Contributions to Musical Collections and Miscellaneous Songs 9781474432986

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CONTENTS

J A M E S HOGG

Contributions to Musical Collections and Miscellaneous Songs

THE STIRLING / SOUTH CAROLINA RESEARCH EDITION OF

THE COLLECTED WORKS OF JAMES HOGG FOUNDING GENERAL EDITOR — DOUGLAS S. MACK GENERAL EDITORS — IAN DUNCAN AND SUZANNE GILBERT

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CONTENTS THE STIRLING / SOUTH CAROLINA RESEARCH EDITION OF

THE COLLECTED WORKS OF

JAMES HOGG

FOUNDING GENERAL EDITOR — DOUGLAS S. MACK GENERAL EDITORS — IAN DUNCAN AND SUZANNE GILBERT

Volumes are numbered in the order of their publication in the Stirling / South Carolina Research Edition

1. The Shepherd’s Calendar, ed. by Douglas S. Mack. 2. The Three Perils of Woman, ed. by David Groves, Antony Hasler, and D. S. Mack. 3. A Queer Book, ed. by P. D. Garside. 4. Tales of the Wars of Montrose, ed. by Gillian Hughes. 5. A Series of Lay Sermons, ed. by Gillian Hughes. 6. Queen Hynde, ed. by Suzanne Gilbert and Douglas S. Mack. 7. Anecdotes of Scott, ed. by Jill Rubenstein. 8. The Spy, ed. by Gillian Hughes. 9. The Private Memoirs and Confessions of a Justified Sinner, ed. by P. D. Garside. 10. The Jacobite Relics of Scotland: First Series, ed. by Murray G. H. Pittock. 11. Winter Evening Tales, ed. by Ian Duncan. 12. The Jacobite Relics of Scotland: Second Series, ed. by Murray G. H. Pittock. 13. Altrive Tales, ed. by Gillian Hughes. 14. The Queen’s Wake, ed. by Douglas S. Mack. 15. The Collected Letters of James Hogg: Vol. 1 1800–1819, ed. by Gillian Hughes. 16. Mador of the Moor, ed. by James E. Barcus. 17. Contributions to Annuals and Gift-Books, ed. by Janette Currie and Gillian Hughes. 18. The Collected Letters of James Hogg: Vol. 2 1820–1831, ed. by Gillian Hughes. 19. The Forest Minstrel, ed. by Peter Garside and Richard D. Jackson. 20. The Mountain Bard, ed. by Suzanne Gilbert. 21. The Collected Letters of James Hogg: Vol. 3 1832–1835, ed. by Gillian Hughes. 22. The Bush aboon Traquair and The Royal Jubilee, ed. by Douglas S. Mack. 23. Contributions to Blackwood’s Edinburgh Magazine: Vol. 1 1817–1828, ed. by Thomas C. Richardson. 24. Midsummer Night Dreams and Related Poems, ed. by the late Jill Rubenstein and completed by Gillian Hughes. 25. Highland Journeys, ed. by H. B. de Groot. 26. Contributions to Blackwood’s Edinburgh Magazine: Vol. 2 1829–1835, ed. by Thomas C. Richardson. 27. The Three Perils of Man, ed. by Judy King and Graham Tulloch. 28. Songs by the Ettrick Shepherd, ed. by Kirsteen McCue with Janette Currie. 29. Contributions to Musical Collections and Miscellaneous Songs, ed. by Kirsteen McCue with Janette Currie and Megan Coyer.

CONTENTS

JAMES HOGG

Contributions to Musical Collections and Miscellaneous Songs

Edited by Kirsteen McCue with Janette Currie and Megan Coyer

EDINBURGH UNIVERSITY PRESS 2014

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© Edinburgh University Press, 2014 Edinburgh University Press 22 George Square Edinburgh EH8 9LF Typeset at the University of Stirling Printed by CPI Antony Rowe, Chippenham, Wiltshire ISBN 978 0 7486 3935 9 No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publisher. A CIP record for this book is available from the British Library

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The Stirling / South Carolina Research Edition of

The Collected Works of James Hogg Advisory Board Chairman Dr Robin MacLachlan General Editors Prof. Ian Duncan and Dr Suzanne Gilbert Co-ordinator, University of South Carolina Prof. Patrick Scott Co-ordinator, University of Stirling Dr Suzanne Gilbert Ex Officio (University of Stirling) The Principal Head, Stirling Centre for Scottish Studies Head, School of Arts & Humanities Research Officer, Division of Literature & Languages Members Dr Adrian Hunter (University of Stirling) Dr Christopher MacLachlan (University of St Andrews) Dr Anthony Mandal (Cardiff University) Prof. Murray Pittock (University of Glasgow) Jackie Jones (Edinburgh University Press) Prof. Roderick Watson (University of Stirling)

The Aims of the Edition James Hogg lived from 1770 till 1835. He was regarded by his contemporaries as one of the leading writers of the day, but the nature of his fame was influenced by the fact that, as a young man, he had been a self-educated shepherd. The second edition (1813) of his poem The Queen’s Wake contains an ‘Advertisement’ which begins as follows: THE Publisher having been favoured with letters from gentlemen in various parts of the United Kingdom respecting the Author of the QUEEN’S WAKE, and most of them expressing doubts of his being a Scotch Shepherd; he takes this opportunity of assuring the Public, that THE QUEEN’S WAKE is really and truly the production of JAMES HOGG, a common shepherd, bred among the mountains of Ettrick Forest, who went to service when only seven years of age; and since that period has never received any education whatever. His contemporaries tended to regard the Scotch Shepherd as a man of powerful and original talent, but it was felt that his lack of education

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caused his work to be marred by frequent failures in discretion, in expression, and in knowledge of the world. Worst of all was Hogg’s lack of what was called ‘delicacy’, a failing which caused him to deal in his writings with subjects (such as prostitution) which were felt to be unsuitable for mention in polite literature. A posthumous collected edition of Hogg was published in the late 1830s. As was perhaps natural in the circumstances, the publishers (Blackie & Son of Glasgow) took pains to smooth away what they took to be the rough edges of Hogg’s writing, and to remove his numerous ‘indelicacies’. This process was taken even further in the 1860s, when the Rev. Thomas Thomson prepared a revised edition of Hogg’s Works for publication by Blackie. These Blackie editions present a comparatively bland and lifeless version of Hogg’s writings. It was in this version that Hogg was read by the Victorians, and he gradually came to be regarded as a minor figure, of no great importance or interest. Hogg is thus a major writer whose true stature was not recognised in his own lifetime because his social origins led to his being smothered in genteel condescension; and whose true stature was obscured after his death because of a lack of adequate editions. The poet Douglas Dunn wrote of Hogg in the Glasgow Herald in September 1988: ‘I can’t help but think that in almost any other country of Europe a complete, modern edition of a comparable author would have been available long ago’. The Stirling / South Carolina Edition of James Hogg seeks to fill the gap identified by Douglas Dunn. When completed the edition will run to thirty-nine volumes, and it will cover Hogg’s prose, his poetry, his letters, and his plays. The late Douglas S. Mack founded the edition and served as General Editor, and driving force, from its inception until his death in December 2009. Peter Garside, Suzanne Gilbert, and Gillian Hughes joined the editorial team as Associate General Editors in 1998; and in 2000 Gillian Hughes was appointed joint General Editor (with Douglas Mack), a position she held for ten years. In 2009 Peter Garside retired from the editorial team, and Ian Duncan and Suzanne Gilbert were named General Editors. General Editors’ Acknowledgements We record with gratitude the support given to the Stirling / South Carolina Research Edition of the Collected Works of James Hogg by the University of Stirling and by the University of South Carolina. Valuable grants or donations have also been received from the Arts and Humanities Research Council, from the Carnegie Trust for the Universities of Scotland, from the Modern Humanities Research Association, from

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the Association for Scottish Literary Studies, and from the James Hogg Society. The work of the Edition could not have been carried on without the support of these bodies. Douglas Mack initially served as the General Editor for the present volume; Suzanne Gilbert took over that role after Professor Mack’s death. Volume Editor’s Acknowledgements These acknowledgements are shared with those for the companion volume to this, the Stirling/South Carolina edition of Songs by The Ettrick Shepherd. It was the work on this collection which led directly to a second volume concentrating on the printings of Hogg’s songs during his lifetime. My whole involvement in this project is thanks to the late Douglas Mack, who approached me several years ago to ask if I would become involved. I am indebted to him for this invitation, and for his wisdom and knowledge of textual editing and his willingness to consider all the options to bring Hogg’s songs alive musically too. I have been most privileged to have learnt from him, and it is with great personal sadness that I was unable to discuss the final complex editorial decisions of this particular volume with him, and that his untimely death has meant that he was unable to see the completion of the project. I am most grateful to Wilma Mack for continuing this support. Ian Duncan has advised at key moments in the process, and Ian Davidson and his team at EUP deserve particular thanks for dealing with the complexities of the facsimiles included here. Above all I owe a great debt to my new General Editor, Suzanne Gilbert, for her advice, belief and the many hours of typesetting and checking. As with Songs by the Ettrick Shepherd, this volume would not have been possible without the major work undertaken between 2005 and 2008 as part of the Arts and Humanities Research Council-funded ‘James Hogg Songs Project’. Janette Currie was the full-time research assistant on this project, and she deserves particular acknowledgement. She was tireless in her attempts to track down Hogg’s songs and to identify the often complicated contexts for their publication, and many of her findings are presented in introductory notes here. She provided the Glossary, and her work also heavily underpins the editorial notes for Songs by the Ettrick Shepherd. I would also offer particular acknowledgement to Megan Coyer who, in later stages of the project, did a great deal of checking of materials and helped in the complicated dating process of the often undated publications in this volume. She identified a number of new sources and has been involved in preparing some of the annotations included here. Jennifer Orr undertook some research in Belfast on Hogg’s reception

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in contemporary magazines and periodicals. And Linden Bicket has assisted me with the final preparation of the volume. In advance of the ‘James Hogg Songs Project’ award, and on completion of a previous Arts and Humanities Research Board grant for the Collected Works of James Hogg, Douglas Mack was awarded a supplementary dissemination grant from the AHRC. This helped underpin some of the initial research on the wider songs project and enabled me to present some of these findings to the Scottish Romanticism and World Literatures Conference at the University of California, Berkeley in 2006. It also enabled the production of a CD (‘I’ll sing ye a wee bit sang’: Selected Songs by James Hogg) and the foundation of the James Hogg Research website, which is referred to several times in this volume. The Stirling University Hogg fund also helped support the purchase of images. Special thanks are owed to a number of friends and colleagues who have been generous with advice over the long period during which this project has run. In particular I thank other editors of Hogg’s songs, who have been so encouraging since the outset, namely: Murray Pittock, Suzanne Gilbert, Peter Garside and Richard Jackson, and Tom Richardson (for his work on those songs also published in Blackwood’s). I am most grateful to Gillian Hughes for her detailed knowledge of Hogg territory and her continued support of the project. Other scholars and friends who deserve acknowledgement here for listening, advising and commenting at various stages in the process are: Paul and Chris Banks, Christina Bashford, William Donaldson, Rhona Brown, Carol Baranuik, Kenneth Elliott, Robin McLachlan, Micah Gilbert, Meiko O’Halloran, Valentina Bold, Sharon Alker, Holly Faith Nelson, Hans de Groot, John Milne, Fiona Stafford, Katherine Campbell, Alison Lumsden, David Hewitt, Susan Manning, Caroline McCracken-Flesher, Maureen McLane, Pauline Mackay, Jane Millgate, Pam Perkins, Penny Fielding, Patrick Scott, G. Ross Roy, Sheena Wellington, Nicky Trott, Jeffrey Robinson, Ian and Ingrid Ross, Leith Davis, Bill Zachs, Douglas Gifford, Gordon Munro, Steve Newman, Joanie and Michael Garvin, Anne Lorne Gillies, Vivien Williams and Sheona Low. David Jasper helped with the Biblical context and Ruth HaCohen with the musical aspects of Hogg’s German Hebrew Melodies, and Joanne Burns and Una Hunt gave valuable advice on connections with the songs of Thomas Moore. Chris Wright, song cataloguer for the Kist o Riches website at the School of Scottish Studies at the University of Edinburgh, was also most helpful. My close colleagues in Scottish literature at the University of Glasgow have all given support at various times, but Gerry Carruthers has always been there to best advise me from the earliest to the very final

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stages. Nigel Leask, Head of the School of Critical Studies at the time of major work on the edition, has likewise enthusiastically supported my work and commented at key moments. And I am grateful for the support of our new Head of School, Jeremy Smith. I owe particular thanks to Scottish Literature at the School of Critical Studies for helping facilitate conference presentations and additional expenses for images and library trips during the later stages of the project. Marjorie Rycroft has been my musical sounding-post for many years, and I am most grateful for her input. A large number of libraries and archives have aided the preparation of this volume; indeed, many of them were particularly helpful in arranging for the digital images which are presented here (specific collections and coll. numbers are given for each edition). Specific acknowledgements are to: Almut Boehme and Tim Lawrence at the National Library of Scotland; the music staff of the British Library; Michelle Gait at Aberdeen University Special Collections; the staff of the music room at Cambridge University Library; Peter Ward Jones at the Bodleian Library, Oxford; the staff of the Stirling University Library; the staff of Glasgow University Special Collections; Peter Baxter and the staff of the Music Library of Edinburgh Central Library; Alasdair Pettinger at the Scottish Music Centre; Enda Ryan at the Mitchell Library, Glasgow; Sue Payne at the library of the Perth Museum and Arts Gallery; and the staff of the Newberry Library in Philadelphia. Patrick Scott, Elizabeth Sudduth and their team at the Thomas Cooper Library at the University of South Carolina deserve special thanks for their hospitality and support when I visited there as W. Ormiston Roy Memorial Visiting Research Fellow in the summer of 2006. I particularly thank my parents, Pat and Bill. My father’s singing and my mother’s accompanying of ‘When the kye comes hame’ was my introduction to Hogg’s songs when I was a child, and their love and enthusiasm for Scottish songs have inspired and continue to inspire my own interest. During this project my mother has given me muchneeded space (christened ‘the Hoggery’) and culinary support, and I am indebted to her. But my husband David and our children, Dora and Gregor, have been the major cog in the support system for the long duration of this project. We have camped in the Borders and visited Hogg’s hills; we have been around various international venues to look at and talk about Hogg’s songs. David has always agreed to play through the songs for performances and presentations, and to listen to my views and offer comments. And all three of them have been most patient at times of stress and strain. I really can’t thank them enough. It certainly wouldn’t have been nearly as much fun without them.

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Contents Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . xxiii

Section I: Musical Collections Albyn’s Anthology (1816 and 1818) Introduction . . . . . . . . . . . . . . . . . . . . . . . . . 5 Texts Vol. I (1816) Why Should I Sit and Sigh? . . . . . . . . . . . . . Bonny Tweedside . . . . . . . . . . . . . . . . . A Year O’er Young . . . . . . . . . . . . . . . . . The Last Cradle Song . . . . . . . . . . . . . . . . The Liddel Bower . . . . . . . . . . . . . . . . . . Vol. II (1818) Lady Linley . . . . . . . . . . . . . . . . . . . . . O What Will I Do! . . . . . . . . . . . . . . . . My Peggy, Thou Art Gane Away . . . . . . . . . . Hymn to the Evening Star . . . . . . . . . . . . . . My Mary Is My Only Joy . . . . . . . . . . . . . . There’s Grace i’ Your Grey Locks, My Auld Deary! . I Hae a Green Purse . . . . . . . . . . . . . . . . John of Brackadale . . . . . . . . . . . . . . . . . Musical Facsimiles Vol. I (1816) Why Should I Sit and Sigh? . . . . . . . . . Bonny Tweedside . . . . . . . . . . . . . . A Year O’er Young . . . . . . . . . . . . . The Last Cradle Song . . . . . . . . . . . . The Liddel Bower . . . . . . . . . . . . . . Vol. II (1818) Lady Linley . . . . . . . . . . . . . . . . . O What Will I Do! . . . . . . . . . . . . . My Peggy, Thou Art Gane Away . . . . . . Hymn to the Evening Star . . . . . . . . .

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. 10 . 11 . 12 . 13 . 14

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. 17 . 18 . 20 . 20 . 22 . 23 . 24 . 25

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. 28 . 30 . 32 . 34 . 36

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. 38 . 40 . 42 . 44

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My Mary Is My Only Joy . . . . . . . . . . . . . There’s Grace i’ Your Grey Locks, My Auld Deary! . I Hae a Green Purse . . . . . . . . . . . . . . . . John of Brackadale . . . . . . . . . . . . . . . . .

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. 46 . 48 . 50 . 52

Twelve Vocal Pieces [1817] Introduction . . . . . . . . . . . . . . . . . . . . . . . . . 57 Texts The Lark . . . . . . . . . . . . . . . . . . . . . . . . . 62 Naething to Fear ye . . . . . . . . . . . . . . . . . . . . 63 Musical Facsimiles The Lark . . . . . . . . . . . . . . . . . . . . . . . . . 65 Naething to Fear ye . . . . . . . . . . . . . . . . . . . . 70

German Hebrew Melodies [1817] Introduction . . . . . . . . . . . . . . . . . . . . . . . . . 79 Texts Rise! Rise, Dawn of the Morn! (The Captive’s Song) . . Must I Leave Thee? . . . . . . . . . . . . . . . . . . . Oh! Saw Ye the Rose of the East? (The Rose of Sharon) . Maiden of Jeshimon . . . . . . . . . . . . . . . . . . . Dweller in Heaven . . . . . . . . . . . . . . . . . . . Depart Ye, Depart Ye! . . . . . . . . . . . . . . . . . . On Carmel’s Brow . . . . . . . . . . . . . . . . . . . The Guardian Angels . . . . . . . . . . . . . . . . . .

. 84 . 85 . 86 . 88 . 89 . 90 . 91 . 93

Musical Facsimiles Rise! Rise, Dawn of the Morn! (The Captive’s Song) . . . 96 Must I Leave Thee? . . . . . . . . . . . . . . . . . . . 105 Oh! Saw Ye the Rose of the East? (The Rose of Sharon) . . 110 Maiden of Jeshimon . . . . . . . . . . . . . . . . . . . 119 Dweller in Heaven . . . . . . . . . . . . . . . . . . . 125 Depart Ye, Depart Ye! . . . . . . . . . . . . . . . . . . 135 On Carmel’s Brow . . . . . . . . . . . . . . . . . . . . 141 The Guardian Angels . . . . . . . . . . . . . . . . . . 145

George Thomson’s Collections Introduction . . . . . . . . . . . . . . . . . . . . . . . . 153

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A Select Collection of Original Scottish Airs, Vol . V (Folio, 1818) Texts Could This Ill Warld Have Been Contrived (Mischievous Woman) . . . . . . . . . . . . . . . . . 163 The Highland Watch . . . . . . . . . . . . . . . . . . 164 Where Got Ye That Siller Moon . . . . . . . . . . . . . 165 Musical Facsimiles Could This Ill Warld Have Been Contrived (Mischievous Woman) . . . . . . . . . . . . . . . . 168 The Highland Watch . . . . . . . . . . . . . . . . . . 170 Where Got Ye That Siller Moon . . . . . . . . . . . . . 172

Thomson’s The Select Melodies of Scotland (Octavo, 1822–1825) Texts Vol. III The Three Men of Moriston . . . . . Vol. IV The Lament of Flora MacDonald . . Pull Away Jolly Boys . . . . . . . . . Vol. V The Highland Watch . . . . . . . . Musical Facsimiles Vol. III The Three Men of Moriston . . Vol. IV The Lament of Flora MacDonald Pull Away Jolly Boys . . . . . . Vol. V The Highland Watch . . . . . .

. . . . . . . . . . 177 . . . . . . . . . . 179 . . . . . . . . . . 180 . . . . . . . . . . 181

. . . . . . . . . . . . 184 . . . . . . . . . . . . 188 . . . . . . . . . . . . 190 . . . . . . . . . . . . 194

The Melodies of Scotland, Vol. VI (Folio, 1841) Texts Come All Ye Jolly Shepherds . . . . . . . . . . . . . . . 199 Mischievous Woman . . . . . . . . . . . . . . . . . . . 199 Musical Facsimiles Come All Ye Jolly Shepherds . . . . . . . . . . . . . . 203 Mischievous Woman . . . . . . . . . . . . . . . . . . 204

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A Border Garland [1819] Introduction . . . . . . . . . . . . . . . . . . . . . . . . 209 Texts I’ll No Wake wi’ Annie . . . . . . . . . . . . . . . . . . 212 Charlie [Bonny Prince Charlie] . . . . . . . . . . . . . . 213 The Women Fo’k . . . . . . . . . . . . . . . . . . . . . 214 The Mer-maid’s Song . . . . . . . . . . . . . . . . . . 215 Naething to Fear Ye [O Jeanie, There’s Naething to Fear Ye] . 216 The Poor Man . . . . . . . . . . . . . . . . . . . . . . 217 The Lark . . . . . . . . . . . . . . . . . . . . . . . . . 218 Caledonia . . . . . . . . . . . . . . . . . . . . . . . . 219 The Laird o’ Lamington . . . . . . . . . . . . . . . . . 219 Musical Facsimiles I’ll No Wake wi’ Annie . . . . . . . . . . . . . . . . Charlie [Bonny Prince Charlie] . . . . . . . . . . . . The Women Fo’k . . . . . . . . . . . . . . . . . . . The Mer-maid’s Song . . . . . . . . . . . . . . . . . Naething to Fear Ye [O Jeanie, There’s Naething to Fear Ye] The Poor Man . . . . . . . . . . . . . . . . . . . . The Lark . . . . . . . . . . . . . . . . . . . . . . . Caledonia . . . . . . . . . . . . . . . . . . . . . . The Laird o’ Lamington . . . . . . . . . . . . . . . .

. 222 . 224 . 226 . 228 . 230 . 232 . 234 . 236 . 238

The Scotish Minstrel [1821–24] and (c.1828–1837) Introduction . . . . . . . . . . . . . . . . . . . . . . . . 243 Texts Vol. II [1821] Iona . . . . . . . . . . . . . . . . . . . . . The Covenanters’ Tomb . . . . . . . . . . . Vol. II, 3rd edition (c.1828–1837) Bonnie Prince Charlie . . . . . . . . . . . . Vol. III [1821] Sir David Græme . . . . . . . . . . . . . . Vol. IV [1822] Lord Eglinton’s Auld Man . . . . . . . . . . Vol. V [1823] Farewell to Glen-Shalloch . . . . . . . . . . The Hill of Lochiel . . . . . . . . . . . . . Maclean’s Welcome . . . . . . . . . . . . . The Highlander’s Farewell . . . . . . . . . .

. . . . . . 248 . . . . . . 248 . . . . . . 250 . . . . . . 250 . . . . . . 253 . . . .

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. 253 . 255 . 257 . 257

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Vol. VI [1824] Lenachan’s Farewell . . . . . . . . . . . . . . . . . . . 258 Callum-a-Glen . . . . . . . . . . . . . . . . . . . . . . 259 Kane to the King . . . . . . . . . . . . . . . . . . . . . 260 Oh Hon O Ri . . . . . . . . . . . . . . . . . . . . . . 261 O Strike Your Harp, My Mary [Cameron’s Welcome Hame] . 262 Good Night an’ Joy Be wi’ You A’ . . . . . . . . . . . . 263 Musical Facsimiles Vol. II [1821] Iona . . . . . . . . . . . . . . . . . . . . . . . . . . . 267 The Covenanters’ Tomb . . . . . . . . . . . . . . . . 268 Vol. II, 3rd edition (c.1828–1837) Bonnie Prince Charlie . . . . . . . . . . . . . . . . . . 272 Vol. III [1821] Sir David Græme . . . . . . . . . . . . . . . . . . . . 275 Vol. IV [1822] Lord Eglinton’s Auld Man . . . . . . . . . . . . . . . . 277 Vol. V [1823] Farewell to Glen-Shalloch . . . . . . . . . . . . . . . . 279 The Hill of Lochiel . . . . . . . . . . . . . . . . . . . 281 Maclean’s Welcome . . . . . . . . . . . . . . . . . . . 282 The Highlander’s Farewell . . . . . . . . . . . . . . . 284 Vol. VI [1824] Lenachan’s Farewell . . . . . . . . . . . . . . . . . . . 287 Callum-a-Glen . . . . . . . . . . . . . . . . . . . . . 288 Kane to the King . . . . . . . . . . . . . . . . . . . . 290 Oh Hon O Ri . . . . . . . . . . . . . . . . . . . . . . 291 O Strike Your Harp, My Mary [Cameron’s Welcome Hame] . 292 Good Night an’ Joy Be wi’ You A’ . . . . . . . . . . . . 294

The Irish Minstrel [1825] Introduction . . . . . . . . . . . . . . . . . . . . . . . . 297 Texts The Minstrel Boy . . . . . . . . . . . . . . . . How Dear to Me the Hour . . . . . . . . . . . . There’s Gowd in the Breast . . . . . . . . . . . Why Weeps Yon Highland Maid? . . . . . . . . O’er the Ocean Bounding . . . . . . . . . . . . Go Home, Go Home [Go home to your rest] . . If E’er I Am Thine . . . . . . . . . . . . . . . . . Come from the Sea [The Maid of the Sea] . . . .

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. 301 . 301 . 302 . 302 . 303 . 304 . 305 . 305

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Musical Facsimiles The Minstrel Boy . . . . . . . . . . . . . . . . . . . How Dear to Me the Hour . . . . . . . . . . . . . . There’s Gowd in the Breast . . . . . . . . . . . . . . Why Weeps Yon Highland Maid? . . . . . . . . . . . O’er the Ocean Bounding . . . . . . . . . . . . . . . Go Home, Go Home [Go home to your rest] . . . . . If E’er I Am Thine . . . . . . . . . . . . . . . . . . . . Come from the Sea [The Maid of the Sea] . . . . . . .

. 308 . 310 . 311 . 313 . 314 . 316 . 317 . 318

Select & Rare Scotish Melodies [1828] Introduction . . . . . . . . . . . . . . . . . . . . . . . . 323 Texts Mary, Canst Thou Leave Me? . . . . . . . . . . . . . . 328 O What Will A’ the Lads Do? [When Maggy gangs away] . 329 There’s Nae Laddie Coming . . . . . . . . . . . . . . . 330 I Downa Laugh, I Downa Sing [A Father’s Lament] . . . 331 Ye Breezes That Spring in Some Land Unknown . . . . 332 The Souters o’ Selkirk . . . . . . . . . . . . . . . . . . 332 The Ladies’ Evening Song . . . . . . . . . . . . . . . . 333 Arabian Song . . . . . . . . . . . . . . . . . . . . . . 334 Come, Row the Boat . . . . . . . . . . . . . . . . . . . 335 Appie McGie . . . . . . . . . . . . . . . . . . . . . . 336 The Broom Sae Green . . . . . . . . . . . . . . . . . . 337 Gang to the Brakens wi’ Me . . . . . . . . . . . . . . . 338 The Gathering of the Clans . . . . . . . . . . . . . . . 339 Musical Facsimiles Mary, Canst Thou Leave Me? . . . . . . . . . . . . . . 343 O What Will A’ the Lads Do? [When Maggy gangs away] . 347 There’s Nae Laddie Coming . . . . . . . . . . . . . . 352 I Downa Laugh, I Downa Sing [A Father’s Lament] . . . 357 Ye Breezes That Spring in Some Land Unknown . . . . 361 The Souters o’ Selkirk . . . . . . . . . . . . . . . . . 365 The Ladies’ Evening Song . . . . . . . . . . . . . . . 368 Arabian Song . . . . . . . . . . . . . . . . . . . . . . 372 Come, Row the Boat . . . . . . . . . . . . . . . . . . 375 Appie McGie . . . . . . . . . . . . . . . . . . . . . . 379 The Broom Sae Green . . . . . . . . . . . . . . . . . 383 Gang to the Brakens wi’ Me . . . . . . . . . . . . . . 387 The Gathering of the Clans . . . . . . . . . . . . . . . 393

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The Border Garland (c.1829) Introduction . . . . . . . . . . . . . . . . . . . . . . . . 403 Texts Bonnie Prince Charlie . . . . . . . . . . . . . . . . . Culloden Day . . . . . . . . . . . . . . . . . . . . . O Jeanie There’s Naething to Fear Ye . . . . . . . . . The Lament of Flora Macdonald . . . . . . . . . . . The Sky Lark . . . . . . . . . . . . . . . . . . . . . . Turn the Blue Bonnets Wha Can . . . . . . . . . . . . Caledonia . . . . . . . . . . . . . . . . . . . . . . . The Poor Man . . . . . . . . . . . . . . . . . . . . . I’ll No Wake wi’ Annie . . . . . . . . . . . . . . . . . The Mermaid’s Song . . . . . . . . . . . . . . . . . . The Women Fo’k . . . . . . . . . . . . . . . . . . . . The Frasers in the Correi . . . . . . . . . . . . . . .

. 406 . 407 . 409 . 410 . 411 . 412 . 413 . 414 . 416 . 418 . 419 . 420

Musical Facsimiles Bonnie Prince Charlie . . . . . . . . . . . . . . . Culloden Day . . . . . . . . . . . . . . . . . . . O Jeanie There’s Naething to Fear Ye . . . . . . . The Lament of Flora Macdonald . . . . . . . . . The Sky Lark . . . . . . . . . . . . . . . . . . . . Turn the Blue Bonnets Wha Can . . . . . . . . . . Caledonia . . . . . . . . . . . . . . . . . . . . . The Poor Man . . . . . . . . . . . . . . . . . . I’ll No Wake wi’ Annie . . . . . . . . . . . . . . The Mermaid’s Song . . . . . . . . . . . . . . . The Women Fo’k . . . . . . . . . . . . . . . . . The Frasers in the Correi . . . . . . . . . . . . .

. 423 . 426 . 429 . 432 . 435 . 438 . 441 . 444 . 447 . 450 . 453 . 456

. . . . . . . . . . . .

. . . . . . . . . . . .

