOR. The Links of Forth; or, A Parting Peep at the Carse + o' Stirling. A Plaint. 8vo. pp. 60. Edinburgh, 1799. + + MACPHERSON, JAMES. Poetical Works. 12mo. pp. 118. Edinburgh, 1802. + + MACPHERSON, DONALD. Melodies from the Gaelic, and Original Poems, + with Notes on the Superstitions of the Highlanders, &c. 12mo. + pp. 225. London, 1824. + + MACQUEEN, THOMAS. (_Mason._) The Exile: a Poem in Seven Books. 12mo. + pp. 166; and My Gloaming Amusements, a Variety of Poems on + several serious and entertaining subjects. Glasgow, 1836. + + MACTAGGART, JOHN. The Scottish, Caledonian Encyclopedia; or, the + Original, Antiquated, and Natural Curiosities of the South of + Scotland--interspersed with Scottish Poetry. 8vo. pp. 504. + London, 1824. + + MAITLAND, SIR RICHARD. Auld Kyndness Poryett the Miseries of the + Tyme, &c. 1611. + + MAITLAND, SIR RICHARD. Satire on the Town Ladies, The Age, Malice of + Poets, New Year, and other Poems. 4to. 1570. + + MAITLAND, SIR RICHARD (_of Lethington_). Poems. With an Appendix of + Selections from the Poems of Sir John Maitland, Lord Thirlstane, + and of Thomas Maitland. 4to. pp. 246. Glasgow, 1830. + + MAJORIBANKS, THOMAS. Trifles in Verse, by a Young Soldier. 3 vols. + Kelso, 1774. + + MALLET, DAVID. Poetical Works. 3 vols. 12mo. pp. 201, 234, and 254. + London, 1760. + + MATHISON, THOMAS. The Golf, an Heroic Poem, in Three Cantos. 1754. + + MAYNE, JOHN. The Siller Gun, a Poem, in Five Cantos; and Glasgow, a + Poem. 12mo. pp. 256. London, 1836. + + M'COLL, EVAN. The Mountain Minstrel; or, Poems and Songs in English. + 18mo. pp. 332. Edinburgh, 1838. + + MERCER, JAMES. Lyric Poems, &c. 1804. + + MERCER, WILLIAM. England's Looking-glasse. N.D. + + MESTON, WILLIAM. The Poetical Works. 12mo. pp. 240. Edinburgh, 1767. + + MICKLE, WILLIAM JULIUS. The Poetical Works. Collected from the best + editions by Thomas Park. 24mo. pp. 160. London, 1808. + + MITCHELL, JOHN. A Night on the Banks of Doon, and other Poems. 12mo. + pp. 162. Paisley, 1838. + + MITCHELL, JOSEPH. Pinky House, and other Poems and Plays. 2 vols. + 1729. + + M'KAY, ARCHIBALD. Drouthy Tom, and other Poems, &c. N. D. + + MOFFAT, JOHN. The Wife of Auchtermuchty, and other Poems. N. D. + + MOLLESON, ALEXANDER. Miscellanies in Prose and Verse. 12mo. pp. 222. + Glasgow, 1805. + + MONTEITH, ROBERT. Fratres Fraterrimi Translated, and Ane Theatre of + Mortality. Edinburgh, 1704. + + MONTGOMERY, ALEXANDER. The Cherry and Sloe, with other Poems and + Songs, &c. 1575. + + MONTGOMERY, JAMES. The Wanderer of Switzerland, The West Indies, The + World before the Flood, Greenland, Songs of Zion, The Pelican + Islands, Prison Amusements, Miscellaneous Poems, Lectures on + Poetry, Prose by a Poet, &c., &c. V. D. + + MOORE, DUGALD. The Bards of the North. A Series of Poetical Tales + illustrative of Highland Scenery and Character. 12mo. pp. 222. + Glasgow, 1833. + + MOORE, JAMES. Spirit of the Scots and English Rebels in 1745 + Characterized, and other Poems. 1750. + + MORRISON, DAVID. Poems, chiefly in the Scottish dialect. 8vo. pp. + 224. Montrose, 1790. + + MOTHERWELL, WILLIAM. Minstrelsy, Ancient and Modern, with an + Historical Introduction and Notes. 4to. pp. 518. Glasgow, 1827. + + MOTHERWELL, WILLIAM. Poems, Narrative and Lyrical. 4to. pp. 232. + Glasgow, 1832. + + MOTHERWELL, WILLIAM. Posthumous Poems. 12mo. pp. 187. Boston, 1851. + + MOUNTGOMERY, ALEXANDER. The Poems of, with Biographical Notices by + David Irving. 