by Robert Burns
Now Spring has Clad the Grove in Green
Tune: Auld Lang Syne or The Hopeless Lover
First printed in Thomson, 1799.
Now Spring has clad the grove in green, clothed
And strew’d the lea wi’ flowers: meadow
The furrow’d waving corn is seen
Rejoice in fostering showers.
5 While ilka thing in Nature join every
Their sorrows to forego,
O why thus all alone are mine
The weary steps o’ woe. —
The trout within yon wimpling burn
10 That glides, a silver dart,
And, safe beneath the shady thorn
Defies the angler’s art:
My life was ance that careless stream, once
That wanton trout was I;
15 But Love wi’ unrelenting beam
Has scorch’d my fountains dry. —
The little floweret’s peaceful lot
In yonder cliff that grows,
Which save the linnet’s flight, I wot, thrush’s, guess
20 Nae ruder visit knows, no
Was mine; till Love has o’er me past,
And blighted a’ my bloom, all
And now beneath the withering blast
My youth and joy consume. —
25 The waken’d lav’rock warbling springs lark
And climbs the early sky,
Winnowing blythe his dewy wings
In Morning’s rosy eye;
As little reckt I sorrow’s power, heeded
30 Until the flowery snare
O’ witching Love, in luckless hour,
Made me the thrall o’ care. —
O had my fate been Greenland snows,
Or Afric’s burning zone,
35 Wi’ Man and Nature leagu’d my foes,
So Peggy ne’er I’d known!
The wretch, whose doom is, hope nae mair, no more
What tongue his woes can tell;
Within whose bosom save Despair
40 Nae kinder spirits dwell. — no
Burns sent the first sketch of this song to Maria Riddell, planning to ‘interweave’ the lines in the tale of a ‘Shepherd, despairing beside a clear stream’ (Letter 677). He sent it to Thomson in August 1795 (Letter 675).
The Braw Wooer
Tune: The Lothian Lassie
First printed in Thomson, 1799.
LAST May a braw wooer cam down the lang glen, fine, came, long
And sair wi’ his love he did deave me; sore, deafen
I said there was naething I hated like men, nothing
The deuce gae wi’m, to believe me, believe me, go with him
5 The deuce gae wi’m, to believe me.
He spak o’ the darts in my bonie black een, spoke, eyes
And vow’d for my love he was dying;
I said, he might die when he liket for JEAN —
The Lord forgie me for lying, for lying, forgive
10 The Lord forgie me for lying!
A weel-stocket mailen, himsel for the laird, well-stocked farm
And marriage aff-hand, were his proffers: off-, proposals
I never loot on that I kenn’d it, or car’d, let, knew
But thought I might hae waur offers, waur offers, have worse
15 But thought I might hae waur offers.
But what wad ye think? In a fortnight or less, would
The Deil tak his taste to gae near her! go
He up the lang loan to my black cousin, Bess! Long [Lowther hills]
Guess ye how, the jad! I could bear her, could bear her, hussy
20 Guess ye how, the jad! I could bear her.
But a’ the niest week as I fretted wi’ care, next
I gaed to the tryste o’ Dalgarnock, went, cattle fair
And wha but my fine, fickle lover was there, who
I glowr’d as I’d seen a warlock, a warlock, stared, wizard
25 I glowr’d as I’d seen a warlock.
But owre my left shouther I gae him a blink, over, gave, look
Lest neebours might say I was saucy: neighbours
My wooer he caper’d as he’d been in drink, drunk
And vow’d I was his dear lassie, dear lassie,
30 And vow’d I was his dear lassie.
I spier’d for my cousin fu’ couthy and sweet, asked after, friendly
Gin she had recover’d her hearin, if
And how her new shoon fit her auld shackl’t feet; shoes, old shackled
But, heavens! how he fell a swearin, a swearin,
35 But, heavens! how he fell a swearin.
He begged, for Gudesake! I wad be his wife, goodness, would
Or else I wad kill him wi’ sorrow: would
So e’en to preserve the poor body in life, even/just
I think I maun wed him tomorrow, tomorrow, shall
40 I think I maun wed him tomorrow. —
This was sent to Thomson on 3rd July, 1795 (Letter 673). The poet gave a copy to David Staig, Provost of Dumfries. Kinsley makes a brief comment on the song, then quotes from Thomas Crawford (p. 300), ‘This is one of Burns’s best genre-songs; expressing “the interplay of character, motif and mask … with ruthless economy”’ (Vol. III, p. 1484). Mackay, characteristically, lifts both Kinsley’s remark and that of Crawford without indicating his source, ‘… it is one of Burns’s best genre song [s], expressing “the inter-play of character, motif and mask … with ruthless economy”’ (p. 555).
Why, Tell Thy Lover
Tune: The Caledonian Hunt’s Delight
First printed in Currie, 1800.
WHY, why tell thy lover,
Bliss he never must enjoy;
Why, why undeceive him,
And give all his hopes the lie?
