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Gloomy Winter's now Awa.

Gloomy winter's now awa,
Saft the westlin breezes blaw:
'Mang the birks o' Stanley-shaw

The mavis sings fu' cheerie O.
Sweet the craw-flower's early bell
Decks Gleniffer's dewy dell,
Blooming like thy bonnie sel',

My young, my artless dearie O.
Come, my lassie, let us stray,
O'er Glenkilloch's sunny brae,
Blithely spend the gowden day

Midst joys that never wearie O.
Towering o'er the Newton woods,
Lavrocks fan the snaw-white clouds;
Siller saughs, wi' downie buds,

Adorn the banks sae brierie O. Round the sylvan fairy nooks, Feathery brekans fringe the rocks, 'Neath the brae the burnie jouks,

And ilka thing is cheerie O. Trees may bud, and birds may sing, Flowers may bloom, and verdure spring, Joy to me they canna bring,

Unless wi' thee, my dearie O.

RICHARD GALL.

Contemporary with Tannahill, and possessing a kindred taste in song-writing, was RICHARD GALL (1776-1801), who, whilst employed as a printer in Edinburgh, threw off some Scottish songs that were justly popular. My only jo and dearie O,' for pleasing fancy and musical expression, is not unworthy Tannahill. I remember,' says Allan Cunningham, ' when this song was exceedingly popular: its sweetness and ease, rather than its originality and vigour, might be the cause of its success. The third verse contains a very beautiful picture of early attachment-a sunny bank, and some sweet soft schoolgirl, will appear to many a fancy when these lines are sung.'

My only Jo and Dearie 0.
Thy cheek is o' the rose's hue,
My only jo and dearie 0;
Thy neck is like the siller-dew

Upon the banks sae briery 0;
Thy teeth are o' the ivory,

O sweet's the twinkle o' thine ee!
Nae joy, nae pleasure, blinks on me,
My only jo and dearie O.

The birdie sings upon the thorn
Its sang o' joy, fu' cheerie O,
Rejoicing in the summer morn,

Nae care to mak it eerie 0;
But little kens the sangster sweet
Aught o' the cares I hae to meet,
That gar my restless bosom beat,
My only jo and dearie O.
Whan we were bairnies on yon brae,
And youth was blinking bonnie O,
Aft we wad daff the lee-lang day,

Our joys fu' sweet and mony 0;
Aft I wad chase thee o'er the lea,
And round about the thorny tree,
Or pu' the wild flowers a' for thee,
My only jo and dearie O.

I hac a wish I canna tine,
'Mang a' the cares that grieve me 0;
I wish thou wert for ever mine,

And never mair to leave me 0:

Then I wad daut thee night and day,
Nor ither warldly care wad hae,
Till life's warm stream forgot to play,
My only jo and dearie O.

Farewell to Ayrshire.

[This song of Gall's has been often printed-in consequence
of its locality-as the composition of Burns.]
Scenes of wo and scenes of pleasure,
Scenes that former thoughts renew;
Scenes of wo and scenes of pleasure,
Now a sad and last adieu!
Bonny Doon, sae sweet at gloaming,
Fare thee weel before I gang-
Bonny Doon, where, early roaming,
First I weaved the rustic sang!
Bowers adieu! where love decoying,

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First enthralled this heart o' mine; There the saftest sweets enjoying, Sweets that memory ne'er shall tine! Friends so dear my bosom ever,

Ye hae rendered moments dear; But, alas! when forced to sever, Then the stroke, oh! how severe ! Friends, that parting tear reserve it, Though 'tis doubly dear to me; Could I think I did deserve it,

How much happier would I be! Scenes of wo and scenes of pleasure,

Scenes that former thoughts renew; Scenes of wo and scenes of pleasure, Now a sad and last adieu!

JOHN MAYNE.

