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The Complete Works

XXVII. THE FAREWELL TO THE BRETHREN OF ST. JAMES’S LODGE, TARBOLTON

Tune—“Good-night, and joy be wi’ you a’.”

[Burns, it is said, sung this song in the St. James’s Lodge of Tarbolton, when his chest was on the way to Greenock: men are yet living who had the honour of hearing him—the concluding verse affected the whole lodge.]

 
I.
Adieu! a heart-warm, fond adieu!
Dear brothers of the mystic tie!
Ye favour’d, ye enlighten’d few,
Companions of my social joy!
Tho’ I to foreign lands must hie,
Pursuing Fortune’s slidd’ry ba’,
With melting heart, and brimful eye,
I’ll mind you still, tho’ far awa’.
II.
Oft have I met your social band,
And spent the cheerful, festive night;
Oft honour’d with supreme command,
Presided o’er the sons of light:
And by that hieroglyphic bright,
Which none but craftsmen ever saw!
Strong mem’ry on my heart shall write
Those happy scenes when far awa’.
III.
May freedom, harmony, and love
Unite you in the grand design,
Beneath th’ Omniscient Eye above,
The glorious architect divine!
That you may keep th’ unerring line,
Still rising by the plummet’s law,
Till order bright completely shine,
Shall be my pray’r when far awa’.
IV.
And you farewell! whose merits claim,
Justly, that highest badge to wear!
Heav’n bless your honour’d, noble name,
To masonry and Scotia dear!
A last request permit me here,
When yearly ye assemble a’,
One round—I ask it with a tear,—
To him, the Bard that’s far awa’.
 

XXVIII. ON CESSNOCK BANKS

Tune—“If he be a butcher neat and trim.”

[There are many variations of this song, which was first printed by Cromek from the oral communication of a Glasgow Lady, on whose charms, the poet, in early life, composed it.]

 
I.
On Cessnock banks a lassie dwells;
Could I describe her shape and mien;
Our lasses a’ she far excels,
An she has twa sparkling roguish een.
II.
She’s sweeter than the morning dawn
When rising Phœbus first is seen,
And dew-drops twinkle o’er the lawn;
An’ she has twa sparkling roguish een
III.
She’s stately like yon youthful ash,
That grows the cowslip braes between,
And drinks the stream with vigour fresh;
An’ she has twa sparkling roguish een.
IV.
She’s spotless like the flow’ring thorn,
With flow’rs so white and leaves so green,
When purest in the dewy morn;
An’ she has twa sparkling roguish een.
V.
Her looks are like the vernal May,
When evening Phœbus shines serene,
While birds rejoice on every spray—
An’ she has twa sparkling roguish een.
VI.
Her hair is like the curling mist
That climbs the mountain-sides at e’en,
When flow’r-reviving rains are past;
An’ she has twa sparkling roguish een.
VII.
Her forehead’s like the show’ry bow,
When gleaming sunbeams intervene,
And gild the distant mountain’s brow;
An’ she has twa sparkling roguish een.
VIII.
Her cheeks are like yon crimson gem,
The pride of all the flow’ry scene,
Just opening on its thorny stem;
An’ she has twa sparkling roguish een.
IX.
Her teeth are like the nightly snow
When pale the morning rises keen,
While hid the murmuring streamlets flow;
An’ she has twa sparkling roguish een
X.
Her lips are like yon cherries ripe,
That sunny walls from Boreas screen—
They tempt the taste and charm the sight;
An’ she has twa, sparkling roguish een.
XI.
Her teeth are like a flock of sheep,
With fleeces newly washen clean,
That slowly mount the rising steep;
An’ she has twa glancin’ roguish een.
XII.
Her breath is like the fragrant breeze
That gently stirs the blossom’d bean,
When Phœbus sinks behind the seas;
An’ she has twa sparkling roguish een.
XIII.
Her voice is like the ev’ning thrush
That sings on Cessnock banks unseen,
While his mate sits nestling in the bush;
An’ she has twa sparkling roguish een.
XIV.
But it’s not her air, her form, her face,
Tho’ matching beauty’s fabled queen,
’Tis the mind that shines in ev’ry grace,
An’ chiefly in her roguish een.
 