The Harmonicon (1829 and 1832) Introduction . . . . . . . . . . . . . . . . . . . . . . . . 461 Texts Vol. 7 (1829) I Downa Laugh, I Downa Sing . . . . . . The Mermaid’s Song . . . . . . . . . . Vol. 10 (1832) The Woman Fo’k . . . . . . . . . . . . [Ballad] ‘’ Tis Sweet to See’ . . . . . . . .

. . . . . . . . 463 . . . . . . . . 464 . . . . . . . . 465 . . . . . . . . 466

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Musical Facsimilies Vol. 7 (1829) I Downa Laugh, I Downa Sing . . . . . . . . The Mermaid’s Song . . . . . . . . . . . . . Vol. 10 (1832) The Woman Fo’k . . . . . . . . . . . . . . . [Ballad] ‘’ Tis Sweet to See’ . . . . . . . . . . .

. . . . . 468 . . . . . 470 . . . . . 472 . . . . . 474

Original Scottish Melodies [1834] Introduction . . . . . . . . . . . . . . . . . . . . . . . . 479 Texts The Bonny Lass of Deloraine . . . . . . . . . . . . . . 481 Love Came to the Door o’ My Heart . . . . . . . . . . . 482 Musical Facsimiles The Bonny Lass of Deloraine . . . . . . . . . . . . . . 485 Love Came to the Door o’ My Heart . . . . . . . . . . . 489

Section II: Miscellaneous Songs Donald M‘Donald (c.1803) Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497 Musical Facsimile . . . . . . . . . . . . . . . . . . . . . . 500

Donald McDonald (c.1803) Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . 505 Musical Facsimile . . . . . . . . . . . . . . . . . . . . . . 507

The Ettricke Garland (1815) [To the Ancient Banner of the House of Buccleuch] Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . 511 Musical Facsimile . . . . . . . . . . . . . . . . . . . . . . 513

Song for the Anniversary of the Caledonian Asylum (1815) Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519 Musical Facsimile . . . . . . . . . . . . . . . . . . . . . . 521

The Lament of Flora McDonald [1822] Second Edition Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527

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Musical Facsimile . . . . . . . . . . . . . . . . . . . . . . 529

Bonny Prince Charlie (c.1819–1823) Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . 535 Musical Facsimile . . . . . . . . . . . . . . . . . . . . . . 536

Bonny Prince Charlie (c.1825) Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . 541 Musical Facsimile . . . . . . . . . . . . . . . . . . . . . . 542

Bonnie Prince Charlie (c.1835–1847) Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . 547 Musical Facsimile . . . . . . . . . . . . . . . . . . . . . . 548

O Jeanie, There’s Naething to Fear Ye (c.1822–1823) Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . 553 Musical Facsimile . . . . . . . . . . . . . . . . . . . . . . 555

Niddity, Noddity, Nannie (c.1828–1839) [Bonnie Nannie] Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . 561 Musical Facsimile . . . . . . . . . . . . . . . . . . . . . . 562

“O Love’s a Bitter Thing to Bide” (c.1829–30) Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . 571 Musical Facsimile . . . . . . . . . . . . . . . . . . . . . . 573

Bird of the Wilderness (c.1830–32) Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . 583 Musical Facsimile . . . . . . . . . . . . . . . . . . . . . . 584

The Stuarts of Appin (c.1831–1832) Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . 589 Musical Facsimile . . . . . . . . . . . . . . . . . . . . . . 590

“I Hae Nae-Body Now” (c.1833–1840) Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . 599 Musical Facsimile . . . . . . . . . . . . . . . . . . . . . . 600

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Maggy o’ Buccleuch (c.1833–1840) Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . 607 Musical Facsimile . . . . . . . . . . . . . . . . . . . . . . 608

O! What Will A’ the Lads Do (c.1834–1858) Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 617 Musical Facsimile . . . . . . . . . . . . . . . . . . . . . . 619

Appendix The Minstrel’s Song [1818] Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 631 Musical Facsimile . . . . . . . . . . . . . . . . . . . . . . 632

Beethoven Schottische Lieder (1822) Texts Frische Bursche Hochlands-Bursche (Bonny Laddie Highland Laddie) . . . . . . . . . . . . . . . . . . . . . 637 Wenn Doch Die Arge Böse Welt (Could This Ill Warld Have Been Contrived) . . . . . . . . . . . . . . . . . . 638 Die Hochlands-Wache (The Highland Watch) . . . . . . 639 Musical Facsimiles Frische Bursche Hochlands-Bursche (Bonny Laddie Highland Laddie) . . . . . . . . . . . . . . . . . . . . 642 Wenn Doch Die Arge Böse Welt (Could This Ill Warld Have Been Contrived) . . . . . . . . . . . . . . . . . . 644 Die Hochlands-Wache (The Highland Watch) . . . . . . 646

O Dinna Weep [1825] Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 651 Musical Facsimile . . . . . . . . . . . . . . . . . . . . . . 652

Bird of the Wilderness (c.1835–1837) Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 657 Musical Facsimile . . . . . . . . . . . . . . . . . . . . . . 658 Note on the Text . . . . . . . . . . . . . . . . . . . . . . . . . 661 Emendation List . . . . . . . . . . . . . . . . . . . . . . . . . 663

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Editorial Notes . . . . . . . . . . . . . . . . . . . . . . . . . 666 Index of First Lines and Melodies . . . . . . . . . . . . . . . . 770 Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 775

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Introduction Contributions to Musical Collections and Miscellaneous Songs and Songs by the Ettrick Shepherd (1831) This volume of James Hogg’s Contributions to Musical Collections and Miscellaneous Songs is a scholarly edition of songs by Hogg that appeared in published musical collections or in song-sheet format from around 1803 until the poet’s death in 1835. The present edition is intended to be used in collaboration with the new Stirling/South Carolina (S/SC) research edition of Hogg’s final text-only collection of songs, Songs by the Ettrick Shepherd, which he published early in 1831. It presents 113 of Hogg’s songs with brief headnotes, unusual in Hogg’s published work, and provides both entertaining anecdotal material and key information about the creative and/or publishing context of the songs included. In these headnotes Hogg often referred his reader to a musical copy of the song in question. The editorial decision was made to present Songs by the Ettrick Shepherd as a single text-only volume, thus respecting the form of its initial publication. But it was also decided to provide a companion volume of Hogg’s Contributions to Musical Collections and Miscellaneous Songs that would present, where possible, facsimile copies of the collections and song-sheets to which Hogg refers in his headnotes. The present edition thus supplies the reader with a very similar experience to Hogg’s readers in 1831, who were encouraged to seek out copies of the songs and to enjoy them in performance, if they so chose. The editorial notes provided on each song at the back of the present volume refer to additional editorial annotation included in Songs by the Ettrick Shepherd.

1. Hogg as songwriter and musician In 1823 James Hogg produced his novel The Three Perils of Woman. When Daniel Bell, father of the sensitive heroine Gatty, is questioned about his plans for his daughter’s education he is forthright in his opinions of the musical direction he wishes her to take: I want her to go over her English, French, writing, and arthimetic. I would scorn to have her sitting thrumming and bumming at a piano, at which every tailor’s, wabster’s, and sutor’s daughter must now be proficient; but I would delight to hear her sing a good

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Scots sang to one of our native melodies, without rising from her place at table, which I think a thousand times more becoming than trailing fo’k away to another room, and plunking and plunning on bits o’ loose black and white sticks, and turning o’er the leaves o’ great braid beuks. It looks to me as if the woman were part of a machine that she is sitting at; but I am determined that my bairn’s music shall be all inherent, and depend on the tones of her own voice, of which all artificial tones are but mean imitations.1 It is difficult to ascertain how closely Daniel’s feelings relate to those of his creator. Hogg clearly appreciated fine singing: he includes powerful performances several times in his work exemplified by Nannie’s evocative rendition of ‘The Cameronian’s Midnight Hymn’ towards the end of his novel The Brownie of Bodsbeck in 1818. He comments on songs and singing frequently in his journalism and autobiographical writing, and there is no doubting that he was discerning when it came to appreciating a fine performance of a song, as represented by the singing competition in his most popular narrative poem The Queen’s Wake of 1813.2 However, what Daniel Bell does describe here is a modern fashion that was allied to a growing middle class and the rise of cheaper published music for domestic performance. Daniel may prefer the simpler unaccompanied performance, but Gatty and her peers know that social mobility relies on a number of key social and cultural skills, and ‘thrumming and bumming’ or ‘plunking and plunning’ at a new fortepiano is one of them. Moreover, while Hogg’s own upbringing had been firmly in the environment of mostly a cappella singing at home and at community gatherings, his work as a literary figure from the 1810s onwards resulted in his involvement with precisely the ‘great braid beuks’ of which Daniel speaks. Indeed, between 1816 and his death in 1835 Hogg contributed to no fewer than thirteen major musical collections published the length and breadth of the British Isles. Moreover, many of his songs appeared in single song-sheet format, with the names of notable contemporary performers associated with them, supplying evidence of popular performances in theatres and public leisure gardens. While it is this material that is included in the present edition, Hogg’s songs also appeared across his literary works in all genres, and within text-only collections of Scots songs during this time and for many decades following his death.3 The major works of Hogg involving songs and ballads have nearly all been edited as part of the S/SC edition of The Collected Works of James Hogg. Each accounts for the importance of songs in Hogg’s upbringing in Ettrick in the Scottish Borders, providing detailed analysis of his work as a songwriter across his career as far as 1821. Suzanne Gilbert’s

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forthcoming edition of Hogg’s very first publication, Scottish Pastorals of 1801, will present his earliest songs to appear in print. Hans de Groot’s editing of Hogg’s highland journeys, which took place between 1802 and 1804 (S/SC, 2010), illustrates Hogg’s interest in and knowledge of songs and singing as he travels in the North. These accounts also display Hogg’s use and knowledge of musical terminology, suggesting that he was advancing his understanding of music beyond oral performance at this time, perhaps partly inspired by his reading of books in Mr Laidlaw’s library. 4 Gilbert’s edition of The Mountain Bard of 1807 (S/SC, 2007) makes much of this collection being a showcase for Hogg’s knowledge of contemporary orality in the Borders. She draws attention to the clever and purposeful way in which Hogg positions himself as a new ‘Bard’, central to a culture in which songs and singing are part of a staple diet.5 This is something he also impressively presents, apparently in fictional guise, in the figure of ‘The Bard of Ettrick’ in The Queen’s Wake, which is clearly a portrait of Hogg himself. Hogg’s first ‘Memoir of the Author’s life’, which appears with The Mountain Bard in 1807, recounts the importance of songs to him from the start. When he updates this ‘Memoir’ for the last time in 1832, he makes mention of the facility with which he created songs from the beginning of his career, noting that his major problem, initially, was simply the physical ‘writing of them!’.6 His 1807 ‘Memoir’ also describes the time when he purchased his first fiddle and tells of his early attempts to pick out tunes by ear, thus illustrating his youthful musical abilities.7 The wonderful anecdote of Hogg trying to replicate the tunes he has heard at a local dance — he refers to the process as ‘essaying’ — provides evidence of his ability to tell a good story, but it also shows that his knowledge of fiddle tunes, and how they work, was entirely thanks to his innate musical ear allied to practical skill.8 In their edition of Hogg’s 1810 song collection, The Forest Minstrel, Peter Garside and Richard Jackson give a detailed account of how Hogg transforms this knowledge and early talent into more ‘polished’ material for publication and drawingroom consumption. They make much, rightly, of this being a direct consequence of Hogg’s recent ‘more extensive acquaintance with the cultural scene in Edinburgh’, and the newfound freedom this gave him. They also draw attention specifically to Hogg’s social milieu during this first residence in the city and notably to his friendship with the Izett family. It was Eliza Izett and Chalmers Izett’s niece, Chalmers Forrest, who appear to have introduced Hogg to the kinds of performances about which Daniel Bell complains in The Three Perils of Woman.9 And it was arguably their enthusiasm for published songs and accompanied performance which inspired Hogg to consider this as a vehicle for the

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wider publication and dissemination of his own songs. This context is all-important, as explained by Hogg in his introductory headnote to one of his early songs, ‘The Moon was a-waning’, included in Songs by the Ettrick Shepherd of 1831. Here Hogg observes his feelings at hearing one of his songs ‘sung at the piano’ for the first time by ‘Miss C. Forest’ who had apparently set it to music herself. Hogg’s long headnote describes his ‘joy of spirit’ at realising how far he was come from the days of being ‘a poor shepherd’. He continues: ‘I had often heard my strains chanted from the ewe-bught and the milking green with delight; but I now found that I had got a step higher, and thenceforward resolved to cling to my harp, with a fondness which no obloquy should diminish’. 10 It was in the years immediately following the publication of The Forest Minstrel that Hogg ventured into the world of musical print. Associations with key song editors in Edinburgh in the mid-1810s ran parallel to his newfound connections with composers and publishers in London. And by 1819, as his first personal musical publication reveals, he was not only keen to publish his own songs with simple composed accompaniments by established composers, but also happy to write his own melodies for publication. A Border Garland, produced by Nathaniel Gow & Sons in Edinburgh in [1819], includes simple musical settings by Niel Gow junior and London composer William Heather; and at least four of these use airs or melodies by Hogg himself (‘I’ll no wake wi’ Annie’, ‘The Mermaid’s Song’ and ‘The Women Fo’k’ and ‘The Laird of Lamington’).11 The Forest Minstrel included many songs by Hogg, but also those by a number of his literary friends. Hogg was thus fulfilling the roles of both songwriter and editor in this collection, and he undertook similar roles, adding that of collector, when he was commissioned to produce the two series of The Jacobite Relics of Scotland in 1819 and 1821 (ed. Pittock, S/SC 2002 & 2003). Murray Pittock’s work on this major collection of Jacobite song clearly explains that Hogg develops his credentials with this project in exploring existing oral, written and printed traditions. Jacobite Relics is a complex collection when it comes to the adaptation and bowdlerisation of texts, but it is notable from their inclusion in musical collections and in popular musical prints that Hogg’s Jacobite songs, even when it is impossible to know if they were entirely his own creations, captured the imagination of the growing clientele for such material. William Donaldson has traced the evolution of Jacobite song in the early decades of the nineteenth century, stating categorically that by this time it ‘stood second only to love-song in the popular canon’ of Scottish song.12 Hogg appears to have been supremely well placed in this regard, and his most frequently published songs with musical

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notation are those with Highland and more notably Jacobite overtones —‘The lament of Flora MacDonald’ and ‘Bonnie Prince Charlie’ (or ‘Cam’ ye by Athole’). From 1821 Hogg spent a period concentrating significantly on prose fiction, producing three of his great novels in as many years between 1822 and 1824.13 From 1817 he developed his role as the Shepherd songster in the ‘Noctes Ambrosianae’ series within Blackwood’s Edinburgh Magazine for which he produced a wide range of songs.14 During this time Hogg built his musical connections by working closely with the Scottish composer Robert Archibald Smith on his multi-volume collection of Scottish song, The Scotish Minstrel [1821–1824]. The final years of the decade saw the production of a further two major musical collections of Hogg’s songs produced in both London and Edinburgh, and the inclusion of his songs in musical magazines and literary annuals too. When Hogg worked on his final collection of songs in 1831 he stopped and looked back on this output, selecting and sometimes polishing or updating songs that had appeared between around 1803 until the last months of 1830. The introduction to the new edition of his last collection, Songs by the Ettrick Shepherd, examines Hogg’s final presentation of songs from across his career, assessing his role as songwriter and editor of his own songs at a time when he was clearly considering his legacy and choosing where he wanted to be in terms of Scottish song culture more broadly. It is in that volume, where Hogg provides his own explanatory headnotes to each song, that we are able to map out the diversity of his output as a songwriter and compare early and late songs in one place. There Hogg deliberately advertises the appearance of his songs in published musical collections and song-sheets, and contextualises the reasons for the creation of his songs: for friends and family; for occasions and events; for other literary works; and for major published commissions. It is also there that we are given detailed literary vignettes of Hogg the performer, for he makes a point of drawing attention to his own tunes, of commenting on his taste in other tunes and of different composers’ interpretations of them, and where he marks out certain songs in terms of his own performances of them. His lack of modesty is at times startling, but it also directly encourages an affectionate relation with his readers, a characteristic favourably commented on by several contemporary reviewers of the collection.15 As outlined in the introduction to the new edition, it is little wonder that Songs by the Ettrick Shepherd was a critical and commercial success. The collection appeared in its first American edition within a year of its Edinburgh publication by William Blackwood. In 1833 the American Monthly Magazine printed an article entitled ‘A Visit to the Ettrick

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Shepherd’ by an American tourist, who had met with Hogg that year. It concluded with an endearing picture of Hogg at home with his family. The visitor had noted an old violin hanging on the wall and enquired about Hogg’s fiddle-playing. But Hogg’s nephew, who was present, drew the visitor’s attention to his uncle’s skill as a singer. Apparently Hogg, with characteristic modesty, responded: “I’m no a gude singer, — but, I’m the best sang writer in Scotland.”16

2. Hogg’s songs in musical collections Never one to miss an opportunity to celebrate his own prowess or, as he terms it, his ‘progress as a writer’, Hogg concludes his 1821 ‘Memoir’, published with the second edition of The Mountain Bard, 17 with a list of current publications. Here he proudly draws attention to his productivity as a writer ‘making fifteen volumes in seven years, besides many articles in periodical works’.18 His list notably includes three musical projects: ‘Sacred Melodies’, ‘Border Garland, No I’ and ‘Jacobite Relics of Scotland’. The first of these collections in fact appeared as German Hebrew Melodies in [1817]. After listing the works, Hogg explains to his reader his achievement in terms of his working with ‘a celebrated composer of music’ (William Heather) and a ‘certain company in London’ (Charles Christmas), and that the melodies to which his texts were set had come from the synagogues of Germany. This is no exaggeration. While the team involved in this publication was clearly following Byron’s exactly contemporaneous ‘Hebrew Melodies’ project with the Jewish composer Isaac Nathan and the tenor John Braham, this is nonetheless a major departure into the musical world for Hogg. Detailed information about it is given in the introduction to this collection in the present edition. Hogg’s ‘Border Garland No I’ was the aforementioned A Border Garland, which contained nine Hogg songs and appeared in [1819], published by Nathaniel Gow & Sons in Edinburgh, and with musical settings by William Heather and by Niel Gow junior. This was clearly intended, by Hogg’s listing, to be the first of a series of publications, but this plan never came to fruition. While Hogg chooses to list these two collections alongside his major commissioned edition of The Jacobite Relics of Scotland, which had recently appeared in two series in 1819 and 1821 respectively, there are several other musical ventures which he interestingly and rather uncharacteristically fails to mention here.19 Hogg’s musical collaborations began around the time of the creation of his long narrative poem The Pilgrims of the Sun in 1815. Part Second of the pilgrimage of Mary Lee and her companion, Cela, is filled with sound and singing. Indeed it could be described as something of a ‘symphonic’ poetic movement: as they move towards the sun and the

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throne of God, they are met with harp-strumming angels singing ‘Hallelujahs’.20 During 1815 the first Edinburgh Musical Festival was held. Concerts took place morning, afternoon and evening, featuring many performances of Handel oratorios. One of the key performers was John Braham, who, coincidentally, would be performing Hogg’s own Hebrew Melodies just a couple of years later (see the introduction to German Hebrew Melodies in the present edition). While, sadly, there is no evidence of Hogg having attended any performances at the Festival, it is nonetheless highly likely that he would have spoken to friends who had. Moreover, he is bound to have read accounts of the concerts having taken place.21 The publication of The Pilgrims of the Sun, following the success of The Queen’s Wake in 1813, along with the less successful The Forest Minstrel, had clearly alerted publishers and song editors to Hogg’s skill and interest in writing songs. Examining Hogg’s involvement with musical collections from this point allows us to map out the social networks and key developments in music publishing and domestic music-making across the British Isles during the first decades of the nineteenth century. By 1816 Hogg was involved in two London-based musical projects: German Hebrew Melodies, mentioned above, and John Clarke-Whitfeld’s Twelve Vocal Pieces, both of which appeared in [1817]. In Edinburgh, simultaneously, Hogg was asked to provide songs for Alexander Campbell’s pivotal collection entitled Albyn’s Anthology. Hogg’s earlier involvement with Walter Scott’s Minstrelsy of the Scottish Border in 18021803 is worthy of mention here. This was the project that brought Hogg together with Scott for the first time and thus initiated a lifelong collaboration and friendship. It was here that Hogg also first revealed himself as a source of knowledge of Border folklore. Scott’s influence is clear: as contemporary correspondence suggests, the commission to contribute to Clarke-Whitfeld’s Twelve Vocal Pieces came to Hogg through Scott. Moreover, Campbell had been Scott’s music tutor in his youth and their connections continued throughout Campbell’s life. While Hogg was sought out by Campbell for Border material, the major contribution of Campbell’s collection was his presentation of Highalnd melodies with Gaelic text. Some of Hogg’s songs were matched to Highland melodies (e.g., ‘Why Should I sit and sigh’), thus profiling his knowledge of this region and its musical culture that had begun to develop during his earlier Highland tours. Campbell was working in exactly the same Edinburgh social and cultural circles as civil servant George Thomson, whose project involving the national airs of Scotland, Ireland and Wales was well underway. While lyrics by Robert Burns and others had provided much of the textual material

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for the early volumes in his Scottish collection, Thomson was always on the lookout for new writers to provide him with texts for his songs. Scott had been in correspondence with him from the early 1800s (extant letters date from 1805), but while it is possible that Scott was the link in the case of this collection too, Hogg’s name was already well-known in Edinburgh by the time Thomson invited him to contribute songs in 1815. Their detailed correspondence, which Gillian Hughes includes in her Collected Letters of James Hogg (volumes I and II), reveals just how hands-on Thomson was as a textual editor and just how willing Hogg was to revise and polish songs for inclusion. And it was Thomson’s collection that then presented the combination of Hogg’s text with musical settings of Scottish melodies by composers including Joseph Haydn and Ludwig van Beethoven — set for fortepiano along with parts for violin, ’cello and sometimes German flute. As the Appendix in the present edition shows, Hogg’s texts were thus translated and presented to a contemporary German-speaking audience (even though Hogg’s songs were not presented in full). Thomson’s opulent folio collections were on a par, in terms of presentation, with those of Alexander Campbell. Both were lavish Edinburgh productions with thick, high-quality paper, impressive boards and bindings, and plates and vignettes. Thomson also included beautiful copperplate furniture engravings by significant and respected engravers (David Allan and Paton Thomson for Thomson, and W. and D. Lizars for Campbell). Thomson’s, not surprisingly, were by far the most expensive collections to which Hogg contributed. Buyers were asked to pay one guinea for the 1818 volume in which Hogg’s songs first appeared, and additional instrumental parts were available at 6 shillings apiece. Campbell’s volumes do not list a price, but other folio collections of this period, even if a little cheaper (German Hebrew Melodies was 16 shillings) were clearly only intended for the upper echelons of contemporary society. A skilled, upwardly-mobile individual would normally be earning something in the region of 100 pounds per annum at this time. Twelve Vocal Pieces of Clarke-Whitfeld was, as seen on its title page, a subscription edition, and it was expensive to buy if one was not a subscriber. But not all of Hogg’s musical publications were such major investments for their buyer. A Border Garland of [1819] and Hogg’s work for Robert Archibald Smith’s The Scotish Minstrel and The Irish Minstrel, both published in Edinburgh in the 1820s, reveal a different type of musical collection from those initial collaborations in the mid-1810s. A Border Garland of [1819] was a much cheaper production in pocket size and on cheaper paper, selling for only 3 shillings. Likewise, R. A. Smith’s volumes were in octavo size and, while pleasant in appearance,

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were much more cheaply produced. The Introduction to The Scotish Minstrel in the present edition shows how Smith was able to adapt and update his editions by making simple changes to existing plates, thus saving money. His volumes were selling at 8 shillings each, with a time lapse between volumes, so that his clientele could save up to purchase the next in the series. It was partly because of Smith’s collection that Thomson saw the need to repackage his collections in octavo format without instrumental parts, something he did in 1822–1825. Peter McLeod’s Original Scottish Melodies, which appeared in [1834], clearly continued in this vein — a smaller venture, more cheaply produced and priced at 10 shillings. Later in the 1820s, Hogg’s songs were printed once more in larger-size folio collections: in Goulding & D’Almaine’s Select & Rare Scotish Melodies in London in [1828]; and in the second, expanded edition of The Border Garland in c.1829, published by Robert Purdie in Edinburgh. But, as more detailed investigation of the house of Goulding & D’Almaine illustrates, production processes had changed significantly in the previous decade, and by this time costs were falling.22 These two collections sold for 12 shillings and 10/6 respectively. The choice of format open to publishers was influenced by their own economic circumstances and consequently dictated the precise clientele for the collections they produced.23 Between the later decades of the 18th century and Hogg’s death in 1835 there was something of a revolution in the standards of performing at home in the British Isles. Thomson, whose project began in the 1790s and had been firmly rooted in the milieu of Edinburgh’s gentleman’s concerts during the 1770s and 1780s, was aiming for what we might term the ‘high end’ of the market. He had been involved in a reasonably high standard of music-making, for, while it existed, the Edinburgh Musical Society had employed professional musicians (often from continental Europe) to work in the city and to provide music and performance of a high calibre.24 Even though Thomson’s aim was to bring this quality to Scottish national music for performance at home, his collections were still at one end of the range of such publications.25 There were instrumental parts, which were exciting for amateurs who were already skilled players. But most middle-class houses would not have a violinist, cellist, pianist and singer to hand who would be able to play at this level. Most would want something simpler and easier to adapt to the instruments they did have around or amongst their friends. As can be seen with A Border Garland or The Scotish Minstrel, for example, the keyboard part is simple enough to be adapted to the required level of skill of the performer at home, and a fiddle or wooden flute could just play the tune along with the singer. So publishers such as Nathaniel Gow & Sons and Robert Purdie

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appear to sit at the opposite end of the market, pitching to clients who were relatively new both to book-buying and to the notion of domestic performance. While Thomson did contact his composers on occasion to ask for simpler accompaniments for the young ladies of Edinburgh to play,26 composers like Niel Gow junior and R. A. Smith were already established within the growing British domestic music market, and their settings were adapted to enable new players, like Hogg’s friends Eliza Izett and Chalmers Forrest, to perform to their own level. As noted above, the lavish presentation of Alexander Campbell’s Albyn’s Anthology illustrates that his publishers, Oliver & Boyd in Edinburgh and Clementi & Co. in London, were aiming at that higher-level market too. Campbell’s own musical settings unsurprisingly sit somewhere between those of Thomson’s mostly-European composers, who did not know of standards of domestic performance in Edinburgh, and Gow and Smith who did. Harpsichords were not necessarily commonplace in all city homes or country seats, and facility at the newfound fortepiano, which was only just beginning to appear in cities like Edinburgh, was a rare commodity. It is little wonder that Daniel Bell and his peers thought these young women were sitting thanklessly at some mechanical contraption consisting of ‘bits o’ loose black and white sticks’. But it is notable that Hogg’s songs spanned the spectrum of these musical collections. The beginner could work comfortably with his songs as set by Gow or Smith. But arrangements by Thomson’s Europeans, by William Heather for German Hebrew Melodies and, to a certain extent, those by theatre composer James Dewar for The Border Garland of c.1829, do gesture clearly to the highly competent amateur, or the semi-professional and professional musician, performing (as seen below in the context of Hogg’s miscellaneous songs) in a variety of social and public environments. Another issue that becomes apparent from working through Hogg’s musical collections is one of contemporary musical copyright. Music publishing, as illustrated by the variety of publications included here, and accounted for in more detail in the section of this Introduction entitled ‘The present edition’, is highly complex during the period. This relates partly to the speed with which music engraving and printing processes were developing at the time, and consequently to the internal competition which resulted due to the expansion of music-publishing businesses. Work by Frank Kidson and William Gamble, and also by Charles Humphries and William C. Smith during the twentieth century, has been pivotal in mapping the elaborate networks of music publishing in the British Isles.27 What arises, as mirrored by textual print culture at the time, is the reissuing and pirating of existing publications between rival publishers. This is exemplified in the case of Hogg’s songs by the

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wrangles he encounters with a number of his music publishers, each of which is described in more detail in introductions to the collections in the present edition. Suffice it to say here that the various situations with which Hogg is involved all highlight a variety of issues for songwriters at this time. The first arises in the case of Twelve Vocal Pieces in [1817]. Clarke-Whitfeld and his London publisher Lonsdale & Mills were keen to emphasise, as printed beside the lyrics of Hogg (and other writers), that songs had been ‘written expressly for this work’, and they went further in noting on the index to the volume that ‘whoever reprints it shall be prosecuted’. Clarke-Whitfeld was fastidious about entering the work at Stationers’ Hall to secure his ownership. But the reality is that there was no agreed policy for musical copyright during this period. As with most contemporary artists at the time Hogg clearly ignored this, or at the least took it at face value, and thus became entangled in a row with the publisher when he did reprint the song at a later date. Ultimately he managed to ‘get round’ the issue by changing the title of ‘The Lark’ to ‘The Skylark’ and also by making some small amendments to the text itself. But, as the correspondence with the publisher shows, he was most annoyed that he, as creator of the song, was not allowed to use it as and when he chose.28 We see this issue arise again later in his career when he gives the copyright of fourteen of his songs (those that appear in Smith’s The Scotish Minstrel and The Irish Minstrel) to the Edinburgh publisher Robert Purdie.29 Later in 1829, when Thomson asks if he can have a copy, Hogg informs him that ‘Bonny Prince Charlie’ has also been ‘given’ to Purdie — and, while not included in the first edition of Smith’s The Scotish Minstrel, it does appear in Vol. II of the third edition sometime between c.1828 and 1837. The copyright story relating to the first edition of R. A. Smith’s doomed collection The Irish Minstrel of [1825] is even more noteworthy because it involved the Power brothers ( James and William) who were publishers of Thomas Moore’s highly successful multiple issues of Irish Melodies. These had begun to appear in 1807 and were still being issued when Smith made the decision to publish his own Irish collection. Smith chose to use many of the tunes or airs for which Moore had written texts. Indeed, as the notes to the songs in the present edition show, he often lifted the melodies directly from the Powers’ publications, even retaining the same keys. He was thus accused of plagiarising Moore’s melodies, and Hogg’s new texts to a small number of the songs were also deemed to be far too close to Moore’s originals. Smith ultimately destroyed copies of the first edition, removed the key songs at the centre of the argument and reissued a second edition in c.1828, replicating only three of the eight Hogg songs initially printed. The details of this case

