Read The Canongate Burns Online
Authors: Robert Burns
Tune: Rothiemurchie's Rant
First printed in Currie, 1800.Â
Now Nature cleeds the flowery lea,
clothes, meadow
And a' is young and sweet like thee,
O, wilt thou share its joys wi' me,
      And say thou'lt be my Dearie O.Â
Chorus
5
Lassie wi' the lint-white locks,
      Bonie lassie, artless lassie,
Wilt thou wi' me tent the flocks â
tend
      Wilt thou be my Dearie O.
The primrose bank, the wimpling burn,
meandering
10
The cuckoo on the milkwhite thorn,
The wanton lambs at early morn
      Shall welcome thee, my Dearie O.
            Lassie wi' &c.
And when the welcome simmer shower
summer
Has cheer'd ilk drooping little flower,
each
15
We'll to the breathing woodbine bower
      At sultry noon, my Dearie O.
            Lassie wi' &c.
When Cynthia lights wi' silver ray
The weary shearer's hameward way,
homeward
Thro' yellow waving fields we'll stray,
20
      And talk o' love, my Dearie O.
            Lassie wi' &c.
And when the howling wintry blast
Disturbs my lassie's midnight rest,
I'll fauld thee to my faithfu' breast,
      And comfort thee, my Dearie O. â
            Lassie wi' &c.Â
This was among the songs sent to Thomson in November 1794. Most editors assert that the heroine of the song is again Jean Lorimer, âChloris', despite the reference to Cynthia, l. 17, and the fact that Jean Lorimer did not have âlint-white locks'.
Tune: Major Graham
First printed in the Aldine edition, 1839.
AH, Chloris, since it may not be,
       That thou of love wilt hear;
If from the lover thou maun flee,
       Yet let the
friend
be dear.Â
5
Altho' I love my Chloris, mair
       Than ever tongue could tell;
My passion I will ne'er declare â
       I'll say, I wish thee well.
Tho' a' my daily care thou art,
10
       And a' my nightly dream,
I'll hide the struggle in my heart,
       And say it is esteem.
This is another work adapted from an old song in
The Tea-Table
Miscellany
and dedicated to Miss Jean Lorimer.
or
Phily and Willy
Tune: The Sow's Tail to Geordie
First printed in Currie, 1800.
He.
O PHILLY, happy be that day
When, roving thro' the gather'd hay,
My youthfu' heart was stown away,
stolen
       And by thy charms, my Philly. âÂ
She.
5
O Willy, ay I bless the grove
Where first I own'd my maiden love,
Whilst thou did pledge the Powers above
       To be my ain dear Willy. â
own
He.
As songsters of the early year
10
Are ilka day mair sweet to hear,
every, more
So ilka day to me mair dear
       And charming is my Philly. â
She.
As on the brier the budding rose
Still richer breathes, and fairer blows,
15
So in my tender bosom grows
       The love I bear my Willy. â
He.
The milder sun and bluer sky
That crown my harvest cares wi' joy,
Were ne'er sae welcome to my eye
so
20
       As is a sight o' Philly. â
She.
The little swallow's wanton wing,
Tho' wafting o'er the flowery Spring,
Did ne'er to me sic tydings bring,
such
       As meeting o' my Willy. â
He.
25
The bee, that thro' the sunny hour
Sips nectar in the op'ning flower,
Compar'd wi' my delight is poor
       Upon the lips o' Philly. â
She.
The woodbine in the dewy weet
30
When ev'ning shades in silence meet,
Is nocht sae fragrant or sae sweet
not so
       As is a kiss o' Willy. â
He.
Let Fortune's wheel at random rin;
run
And fools may tyne, and knaves may win;
lose/be lost
35
My thoughts are a' bound up on ane,
       And that's my ain dear Philly. â
own
She.
What's a' the joys that gowd can gie?
all, gold
I care na wealth a single flie;
not (for), fly
The lad I love 's the lad for me,
40
       And that's my ain dear Willy. â
own
Â
Burns started this song in September 1794 but did not finish it until November when he sent a copy to Thomson. The poet considered employing the names of George Thomson and his wife Katherine but accepted that their names were not poetical enough for the lyric. Mackay titles the song
Philly
and
Willy
but lays the song out in a manner where it is unclear that the song alternates between the male and female voice (p. 529).
Tune: Roy's Wife
First printed in Thomson, 1799.
Is this thy plighted, fond regard,
      Thus cruelly to part, my Katy:
Is this thy faithful swain's reward â
      An aching broken heart, my Katy. â
Chorus
5
Canst thou leave me thus, my Katy,
      Canst thou leave me thus, my Katy;
Well thou know'st my aching heart,
      And canst thou leave me thus for pity. â
Farewell! and ne'er such sorrows tear
10
      That fickle heart of thine, my Katy!
Thou mayest find those will love thee dear â
      But not a love like mine, my Katy. â
            Canst thou leave me &c.
This was written in November 1794 by Burns as some âEnglish stanzas' to the tune
Rory's Wife
(Letter 647).
Tune: My Lodging is on the cold ground
First printed in Thomson, 1805.