XXIX. MARY!

Tune—“Blue Bonnets.”

[In the original manuscript Burns calls this song “A Prayer for Mary;” his Highland Mary is supposed to be the inspirer.]

 
I.
Powers celestial! whose protection
Ever guards the virtuous fair,
While in distant climes I wander,
Let my Mary be your care:
Let her form sae fair and faultless,
Fair and faultless as your own,
Let my Mary’s kindred spirit
Draw your choicest influence down.
II.
Make the gales you waft around her
Soft and peaceful as her breast;
Breathing in the breeze that fans her,
Soothe her bosom into rest:
Guardian angels! O protect her,
When in distant lands I roam;
To realms unknown while fate exiles me,
Make her bosom still my home.
 

XXX. THE LASS OF BALLOCHMYLE

Tune—“Miss Forbes’s Farewell to Banff.”

[Miss Alexander, of Ballochmyle, as the poet tells her in a letter, dated November, 1786, inspired this popular song. He chanced to meet her in one of his favourite walks on the banks of the Ayr, and the fine scene and the lovely lady set the muse to work. Miss Alexander, perhaps unaccustomed to this forward wooing of the muse, allowed the offering to remain unnoticed for a time: it is now in a costly frame, and hung in her chamber—as it deserves to be.]

 
I.
’Twas even—the dewy fields were green,
On every blade the pearls hang,
The zephyr wanton’d round the bean,
And bore its fragrant sweets alang:
In ev’ry glen the mavis sang,
All nature listening seem’d the while,
Except where greenwood echoes rang
Amang the braes o’ Ballochmyle!
II.
With careless step I onward stray’d,
My heart rejoic’d in nature’s joy,
When musing in a lonely glade,
A maiden fair I chanc’d to spy;
Her look was like the morning’s eye,
Her air like nature’s vernal smile,
Perfection whisper’d passing by,
Behold the lass o’ Ballochmyle!
III.
Fair is the morn in flow’ry May,
And sweet is night in autumn mild
When roving thro’ the garden gay,
Or wand’ring in the lonely wild;
But woman, nature’s darling child!
There all her charms she does compile;
Even there her other works are foil’d
By the bonnie lass o’ Ballochmyle.
IV.
O, had she been a country maid,
And I the happy country swain,
Tho’ shelter’d in the lowest shed
That ever rose on Scotland’s plain,
Thro’ weary winter’s wind and rain,
With joy, with rapture, I would toil;
And nightly to my bosom strain
The bonnie lass of Ballochmyle.
V.
Then pride might climb the slippery steep,
Where fame and honours lofty shine:
And thirst of gold might tempt the deep
Or downward seek the Indian mine;
Give me the cot below the pine,
To tend the flocks, or till the soil,
And ev’ry day have joys divine
With the bonnie lass o’ Ballochmyle.
 

XXXI. THE GLOOMY NIGHT

Tune—“Roslin Castle.”

[“I had taken,” says Burns, “the last farewell of my friends, my chest was on the road to Greenock, and I had composed the last song I should ever measure in Caledonia—

’The gloomy night is gathering fast.’”]

 
I.
The gloomy night is gath’ring fast,
Loud roars the wild inconstant blast;
Yon murky cloud is foul with rain,
I see it driving o’er the plain;
The hunter now has left the moor,
The scatter’d coveys meet secure;
While here I wander, prest with care,
Along the lonely banks of Ayr.
II.
The Autumn mourns her rip’ning corn,
By early Winter’s ravage torn;
Across her placid, azure sky,
She sees the scowling tempest fly:
Chill runs my blood to hear it rave—
I think upon the stormy wave,
Where many a danger I must dare,
Far from the bonnie banks of Ayr.
III.
’Tis not the surging billow’s roar,
’Tis not that fatal deadly shore;
Tho’ death in ev’ry shape appear,
The wretched have no more to fear!
But round my heart the ties are bound,
That heart transpierc’d with many a wound;
These bleed afresh, those ties I tear,
To leave the bonnie banks of Ayr.
IV.
Farewell old Coila’s hills and dales,
Her heathy moors and winding vales;
The scenes where wretched fancy roves,
Pursuing past, unhappy loves!
Farewell, my friends! farewell, my foes!
My peace with these, my love with those—
The bursting tears my heart declare;
Farewell, the bonnie banks of Ayr!
 