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are multi-layered and difficult to follow, made even more complex by the fact that the Power brothers were themselves embroiled in a detailed court case arising from the breaking-up of their London business, with William settling in Dublin. They had both continued to print issues of Irish Melodies in direct competition with one another. Hogg was incandescent with rage about the accusation that he was plagiarising Moore, as illustrated by his headnotes to all eight songs which Hogg purposefully included in Songs by the Ettrick Shepherd. The Appendix of Hogg songs included here also reveals the ease with which publishers were able to issue songs without even informing the creator at all. The Beethoven settings published by Berlin publisher Adolf Schlesinger in 1822, for example, are closely related to those published by Thomson for the first time in the fifth volume of his A Select Collection of Original Scottish Airs in 1818. Thomson was also anxious about the copyright of his songs, and always keen to ensure that his writers were working solely for him and his collection at the time of collaborating (this is recounted in his correspondence with Burns). He likewise entered everything quickly at Stationers’ Hall. But neither mechanism prevented piracy. Much as it grieved Thomson, he was simply not in control of his European composers working with their own publishers, and editions of Scottish songs by both Beethoven and Carl Maria von Weber (who did not set any of Hogg’s lyrics) appeared within months of Thomson’s first editions of their work in the British Isles.30

3. Miscellaneous songs While most of Hogg’s songs with musical accompaniments thus appeared within small single volumes or large multi-volume musical collections, a good number have also been found as single song-sheets. Sixteen of these are included in the present edition in the section entitled Miscellaneous Songs, and the method by which these were selected is given in more detail in the Introduction under the heading ‘The present edition’. The very first, and cheaply-produced, music prints of ‘Donald McDonald’ by John Hamilton of Edinburgh (dating from c.1803) are on one sheet of paper and have only the first verse of the song underlaid with the music, which was normal for cheaper productions of this kind. Hamilton produced numerous such prints of Scots songs at the turn of the century and normally charged only sixpence. This format is not dissimilar to the presentation of songs in larger antiquarian collections with musical notation (usually a melody alone) — the format Hogg used in Jacobite Relics. But subsequently most song-sheets are produced in folds of at least two pages in length, in larger quarto or more often

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folio size, again normally with only the first verse underlaid (e.g., the various song-sheets of ‘Bonny (Bonnie) Prince Charlie’). These are normally priced at 1 shilling and sixpence. Several of the later song-sheets that we have identified comprise multiple pages with text underlaid to music for each verse (e.g., Mori & Lavenu’s ‘Niddity, Noddity, Nanie’ with music by J. Blewit, or Bishop’s arrangement of ‘O What Will a’ The Lads Do’ published by Goulding & D’Almaine). These longer song-sheets are most often priced at two shillings. In comparison with the often prohibitive costs of the larger volumes or multi-volume collections, this price structure allowed these single song-sheets to be sold to a much wider clientele, thus taking the songs to much less-wealthy areas of the community. Sometimes single-song sheets result from an already published collection. For example ‘Charlie’, which first appeared in A Border Garland published by Nathaniel Gow & Sons in [1819], was then issued (though in a different key) as a single song-sheet between c.1819 and 1823. Some song-sheets reissued songs published within collections, but for different combinations of instruments. For example, while Hogg’s attractive ‘O What Will a’ the Lads Do’ appeared initially within Select & Rare Scotish Melodies in [1828] with a musical setting by Henry Bishop for voice and piano, Goulding & D’Almaine then released it set for vocal duet and piano just a few years later. Robert Purdie’s publication of The Border Garland in c.1829 was cleverly produced to include twelve separate songs with a title-page, but each song has the same format (three pages in length) and appears with its own uniquely designed heading. While the volume has consecutive pagination, it is still possible for each to be circulated separately as a three-page song-sheet. The same is true of the thirteen Hogg songs in Select & Rare Scotish Melodies of [1828], each of which might easily be sold as a separate song-sheet because of their attractive title headings. Indeed, a single song copy of ‘Ye breezes that spring’ has been located at the University of Glasgow, but is clearly taken from this collection as it retains the pagination and imprint ‘Songs of the Ettrick Shepherd. B. 1’.31 Other song-sheets were firstly issued separately and then incorporated in later collections. For example ‘The lament of Flora McDonald’, a new song by Hogg and Niel Gow junior, dates from the time of A Border Garland in [1819] but was issued only as a song-sheet, appearing in at least two editions in c.1819 and 1822.32 Its heading clearly states that this arrangement is for voice and can be accompanied either at the piano or by harp. This was a clever marketing ploy for Gow & Son, as it nods to Flora McIvor, the popular Highland heroine of Walter Scott’s recent best-selling novel, Waverley (1814). Flora, by far the more exotic

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and attractive of Scott’s women in the novel, serenades Waverley in an unforgettable scene in a Highland glen by performing a song while strumming on her harp or clarsach. It is notable that this song was later added to the expanded The Border Garland in c.1829, though with new musical setting by the Edinburgh theatre composer James Dewar. Dewar’s stylish arrangements of the songs for The Border Garland reveal another performance environment for Hogg’s songs. This is also highlighted by the numerous versions of ‘Bonny (or Bonnie) Prince Charlie’, known by its first line ‘Cam’ ye by Athole’, several of which are included in the present edition. This song was popular for a number of reasons: it has a wonderfully spirited and memorable melody and it falls within the popular genre of Highland laddie songs.33 The heading to the song-sheet with an arrangement by Dewar, dating from c.1825, states clearly that the song had been included within one of the popular dramatisations of Scott’s work — in this case of his novel ‘Redgauntlet’, first published in 1824 — and that it had been performed by Miss Noel. Likewise, the earlier song-sheet with Niel Gow junior’s setting is marketed through its heading as having been sung by both ‘Miss Stephens’ and ‘Miss Noel’. Hogg had already commented in his footnote to ‘Donald MacDonald’, which he places as his first song in Songs by the Ettrick Shepherd in 1831, that he had heard this song performed in the theatre in Lancaster. But he does not comment elsewhere on the popularity of other songs within dramatic adaptations like ‘Redgauntlet’. There is scant biographical detail about Miss Noel, though she was one of the singers who performed at Vauxhall Gardens, and in 1822 the Vauxhall Observer noted that she had ‘sly wicked eyes’.34 Miss Stephens was more celebrated. She was a soprano and actress and regarded as something of a protégée of the London theatre composer Sir Henry Bishop. He was house composer for Goulding & D’Almaine from around 1820 and set all thirteen of Hogg’s songs for Select & Rare Scotish Melodies in c.1828. He had also, interestingly, already been involved in George Thomson’s collections, having set Burns’s cantata ‘The Jolly Beggars’ or ‘Love and Liberty’ for the fifth volume of the Scottish collection in 1818, the volume in which Hogg’s songs first appeared. Catherine Stephens (1794–1882) would later become Countess of Essex in 1838, but this was after she had made a considerable name as a performer in the theatre and, like Miss Noel, also at Vauxhall Gardens. While there is as yet no documentary evidence of Hogg’s songs having been performed at the Gardens, it is therefore highly possible that ‘Bonny Prince Charlie’ had an airing there. Its later arrangement by Hatton, published as a song-sheet by Hime & Son in Liverpool and Manchester, featured the name of Miss Clara Novello on its heading. She was almost certainly Clara Anastasia

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Novello (1818–1908), daughter of Vincent, who made her concert debut in 1832. The Hatton song-sheet dates from the mid-1830s to the mid1840s, and so it is likely that it was she who performed it. She was a highly-respected classical singer and friend of the young Mendelssohn who engaged her for his concerts at the Leipzig Gewandhaus in the 1830s. Rossini also apparently chose her as the soprano for his Stabat Mater. She is teamed up, on the heading to this later song-sheet of ‘Bonnie Prince Charlie’, with another major singer of the moment, Madame Stockhausen, also known as Margarethe Stockhausen (1803–1877), who was an Alsatian soprano married to the composer Franz Stockhausen. She frequently appeared in London between 1827 and around 1840 to great acclaim, though she was also principally known for her performances of classical repertoire. J. Blewit’s arrangement of ‘Niddity, Noddity, Nannie’, published by London music house Mori & Lavenu between c.1828 and 1839, mentions a performance at the Theatre Royal Covent Garden by ‘Mr Wilson’. John Wilson (1800–1849) was a celebrated Scottish tenor working mostly in London during this time, and his name is often found on single song-sheets during the middle decades of the nineteenth century: his name is given on the song-sheet of Hogg’s ‘Maggy o’ Buccleuch’ included in the present edition and published between c.1833 and 1840.35 He was born in Edinburgh and was one of the house tenors at Covent Garden and Drury Lane, meaning that he would also have worked regularly with Henry Bishop. He was particularly well-known in America, where he toured between 1838 and 1840 with the Scottish soprano Jane Shirreff (1811–1883), also often associated with Scots song-sheets published in Britain during the period. Wilson became famous for his lecture-recitals on Scottish songs, and in the early 1840s often held ‘Scotch Entertainments’ in the public concert room in Store Street which focussed on Scottish themes such as a ‘Nicht wi’ Burns’, ‘Adventures of Prince Charlie’ and ‘Mary Queen of Scots’. He frequently included Hogg’s songs within these ‘entertainments’, and he then issued a series of related publications. As this was after Hogg’s death, these are not included in the present edition, but they nonetheless indicate the continued popularity of his songs.36 These brief references to specific singers in the titles of song-sheets were worth a great deal in terms of promotional value at the time. The context of their lives as performers reveals a range of different popular public environments within which Hogg’s songs were circulated and enjoyed during his lifetime. While the musical collections to which he contributed songs point directly to contemporary domestic musicmaking and were available to a select body of contemporary society,

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the popular performances indicated by the information on these miscellaneous song-sheets reveal wider contexts for Hogg’s songs. The knowledge that they were heard across the British Isles in the theatre and potentially in public leisure gardens indicates that there was a much wider section of the population that would have heard Hogg’s songs during his lifetime and in the years immediately following his death in 1835.

4. Reception The reception of the key musical collections to which Hogg contributed is not always easy to document, and sometimes the only obvious public reception is found in announcements for publication as opposed to proper reviews of collections. Reception of individual song-sheets is also well-nigh impossible to determine. The Introductions to each collection given in the present edition include any general reception where this has so far been located. While many newspapers and periodicals are now available online, not all local papers or contemporary musical magazines are yet available digitally. There may well be other reviews still to be found. Often coverage depends on the standing of the writers and musicians involved in the collection, or on the publishing house. It has been relatively easy to identify reception for publications by the London house Goulding & D’Almaine, for example, especially because of its relationship with the musical magazine The Harmonicon, where reviews of collections are often located. Hogg’s and Bishop’s Select & Rare Scotish Melodies of [1828] is reviewed there, though its anonymous reviewer unfortunately confuses Hogg with his nephew Robert.37 But this collection is also reviewed very positively in The Edinburgh Literary Journal with the epithet ‘How dear art thou to us, James Hogg’. Notably while many writers are included in George Thomson’s collections, a favourable review of his octavo collection in 1823 in The Literary Gazette and Journal of Belles Lettres, Arts, Sciences did draw attention to Hogg’s contribution as one of the ‘distinguished bards’ involved. But it has been virtually impossible to identify published reception of smaller, more local publications such as John Clarke-Whitfeld’s subscription volume Twelve Vocal Pieces of [1817] and Hogg’s and Gow’s A Border Garland of [1819]. Moreover, some larger collections, including R. A. Smith’s The Scotish Minstrel of [1821–1824], do have positive reviews, but they make no mention of Hogg’s contribution specifically. Alexander Campbell’s Albyn’s Anthology clearly had a somewhat negative reception, alluded to by Hogg in his correspondence at the time. German Hebrew Melodies had been referred to positively in a review of the 1821 edition of The Mountain

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Bard in the Edinburgh Monthly Review, but was negatively received in Monthly Repository. Interestingly, the most detailed review is that of the later The Border Garland of c.1829. It was reviewed in The Harmonicon where the success of Hogg’s range of songs was commented on and where several individual songs were explored in detail. The reviewer noted: ‘all exhibit that richness and earnestness, which distinguish the productions of Mr Hogg’s muse’. It is also very positively reviewed in 1830 in the Monthly Musical and Literary Magazine.

5. The present edition With the rapid rise in music publishing during Hogg’s life, it should be little wonder that the process of tracing the appearance of his songs as musical objects is far from simple. This volume was initially planned to provide a virtual ‘bookshelf’ for the 21st century reader of Hogg’s Songs by the Ettrick Shepherd of 1831, by including copies of the songs Hogg refers to and widely promotes in his headnotes to the 1831 volume. But the process of finding those songs has thrown up a number of other appearances of Hogg’s songs during his lifetime, resulting in the volume’s growth and presenting a number of tricky editorial decisions. To begin with, music publications of the period are notoriously difficult to date. Many of them have no date on the copy, some have a dated preface only, some have only a colophon date, some have dates which have been used purely for library cataloguing purposes, and others end up having seriously complicated bibliographical histories (as can be seen in the notes for collections of R. A. Smith or George Thomson). Where established Hogg chronology is unavailable, dating of song-sheets has relied heavily on publisher directories and Stationers’ Hall records. In order to be clear, the dating of the collections and song-sheets in the present edition is as follows: 1828 — a date presented without qualification denotes a publication which has a clear printed date of publication on the copy; [1828] — a date in square brackets denotes a publication with no clear date of publication on the copy, but where a dated preface or additional concrete evidence has allowed a clear year or date of publication to be surmised; c.1828 — a date with circa presented alongside denotes a publication where no exact date is published on the copy and no exact date has been determined through other sources, but where it has been possible to establish an approximate date range. Full details of the dating will be given in either the introductory notes

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to the collection in which the song appears or in the editorial notes to that particular song-sheet at the back of the volume. Moreover, as music printing techniques developed rapidly at this time, it is often possible to find copies of the same musical collection or song-sheet which are not absolutely identical. As is clearly the case with the various editions of R. A. Smith’s The Scotish Minstrel, a musical plate could be easily amended between printings, simply by punching a different musical note or letters onto the existing plate. A reader of the present edition may find another edition of a song which does not match the one included here exactly; and so, to this end, full library citations are given for each of the copies used for images so that further comparisons can be made if required. The present edition includes Hogg’s songs as they appeared during his lifetime, mostly in musical collections or as separate song-sheets with musical notation. The only exceptions are the cases of ‘The Ettricke Garland’ and ‘Song for the Caledonian Asylum’, which were published without musical notation, but which nonetheless appeared as separate specially-published songs. Appearances of Hogg’s songs in other contemporary non-musical collections, such as Allan Cunningham’s Songs of Scotland (1825) and Robert Chambers’s The Scottish Songs (1829), are not included in the present edition. Hogg’s songs, as the ‘Introduction’ to Songs by the Ettrick Shepherd (S/SC, 2014) states, appear across his literary output from his earliest published work, Scottish Pastorals of 1801, right through until the last years of his life and across nearly all genres. As such, songs (usually without musical notation) that were published within Hogg’s longer or shorter fiction, narrative poems, plays or in any periodical publications, annuals or gift-books are not included here, unless they also appeared as quite separate publications, with musical settings or in larger musical collections. Indeed, as will be seen in the present edition, Hogg’s songs were often taken from other Hogg works and many of the separate song-sheet publications of individual songs were taken from the larger musical collections to which he contributed. For example: ‘The Minstrel’s Song’ from The Queen’s Wake appears in the present edition because it was issued as a song-sheet during the 1810s; and ‘The Lark’ appears several times in the present edition, as it was initially written for John Clarke-Whitfeld’s Twelve Vocal Pieces [1817] and was then included in later musical collections (e.g., A Border Garland (c.1819) and The Border Garland (c.1829)) before also appearing as a separate song-sheet with the title ‘Bird of the Wilderness’ in the early 1830s. Notably there are two musical appearances of Hogg songs which are not included here, namely Henry Bishop’s musical arrangements of ‘The Harp of Ossian’ and ‘My Emma, My Darling’. These

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songs appeared as part of a musical annual entitled The Musical Bijou in 1829, and as such are already available with full musical settings as part of the S/SC edition of Hogg’s Contributions to Annuals and Gift-Books (eds. Janette Currie & Gillian Hughes). Hogg’s earliest song with musical notation, ‘Donald M’Donald’, published by John Hamilton, has already appeared several times across the S/SC edition (in The Mountain Bard, The Forest Minstrel, and Anecdotes of Scott), but is here included as a pivotal musical appearance of one of Hogg’s most popular songs. Moreover, a second John Hamilton song-sheet of ‘Donald McDonald’, with a slightly different musical arrangement, exists and it was judged appropriate to be able to view these two versions alongside one other. As Gillian Hughes has noted, two of Hogg’s songs (‘O weel befa’ the guileless heart’ and ‘I downa laugh, I downa sing’) also appeared in the short run of Fraser’s Monthly Musical and Literary Magazine in 1830, but these were text-only songs, and did not appear in its printed music section. As such they are not included here. The first section of the present edition, Musical Collections, includes collections to which Hogg contributed during his lifetime. Four of these — German Hebrew Melodies [1817], A Border Garland (c.1819), Select & Rare Scotish Melodies [1828] and The Border Garland (c.1829) — included songs solely by Hogg, so each of these collections appears in full in the present edition. However, the other musical collections to which Hogg contributed included songs by Hogg along with those by other writers. In these cases — e.g., Albyn’s Anthology (1816 & 1818), The Scotish Minstrel [1821–1824] and the collections of George Thomson (from 1818 through the 1820s) — the present edition presents only Hogg’s contributions to those collections and not the complete collection concerned. Full introductory notes giving the background to each musical collection and accounting for Hogg’s involvement with it are given for each collection, regardless of the quantity of songs involved. And individual notes to each of the songs are found at the back of the volume. The collections are presented in chronological order, as far as we have been able to ascertain, with the exception of George Thomson’s collections which appear grouped together. Thomson’s bibliography is particularly complex, and it seemed easiest to explain the inter-relationships between the three Thomson collections that included Hogg’s songs in one place. Four of Hogg’s songs appeared in the musical journal The Harmonicon. While this is not a ‘collection’ per se, the magazine appeared monthly in two parts between the years 1823–1833 and the second part was equivalent to a little music collection, providing interesting songs or piano works for domestic use. As such it appears as a nominal ‘collection’ at the end of the first section of this volume.

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The second section of the volume, Miscellaneous Songs, presents songs that appeared during Hogg’s lifetime and where often there is reasonable evidence that Hogg was aware of their appearance. For example Niel Gow’s setting of ‘The Lament of Flora McDonald’ (which we have only been able to source in its second edition) was clearly created at the time of Hogg’s little musical collection entitled A Border Garland in (c.1819), but it was not included there. Between this and the time of its text-only appearance in the second series of The Jacobite Relics of Scotland (1821), Gow released it as a separate song-sheet, clearly with Hogg’s knowledge. Likewise, there is evidence that Hogg was aware of the publication of both ‘The Ettricke Garland’ and ‘The Song for the Caledonian Asylum’. Another example is the appearance of James Dewar’s setting of ‘Bonnie Prince Charlie’, which appeared more than once as a song-sheet, but which was also included in The Border Garland (c.1829) as ‘Charlie’. This particular setting by Dewar presented another editorial difficulty. Dewar’s setting was popular, and it appeared more than once in separately issued song-sheets. To avoid duplication of the same musical settings, the present edition includes only one version (selected for its contextual importance)38 and cites duplicate copies with library references in the notes to that song. In other cases it has been more difficult to trace clearly Hogg’s knowledge of the appearance of the song in question. For example, we have no key evidence that Hogg knew or heard Mme. Despourrin’s setting of ‘O Love’s a bitter thing to bide’ (c.1829–1830) or Blewitt’s setting of ‘Niddity, Noddity, Nannie’ of (c.1828–1839). Indeed, this last example also presented an issue about inclusion in the volume. It has been very difficult and sometimes impossible to narrow date ranges, especially for these miscellaneous song-sheets. It was agreed in the case of the Blewitt arrangement and others, including Hatton’s setting of ‘Bonny Prince Charlie’ (c.1835–c.1847) and Bishop’s duet setting of ‘O! What will a’ the lads do’ (c.1834–c.1858), that they would be included. In these cases all known avenues to narrow date ranges have been followed, with no success. Thus, where no further evidence has been available to narrow the date, then the song has been included, because the earliest possible publication date falls before the end of 1835, the year of Hogg’s death. This dating process has been frustrating and frequently depends on the information available about the publisher or composer. For example another setting of Hogg’s ‘The Skylark’, under the title of its first line ‘Bird of the Wilderness’, was found in an attractive arrangement for voice and guitar. The publisher of the song-sheet, George & Manby, was traced through publisher’s information, and it was established that they must have published the song sometime between 1830 and 1841,

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as their address at that time — 85 Fleet Street — appears on the songsheet. But information about the composer T. I. Dipple was eventually found (he was T. J. Dipple), and this strongly suggested a later date: the period of most publications of Dipple’s music was from no earlier than 1840 until the late 1850s. Furthermore, an advertisement of the appearance of the song was then found in the magazine Musical World for 1 April 1836. So, as this was later than Hogg’s death, the song was removed from the list for the present edition. Sometimes there is textual evidence of the existence of a song-sheet or musical copy of a song, but we have simply been unable to source a physical copy. The most famous of these is ‘O Lady Dear’, also known as ‘The Minstrel’s Song’, which had originally appeared at the beginning of The Queen’s Wake in 1813 and which Hogg himself refers to in his 1831 headnote as having had a musical setting by a ‘Mr Monzanni’. Gillian Hughes and Douglas Mack have followed up Hogg’s reference, but neither they, nor any other Hogg scholars, have so far been able to locate this. It may also be that the composer is in fact Joseph Mazzinghi (1765–1844) who had found inspiration in Walter Scott for some of his compositions, as no Monzanni has been found. But even considering this change of name no song-sheet has surfaced. The present edition does include, however, an American song-sheet version of the song dating from 1818 as part of the Appendix. Another frustrating case is that of Hogg’s song ‘O Dinna Weep’, which had first appeared in his novel The Brownie of Bodsbeck in 1818. A review of the novel in the Quarterly Musical Magazine and Review for July 1821 suggested that the lyrics had been set by Joseph Macdonald Harris and published by James Power (of Thomas Moore fame) around 1821. But we have not been able to source a copy of this either. What we did identify, however, was that a setting by Harris appeared in Philadelphia, published by Benjamin Carr, most probably around 1825. While it is impossible to know if this is the same as the setting published by Power, the decision was made to include it in the Appendix to the present edition, in the hope that the original London copy might still turn up for comparison. The final section of the present edition is the small Appendix of Hogg songs that appeared in print during his lifetime, but without evidence that he knew of their publication. Interestingly, these were all published furth of the British Isles, in America and Germany. One other interesting American publication of a version of Hogg’s hymn ‘Blessed be thy name forever’ was identified as part of a supplement to James Winchell’s An Arrangement of Psalms, Hymns and Spiritual Songs of Isaac Watts (1832). Further investigation showed that Winchell had simply taken Hogg’s text and had then recommended an existing hymn tune to match it.

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We therefore decided not to include it in the present edition. Furthermore, we have not included two interesting manuscripts (which did not then appear in print) of settings of songs by Hogg that were also found during the preparation of the volume: a setting of ‘Cam ye by Athole’ by Johann Nepomuk Hummel for George Thomson’s collection, and Hogg’s hymn ‘Blessed by thy name forever’ in Alicia Spottiswoode’s manuscript music book. It is worth noting that a large number of unauthorised versions of Hogg’s songs appeared during his lifetime and beyond across a wide variety of popular print formats, including chapbooks. These are not included in the present edition, though reference to important individual appearances is given in notes to the songs concerned where appropriate. Notes 1 2 3 4

5 6 7

8 9

See James Hogg, The Three Perils of Man, ed. by Antony Hasler and Douglas S. Mack (S/SC, 2002), p. 9. See James Hogg, The Queen’s Wake, ed. by Douglas S. Mack (S/SC, 2005). For further information see the Introduction to James Hogg, Songs by the Ettrick Shepherd, ed. by Kirsteen McCue (S/SC, 2014). See James Hogg, Highland Journeys, ed. by H. B. de Groot (S/SC, 2010), pp. 7–8. See also H. B. de Groot, ‘Musical Notation in the Highland Journeys: Did Hogg have perfect pitch?’, in Studies in Hogg and his World, 16 (2005), 127–30. The reference to Mr Laidlaw’s library is in the 1807 ‘Memoir’: James Hogg, The Mountain Bard, ed. by Suzanne Gilbert (S/SC, 2007), p. 11. See also Kirsteen McCue, ‘Hogg and Music’, in The Edinburgh Companion to James Hogg, ed. by Ian Duncan & Douglas S. Mack (Edinburgh: Edinburgh University Press, 2012), pp. 90–95. See The Mountain Bard, ed. Gilbert (S/SC, 2007), p. xxiii. Gilbert also quotes here from Elaine Petrie’s pivotal work on Hogg’s songs and ballads. See ‘Memoir of the Author’s Life’ in Altrive Tales, ed. by Gillian Hughes (S/SC, 2005), p. 17. Hogg reworks and expands his ‘Memoir’ on two subsequent occasions: in the second edition of The Mountain Bard in 1821 and finally in Altrive Tales of 1832. For further discussion, see Sharon Alker and Holly Faith Nelson, ‘James Hogg as Working-Class Autobiographer: Tactical Manoeuvres in a “Memoir of the Author’s Life”’, Studies in Hogg and his World, 17 (2006), 63–80. See The Mountain Bard, ed. Gilbert (S/SC, 2007), pp. 9–10. See The Forest Minstrel, ed. by Peter Garside & Richard Jackson (S/SC, 2006), pp. xxiv–xxv. See also Janette Currie, ‘James Hogg’s Literary Friendships with John Grieve and Eliza Izett’, in Mador of the Moor, ed. by James E. Barcus (S/SC, 2005), pp. xliii–lvii.

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12 13 14 15 16 17 18 19 20

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See Hogg’s headnote to the song ‘The Moon Was A-Waning’ in Songs by the Ettrick Shepherd, ed. McCue (S/SC, 2014), p. 112. This song most probably dates to around 1808. Miss Forest is also mentioned in association with ‘The Flower’ on pp. 106–07. See the Introduction to A Border Garland [1819] in the present volume. Hogg also suggests, in his 1831 headnote, that the melody of ‘The Poor Man’ is his own, though it is not printed with this information in A Border Garland. See William Donaldson, The Jacobite Song: Political Myth and National Identity (Aberdeen: Aberdeen University Press, 1988), p. 3. Namely The Three Perils of Man (1822), The Three Perils of Woman (1823), and The Private Memoirs and Confessions of a Justified Sinner (1824). See James Hogg, Contributions to Blackwood’s Edinburgh Magazine, ed. by Thomas C. Richardson, 2 vols (S/SC, 2008 & 2012). See ‘Reception of Songs by the Ettrick Shepherd ’ in the Introduction to Songs by the Ettrick Shepherd, ed. McCue (S/SC, 2014), pp. xxix–xxxv. See ‘A Visit to the Ettrick Shepherd by an American Tourist (1833)’, in the American Monthly Magazine 3.2 (1 April 1834), 85–91 (p. 89). This edition is included alongside the first edition of 1807 in the S/SC edition, ed. Gilbert (S/SC, 2007), pp. 195–231. Hogg, The Mountain Bard, ed. Gilbert, pp. 230–31. More detailed information on Hogg’s involvement with musical publishers and song editors is given in the introduction to each collection included in the present edition. For Pilgrims of the Sun, see James Hogg, Midsummer Night Dream and Related Poems, ed. by Jill Rubinstein, Gillian Hughes and Meiko O’Halloran (S/SC, 2008). See also Kirsteen McCue, ‘From the Songs of Albyn to German Hebrew Melodies: the Musical Adventures of James Hogg’, in Studies in Hogg and his World, 20 (2009), 67–83. McCue, ‘From the Songs of Albyn to German Hebrew Melodies’, p. 75. See H. Edmund Poole, ‘A Day at the Music Publishers: A Description of the Establishment of D’Almaine & Co’, Journal of the Printing Historical Society, 14 (1979/80), 59–81. See Dick Carew, ‘The Consumption of Music’, in Cambridge History of Nineteenth-Century Music, ed. by Jim Samson (Cambridge: Cambridge University Press, 2002), pp. 237–58. See Jenny Burchell, Polite and Commerical Concerts: concert management and orchestral repertoire in Edinburgh, Bath, Oxford, Manchester, and Newcastle, 1730–1799 (London; New York: Garland Pub., 1996); and David Johnson, Music and Society in Lowland Scotland in the Eighteenth Century (Oxford: Oxford University Press, 1972), now (Edinburgh: Birlinn, 2003). See Kirsteen McCue, ‘“An Individual Flowering on a Common Stem”: Melody, Performance, and National Song’, in Romanticism and Popular Culture in Britain and Ireland, ed. by Philip Connell and Nigel Leask,

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(Cambridge: Cambridge University Press, 2009), pp. 88–106. 26 See Kirsteen McCue, ‘George Thomson (1757–1851): his collections of National Airs in their Scottish Cultural Context’ (unpublished D.Phil thesis, Oxford, 1993), pp. 105–29. 27 See Frank Kidson, British Music Publishers and Engravers (London: W. E. Hill & Sons, 1900); William Gamble, Music Engraving and Printing. Historical and Technical Treatise (London: Pitman & Sons, 1923); and Charles Humphries and William C. Smith, Music Publishing in the British Isles, from the Earliest Times to the Middle of the Nineteenth Century (London: Cassell & Co. Ltd., 1954). See also John A. Parkinson, Victorian Music Publishers: An Annotated List (Michigan: Harmonie Park Press, 1990). 28 See Hogg to Lonsdale & Mills, 16 December 1820, in Letters, II, 417. 29 See Hogg’s letter to Purdie of 17 November 1828, in Letters, II, 315–16. 30 See Kirsteen McCue, ‘“Schottische Lieder ohne Worte?”: what happened to the words for the Scots song arrangements by Beethoven and Weber?’, in Scotland in Europe, ed. by R. D. S. Jack and Tom Hubbard (Amsterdam/New York: Rodopi, 2006), pp. 119–36. 31 See GUL Special Collections: Store HQ01086. 32 See the notes to this song in Songs by the Ettrick Shepherd, ed. McCue (S/SC, 2014), p. 150, and the various musical versions in the present edition. 33 See William Donaldson, The Jacobite Song, pp. 49–66. 34 See www.Vauxhallgardens.com [accessed April 2014]. The website has a section on singers, and under Miss Noel: ‘“With her sly wicked eyes” [Vauxhall Observer 37] 1822 (paid £5 per week), 1823’. 35 See William Mitchison, ed., Hand-book of the Songs of Scotland with Illustrations, Descriptive and Historical Notes, edited by William Mitchison, to which is added, a Biographical Sketch of the Life of the late John Wilson, Esquire, the Celebrated Scottish Vocalist (London: John J. Griffin & Company; Glasgow: Richard Griffin & Co., 1851). 36 See also the materials relating to Hogg’s song ‘The Skylark’ on the James Hogg Research website: http://www.jameshogg.stir.ac.uk [accessed April 2014]. 37 Full references to any reviews mentioned in this section of the Introduction are given in the more detailed introductions to the individual collections in the present edition. 38 The song-sheet chosen for inclusion is one that references its appearance within the dramatization of Scott’s Redgauntlet, as discussed earlier in the Introduction.