12mo. pp. 319. Edinburgh, 1821. + + M'PHIEL, D. Songs in the Scottish dialect. V. D. + + M'RAE, JOHN. Original Poems and Songs. 12mo. pp. 193. Inverness, + Scotland, 1816. + + MURRAY, DAVID. The Tragical Death of Sophonisba, and other Pieces. + London, 1611. + + MURRAY, DAVID. (_Viscount Stormont._) Elegies, &c. 1715. + + MUIR, WILLIAM. Poems on Various Subjects, with Notes, Biographical + and Critical. 12mo. pp. 330. Glasgow, 1818. + + MYLNE, JAMES. Poems, consisting of Miscellaneous Pieces; and two + Tragedies. 8vo. pp. 435. Edinburgh, 1790. + + NAPIER, JOHN. (_Lord Merchiston._) Poetical Version of the _Sybillan + Oracles_. Edinburgh. + + NASMYTH, ARTHUR. Divine Poems, and The Man's Looking-glass. + Edinburgh, 1665. + + NEILANS, ALEX. The Hagis, and other Scottish Poems. N. D. + + NICOL, ALEXANDER. Nature without Art; or, Nature's Prayers in + Poetry; and a Fourth Canto of Christ's Kirk on the Green. 1766. + + NICOL, ROBERT. Poems and Lyrics. Edinburgh, 1835. + + NICOL, JAMES. Poems, chiefly in the Scottish dialect. 2 vols. 12mo. + pp. 196 and 194. Edinburgh, 1805. + + NICHOLSON, WILLIAM. Tales in Verse, and Miscellaneous Poems. 12mo. + pp. 262. Edinburgh, 1814. + + OGILBY, JOHN. Translations of Homer, Æsop, Virgil, and other Poems. + 1649. + + OGILVIE, JOHN. Poems on Several Subjects. 2 vols. 8vo. pp. 296 and + 286. Dublin, 1769. + + OGILVY, MRS. D. A Book of Highland Minstrelsy, with Illustrations by + R. R. M'Ian. 4to. pp. 272. London, 1846. + + OSWALD, JOHN. The Virgin's Dream, and other Poems. N. D. + + OSSIAN. The Poems of, in the original Gaelic, with a literal + translation into Latin by the late Robert Macfarlan; together + with A Dissertation on the Authenticity of the Poems by Sir John + Sinclair, Bart.; and a Translation from the Italian of the Abbé + Cesacotti's Dissertation on the Controversy respecting the + Authenticity of Ossian, with Notes and a Supplementary Essay by + John M'Arthur. Published under the sanction of the Highland + Society in London. 3 vols. royal 8vo. pp. 500, 390, and 576. + _Portrait of Ossian._ London, 1807. + + OSSIAN. The Poems of, &c., containing the Poetical Works of James + Macpherson, Esq., in Prose and Rhyme, with Notes and + Illustrations by Malcolm Laing. 2 vols. 8vo. pp. 579 and 634. + Edinburgh, 1805. + + PACE, JAMES. Poems on Various Occasions. 18mo. pp. 95. Edinburgh, + 1804. + + PAGAN, ISABEL. (_Author of "Ca the Yowes to the Knowes."_) 1797. + + PANTHER, PATRICK, D. D. Valliados, a Poem in Prais of Wallace. 1633. + + PARK, WILLIAM. The Vale of Esk, and other Poems. 12mo. pp. 206. + Edinburgh, 1833. + + PATERSON, NINION. Epigrams, &c. 1679. + + PATTERSON WILLIAM. Plays, &c. 1738. + + PATTERSON, WALTER. The Legend of Iona, with other Poems. 8vo. pp. + 342. Edinburgh, 1814. + + PENNECUIK, ALEXANDER. The Works of, containing the Description of + Tweeddale and Miscellaneous Poems. A new edition, with copious + Notes, forming a complete history of the country to the present + time. 8vo. Edinburgh, 1815. + + PICKEN, EBENEZER. Miscellaneous Poems, Songs, &c., partly in the + Scottish dialect, with a copious Glossary. 2 vols. 18mo. pp. 199 + and 183. Edinburgh, 1818. + + PINKERTON, JOHN. Rimes by. 12mo. pp. 226. London, 1782. + + PITCAIRNE, ARCHIBALD, M. D. Select Poems and Plays. London, 1722. + + PREEBLES, WILLIAM. A poet and commentator on Burns; died 1826. + + PRIMROSS, DAVID. Welcome to James's Return to Scotland. N. D. + + PRINGLE, THOMAS. The Poetical Works of. 8vo. pp. 258. Portrait and + two plates. London, 1839. + + RAMSAY, ALLAN. Poems by. Portrait. 