XXXII. O WHAR DID YE GET

Tune—“Bonnie Dundee.”

[This is one of the first songs which Burns communicated to Johnson’s Musical Museum: the starting verse is partly old and partly new: the second is wholly by his hand.]

 
I.
O, whar did ye get that hauver meal bannock?
O silly blind body, O dinna ye see?
I gat it frae a young brisk sodger laddie,
Between Saint Johnston and bonnie Dundee.
O gin I saw the laddie that gae me’t!
Aft has he doudl’d me up on his knee;
May Heaven protect my bonnie Scots laddie,
And send him safe hame to his babie and me!
II.
My blessin’s upon thy sweet wee lippie,
My blessin’s upon thy bonnie e’e brie!
Thy smiles are sae like my blythe sodger laddie,
Thou’s ay the dearer and dearer to me!
But I’ll big a bower on yon bonnie banks,
Where Tay rins wimplin’ by sae clear;
And I’ll cleed thee in the tartan sae fine,
And mak thee a man like thy daddie dear.
 

XXXIII. THE JOYFUL WIDOWER

Tune—“Maggy Lauder.”

[Most of this song is by Burns: his fancy was fierce with images of matrimonial joy or infelicity, and he had them ever ready at the call of the muse. It was first printed in the Musical Museum.]

 
I.
I married with a scolding wife
The fourteenth of November;
She made me weary of my life,
By one unruly member.
Long did I bear the heavy yoke,
And many griefs attended;
But to my comfort be it spoke,
Now, now her life is ended.
II.
We liv’d full one-and-twenty years
A man and wife together;
At length from me her course she steer’d,
And gone I know not whither:
Would I could guess, I do profess,
I speak, and do not flatter,
Of all the woman in the world,
I never could come at her.
III.
Her body is bestowed well,
A handsome grave does hide her;
But sure her soul is not in hell,
The deil would ne’er abide her.
I rather think she is aloft,
And imitating thunder;
For why,—methinks I hear her voice
Tearing the clouds asunder.
 

XXXIV. COME DOWN THE BACK STAIRS

Tune—“Whistle, and I’ll come to you, my lad.”

[The air of this song was composed by John Bruce, a Dumfries fiddler. Burns gave another and happier version to the work of Thomson: this was written for the Museum of Johnson, where it was first published.]

Chorus.

 
O whistle, and I’ll come
To you, my lad;
O whistle, and I’ll come
To you, my lad:
Tho’ father and mither
Should baith gae mad,
O whistle, and I’ll come
To you, my lad.
Come down the back stairs
When ye come to court me;
Come down the back stairs
When ye come to court me;
Come down the back stairs,
And let naebody see,
And come as ye were na
Coming to me.
 

XXXV. I AM MY MAMMY’S AE BAIRN

Tune—“I’m o’er young to marry yet.”

[The title, and part of the chorus only of this song, are old; the rest is by Burns, and was written for Johnson.]

 
I.
I am my mammy’s ae bairn,
Wi’ unco folk I weary, Sir;
And lying in a man’s bed,
I’m fley’d it make me eerie, Sir.
I’m o’er young to marry yet;
I’m o’er young to marry yet;
I’m o’er young—’twad be a sin
To tak’ me frae my mammy yet.
II.
Hallowmas is come and gane,
The nights are lang in winter, Sir;
And you an’ I in ae bed,
In trouth, I dare na venture, Sir.
III.
Fu’ loud and shrill the frosty wind,
Blaws through the leafless timmer, Sir;
But, if ye come this gate again,
I’ll aulder be gin simmer, Sir.
I’m o’er young to marry yet;
I’m o’er young to marry yet;
I’m o’er young, ’twad be a sin
To tak me frae my mammy yet.
 

