Роберт Бернс
The Complete Works

XCI. I GAED A WAEFU’ GATE YESTREEN

Air—“The blue-eyed lass.”

[This blue-eyed lass was Jean Jeffry, daughter to the minister of Lochmaben: she was then a rosy girl of seventeen, with winning manners and laughing blue eyes. She is now Mrs. Renwick, and lives in New York.]

 
I.
I gaed a waefu’ gate yestreen,
A gate, I fear, I’ll dearlie rue;
I gat my death frae twa sweet een,
Twa lovely een o’ bonnie blue.
’Twas not her golden ringlets bright;
Her lips, like roses, wat wi’ dew,
Her heaving bosom, lily-white—
It was her een sae bonnie blue.
II.
She talk’d, she smil’d, my heart she wyl’d;
She charm’d my soul—I wist na how:
And ay the stound, the deadly wound,
Cam frae her een sae bonnie blue.
But spare to speak, and spare to speed;
She’ll aiblins listen to my vow:
Should she refuse, I’ll lay my dead
To her twa een sae bonnie blue.
 

XCII. THE BANKS OF NITH

Tune—“Robie donna Gorach.”

[The command which the Comyns held on the Nith was lost to the Douglasses: the Nithsdale power, on the downfall of that proud name, was divided; part went to the Charteris’s and the better portion to the Maxwells: the Johnstones afterwards came in for a share, and now the Scots prevail.]

 
I.
The Thames flows proudly to the sea,
Where royal cities stately stand;
But sweeter flows the Nith, to me,
Where Comyns ance had high command:
When shall I see that honour’d land,
That winding stream I love so dear!
Must wayward Fortune’s adverse hand
For ever, ever keep me here?
II.
How lovely, Nith, thy fruitful vales,
Where spreading hawthorns gaily bloom!
How sweetly wind thy sloping dales,
Where lambkins wanton thro’ the broom!
Tho’ wandering now, must be my doom,
Far from thy bonnie banks and braes,
May there my latest hours consume,
Amang the friends of early days!
 

XCIII. MY HEART IS A-BREAKING, DEAR TITTIE

Tune—“Tam Glen.”

[Tam Glen is the title of an old Scottish song, and older air: of the former all that remains is a portion of the chorus. Burns when he wrote it sent it to the Museum.]

 
I.
My heart is a-breaking, dear Tittie!
Some counsel unto me come len’,
To anger them a’ is a pity,
But what will I do wi’ Tam Glen?
II.
I’m thinking wi’ sic a braw fellow,
In poortith I might make a fen’;
What care I in riches to wallow,
If I maunna marry Tam Glen?
III.
There’s Lowrie the laird o’ Dumeller,
“Gude day to you, brute!” he comes ben:
He brags and he blaws o’ his siller,
But when will he dance like Tam Glen?
IV.
My minnie does constantly deave me,
And bids me beware o’ young men;
They flatter, she says, to deceive me,
But wha can think so o’ Tam Glen?
V.
My daddie says, gin I’ll forsake him,
He’ll gie me guid hunder marks ten:
But, if it’s ordain’d I maun take him,
O wha will I get but Tam Glen?
VI.
Yestreen at the Valentine’s dealing,
My heart to my mou’ gied a sten;
For thrice I drew ane without failing,
And thrice it was written—Tam Glen.
VII.
The last Halloween I was waukin
My droukit sark-sleeve, as ye ken;
His likeness cam up the house staukin,
And the very grey breeks o’ Tam Glen!
VIII.
Come counsel, dear Tittie! don’t tarry—
I’ll gie you my bonnie black hen,
Gif ye will advise me to marry
The lad that I lo’e dearly, Tam Glen.
 

XCIV. FRAE THE FRIENDS AND LAND I LOVE

Air—“Carron Side.”

[Burns says, “I added the four last lines, by way of giving a turn to the theme of the poem, such as it is.” The rest of the song is supposed to be from the same hand: the lines are not to be found in earlier collections.]