2 vols. 4to. (First collected + edition.) Edinburgh, 1721 and 1728. + + RAMSAY, ALLAN. The Poems of. A new edition, corrected and enlarged; + with a Glossary. To which are prefixed a Life of the Author, + from authentic documents; and Remarks on his Poems from a large + view of their merits; authentic Portrait, from an original + drawing by his son, the late Allan Ramsay; fac simile of the + Poet's handwriting, and copper-engraved Vignette. 2 vols. 8vo. + pp. 573 and 608. London, 1800. + + RAMSAY, ANDREW. The Creation--the Happy Condition of Man before the + Fall. Edinburgh, 1630. + + RAMSAY, JOHN. Poems and Songs in the Scottish dialect. N. D. + + RANKIN, WILLIAM. Poems on Different Subjects. 18mo. pp. 127. Leith, + 1812. + + RENNIE, JOHN. Poems, Miscellaneous and Pastoral. 2 vols. + + RICHARDSON, WILLIAM. Poems, chiefly Rural. 12mo. 1775. + + RICHARDSON, WILLIAM. The Maid of Lochlin, a Lyrical Drama, with + Legendary Odes, and other Poems. 12mo. pp. 123. London, 1801. + + RIDDELL, HENRY S. Songs of the Ark, and other Poems. 12mo. pp. 336. + Edinburgh, 1831. + + ROBERTSON, ALEXANDER (_of Strowan_). Poems on Various Subjects and + Occasions. 8vo. pp. 260. Edinburgh, N. D. + + RODGERS, ALEXANDER. Poems and Songs, Humorous and Satirical. 12mo. + pp. 339. Glasgow, 1838. + + ROLLAND, JOHN. Ane Treatise callit The Court of Venus; The Seven + Sages; and The Priest of Peblis: a Poetical Satire. 1542. + + ROSS, ALEXANDER. A Picture of the Life of Christ taken from the + Georgies of Virgil. + + ROSS, ALEXANDER. Heleonore; or, The Fortunate Shepherdess: a + Poetical Tale. To which is added the Life of the Author, + containing a particular description of the romantic place where + he lived, and an account of the manners and amusements of the + people of that period, by his grandson, the Rev. Alexander + Thomson. 12mo. pp. 200. Dundee, 1812. + + RUSSELL, WILLIAM, LL. D. Poems and Songs. N. D. + + SADLOCK, M. Songs, chiefly in the Scottish dialect. N. D. + + SANDS, JOHN SIM. Poems on Various Subjects, Political, Satirical, + and Humorous. 12mo. pp. 220. Arbroath, 1833. + + SCOTT, ALEXANDER. (_The Scottish Anacreon._) Lament of the Master of + Erskin, Advyee to Wowars, Counsel to Lustie Ladies, The Blate + Lover, and other Poems. 1550. + + SCOTT, ALEXANDER. A New Year's Gift, addressed to Queen Mary, when + she came first hame. 1562. + + SCOTT, ANDREW. Poems, chiefly in the Scottish dialect. 18mo. pp. + 204. Kelso, 1811. + + SCOTT, WALTER. Ancient Chronicles and Traditions of our Fathers. + 1688. + + SCOTT, SIR WALTER. Minstrelsy of the Scottish Border; Sir Tristram; + Lay of the Last Minstrel; Ballads, Translations, and Imitations + from the German; Marmion--a Tale of Flodden Field; Lady of the + Lake; Rokeby; The Vision of Don Roderick; The Lord of the Isles; + Bridle of Tuermain; Harold the Dauntless; The Field of Waterloo; + Plays; Miscellaneous and Occasional Poems, Songs, &c. V. Y. + + SEMPIL, FRANCIS. The Banishment of Poverty, and she rose and let me + in. 1638. + + SEMPIL, SIR JAMES. The Packman and the Priest. 1601. + + SEMPLE, ROBERT. Philetus, Ballat of Three Female Taverneers, Fleming + Borg, Elegy on Habit, Simpson the Piper of Kilmarnock, &c. 1568. + + SHARP, ANDREW. A Collection of Poems, Songs, and Epigrams in Scotch, + English, and Irish. 12mo. pp. 154. Perth, 1820. + + SHAW, QUINTIN. Advice to a Courtier: a Poem. 1560. + + SHIRREFS, ANDREW. Poems, chiefly in the Scottish dialect. 