JOHN MAYNE, author of the Siller Gun, Glasgow, and other poems, was a native of Dumfries-born in the year 1761-and died in London in 1836. He was brought up to the printing business, and whilst apprentice in the Dumfries Journal office in 1777, in his sixteenth year, he published the germ of his Siller Gun' in a quarto page of twelve stanzas. The subject of the poem is an ancient custom in Dumfries, called Shooting for the Siller Gun,' the gun being a small silver tube presented by James VI. to the incorporated trades as a prize to the best marksman. This poem Mr Mayne continued to enlarge and improve up to the time of his death. The twelve stanzas expanded in two years to two cantos; in another year (1780) the poem was published-enlarged to three cantos-in Ruddiman's Magazine; and in 1808 it was published in London in four cantos. This edition was seen by Sir Walter Scott, who said (in one of his notes to the Lady of the Lake) 'that it surpassed the efforts of Fergusson, and came near to those of Burns.' In 1836 the Siller Gun' was again reprinted with the addition of a fifth canto. Mr Mayne was author of a short poem on Halloween, printed in Ruddiman's Magazine in 1780; and in 1781 he published at Glasgow his fine ballad of Logan Braes, which Burns had seen, and two lines of which he copied into his Logan Water. The 'Siller Gun' is humorous and descriptive, and is happy in both. The author is a shrewd and lively observer, full of glee, and also of gentle and affeetionate recollections of his native town and all its people and pastimes. The ballad of Logan Braes' is a simple and beautiful lyric, superior to the more elaborate version of Burns. Though long resident in London (as proprietor of the Star newspaper), Mr Mayne retained his Scottish enthusiasm to the last; and to those who, like ourselves, recollect him in advanced life, stopping in the midst of his duties, as a public journalist, to trace some remembrance

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of his native Dumfries and the banks of the Nith, or to hum over some rural or pastoral song which he had heard forty or fifty years before, his name, as well as his poetry, recalls the strength and permanency of early feelings and associations.

Logan Braes.

By Logan streams that rin sae deep,
Fu' aft wi' glee I've herded sheep;
Herded sheep and gathered slaes,
Wi' my dear lad on Logan braes.
'But wae's my heart, thae days are gane,
And I wi' grief may herd alane,
While my dear lad maun face his faes,
Far, far frae me and Logan braes.

Nae mair at Logan kirk will he
Atween the preachings meet wi' me;
Meet wi' me, or when it's mirk,
Convoy me hame frae Logan kirk.
I weel may sing thae days are gane:
Frae kirk and fair I come alane,

While my dear lad maun face his faes,
Far, far frae me and Logan braes.

At e'en, when hope amaist is gane,
I dauner out and sit alane;
Sit alane beneath the tree
Where aft he kept his tryst wi' me.
Oh! could I see thae days again,
My lover skaithless, and my ain!
Beloved by friends, revered by faes,
We'd live in bliss on Logan braes!

Helen of Kirkconnel.

[Helen Irving, a young lady of exquisite beauty and accomplishments, daughter of the Laird of Kirkconnel, in Annandale, was betrothed to Adam Fleming de Kirkpatrick, a young gentleman of rank and fortune in that neighbourhood. Walking with her lover on the sweet banks of the Kirtle, she was murdered by a disappointed and sanguinary rival. This catastrophe took place during the reign of Mary Queen of Scots, and is the subject of three different ballads: the first two are old, the third is the composition of the author of the Siller Gun.' It was first inserted in the Edinburgh Annual Register (1815) by Sir Walter Scott.]

I wish I were where Helen lies,

For, night and day, on me she cries;
And, like an angel, to the skies

Still seems to beckon me!
For me she lived, for me she sighed,
For me she wished to be a bride;
For me in life's sweet morn she died
On fair Kirkconnel-Lee!

Where Kirtle-waters gently wind,
As Helen on my arm reclined,
A rival with a ruthless mind,
Took deadly aim at me:
My love, to disappoint the foe,
Rushed in between me and the blow;
And now her corse is lying low

On fair Kirkconnel-Lee!

Though heaven forbids my wrath to swell,
I curse the hand by which she fell-
The fiend who made my heaven a hell,
And tore my love from me!
graces shine-

For if, where all the

Oh! if on earth there's aught divine,
My Helen! all these charms were thine-
They centered all in thee!