 
I.
Frae the friends and land I love,
Driv’n by fortune’s felly spite,
Frae my best belov’d I rove,
Never mair to taste delight;
Never mair maun hope to find,
Ease frae toil, relief frae care:
When remembrance wracks the mind,
Pleasures but unveil despair.
II.
Brightest climes shall mirk appear,
Desert ilka blooming shore,
Till the Fates, nae mair severe,
Friendship, love, and peace restore;
Till Revenge, wi’ laurell’d head,
Bring our banish’d hame again;
And ilka loyal bonnie lad
Cross the seas and win his ain.
 

XCV. SWEET CLOSES THE EVENING

Tune—“Craigie-burn-wood.”

[This is one of several fine songs in honour of Jean Lorimer, of Kemmis-hall, Kirkmahoe, who for some time lived on the banks of the Craigie-burn, near Moffat. It was composed in aid of the eloquence of a Mr. Gillespie, who was in love with her: but it did not prevail, for she married an officer of the name of Whelpdale, lived with him for a month or so: reasons arose on both sides which rendered separation necessary; she then took up her residence in Dumfries, where she had many opportunities of seeing the poet. She lived till lately.]

Chorus.

 
Beyond thee, dearie, beyond thee, dearie,
And O, to be lying beyond thee;
O sweetly, soundly, weel may he sleep
That’s laid in the bed beyond thee!
I.
Sweet closes the evening on Craigie-burn-wood,
And blithely awaukens the morrow;
But the pride of the spring in the Craigie-burn-wood
Can yield to me nothing but sorrow.
II.
I see the spreading leaves and flowers,
I hear the wild birds singing;
But pleasure they hae nane for me,
While care my heart is wringing.
III.
I canna tell, I maunna tell,
I darena for your anger;
But secret love will break my heart,
If I conceal it langer.
IV.
I see thee gracefu’, straight, and tall,
I see thee sweet and bonnie;
But oh! what will my torments be,
If thou refuse thy Johnnie!
V.
To see thee in anither’s arms,
In love to lie and languish,
’Twad be my dead, that will be seen,
My heart wad burst wi’ anguish.
VI.
But, Jeanie, say thou wilt be mine,
Say, thou lo’es nane before me;
And a’ my days o’ life to come
I’ll gratefully adore thee.
Beyond thee, dearie, beyond thee, dearie,
And O, to be lying beyond thee;
O sweetly, soundly, weel may he sleep
That’s laid in the bed beyond thee!
 

XCVI. COCK UP YOUR BEAVER

Tune—“Cock up your beaver.”

[“Printed,” says Sir Harris Nicolas, “in the Musical Museum, but not with Burns’s name.” It is an old song, eked out and amended by the poet: all the last verse, save the last line, is his; several of the lines too of the first verse, have felt his amending hand: he communicated it to the Museum.]

 
I.
When first my brave Johnnie lad
Came to this town,
He had a blue bonnet
That wanted the crown;
But now he has gotten
A hat and a feather,—
Hey, brave Johnnie lad,
Cock up your beaver!
II.
Cock up your beaver,
And cock it fu’ sprush,
We’ll over the border
And gie them a brush;
There’s somebody there
We’ll teach better behaviour—
Hey, brave Johnnie lad,
Cock up your beaver!
 

XCVII. MEIKLE THINKS MY LUVE

Tune—“My tocher’s the jewel.”

[These verses were written by Burns for the Museum, to an air by Oswald: but he wished them to be sung to a tune called “Lord Elcho’s favourite,” of which he was an admirer.]