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Section I: Musical Collections

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Albyn’s Anthology (1816 and 1818)

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Albyn’s Anthology (1816 and 1818) Alexander Campbell’s Albyn’s Anthology was published in two volumes: the first in 1816 and the second in 1818. Hogg contributed five songs to the first and eight songs to the second volume. The arrival of the collection was advertised in The Edinburgh Evening Courant of 18 July 1816 as ‘this day published’. 1 Alexander Campbell (1764–1824) was a composer and writer born in Perthshire, but who lived all of his life in Edinburgh. He was initially taught by the famous Italian castrato Giusto Ferdinando Tenducci (1735–90) during his stay in Edinburgh.2 Appointed organist to an Episcopalian chapel, Old St Paul’s in Carrubers Close, Campbell gave lessons in harpsichord and singing, and the young Walter Scott and his brothers were among his pupils.3 His first publication of Twelve Songs set to Music appeared in 1785, and An Introduction to the History of Poetry in Scotland (1798) began to illustrate Campbell’s extensive knowledge of and interest in national poetry. A Journey from Edinburgh through Parts of North Britain [1816] and his subsequent two-volume collection of national songs, Albyn’s Anthology, are now regarded as Campbell’s major contribution.4 Unlike many of the other large folio collections, the musical arrangements for his songs were not sourced from contemporary composers (as with Thomson’s collections or the later Select & Rare Scotish Melodies). Rather they were all supplied by Campbell himself. These tend to be simpler in musical terms than many such contemporary settings and are often uneven in quality.5 Albyn’s Anthology was published in Edinburgh by the established firm of Oliver & Boyd whose catalogue included a number of song books and musical publications, notably The Caledonian Musical Repository of 1811. The title-page for Albyn’s Anthology also notes that the volumes were sold in London by Clementi & Co and Law & Whittaker. Clementi & Co (often referred to as Clementi, Banger, Collard, Davis & Collard at this time) was one of the key London music firms of the period and they were based at 26 Cheapside and 195 Tottenham Court Road from c.1810–1818. Law & Whittaker are not known, and neither firm was normally associated with Oliver & Boyd’s musical publications. Albyn’s Anthology was an impressive folio collection and sat comfortably alongside the larger more elaborate national song collections, which were so in vogue at this time, exemplified by Moore’s Irish Melodies and George Thomson’s collection. However, Campbell’s collection was pivotal in being the first collection ‘of Gaelic songs to present words

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and music together’.6 Campbell’s historical preface to the first volume covers the usual ground, accounting for the different national scales and modes and their line of ascent from those of the Ancient Greeks and providing a detailed (if well-worn) chronology of Scotland’s music and its relationship to other national musical traditions. Campbell also draws attention to collectors and creators of Gaelic song or ‘Vocal Poetry’, as he terms it, such as Duncan McIntyre, Dugald Buchanan of Rannoch, Ronald Macdonald, and Simon Fraser, amongst the usual suspects of Scots song tradition such as Ramsay, Herd, Ritson and Burns. Hogg’s The Forest Minstrel (1810) is also specially named. Henry Mackenzie and Walter Scott initially encouraged Campbell in his project and ultimately the Highland Society provided the necessary funds for Campbell to travel through the Highlands to collect materials. His journey is described in the ‘Preface’ to the first volume: having performed a journey (in pursuit of materials for the present work) of between eleven and twelve hundred miles, in which he collected one hundred and ninety-one specimens of melodies and Gaelic vocal poetry, he returned to Edinburgh, and laid the fruits of his gleanings before the Society, who were pleased to honour with their approbation his success, in attempting to collect and preserve the perishing remains of what is so closely interwoven with the history and literature of Scotland.7 Campbell collected materials from all social classes as well as compiling tunes and songs from a number of traditional musicians, including Murdoch McDonald, the last Hebridean harper, as Campbell referred to him. The Caledonian Mercury of 13 November 1815 announced Campbell’s return to Edinburgh from his Highland tour and his success in ‘rescuing many interesting compositions from oblivion’. Campbell had previously toured the Borders to collect material in 1796 and 1811. While there is no evidence, it is possible that Campbell met Hogg during the 1811 tour or even during the poet’s say in Edinburgh during this period. It is clear from the footnote to ‘I’ll bid my heart be still’, in volume one of Albyn’s Anthology (p. 41), that Campbell had already heard Hogg perform and had noted down the song ‘from the singing of Mr Hogg and his friend Mr Pringle’. Hogg had himself been collecting Border airs for many years. In a letter to John Clarke-Whitfeld of 18 January 1816, he writes: I have for several years been engaged in picking up old border airs and chaunts that are just hanging on the verges of oblivion and have not I believe been heard for centuries save at the Shepherd’s ingle nook Though most of them consist only of one

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part they are so simply beautiful that even the celebrated Broom of the Cowdenknows lags behind some of them. What a treasure they would be for a musical miscellany such as yours and if you will swear to me by all the holy trinity to preserve the unaffected simplicity of the melody you shall have a part of them for I have been distressed for a scientific man into whose hands to put them that they might not be lost forever.8 Hogg’s interest in the ‘science’ of song collection is notable here, in advance of his commission to collect and edit ‘Jacobite Relics’ (1819–1821). Despite Clarke-Whitfeld’s potential interest in Hogg’s ‘old border airs’, Hogg writes in April [1816]: I have given my old airs to a Mr Campbell here who is making a selection of Scotish ancient music and have likewise furnished him with verses for them he is a poor man and I wished to be of some service to him.9 Clearly between January and April 1816, Hogg had already provided a group of Border airs for his collection, and this was before Campbell’s 1816 tour to the Borders, where Hogg acted as his guide through Ettrick and Yarrow. Campbell’s ‘Notes of my Third Journey to the Borders [in 1816]’ give a detailed account of this journey, and his entries between the 12th and 16th of October give the particulars of his interaction with Hogg. In addition to showing Campbell important places of interest, Hogg acted as an agent for local singers and musicians to perform tunes and songs for Campbell. These included his cousins ‘Thomas and Frank’, who provided him with ‘a few good melodies very old and entirely new to me’, and the ‘female maniac Billy’ who was the source of Hogg’s song ‘A year ower Young’, which Campbell had already published in the first volume of Albyn’s Anthology. 10 Hogg supplied thirteen songs to Campbell, three of which are noted to have ‘a border melody’. While it is difficult to trace, other airs designated ‘a border melody’ within the collection may well be part of the group of ‘old border airs’ that Hogg provided early in 1816. Four of Hogg’s songs have Gaelic tune titles. Hogg’s interest in Highland melody and song was well noted by this point (as Hogg himself describes in his Highland Journeys (1802–1804)) and fitted well with the ethos of Campbell’s collection.11 Later in 1816 Hogg writes again to Clarke-Whitfeld about his worries over the ‘ill reports’ that Albyn’s Anthology has been given especially by those ‘who ought to be versed in the science of Music’. 12 Hogg notes that he has invested quite a lot in Campbell’s project, though not as

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much as his friend ‘W Scott’, who would continue to aid Campbell when he ran into increasing financial difficulties in the last years of his life.13 The negative review referred to by Hogg was possibly that in Augustan Review in October 1816. After hailing its appearance the reviewer immediately stated a sense of disappointment in the first volume: ‘the work before us neither gives evidence or much learned labour, nor of much taste on the part of the editor — nor always of much poetical feeling, tenderness, or wildness of fancy, in the compositions of those who have given their aid.’ There is enthusiasm about the inclusion of some ‘wild and magical airs’ from the Highlands. There is also some excitement ‘to see the great names which adorn the work’, and specific mention is made of ‘some verses by MR HOGG of great merit; but our limits forbid us to quote them’.14 The collection was dedicated to ‘The Prince Regent’ and Walter Scott’s letter to John Wilson Croker of 8 July [1816] notes that it was thanks to his intervention that Campbell gained royal permission for the dedication.15 The present edition reproduces images from the copy of Albyn’s Anthology held by the National Library of Scotland [NLS Ing. 259–69]. Notes 1 2

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An additional publication announcement was printed in the Bury and Norwich Post of 16 October 1816. Tenducci was in Edinburgh during the 1760s and sporadically thereafter. It was his Italianate renditions of Scottish songs which had inspired George Thomson to embark on his collections of national airs with European musical settings: see Kirsteen McCue, ‘“An individual flowering on a common stem”’: Melody, Performance and National Song’, p. 95. John Gibson Lockhart’s Memoirs of The life of Walter Scott Bart., 7 vols. (Edinburgh: Robert Cadell: London: John Murray and Whittaker, 1837), I, pp. 52–53. Lockhart mentions Campbell’s enthusiasm for Scottish music, ‘which he sang most beautifully’. John Purser’s ODNB entry on Campbell gives an account of Campbell’s disagreement with the caricaturist John Kay, whom Campbell had ridiculed in a sketch. Kay responded by producing a caricature of Campbell in which Campbell appears ‘grinding a hand-organ while asses bray, a dog howls, a bagpipe is blown and a saw is sharpened by means of accompaniment’. See John Kay, A Series of Original Portraits and Caricature Etchings (Edinburgh, 1838), II, No. XXXIV, pp. 95–96. George Henry Farmer noted that while Campbell was a capable arranger and editor he was a rather ordinary composer. See Farmer, A History of Music in Scotland (Edinburgh, 1947), p. 340. See Rev. William Matheson, ‘Some Early Collectors of Gaelic Folk-song’, The Proceedings of the Scottish Anthropological and Folklore Society, 5.2 (1955), 67–82, (p. 72). Albyn’s Anthology (Edinburgh, 1816), I, ix. See also William Donaldson, The

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11 12 13

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Highland Pipe and Scottish Society, 1750–1950 (Edinburgh: John Donald, 2008), which talks of Campbell’s work alongside that of Patrick MacDonald and Simon Fraser. Letters, I, 264. Letters, I, 274–75. Alexander Campbell, Journal of a Tour in the Scottish Border in 1816 (Hawick: Reprinted from the ‘Transactions’ of the Hawick Archaeological Society, 1904), p. 4. The manuscript for Campbell’s Journal is held by the Edinburgh University Library, MS La. II 378. See also Karen McAulay, Our Ancient National Airs: Scottish Song Collecting from the Enlightenment to the Romantic Era (Farnham: Ashgate, 2013), chapter 3. See Hans de Groot’s edition of James Hogg’s Highland Journeys (S/SC, 2010). Hogg’s musical remarks are clearly indexed. Letters, I, 280–82. Hogg’s letter is dated 11 November 1816. Scott’s correspondence during 1815–1816 frequently refers to Campbell’s work and illustrates the level of support he receives from Scott. See The Letters of Sir Walter Scott 1815—1817, ed. by H. J. C. Grierson (London: Constable, 1933). Augustan Review, 3.18 (October 1816), 354–58. Scott’s Letters 1815–1817, p. 259.

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Why Should I Sit and Sigh? Written by Mr Hogg. Air—“Cnochd a Bheannichd.” I. WHY should I sit and sigh, When the greenwood blooms sae bonny? Lavrocks sing, flow’rets spring, A’ but me are cheery. Ochon, o ri! there’s something wanting; Ochon, o ri! I’m weary; Nae young, blythe, and bonny lad, Comes o’er the knowe to cheer me. Ochon, o ri! there’s something wanting, &c. II. When the day wears away, Sair I look adown the valley, Ilka sound, wi’ a stound, Sets my heart a thrilling: When I see the plover rising, Or the curlew wheeling, Then I trow some bonny lad Is coming to my sheeling. Ochon, o ri! there’s something wanting, &c. III. Come away, come away, Herd, or hind, or boatman laddie; I hae cow, kid, and ewe, Gowd and gear to gain thee. My wee cot is bless’d and happy; O ’tis neat and cleanly! Sweet the brier that blooms beside it, Kind the heart that’s lanely. Ochon, o ri! there’s something wanting, &c.

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Cnochd a Bheanníchd. Tha mi sgì, ’smi leam fhein, thuile lath a’n chochd a bheannichd; Tha mi sgì, ’smi leam fhein, thuile lath a’ m’ aonar. 30 Thuile lath an cnochd a bheannichd, thuile lath a’ m’ aonar,

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Thuile lath an cnochd a bheannichd; sni fhir tien ’am fherich! Cuil an tomain, beul an tomain, cuil an tomain bhoidheach; Cuil an tomain, beul an tomain, thuile lath a m’ aonar! * The remaining verses of this song have not come to the Editor’s hand—in truth, MR HOGG has caught the general spirit of the piece, and highly improved the subject.

Bonny Tweedside. Written by Mr Hogg. Air—“Gowd in Goupins.” I. COME ilka lad and lovely maid, Come ilka kindly lover; We’ll a’ down to bonny Tweedside, And see my love come over. We’ll down the hill, we’ll down the dale, We’ll nowther halt nor hover; We’ll a’ down by Ashiesteel, And see my love come over. II. O boatman, boatman, list to me, And get your coble ready, That I may cross at Fairnilee, To meet my bonny lady. O lang I’ll bless the happy day, And lang the night I’ll hallow, When I came down the bracken brae, To meet the flower o’ Gala. III. We’ll a’ down by bonny Tweedside, When wakes the morning early, E’er the purple hue and bonny blue Spread o’er the welkin fairly: At nowther Peel nor Ashiesteel, Nor at the Yair we’ll tarry;

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We’ll a’ down to Fairnilee, And meet my bonny Mary. IV. Young Clovenford and Hollylee Baith woo’d her for their marrow, But yet my Mary gangs wi’ me Out o’er the hills to Yarrow: Whate’er betide my lovely bride, I ne’er can cease to love her; Then, hey! a’ down to bonny Tweedside, And see my love come over.

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A Year O’er Young. Written by Mr Hogg. Air—A Border Melody. I. O WHY comes my love nae langer to woo me? Why come nae mair by the light o’ the moon?* Sair is my heart that lad should undo me; Sair is my heart that I love sae soon. II. Sweet is the birk that grows by the river, Sweet was the blackbird’s sang yestreen: The gowden broom it is bonny as ever; Meet me again at the broom at e’en. III. Ye’ll maybe sing as ye sang afore, love; O sae mournfully as ye sung: Ye’ll maybe sing as ye sung afore, love; O! an’ alack! I’m a year o’er young. IV. I’ll never sing as I sang afore, love; Daily and hourly will I rue:

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I’ll never sung as I sung afore, love; But I’ll aye sing, I’m years enow. V. Touch not the nettle, lest that it burn you; Wally sae green as the braken grows; Love not the lad that ye canna get, For the bands o’ love they are ill to loose.

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VI. O, I hae done the thing that I rue, love! I hae done the thing that I rue sair! Sitting up o’er late i’ the dark, Gars me love the bonny lad wi’ the yellow hair. *The two first lines of the first stanza were written originally thus,

Come ye nae mair to kiss and to woo me? Come ye nae mair by the light o’ the moon? MR HOGG, in a letter (accompanying the above) to the Editor, says, “the first half [meaning this Song] only is mine—the latter very old; as I have often told you, I got both the verses and tune from a Maniac, and I never heard any body else sing them.”

The Last Cradle Song. Written by Mr Hogg. Air—“A Border Melody.”* I. BAWLOO, my bonny baby, bawlillilu, Light be thy care and cumber; Bawloo, my bonny baby, bawlillilu, O sweet be thy sinless slumber. Ere thou wert born, my youthful heart Yearn’d o’er my babe with sorrow; Long is the night-noon that we must part. But bright shall arise the morrow.

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II. Bawloo, my bonny baby, bawlillilu, Here no more will I see thee; Bawloo, my bonny baby, bawlillilu, O sair is my heart to leave thee: But far within yon sky so blue, In love that fail shall never, In vallies beyond the land of the dew, I’ll sing to my baby for ever.

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*As sung by MR HOGG, by whom it was communicated, and to whom the Editor is indebted for many more Border Melodies, and fragments of Vocal Poetry. The following is a verse of the Original Words to which this elegantly simple and affecting Air is sung, and may serve as a specimen of this species of Border Ballad.

My love’s shoulders are both broad and square; True love and sweetheart think on me; And o’er them hangs his long yellow hair, And I’m fear’d they take him from me.

The Liddel Bower, A Ballad. Written by Mr Hogg. Air—A Border Melody. “O WILL ye walk the wood, lady? Or will ye walk the lea? Or will ye gae to the Liddel Bower, An’ rest a while wi’ me?” ‘The dew lies in the wood, Douglas, The wind blaws on the lea; An’ when I gae to Liddel Bower, It shall not be wi’ thee.’

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“The stag bells on my hills, lady, The hart but an’ the hind; My flocks lie in the Border dale, My steeds outstrip the wind. “At ae blast o’ my bugle horn, A thousand ’tends the ca’; O gae wi’ me to Liddel Bower— What ill can thee befa’? “D’ye mind, when in that lonely bower We met at even tide, I kissed your young an’ rosy lips, An’ woo’d ye for my bride?

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“I saw the blush break on your cheek, The tear stand in your ee; O could I ween, fair Lady Jane, That then ye lo’ed nae me!” ‘But sair sair hae I rued that day, An’ sairer yet may rue; Ye thought nae on my maiden love, Nor yet my rosy hue. ‘Ye thought nae on my bridal bed, Nae vow nor tear o’ mine; Ye thought upon the lands o’ Nith, An’ how they might be thine. ‘Away, away ye fause leman, Nae mair my bosom wring; There is a bird into yon bower, O gin ye heard it sing!’ Red grew the Douglas’ dusky cheek, He turned his eye away; The gowden hilt fell to his hand; “What can thee wee bird say?” It hirpled on the bough, and sang, “O, waes me! dame, for thee;

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An’ waes me! for the comely knight That sleeps aneath the tree. “His cheek lies on the cauld cauld clay; Nae belt nor brand has he; His blood is on a kinsman’s spear; O, waes me! dame, for thee.” “My yeomen line the wood, lady, My steed stands at the tree; An’ ye maun dree a dulefu’ weird, Or mount and fly wi’ me.” What gars Carlaverock yeomen ride Sae fast, in belt and steel? What gars the Jardine mount his steed, An’ scour o’er moor an’ dale? Why seek they up by Liddel ford, An’ down by Farras lin? The heiress o’ the lands of Nith Is lost to a’ her kin!

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O lang lang may her mother greet Down by the salt sea faem; An’ lang lang may the Maxwells look, Afore their bride come hame. An’ lang may every Douglas rue, An’ ban the deed for aye: The deed was done at Liddel Bower, About the break of day.

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Lady Linley—A Ballad. Written for this work by Mr Hogg. Air—“Edinborough, Edinborough.”* I. WHY does Lady Linley weep Down by the sounding deep, Where the surrounding steep Leans o’er the strand? Why does Lady Linley stray There by the close of day— Bonny Lady Linley, The flower of the land? II. Linley lov’d youthful face, Falsest of noble race! That was the trysting place, By the lone bay; Month, day, and hour, went round— Ask not what there was found,— Bonny Lady Linley Is faded for aye! III. There a poor child of night Floated at morning light; O, that baby’s skin was white! Maidens would say; Her form was so fair withal, And, O, her fingers long and small!— Bonny Lady Linley Was paler than clay! IV. Under yon darksome cave, Over the breaking wave, There is a small green grave

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Go not to see; Ask not the boatman gray What walks at closing day!— Bonny Lady Linley, ’Tis well known to thee!

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*This plaintful melody was noted down by the Editor, from the singing of Thomas Hogg, tailor in Thirelstane, on the classic banks of Ettrick, in presence of his ingenious kinsman, author of “The Queen’s Wake,” &c. who kindly accompanied the present Editor in his excursion through Ettrick-forest, in autumn 1816. The two first lines of the original ballad, as sung by Mr Hogg, are, “There lives a priest’s daughter in this town, “Edinbrie, Edinbrie.” Mrs Brown’s copy of “The Cruel Sisters,” has the same burden; “There were twa sisters sat in a bouer, “Edinborough, Edinborough, “There were twa sisters sat in a bouer, “Stirling for aye; “There were twa sisters sat in a bouer, “There cam a knight to be their wooer, “Bonny St Johnstoun stands upon Tay.” See SCOTT’S Border Minstrelsy, vol. ii. p. 144.

“O What Will I Do!” Written for this work by Mr Hogg. Air—“O what will I do!”* CHORUS. O what will I do! O what will I do! The Shepherd’s blithsome days are gone. I sought the braes of the wildered Yarrow, To trace my early walks alone. On Ettrick’s haunted holms so eiry, The links of Tyma and Rankleburn,†

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And many a wild I wander’d weary— But the days are past I’ll ever mourn. O what will I do! &c. It is not for the decay of beauty, Of manly youth, and of cottage lore, Nor lack of truth, or love, or duty; But the age of ancient song is o’er. O what will I do! &c.

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The tale of ghost and aerial gier, Of wierdly witch and elfin grey, The song of Border waik, and weir, O, they have waned, and past away! O what will I do! &c.

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No more shall thrill the youthful bosom, At midnight raid by flood and fen; At matrons evening fairy chaunting, Or maidens in the bughting glen. O what will I do! &c.

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It may be early thoughts returning, When all was life, and love, and glee; But the hardy age that is past away, Dear to this heart shall ever be. O what will I do! &c.

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*This is one of the sweet melodies the Editor noted down from Mr Hogg’s singing, and to which he has composed this ballad or lament. †Two mountain streams, tributary to the Ettrick, and within sight, almost, of the cottage in which our Bard was born.

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“My Peggy, Thou Art Gane Away.” Written for this work by Mr Hogg. My Peggy thou art gane away An’ I nae mair shall see thee; Now a’ the lee-lang simmer day, And a’ the night I weary, For thou art ay sae blithe and gay, Sae teasing, an’ sae canty, I winna swear, but soothly say, In troth I canna want thee. I downa bide to see the morn Blink o’er the hill sae clearly; Late on a bonny face she shone, A face that I lo’ed dearly! An’ when beside yon water clear At e’en I’m lanely roaming, I sigh and think, if ane war there How sweet wad fa’ the gloaming! O Peggy! let the green-wood shaw, Ilk rill and river, mind thee O’ vows that past atween us twa, Of ane thou left’st behind thee. Though thou art gane, an’ gawn thy lane, This hand nae mair to guide thee, Be sure his heart is a’ thy ain, His wishes ay beside thee!

Hymn to the Evening Star. Written by Mr Hogg. Never before published. ARISE, arise, thou queen of love! Thy bed is chilled with evening dew;

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Thy robe the virgin fays have wove And reared thy canopy of blue. O let me see thy golden breast Thy amber halo o’er the hill; And all the chambers of the west Thy coronal, with glory fill! O come! the evening colours fade; Soft silence broods o’er lawn and lea; And beauty, in the greenwood shade, Uplifts a longing eye for thee! Thy temple be this sylvan bower, Where wounded lovers kneel confest; Thy altar-cloth the daisy flower; Thy tabernacle, beauty’s breast: Be this thy dearest, holiest shrine, Thy breviary, two beaming eyes!— And aye I’ll pant to see thee shine; Beloved star, arise! arise! —

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O let thy spirit seek the glade, To hear thy holy vespers sung! But tell not where my cheek was laid, Nor where my careless arm was flung. As slowly steals, on angel wing, Thy light pavilion down the sky, Before thee let young seraphs sing The softest love-sick melody! And here, on thy beloved shrine, Where fragrant flames of incense glow, Pure as that heavenly breast of thine, And fairer than the virgin snow;— Here will I worship with delight, And pay the vows I made to thee; Until thy mild and modest light Is cradled on the heaving sea.

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“My Mary Is My Only Joy.” Written for this work by Mr. Hogg. Air—“Is fallain gun dìth thainig thu.” I. MARY is my only joy, Mary is blyth and Mary is coy, Mary’s the gowd where there’s nae alloy, Tho’ black—yet O! she’s bonny! Her breath is the birken bower of spring, Her lips the young roses opening, And her hair is the hue of the raven’s wing; She’s black—but O! she’s bonny! II. The star that gilds the evening sky, Tho’ bright its ray, may never vie Wi’ Mary’s dark and liquid eye; Tho’ black—yet O! she’s bonny! In yon green wood there is a bower Where lies a bed of witching power, Under that bed there blooms a flower That steals the heart unwary! III. O there is a charm, and there is a spell, That, O and alack! I know too well, A pang that the tongue may hardly tell, Tho’ felt both late and early! The beauteous flower beneath the tree, The spell of the wildest witchery, The gowd and the gear, and all to me, Is my black, but my bonny Mary!

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“There’s Grace i’ Your Grey Locks, My Auld Deary!” Written for this work by Mr Hogg. There’s grace i’ your grey locks, my auld dearie! There’s beauty in your dim e’e; To listen your tales I never grow weary, Though weel they’re a’ kend to me. I think o’ the time I kindly woo’d you, Amang the kyles o’ hay, I vowed to you, then, I dearly lo’ed you, An’ I’ll vow it again the day! O when we twa first met thegither The times war dark an’ drear, We kendna an’ thoughtna o’ reaching hither Thro’ many a dismal year; Thro’ weal an’ wae ye hae keepit ay by me, Tho’ tried wi’ sorrow an’ pain; Thro’ weal an’ wae ye hae foughten ay wi’ me, An’ my heart it is a’ your ain! When first o’er burn an’ brake I bore thee, O but my heart was fain! Ae kind o’ love I then had for thee, But mony a kind sin’ syne. An’ though this arm has tint its power, Yet that grey head of thine, Wha dares to scaith, I’ll show the doer He first shall tread on mine!

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“I Hae a Green Purse.”§ Written for this work by Mr Hogg. I HAE a green purse an’ a wee pickle goud, A little flock o’ lambs on the tap o’ the hill, An’ a bonny few ewes at the back o’ the knows, But the best thing ava is a-wanting still! An’ a bonny few ewes, &c.

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I hae horses an’ cows, an’ a couple o’ grews, A good lang kail yard, an’ the grist o’ the mill; An’ a bonny little boy to carry me the news, But the best thing ava is a-wanting still! An’ a bonny little boy, &c.

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I hae a good ha-house an’ maidens enow, A good auld dame that does a’ to my will; An’ a jolly young hind that whistles at the plow, But the best thing ava is a wanting still! And a jolly young hind, &c.

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An’ O but this want mak’s me weary an’ wan! Little joy! little comfort, by night or by day! I’m laith, laith, to tell you the thing that I mean— ’Tis a bonny little lassie to be mine for ay! I’m laith, laith, &c.

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§ This beautiful little doric - pastoral of Hogg’s is a variation from one of far less merit, which is usually chaunted to this sweet melody; it was sung by the person from whom the present Editor jotted it down, Mr Hogg, the poet’s kinsman, formerly mentioned.

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John of Brackadale. Written by Mr Hogg. CAME ye o’er by Morvich? Saw ye John of Brackadale? At his nose a siller quaich, At his knee a water pail! Copper nose an’ haffets gray, Bald head an’ bosom hale; John has drunken usquebae Mair than a’ Loch-Brackadale! Hey John! ho John! Hey John of Brackadale! Hey John! ho John! Wae’s me gin ye should fail! Auld John, bauld John, Brave John of Brackadale! But John will wear away! An’ the weary usquebae Will grow cheaper by a third, When they delve him in the yird! O the gay hearts at Portree Will lament sair for thee! An’ I mysel’ raise sic a wail, A’ the rocks of Sky shall peal, “Hey John! ho John! Hey John of Brackadale! Hey John! ho John! Wae’s me gin ye should fail! Auld John, bauld John, Brave John of Brackadale!”