8vo. pp. + 406. Edinburgh, 1790. + + SILLAR, DAVID. (_Contemporary and friend of Burns._) Poems by. 8vo. + pp. 251. Kilmarnock, 1789. + + SIMSON, ANDREW. Trepatriarchicon, or the Lives of the three + Patriarchs, Abraham, Isaac, and Jacob, in Verse; and Doleful + Lamentations on the "Hored Murther" of Archbishop Sharp. 1705. + + SIMPSON, WILLIAM (_of Ochiltree_). Songs, &c. 1788. + + SKINNER, REV. JOHN. Amusements of Leisure Hours, or Poetical Pieces, + chiefly in the Scottish dialect. To which is added a Sketch of + the Author's Life, with some Remarks on Scottish Poetry. 12mo. + pp. 144. Edinburgh, 1809. + + SMITH, THOMAS. Moral, Humorous, and Sentimental Poems. 12mo. pp. + 336. Glasgow, 1806. + + SMART, ALEXANDER. Rambling Rhymes. 16mo. pp. 243. Edinburgh, 1834. + + SMOLLETT, TOBIAS, M. D. Tears of Scotland, Ode to Independence, and + other Poems and Plays. 1750. + + STAGG, JOHN. Miscellaneous Poems, some of which are in the + Cumberland dialect. 12mo. pp. 249. Workington, 1805. + + STEEL, DAVID. The Three Tales of the Three Priests of Pebles; + contayning many notybill Examples and Sentences; and King of Roy + Robert. 4to. (MS.) 1400. + + STEVENSON, WILLIAM. Poems. 2 vols. 12mo. 1765. + + STEWART, ALLAN. The Poetical Remains of, with a Memoir of the + Author. 12mo. pp. 144. Paisley, 1838. + + STILL, PETER. The Cottar's Saturday, and other Poems, chiefly in + Scottish dialect. 18mo. pp. 216. Philadelphia, 1846. + + STIRRAT, JAMES. Poems and Songs, in the Scottish dialect. N. D. + + STIRLING, EARL OF. (_William Alexander._) Recreations with the + Muses. Folio. pp. 594. _London_, 1637; and Doomes-day; or, the + Great Day of the Lord's Judgment. 4to. Edinburgh, 1614. + + STONE, JEROME. The Immortality of Authors: a Poem; and Translations + from the Gaelic. N. D. + + STRUTHERS, JOHN. The Plough, and other Poems. 12mo. pp. 112. + Glasgow, 1818. + + STRUTHERS, JOHN. Poems, Moral and Religious. 2 vols. 12mo. pp. 176 + and 189. Glasgow, 1814. + + STRUTHERS, JOHN. The Harp of Caledonia; or, Songs, Ancient and + Modern, chiefly in the Scottish dialect, with copious + Annotations. 3 vols. 12mo. pp. 367, 425, and 456. Glasgow, 1819. + + SYDSERF, SIR THOMAS. Comedies and Tragedies. 1666. + + TAIT, ALEXANDER. (_The Tarbolton Poet._) Poems and Songs. 8vo. pp. + 280. Paisley, 1790. + + TANNAHILL, ROBERT. The Works of, namely, Songs and Poems, chiefly in + the Scottish dialect; and a Play. With a Life of the Author and + a Memoir of Robert Smith the musical composer, by Philip A. + Ramsay. 12mo. pp. 258. London, 1850. + + TAYLOR, WILLIAM. Poems by, mostly in the Scottish dialect. 12mo. pp. + 55. Paisley, 1808. + + TELFER, JAMES. Border Ballads, and other Miscellaneous Pieces. 18mo. + pp. 163. Jedburgh, 1824. + + THOM, WILLIAM. Rhymes and Recollections of a Hand-loom Weaver. 12mo. + pp. 200. London, 1847. + + THOMAS of ERCILDOUNE. Sir Tristram, a Metrical Romance of the + _Thirteenth Century_, by Thomas of Ercildoune, called the + Rhymer. Edited by Walter Scott, Esquire, Advocate. 8vo. pp. 494. + Edinburgh, 1804. + + THOMSON, JAMES. Poems, chiefly in the Scottish dialect. 12mo. pp. + 237. Leith, 1819. + + THOMSON, JAMES. Ayrshire Melodies, or Select Poetical Effusions. + 12mo. 1814. + + THOMSON, JAMES. The Seasons, Britannia, Liberty, Plays, and Minor + Poems. 