 
I.
O Meikle thinks my luve o’ my beauty,
And meikle thinks my luve o’ my kin;
But little thinks my luve I ken brawlie
My tocher’s the jewel has charms for him.
It’s a’ for the apple he’ll nourish the tree;
It’s a’ for the hiney he’ll cherish the bee;
My laddie’s sae meikle in luve wi’ the siller,
He canna hae lure to spare for me.
II.
Your proffer o’ luve’s an airl-penny,
My tocher’s the bargain ye wad buy;
But an ye be crafty, I am cunnin’,
Sae ye wi’ anither your fortune maun try.
Ye’re like to the timmer o’ yon rotten tree,
Ye’ll slip frae me like a knotless thread,
And ye’ll crack your credit wi’ mae nor me.
 

XCVIII. GANE IS THE DAY

Tune—“Gudewife count the lawin.”

[The air as well as words of this song were furnished to the Museum by Burns. “The chorus,” he says, “is part of an old song.”]

 
I.
Gane is the day, and mirk’s the night,
But we’ll ne’er stray for fau’t o’ light,
For ale and brandy’s stars and moon,
And blude-red wine’s the rising sun.
Then gudewife count the lawin,
The lawin, the lawin;
Then gudewife count the lawin,
And bring a coggie mair!
II.
There’s wealth and ease for gentlemen,
And simple folk maun fight and fen;
But here we’re a’ in ae accord,
For ilka man that’s drunk’s a lord.
III.
My coggie is a haly pool,
That heals the wounds o’ care and dool;
And pleasure is a wanton trout,
An’ ye drink but deep ye’ll find him out.
Then gudewife count the lawin;
The lawin, the lawin,
Then gudewife count the lawin,
And bring a coggie mair!
 

XCIX. THERE’LL NEVER BE PEACE

Tune—“There art few gude fellows when Willie’s awa.”

[The bard was in one of his Jacobitical moods when he wrote this song. The air is a well known one, called “There’s few gude fellows when Willie’s awa.” But of the words none, it is supposed, are preserved.]

 
I.
By yon castle wa’, at the close of the day,
I heard a man sing, though his head it was gray;
And as he was singing the tears down came,
There’ll never be peace till Jamie comes hame.
The church is in ruins, the state is in jars;
Delusions, oppressions, and murderous wars:
We darena weel say’t, though we ken wha’s to blame,
There’ll never be peace till Jamie comes hame!
II.
My seven braw sons for Jamie drew sword,
And now I greet round their green beds in the yerd.
It brak the sweet heart of my faithfu’ auld dame—
There’ll never be peace till Jamie comes hame.
Now life is a burthen that bows me down,
Since I tint my bairns, and he tint his crown;
But till my last moments my words are the same—
There’ll never be peace till Jamie comes hame!
 

C. HOW CAN I BE BLYTHE AND GLAD?

Tune—“The bonnie lad that’s far awa.”

[This lamentation was written, it is said, in allusion to the sufferings of Jean Armour, when her correspondence with Burns was discovered by her family.]

 
I.
O how can I be blythe and glad,
Or how can I gang brisk and braw,
When the bonnie lad that I lo’e best
Is o’er the hills and far awa?
When the bonnie lad that I lo’e best
Is o’er the hills and far awa.
II.
It’s no the frosty winter wind,
It’s no the driving drift and snaw;
But ay the tear comes in my e’e,
To think on him that’s far awa.
But ay the tear comes in my e’e,
To think on him that’s far awa.
III.
My father pat me frae his door,
My friends they line disown’d me a’,
But I hae ane will tak’ my part,
The bonnie lad that’s far awa.
But I hae ane will tak’ my part,
The bonnie lad that’s far awa.
IV.
A pair o’ gloves he gae to me,
And silken snoods he gae me twa;
And I will wear them for his sake,
The bonnie lad that’s far awa.
And I will wear them for his sake,
The bonnie lad that’s far awa.
V.
O weary Winter soon will pass,
And spring will cleed the birken shaw;
And my young babie will be born,
And he’ll be hame that’s far awa.
And my young babie will be born,
And he’ll be hame that’s far awa.
 

CI. I DO CONFESS THOU ART SAE FAIR

Tune—“I do confess thou art sae fair.”