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Twelve Vocal Pieces [1817] John Clarke-Whitfeld’s Twelve Vocal Pieces [1817] contains two songs written by Hogg. ‘The Lark’ appeared in the first volume of the collection, and ‘Naething to fear ye’ in the second. This volume was dated through a letter from Clarke-Whitfeld to Walter Scott and an entry to Stationers’ Hall, both in May 1817 (details are given below). John Clarke-Whitfeld (1770–1836) was an organist and choirmaster and was ‘one of the most respected cathedral musicians of his generation’. He edited the ‘oratorios and choral music of Handel, Purcell, Arne and many earlier English composers’. His Handelian-influenced pieces included the twin oratorios The Crucifixion (performed at Hereford Cathedral in 1822) and The Resurrection (performed at Hereford Cathedral in 1825, published in 1835).1 Notably, Clarke-Whitfeld was one of the first composers to set Sir Walter Scott’s lyrics to music.2 Throughout his career, he set over a hundred songs and part-songs of the lyrics of Scott, Byron, Moore, and Joanna Baillie, which were sold as engraved music scores for domestic performance by most of the leading London music-publishing houses. According to Temperley, ‘in his songs and glees he showed understanding of the romantic poets especially Scott and Byron’.3 Twelve Vocal Pieces was primarily a commercial venture, intended to raise funds to cover Clarke-Whitfeld’s personal debts. It was published as a subscription volume and printed for the author. There are no publisher’s details on the volume. The background to the volumes is outlined in a letter to Scott dated 24 April 1815 and signed ‘John Whitfeld (late Clark)’: My friend, Professor Smyth, was so kind as to address you on my behalf some time since; requesting you would have the goodness to write two or three little light Pieces, for music, consisting of two or three stanzas each, for a work, in two volumes, I am about publishing by subscription — The same request has been made to Miss Joanna Baillie (who has favored me with two beautiful little pieces) and Lord Byron, from whom I expect to hear daily — I am well aware, sir, of my presumption in requesting you to write purposely for me ; but I have little doubt both of your Pardon and kind compliance, when I inform you that owing to a Chancery Suit, and the unfeeling conduct of a relative who has thrown some hundreds of debt on my shoulders, from which I had been relieved by my late Uncle whose name I now bear,

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but, unfortunately he died suddenly, without leaving any written memorandum, and therefore my claims are disallowed — I am, therefore, under the necessity of working to my hackneyed muse for assistance; and if you knew the value the publishers, who may purchase my copy, will set when the words “with original poetry, written expressly for this work by Walter Scott, Esq — &c&c”, I humbly conceive you would relieve my anxiety by honouring me with one line, to say you would do so at your leisure, that I might place the attraction of your name in my Prospectus, which waits only for your answer.4 Although Scott had earlier informed Joanna Baillie, ‘I would do anything (except maintain a regular correspondence) to oblige good Dr. Clarke who is a very ingenious and most worthy person’, he does not appear to have responded so readily to the appeals from either Clarke-Whitfeld or William Smyth.5 Almost a year after his request, in a letter dated 22 February 1816, Scott offered some songs, stating, ‘you are heartily welcome to the song from the French, and to another which is in a work called “Paul’s Letters” if you think worthwhile’, and promised to compose ‘two songs at least’ following the end of the current court session which rose on 12 March.6 As in Hogg’s case, only two of Scott’s songs were eventually published, one in either volume: ‘The Foray’ in the first and ‘Romance of Dunois, from the French’ in the second volume. Both songs are noted as the exclusive copyright of Clarke-Whitfeld. Clarke-Whitfeld’s original request for contributions from Hogg is not extant; however, Hogg’s reply, dated 18 January 1816, indicates that he was approached under similar terms as Scott. Hogg assured Clarke-Whitfeld of his ‘utmost support in your proposed work’, and promised to compose songs, ‘a few such as I can produce’. Hogg also attempted to interest Clarke-Whitfeld in a collection of ‘old border airs and chaunts that are just hanging on the verge of oblivion’, noting, ‘what a treasure they would be for a musical miscellany such as yours’. As Gillian Hughes indicates in her note to the letter, Hogg instead contributed these songs to Alexander Campbell’s Albyn’s Anthology, published in two volumes in 1816 and 1818.7 Early in April 1816, Scott forwarded a letter to Hogg from ClarkeWhitfeld containing a similar request for contributions, indicating that like Scott, Hogg had delayed responding to an initial appeal. In his reply, dated 8 April [1816], Hogg accounted for his lack of diligence by explaining he ‘did not judge from the contents that any verses of mine were required for some time forward from the date’. Hogg immediately composed ‘The Lark’, informing Clarke-Whitfeld, ‘if it is not the best

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on my list it is at all events the newest I wrote it for you and dedicate it to your work alone but if it does not suit, you may have another and another’. Anxious not to over-state his celebrity status in the company of such other leading lights as Byron and Scott, he instructed ClarkeWhitfeld: ‘do not call me Esq. in the contents a common shepherd lad cannot be Esq. Say James Hogg the Scots Shepherd or something that way’.8 Clarke-Whitfeld carried out this request in his simple citation of Hogg below the title of each song. In October 1816 Clarke-Whitfeld requested additional songs from both Scott and Hogg, again with a letter forwarded to Hogg through Scott, ‘fearing to be inaccurate in Mr Hogg’s address’.9 Clarke-Whitfeld informed Scott he was appealing for further contributions ‘with extreme reluctance’, and only because he had pledged to my Subscribers that both Vols shall contain Original Poetry of yours, written expressly for them — I intend publishing in the course of next March; and, possessing but one original piece of yours (the Foray [...]) I am reduced to the alternative of suppressing my little work altogether, or of publishing it in a form which would reflect disgrace on me — to which I can never submit. When I am favored with, and have set to music, to [sic] other Pieces, written by you, & Mr Hogg, My Two vols will be Complete.10 Hogg responded in a letter dated 11 November 1816, writing that he ‘cannot bear that any work of such elegance and value as I know yours will be should be withdrawn or postponed on account of any trivial assistance that I can lend’. As such, he offered four songs taken from ‘old manuscripts’. The names of the four songs are not known. One song was clearly ‘Naething to fear ye’, which was published in the second volume of Twelve Vocal Pieces, while, as Gillian Hughes indicates in her note to the letter, another was most probably ‘Lock the Door, Lariston’.11 Publication of the volumes was evidently delayed due to the problems that Clarke-Whitfeld encountered in gathering original contributions. However, in a letter to Scott, dated 11 May 1817, Clarke-Whitfeld was finally able to send a presentation copy of both volumes with his proud announcement: My little work makes it appearance at last . Do me the Honor of accepting your Copy, and with it my very grateful thanks for the Foray; which, as the Poetry will rank first in the vol. I; so I have placed it first in the list of my music.12 While Scott received a subscription copy, Hogg did not receive a copy or notice of publication, and he later complained that at the time he was

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not even aware that Clarke-Whitfeld had arranged music for ‘Naething to fear ye’.13 The folio volumes were sold to ‘Non Subscribers at a Price of 1L 5s’, and could be ordered from ‘Mr. Birchall’s 133 New Bond Street’, which both in distance and in cost, took the publication out of Hogg’s reach. A Copyright disclaimer below the Index for each Volume pointed out a number of songs that were the sole copyright of Clarke-Whitfeld, along with the warning that ‘whoever reprints it shall be prosecuted’, and that both volumes were registered to ‘John Clarke’ at the Stationers’ Company Hall on 13 May 1817.14 Eleven years later, in 1828, Hogg assigned the copyright of numerous songs, including ‘The Lark’ and ‘Naething to Fear Ye’, to the Edinburgh music-publisher, Robert Purdie.15 Soon after Purdie published ‘The Lark’ and ‘Naething to Fear Ye’ with new musical settings by James Dewar in The Border Garland: Containing Twelve New Songs by James Hogg (c. 1829). Hogg’s new copyright arrangement with Purdie infringed his earlier arrangements with Clarke-Whitfeld and led to a dispute with the London music-publishing company of Lonsdale & Mills.16 The outcome of any litigation is not known, but Hogg vehemently disagreed with the claim registered by Lonsdale and Mills. In a letter to the publisher, dated 16 December 1830, he wrote, ‘I deny positively that either you [Lonsdale & Mills] or Dr Clark has a right to appropriate my words farther than as connected with his music’.17 Regardless, Hogg included both songs in Songs, by the Ettrick Shepherd, which was published in January 1831, just after his defiant response to the London publishers. To date no reviews of the collection have been located. The collection is dedicated to ‘Mrs. William Frere’, the wife of William Frere (1775– 1836), who was appointed master of Downing College, Cambridge in 1812. William married Mary Dillingham (d. 1864) in 1810, and she is accredited with making Downing College ‘something of a social centre during Frere’s mastership.’18 Clarke-Whitfeld was the organist and choirmaster for Trinity and St. John’s Colleges, Cambridge from 1799 to 1820 and was appointed Professor of Music in 1821.19 The present edition reproduces images from the copy of Twelve Vocal Pieces [1817] held by the British Library [BL H 1275 b]. Notes 1

2

See Nicholas Temperley’s entry in New Grove Online. For further information, see the ODNB entry for ‘John Clarke-Whitfeld’ by L. M. Middleton, rev. Nilanjana Banerji, and the entry in ‘Notes on Correspondents’, in Letters, I, 474–75. For further information, see Gerald W. Spink, ‘Walter Scott’s Musical Acquaintances’, Music and Letters, 51.1 ( January 1970), 61–65.

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See Nicholas Temperley’s entry in New Grove Online. NLS MS 3886, fol. 135. Professor William Smyth (1765–1849) was a Whig historian with a keen interest in politics and in poetry. Tutor of Peterhouse College from 1806 until 1825, and Regius chair of modern history at Cambridge from 1807 until his death in 1849, he was one of the major lyricists for George Thomson’s collections. Scott, Letters, III, 535–38 (p. 537); see also Baillie’s letter to Scott of 8 February 1814, prompting him to respond to Clarke-Whitfeld about the latter’s settings of Scott’s work, in The Collected Letters of Joanna Baillie, ed. by Judith Bailey Slagle, 2 vols (Madison: Fairleigh Dickinson University; London: University Press Association, 1999), I, 331–32. Scott, Letters, IV, 79. Letters, I, 264–65. See also Letters, I, 274–76. Letters, I, 274–76. NLS MS 3887, fols 121–22. Ibid. Letters, I, 280–81. NLS MS 3888, fols 67–68. Letters, II, 417. Michael Kassler, Music Entries at Stationers’ Hall 1710–1818 (Kent: Ashgate, 2004), p. 687. Letters, II, 315–16. Letters, II, 390. For further, see Gillian Hughes’s note on ‘Londale & Mills’, in Letters, II, 418. Letters, II, 417. ODNB entry for ‘William Frere’ by Alsager Vian, rev. Jonathan Harris. ODNB entry for ‘John Clarke-Whitfeld’ by L. M. Middleton, rev. Nilanjana Banerji.

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The Lark. Written expressly for this work, by James Hogg, the Scots Shepherd. BIRD of the wilderness, Blithsome and cumberless, Sweet be thy matin o’er moorland and lea! Emblem of happiness, Blest is thy dwelling-place, Oh! to abide in the desart with thee! Wild is thy lay and loud, Far in the downy cloud; Love gives it energy, love gave it birth, Where, on thy dewy wing, Where art thou journeying? Thy lay is in heaven, thy love is on earth. O’er fell, and fountain sheen, O’er moor, and mountain green, O’er the red streamer that heralds the day; Over the cloudlet dim, Over the rainbow’s rim, Musical cherubin, hie thee away! Then when the gloaming comes, Low in the heather blooms, Sweet will thy welcome and bed of love be! Bird of the wilderness, Blest is thy dwelling-place! Oh! to abide in the desart with thee!

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“Naething to Fear Ye.” Written expressly for this work, by James Hogg, the Scots Shepherd. O! my lassie! our joy to complete again, Meet me again i’ the gloaming, my dearie, Low down in the dell let us meet again; O! Jeanie! there’s naething to fear ye.— Come, when the wee bat flits silent an’ eiry, Come, when the pale face o’ nature looks weary; Love be thy sure defence, Beauty and innocence: O! Jeanie! there’s naething to fear ye! Sweet blows the haw an’ the rowantree, Wild roses speck our thicket sae breiry; Still, still will our bed in the green-wood be: O! Jeanie! there’s naething to fear ye! Note, when the blackbird o’ singing grows weary, Note, when the beetle-bee’s bugle comes near ye, Then come with blithsome haste, Light foot and beating breast, O! Jeanie! there’s naething to fear ye! Far, far will the bogle an’ brownie be; Beauty and truth they dare na come near it; Kind love is the tie of our unity, A’ maun love it, an’ a’ maun revere it: Love makes the song o’ the woodland sae cheery, Love gars a’ nature look bonny that’s near ye, That makes the rose sae sweet, Cowslip an’ violet, O! Jeanie! there’s naething to fear ye!

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German Hebrew Melodies [1817] German Hebrew Melodies [1817] contains eight songs, all of which are written by Hogg. The London composer and pianist, William Edward Heather (b. 1784), provided the musical arrangements. The date of publication is established by its announcement in Trewman’s Exeter Flying Post or Plymouth and Cornish Advertiser in early November 1817 (details given below). Little is known of either the composer William Heather or the publisher of this collection, Charles Christmas. Heather was the son of Stephen Heather, choirmaster at Eton. He was involved in two of Hogg’s song projects, namely German Hebrew Melodies [1817] and then A Border Garland [1819]. His other works included a Treatise on Pianoforte Study (c. 1820) and, more notably, a set of National Airs with Variations for the Harp (c. 1820). His date of death is not known but thought to be after 1830.1 Charles Christmas (no dates found) appears to have been in business as a London music seller and publisher for a relatively short period between c. 1811 and c. 1820. This publication notes that he is music seller to H.R.H Princess Charlotte of Saxe-Cobourg. He was a partner with the firm Falkner & Christmas from c. 1811, and both went on to develop their own businesses from 1816. Christmas was apparently based at the Opera and Music Saloon at 36 Pall Mall during the time of the publication of German Hebrew Melodies, but the hardboard cover to the copy in the present volume notes an address of 15 New Bond Street ‘Removed from Pall Mall’. The inclusion of the names of the three singers — ‘Lightendale, Braham and Solomon’ — on the title page of the collection gives a clear performance context for these songs. There is little extant information on Lightendale and Solomon, but John Braham (1774–1856) was the English tenor most closely associated with Lord Byron’s and the composer Isaac Nathan’s Hebrew Melodies project. He was a Jew who later converted, but he started his career as a choir boy at the London Synagogue. He sang at the first Edinburgh Musical Festival in 1815, though there is no evidence that Hogg heard these performances.2 These three singers were clearly accustomed to performing in a Jewish context. Several announcements and advertisements for the period from 1815 through to 1817, found in Trewman’s Exeter Flying Post or Plymouth and Cornish Advertiser and the Liverpool Mercury, cite performances by these singers and note that they are coming ‘from the continent’.3 The paper of 6 February 1817 mentions a performance by these three singers of

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Hebrew Melodies with the following comment: ‘Mr Heather, (conductor), presided at the piano-forte with his usual ability, and gave general satisfaction’. At this concert, in Sidmouth, only two Hebrew Melodies were scheduled but ‘at the particular desire of the nobility and gentry present, five Melodies were sung, which were rapturously applauded’. The paper for 21 August 1817 advertises another concert ‘including the performance of the Hebrew Melodies’ featuring all three singers, again with Mr W. E. Heather as conductor. This particular entry states that ‘Mr B Solomon, lately arrived from Germany has been engaged by Messrs Lightendale and Braham for the purpose of singing the Hebrew Melodies with them’. The German reference in the title to Hogg’s and Heather’s work is undoubtedly tying into the vogue for German performances of Hebrew melodies, and on 15 June 1820 an article entitled ‘Hebrew Melodists’ advertises a concert at Exeter Musical Society consisting of ‘original Hebrew Melodies, of German Airs’ by ‘Messrs. Rothschild (Father, and four Sons, Germans)’. The Germanic context is also suggested by the connection with Princess Charlotte, and the above information is succinctly utilised by Christmas on his title-page for the collection. As Gillian Hughes suggests, Hogg’s fascination with and enthusiasm for Byron’s Hebrew Melodies (1815) most probably provided the stimulus for his own attempt at creating Hebrew lyrics, and she notes especially Hogg’s interest in Byron’s reconfiguration of the language of the Old Testament.4 As his first ‘Memoir’ clarifies, Hogg had been brought up learning the Psalms of David from memory and he was deeply affected by the language of the Old Testament as well as by the power of musical performance of the psalms.5 Hogg’s novel The Brownie of Bodsbeck, which appeared in 1818, is significant in this context. Telling the story of the persecuted Covenanters (much akin to the Hebrews) Hogg’s descriptions of the singing of these men, allied to Nanny’s powerful renditions of ‘Dweller in Heaven’ and ‘The Cameronian Midnight Hymn’, are characteristic of the melismatic qualities of Nathan’s and Byron’s Hebrew Melodies.6 As Hughes notes, Hogg was reading Byron’s newly published Melodies in 1815, though it is not clear whether this was the text only version or its musical publication. Hogg was already involved in a correspondence with Byron at this time (his letters date from June 1814 to February 1816), partly in relation to his plans for the work which became The Poetic Mirror (1816) and partly because Hogg was attempting to interest Byron’s publisher, John Murray, in his own work. Hogg was to dedicate his poem The Pilgrims of the Sun — a four-part poem which has much reference to singing and the power of sound — to Byron in 1815.7

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There is a scarcity of evidence to trace the genesis of Hogg’s own Hebrew songs. Hogg writes to William Blackwood in the summer of 1815, and again to Sir Cuthbert Sharp in the summer of 1817, stating that he has been writing ‘two or three Hebrew Melodies’.8 Another letter to Blackwood of January 1818 includes ‘A Hebrew Melody’ (beginning ‘O saw ye the rose of the East’) for Blackwood’s Edinburgh Magazine where it appears that month, and he mentions that it was written for ‘a London work but not yet published’.9 Whether Hogg initiated the publication by creating his lyrics first and then teaming up with the composer William Heather, or whether the project was initiated by Charles Christmas, is not clear. However, a close comparison of this collection alongside the musical publication of the Byron and Nathan A Selection of Hebrew Melodies, which began to appear in 1815–1816 published by Nathan himself, would suggest that Christmas was following their example closely. While the Nathan project used recognised musical material and extant Jewish chants, it is not known where Heather found the stimulus for his melodic ideas. Contemporary newspapers would suggest that he was performing in a Jewish environment, influenced by Germanic performers. Notably the style of the settings for both Nathan and Heather are very similar.10 There are 29 songs across four volumes in the Byron and Nathan collection and only eight songs in that of Hogg and Heather. The Nathan settings are usually more chromatic and more dramatic than Heather’s, though both fall into similar stylistic categories: hymns; oratorio-like arias; melismatic and pathetic settings; and those in a particular Italianate or Germanic style.11 The publication of German Hebrew Melodies was announced in Trewman’s Exeter Flying Post or Plymouth and Cornish Advertiser for 6 November 1817, but the notice itself is dated with the reference ‘Pall Mall, Nov. 2, 1817’. Hogg’s only extant letter to William Heather is dated 1 April 1818 and is solely concerned with the forthcoming A Border Garland [1819].12 The review of Hogg’s 1821 edition of The Mountain Bard, which appeared in the Edinburgh Monthly Review in June of that year, specifically referred to Hogg’s ‘Hebrew Melodies’, noting that next to the lyrics of Byron and Moore, Hogg’s attempts were much more successful, possessing ‘that freshness and simplicity of sentiment’.13 The eight songs appeared only once more in Hogg’s lifetime as ‘Sacred Melodies’ without musical notation in Volume 4 of The Poetical Works of James Hogg (1822). However, Hogg’s ‘Sacred Melodies’ were not forgotten by his contemporaries. In September 1832 the Monthly Repository published an article under the heading ‘On the Connexion Between Poetry and Religion’ with the sub-title ‘Didactic and Devotional Spirit of the Modern Poets. James Hogg’. It traces Hogg’s rise

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from peasant beginnings, drawing attention to the importance of the Old Testament and ‘the big ha’ Bible’, but talks of the disappointment of his ‘Hebrew Melodies’: Lord Byron published his ‘Hebrew Melodies’ and Mr Hogg must have his ‘Hebrew Melodies’ also. But he, who looks among them for anything peculiarly stimulative of his moral or devotional sensibilites, will search them, we fear, to very little purpose, and find that they as little resemble the pulsations of a prophetic harp, as they do the breathings of the pastoral reed.14 The present edition reproduces images from the copy of German Hebrew Melodies held by the British Library [BL H 1231], which includes the autographs of both Braham and Lightendale on the title-page. Notes 1 2

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See also the introductory note to A Border Garland in the present volume and the brief note about Heather in Letters, I, 345. See Kirsteen McCue, ‘From the Songs of Albyn to German Hebrew Melodies: The musical adventures of James Hogg’, Studies in Hogg and his World, 20 (2009), 67–83. See the newspapers for the following dates — Liverpool Mercury: 1 September 1815; Trewman’s Exeter Flying Post: 8 June 1815, 20 July 1815, 22 August 1816, 29 August 1816, 6 February 1817, 21 August 1817. See Gillian Hughes, James Hogg: A Life, p. 138; and Hughes’s article, ‘“Native Energy”: Byron and Hogg as Scottish Poets’, The Byron Journal, 34.2 (2006), 133–42. See the 1807 ‘Memoir of the Life of James Hogg’ in The Mountain Bard (S/SC, 2007), pp. 8–9. James Hogg, The Brownie of Bodsbeck and Other Tales, 2 vols (Edinburgh: Blackwood, 1818), I, 21–22 (‘These psalms, always chaunted with ardour and wild melody, and bourne on the light breezes of twilight, were often heart at a great distance’). The two hymns are found at pp. 291–95. See McCue, ‘From the Songs of Albyn’ for further information. See Hogg’s letter to Blackwood of 12 August 1817 (Letters, I, 250–52); and to Sir Cuthbert Sharp of 15 August 1817 (Letters, I, 298–300). See Hogg’s letter to Blackwood of 5 January 1818 (Letters, I, 323–24). This song is in Contributions to Blackwood’s, I, pp. 55–56. It appears as ‘The Rose of Sharon’ in German Hebrew Melodies. See Thomas L. Ashton, Byron’s Hebrew Melodies (London, 1972), especially the opening chapter, ‘The Real Old Undisputed Hebrew Melodies’, pp. 3–61. See also Tom Mole, ‘The Handling of Hebrew Melodies’, Romanticism 8.1 (2002), 18–33; and A Selection of Hebrew Melodies, Ancient and Modern by Isaac Nathan and Lord Byron, ed. with introduction and notes by Frederick Burwick and Paul Douglass (Tuscaloosa & London, 1988). Thanks to both Dr Kenneth Elliott and Professor Ruth HaCohen for their help in trying to source the melodic content of the Hogg and Heather collection.

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Letters, I, 343–46. Edinburgh Monthly Review, 5.6 ( June 1821), 662, 670–71. Monthly Repository, 6.69 (September 1832), 618–27.

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Rise! Rise, Dawn of the Morn! The Captive’s Song. I. RISE! rise, dawn of the morn! In glory awake, for thy hour is nigh! Com’st thou afar, by cherubim borne, O’er lands of the East, o’er star and sky? Or sleep’st thou on yon mountain gray?— Awake, thou Sun! and come away. Yes, thou wilt wake; but, woe is me, For the shame and guilt thine eye must see!— The stranger’s incense burning still On the heights of Zion’s holy hill; And the rude Sabine’s altar-stone In the green groves of Lebanon! II. Wake! wake! that I may view Thy splendour shed (nor grieve the less) O’er vales of Kedar bath’d in dew, And Chebar’s balmy wilderness! Soon thou wilt smile in beauty bland Above the Chaldean’s sinful land;— But, oh! when shall dawn the day Of retribution and of grace? When shall the shadows pass away That brood o’er Israel’s fallen race? Thou Holy One! has Salem’s day By thee forgotten been for aye? III. Sing! sing!—How shall I sing A song of Zion or of thee? Or hymn the name of Israel’s King In darkness and captivity? My tabor has no strain nor string The songs of Zion’s land to sing! But thee, Jerusalem! when my heart Ceases to yearn and bleed for thee, May skill from my right hand depart,

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And my reward let bondage be! There lies engrav’d thy temple fair, And NAME that once we worshipp’d there! IV. Wake! wake! in thy strength awake! Be vengeance on the heathen driven! Before thee let the mountains quake; Thy chariot be the winds of Heaven! Come on the clouds, and who shall stand Against the sway of thy right hand? Think not of us, so far remov’d, And as a garment cast away;— Think on our fathers once belov’d; Must David’s house like grass decay? Return, and set thy people free, And captives yet shall sing to thee!

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Must I Leave Thee? I. MUST I leave thee broken-hearted, All our hopes for ever thwarted? Early met, and early parted,— Yet while love was new! Just when the bud had fondly spread Its breast to heav’n, with blushes red, The fruit, within its bosom hid, Shrunk from its fost’ring dew! II. There’s a pang (I may not name it! Heart of alien cannot frame it, Tongue of angel cannot blame it) Wrings this bosom still:— Oh! thou art all with softness blent; Mild as the lamb, and innocent;— But thou art in the stranger’s tent, And subject to his will!

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III. Bitterer term was never spoken! Take this last, this farewell token,— All my hopes with it are broken, Save in one sole deed:— On that pure breast and form so fair, Should eye or hand of vi’lence dare!— I say no more; but to thy care I trust this sure remede. IV. How is the gold become so dim? How hush’d the virgin’s choral hymn? Our cup of mis’ry wets the brim; ’Tis slav’ry or the grave. Was ever sorrow like to mine? The daughters young, of Judah’s line, Are led in bonds and share to pine, And none to help or save!

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Oh! Saw Ye the Rose of the East? The Rose of Sharon. I. OH! saw ye the Rose of the East, In the valley of Sharon that grows? Ye daughters of Juda, how blest To breathe in the sweets of my Rose! Come, tell me if yet she’s at rest In her couch, with the lilies inwove? Or if wantons the breeze with her breast, For my heart it is sick for my love? II. I charge you, ye virgins unveil’d, That stray ’mong the pomegranate trees, By the roes and hinds of the field,

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That ye wake not my love till she please! “The garden with flow’rs is in blow, “And roses unnumbered are there; “Then tell how thy love we shall know, “For the daughters of Zion are fair.” III. A bed of frankincense her cheek, And wreath of sweet myrrh is her hand; Her eye the bright gem that they seek By the rivers and streams of the land:— Her smile from the morning she wins; Her teeth are the lambs on the hill;— Her breasts two young roes that are twins, And feed in the valleys at will. IV. As the cedar that smiles o’er the wood; As the lily ’mid shrubs of the heath; As the tow’r of Damascus that stood Overlooking the hamlets beneath:— As the moon that in glory you see ’Mid the stars and the planets above; Even so among women is she, And my bosom is ravish’d with love! V. Return with the evening star, And our couch on Amana shall be; From Shinar and Hermon afar Thou the mountains of leopards shalt see. O Shulamite! turn to thy rest, Where the olive o’ershadows the land; As the roe of the desert make haste, For the singing of birds is at hand!

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Maiden of Jeshimon. Duet. I. O! LIVES one love-spark in your breast, Maiden of Jeshimon! pray you tell? 2d Voice. Go ask at her whom you now love best,— Ask her the way you know full well. 1st Voice. Women are fickle, and all untrue! 2d Voice. Men are ungrateful,—so are you! 1st Voice. Vanity! 2d Voice. Lenity! Both Voices. Wormwood and gall! 2d Voice. Suavity! 1st Voice. Levity!— Both Voices. Worst of all! Once full happy and blithe were we,— Blithe as bird on the greenwood-tree! 1st Voice.

II. 1st Voice. Long I lov’d, and lov’d you dear,— 2d Voice. Many a day and many a year: Both Voices. Then all nature seem’d completer,— Smiling sweeter. Ah! how dear! 1st Voice. But ’tis gone! 2d Voice. Let it go! 1st Voice. Canst thou say so, true love? 2d Voice. Time, that wears all away, Will lay me low! Both Voices. Again we’ll sport, as we have done, Round the tree, over the lea; Nature then shall smile again, And, blithe as we, who shall be? Sweet the bird shall sing on the tree, And sweet the sun rise over the sea!

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Dweller in Heaven. I. DWELLER in Heaven high, Ruler below! Fain would I know thee, yet tremble to know! How can a mortal deem, how may it be, That being can ne’er be but present with thee? Is it true that thou saw’st me ere I saw the morn? Is it true that thou knew’st me before I was born? That nature must live in the light of thine eye? This knowledge for me is too great and too high! II. That, fly I to noon-day, or fly I to night, To shroud me in darkness, or bathe me in light, The light and the darkness to thee are the same, And still in thy presence of wonder I am! Should I with the dove to the desert repair, Or dwell with the eagle in clough of the air— In the desert afar—on the mountain’s wild brink— From the eye of Omnipotence still must I shrink? III. Or mount I, on wings of the morning, away To caves of the ocean, unseen by the day, And hide in these uttermost parts of the sea, Even there to be living and moving in thee! Nay, scale I the cloud, in the heavens to dwell, Or make I my bed in the shadows of hell, Can science expound, or humanity frame, That still thou art present, and all are the same? IV. Yes, present for ever! Almighty! Alone! Great Spirit of nature! unbounded Unknown! What mind can embody thy presence divine? I know not my own being! how can I thine? Then humbly and low in the dust let me bend, And adore what on earth I can ne’er comprehend: The mountains may melt, and the elements flee, Yet an universe still be rejoicing in thee!

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Depart Ye, Depart Ye! I. “DEPART ye,—depart ye,— For shame, ere the morrow! Alone let me weep, In anguish and sorrow, For her whom so long I’ve lov’d with fond duty; For all I have lost Of sweetness and beauty. II. “These seven long years I have serv’d hardly for her; Yet they seem’d but a day, For the love that I bore her: The chill hour of midnight Oft watching has found me, While the wolf and the lion Were prowling around me. Shame on the gift! shame on the giver! Woe, woe, now and for ever!” III. “Cheer thee, boy!—cheer thee, boy! Blame not her willingness; Bound to obey, And sway’d by her lovingness. Striplings may woo, But age must beware of them; Laws must be fram’d, And strangers must care for them. IV. “Love’s like the young rose; Pull’d, it will fade and die: Love’s like the diamond; Hardly won, valued high: For seven years more, She will kinder and dearer grow; Thine shall thy love be,

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When thou hast won her so.” “Blest be the boon! blest be the giver! Joy, joy, now and for ever!”

