Роберт Бернс
The Complete Works

CCCI. TO MR. THOMSON

[Dr. Maxwell, whose skill called forth the praises of the poet, had the honour of being named by Burke in the House of Commons: he shared in the French revolution, and narrowly escaped the guillotine, like many other true friends of liberty.]

Sept. 1794.

Do you know a blackguard Irish song called “Onagh’s Waterfall?” The air is charming, and I have often regretted the want of decent verses to it. It is too much, at least for my humble rustic muse, to expect that every effort of hers shall have merit; still I think that it is better to have mediocre verses to a favourite air, than none at all. On this principle I have all along proceeded in the Scots Musical Museum; and as that publication is at its last volume, I intend the following song, to the air above mentioned, for that work.

If it does not suit you as an editor, you may be pleased to have verses to it that you can sing in the company of ladies.

Sae flaxen were her ringlets.^[263]

Not to compare small things with great, my taste in music is like the mighty Frederick of Prussia’s taste in painting: we are told that he frequently admired what the connoisseurs decried, and always without any hypocrisy confessed his admiration. I am sensible that my taste in music must be inelegant and vulgar, because people of undisputed and cultivated taste can find no merit in my favourite tunes. Still, because I am cheaply pleased, is that any reason why I should deny myself that pleasure? Many of our strathspeys, ancient and modern, give me most exquisite enjoyment, where you and other judges would probably be showing disgust. For instance, I am just now making verses for “Rothemurche’s rant,” an air which puts me in raptures; and, in fact, unless I be pleased with the tune, I never can make verses to it. Here I have Clarke on my side, who is a judge that I will pit against any of you. “Rothemurche,” he says, “is an air both original and beautiful;” and, on his recommendation, I have taken the first part of the tune for a chorus, and the fourth or last part for the song. I am but two stanzas deep in the work, and possibly you may think, and justly, that the poetry is as little worth your attention as the music.

[Here follow two stanzas of the song, beginning “Lassie wi’ the lint-white locks.” Song CCXXXIII.]

I have begun anew, “Let me in this ae night.” Do you think that we ought to retain the old chorus? I think we must retain both the old chorus and the first stanza of the old song. I do not altogether like the third line of the first stanza, but cannot alter it to please myself. I am just three stanzas deep in it. Would you have the denouement to be successful or otherwise?—should she “let him in” or not?

Did you not once propose “The sow’s tail to Geordie” as an air for your work? I am quite delighted with it; but I acknowledge that is no mark of its real excellence. I once set about verses for it, which I meant to be in the alternate way of a lover and his mistress chanting together. I have not the pleasure of knowing Mrs. Thomson’s Christian name, and yours, I am afraid, is rather burlesque for sentiment, else I had meant to have made you the hero and heroine of the little piece.

How do you like the following epigram which I wrote the other day on a lovely young girl’s recovery from a fever? Doctor Maxwell was the physician who seemingly saved her from the grave; and to him I address the following:

TO DR. MAXWELL, ON MISS JESSIE STAIG’S RECOVERY.

 
Maxwell, if merit here you crave,
That merit I deny:
You save fair Jessy from the grave?—
An angel could not die!
God grant you patience with this stupid epistle!
 

R. B.

CCCII. TO MR. THOMSON

[The poet relates the history of several of his best songs in this letter: the true old strain of “Andro and his cutty gun” is the first of its kind.]

19th October, 1794.

My dear Friend,

By this morning’s post I have your list, and, in general, I highly approve of it. I shall, at more leisure, give you a critique on the whole. Clarke goes to your town by to-day’s fly, and I wish you would call on him and take his opinion in general: you know his taste is a standard. He will return here again in a week or two, so please do not miss asking for him. One thing I hope he will do—persuade you to adopt my favourite “Craigieburn-wood,” in your selection: it is as great a favourite of his as of mine. The lady on whom it was made is one of the finest women in Scotland; and in fact (entre nous) is in a manner to me what Sterne’s Eliza was to him—a mistress, or friend, or what you will, in the guileless simplicity of Platonic love. (Now, don’t put any of your squinting constructions on this, or have any clishmaclaver about it among our acquaintances.) I assure you that to my lovely friend you are indebted for many of your best songs of mine. Do you think that the sober, gin-horse routine of existence could inspire a man with life, and love, and joy—could fire him with enthusiasm, or melt him with pathos, equal to the genius of your book? No! no! Whenever I want to be more than ordinary in song—to be in some degree equal to your diviner airs—do you imagine I fast and pray for the celestial emanation? Tout au contraire! I have a glorious recipe; the very one that for his own use was invented by the divinity of healing and poetry, when erst he piped to the flocks of Admetus. I put myself in a regimen of admiring a fine woman; and in proportion to the adorability of her charms, in proportion you are delighted with my verses. The lightning of her eye is the godhead of Parnassus, and the witchery of her smile the divinity of Helicon!