2 vols. 4to. London, 1736. + + TRAIN, JOSEPH. Strains of the Mountain Muse, Funeral of Sir + Archibald the Wicked, &c. 1819. + + TURNBULL, GAVIN. (_Comedian._) Poems and Songs, &c. 8vo. 1793. + + TYTLER, ALEXANDER. The Tempest: a Poem. 1681. + + TYTLER, DR. H. W. Art of Nursing Children: a Poem from the Italian; + and Callimachus' Hymns, translated from the Greek. 1806. + + URQUHART, SIR THOMAS. Epigrams and Inventions. N. D. + + VEDDER, DAVID. Poems, Legendary, Lyrical, and Descriptive. 12mo. pp. + 352. Edinburgh, 1842. + + VEDDER, DAVID. The Covenanters' Communion, and other Poems. 12mo. + pp. 157. Edinburgh, 1828. + + VEDDER, DAVID. Arcadian Sketches, Legendary and Lyrical Pieces. + 12mo. pp. 106. Edinburgh, 1832. + + VILANT, WILLIAM. Psalms, Hymns, and Spiritual Songs; and Gospel Call + in _Meter_. Edinburgh, 1689. + + WALKER, JOHN. Poems in English, Scotch, and Gaelic, on Various + Subjects. 12mo. pp. 143. Glasgow, 1817. + + WALKER, THOMAS. (_The Poetical Tailor._) A Picture of the World: a + Poem. N. D. + + WATSON, DAVID. Translation of Horace, and other Poems. London, 1752. + + WATSON, THOMAS. The Rhymer's Family, a Collection of Bantlings. + Arbroath, Scotland, 1851. + + WEBER, HENRY. Metrical Romances of the 13th, 14th, and 15th + Centuries. Published from Ancient Manuscripts, with an + Introduction, Notes, and a Glossary. 3 vols. 12mo. pp. 466, 479, + and 459. Edinburgh, 1815. + + WEDDERBURN, JAMES. The Complaint of Scotland Gude and Godly, + Ballats, Psalms Versefyed. 1599. + + WEDDERBURN, JAMES. Plays, in the Scottish language. 1540. + + WHITEFORD, CALEB. The Hen and the Golden Egg, and other Poems. + London, 1782. + + WILKIE, WILLIAM. The Epigoniad: a Poem, in Nine Books. 12mo. pp. + 278. London, 1769. + + WILSON, ALEXANDER. (_The Ornithologist._) Poems, chiefly in the + Scottish dialect, with an Account of the Life and Writings of + the Author. 12mo. pp. 256. London, 1816. + + WILSON, GAVEM. A Collection of Masonic Songs, and Entertaining + Anecdotes for the Use of all the Lodges. 1788. + + WILSON, JOHN. Clyde: a Poem; The Day Festival; Earl Douglas, and + other Poems. 12mo. pp. 252. Edinburgh, 1803. + + WILSON, WILLIAM. (_Schoolmaster._) Douglas Water, Heppintone, and + other Poems of a Mournful, Religious, and Melancholy cast. About + 1800. + + WRIGHT, JOHN. The Retrospect of Youthful Scenes, with other Poems + and Songs. 12mo. pp. 177. Edinburgh, 1830. + + WYSE, GEORGE. Original Poems and Songs. 3 vols. 12mo. pp. 252, 230, + and 300. Glasgow and Falkirk, 1825-29. + + WYNTOWN, ANDREW OF. De Oryggneal Cronykil of Scotland. Now first + published, with Notes, a Glossary, &c., by David Macpherson. 2 + vols. pp. 501 and 523. London, 1795. + + YEMAN, ALEXANDER. The Fisherman's Hut in the Highlands of Scotland, + and other Poems. 12mo. pp. 152. London, 1807. + + + + +COLLECTIONS, AND ANONYMOUS AUTHORS. + + + A BOOK of Scottish Pasquels, &c. Three Parts in one Volume. + Edinburgh, 1827. + + A CHOICE Collection of Scotch Poems, Ancient and Modern, selected + chiefly from the labours of the most ingenious Writers in this + kingdom during the last two centuries. 12mo. pp. 178. + + A COLLECTION of Comic and Serious Scotch Poems, both Ancient and + Modern, by several Bards. Three Parts. 12mo. pp. 146, 117, and + 120. Edinburgh, 1706. + + A COLLECTION of Scarce, Curious, and Valuable Pieces, both in Verse + and Prose, chiefly selected from the fugitive productions of the + most eminent Wits of the present age. 12mo. pp. 412. Edinburgh, + 1784. + + A COLLECTION of Ancient and Modern Scottish Ballads, Tales, and + Songs, with explanatory Notes and Observations. By John + Gilchrist. 