XXXVI. BONNIE LASSIE, WILL YE GO

Tune—“The birks of Aberfeldy.”

[An old strain, called “The Birks of Abergeldie,” was the forerunner of this sweet song: it was written, the poet says, standing under the Falls of Aberfeldy, near Moness, in Perthshire, during one of the tours which he made to the north, in the year 1787.]

Chorus.

 
Bonnie lassie, will ye go,
Will ye go, will ye go;
Bonnie lassie, will ye go
To the birks of Aberfeldy?
I.
Now simmer blinks on flowery braes,
And o’er the crystal streamlet plays;
Come let us spend the lightsome days
In the birks of Aberfeldy.
II.
The little birdies blithely sing,
While o’er their heads the hazels hing,
Or lightly flit on wanton wing
In the birks of Aberfeldy.
III.
The braes ascend, like lofty wa’s,
The foamy stream deep-roaring fa’s,
O’erhung wi’ fragrant spreading shaws,
The birks of Aberfeldy.
IV.
The hoary cliffs are crown’d wi’ flowers,
White o’er the linns the burnie pours,
And rising, weets wi’ misty showers
The birks of Aberfeldy.
V.
Let Fortune’s gifts at random flee,
They ne’er shall draw a wish frae me,
Supremely blest wi’ love and thee,
In the birks of Aberfeldy.
Bonnie lassie, will ye go,
Will ye go, will ye go;
Bonnie lassie, will ye go
To the birks of Aberfeldy?
 

XXXVII. MACPHERSON’S FAREWELL

Tune—“M’Pherson’s Rant.”

[This vehement and daring song had its origin in an older and inferior strain, recording the feelings of a noted freebooter when brought to “Justify his deeds on the gallows-tree” at Inverness.]

 
I.
Farewell, ye dungeons dark and strong,
The wretch’s destinie!
Macpherson’s time will not be long
On yonder gallows-tree.
Sae rantingly, sae wantonly,
Sae dauntingly gaed he;
He play’d a spring, and danc’d it round,
Below the gallows-tree.
II.
Oh, what is death but parting breath?
On many a bloody plain
I’ve dar’d his face, and in this place
I scorn him yet again!
III.
Untie these bands from off my hands,
And bring to me my sword;
And there’s no a man in all Scotland,
But I’ll brave him at a word.
IV.
I’ve liv’d a life of sturt and strife;
I die by treacherie:
It burns my heart I must depart,
And not avenged be.
V.
Now farewell light—thou sunshine bright,
And all beneath the sky!
May coward shame distain his name,
The wretch that dares not die!
Sae rantingly, sae wantonly,
Sae dauntingly gaed he;
He play’d a spring, and danc’d it round,
Below the gallows-tree.
 

XXXVIII. BRAW LADS OF GALLA WATER

Tune—“Galla Water.”

[Burns found this song in the collection of Herd; added the first verse, made other but not material emendations, and published it in Johnson: in 1793 he wrote another version for Thomson.]

Chorus.

 
Braw, braw lads of Galla Water;
O braw lads of Galla Water:
I’ll kilt my coats aboon my knee,
And follow my love thro’ the water.
I.
Sae fair her hair, sae brent her brow,
Sae bonny blue her een, my dearie;
Sae white her teeth, sae sweet her mou’,
The mair I kiss she’s ay my dearie.
II.
O’er yon bank and o’er yon brae,
O’er yon moss amang the heather;
I’ll kilt my coats aboon my knee,
And follow my love thro’ the water.
III.
Down amang the broom, the broom,
Down amang the broom, my dearie,
The lassie lost a silken snood,
That cost her mony a blirt and bleary.
Braw, braw lads of Galla Water;
O braw lads of Galla-Water:
I’ll kilt my coats aboon my knee,
And follow my love thro’ the water.
 