Ah! what avails it that, amain,

I clove the assassin's head in twain !
No peace of mind, my Helen slain,

No resting-place for me: I see her spirit in the airI hear the shriek of wild despair, When Murder laid her bosom bare, On fair Kirkconnel-Lee!

Oh! when I'm sleeping in my grave, And o'er my head the rank weeds wave, May He who life and spirit gave

Unite my love and me!

Then from this world of doubts and sighs,
My soul on wings of peace shall rise;
And, joining Helen in the skies,
Forget Kirkconnel-Lee!

To the River Nith.

Hail, gentle stream! for ever dear
Thy rudest murmurs to mine ear!
Torn from thy banks, though far I rove,
The slave of poverty and love,
Ne'er shall thy bard, where'er he be,
Without a sigh remember thee !
For there my infant years began,
And there my happiest minutes ran;
And there to love and friendship true,
The blossoms of affection grew.

Blithe on thy banks, thou sweetest stream
That ever nursed a poet's dream!
Oft have I in forbidden time
(If youth could sanctify a crime),
With hazel rod and fraudful fly,
Ensnared thy unsuspecting fry;

In pairs have dragged them from their den,
Till, chased by lurking fishermen,
Away I've flown as fleet as wind,
My lagging followers far behind,
And when the vain pursuit was o'er,
Returned successful as before.

[Mustering of the Trades to Shoot for the Siller Gha

The lift was clear, the morn serene,
The sun just glinting owre the scene,
When James M'Noe began again
To beat to arms,
Rousing the heart o' man and wean
Wi' war's alarms.

Frae far and near the country lads
(Their joes ahint them on their yads)
Flocked in to see the show in squads;
And, what was dafter,
Their pawky mithers and their dads
Cam trotting after!

And mony a beau and belle were there,
Doited wi' dozing on a chair;
For lest they'd, sleeping, spoil their hair,
Or miss the sight,

The gowks, like bairns before a fair,
Sat up a' night!

Wi' hats as black as ony raven,
Fresh as the rose, their beards new shaven,
And a' their Sunday's cleeding having
Sae trim and gay,

Forth cam our Trades, some ora saving
To wair that day.

Fair fa' ilk canny, caidgy carl,
Weel may he bruik his new apparel!
And never dree the bitter snarl

O' scowling wife!

But, blest in pantry, barn, and barrel, Be blithe through life!

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'Now, gentlemen! now, mind the motion,
And dinna, this time, mak a botion:
Shouther your arms! O! ha'd them tosh on,
And not athraw!

Wheel wi' your left hands to the ocean,
And march awa!'

Wi' that, the dinlin drums rebound,
Fifes, clarionets, and hautboys sound!
Through crowds on crowds, collected round,
The Corporations

Trudge aff, while Echo's self is drowned
In acclamations!

SIR ALEXANDER BOSWELL.

SIR ALEXANDER Boswell (1775-1822), the eldest son of Johnson's biographer, was author of some amusing songs, which are still very popular. Auld Gudeman, ye're a Drucken Carle, Jenny's Bawbee, Jenny Dang the Weaver, &c. display considerable comic humour, and coarse but characteristic painting. The higher qualities of simple rustic grace and elegance he seems never to have attempted. In 1803 Sir Alexander collected his fugitive pieces, and published them under the title of Songs chiefly in the Scottish Dialect. In 1810 he published a Scottish dialogue, in the style of Fergusson, called Edinburgh, or the Ancient Royalty; a Sketch of Manners, by Simon Gray. This Sketch is greatly overcharged. Sir Alexander was an ardent lover of our early literature, and reprinted several works at his private printing-press at Auchinleck. When politics ran high, he unfortunately wrote some personal satires, for one of which he received a challenge from Mr Stuart of Dunearn. The parties met at Auchtertool, in Fifeshire: conscious of his error, Sir Alex ander resolved not to fire at his opponent; but Mr Stuart's shot took effect, and the unfortunate baronet fell. He died from the wound on the following day, the 26th of March 1822. He had been elevated to the baronetcy only the year previous.