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On Carmel’s Brow. I. ON Carmel’s brow the wreathy vine Had all its honours shed; And, o’er the vales of Palestine, A sickly paleness spread: When the old seer, by vision led, And energy sublime, Into that shadowy region sped, To muse on distant time. II. He saw the valleys far and wide, But sight of joy was none; He look’d o’er many a mountain’s side, But silence reign’d alone;— Save that a boding voice sung on By wave and water-fall, As still, in harsh and heavy tone, Deep unto deep did call. III. On Kison’s strand, and Ephratah, The hamlets thick did lie; No wayfarer between he saw, No Asherite pass’d by! No maiden at her task did ply, Nor sportive child was seen; The lonely dog bark’d wearily Where dwellers once had been. IV. Oh! beauteous were the palaces On Jordan wont to be; And still they glimmer’d to the breeze,

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Like stars beneath the sea:— But vultures held their jubilee Where harp and cymbal rung; And there, as if in mockery, The baleful satyr sung. V. But, O that prophet’s vision’d eye, On Carmel that reclin’d! It look’d not on the times gone by, But those that were behind; His grey hair stream’d upon the wind,— His hands were rais’d on high,— As, mirror’d, on his mystic mind, Arose futurity! VI. He saw the feast in Bozrah spread, Prepar’d in ancient day; Eastward, away the eagle sped, And all the birds of prey. “Who’s this,” he cried, “comes by the way Of Edom, all divine,— Travelling in splendour, whose array Is red, but not with wine? VII. “Blest be the herald of our king, That comes to set us free! The dwellers of the rock shall sing, And utter praise to thee! Tabor and Hermon yet shall see Their glories glow again, And blossoms spring on field and tree, That ever shall remain. VIII. “The happy child, in dragon’s way, Shall frolic with delight! The lamb shall round the leopard play, And all in love unite! The dove on Zion’s hill shall light,

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That all the world must see; Hail to the journeyer, in his might, That comes to set us free!”

The Guardian Angels. (Duet.) WHITHER journeyest thou? Where dost thou dwell? Dwell’st thou in the rainbow, Or hills of Israel? Beauteous guardian angel, Tarry here with me; Or guide me thro’ the twilight, Far, far, with thee. The young and fair We’ll guard with care From every snare And treachery.

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Two Voices. Over tower and palace, River broad, and fountain,— Over den and desert, Vale and lofty mountain, Infant’s bed,—Virgin’s head,— Age and misery! 1st Voice. 2d Voice. 1st Voice. 2d Voice. Both Voices.

Dost thou dread it? Thou shalt see. Dost thou shun it? Oft I’ve done it. Kind the heart that needs no sueing! Sweet the toil when good we’re doing! Sweet the toil, &c. &c.

1st Voice. Wert thou a watcher here? 2d Voice. Many a thousand year. Both Voices. Then, for aye our task pursuing,

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Never done, yet always doing, Till our time of bliss draws near. 1st Voice. Shall it never? 2d Voice. Yes, for ever. Both Voices. Then our joys be ever new! As our love and duty true! Our task is love, and ’tis from above, For love is heaven, and heaven is love!

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George Thomson’s Collections Eight of Hogg’s songs were included in the song collections published by Edinburgh music editor and civil-servant, George Thomson (1757–1851), appearing across three of Thomson’s publications: the fifth folio volume of A Select Collection of Original Scottish Airs (1818); the third, fourth and fifth volumes of the octavo collection Thomson’s The Select Melodies of Scotland (1822–1825); and finally in the sixth volume of the folio collection now entitled Melodies of Scotland (1841). Hogg corresponded with Thomson between 1814 and 1829, but Thomson did not publish ‘Come all ye jolly shepherds’ (otherwise better known as ‘When the kye comes hame’) until 1841. Thomson was born in Fife and brought up in Banff in the North East of Scotland. He moved to Edinburgh in the 1770s becoming a legal clerk and was soon attending the Concerts of the Edinburgh Musical Society. He was promoted to the role of Senior Clerk to the Board of Trustees for the Arts and Manufactures in Scotland, a post he retained until his retirement in 1839, where he oversaw the export of Scottish produce. His administrative skills and networks were to prove most useful in his publishing project. Thomson’s passion for Scottish poetry allied to his interest in traditional melody and new European music (especially the music of Joseph Haydn and Ludwig van Beethoven) inspired him to embark on the editing of three major national song collections between the 1790s and the 1840s: A Select Collection of Original Scottish Airs (1793–1841), A Select Collection of Original Welsh Airs (1809–1817), and A Select Collection of Original Irish Airs (1814 and 1816).1 In the 1820s, Thomson also decided to produce a collection in royal octavo, which would include songs from all three larger folio collections. Each of the volumes in the Scottish collection underwent frequent reissuing, and this collection is regarded as ‘the most intricate bibliographical enigma’.2 Thomson’s editorial policy required separate commissions for music and lyrical texts. He sourced the melodies he wished to include and then sent them to his composer for ‘setting’ or creating an accompaniment for the vocal part, which included separate parts for piano, violin and violoncello.3 Most often these settings were undertaken by key European composers of the moment including, most importantly, the old Joseph or ‘Papa’ Haydn, Ludwig van Beethoven and Carl Maria von Weber. In the meantime Thomson gathered existing well-known texts for those melodies, or had commissioned a writer to produce a new set of lyrics

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for him. Hogg was one of a large group of contemporary writers, both men and women, who contributed songs including Robert Burns (before his death in 1796), Walter Scott, Joanna Baillie, Anne Grant of Laggan and the English poet William Smyth. Hogg’s songs appeared within the Scottish collection (Volumes 5 and 6), and also as part of the octavo collection (Volumes 3, 4, and 5).

A Select Collection of Original Scottish Airs, Vol. V (Folio, 1818) Thomson’s project was thus well established before he made contact with Hogg in 1815.4 Hogg was in fact in touch with Thomson the previous year in reference to the establishment of a Robert Burns dinner in Edinburgh, but there was no mention of Thomson’s collections.5 Thomson’s invitation to Hogg to contribute to his work was not until his letter of 18 October 1815, when he stated that he was intending to produce a concluding volume to his Scottish collection (the fifth volume of 1818), and he should ‘be quite mortified if nothing of yours were to appear in the collection which I have formed with such solicitude for the excellence of the poetry’.6 He commented that the Bard’s songs in The Queen’s Wake were ‘immortal, but from their length are for reading, not for singing’ and asked Hogg to consider ‘pastoral scenes of the Yarrow and Ettrick’. In particular he requested Hogg to provide ‘the beautiful song of Meg’, which he had heard Hogg sing at the Exchange. Hogg’s response of 25 October was enthusiastic, respectfully acknowledging Thomson’s ‘unwearied exertions in rescuing our national airs and songs from oblivion’.7 Hogg mentioned his collecting of some ‘20 ancient Border airs’ to Thomson: a group of songs he also offered to John Clarke-Whitfeld in January 1816 and which he ultimately passed to Alexander Campbell for inclusion in Albyn’s Anthology (1816 and 1818).8 He enclosed his ‘Meg’ song as requested. It begins ‘Could this ill warld hae been contrived’. Thomson included this song in his 1818 volume 5 with the title ‘Mischievous Woman’ with a musical setting by Beethoven. This song was reprinted again by Thomson in the final sixth folio volume Melodies of Scotland in 1841 (see below). Thomson’s next letter of 9 November 1815 follows a similar format to those he wrote to other poets: namely he lists a number of songs (with their melodies and some background to existing texts for the song) and requests new sets of appropriate lyrics to be written.9 Hogg was therefore specifically asked to produce lyrics to match ‘The Highland Watch’, the popular song with the refrain ‘Bonnie Laddie, Highland Laddie’, ‘Widow are you waking’ (Thomson deemed the existing lyric linguistically unsuitable) and ‘the haughs of Cromdale’. Hogg

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provided sets of lyrics for the first two on this list. With his letter of 23 November 1817 Thomson sent the music of ‘The Highland Watch’ for Hogg to see, noting that he’d already received a setting of the song by Beethoven and asking Hogg to provide lyrics ‘touching or striking a soldierly theme’.10 Hogg was so enthused by Thomson’s letter that he wrote back immediately: ‘I have dashed a song down on the slate while he [the postman] is engaged at his dinner which I will copy on the other page and send to you’.11 This text, with some changes, appeared in the fifth folio volume in 1818 with the setting by Beethoven. Hogg’s corrected text for ‘The Highland Watch’ (beginning ‘Old Scotia, wake thy mountain strain’) was then sent back to Thomson on 22 December 1817 and is a fine example of the process Thomson’s writers were encouraged to undertake.12 Thomson was fastidious about the lyrics, often questioning the use of individual words and phrases and asking at all times for morally suitable lyrics. This letter also refers to Hogg’s involvement with Colonel David Stewart of Garth of the Highland Society in London and the ‘Jacobite Relics’ project.13 Hogg’s letters to Thomson of March 1818 reveal Thomson’s editorial process.14 For example, Hogg’s ‘Bonnie Laddie, Highland Laddie’ is one that moves frequently between poet and editor. In this particular case Thomson was thrilled with the final version noting: ‘Your Highland laddie my dear Sir is an admirable fellow, and I shall have great pleasure in introducing him to the Public’.15 However, not all of the songs Hogg sent were taken up by Thomson for this fifth folio volume. ‘The Young Chevalier’, also referred to as ‘Charley’, mentioned in Hogg’s letter to Thomson of [9 May 1818], did not appear, and although Hogg asked Thomson if he might borrow fiddle collections by William McGibbon and James Oswald, presumably for sources of melodies, no other songs were forthcoming before the volume appeared.16 Thomson’s preface (‘To the Public’) dates the appearance of the fifth volume as ‘1st June 1818’. This preface announces that the volume includes music by Haydn and Beethoven and a new setting of Burns’s cantata ‘The Jolly Beggars’ by the English composer Sir Henry Bishop.17 He lists the key writers involved in this volume as being: ROBERT BURNS JAMES HOGG WALTER SCOTT Esq. WILLIAM SMYTH Esq. JOANNA BAILLIE, &c. Thomson then notes the process he has adopted of choosing and adjusting melodies (with often expansive vocal ranges) to make them easier for domestic performance, and ‘expunging’ those unsuitable ones.

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The five Scottish volumes were reissued as a set in 1826, and they were reviewed in The Harmonicon in 1828. This extensive review noted the importance of Thomson’s work in popularising Scottish songs south of the Tweed, and also the widening performance context for these songs: We discovered that Scotland possessed a body of national music, of great extent, and vast variety of character and expression; many of the airs being as remarkable for grace, elegance, and even grandeur, as others for rustic hilarity, tenderness, and pastoral simplicity. The Scottish melodies, consequently, have taken the rank to which they are entitled. They exercise the talents of our greatest composers, display the powers of our best singers, and contribute very largely to the musical pleasure of the most refined and elevated classes of society. For much of this the music of Scotland has to thank the Editor of the present work; and, by stock of original lyric poetry, to which he has joined this music, he has, moreover, made a great and permanent addition to the literary capital of our country.18 The reviewer states that ‘Of the poetry contained in these volumes, by far the greatest part is modern’. Thomson is praised for the quality of the musical settings (much superior to other settings comprising ‘dry and meagre chords’), but he is chastised for employing only ‘foreign’ musical talent and not for commissioning more British musicians. The present edition reproduces images from the copy of A Select Collection of Original Scottish Airs (Folio, 1818) held by Glasgow University Library [Ca. 9–x.12].

Thomson’s The Select Melodies of Scotland Interspersed with those of Ireland and Wales United to the Songs of R. Burns, Sir W. Scott &c. &c…(Royal Octavo, 1822–1825) Hogg’s involvement with Thomson’s next project — his octavo collection mentioned above — began with Thomson’s letter of 30 November 1821. This is a long letter to Hogg, alerting him to Thomson’s plan to release ‘a new edition of my Collection’.19 He specifically requested the inclusion of Hogg’s ‘The Lament of Flora MacDonald’, which had, by this point, just appeared in the Jacobite Relics (Second Series) of 1821, and previously in A Border Garland [1819] and also as a separate song-sheet. Thomson asked that Hogg provide songs for another three melodies, giving the background to each song and explaining to Hogg what he wished by return. He noted in particular that Hogg had ‘brought the

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Tartan so much into fashion’ and also mentioned the ‘admiration of the prowess and enthusiasm & fidelity of the Highlanders in the cause of Prince Charlie’ by means of tempting Hogg to provide a good Jacobite lyric to the tune ‘Woo’d an’ married an’ a’. Moreover, he enclosed sample stanzas to illustrate the meters required for lyrics to the tunes ‘My wife’s a winsome wee thing’, ‘Woo’d an’ married an’ a’, and ‘My love’s in Germany’. Thomson also included a tablecloth for Mrs Hogg and offered to send Hogg a new fiddle by means of payment for his involvement, something he was prone to do for his poets. In his response of 14 December 1821, Hogg thanked Thomson for the gifts, but he pointed out that his own fiddle was more than adequate. Hogg stated that his ‘first’ song, ‘Donald MacDonald’, was written for the tune ‘Woo’d an’ married an’ a’, and he offered to try lyrics for the others. After referring Thomson to Gow’s setting of ‘Flora MacDonald’s Farewell’, he enclosed a brief version of a song with the title ‘When the kie comes hame’.20 But Thomson, interestingly, chose to leave this lyric to one side (first publishing another variant of the song in 1841). Gow’s setting of ‘The Lament of Flora MacDonald’ did appear in volume IV, but Thomson did not include ‘Donald MacDonald’ anywhere in his collections. Thomson’s stipulation over metre, in his letter of 30 November, was not welcomed by Hogg, who responded angrily on 14 February 1822.21 Hogg was not the only poet to be irritated by Thomson’s editorial demands. Hogg’s letters in March 1822 show that he did continue to amend the lyrics Thomson approved of, but here Hogg is less enthusiastic and chatty. Ultimately his final versions of ‘The Three Men of Moriston’ and his efforts to tinker with ‘Pull Away Jolly Boys’, for the melody known as ‘The Wish’, were successful.22 Thomson chose to include these songs in his octavo volumes, along with ‘The Lament of Flora MacDonald’ and his existing ‘The Highland Watch’. In the process Hogg’s ‘The Gathering of the Stewarts’, which he had set to the tune ‘My wife’s a winsome wee thing’, and his ‘Cameron’s Welcome Hame’ to the tune ‘Rattlin’ roarin Willie’ were not included.23 Moreover, although Thomson tried at the last minute (1 May and 18 May 1822) to secure a new set of lyrics for ‘We’re a’ noddin’, Hogg appears not to have responded to this request.24 A review of the first five volumes of the octavo collection appeared in The Literary Gazette and Journal of Belles Lettres, Arts, Sciences in January 1823, which announced excitedly the cheaper and more portable publication of the fruits of Thomson’s larger, well-established and popular folio collections. Much was made of Thomson’s ‘Dissertation on Scottish Music’, which appeared for the first time in this collection (in the

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first volume), and which the review quotes at length. While none of his lyrics were specifically discussed, Hogg was mentioned as one of a list of ‘distinguished bards’. 25 Thomson produced a later edition of his set of octavo volumes entitled Thomson’s Collection of the Songs of Burns, or Walter Scott Bart. And Other Eminent Lyric Poets Ancient and Modern […], which appeared in different issues after 1825 and into the 1830s. There are some notable variants between the two editions. The present edition reproduces images from the copy of Thomson’s The Select Melodies of Scotland Interspersed with those of Ireland and Wales United to the Songs of R. Burns, Sir W. Scott &c. &c…(Royal Octavo, 1822–1825) held by the National Library of Scotland [NLS MUS. RM. 41].

The Melodies of Scotland, Vol. VI (Folio, 1841) The sixth volume of Thomson’s folio Scottish collection did not appear until 1841, some 23 years after the fifth volume of 1818. By this time Thomson had reissued his first five folio volumes of the Scottish Collection some three times and his octavo collection at least as many times. Several of his contributors, both musicians and writers, had died, including Hogg. This final folio volume included several songs that had not already appeared elsewhere in the collections. The correspondence between Thomson and Hogg did not continue fruitfully after the appearance of the octavo collection in 1823. There are only two further extant letters from Hogg to Thomson in August and October 1829 and one undated letter from Thomson (most probably after August 1829).26 The letter of 15 August 1829 explains to Thomson that Hogg had ‘sold the copyright of “Cam ye by Athole” to Mr Purdie’, and the October letter refers to Haydn’s arrangement of Burns song ‘My love she’s but a lassie yet’ (to which Hogg also wrote an impressive set of lyrics).27 Thomson published neither of these songs, though he clearly had plans to include them at this point. ‘Mischievous Woman’, which had first appeared in the fifth volume in 1818, with its setting by Beethoven, was reprinted by Thomson in this final volume in 1841, no. 272.28 It was removed from volume 5 in 1831 to be replaced by Byron’s ‘Farewell’ with a setting by Johann Nepomuk Hummel. Thomson was keen to include arrangements just recently provided by Hummel. In fact Hummel also set Hogg’s ‘Cam ye by Athole’ (or ‘Bonny Prince Charlie’). Thomson inserted Hogg’s first verse on Hummel’s musical copy, but he never published it, instead inserting lyrics by David Vedder in a later issue, undoubtedly acknowledging Purdie’s copyright ownership of Hogg’s song.29 ‘Come all ye jolly shepherds’, which appeared with a setting by Haydn as no. 256, however, is altogether new for Thomson’s Scottish

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Collection, even though Hogg had sent a version to Thomson in 1821. By 1841 this had become one of a group of highly popular Hogg songs and clearly Thomson would have wished to include it. Thomson pairs it with an existing musical setting by Haydn (who had died in 1809) to a tune from John Gay’s ‘The Beggar’s Opera’ (the English air ‘The bonny grey-ey’d morn’). This is an interesting choice, as a variant of the tune ‘The Blathrie o’t’ had become the standard melody for Hogg’s song. Moreover, the text Hogg sent to Thomson on 14 December 1821 is altogether different from that published by Thomson here. This 1841 version appears to be an amalgamation of elements of the fuller text Hogg includes in Songs by the Ettrick Shepherd (1831). While no review of this 1841 volume has been found, the set of five folio volumes published in 1831 with the new title Melodies of Scotland, with Symphonies and Accompaniments for the Piano-Forte, Violin &c. By Pleyel, Haydn, Beethoven, Weber, Hummel &c. The Poetry chiefly by Burns… was reviewed in the Metropolitan in July 1831. It drew particular attention to the poetry by stating boldly: ‘This is not less a literary than a musical work. It not only contains a complete body of Scottish national melodies, but the most extensive collection of lyric poetry in our language’, and it notes how ‘greatly improved’ the edition is.30 Particular attention is paid to the new musical arrangements by Weber and Hummel. Hogg’s contribution is not mentioned. The present edition reproduces images from the copy of the sixth volume of Melodies of Scotland (Folio, 1841) held by the National Library of Scotland [Mus L l. 69]. Notes 1

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See ‘Notes on Correspondents’ in Letters I, 473–74. Thomson also published A Select Collection of Original Welsh Airs (1809–1817) and A Select Collection of Irish Airs (1814 & 1816), but Hogg’s songs only appeared in the Scottish collection. See Cecil Hopkinson & C. B. Oldman, ‘Thomson’s collections of national song: with special reference to the contribution of Haydn and Beethoven’, Transactions of the Edinburgh Bibliographical Society, 2.1, 3–64. See also amendments to this published in the same journal, 3.2 (1954), 123–24; and Kirsteen McCue, ‘“The most intricate bibliographical enigma”: understanding George Thomson (1757–1851) and his collections of National Song’, in Music Librarianship in the United Kingdom, ed. Richard Turbet (Aldershot: Ashgate, 2003), pp. 99–119. Separate instrumental parts were issued with the folio collections — these parts are not included in the present volume, but the three Beethoven settings are available complete in the new Beethoven edition: see Beethoven Werke: Schottische und walisische Lieder, Abteilung XI, Band 1, ed. Petra Weber-Bockholdt (München: Henle Verlag, 1999). The octavo volumes appeared with piano accompaniments only.

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J.C. Hadden’s George Thomson: The Friend of Burns (London: Nimmo, 1898) includes a detailed resume of the correspondence between Hogg and Thomson, pp. 171–87. See Gillian Hughes, James Hogg: A Life, p. 132. See British Library Add MS 35267, fols 160–61. See Letters, I, 253–56. For further details see the introductory notes to both Twelve Vocal Pieces and Albyn’s Anthology in the present volume. See BL Add MS 35267, fols 162–63. See BL Add MS 35268, fols 13–14. See Letters, I, 309. See Letters, I, 317–20. See James Hogg, The Jacobite Relics of Scotland (First Series), ed. Murray G. H. Pittock (S/SC, 2002), pp. xix–xx. Thomson recommended Hogg to the Highland Society of London for the Jacobite relics project. See Letters, II, Hogg to Thomson [16 March 1818] and 25 March [1818], pp. 336–40. See Thomson’s letter to Hogg, 18 March 1818, BL Add MS 35268, fols 20–21. See Letters, I, 348–49, 352–53. This is believed to be the first musical publication of Burns’s ‘Love and Liberty’ or ‘The Jolly Beggars’. The Harmonicon, 7.2 (1828). See BL Add MS 35268, fols 72–74. Letters, II, 131. Letters, II, 141–43. See Hogg’s amendments to ‘The Three Men of Moriston’ in his letter to Thomson of [21 March 1822], in Letters, II, 156–59. And for amendments to ‘Pull Away Boys’ see Hogg’s letter of [7 June 1822] in Letters, II, 163. See BL Add MS 35268, fol. 88 and 35268, fol. 90. Both are notes rather than full copies of his letters to Hogg. See BL Add MS 35268, fol. 96 and fol. 97. Literary Gazette and Journal of Belles Lettres, Arts, Sciences ( January 1823), 50–52. See Letters, II, 350–51, 358–59. Thomson to Hogg, undated, BL Add MS 35269, fol. 2. Gillian Hughes’s notes to Hogg’s letter of 23 October 1829 give the details of Thomson’s commission for lyrics to ‘My love she’s but a lassie yet’ which he does not publish but Hogg includes in Songs by the Ettrick Shepherd in 1831. See Letters, II, 358–59. Prior to 1841, ‘Mischievous Woman’ reappeared in Thomson’s Appendix of Twenty Scottish Melodies added in 1838–1839 (Edinburgh, 1839) as no. 4th 100. See Thomson’s letter to Hummel of 29 October 1831: BL Add MS 32188. Fols. 1–5. The air for this song — titled ‘Loyalty of the Highlanders to their Prince’ in Thomson’s hand — is found as no. 10 on fol. 5r and fol. 5v. David Vedder’s lyric was published in volume 2 of Thomson’s Collection of the Songs of Burns, etc., p. 41. Metropolitan, 1.3 ( July 1831).

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Could This Ill Warld Have Been Contrived. Written for this work By James Hogg. The air composed for the words by a friend of the editor. COULD this ill warld have been contrived To stand without that mischief, woman! How peacefu’ bodies wou’d have liv’d, Releas’d frae a’ the ills sae common. But since it is the waefu’ case, That man must have this teasing crony, Why such a sweet bewitching face? O had they no been made sae bonnie! I might have roam’d wi’ cheerful mind, Nae sin nor sorrow to betide me, As careless as the wand’ring wind, As happy as the lamb beside me. I might have screw’d my tuneful pegs, And carol’d mountain airs fu’ gaily, Had we but wanted a’ the Megs, Wi’ glossy een sae dark and wily. I saw the danger,—fear’d the dart,— The smile, the air, and a’ sae taking! Yet open laid my warless heart, And got the wound that keeps me waking! My harp waves on the willow green, Of wild witch notes it has na ony, Sin’ e’er I saw that pawky quean, Sae sweet, sae wicked, and sae bonny!

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The Highland Watch. Written for this work on the return of the 42d regiment from Watlerloo. By James Hogg. Air,—The Highland Watch. OLD Scotia, wake thy mountain strain In all its wildest splendours! And welcome back the lads again, Your honour’s dear defenders. Be ev’ry harp and viol strung, ’Till all the woodlands quaver: Of many a band your bards have sung, But never hail’d a braver. CHORUS.—Then raise the pibroch, Donald Bane, We’re all in key to cheer it; And let it be a martial strain, That warriors bold may hear it.

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Ye lovely maids, pitch high your notes, As virgin voice can sound them, Sing of your brave, your noble Scots, 15 For glory kindles round them. Small is the remnant you will see, Lamented be the others! But such a stem of such a tree, Take to your arms like brothers. 20 CHORUS.—Raise high the pibroch, Donald Bane, Strike all our glen with wonder; Let the chaunter yell, and the drone note swell, Till music speaks in thunder. What storm can render your mountain rock, What wave your headlands shiver? Long have they stood the tempest’s shock, Thou know’st they will for ever. Sooner your eye these cliffs shall view Split by the wind and weather, Than foeman’s eye the bonnet blue, Behind the nodding feather. CHORUS.—O raise the pibroch, Donald Bane,

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Our caps to the sky we’ll send them, Scotland, thy honour who can stain, Thy laurels who can rend them!

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Where Got Ye That Siller Moon. Written for this work By James Hogg. Air,—Bonny Laddie, Highland Laddie. WHERE got ye that siller moon, Bonny laddie, highland laddie, Glinting braw your belt aboon, Bonny laddie, highland laddie? Belted plaid and bonnet blue, Bonny laddie, highland laddie, Have ye been at Waterloo, Bonny laddie, highland laddie? Weels me on your tartan trews, Bonny laddie, highland laddie, Tell me, tell me a’ the news, Bonny laddie, highland laddie. Saw ye BONY by the way, Bonny laddie, highland laddie? BLUCHER wi’ his beard sae grey, Bonny laddie, highland laddie? Or that doure and deadly DUKE, Bonny laddie, highland laddie, Scatt’ring Frenchmen wi’ his look, Bonny laddie, highland laddie? Some say he the day may rue, Bonny laddie, highland laddie, Ye can tell gin this be true, Bonny laddie, highland laddie. Wou’d ye tell me gin ye ken, Bonny laddie, highland laddie, Aught o’ Donald and his men, Bonny laddie, highland laddie?

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Tell me o’ my kilted Clan, Bonny laddie, highland laddie, Gin they fought, or gin they ran, Bonny laddie, highland laddie?

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The Answer. YE are but some lawland loon, Silly body, lawland body, No the blude that bore the crown, Silly body, lawland body. Dare ye claim the highland name, Silly body, lawland body, Yet to speir the thing — for shame! Silly body, lawland body. Ken’d ye what we did lang syne, Silly body, lawland body, For our loved and royal line, Silly body, lawland body? A’ our deeds in France and Spain, Silly body, lawland body, Egypt’s sands, and Maida’s plain, Silly body, lawland body. Now when ALL was at the stake, Silly body, lawland body, Trow’d ye Donald’s heart wou’d ache, Silly body, lawland body? Trow’d ye slave on foreign shore, Silly body, lawland body, E’er wou’d turn the broad claymore, Silly body, lawland body? Wha then fought, or ran away, Silly body, lawland body, Ye may hear some other day, Silly body, lawland body. Ye ken nought o’ Her-nain-sell, Silly body, lawland body, Deil a news to you she’ll tell, Silly body, lawland body.

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Thomson’s The Select Melodies of Scotland (1822–1825)

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The Three Men of Moriston. A Jacobite Ballad. From a manuscript communicated to the editor, and now first published, — 1822. Air, — Fy, let us a’ to the Bridal. NOW cease of auld ferlies to tell us, That happen’d nane living kens when; I’ll sing you of three noble fellows Wha liv’d in the wild Highland glen. The times were grown hard to brave Donald, For lost was Culloden’s sad day; The hearts o’ the Chiefs were a’ broken, And O but poor Donald was wae. They keeket out o’er the wild correi, The towers of Clan-Ronald were gone; The reek it hung red o’er Glengary, Lochaber was herried and lone! They turn’d them about on the mountain, The last o’ their shealings to see, “O hon a rie!” cried poor Donald, “There’s naething but sorrow for me!” Now our three noble lads are in hiding, Afar in Glenmoriston’s height; In the rock a’ the day they are biding, And the moon is their candle by night. And oft their rash rising they rued it, As looking o’er ravage and death, And blamed their ain Prince Charlie Stuart, For causing the Highlands sic skaith. Ae night they sat fearfu’ o’ danger, And snappet their kebbuck fu’ keen, When in came a stately young stranger As ragged as man e’er was seen. They had na weel looket around them, ’Till tears came happing like rain,

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“Your welcome, young Dugald M‘Cluny, “For a’ you see here is your ain.” Each kenn’d the brave wreck of Culloden, But dared not to mention his name, Lest one of the three had betray’d him, And cover’d their country with shame. They serv’d him with eager devotion, They clad him from shoulder to tae; Spread his board from the moor and the ocean, And watch’d o’er him a’ the lang day. They had not a plack in their coffer, They had not a ewe on the brae, Yet ken’d o’ mair gowd in their offer Than they could have carried away. Now cracks o’ your Grecian and Roman, We’ve cast them a’ back in the shade; Gi’e me a leal-hearted Macdonald Wi’ nought but his dirk and his plaid. The sun shines sweet on the heather, When tempests are over and gane; But honour shines bright in all weather, Through poverty, hardship, and pain. Tho’ we had ne’er heard o’ Clan-Ronald, Nor gallant Glengary’s wild sway, The names of the loyal Macdonalds Had flourish’d for ever and aye. * The Editor has given this excellent Jacobite Ballad as it came to him: but though it commemorates three humble worthies only, it has been said that there were six of them, namely, the three trustly Macdonalds, Peter Grant, Hugh Chisholm, and Colin Frazer, by whom the Prince was concealed and supported in a cave in Glenmoriston for above five weeks. One of the Macdonalds went often in disguise into the English camp to procure some wheaten bread for their guest, and to pick up what intelligence he could: there he regularly heard at the drum-head a proclamation in English and Gaelic of a reward of L. 30,000 to any one who would produce the Pretender dead or alive; but though the guardians of the cave had not a shilling among them all, they despised enriching themselves by an act of treachery. How painful it is to add, what the Editor has been assured is true, that one of those magnanimous poor fellows was afterwards hanged for stealing a cow! On the

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ladder, he declared, that he never had taken sheep or cow from any of his own clan or their friends, nor from those who had not risen against the House of Stuart; and all attempts to persuade him to acknowledge the justice of his sentence were fruitless.