[“I do think,” says Burns, in allusion to this song, “that I have improved the simplicity of the sentiments by giving them a Scottish dress.” The original song is of great elegance and beauty: it was written by Sir Robert Aytoun, secretary to Anne of Denmark, Queen of James I.]

 
I.
I do confess thou art sae fair,
I wad been o’er the lugs in love,
Had I na found the slightest prayer
That lips could speak thy heart could muve.
I do confess thee sweet, but find
Thou art sae thriftless o’ thy sweets,
Thy favours are the silly wind,
That kisses ilka thing it meets.
II.
See yonder rose-bud, rich in dew,
Amang its native briers sae coy;
How sune it tines its scent and hue
When pou’d and worn a common toy!
Sic fate, ere lang, shall thee betide,
Tho’ thou may gaily bloom awhile;
Yet sune thou shalt be thrown aside
Like ony common weed and vile.
 

CII. YON WILD MOSSY MOUNTAINS

Tune—“Yon wild mossy mountains.”

[“This song alludes to a part of my private history, which is of no consequence to the world to know.” These are the words of Burns: he sent the song to the Musical Museum; the heroine is supposed to be the “Nannie,” who dwelt near the Lugar.]

 
I.
Yon wild mossy mountains sae lofty and wide,
That nurse in their bosom the youth o’ the Clyde,
Where the grouse lead their coveys thro’ the heather to feed,
And the shepherd tents his flock as he pipes on his reed.
Where the grouse lead their coveys thro’ the heather to feed,
And the shepherd tents his flock as he pipes on his reed.
II.
Not Gowrie’s rich valleys, nor Forth’s sunny shores,
To me hae the charms o’ yon wild, mossy moors;
For there, by a lanely and sequester’d stream,
Resides a sweet lassie, my thought and my dream.
For there, by a lanely and sequester’d stream,
Resides a sweet lassie, my thought and my dream.
III.
Amang thae wild mountains shall still be my path,
Ilk stream foaming down its ain green, narrow strath;
For there, wi’ my lassie, the day lang I rove,
While o’er us unheeded flee the swift hours o’ love.
For there wi’ my lassie, the day lang I rove,
While o’er us unheeded flee the swift hours o’ love.
IV.
She is not the fairest, altho’ she is fair;
O’ nice education but sma’ is her share;
Her parentage humble as humble can be;
But I lo’e the dear lassie because she lo’es me.
Her parentage humble as humble can be;
But I lo’e the dear lassie because she lo’es me.
V.
To beauty what man but maun yield him a prize,
In her armour of glances, and blushes, and sighs?
And when wit and refinement hae polish’d her darts,
They dazzle our een as they flee to our hearts.
And when wit and refinement hae polish’d her darts,
They dazzle our een, as they flee to our hearts.
VI.
But kindness, sweet kindness, in the fond sparkling e’e,
Has lustre outshining the diamond to me:
And the heart beating love as I’m clasp’d in her arms,
O, these are my lassie’s all-conquering charms!
And the heart beating love as I’m clasp’d in her arms,
O, these are my lassie’s all-conquering charms!
 

CIII. IT IS NA, JEAN, THY BONNIE FACE

Tune—“The Maid’s Complaint.”

[Burns found this song in English attire, bestowed a Scottish dress upon it, and published it in the Museum, together with the air by Oswald, which is one of his best.]

 
I.
It is na, Jean, thy bonnie face,
Nor shape that I admire,
Altho’ thy beauty and thy grace
Might weel awake desire.
Something in ilka part o’ thee,
To praise, to love, I find;
But dear as is thy form to me,
Still dearer is thy mind.
II.
Nae mair ungen’rous wish I hae,
Nor stronger in my breast,
Than, if I canna mak thee sae,
at least to see thee blest.
Content am I, if heaven shall give
But happiness to thee:
And as wi’ thee I’d wish to live,
For thee I’d bear to die.
 

CIV. WHEN I THINK ON THE HAPPY DAYS

[These verses were in latter years expanded by Burns into a song, for the collection of Thomson: the song will be found in its place: the variations are worthy of preservation.]