2 vols. 12mo. London, 1815. + + A NEW BOOK of Old Ballads. 12mo. pp. 78. Edinburgh, 1844. + + A PILGRIMAGE to the Land of Burns, containing Anecdotes of the Bards + and the Characters he immortalized, with numerous Pieces of + Poetry, Original and Collected. 12mo. pp. 260. Deptford, 1822. + + A PLEASANT HISTORY of Roswell and Lillian. 4to. pp. 310. Edinburgh, + 1663. + + A TALE of the Three Bonnets, in Four Cantos. 18mo. Paisley, N. D. + + ALLAN, JOHN (_of New York_). Ayrshire and the Land of Burns. This is + a unique repository of Newspaper Cuttings, Ballads, Songs, + Biographical Anecdotes, Autograph Letters, Oral Traditions, + Queer Jokes, Cards of Invitation, besides portraits of + distinguished personages, and a great assemblage of engraved + views of noted places in that renowned part of Scotland. + Collected by the diligence of the present owner, and arranged + with great taste and beauty, in one folio volume. New York, N. + D. + + ANCIENT SCOTTISH MELODIES, from a Manuscript in the reign of King + James VI., with an Introductory Inquiry Illustrative of the + History of Music in Scotland by William Downey. 4to. pp. 390. + Edinburgh, 1838. + + ANCIENT SCOTTISH POEMS, published from the MS. of George Bannatyne, + 1568. Edited by Lord Hailes. 8vo. £1 1s. Edinburgh, 1815. + + ANCIENT SCOTTISH POEMS. Two--the Gaberlunzie-man and Christ's Kirk + on the Green, with Notes and Observations by John Callander. + 8vo. pp. 192. Edinburgh, 1772. + + ANCIENT SCOTTISH BALLADS, recovered from Tradition, and never before + published, with Notes, historical and explanatory, and an + Appendix, containing the Airs of several of the Ballads. 8vo. + pp. 270. London, 1827. + + AYRSHIRE. The Ballads and Songs of Ayrshire, illustrated with + Sketches, Historical, Traditional, Narrative, and Biographical. + 2 vols. 8vo. pp. 120 and 122. Ayr, 1846 and '47. + + CAMPBELL, ALEXANDER. An Introduction to the History of Poetry in + Scotland from the beginning of the 13th Century to the Present + Time, together with a Conversation on Scottish Songs. To which + are subjoined Songs of the Lowlands of Scotland, carefully + compared with the original editions, and embellished with + characteristic designs, composed and engraved by the late David + Allan. 2 vols. 4to. pp. 374 and 220. Music and Plates. + Edinburgh, 1798. + + CHALMERS, ROBERT. Scottish Songs Collected and Illustrated. 2 vols. + 12mo. pp. 706. Edinburgh, 1829. + + CHAMBERS, ROBERT. Scottish Ballads Collected and Illustrated. 12mo. + pp. 399. Edinburgh, 1829. + + COLLECTION of Ancient Scottish Prophecies in Alliterative Verse: + reprinted from Waldegrave's edition, M.DC.III. 4to. pp. 80. + Edinburgh, 1833. + + CUNNINGHAM, ALLAN. The Songs of Scotland, Ancient and Modern; with + an Introduction and Notes Historical and Critical, and + Characters of the Lyric Poets. 4 vols. crown 8vo. pp. 352, 352, + 352, and 364. London, 1825. + + FINLAY, JOHN. Scotch Historical and Romantic Ballads, chiefly + ancient, with Explanatory Notes and Glossary. To which is + prefixed Some Remarks on the Early State of Romantic Composition + in Scotland. 2 vols. 12mo. pp. 214 and 204. Edinburgh, 1808. + + FRAGMENTS of Ancient Poetry Collected in the Highlands of Scotland, + and translated from the Gaelic or Erse language. 12mo. pp. 200. + _First edition of the Ossianic Poems._ Edinburgh, 1760. + + FRAGMENTA SCOTO. Dramatica, 1715 and 1758. 