Jenny Dang the Weaver.

At Willie's wedding on the green,
The lassies, bonny witches!
Were a' dressed out in aprons clean,
And braw white Sunday mutches:
Auld Maggie bade the lads tak' tent,

But Jock would not believe her;
But soon the fool his folly kent,
For Jenny dang the weaver.

And Jenny dang, Jenny dang,
Jenny dang the weaver;
But soon the fool his folly kent,
For Jenny dang the weaver.
At ilka country dance or reel,
Wi' her he would be bobbing;
When she sat down, he sat down,
And to her would be gabbing;
Where'er she gaed, baith butt and ben,

The coof would never leave her;
Aye keckling like a clocking hen,
But Jenny dang the weaver.
Jenny dang, &c.
Quo' he, My lass, to speak my mind,
In troth I needna swither;
You've bonny een, and if you're kind,
I'll never seek anither:

He hummed and hawed, the lass cried, Peugh,
And bade the coof no deave her;
Syne snapt her fingers, lap and leugh,
And dang the silly weaver.

And Jenny dang, Jenny dang,
Jenny dang the weaver;
Syne snapt her fingers, lap and leugh,
And dang the silly weaver.

Jenny's Bawbee.

I met four chaps yon birks amang,
Wi' hingin' lugs, and faces lang;
I speered at neibour Bauldy Strang,
Wha's thae I see?

Quo' he, ilk cream-faced, pawky chiel,
Thought himsel' cunnin' as the de'il,
And here they cam, awa to steal
Jenny's bawbee.

The first, a captain till his trade,
Wi' skull ill lined, and back weel clad,
Marched round the barn, and by the shed,
And pappit on his knee.

Quo' he, 'My goddess, nymph, and queen,
Your beauty's dazzled baith my een;'
But de'il a beauty he had seen

But-Jenny's bawbee.

A lawyer neist, wi' bletherin' gab,
Wha speeches wove like ony wab,
In ilk ane's corn aye took a dab,
And a' for a fee:

Accounts he had through a' the town,
And tradesmen's tongues nae mair could drown;
Haith now he thought to clout his gown
Wi' Jenny's bawbee.

A Norland laird neist trotted up,
Wi' bawsened naig and siller whup,
Cried,There's my beast, lad, haud the grup,
Or tie't till a tree.

What's gowd to me?-I've walth o' lan';
Bestow on ane o' worth your han';'
He thought to pay what he was awn
Wi' Jenny's bawbee.

A' spruce frae ban'boxes and tubs,

A Thing cam neist (but life has rubs),
Foul were the roads, and fou the dubs,
Ah! waes me!

A' clatty, squintin' through a glass,
He girned, 'I'faith a bonnie lass!'
He thought to win, wi' front o' brass,
Jenny's bawbee.

She bade the laird gang comb his wig,
The sodger no to strut sae big,
The lawyer no to be a prig,

The fool cried, "Tehee,

I kent that I could never fail!'
She prined the dish-clout till his tail,
And cooled him wi' a water-pail,

And kept her bawbee.

Good Night, and Joy be wi ye a'.

This song is supposed to proceed from the mouth of an aged chieftain.]

Good night, and joy be wi' ye a';

Your harmless mirth has charmed my heart; May life's fell blasts out owre ye blaw!

In sorrow may ye never part!
My spirit lives, but strength is gone;

The mountain-fires now blaze in vain :
Remember, sons, the deeds I've done,
And in your deeds I'll live again!
When on yon muir our gallant clan
Frae boasting foes their banners tore,
Wha showed himself a better man,

Or fiercer waved the red claymore!
But when in peace-then mark me there-
When through the glen the wanderer came,

I gave him of our lordly fare,

I gave him here a welcome hame.

The auld will speak, the young maun hear;

Be cantie, but be good and leal; Your ain ills aye hae heart to bear,

Anither's aye hae heart to feel. So, ere I set, I'll see you shine,

I'll see you triumph ere I fa';

My parting breath shall boast you mineGood night, and joy be wi' you a'.