The Lament of Flora MacDonald A new song by J:Hogg; pubd. singly by N. Gow & Son, & here given by their authority. 1822. Far over yon hills of the heather so green, And down by the Correi that sings to the sea, The bonny young Flora sat sighing her lane, The dew on her plaid and the tear in her ee. She look’d at a boat with the breezes that swung Away on the wave, like a bird of the main, And ay as it lessen’d she sigh’d and she sung, Fareweel to the lad I shall ne’er see again; Fareweel to my hero, the gallant and young, Fareweel to the lad I shall ne’er see again. The Moorcock that craws on the brows o’ Ben-Connal, He kens o’ his bed in a sweet mossy hame; The Eagle that soars o’er the cliffs of Clan-Ronald Unawed and unhunted his eiry can claim; The Solan can sleep on his shelve of the shore, The Cormorant roost on his rock of the sea; But Oh! there is ane whose hard fate I deplore, Nor house, ha’, nor hame in his country has he; The conflict is past, and our name is no more, There’s nought left but sorrow for Scotland and me! The target is torn from the arms of the just, The helmet is cleft on the brow of the brave, The claymore for ever in darkness must rust; But red is the sword of the stranger and slave: The hoof of the horse, and the foot of the proud Have trode o’er the plumes on the bonnet of blue: Why slept the red bolt in the breast of the cloud

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When tyranny revelled in blood of the true; Farewell my young hero, the gallant and good! The crown of thy Fathers is torn from thy brow.

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Pull Away Jolly Boys. Written for this work By James Hogg, and here first united with the music, 1822. HERE we go upon the tide, Pull away, jolly boys, With heaven for our guide, Pull away. Here’s a weather-beaten tar, Britain’s glory still his star, He has borne her thunders far, Pull away, jolly boys, To yon gallant man-of-war, Pull away. We’ve with NELSON plough’d the main, Pull away, jolly boys; Now his signal flies again, Pull away. Brave hearts then let us go, To drub the haughty foe; Who once again shall know, Pull away, gallant boys, That our backs we never shew, Pull away. We have fought and we have sped, Pull away, gallant boys, Where the rolling wave was red, Pull away. We’ve stood many a mighty shock, Like the thunder stricken oak, We’ve been bent, but never broke, Pull away, gallant boys;

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We ne’er brook’d a foreign yoke, Pull away. Here we go upon the deep, Pull away, gallant boys, O’er the ocean let us sweep, Pull away. Round the earth our glory rings, At the thought my bosoms springs, That where’er our pennant swings, Pull away, gallant boys, Of the ocean we’re the kings, Pull away.

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The Highland Watch. Written for this work by J. Hogg on the Highlanders return from Waterloo. Old Scotia wake thy mountain strain, In all its wildest splendors; And welcome back the lads again, Your honour’s dear defenders. Be ev’ry harp and viol strung, ’Till all the woodlands quaver; Of many a band your Bards have sung, But never hail’d a braver. Then raise the pibroch Donald Bane, We’re all in key to cheer it; And let it be a martial strain, That Warriors bold may hear it. Ye lovely maids, pitch high your notes, As virgin voice can sound them, Sing of your brave, your noble Scots, For glory kindles round them. Small is the remnant you will see, Lamented be the others! But such a stem of such a tree, Take to your arms like brothers.

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CHORUS.—Raise high the pibroch, Donald Bane, Strike all our glen with wonder; Let the chaunter yell, and the drone note swell, Till music speaks in thunder. What storm can rend your mountain rock, What wave your headlands shiver! Long have they stood the tempest’s shock, Thou know’st they will for ever. Sooner your eye these cliffs shall view, Split by the wind and weather, Than foeman’s eye the bonnet blue, Behind the nodding feather. CHOS. O raise the pibroch, Donald Bane, Our caps to the sky we’ll send them; Scotland, thy honour who can stain, Thy laurels who can rend them.

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The Melodies of Scotland, Vol. VI (Folio, 1841)

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Come All Ye Jolly Shepherds. Written by the Ettrick Shepherd Come all ye jolly shepherds that whistle thro’ the glen. I’ll tell ye of a secret that courtiers dinna ken, What is the greatest bliss that the tongue of man can name, ’Tis to meet a bonnie lassie when the kye come hame. When thy kye come hame, when the kye come hame ’Tween the gloamin and the mirk when the kye come hame, Gie me the highest joy that the heart of man can frame, My bonnie bonnie lassie when the kye come hame. Then the eye shines sae bright, the soul to beguile, There’s love in every whisper, and joy in every smile; O, wha would choose a crown, wi’ its perils and its fame, And miss a bonnie lassie when the kye come hame. See, yonder pawky shepherd that lingers on the hill, His ewes are in the fauld, and his lambs are lying still: Yet he downa gang to rest, for his heart is in a flame To meet his bonnie lassie when the kye come hame.

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Mischievous Woman. Written for this work By the Ettrick Shepherd. This song of pleasant humour ought to have appeared in the last edition, but was accidentally overlooked by the Editor.

COULD this ill warld ha’e been contrived To stand without that Mischief, Woman, How peaceful bodies would ha’e liv’d, Releas’d frae a’ the ills sae common! But since it is the waefu’ case, That man must have this teasing crony, Why such a sweet bewitching face? Oh! had they no been made sae bonny!

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I might have roam’d wi’ cheerful mind, Nae sin nor sorrow to betide me, As careless as the wandering wind, As happy as the lamb beside me. I might have screw’d my tuneful pegs, And carol’d mountain airs fu’ gaily, Had we but wanted a’ the Megs, Wi’ glossy een sae dark and wily. I saw the danger,—fear’d the dart,— The smile, the air, and a’ sae taking, Yet open laid my wareless heart, And got the wound that keeps me waking. My harp waves on the willow green, Of wild witch notes it has nae ony, Since e’er I saw that pawky quean, Sae sweet, sae wicked, and sae bonny.

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A Border Garland [1819]

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A Border Garland [1819] A Border Garland [1819] contains nine songs, all of which were written by Hogg. Hogg also composed airs for five of the songs. His name is clearly identified as the composer of ‘I’ll no wake wi’ Annie’, ‘The Women Fo’k’, ‘The Mermaid’s Song’, and ‘The Laird o’ Lamington’, and in his headnote to Songs 1831, he claims to have also composed the air for ‘A Poor Man’.1 The collection is dated according to publication announcements appearing in May 1819 (details below). As Hogg later indicates in his headnotes to Songs 1831, Niel Gow junior (1794–1823) composed the airs for ‘Charlie’ and ‘Caledonia’ and also provided the musical arrangement for ‘The Mermaid’s Song’.2 Gow, grandson of the most famous of eighteenth-century Scottish fiddlers Niel Gow (1727–1807), originally studied medicine with plans of becoming a surgeon. However, in 1818 he entered into partnership with his father, Nathaniel Gow (1763–1831), who was well known as an accomplished fiddler, trumpeter and composer. Between 1796 and 1813, Nathaniel Gow, in partnership with William Shepherd, ran a business trading in musical instruments and music sheets and also publishing the musical collections of dance music composed by the Gow family.3 From 1818 until 1826, the firm of ‘Nathaniel Gow and Son’ similarly dealt in musical publications, and Hogg’s A Border Garland is advertised as ‘Sold by Nathaniel Gow and Son at their Music and Musical Instrument Warehouse, No. 60 Princes Street’.4 The London composer and pianist, William Edward Heather (b. 1784), provided the musical arrangements for much of the collection. Just prior to his involvement with A Border Garland, Heather provided the musical settings for Hogg’s Byron-inspired collection of German Hebrew Melodies [1817].5 The only extant letter concerning A Border Garland is Hogg’s letter to Heather dated 1 April 1818. Hogg writes, ‘I think I remember the tunes that I sent off to you’, implying that Hogg previously contacted Heather regarding the collection. Hogg provides partial transcriptions of three songs (‘I’ll no wake wi Annie’, ‘The Women Fo’k’, and ‘Naething to Fear Ye’) to assist Heather in arranging the musical accompaniments. He also mentions a further unnamed song and writes that he has yet to compose words for a song of ‘6/8’ rhythm ‘meant for a duet’. Hogg then goes on to explain the rationale for the collection: I intend in our old Scotch fashion to set only one verse to music.

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I have no plan of publication further than this that I have seven or eight songs of my own composition tunes as well as words that are very popular here and that I am everlastingly plagued with singing I am going to publish these in a small work by themselves price 5/ for a kind of original curiosity. I am told there will be thousands of them sell [...]. Of course I thought I would avail myself of your science and good taste which I certainly do very much admire and I was sure you would delight in doing that for a humble Bard Make them simple. Perhaps I will take it in my head to make the folk here believe that I am really inspired for the joke’s sake and swear that the accompaniments too are my own.6 Heather’s name does not appear anywhere within the published collection, so perhaps Hogg carried out his ‘threat’ to ‘joke’ the public. Hogg’s letter indicates that the songs included in A Border Garland had already gained substantial popularity, but of the nine songs, only four had previously appeared in print. ‘The Lark’ and ‘Naething to Fear Ye’ were included in Twelve Vocal Melodies [1817], while ‘Caledonia’ previously appeared in The Forest Minstrel (1810). ‘The Mermaid’s Song’ was published almost simultaneously in the Edinburgh Magazine and Literary Miscellany of May 1819, following Hogg’s recitation or singing of the song for the Shakespeare Club of Alloa on the 23rd of April.7 However, the songs may have been composed much earlier and, as Hogg’s letter indicates, may have had a lively performance history. A Border Garland is significant as the first musical collection to showcase Hogg’s ability to write music. R. P. Gillies states that Hogg ‘tried again and again the notes for his “Border Garland”’ while visiting at his Edinburgh home in the period 1816–1819.8 The collection thus appears to have originated during the years Hogg was composing lyrics for several important song collections (Clarke-Whitfeld’s Twelve Vocal Pieces [1817], Alexander Campbell’s Albyn’s Anthology (1816 and 1818), and George Thomson’s Select Collection of Original Scottish Airs (1818)), such that Hogg’s own musical collection developed during a period of intense song-writing creativity. Hughes records an advertisement of ‘No. 1’ of A Border Garland in the Edinburgh Evening Courant of 8 May 1819.9 It was also advertised as ‘This day published’ in the Caledonian Mercury of 9 May 1819 and in Blackwood’s Edinburgh Magazine of the same month.10 R. P. Gillies notes, ‘it was unjustly neglected’, and no reviews in contemporary musical or literary journals have been located.11 A brief notice in The Edinburgh Monthly Review of June 1821 may give some indication of the contemporary reception of the collection: Not long since he [Hogg] published the first number of the Border

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Garland, which, unless to change the solitary No. 1. in the list of his works, or, that the future Numbers should be much superior in merit, we have no desire to see it continued.12 Hogg’s ambition to see ‘thousands’ of the octavo song-booklet sold appears to have been ill advised. In his revised ‘Memoir of the Life of James Hogg’, published within The Mountain Bard in 1821, Hogg details his future song-writing plans: ‘The Border Garland consists of nine songs, with symphonies and accompaniments: to these I intend adding a number occasionally, if I can hit upon songs and airs that please me, so as to make by degrees a creditable work’.13 This was not to be, as no further numbers of A Border Garland were published. However, a decade after the appearance of the collection, the Edinburgh music-seller, Robert Purdie, published The Border Garland, containing Twelve New Songs. The Poetry by James Hogg, The Celebrated Ettrick Shepherd (c. 1829). This collection contained eight songs from the original collection along with four additional songs reprinted from the ‘Second Series’ of Jacobite Relics (1821), all with new musical settings by James Dewar.14 The present edition reproduces images from the copy of A Border Garland held by the Mitchell Library, Glasgow. This, as far as we have been able to surmise, is the only extant copy of this collection. Notes 1 2 3 4 5 6 7 8 9 10 11 12 13 14

See Songs by the Ettrick Shepherd (S/SC, 2014), pp. 192–93. See Songs by the Ettrick Shepherd (S/SC, 2014), pp. 205–07. See Christopher D. S. Field’s entry in the ODNB. Humphries and Smith, p. 160. On Heather, see the introduction above to German Hebrew Melodies [1817]. Letters, I, 343–45. See Songs by the Ettrick Shepherd (S/SC, 2014), pp. 205–07. Memoirs of a Literary Veteran, 3 vols (London: Richard Bentley, 1851), II, 242. Letters, I, 345n. Blackwood’s Edinburgh Magazine, 5 (May 1819), 243. Memoirs of a Literary Veteran, 3 vols (London: Richard Bentley, 1851), II, 242. Edinburgh Monthly Review, 5 ( June 1821), 662–72 (p. 679). The Mountain Bard, ed. by Suzanne Gilbert (S/SC, 2007), pp. 195–231 (p. 231). See the introduction to The Border Garland c.1829 in the present edition.

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I’ll No Wake wi’ Annie. Air, by James Hogg. O Mother tell the laird o’t, Or sairly it will grieve me O, That I’m to wake the ewes the night An’ Annie’s to gang wi’ me O I’ll wake the ewes my night about, But ne’er wi’ ane sae saucy O Nor sit my lane the lee lang night Wi’ sic a scornfu’ lassie O. I’ll no wake I’ll no wake I’ll no wake wi’ Annie O Nor sit my lane o’er night wi’ ane Sae thraward an’ uncannie O. Dear Son be wise an warie, But never by unmanly O, I’ve heard you tell another tale, O young an’ charming Annie O. The ewes ye wake are fair enough, Upon the brae sae bonny O, But the laird himsel wad gie them a, To wake the night wi’ Annie O. I’ll no wake, &c.

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I tauld ye ear’, I tauld ye late, That lassie wad trapan ye O, An’ ilka word ye boud to say, When left your lane wi’ Annie O. Tak’ my advice this night for ance, Or beauty’s tongue will ban ye O. An’ sey your leel auld mother’s skeel, Ayont the moor wi’ Annie O. He’ll no wake, &c.

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The night it was a simmer night, An’ O the glen was lanely O, For just ae sternie’s gowden ee, Peep’d o’er the hill serenely O. The twa are in the flow’ry heath,

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Ayont the moor sae flowy O, An’ but ae plaid atween them baith, An’ wasna that right dowy O. He maun wake, &c. Neist morning at his mother’s knee, He bless’d her love unfeign’dly O; An’ aye the tear fell frae his ee, An’ aye he clasp’d her kindly O. Of a’ my griefs I’ve got amends, Up in yon glen sae grassy O, A woman only woman kens, Your skill has won my lassie O. I’ll aye wake, I’ll aye wake, I’ll aye wake, wi’ Annie O, I’ll ne’er again keep wake wi’ ane, Sae sweet sae kind an’ cannie O.

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Charlie Air, by a friend of the Editor. Came ye by Athol lad wi’ the philabeg, Down by the Tummel or banks of the Gary? Saw ye my lad, wi’ his bonnet an’ white cockade, Leaving his mountains to follow Prince Charlie. Charlie. Charlie, wha wadna follow thee? Lang thou hast lov’d, an’ trusted us fairly Charlie. Charlie, wha wadna follow thee? King of the highland hearts bonny Prince Charlie. I hae but ae son, my brave young Donald! But if I had ten they should follow Glengary; Health to M,Donnell and gallant Clan-Ronald, For these are the men that will die for their Charlie. Charlie. Charlie, &c. I’ll to Lochiel, and Appin, and kneel to them; Down by Lord Murray, and Roy of Kildarlie; Brave Mackintosh he shall fly to the field wi them;

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They are the lads I can trust wi’ my Charlie. Charlie. Charlie, &c. Down through the lowlands, down wi’ the whigamore, Loyal true highlanders, down with them rarely! Ronald and Donald drive on with the broad claymore, Over the necks of the foes of Prince Charlie. Charlie. Charlie, &c.

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The Women Fo’k. Air, by James Hogg. O Sairly may I rue the day I fancy’d first the women kind For aye sinsyne I ne’er can hae A quiet thought or peace o’ mind. They hae plagued my heart an’ pleas’d my ee An’ teaz’d an’ flatter’d me at will But aye for a’ their witcherye The pawky things I lo’e them still O the women fo’k O the women fo’k, But they hae been the wreck o’ me O weary fa’ the women fo’k For they winna let a body be. I’ve thought, an’ thought, but darna tell; I’ve studied them wi’ a’ my skill; I’ve loe’d them better than mysel’; I’ve try’d again to like them ill. Wha sairest strives will sairest rue, To comprehend what nae man can; When he has done what man can do, He’ll end at last where he began. O the women fo’k &c. That they hae gentle forms and meet, A man wi’ half a look may see; An’ gracefu’ airs an’ faces sweet, An’ wavin’ curls aboon the bree, An’ smiles as saft as the young rose bud.

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An’ een sae pawky bright an’ rare, Wad lure the laverock frae the clud But laddie seek to ken nae mair. O the women fo’k &c. Even but this night nae farther gane, That date is nouther lost nor lang, I tak’ ye witness ilka ane, How fell they fought and fairly dang; Their point they’ve carried, right or wrang, Without a reason rhyme or law, An’ forc’d a man to sing a sang, That ne’er could sing a verse ava. O the women fo’k, &c.

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The Mer-maid’s Song. Air, by James Hogg. Lye still my love lye still and sleep, Long is thy night of sorrow, Thy maiden of the mountain deep, Shall meet thee on the morrow. But O when shall that morrow be, When my true love shall waken When shall we meet refin’d and free, Amid the moorland braken. Full low and lonely is thy bed, The worm ev’n flies thy pillow, Where now the lips so comely red That kiss’d me ’neath the willow? O I must laugh do as I can Even mid my Song of mourning, At all the fuming freaks of man, To which there’s no returning. Lye still my love, lye still and sleep; Hope lingers o’er thy slumber; What though thy years beneath the steep, Should all its stones outnumber?

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Though moons steal o’er and seasons fly On time’s swift wing unstaying; Yet there’s a spirit in the sky, That lives o’er thy decaying. In domes beneath the water springs, No end hath my sojourning; And to this land of fading things Far hence be my returning. For all the spirits of the deep Their long last leave are taking Lye still my love lye still and sleep Thy day is near the breaking.

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Naething to Fear Ye. Air, Old. O my Lassie, our joy to complete again, Meet me again i’ the gloaming my dearie; Low down in the dell let us meet again, O Jeanie there’s naething to fear ye! Come when the wee bat flits silent an’ eiry, Come when the pale face o’ nature looks weary, Love be thy sure defence, Beauty an’ innocence O Jeanie there’s naething to fear ye. Sweetly blows the haw an’ the rowan-tree, Wild roses speck our thicket sae breerie; Still, still will our bed in the green-wood be; O Jeanie, there’s naething to fear ye! Note when the blackbird o’ singin’ grows weary, List when the beetle bee’s bugle comes near ye, Then come with fairy haste, Light foot an beating breast; O Jeanie, there’s naething to fear ye! Far, far will the bogle an’ brownie be, Beauty an’ truth they darna come near it;

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Kind love is the tie of our unity, A’ maun love it an’ a’ maun revere it! Love makes the sang of the woodland sae cheerie, Love gars a’ nature look bonny that’s near ye, That makes the rose sae sweet Cowslip an’ violet, O Jeanie, there’s naething to fear ye!

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The Poor Man. Air, by a friend of the Editor. Loose the yett an’ let me in, Lady wi’ the glist’ning ee; Dinna let your menial train Drive an auld man out to dee. Cauld rife is the winter ev’n, See the rime hangs at my chin; Lady, for the sake of Heav’n, Loose the yett an’ let me in. Ye shall gain a virgin hue Lady for your courtesy, Ever bonny, ever new, Aye to bloom an’ ne’er to dee. Lady there’s a lovely plain Lies beyond yon setting sun, There we soon may meet again, Short the race we hae to run. ’Tis a land of love an’ light, Rank or title is not there, High an’ low maun there unite, Poor man, prince, an’ lady fair. There, what thou on earth hast given, Doubly shall be paid again, Lady for the sake of heaven, Loose the yett an’ let me in.

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Blessings rest upon thy head, Lady of this lordly ha’ That bright tear that thou did’st shed, Fell na down amang the snaw. It is gane to heav’n aboon, To the fount of charitye, When thy days on earth are done, O how it shall plead for thee.

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The Lark. Air, Old. Bird of the wilderness, Blithsome an’ cumberless, Sweet be thy matin o’er moorland an’ lea, Emblem of happiness, Blest is thy dwelling place, O to abide in the desert with thee! Wild is thy lay an’ loud, Far in the downy cloud; Love gives it energy, love gave it birth. Where on thy dewy wing, Where art thou journeying? Thy lay is in heaven, Thy love is on earth. O’er fell an’ fountain sheen, O’er moor an’ mountain green, O’er the red streamer that heralds the day; Over the cloudlet dim, Over the rainbow’s rim, Musical cherubim, hie thee away. Then when the gloaming comes, Low in the heather blooms, Sweet will thy welcome and bed of love be, Emblem of happiness! Blest is thy dwelling place! O to abide in the desert with thee!

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Caledonia. Air, by a friend of the Editor. Caledonia! thou land of the mountain and rock; Of the ocean, the mist, and the wind: Thou land of the torrent, the pine, and the oak, Of the roebuck, the hart, and the hind. Tho’ bare are thy cliffs, and tho’ barren thy glens; Tho’ bleak thy dun islands appear; Yet kind are the hearts and undaunted the clans, That roam on those mountains so drear. A foe from abroad, or a tyrant at home, Could never thy ardour restrain; The invincible bands of imperial Rome Assay’d thy proud spirit in vain. Firm seat of religion, of valour, of truth, Of genius unshackled and free; The Muses have left all the vales of the south, My lov’d Caledonia for thee. Sweet land of the bay and the wild winding deeps; There loneliness slumbers at even; While far in the deep, mid the blue water sleeps A calm little motionless heaven. Thou land of the valley, the moor, and the hill; Of the storm, and the proud rolling wave, Yes, thou art the land of fair liberty still, And the land of my forefather’s grave!

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The Laird o’ Lamington Air by James Hogg. Can I bear to part wi’ thee, Never mair your face to see, Can I bear to part wi’ thee, Drunken laird o’ Lamington. Canty war ye o’er your kale,

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Toddy jugs an’ caups o’ ale, Heart aye kind an’ leel an’ hale, Honest laird o’ Lamington. He that swears is but so so, He that lies to hell must go, He that falls in bagnio, Falls in the devils frying-pan. Wha was’t ne’er pat aith to word? Never lied for duke nor lord? Never sat at sinfu’ board? The honest laird o’ Lamington. He that cheats can ne’er be just; He that prays is ne’er to trust; He that drinks to drauck his dust Wha can say that wrang is done? Wha was’t ne’er to fraud inclin’d? Never pray’d sin’ he can mind? Ane wha’s drouth there’s few can find, The honest laird o’ Lamington. I like a man to tak’ his glass, Toast a friend or bonny lass; He that winna is an ass, Deil send him ane to gallop on! I like a man that’s frank an’ kind, Meets me when I have a mind, Sings his sang, an’ drinks me blind, Like the laird o’ Lamington.

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The Scotish Minstrel [1821–1824], (c.1828–1837) The first edition of Robert Archibald Smith’s The Scotish Minstrel, 6 vols [1821–1824] contains fourteen songs written by Hogg, and the third edition (c. 1828–1837) contains one additional Hogg song. This collection was dated according to Smith’s letters to William Motherwell and publication announcements, and in regard to the third edition, the publisher’s address (details below). Smith (1780–1829) was a well-known composer of traditional Scottish music and was the leading church musician of his generation. He worked with his father as a weaver in Paisley until 1803, when he became a music teacher and joined the Paisley volunteer band. In 1807 he was appointed as the precentor of Paisley Abbey Church and soon after published Devotional Music (1810). The choral singing at the abbey under Smith’s direction was held in great repute, and in 1817 the abbey Harmonic Choir put on a series of successful concerts. When he moved to Edinburgh in 1823 he became the precentor at St. George’s Church; however, he is best known as the moving force behind The Scotish Minstrel and The Irish Minstrel [1825].1 According to Smith’s biographer, The Scotish Minstrel contains ‘every Scottish melody worth preserving’.2 Over 600 songs are published in six volumes where contemporary and ancient lyrics are married to Smith’s new musical arrangements of contemporary and traditional tunes. The genesis and development of The Scotish Minstrel can be traced through Smith’s surviving correspondence, much of which is held by Glasgow University Library, Special Collections at Robertson MS 3. The initial ‘letter and contract’ between Smith and the publisher, Robert Purdie, is dated 22 November 1820 and reveals their plans for the collection. Smith writes: I hereby make offer not only to arrange and conduct the music department of the work that you are now publishing entitled “Old Scotch Songs & Ballads,” but also to set proper accompaniments (or chords) and Basses thereto adapted for the Piano Forte and voice agreeable to specimens already given by me and likewise to furnish you with at least Twelve Songs with proper accompaniments every week untill [sic] the work (which is to consist of three volumes containing one Hundred songs in Each) is complete.3

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The first three volumes were published together in September 1821, but with the amended title of The Scotish Minstrel.4 On 16 October 1821 Robert Purdie writes to Smith with a copy of the first three volumes, stating ‘we may be going on with the fourth volume at your leasure’ [sic], and he also mentions that he has left a copy of the first three volumes in London in an attempt to ‘have it reviewed in The Quarterly Magazine’.5 The review appeared in the influential Quarterly Magazine and Review in January 1822 and consisted of large sections of quotations followed by a short appraisal: He [Smith] gives the best words, and, in some instances, a second set to the same melody, the name of the author when known, and the old title of the air. The melody and Bass are printed on a royal octavo page; and thus the most comprehensive plan is adopted, consistently with neat and clear printing. The Harmonies are in general full and sufficient.6 The review is characteristically positive, and this paragraph was subsequently used in pre-publication advertisements for the collection.7 According to the Preface published within the first volume in 1821, a ‘Supplementary Volume’ was in preparation, as ‘from the liberal contributions that have been sent us, we have a store of materials’.8 The fourth volume duly appeared in June 1822 and a fifth in May 1823, along with an advertisement noting that due to the copious amount of material still on hand, as well as ‘the flattering manner in which the previous volumes were received by the public’, an additional volume was yet necessary.9 The final sixth volume is advertised as ‘This day published’ in the Edinburgh Evening Courant of 31 January 1824.10 All were published in Edinburgh by Robert Purdie, and sold at his music and musical warehouse, No 70 Princes Street, for eight shillings per volume. Purdie published a revised and rearranged edition of The Scotish Minstrel in 1828, and a third edition was published between 1828 and 1837. A very positive review in The Harmonicon of May 1828 may have helped to secure the third edition.11 Robert Purdie’s son, John (1814–1891), who worked in the family music publishing business, and took over following his father’s death in 1845, issued later editions of the six-volume set. The National Library of Scotland holds an undated and incomplete fourth edition, which includes the same publisher’s information and is a reissue of the third edition using the same plates [vol. 1: Mus P.m.55; vol. 3: Mus P.m.56; vol. 6: Mus P.m.57]. An undated complete sixth edition is also available at National Library of Scotland, again using the same plates as the third edition, but notably the publisher, Morison Kyle of Glasgow, is added to the title page [Mus Rm41]. The Preface included in the first volume of each edition highlights

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many of the important facets of the collection. In regard to the musical arrangements, the intent was to ‘support the voice without overwhelming it’.12 Only airs and poetry of Scottish origin were to be included, and the ‘simple “breathings of nature”’ were preferred over the ‘laboured combinations of art’.13 The Preface clearly caters to the Romantic vogue for song collecting and notes that ‘not a few of these wild flowers have been gathered from the peasantry of our country’ and goes on to comment on the probable antiquity and potential Jacobite origins of many of the compositions.14 The inclusion of ‘some beautiful verses from Leyden, Ferguson, Tannahill, Gall, the Ettrick Shepherd’, as well as those of Burns, is particularly highlighted, and another notable contributor was Lady Caroline Nairne.15 The Ettrick Shepherd is given special thanks from the editors in the advertisement to the sixth volume (included in all editions) for having furnished them with many of the wild flowers gathered from the hills and valleys of his pastoral district,—and they assure him, that they prize his thymy sweets more highly than the cultured plants of a regular parterre.16 However, little is known about Hogg’s direct involvement in this collection. Hogg was familiar with Smith from as early as 1810, as both men, along with the weaver-poet, Robert Tannahill, were present at a convivial party at the Sun Inn in Paisley in March 1810.17 Smith’s correspondence with Motherwell does provide some insight into the working relationship between Hogg and Smith. In a letter dated 13 October 1823, Smith informs Motherwell that the sixth volume ‘is now all done saving one or two which I am waiting for from Hogg’.18 In his next letter, dated 14 November 1823, he reports that ‘The Ettrick Shepherd is in Edinburgh at present and has been trying his hand’ at producing verses for the final air, ‘Good Night An’ Joy Be Wi’ You A’. Smith thought Hogg’s verses ‘extremely coarse’ and requested that Motherwell ‘produce something infinitely superior’.19 Motherwell, however, was not up to the crucial task of setting the right tone for the final song of the collection. On 18 November he sent Smith his failed attempt and a lengthy apology, and Hogg’s verses ultimately closed the collection.20 There is no surviving correspondence between Smith and Hogg. However, in a letter to the publisher, Robert Purdie, dated 17 November 1828, Hogg assigned copyright of the fourteen songs ‘contained in the Scotish Minstrel and the Irish Minstrel’.21 ‘Bonnie Prince Charlie’ is not here listed, as it does not appear in The Scotish Minstrel until the third edition. On 15 August 1829 Hogg informed George Thomson he had ‘sold the copyright of “Cam ye by Athol” [‘Bonnie Prince Charlie’] to Mr Purdie’.22 Interestingly, in the index to volume six of the first edition,

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the song with the first line, ‘And must I leave my native isle’, by ‘James Hogg’ is listed as printed on p. 21. The song does not appear in the volume. ‘My Native Isle’ was included in The Forest Minstrel (1810) as a song by Hogg. The listing of this song in the index is most probably a mistake, as it is not printed in the index of later editions. Hogg appears to have sent Smith more songs than he finally included in the collection. Hogg contributed the first verse and chorus of ‘When the kye come hame’ in February 1823 and also sent in ‘a full length edition of “Brose and Butter”’, neither of which were included.23 The present edition reproduces images from the first edition of The Scotish Minstrel held by the British Library [F212 d], with the exception of the song, ‘Bonnie Prince Charlie’, which appeared for the first time in the third edition [F.212a].24 Detailed comparison was made with the British Library holdings of the second and third editions [F. 212 and F.212a]. The musical plates for the first edition are different from those used for the second and third editions. In the first edition, Hogg’s name does not appear beside the song, but only in the index. The first edition is much simpler in typeface and general appearance than the second and third editions. The second edition uses new musical plates, which are re-used for the third edition. In the second edition the name Hogg appears beside his songs, and in the third edition, this is replaced by ‘Ettrick Shepherd’. This emendation, however, appears to be punched on to the existing second edition plates. On the title pages of the volumes of the third edition, the publisher’s address is changed from ‘70 Princes Street’ to ‘83 Princes Street’, and the second and third edition title pages are much more elaborate than those for the first edition. Notes 1 2 3 4

5 6 7 8 9

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See entries for R. A. Smith in ODNB and New Grove. ‘Memoir of Robert A. Smith’ by Philip A. Ramsay, in The Works of Robert Tannahill (London & Edinburgh, 1860), p. xlviii. GUL Robertson MS 3, fol. 7. GUL Robertson MS 3, fols 101–02. This letter from Smith to William Motherwell, dated 1 June 1827, contains publication dates for the first four volumes of The Scotish Minstrel. GUL Robertson MS 3, fol. 9. Quarterly Magazine and Review, 4.13 ( January 1822), 65–73 (p. 73). For example, see the advertisement in The Scotsman, 24 (May 1823), 8. Preface, The Scotish Minstrel, 6 vols (Edinburgh: Robert Purdie, [1821–1824]), I, p. x. GUL Robertson MS 3, fols 101–02; The fifth volume is advertised as ‘This day published’ in The Scotsman, 24 (May 1823), 8; ‘Advertisement to Volume Fifth’, in The Scotish Minstrel, 6 vols (Edinburgh: Robert Purdie, [1821–1824]), V. Letters, I, 396n.