To descend to business: if you like my idea of “When she cam ben she bobbit,” the following stanzas of mine, altered a little from what they were formerly, when set to another air, may perhaps do instead of worse stanzas:—

O saw ye my dear, my Phely.^[264]

Now for a few miscellaneous remarks. “The Posie” (in the Museum) is my composition; the air was taken down from Mrs. Burns’s voice. It is well known in the west country, but the old words are trash. By the bye, take a look at the tune again, and tell me if you do not think it is the original from which “Roslin Castle” is composed. The second part in particular, for the first two or three bars, is exactly the old air. “Strathallan’s Lament” is mine; the music is by our right trusty and deservedly well-beloved Allan Masterton. “Donocht-Head” is not mine; I would give ten pounds it were. It appeared first in the Edinburgh Herald, and came to the editor of that paper with the Newcastle post-mark on it “Whistle o’er the lave o’t” is mine: the music said to be by a John Bruce, a celebrated violin-player in Dumfries, about the beginning of this century. This I know, Bruce, who was an honest man, though a red-wud Highlandman, constantly claimed it; and by all the old musical people here is believed to be the author of it.

“Andrew and his cutty gun.” The song to which this is set in the Museum is mine, and was composed on Miss Euphemia Murray, of Lintrose, commonly and deservedly called the Flower of Strathmore.

“How long and dreary is the night!” I met with some such words in a collection of songs somewhere, which I altered and enlarged; and to please you, and to suit your favourite air, I have taken a stride or two across my room, and have arranged it anew, as you will find on the other page.

How long and dreary is the night, &c.^[265]

Tell me how you like this. I differ from your idea of the expression of the tune. There is, to me, a great deal of tenderness in it. You cannot, in my opinion, dispense with a bass to your addenda airs. A lady of my acquaintance, a noted performer, plays and sings at the same time so charmingly, that I shall never bear to see any of her songs sent into the world, as naked as Mr. What-d’ye-call-um has done in his London collection.^[266]

These English songs gravel me to death. I have not that command of the language that I have of my native tongue. I have been at “Duncan Gray,” to dress it in English, but all I can do is deplorably stupid. For instance:—

Let not woman e’er complain, &c.^[267]

Since the above, I have been out in the country, taking a dinner with a friend, where I met with a lady whom I mentioned in the second page in this odds-and-ends of a letter. As usual, I got into song; and returning home I composed the following:

Sleep’st thou, or wak’st thou, fairest creature &c.^[268]

If you honour my verses by setting the air to them, I will vamp up the old song, and make it English enough to be understood.

I enclose you a musical curiosity, an East Indian air, which you would swear was a Scottish one. I know the authenticity of it, as the gentleman who brought it over is a particular acquaintance of mine. Do preserve me the copy I send you, as it is the only one I have. Clarke has set a bass to it, and I intend putting it into the Musical Museum. Here follow the verses I intend for it.

But lately seen in gladsome green, &c.^[269]

I would be obliged to you if you would procure me a sight of Ritson’s collection of English songs, which you mention in your letter. I will thank you for another information, and that as speedily as you please: whether this miserable drawling hotch-potch epistle has not completely tired you of my correspondence?

Variation.

 
Now to the streaming fountain,
Or up the heathy mountain,
The hart, hind, and roe, freely, wildly-wanton stray;
In twining hazel bowers,
His lay the linnet pours;
The lav’rock to the sky
Ascends wi’ sangs o’ joy,
While the sun and thou arise to bless the day.
When frae my Chloris parted,
Sad, cheerless, broken-hearted,
The night’s gloomy shades, cloudy, dark, o’ercast my sky.
But when she charms my sight,
In pride of beauty’s light;
When through my very heart
Her beaming glories dart;
’Tis then, ’tis then I wake to life and joy!
 

R. B.

CCCIII. TO MR. THOMSON

[The presents made to the poet were far from numerous: the book for which he expresses his thanks, was the work of the waspish Ritson.]

November, 1794.