BEHOLD, my Love, how green the groves,
       The primrose banks how fair;
The balmy gales awake the flowers,
       And wave thy flaxen hair:
5
The lav'rock shuns the palace gay,
lark
       And o'er the cottage sings;
For Nature smiles as sweet, I ween,
trust
       To shepherds as to kings. âÂ
Let minstrels sweep the skilfu' string,
10
       In lordly, lighted ha';
hall
The shepherd stops his simple reed,
       Blythe, in the birken shaw:
birch wood
The princely revel may survey
       Our rustic dance wi' scorn,
15
But are their hearts as light as ours
       Beneath the milkwhite thorn. â
The shepherd, in the flowery glen,
       In shepherd's phrase will woo;
The courtier tells a finer tale,
20
       But is his heart as true:
Here wild-wood flowers I've pu'd, to deck
pulled
       That spotless breast o' thine;
The courtier's gems may witness love â
       But âtis na love like mine. â
not
This was sent to Thomson in November 1794. That it was written about Chloris (Jean Lorimer) does not disguise the political theme of the song, that rural romance and love among the peasantry is more natural and untainted than the âcourtly' facade of love among the aristocracy. It is a love song underpinned with the sentiments expressed in
A Man's a Man
.
Tune: Lumps o' Puddins
First printed in Thomson, 1799.
CONTENTED wi' little, and cantie wi' mair,
happy, more
Whene'er I forgather wi' Sorrow and Care,
I gie them a skelp, as they're creeping alang,
give, slap, along
Wi' a cog o' gude swats and an auld
cup, good ale, old,
   Scottish sang.
song
Â
5
I whyles claw the elbow o' troubles ome Thought;
sometimes clasp
But Man is a soger, and Life is a faught:
soldier, fight
My mirth and gude humour are coin in my pouch,
And my FREEDOM 's my Lairdship nae monarch
   daur touch.
no, dare
A towmond o' trouble, should that be my fa',
a year, fall/lot
10
A night o' gude fellowship sowthers it a';
good, patches it up
When at the blythe end o' our journey at last,
Wha the Deil ever thinks o' the road he has past.
who, Devil
Blind Chance, let her snapper and stoyte on her way;
stumble, stagger
Be 't to me, be 't frae me, e'en let the jade gae:
from, hag go
15
Come Ease, or come Travail; come Pleasure or Pain;
My warst word is â âWelcome, and welcome again!'
worst
Â
This is, by Burns's own assessment, one of his quintessential autobiographical lyrics. It was composed around 18th November, 1794 and sent to Thomson. Burns said of the lyric that it should be set next to a portrait done of him by Alexander Reid in order that âthe portrait of my face and the picture of my mind may go down the Stream of Time together' (Letter 670). The affirmation âmy FREEDOM'S my Lairdship nae monarch daur touch' is a characteristically defiant statement from Burns, who boldly asserts that no monarch will touch him and describes himself as a fighter, clawing the elbow of troublesome thought. It would be no surprise if this was not a political allusion to writing seditious poetry
Tune: There'll never be Peace â
First printed in Thomson, 1799.
NOW in her green mantle blythe Nature arrays,
And listens the lambkins that bleat o'er the braes,
lambs, hillslopes
While birds warble welcomes in ilka green shaw;
each, wood
But to me it's delightless â my Nanie's awa. â
away/dead
Â
5
The snawdrap and primrose our woodlands adorn,
snowdrop
And violets bathe in the weet o' the morn;
wet/dew
They pain my sad bosom, sae sweetly they blaw,
so, blow
They mind me o' Nanie â and Nanie's awa. â
Thou lavrock that springs frae the dews of the lawn
lark
10
The shepherd to warn o' the grey-breaking dawn,
And thou mellow mavis that hails the night-fa',
thrush, -fall
Give over for pity â my Nanie's awa. â
Come Autumn, sae pensive, in yellow and grey,
so
And soothe me wi' tydins o' Nature's decay:
tidings
15
The dark, dreary Winter, and wild-driving snaw
snow
Alane can delight me â now Nanie's awa. â
alone
Â
This beautiful lyric with its interaction of mood and season was sent to Thomson on 9th December, 1794. Kinsley shows some literary influence on the song from a work by Hook (1768), âMy Laddie is Gane' (Vol. iii, p. 1463), but it is hardly noticeable.
This Collection of epigrams is only known in the transcript of John Syme, the poet's Dumfries friend and Distributor of Stamps for the area. They give us some inkling of not only the intimacy of Burns and Syme but of their shared political dissent. They are in the Hornel Collection.
First printed in
The Burns Chronicle
, 1932.
C [opelan] d faithful likeness, friend Painter, would'st seize?
Keep out Worth, Wit and Wisdom: Put in what you please.  Â
The subject of this is unknown. Assuming it is on a portrait of a local aristocrat, Mackay guesses, probably correctly, that it is written
about William Copeland of Collieston, whose âwhiskers' are mentioned in the
Second Heron Ballad
.
On Miss E. I ââ, A lady of a figure indicating Amazonian
strength.
First printed in
The Burns Chronicle
, 1932.
SHOULD he escape the slaughter of thine Eyes,
Within thy strong Embrace he struggling dies.Â
Again the subject is uncertain, although it may be written on Elizabeth Inglis, daughter of the Rev. William Inglis, Loreburn church, Dumfries.