12mo. pp. 48. Edinburgh, + 1835. + + GILCHRIST, JOHN. A Collection of Ancient and Modern Scottish + Ballads, Tales, and Songs, with Explanation Notes and + Observations. 2 vols. 12mo. pp. 393 and 380. Edinburgh, 1815. + + HERD, DAVID. Ancient and Modern Scottish Songs, Heroic Ballads, &c. + 2 vols. 12mo. pp. 312 and 382. Edinburgh, 1776. _Third_ and + improved edition. 2 vols. 12mo. pp. 360 and 371. Edinburgh, + 1791. + + JACOBITE MINSTRELSY, with Notes illustrative of the Text, and + containing Historical Details in relation to the House of Stuart + from 1640 to 1784. 18mo. pp. 378. Glasgow, 1827. + + JAMESON, ROBERT. Popular Ballads and Songs from Tradition, + Manuscripts, and Scarce Editions; with Translations of similar + Pieces from the Ancient Danish language, and a few Original by + the editor. 2 vols. 12mo. pp. 371 and 409. Edinburgh, 1806. + + JOHNSON, JAMES. The Scottish Musical Museum; consisting of upwards + of Six Hundred Songs, with Proper Basses for the Pianoforte, + originally published by James Johnson, and now accompanied with + copious Notes and Illustrations of the Lyric Poetry and Music of + Scotland by the late William Stenhouse, with Additional + Illustrations. 6 vols. 8vo. pp. 320, 226, 226, 270, 249, and + 260. London, 1839. + + LAING, DAVID. Early Metrical Tales, including the History of Sir + Egeir, Sir Gryme, and Sir Gray Steill. 12mo. pp. 310. (175 + _copies printed._) Edinburgh, N. D. + + LINTOUN GREEN; or, The Third Market-day of June, 1685: a Poem, in + Nine Cantos. To which is added Carlop Green; or, Equality + Realized: a Poem, in Three Cantos, written in the year 1793. + 12mo. pp. 178. + + MARY QUEEN OF SCOTS. Legends of, and other Ancient Songs, now first + published from MSS. of the Sixteenth Century, with an + Introduction, Notes, and an Appendix. 4to. pp. 174. London, + 1790. + + MEMORABLES of the Montgomeries: a Narrative in Rhyme. 4to. Glasgow, + 1770. + + MINSTRELSY of the Scottish Border, consisting of Historical and + Romantic Ballads, collected in the counties of Scotland; with a + few of modern date, founded upon Local Tradition. (_By Sir + Walter Scott._) 3 vols. 8vo. pp. 438, 392, and 420. Kelso. + + MORRISON, R. A Select Collection of Favourite Scottish Ballads, with + copper plates. 4 vols. 18mo. Perth, 1790. + + NITHSDALE MINSTREL, being Original Poetry, chiefly of the Bards of + Nithsdale. 12mo. pp. 314. Dumfries, 1815. + + NORTHERN ANTIQUITIES. Illustrations of, from the Earliest Teutonic + and Scandinavian Remains, being an abstract of the Books of + Heroic and Nibelungin Lays, with Translations of Metrical + Tales--from the old German, Danish, Scottish, Icelandic + languages--with Notes and Illustrations. 4to. pp. 522. + Edinburgh, 1814. + + NORTHERN MINSTRELSY, being a Select Specimen of Scottish Songs, with + a Glossary, and wood engravings. 12mo. pp. 138. N. D. + + PERCY, THOMAS. (_Bishop of Dromore._) Reliques of Ancient English + Poetry, consisting of old Heroic Ballads, Songs, and other + Pieces of our earlier Poets, together with a few of later date. + 3 vols. 12mo. pp. 489, 405, and 410. _Engraved head and tail + pieces._ London, 1775. + + PINKERTON, JOHN. Ancient Scottish Poems, never before in print, but + now published from the Manuscript Collections of Sir Richard + Maitland, comprising Pieces written from about 1420 to 1586, + with large Notes and a Glossary. 2 vols. 12mo. pp. 326 and 380. + London, 1786. + + PINKERTON, JOHN. Scottish Ballads, a Collection of. 2 vols. 12mo. + pp. 225 and 240. London, 1771. + + PINKERTON, JOHN. Scottish Poems Reprinted from Scarce Editions. 