O why, while Fancy, raptured, slumbers,
Chloris, Chloris, all the theme,
Why, why would’st thou cruel
Wake thy lover from his dream.
This song, again on Chloris (Jean Lorimer), was sent to Thomson on 3rd July, 1795. The poet admitted that he found it difficult to write additional verses to the music (Letter 673).
Poetical Inscription for an Altar of Independence
At Kerroughtrie, the Seat of Mr. Heron, Summer, 1795
First printed in Currie, 1800.
Thou, of an independent mind
With soul resolv’d, with soul resign’d;
Prepar’d Power’s proudest frown to brave,
Who wilt not be, nor have a slave;
Virtue alone who dost revere,
Thy own reproach alone dost fear,
Approach this shrine, and worship here. —
On Patrick Heron, see notes to The Heron Ballads. Burns visited Heron’s country house at Kirroughtrie in 1794, on his second tour of Galloway. The fact that these lines were written in the summer of 1795 suggests Burns may have visited Heron again that year, but there is no documented evidence to support this. Lines for an altar to ‘Independence’, dedicated to those who would face up to and confront ‘Power’s proudest frown to brave’, are apt proof of the poet’s continued radical commitment. Patrick Heron, more a career politician, erected no such altar.
To Chloris
First printed in Currie, 1800.
Written on the blank leaf of a copy of the last edition of my poems, presented to the lady whom, in so many fictitious reveries of passion, but with the most ardent sentiments of real friendship, I have so often sung under the name of – CHLORIS—.
’Tis Friendship’s pledge, my young, fair FRIEND,
Nor thou the gift refuse,
Nor with unwilling ear attend
The moralising Muse.
5 Since thou, in all thy youth and charms,
Must bid the world adieu,
(A world ’gainst Peace in constant arms)
To join the Friendly Few:
Since, thy gay morn of life o’ercast,
10 Chill came the tempest’s lour;
&n
bsp; (And ne’er Misfortune’s eastern blast
Did nip a fairer flower:)
Since life’s gay scenes must charm no more;
Still much is left behind,
15 Still nobler wealth hast thou in store,
THE COMFORTS OF THE MIND!
Thine is the self-approving glow,
Of conscious Honor’s part;
And (dearest gift of Heaven below)
20 Thine Friendship’s truest heart.
The joys refin’d of Sense and Taste,
With every Muse to rove:
And doubly were the Poet blest
These joys could he improve. —
This was sent to Thomson on 3rd August, 1795. Chloris was, of course, the poetic name Burns employed for Jean Lorimer. The poet’s own notes printed above explain the personal element of the song. L. 7, however, has a distinct political edge.
O This is No My Ain Lassie
Tune: This is no My Ain House.
First printed in Thomson, 1799.
I see a form, I see a face,
Ye weel may wi’ the fairest place: well
It wants, to me, the witching grace,
The kind love that’s in her e’e. eye
Chorus
5 O this is no my ain lassie, own
Fair tho’ the lassie be:
Weel ken I my ain lassie, well know
Kind love is in her e’e.
She’s bonie, blooming, straight, and tall;
10 And lang has had my heart in thrall; long
And ay it charms my very saul, always, soul
The kind love that’s in the e’e.
O this is no &c.
A thief sae pawkie is my Jean so sly
To steal a blink, by a’ unseen; glance
15 But gleg as light are lover’s een, bright, eyes
When kind love is in the e’e.
O this is no &c.
It may escape the courtly sparks,
It may escape the learned clerks;
But well the watching lover marks
20 The kind love that’s in her e’e.
O this is no &c.
This was sent to Thomson on 3rd August, 1795. Burns had known the melody for a few years and planned to write lyrics to it.
Yon Rosy Brier
Tune: I Wish My Love Was in A Mire
First printed in Currie, 1800.
O BONIE was yon rosy brier,
That blooms sae far frae haunt o’ man; so, from
And bonie she, and ah, how dear!
It shaded frae the e’enin sun. — from
Yon rosebuds in the morning dew
How pure among the leaves sae green; so
But purer was the lover’s vow
They witnessed in their shade yestreen. — yesterday evening
All in its rude and prickly bower
That crimson rose how sweet and fair;
But love is far a sweeter flower
Amid life’s thorny path o’ care. —
The pathless wild, and wimpling burn, meandering
Wi’ Chloris in my arms, be mine;
And I the warld nor wish nor scorn, world
Its joys and griefs alike resign.—
This was sent to Thomson in August 1795 but he did not print it until 1801.
Wat Ye Wha that Lo’es Me
Tune: Morag
First printed in Thomson, 1799.
O wat ye wha that lo’es me, know, who, loves
And has my heart a keeping?