[The High Street of Edinburgh.]

[From Edinburgh, or the Ancient Royalty."] Tier upon tier I see the mansions rise, Whose azure summits mingle with the skies; There, from the earth the labouring porters bear The elements of fire and water high in air; There, as you scale the steps with toilsome tread, The dripping barrel madifies your head; Thence, as adown the giddy round you wheel, A rising porter greets you with his creel! Here, in these chambers, ever dull and dark, The lady gay received her gayer spark, Who, clad in silken coat, with cautious tread, Trembled at opening casements overhead; But when in safety at her porch he trod, He seized the ring, and rasped the twisted rod. No idlers then, I trow, were seen to meet, Linked, six a-row, six hours in Princes Street; But, one by one, they panted up the hill, And picked their steps with most uncommon skill; Then, at the Cross, each joined the motley mob'How are ye, Tam? and how's a' wi' ye, Bob?' Next to a neighbouring tavern all retired, And draughts of wine their various thoughts inspired. O'er draughts of wine the beau would moan his love; O'er draughts of wine the cit his bargain drove; O'er draughts of wine the writer penned the will; And legal wisdom counselled o'er a gill.

*

Yes, mark the street, for youth the great resort,
Its spacious width the theatre of sport.
There, midst the crowd, the jingling hoop is driven;
Full many a leg is hit, and curse is given.
There, on the pavement, mystic forms are chalked,
Defaced, renewed, delayed-but never balked;
There romping Miss the rounded slate may drop,
And kick it out with persevering hop.
There, in the dirty current of the strand,
Boys drop the rival corks with ready hand,
And, wading through the puddle with slow pace,
Watch in solicitude the doubtful race!

And there, an active band, with frequent boast,
Vault in succession o'er each wooden post.
Or a bold stripling, noted for his might,
Heads the array, and rules the mimic fight.
From hand and sling now fly the whizzing stones,
Unheeded broken heads and broken bones.
The rival hosts in close engagement mix,
Drive and are driven by the dint of sticks.
The bicker rages, till some mother's fears
Ring a sad story in a bailie's ears.
Her prayer is heard; the order quick is sped,
And, from that corps which hapless Porteous led,
A brave detachment, probably of two,
Rush, like two kites, upon the warlike crew,
Who, struggling, like the fabled frogs and mice,
Are pounced upon, and carried in a trice.
But, mark that motley group, in various garb-
There vice begins to form her rankling barb;
The germ of gambling sprouts in pitch-and-toss,
And brawl, successive, tells disputed loss.
From hand to hand the whirling halfpence pass,
And, every copper gone, they fly to brass.
Those polished rounds which decorate the coat,
And brilliant shine upon some youth of note,

Offspring of Birmingham's creative art,
Now from the faithful button-holes depart.
To sudden twitch the rending stitches yield,
And Enterprise again essays the field.
So, when a few fleet years of his short span
Have ripened this dire passion in the man,
When thousand after thousand takes its flight
In the short circuit of one wretched night,
Next shall the honours of the forest fall,
And ruin desolate the chieftain's hall;
Hill after hill some cunning clerk shall gain;
Then in a mendicant behold a thane!

JAMES HOGG.

JAMES HOGG, generally known by his poetical name of 'The Ettrick Shepherd,' was perhaps the most creative and imaginative of the uneducated poets. His fancy had a wide range, picturing in its flights scenes of wild aerial magnificence and beauty. His taste was very defective, though he had done much to repair his early want of instruction. His occupation of a shepherd, among solitary hills and glens, must have been favourable to his poetical enthusiasm. He was not, like Burns, thrown into society when young, and forced to combat with misfortune. His destiny was unvaried, until he had arrived at a period when the bent of his genius was fixed for life. Without society during the day, his evening hours were spent in listening to ancient legends and ballads, of which his mother (like Burns's) was a great reciter. This nursery of imagination he has himself beautifully described:

O list the mystic lore sublime
Of fairy tales of ancient time!
I learned them in the lonely glen,
The last abodes of living men,
Where never stranger came our way
By summer night, or winter day;
Where neighbouring hind or cot was none-
Our converse was with heaven alone-
With voices through the cloud that sung,
And brooding storms that round us hung.
O lady, judge, if judge ye may,
How stern and ample was the sway
Of themes like these when darkness fell,
And gray-haired sires the tales would tell!
When doors were barred, and elder dame
Plied at her task beside the flame
That through the smoke and gloom alone
On dim and umbered faces shone-
The bleat of mountain goat on high,
That from the cliff came quavering by;
The echoing rock, the rushing flood,
The cataract's swell, the moaning wood;
The undefined and mingled hum—
Voice of the desert never dumb!
All these have left within this heart
A feeling tongue can ne'er impart ;
A wildered and unearthly flame,
A something that's without a name.

Hogg was descended from a family of shepherds, and born, as he alleged (though the point was often disputed) on the 25th January (Burns's birthday), in the year 1772. When a mere child he was put out to service, acting first as a cow-herd, until capable of taking care of a flock of sheep. He had in all about half a year's schooling. When eighteen years of age he entered the service of Mr Laidlaw, Blackhouse. He was then an eager reader of poetry and romances, and he subscribed to a circulating library in Peebles, the miscellaneous contents of which he perused with the utmost avidity. He was a remarkably fine-looking young man, with a profusion of light-brown hair, which he wore coiled up

under his hat or blue bonnet, the envy of all the country maidens. An attack of illness, however, brought on by over-exertion on a hot summer day, completely altered his countenance, and changed the very form of his features. His first literary effort was in song-writing, and in 1801 he published & small volume of pieces. He was introduced to Sir Walter Scott by his master's son, Mr William Laidlaw, and assisted in the collection of old ballads for the Border Minstrelsy. He soon imitated the style of these ancient strains with great felicity, and published another volume of songs and poems under the title of The Mountain Bard. He now embarked in sheep-farming, and took a journey to the island of Harris on a speculation of this kind; but all he had saved as a shepherd, or by his publication, was lost in these attempts. He then repaired to Edinburgh, and endeavoured to subsist by his pen. A collection of songs, The Forest Minstrel, was his first effort· his second was a periodical called The Spy; but it was not till the publication of the Queen's Wake, in 1813, that the shepherd established his reputation as an author. This legendary poem' consists of a collection of tales and ballads supposed to be sung to Mary Queen of Scots by the native bards of Scotland assembled at a royal wake at Holyrood, in order that the fair queen might prove

The wondrous powers of Scottish song. The design was excellent, and the execution so varied and masterly, that Hogg was at once placed among the first of our living poets. The different productions of the native minstrels are strung together by a thread of narrative so gracefully written in many parts, nat the reader is surprised equally at the delicacy and the genius of the author. At the conclusion of the poem, Hogg alludes to his illustrious friend Scott, and adverts with some feeling to an advice which Sir Walter had once given him, to abstain from his worship of poetry.

The land was charmed to list his lays;
It knew the harp of ancient days.
The border chiefs that long had been
In sepulchres unhearsed and green,
Passed from their mouldy vaults away
In armour red and stern array,
And by their moonlight halls were seen
In visor, helm, and habergeon.
Even fairies sought our land again,
So powerful was the magic strain.

Blest be his generous heart for aye!
He told me where the relic lay;
Pointed my way with ready will
Afar on Ettrick's wildest hill;
Watched my first notes with curious eye,
And wondered at my minstrelsy:
He little weened a parent's tongue
Such strains had o'er my cradle sung.
But when to native feelings true,
I struck upon a chord was new;
When by myself I 'gan to play,
He tried to wile my harp away.
Just when her notes began with skill,
To sound beneath the southern hill,
And twine around my bosom's core,
How could we part for evermore!
'Twas kindness all-I cannot blame-
For bootless is the minstrel flame:
But sure a bard might well have known
Another's feelings by his own!

Scott was grieved at this allusion to his friendly counsel, as it was given at a time when no one dreamed of the shepherd possessing the powers that he displayed in the Queen's Wake.' Various works

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