XXXIX. STAY, MY CHARMER

Tune-“An Gille dubh ciar dhubh.”

[The air of this song was picked up by the poet in one of his northern tours: his Highland excursions coloured many of his lyric compositions.]

 
I.
Stay, my charmer, can you leave me?
Cruel, cruel, to deceive me!
Well you know how much you grieve me;
Cruel charmer, can you go?
Cruel charmer, can you go?
II.
By my love so ill requited;
By the faith you fondly plighted;
By the pangs of lovers slighted;
Do not, do not leave me so!
Do not, do not leave me so!
 

XL. THICKEST NIGHT, O’ERHANG MY DWELLING

Tune—“Strathallan’s Lament.”

[The Viscount Strathallan, whom this song commemorates, was William Drummond: he was slain at the carnage of Culloden. It was long believed that he escaped to France and died in exile.]

 
I.
Thickest night, surround my dwelling!
Howling tempests, o’er me rave!
Turbid torrents, wintry swelling,
Roaring by my lonely cave!
II.
Crystal streamlets gently flowing,
Busy haunts of base mankind,
Western breezes softly blowing,
Suit not my distracted mind.
III.
In the cause of Right engaged,
Wrongs injurious to redress,
Honour’s war we strongly waged,
But the heavens denied success.
IV.
Ruin’s wheel has driven o’er us,
Not a hope that dare attend,
The wild world is all before us—
But a world without a friend.
 

XLI. MY HOGGIE

Tune—“What will I do gin my Hoggie die?”

[Burns was struck with the pastoral wildness of this Liddesdale air, and wrote these words to it for the Museum: the first line only is old.]

 
What will I do gin my Hoggie die?
My joy, my pride, my Hoggie!
My only beast, I had nae mae,
And vow but I was vogie!
The lee-lang night we watch’d the fauld,
Me and my faithfu’ doggie;
We heard nought but the roaring linn,
Amang the braes sae scroggie;
But the houlet cry’d frae the castle wa’,
The blitter frae the boggie,
The tod reply’d upon the hill,
I trembled for my Hoggie.
When day did daw, and cocks did craw,
The morning it was foggie;
An’ unco tyke lap o’er the dyke,
And maist has kill’d my Hoggie.
 

XLII. HER DADDIE FORBAD

Tune—“Jumpin’ John.”

[This is one of the old songs which Ritson accuses Burns of amending for the Museum: little of it, how ever, is his, save a touch here and there—but they are Burns’s touches.]

 
I.
Her daddie forbad, her minnie forbad;
Forbidden she wadna be:
She wadna trow’t, the browst she brew’d
Wad taste sae bitterlie.
The lang lad they ca’ jumpin’ John
Beguiled the bonnie lassie,
The lang lad they ca’ Jumpin’ John
Beguiled the bonnie lassie.
II.
A cow and a cauf, a yowe and a hauf,
And thretty gude shillin’s and three;
A vera gude tocher, a cotter-man’s dochter,
The lass wi’ the bonnie black e’e.
The lang lad they ca’ Jumpin’ John
Beguiled the bonnie lassie,
The lang lad they ca’ Jumpin’ John
Beguiled the bonnie lassie.
 

XLIII. UP IN THE MORNING EARLY

Tune—“Cold blows the wind.”

[“The chorus of this song,” says the poet, in his notes on the Scottish Lyrics, “is old, the two stanzas are mine.” The air is ancient, and was a favourite of Mary Stuart, the queen of William the Third.]

Chorus.

 
Up in the morning’s no for me,
Up in the morning early;
When a’ the hills are cover’d wi’ snaw,
I’m sure it’s winter fairly.
I.
Cauld blaws the wind frae east to west,
The drift is driving sairly;
Sae loud and shill I hear the blast,
I’m sure it’s winter fairly.
II.
The birds sit chittering in the thorn,
A’ day they fare but sparely;
And lang’s the night frae e’en to morn—
I’m sure it’s winter fairly.
Up in the morning’s no for me,
Up in the morning early;
When a’ the hills are cover’d wi’ snaw,
I’m sure it’s winter fairly.
 