 
I.
When I think on the happy days
I spent wi’ you, my dearie;
And now what lands between us lie,
How can I be but eerie!
II.
How slow ye move, ye heavy hours,
As ye were wae and weary!
It was na sae ye glinted by,
When I was wi’ my dearie.
 

CV. WHAN I SLEEP I DREAM

[This presents another version of song LXV. Variations are to a poet what changes are in the thoughts of a painter, and speak of fertility of sentiment in both.]

 
I.
Whan I sleep I dream,
Whan I wauk I’m eerie,
Sleep I canna get,
For thinkin’ o’ my dearie.
II.
Lanely night comes on,
A’ the house are sleeping,
I think on the bonnie lad
That has my heart a keeping.
Ay waukin O, waukin ay and wearie,
Sleep I canna get, for thinkin’ o’ my dearie.
III.
Lanely nights come on,
A’ the house are sleeping,
I think on my bonnie lad,
An’ I blear my een wi’ greetin’!
Ay waukin, &c.
 

CVI. I MURDER HATE

[These verses are to be found in a volume which may be alluded to without being named, in which many of Burns’s strains, some looser than these, are to be found.]

 
I.
I murder hate by field or flood,
Tho’ glory’s name may screen us:
In wars at hame I’ll spend my blood,
Life-giving wars of Venus.
II.
The deities that I adore
Are social Peace and Plenty,
I’m better pleas’d to make one more,
Than be the death of twenty.
 

CVII. O GUDE ALE COMES

[These verses are in the museum; the first two are old, the concluding one is by Burns.]

 
I.
O gude ale comes, and gude ale goes,
Gude ale gars me sell my hose,
Sell my hose, and pawn my shoon,
Gude ale keeps my heart aboon.
II.
I had sax owsen in a pleugh,
They drew a’ weel eneugh,
I sell’d them a’ just ane by ane;
Gude ale keeps my heart aboon.
III.
Gude ale hands me bare and busy,
Gars me moop wi’ the servant hizzie,
Stand i’ the stool when I hae done,
Gude ale keeps my heart aboon.
O gude ale comes, &c.
 

CVIII. ROBIN SHURE IN HAIRST

[This is an old chaunt, out of which Burns brushed some loose expressions, added the third and fourth verses, and sent it to the Museum.]

 
I.
Robin shure in hairst,
I shure wi’ him,
Fient a heuk had I,
Yet I stack by him.
II.
I gaed up to Dunse,
To warp a wab o’ plaiden,
At his daddie’s yett,
Wha met me but Robin.
III.
Was na Robin bauld,
Tho’ I was a cotter,
Play’d me sic a trick,
And me the eller’s dochter?
Robin share in hairst, &c.
IV.
Robin promis’d me
A’ my winter vittle;
Fient haet he had but three
Goose feathers and a whittle.
Robin share in hairst, &c.
 

CIX. BONNIE PEG

[A fourth verse makes the moon a witness to the endearments of these lovers; but that planet sees more indiscreet matters than it is right to describe.]

 
I.
As I came in by our gate end,
As day was waxin’ weary,
O wha came tripping down the street,
But Bonnie Peg my dearie!
II.
Her air sae sweet, and shape complete,
Wi’ nae proportion wanting;
The Queen of Love did never move
Wi’ motion mair enchanting.
III.
Wi’ linked hands, we took the sands
A-down yon winding river;
And, oh! that hour and broomy bower,
Can I forget it ever?
 

CX. GUDEEN TO YOU, KIMMER

[This song in other days was a controversial one, and continued some sarcastic allusions to Mother Rome and her brood of seven sacraments, five of whom were illegitimate. Burns changed the meaning, and published his altered version in the Museum.]