3 + vols. 12mo. pp. 215, 263, and 246. London, 1792. + + PINKERTON, JOHN. Select Scottish Ballads, containing Ballads in the + Tragic style and Comic kind. 2 vols. 12mo. pp. 216 and 240. + London, 1773. + + POEMS, consisting chiefly of Odes and Elegies. 12mo. pp. 176. + Glasgow, 1810. + + POEMS, written in Leisure Hours. (_By a Journeyman Mason._) 12mo. + pp. 263. Inverness, 1829. + + RITSON, JOSEPH. Scottish Songs. 2 vols. 12mo. pp. 408 and 262. + London, 1794. + + RITSON, JOSEPH. The Caledonian Muse: a Chronological Collection of + Scottish Poetry from the Earliest Times; with vignettes engraved + by Heath after the designs of Stothard. 12mo. pp. 232. London, + 1821. + + ROB STENE'S Dream: a Poem, printed from a Manuscript in the + Leightonian Library, Dumblane. 4to. pp. 48. Glasgow, 1836. + + SCOTTISH ELEGIAC VERSES. MD.C.XXIX.-M.D.C.C.XXIX., with Notes, and + an Appendix of Illustrative Papers. 8vo. pp. 330. Edinburgh, + 1842. + + SELECT REMAINS of the Ancient Popular Poetry of Scotland, collected + by David Laing. 4to. pp. 328. Edinburgh, 1822. + + SIBBALD, J. Chronicles of Scottish Poetry from the Thirteenth + Century to the Union of the Crowns. To which is added a + Glossary. 4 vols. 8vo. pp. 492, 438, 512, and 63. Edinburgh, + 1802. + + SHELDON, FREDERIC. The Minstrelsy of the English Border, being a + Collection of Ballads, Ancient, Remodeled, and Original, founded + on the well-known Border Legends, with Illustrative Notes. 4to. + pp. 432. London, 1847. + + THE BATTLE of Flodden Field. 12mo. _Black Letter._ Newcastle, 1822. + + THE BALLAD BOOK. (_Mussel Mou'd Charlie._) 12mo. pp. 88. Edinburgh, + 1827. + + THE CALEDONIAN. A Collection of Poems, written chiefly by _Scottish + Authors_. 2 vols. 12mo. pp. 176 and 236. London, 1775. + + THE HAR'ST RIG and the Farmer's Ha--two Poems in the Scottish + dialect. 12mo. pp. 64. Edinburgh, 1801. + + THE SONGS of England and Scotland. 2 vols. pp. 351 and 361. London, + 1835. + + THOMSON, GEORGE. The Select Melodies of Scotland, interspersed with + those of Ireland and Wales, united to the Songs of Burns, Sir + Walter Scott, and other distinguished Poets, with Symphonies and + Accompaniments for the Pianoforte by Pleyel, Kozeluch, Haydn, + and Beethoven, the whole composed for a Collection by George + Thomson. 6 vols. small folio. London, N. D. + + THOMSON, WILLIAM. Orpheus Caledonius; or, a Collection of _Scots + Songs_ set to Music. 2 vols. 8vo. pp. 114 and 110. London, 1733. + + VARIOUS PIECES of Fugitive Scottish Poetry, principally of the + Seventeenth Century. (_Edited by David Laing._) 12mo. pp. about + 300. Edinburgh, N. D. + + WALLACE. The Lyfe and Actis of the Maist Illuster and Vailzeand + Champion William Wallace, Knicht of Ellerslie, Mainteiner and + Defender of the Libertie of Scotland. 4to. Edinburgh, 1594. + + WEBER, HENRY. The Battle of Flodden Field: a Poem of the Sixteenth + Century; with the various readings of the different copies, + historical notes, a Glossary, and an Appendix containing Ancient + Poems and Historical Matters relating to the same event. 8vo. + pp. 389. 2 plates. Edinburgh, 1808. + +........... + +Transcribers Note: +~Inconsistent punctuation and bracketing have been retained. +~Inconsistent double quotes have been retained. + + + + + +End of the Project Gutenberg EBook of The Gentle Shepherd: A Pastoral Comedy, by +Allan Ramsay + +*** END OF THE PROJECT GUTENBERG EBOOK 40639 *** |