XLIV. THE YOUNG HIGHLAND ROVER

Tune—“Morag.”

[The Young Highland Rover of this strain is supposed by some to be the Chevalier, and with more probability by others, to be a Gordon, as the song was composed in consequence of the poet’s visit to “bonnie Castle-Gordon,” in September, 1787.]

 
I.
Loud blaw the frosty breezes,
The snaws the mountains cover;
Like winter on me seizes,
Since my young Highland rover
Far wanders nations over.
Where’er he go, where’er he stray.
May Heaven be his warden:
Return him safe to fair Strathspey,
And bonnie Castle-Gordon!
II.
The trees now naked groaning,
Shall Soon wi’ leaves be hinging.
The birdies dowie moaning,
Shall a’ be blithely singing,
And every flower be springing.
Sae I’ll rejoice the lee-lang day
When by his mighty Warden
My youth’s returned to fair Strathspey,
And bonnie Castle-Gordon.
 

XLV. HEY, THE DUSTY MILLER

Tune—“The Dusty Miller.”

[The Dusty Miller is an old strain, modified for the Museum by Burns: it is a happy specimen of his taste and skill in making the new look like the old.]

 
I.
Hey, the dusty miller,
And his dusty coat;
He will win a shilling,
Or he spend a groat.
Dusty was the coat,
Dusty was the colour,
Dusty was the kiss
That I got frae the miller.
II.
Hey, the dusty miller,
And his dusty sack;
Leeze me on the calling
Fills the dusty peck.
Fills the dusty peck,
Brings the dusty siller;
I wad gie my coatie
For the dusty miller.
 

XLVI. THERE WAS A LASS

Tune—“Duncan Davison.”

[There are several other versions of Duncan Davison, which it is more delicate to allude to than to quote: this one is in the Museum.]

 
I.
There was a lass, they ca’d her Meg,
And she held o’er the moors to spin;
There was a lad that follow’d her,
They ca’d him Duncan Davison.
The moor was driegh, and Meg was skiegh,
Her favour Duncan could na win;
For wi’ the roke she wad him knock.
And ay she shook the temper-pin.
II.
As o’er the moor they lightly foor,
A burn was clear, a glen was green,
Upon the banks they eas’d-their shanks,
And ay she set the wheel between:
But Duncan swore a haly aith,
That Meg should be a bride the morn,
Then Meg took up her spinnin’ graith,
And flang them a’ out o’er the burn.
III.
We’ll big a house,—a wee, wee house,
And we will live like king and queen,
Sae blythe and merry we will be
When ye set by the wheel at e’en.
A man may drink and no be drunk;
A man may fight and no be slain;
A man may kiss a bonnie lass,
And ay be welcome back again.
 

XLVII. THENIEL MENZIES’ BONNIE MARY

Tune.—“The Ruffian’s Rant.”

[Burns, it is believed, wrote this song during his first Highland tour, when he danced among the northern dames, to the tune of “Bab at the Bowster,” till the morning sun rose and reproved them from the top of Ben Lomond.]

 
I.
In coming by the brig o’ Dye,
At Darlet we a blink did tarry;
As day was dawin in the sky,
We drank a health to bonnie Mary.
Theniel Menzies’ bonnie Mary;
Theniel Menzies’ bonnie Mary;
Charlie Gregor tint his plaidie,
Kissin’ Theniel’s bonnie Mary.
II.
Her een sae bright, her brow sae white,
Her haffet locks as brown’s a berry;
And ay, they dimpl’t wi’ a smile,
The rosy checks o’ bonnie Mary.
III.
We lap and danced the lee lang day,
Till piper lads were wae and weary;
But Charlie gat the spring to pay,
For kissin’ Theniel’s bonnie Mary.
Theniel Menzies’ bonnie Mary;
Theniel Menzies’ bonnie Mary;
Charlie Gregor tint his plaidie,
Kissin’ Theniel’s bonnie Mary.