Many thanks to you, my dear Sir, for your present; it is a book of the utmost importance to me. I have yesterday begun my anecdotes, &c., for your work. I intend drawing them up in the form of a letter to you, which will save me from the tedious dull business of systematic arrangement. Indeed, as all I have to say consists of unconnected remarks, anecdotes, scraps of old songs, &c., it would be impossible to give the work a beginning, a middle, and an end, which the critics insist to be absolutely necessary in a work. In my last, I told you my objections to the song you had selected for “My lodging is on the cold ground.” On my visit the other day to my friend Chloris (that is the poetic name of the lovely goddess of my inspiration), she suggested an idea, which I, on my return from the visit, wrought into the following song.

 
My Chloris, mark how green the groves.^[270]
 

How do you like the simplicity and tenderness of this pastoral? I think it pretty well.

I like you for entering so candidly and so kindly into the story of “ma chere amie.” I assure you I was never more in earnest in my life, than in the account of that affair which I sent you in my last. Conjugal love is a passion which I deeply feel, and highly venerate; but, somehow, it does not make such a figure in poesy as that other species of the passion,

 
“Where love is liberty, and nature law.”
 

Musically speaking, the first is an instrument of which the gamut is scanty and confined, but the tones inexpressibly sweet, while the last has powers equal to all the intellectual modulations of the human soul. Still, I am a very poet in my enthusiasm of the passion. The welfare and happiness of the beloved object is the first and inviolate sentiment that pervades my soul; and whatever pleasures I might wish for, or whatever might be the raptures they would give me, yet, if they interfere with that first principle, it is having these pleasures at a dishonest price; and justice forbids and generosity disdains the purchase.

Despairing of my own powers to give you variety enough in English songs, I have been turning over old collections, to pick out songs, of which the measure is something similar to what I want; and, with a little alteration, so as to suit the rhythm of the air exactly, to give you them for your work. Where the songs have hitherto been but little noticed, nor have ever been set to music, I think the shift a fair one. A song, which, under the same first verse, you will find in Ramsay’s Tea-table Miscellany, I have cut down for an English dress to your “Dainty Davie,” as follows:—

 
It was the charming month of May.^[271]
 

You may think meanly of this, but take a look at the bombast original, and you will be surprised that I have made so much of it. I have finished my song to “Rothemurche’s rant,” and you have Clarke to consult as to the set of the air for singing.

 
Lassie wi’ the lint-white locks, &c.^[272]
 

This piece has at least the merit of being a regular pastoral: the vernal morn, the summer noon, the autumnal evening, and the winter night, are regularly rounded. If you like it, well; if not, I will insert it in the Museum.

R. B.

CCCIV. TO MR. THOMSON

[Sir Walter Scott remarked, on the lyrics of Burns, “that at last the writing a series of songs for large musical collections degenerated into a slavish labour which no talents could support.”]

I am out of temper that you should set so sweet, so tender an air, as “Deil tak the wars,” to the foolish old verses. You talk of the silliness of “Saw ye my father?”—By heavens! the odds is gold to brass! Besides, the old song, though now pretty well modernized into the Scottish language, is originally, and in the early editions, a bungling low imitation of the Scottish manner, by that genius Tom D’Urfey, so has no pretensions to be a Scottish production. There is a pretty English song by Sheridan, in the “Duenna,” to this air, which is out of sight superior to D’Urfey’s. It begins,

 
“When sable night each drooping plant restoring.”
 

The air, if I understand the expression of it properly, is the very native language of simplicity, tenderness, and love. I have again gone over my song to the tune.

Now for my English song to “Nancy’s to the greenwood,” &c.

 
Farewell thou stream that winding flows.^[273]
 

There is an air, “The Caledonian Hunt’s Delight,” to which I wrote a song that, you will find in Johnson, “Ye banks and braes o’ bonnie Doon:” this air I think might find a place among your hundred, as Lear says of his knights. Do you know the history of the air? It is curious enough. A good many years ago, Mr. James Miller, writer in your good town, a gentleman whom possibly you know, was in company with our friend Clarke; and talking of Scottish music, Miller expressed an ardent ambition to be able to compose a Scots air. Mr. Clarke, partly by way of joke, told him to keep to the black keys of the harpsichord, and preserve some kind of rhythm, and he would infallibly compose a Scots air. Certain it is that, in a few days, Mr. Miller produced the rudiments of an air, which Mr. Clarke, with some touches and corrections, fashioned into the tune in question. Ritson, you know, has the same story of the black keys; but this account which I have just given you, Mr. Clarke informed me of several years ago. Now, to show you how difficult it is to trace the origin of our airs, I have heard it repeatedly asserted that this was an Irish air; nay, I met with an Irish gentleman who affirmed he had heard it in Ireland among the old women; while, on the other hand, a countess informed me, that the first person who introduced the air into this country, was a baronet’s lady of her acquaintance, who took down the notes from an itinerant piper in the Isle of Man. How difficult, then, to ascertain the truth respecting our poesy and music! I, myself, have lately seen a couple of ballads sung through the streets of Dumfries, with my name at the head of them as the author, though it was the first time I had ever seen them.