O sweet is she that lo’es me, loves
As dews o’ summer weeping,
5 In tears the rosebuds steeping. —
Chorus
O that’s the lassie o’ my heart,
My lassie, ever dearer;
O that’s the queen o’ womankind,
And ne’er a ane to peer her. — one, equal
10 If thou shalt meet a lassie
In grace and beauty charming,
That e’en thy chosen lassie, even
Erewhile thy breast sae warming, so
Had ne’er sic powers alarming. — such
O that’s the lassie &c.
15 If thou hadst heard her talking,
And thy attention’s plighted,
That ilka body talking every
But her, by thee is slighted;
And thou art all-delighted. —
O that’s the lassie &c.
20 If thou hast met this Fair One,
When frae her thou hast parted, from
If every other Fair One,
But her thou hast deserted,
And thou art broken hearted. —
O that’s the lassie &c.
Burns sent a copy of this work to Robert Cleghorn in June 1796. He told Cleghorn he might have sent it ‘long ago’ had he not been the ‘child of disaster’ (Letter 687). The poet’s health had suffered and, to make things worse, he lost his only living legitimate daughter Elizabeth Riddell Burns in September 1795.
To John Syme
On Refusing to Dine with Him, 17th Dec. 1795
First printed in Currie, 1800.
No more of your guests, be they titled or not,
And cook’ry the first in the nation:
Who is proof to thy personal converse and wit,
Is proof to all other temptation. —
John Syme (1755–1831) was a son of a Writer to the Signet and joined the army at 19 years. He lived at Barncailzie, near Kirkcudbright and became Distributor of Stamps for Dumfriesshire in 1791. After moving from Ellisland to Dumfries Burns lived above Syme’s office before moving to a larger house at the Mill Hole Brae (now Burns Street). Symelargely shared and was sympathetic to the poet’s radical views, but appears to have been more decorously circumspect of political radicalism during the oppressive mid-1790s than Burns.
To John Syme
With a Present of a Dozen of Porter
First printed in Currie, 1800.
O had the malt thy strength of mind,
Or hops the flavour of thy wit;
‘Twere drink for first of human kind —
A gift that ev’n for Syme were fit.
Jerusalem Tavern, Dumfries
For notes on Syme, see To John Syme, On Refusing to Dine with Him.
On Mr. Pitt’s Hair-Powder Tax
First printed in Barke, 1955.
PRAY Billy Pitt explain thy rigs,
This new poll-tax of thine!
‘I mean to mark the GUINEA PIGS
From other common SWINE’.
Within four lines and by question and response of two couplets, Burns neatly yokes together two of the radicals most hated items, Pitt’s increased taxation and Burke’s remark about the ‘Swinish multitude’. The 1795 hair-powder tax was charged at one Guinea. White corn flour was used, especially by the upper classes, to powder wigs. The tax was an attempt to raise money and curb the use of corn flour at a period when there were food shortages and regional famine (See The Cob-Web). Dr John Wolcot (Peter Pindar), of whom Kinsley is so dismissive, wrote a fine satirical piece on this same subject, called Hair-Powder:
‘Lo, the poor Girl whom carrot-colour shocks,
Pines pennyless, and blushes for her Locks!’
Refused to fly to Powder’s friendly aid,
She bids them seek in Caps the secret shade.
No ringlets now around her neck to wave,
Colleen must hide the reddening shame, or shave.
At thee she flings her curses, Pitt, and cries;
At thee she darts the Lightnings of her Eyes;
And thinks that Love ne’er warm’d him who could vex
With wanton strokes of cruelty, the Sex.
The Solemn League and Covenant
First printed in Cunningham, 1834.
The Solemn League and Covenant
Now brings a smile, now brings a tear.
But sacred Freedom, too, was theirs:
If thou’rt a slave, indulge thy sneer.
These lines were inscribed by Burns in a copy of Sir John Sinclair’s The Statistical Account for Scotland 1794 [probably the Dumfriesshire volume], relating to the Covenanters killed in 1685. Cunningham’s text is not the exact version. It was first printed verbatim in 1870 by McDowell in his excellent small book, Burns in Dumfriesshire. It perfectly catches Burns’s ambivalence to his own Presbyterian inheritance.
The Bob o’ Dumblane
First printed in Barke, 1955.
LASSIE, lend me your braw hemp-heckle, fine flax comb
And I’ll lend you my thripplin kame: separating comb
My heckle is broken, it canna be gotten, comb, cannot
And we’ll gae dance the Bob o’ Dumblane. — go
Twa gaed to the wood, to the wood, to the wood, two went
Twa gaed to the wood, three cam hame: home
An ’t be na weel bobbit, weel bobbit, weel bobbit, if it were/not well
An ’t be na weel bobbit, we’ll bob it again. —
This is a traditional song adapted by Burns. The first two lines are taken from Ramsay’s version of The Bob o’ Dumblane, which is a song about a dance of the same name. With Burns the song takes on a sexual dimension. Although he did not print it, it was sent to Johnson in the late Autumn of 1795.