 
I.
Gudeen to you, Kimmer,
And how do ye do?
Hiccup, quo’ Kimmer,
The better that I’m fou.
We’re a’ noddin, nid nid noddin,
We’re a’ noddin, at our house at hame.
II.
Kate sits i’ the neuk,
Suppin hen broo;
Deil tak Kate
An’ she be na noddin too!
We’re a’ noddin, &c.
III.
How’s a’ wi’ you, Kimmer,
And how do ye fare?
A pint o’ the best o’t,
And twa pints mair.
We’re a’ noddin, &c.
IV.
How’s a’ wi’ you, Kimmer,
And how do ye thrive;
How many bairns hae ye?
Quo’ Kimmer, I hae five.
We’re a’ noddin, &c.
V.
Are they a’ Johnie’s?
Eh! atweel no:
Twa o’ them were gotten
When Johnie was awa.
We’re a noddin, &c.
VI.
Cats like milk,
And dogs like broo;
Lads like lasses weel,
And lasses lads too.
We’re a’ noddin, &c.
 

CXI. AH, CHLORIS, SINCE IT MAY NA BE

Tune—“Major Graham.”

[Sir Harris Nicolas found these lines on Chloris among the papers of Burns, and printed them in his late edition of the poet’s works.]

 
I.
Ah, Chloris, since it may na be,
That thou of love wilt hear;
If from the lover thou maun flee,
Yet let the friend be dear.
II.
Altho’ I love my Chloris mair
Than ever tongue could tell;
My passion I will ne’er declare,
I’ll say, I wish thee well.
III.
Tho’ a’ my daily care thou art,
And a’ my nightly dream,
I’ll hide the struggle in my heart,
And say it is esteem.
 

CXII. O SAW YE MY DEARIE

Tune—“Eppie Macnab.”

[“Published in the Museum,” says Sir Harris Nicolas, “without any name.” Burns corrected some lines in the old song, which had more wit, he said, than decency, and added others, and sent his amended version to Johnson.]

 
I.
O saw ye my dearie, my Eppie M’Nab?
O saw ye my dearie, my Eppie M’Nab?
She’s down in the yard, she’s kissin’ the laird,
She winna come hame to her ain Jock Rab.
O come thy ways to me, my Eppie M’Nab!
O come thy ways to me, my Eppie M’Nab!
Whate’er thou hast done, be it late, be it soon,
Thou’s welcome again to thy ain Jock Rab.
II.
What says she, my dearie, my Eppie M’Nab?
What says she, my dearie, my Eppie M’Nab?
She lets thee to wit, that she has thee forgot,
And for ever disowns thee, her ain Jock Rab.
O had I ne’er seen thee, my Eppie M’Nab!
O had I ne’er seen thee, my Eppie M’Nab!
As light as the air, and fause as thou’s fair,
Thou’s broken the heart o’ thy ain Jock Rab.
 

CXIII. WHA IS THAT AT MY BOWER-DOOR

Tune—“Lass an I come near thee.”

[The “Auld man and the Widow,” in Ramsay’s collection is said, by Gilbert Burns, to have suggested this song to his brother: it first appeared in the Museum.]

 
I.
Wha is that at my bower door?
O, wha is it but Findlay?
Then gae your gate, ye’se nae be here!—
Indeed, maun I, quo’ Findlay.
What mak ye sae like a thief?
O come and see, quo’ Findlay;
Before the morn ye’ll work mischief;
Indeed will I, quo’ Findlay.
II.
Gif I rise and let you in?
Let me in, quo’ Findlay;
Ye’ll keep me waukin wi’ your din;
Indeed will I, quo’ Findlay.
In my bower if you should stay?
Let me stay, quo’ Findlay;
I fear ye’ll bide till break o’ day;
Indeed will I, quo’ Findlay.
III.
Here this night if ye remain;—
I’ll remain, quo’ Findlay;
I dread ye’ll learn the gate again;
Indeed will I, quo’ Findlay.
What may pass within this bower,—
Let it pass, quo’ Findlay;
Ye maun conceal till your last hour;
Indeed will I, quo’ Findlay!