I thank you for admitting “Craigieburn-wood;” and I shall take care to furnish you with a new chorus. In fact, the chorus was not my work, but a part of some old verses to the air. If I can catch myself in a more than ordinarily propitious moment, I shall write a new “Craigieburn-wood” altogether. My heart is much in the theme.

I am ashamed, my dear fellow, to make the request; ’tis dunning your generosity; but in a moment when I had forgotten whether I was rich or poor, I promised Chloris a copy of your songs. It wrings my honest pride to write you this; but an ungracious request is doubly so by a tedious apology. To make you some amends, as soon as I have extracted the necessary information out of them, I will return you Ritson’s volumes.

The lady is not a little proud that she is to make so distinguished a figure in your collection, and I am not a little proud that I have it in my power to please her so much. Lucky it is for your patience that my paper is done, for when I am in a scribbling humour, I know not when to give over.

R. B.

CCCV. TO MR. THOMSON

[Willy and Phely, in one of the lyrics which this letter contained, carry on the pleasant bandying of praise till compliments grow scarce, and the lovers are reduced to silence.]

19th November, 1794.

You see, my dear Sir, what a punctual correspondent I am; though, indeed, you may thank yourself for the tedium of my letters, as you have so flattered me on my horsemanship with my favourite hobby, and have praised the grace of his ambling so much, that I am scarcely ever off his back. For instance, this morning, though a keen blowing frost, in my walk before breakfast, I finished my duet, which you were pleased to praise so much. Whether I have uniformly succeeded, I will not say; but here it is for you, though it is not an hour old.

O Philly, happy be the day.^[274]

Tell me honestly how you like it, and point out whatever you think faulty.

I am much pleased with your idea of singing our songs in alternate stanzas, and regret that you did not hint it to me sooner. In those that remain, I shall have it in my eye. I remember your objections to the name Philly, but it is the common abbreviation of Phillis. Sally, the only other name that suits, has to my ear a vulgarity about it, which unfits it, for anything except burlesque. The legion of Scottish poetasters of the day, whom your brother editor, Mr. Ritson, ranks with me as my coevals, have always mistaken vulgarity for simplicity; whereas, simplicity is as much eloignée from vulgarity on the one hand, as from affected point and puerile conceit on the other.

I agree with you as to the air, “Craigieburn-wood,” that a chorus would, in some degree, spoil the effect, and shall certainly have none in my projected song to it. It is not, however, a case in point with “Rothemurche;” there, as in “Roy’s Wife of Aldivalloch,” a chorus goes, to my taste, well enough. As to the chorus going first, that is the case with “Roy’s Wife,” as well as “Rothemurche.” In fact, in the first part of both tunes, the rhythm is so peculiar and irregular, and on that irregularity depends so much of their beauty, that we must e’en take them with all their wildness, and humour the verse accordingly. Leaving out the starting note in both tunes, has, I think, an effect that no regularity could counterbalance the want of.

 
Try, Oh Roy’s wife of Aldivalloch.
O lassie wi’ the lint-white locks.
and
compare with Roy’s wife of Aldivalloch.
Lassie wi the lint-white locks.
 

Does not the lameness of the prefixed syllable strike you? In the last case, with the true furor of genius, you strike at once into the wild originality of the air; whereas, in the first insipid method, it is like the grating screw of the pins before the fiddle is brought into tune. This is my taste; if I am wrong, I beg pardon of the cognoscenti.

“The Caledonian Hunt” is so charming, that it would make any subject in a song go down; but pathos is certainly its native tongue. Scottish bacchanalians we certainly want, though the few we have are excellent. For instance, “Todlin hame,” is, for wit and humour, an unparalleled composition; And “Andrew and his cutty gun” is the work of a master. By the way, are you not quite vexed to think that those men of genius, for such they certainly were, who composed our fine Scottish lyrics, should be unknown? It has given me many a heart-ache. Apropos to bacchanalian songs in Scottish, I composed one yesterday, for an air I like much—“Lumps o’ pudding.”

Contented wi’ little and cantie wi’ mair.^[275]

If you do not relish this air, I will send it to Johnson.

R. B.