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11 12 13 14 15 16 17 18 19 20

21 22 23 24

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The Harmonicon, 4.5 (May 1828), 104–05. Preface, The Scotish Minstrel, I, iii. Preface, The Scotish Minstrel, I, iv. Preface, The Scotish Minstrel, I, iv. Preface, The Scotish Minstrel, I, v. For further information, see Charles Rogers, Memoir of Baroness Nairne (Edinburgh, 1886), p. 43. Advertisement to Volume Sixth, in The Scotish Minstrel, VI, 3–4. Gillian Hughes, James Hogg: A Life (2007), p. 88. GUL Robertson MS 3, fols 22–23. GUL Robertson MS 3, fols 26–27. GUL Robertson MS 3, fols 28–29. Further information about the working relationship between Hogg and Motherwell in the context of Archibald Fullarton’s five-volume edition of the works of Robert Burns, which they co-edited for its appearance in 1839, can be found in the forthcoming S/SC edition, ed. by Patrick Scott. Letters, II, 315–16. Letters, II, 104–05. See Hogg, Songs by the Ettrick Shepherd (S/SC, 2014), p. 184; Preface to the 6th Volume. By the Editors, GUL Robertson MS 3, fols 32–33. The title page for volume five of the first edition was missing from the British Library copy, and was thus sourced from the copy held by the National Library of Scotland [Mus.Rm.41].

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Iona.* Old Air __ Said to be sung by the Monks of Iona. Where floated crane, and clam’rous gull, Above the misty shores of Mull, And evermore the billows rave ’Round many a Saint and Sov’reign’s grave. There, round Columba’s ruins gray, The shades of monks are wont to stray, And slender forms of nuns, that weep In moonlight by the murmuring deep. When fancy moulds upon the mind Light visions on the passing wind, And woos, with faultering tongue and sigh, The shades o’er memory’s wilds that fly. That, in that still and solemn hour, Might stretch imagination’s power, And restless fancy revel free In painful, pleasing luxury.

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*The Kings of Scotland & learned men were buried in Iona.

The Covenanters’ Tomb. Oh ’tis a heartstirring sight to view, Far to the westward stretching blue, That frontier ridge, which erst defied Th’ invader’s march, th’ oppressor’s pride. The bloody field, for many an age, Of rival nations’ wasteful rage; In latter times a refuge giv’n, To exiles in the cause of heav’n. Far inland, where the mountain crest O’erlooks the waters of the west, And ’midst the moorland wilderness, Dark moss-cleughs form a drear recess,

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Curtain’d with ceaseless mists, which feed The sources of the Clyde and Tweed; There injured Scotland’s patriot band, For Faith and Freedom made their stand; When traitor kings, who basely sold Their country’s fame for Gallic gold, Too abject o’er the free to reign, Warn’d by a father’s fate in vain __ In bigot fury trampled down The race who oft preserved their crown __ There, worthy of his masters, came The despots’ champion, bloody Graham. The human bloodhounds of the earth, To hunt the peasant from his hearth! Tyrants! could not misfortune teach, That man has rights beyond your reach? Thought ye the torture, and the stake, Could that intrepid spirit break; Which even in woman’s breast withstood The terror of the fire and flood? Yes __ though the sceptic’s tongue deride Those martyrs who, for conscience died; Though modish history blight their fame, And sneering courtiers hoot the name Of men, who dared alone be free Amidst a nation’s slavery, __ Yet long for them the poet’s lyre Shall wake its notes of heavenly fire. Their names shall nerve the patriot’s hand, Upraised to save a sinking land; And piety shall learn to burn With holier transports o’er their urn! Sequester’d haunts! __ so still __ so fair, That holy Faith might worship there, __ The shaggy gorse and brown heath wave O’er many a nameless warrior’s grave. *Many of the Martyrs tombs are still to be seen in Scotland. __ For a true account of their sufferings during the times of the persecution. See Woodrows Hist:

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Bonnie Prince Charlie. Came ye by Athol lad wi’ the philabeg, Down by the Tummel or banks of the Gary? Saw ye my lad, wi’ his bonnet an’ white cockade Leaving his mountains to follow Prince Charlie. Charlie, Charlie, wha wadna follow thee? Lang thou hast lov’d an’ trusted us fairly, Charlie, Charlie, wha wadna follow thee! King of the highland hearts bonnie Prince Charlie. I hae but ae son, my brave young Donald! But if I had ten they should follow Glengarry; Health to McDonnell and gallant Clan Ronald, For these are the men that will die for their Charlie. Charlie, Charlie, &c. I’ll to Lochiel, and Appin, and kneel to them, Down by Lord Murray, and Roy of Kildarlie; Brave Mackintosh he shall fly to the field with them; They are the lads I can trust wi’ my Charlie. Charlie, Charlie, &c. Down through the lowlands, down wi’ the whigamore, Loyal true Hielanders, down with them rarely! Ronald and Donald drive on with the broad claymore, Over the necks of the foes of Prince Charlie. Charlie, Charlie, &c. Ettrick Shepherd.

Sir David Græme. Old Ballad. The do’e flew east, the do’e flew west, The do’e flew far ayont the fell, An’ sair at e’en she seem’d distrest, But what perplex’d her cou’d na tell.

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And aye she cried, ‘curdoo, curdoo,’ An’ ruffled a’ her feathers fair, An’ lookit sad, an’ wad na bow To taste the sweetest finest ware. The Lady pined, an’ sair did blame, She didna blame the bonnie do’e, But sair she blamed Sir David Græme, Wha now to her had broke his vow. He swore by moon an’ stars sae bright, An’ by their bed o’ grass sae green, To meet her there on Lammas night, Whatever dangers lay between. To risk his fortune and his life, To hear her frae her Father’s ha’; To gi’e her a’ the lands o’ Drife, An’ wed wi’ her for gude an’ a’.

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The day arrived, the evening came, The Lady looked wi’ wistful e’e, But, O, alack! her noble Græme, Frae e’en to morn, she could na see. An’ ilka day she sat an’ grat, An’ ilka night she sat an’ wrought, Ay wighten this, and blaming that, But o’ the cause she never thought. The Sun had drunk frae Reider fells His beverage o’ the morning dew; The wild fowl slumbered in the dells, The heather hung its bells o’ blue. The lambs were skipping on the brae, In airy notes the shepherd sung; The laverock hail’d the jocund day Till ilka thicket sweetly rung. The Lady to her window hied, That opened o’er the banks o’ Tyne,

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An’ O, alack! she said, an sighed, “Sure every heart is blithe but mine.

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“Whare hae ye been my bonnie do’e, That I hae fed wi’ bread and wine; As roving a’ this country through, Oh! saw ye this fause luve o’ mine?” The do’e sat on the window tree, An’ held a lock o’ yellow hair; She perched upon the Lady’s knee, An’ carefully she placed it there. “What can this mean? it is the same, Or ense my senses me beguile; This lock belonged to David Græme, The flower o’ a’ the British Isle. “It isna cut wi’ sheers or knife, But frae his haffits torn awa! I ken he lo’ed me as his life, But this I canna read ava.” The do’e flew east, the do’e flew west, The do’e flew far ayont the fell, An’ back she cam wi’ panting breast At ringing o’ the castle bell.

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She lighted on the hally tap, An’ cried, ‘curdoo’ an’ hung her wing; The flew into the Lady’s lap, An’ there she dropped a diamond ring. “What can this mean?” it is the same, Or ense my senses me beguile! This ring I gave to David Græme, The bravest Knight in Britain’s Isle.”

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Lord Eglinton’s Auld Man. The auld gudeman cam hame at night, Sair wearied wi’ the way; His looks were like an evening bright, His hair was siller gray; He spak o’ days lang past an’ gane, When life beat high in ev’ry vein, When he was foremost on the plain On ev’ry blythsome day. The life o’ man’s a winter day; Look back, ’tis gane as soon; But yet his pleasures halve the way, An’ fly before ’tis noon. But conscious virtue still maintains The honest heart thro’ toils an’ pains, An’ hope o’ better days remains, An’ hands the heart aboon.

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Farewell to Glen-Shalloch. Air, Bodhan an Eassain. Farewell to Glenshalloch, A farewell for ever! Farewell to my wee cot, That stands by the river. The fall is loud sounding In voices that vary, And the echoes surrounding Lament with my Mary. I saw her last night, ’Mid the rocks that enclose them, With a babe at her knee And a babe at her bosom: I heard her sweet voice In the depth of my slumber,

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And the song that she sung Was of sorrow and cumber. “Sleep sound, my sweet babe, There is nought to alarm thee; The sons of the valley No power have to harm thee. I’ll sing thee to rest In the balloch untrodden, With a coronach sad For the slain of Culloden. “The brave were betrayed, And the tyrant is daring To trample and waste us, Unpitying, unsparing. Thy mother no voice has, No feeling that changes, No word, sign, or song, But the lesson of vengeance. “I’ll tell thee, my son, How our laurels are withering; I’ll gird on thy sword When the Clansmen are gathering; I’ll bid them go forth In the cause of true honor, And never return Till thy country hath won her. “Our tow’r of devotion Is the home of the reaver; The pride of the ocean Is fallen for ever: The pine of the forest, That time could not weaken, Is trod in the dust, And its honours are shaken. “Rise spirits of yore, Ever dauntless in danger, For the land that was yours

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Is the land of the stranger. O come from your caverns, All bloodless and hoary! And these fiends of the valley Shall tremble before ye.”

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The Hill of Lochiel. Long have I pin’d for thee, Land of my infancy! Now will I kneel on thee, Hill of Lochiel! Hill of the sturdy steer, Hill of the roe and deer, Hill of the streamlet clear, I love thee well. When in my youthful prime, Correi and crag to climb, Or towering cliff sublime, Was my delight. Scaling the eagle’s nest, Wounding the raven’s breast, Skimming the mountain’s crest, Gladsome and light. When, at the break of morn, Proud o’er thy temples borne, Kythed the red-deer’s horn, How my heart beat! Then, when with stunned leap Roll’d he adown the steep, Never did hero reap Conquest so great. Then rose a bolder game, Young Charlie Stuart came; Cameron, that loyal name,

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Foremost must be. Hard then our warrior meed, Glorious our warrior deed, ’Till we were doom’d to bleed By treachery. Then did the red blood stream, Then was the broad sword’s gleam Quench’d in fair freedom’s beam, No more to shine; Then was the morning’s brow Red with the fiery glow, Fell hall and hamlet low, All that were mine. Then was our maiden young, First aye in battle strong, Fir’d at her Prince’s wrong, Forc’d to give way. Broke was the golden cup, Gone Caledonia’s hope; Faithful and true men drop Fast in the clay. Far in a hostile land, Stretch’d on a foreign strand, Oft has the tear-drop bland Scorch’d as it fell. Once was I spurn’d from thee, Long have I mourn’d for thee, Now I’m return’d to thee, Hill of Lochiel.

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Maclean’s Welcome. From the Gaelic. Come o’er the stream, Charlie, dear Charlie, brave Charlie; Come o’er the stream Charlie, and dine with Maclean; And though you be weary, we’ll make your heart cheery, And welcome our Charlie and his loyal train. We’ll bring down the track deer, we’ll bring down the black steer, The lamb from the breckan, and doe from the glen; The salt sea we’ll harry, and bring to our Charlie, The cream from the bothy, and curd from the pen. Come o’er the stream, Charlie, &c. And you shall drink freely the dews of Glen-Sheerly, That stream in the star-light, when kings do not ken; And deep be your meed of the wine that is red, To drink to your sire, and his friend the Maclean. Come o’er the stream, Charlie, &c. If aught will invite you, or more will delight you, ’Tis ready, a troop of our bold Highlandman Shall range on the heather, with bonnet and feather, Strong arms and broad claymores, three hundred and ten.

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The Highlander’s Farewell. O where shall I gae seek my bread? Or where shall I gae wander? O where shall I gae hide my head? For here I’ll bide nae langer. The seas may row, the winds may blow, And swathe me round in danger; My native land I must forego, And roam a lonely stranger. The glen, that was my father’s own, Must be by his forsaken; The house, that was my father’s home, Is levell’d with the bracken.

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Ochon! ochon! our glory’s o’er, Stole by a mean deceiver! Our hands are on the broad claymore, But the might is broke for ever. And thou, my prince, my injur’d prince, Thy people have disown’d thee, Have hunted, and have driv’n thee hence, With ruin’d chiefs around thee. Tho’ hard beset, when I forget Thy fate, young helpless rover, This broken heart shall cease to beat, And all its griefs be over. Farewell, farewell, dear Caledon, Land of the Gael no longer! A stranger fills thy ancient throne, In guile and treachery stronger. The brave and just fall in the dust, On ruin’s brink they quiver, Heaven’s pitying e’e is clos’d on thee, Adieu! adieu for ever.

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Lenachan’s Farewell. Air, “Ho cha neil mulad oirn”; or The Emigrant’s adieu Fare thee weel, my native cot, Bothy o’ the birken tree! Sair the heart, and hard the lot, O’ the lad that parts wi’ thee. My good grandsire’s hand thee rear’d, Then thy wicker work was full; Mony a Campbell’s glen he clear’d, Hit the buck, and hough’d the bull. In thy green and grassy crook Mair lies hid than crusted stanes; In thy bien and weirdly nook Lie some stout Clan-Gillian banes.

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Thou wast aye the kinsman’s hame, Routh and welcome was his fare; But if serf or Saxon came, He cross’d Murich’s hirst nae mair. Never hand in thee yet bred Kendna how the sword to wield; Never heart of thine had dread Of the foray or the field: Ne’er on straw, mat, bulk, or bed, Son of thine lay down to die; Every lad within thee bred Died beneath heaven’s open e’e. Charlie Stuart he cam here For our king, as right became; Wha could shun the Bruce’s heir? Wha could tyne our royal name? Firm to stand, and free to fa’, Forth we march’d right valiantlie. Gane is Scotland’s king and law! Woe to the Highlands and to me! Freeman, yet I’ll scorn to fret, Here nae langer I maun stay; But, when I my hame forget, May my heart forget to play! Fare thee well, my father’s cot, Bothy o’ the birken tree! Sair the heart, and hard the lot, O’ the lad that parts wi’ thee.

Callum-a-Glen. Air, Malcolm of the Glen. Was ever old warrior of suff’ring so weary? Was ever the wild beast so bay’d in his den? The southron bloodhounds lie in kennel so near me, That death would be freedom to Callum-a-Glen.

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My sons are all slain, and my daughters have left me! No child to protect me, where once there were ten! My chief they have slain, and of stay they’ve bereft me, And woe to the grey hairs of Callum-a-glen! The homes of my kinsmen are blazing to heaven, The bright sun of morning has blush’d at the view! The moon has stood still on the verge of the even, To wipe from her pale cheek the tint of the dew! For the dew it lies red on the vales of Lochaber, It sprinkles the cot, and it flows in the pen! The pride of my country is fallen for ever! Death, hast thou no shaft for old Callum-a-Glen? The sun in his glory has look’d on our sorrow! The stars have wept blood over hamlet and lea! O, is there no day-spring for Scotland? no morrow Of bright renovation for souls of the free? Yes: one above all has beheld our devotion, Our valour and faith are not hid from his ken; The day is abiding of stern retribution On all the proud foes of old Callum-a-Glen!

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Kane to the King. Air, Brigus mhic ruaridh. Hark the horn! up i’ in the morn, Bonnie lad, come to the march tomorrow; Down the glen, Grant and his men, They shall pay kane to the king the morn. Down by Knockhaspie, down by Gillespie, Mony a red runt nods the horn, Waken not Callum, Rouky, nor Allan; They shall pay kane to the king the morn. Round the rock, down by the knock, Monnaughty, Tannachty, Moy, and Glentrive, Brodie, and Balloch, and Ballindalloch, They shall pay kane to the king belyve.

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Let bark and brevin blaze o’er Strathaven, When the red bullok is over the bourn; Then shall the maiden dread, low on her pillow laid, Who’s to pay kane to the king the morn.

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Down the glen, true Highlandmen, Ronald, and Donald, and rantin Roy, Gather and drive, spare not Glentrive, But gently deal with the lady of Moy. 20 Appin can carry through, so can Glengary too, And fairly they’ll part to the hoof and the horn; But Keppoch and Dunain too, they must be look’d unto, Ere they pay kane to the king the morn. Rouse the steer our of his lair, 25 Keep his red nose to the west away; Mark for the seven, or sword of heaven, And loud is the midnight sough o’ the Spey. When the brown cock crows day upon the mottled brae, Then shall our gallant prince hail the horn 30 That tells both to wood and cleuch, over all Badenoch, Who’s to pay kane to the king the morn.

Oh Hon O Ri. Gaelic Air. Oh hon a ri! there’s something wantin’; Oh hon a ri! I’m wearie; Nae young, blithe, an’ bonnie lad Comes o’er the knowe to chear me. When the day wears away, Sad I look adown the valley; Ilka soun’, wi’ a stoun’, Sets my heart a thrillin. When I see the plover rising, Or the curlew wheeling, Then I trow some bonnie lad Is coming to my sheeling.

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Why should I sit an’ sigh, While the green wood blooms sae bonnie? Laverocks sing, flowrets spring, A’ but me are cheery. My wee cot is blest and happy; Oh ’tis neat an’ cleanly! Sweet the brier that blooms beside it; Kind the heart that’s lanely. Come away, come away, Herd, or hind, or boatman laddie, I hae cow, kid, and ewe, Gowd and gear, to gain ye.

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O Strike Your Harp, My Mary. Air, Cameron’s welcome hame. O strike your harp, my Mary, Its loudest liveliest key, And join the sounding Correi In its wild melodie. For burn, and breeze, and billow, Their sang are a’ the same, And ev’ry waving willow Sounds, “Cameron’s welcome hame. O list yon thrush, my Mary, That warbles on the pine! Its strain so light and airy, Accords in joy with thine: The lark that soars to heaven, The sea-bird on the faem, Are singing from morn ’till even, Brave Cameron’s welcome hame. D’ye mind, my ain dear Mary, When we hid in the tree, And saw our Auchnacary, All flaming fearfully?

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The fire was red, red glaring, And ruefu’ was the pine And aye you cried despairing, My father’s ha’s are gane! I said, my ain wee Mary, D’ye see yon cloud sae dun, That sails aboon the carry, And hides the weary sun? Behind yon cloud sae dreary, Beyond and far within, There’s ane, my dear wee Mary, That views this deadly sin. He sees this ruefu’ reavery, The rage of dastard knave; He saw our deeds of bravery, And he’ll reward the brave. Though a’ we had was given For loyalty and faith, I still had hopes that heaven Would right the heroes’ scaith. The day is dawned in heaven, For which we a’ thought lang; The good, the just, is given To right our nation’s wrang; My ain dear Auchnacary, I hae thought lang for thee, O sing to your harp, my Mary, And sound its bonniest key.

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Good Night an’ Joy Be wi’ You A’. The year is wearin’ to the wane, An’ day is fadin’ west awa’ Loud raves the torrent an’ the rain, An’ dark the cloud comes down the shaw. But let the tempest tout an’ blaw, Upon his loudest winter horn,

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Good night an’ joy be wi’ you a’, We’ll maybe meet again the morn. O we hae wander’d far an’ wide, O’er Scotia’s land of firth an’ fell, An’ mony a simple flower we’ve cull’d, An’ twined them wi’ the heather-bell: We’ve ranged the dingle an’ the dell, The hamlet an’ the baron’s ha’, Now let us tak a kind farewell, Good night an’ joy be wi’ you a’. Ye hae been kind as I was keen, And follow’d where I led the way, Till ilka poet’s lore we’ve seen Of this an’ mony a former day. If e’er I led your steps astray Forgie your minstrel ance for a’ A tear fa’s wi’ his parting lay Good night an’ joy be wi’ you a’.

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The Irish Minstrel [1825] R. A. Smith’s The Irish Minstrel [1825] contains eight songs written by Hogg, and the second edition, published c. 1828, reprints three of these songs. On Smith, see above introduction to The Scotish Minstrel [1821–1824]. The collection is dated from the Preface, which is signed ‘Edinburgh, 1st June 1825’. The Irish Minstrel followed on from the success of The Scotish Minstrel. In the Preface Smith writes, ‘Encouraged by the very flattering manner in which the “Scotish Minstrel” has been received, the Publisher brings forward a volume of “Irish Melodies” upon a similar plan’.1 Smith’s correspondence with William Motherwell provides some insight into the genesis of the collection. On 11 June 1824 he writes, ‘I have begun to a Vol: of Irish Melodies, so if you could procure me any poetry of the chaste kind — befitting the perusal of our Minstrel Ladies you will confer a great obligation on me’.2 Mention of ‘chaste’ songs signals Smith’s intention to continue his appeal to the growing audience for ‘genteel’ drawing-room songs comprising both music and lyrics suited to a soloist with pianoforte accompaniment. This letter is followed by an invitation on 22 July to contribute ‘a few songs that would breathe a little of the Spirit of the Emerald Isle’, and on 18 August he sends transcriptions of the first stanzas of several Irish airs to which he requires words, including ‘Love’s Young Dream’, ‘The Brown Irish Girl’, ‘The Red Fox’, and ‘The Brown Thorn’. He also sends the first six lines of Thomas Moore’s ‘St. Senanus and the Lady’ as an example of a song written for the latter air, which was deemed unsuitable for ladies to sing.3 The Irish Minstrel was eventually published in June 1825 and included 103 new and familiar songs by contributors such as Henry S. Riddell (1798–1870), Robert Tannahill (1784–1810), Alexander Laing (1787–1857), Robert Hogg (Hogg’s nephew), and of course, James Hogg. The first edition of The Irish Minstrel, however, was not kindly received. As Gillian Hughes has explored in her article on ‘Irish Melodies and a Scottish Minstrel’, the first edition of The Irish Minstrel was cancelled because the material was thought to infringe upon Thomas Moore’s Irish Melodies, which was published in ten parts by the London firm, Power, between 1807 and 1834.4 The details of how the edition came to be cancelled are discussed in William Chappell’s Popular Music of the Olden Time:

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In the year 1825, my father was engaged as arbiter between the late John Power, Moore’s publisher, and the late Robert Purdie, of Edinburgh. Purdie had published a work entitled The Irish Minstrel, the editor of which had taken some of the melodies from Moore’s collection, believing those versions to be genuine. Power resisted this, as an infringement of his copyright, and proved that so many of the airs had been altered by Moore, that Purdie chose to suppress his entire work than to make such numerous alterations as would have been required.5 Despite Smith’s insistence in the Preface that he is not ‘in competition’ with Moore’s Irish Melodies, as Hughes summarises, ‘The Irish Minstrel is an attempt to cash in on the success of Irish Melodies by undercutting it, as well as to reclaim its melodies for Scotland and for a more general middle-class audience.’6 Smith produces a more ‘portable volume’, in octavo rather than folio format, for a ‘reduced price’, and in regard to the music, provided a simpler accompaniment in which ‘the melody forms a constituent part, so that the full may be heard upon the Piano Forte, either with or without the voice.’7 A review of the second edition of The Irish Minstrel (c. 1828) in The Harmonicon praises ‘the editor of the present collection, for having enabled the less wealthy to partake in the pleasure which such sweet music affords, by the means of the cheapest and neatest work of the kind that ever came out of the musical press.’ Some fault is found with the combination of lyrics and music and in the defects of ‘imperfect fifths’, which ‘cannot fail to disturb, we will not say all, but, most cultivated hearers’, but such faults are said to be ‘counterbalanced by accompaniments in various parts of the volume, which are appropriate in style and pure in harmony’. However, this reviewer appears to be under the erroneous impression that the appearance of the second edition was due to the success of, rather than the cancellation of, the first edition of the collection.8 Hogg directly references this cancelled edition with great chagrin in his headnotes to Songs 1831.9 He also clearly indicates that at least some of his contributions to The Irish Minstrel were written ‘per contra’ to Moore’s songs set to the same airs.10 Hughes particularly notes that Hogg’s ‘If E’er I am Thine’, ‘Go Home, Go Home’, and ‘Come O’er the Sea’ appear to correct the ‘lush sensuality’ of Moore’s love lyrics, thus following Smith’s proscription to admit ‘nothing which a parent might not safely put into the hand of a child.’ 11 However, some of Hogg’s lyrics are unrelated to Moore’s. The following list gives the eight airs, to which both Hogg and Moore set lyrics, along with Hogg and Moore’s respective song titles:

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Air/ Hogg/ Moore The Moreen / The Minstrel Boy /The Minstrel Boy The Winnowing Sheet / How dear to me the hour / How dear to me the hour The Red Fox / There’s Gowd in the Breast / Let Erin Remember The Dear Black Maid / Why Weeps Yon Highland Maid / How Oft Has the Benshee Cried Maid of the Valley / O’er the Ocean Bounding / Go Where Glory Waits Thee The Dandy, O / Go Home, Go Home / The Young May-Moon The Winnowing Sheet / If E’er I am Thine / If Thou’lt Be Mine Cuishlih ma Chree / Come O’er the Sea / Come from the Sea Five of Hogg’s original eight contributions were excluded from the revised ‘Second Edition’ of The Irish Minstrel (c. 1828).12 Moreover, a further nine songs by Riddell, Robert Hogg, J. Gray and Tannahill are also omitted, and the ‘Preface’ is curtailed so that no comparison is made with Moore’s Irish Melodies. A letter from Riddell to Smith, dated 11 December 1826, reveals that Riddell was asked to compose a replacement song for Hogg’s ‘The Minstrel Boy’; this song does not ultimately appear in the second edition.13 There is no evidence for Hogg’s direct involvement in The Irish Minstrel project. Hogg, however, met Thomas Moore on 8 November 1825 when they both attended a supper party at the home of John Wilson in Edinburgh. Moore recorded the meeting in his journal: [W]ent to sup at Wilson’s—an odd set collected there—among others the poet, Hogg —(“take your Hog, and scrape him” well applied to this dirty fellow, who had just come from the Cattle fair—owned to having drunk a bottle of whiskey before he came, & dispatched nearly another during supper—) we had also Williams [...] —and some ladies too—one of whom sung Duetts with an Italian singing master [;] a fine contrast between this foreigner and Hogg, who yelled out savagely two or three Scotch songs, and accompanied the burden of one of them by labouring away upon the bare shoulders of the ladies who sat on each side of him —he and I very cordial together—wanted me to let him drive me to his farm next day to see wife & bairns.14

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One might speculate that Moore became aware of The Irish Minstrel on this occasion. However, it is not clear when the issue of copyright infringement arose between the publishers. Hogg himself granted the copyright of his songs published in the second edition of The Irish Minstrel to Robert Purdie in a letter dated 17 November 1828.15 The present edition reproduces images from the copy of The Irish Minstrel [1825] held by the British Library [BL F.212c.]. A careful comparison with the copy of the revised second edition held by the University of Glasgow Library Special Collections [GUL Euing N b. 55] reveals that the three Hogg songs appearing in this edition (There’s Gowd in the Breast’, ‘Why Weeps Yon Highland Maid’, and ‘O’er the Ocean Bounding’) were re-issued from the same musical plates. Thus, these songs are not reproduced in the present edition. Notes 1

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Preface, The Irish Minstrel, A Selection from the Vocal Melodies of Ireland. Ancient & Modern. Arranged for Piano Forte by R. A. Smith (Edinburgh: Robert Purdie, [1825]), p. i. GUL Robertson MS 3, fols 38–39. GUL Robertson MS 3, fols 42–45. Gillian Hughes, ‘Irish Melodies and a Scottish Minstrel’, Studies in Hogg and his World, 13 (2002), 36–45. For further detail regarding the litigation of the Power brothers, see Celeste Langan’s essay, ‘Scotch Drink & Irish Harps: Meditations on the National Air’, in The Figure of Music in Nineteenth-century British Poetry, edited by Phyllis Weliver (Hampshire: Ashgate, 2005), 25–49. William Chappell, Popular Music of the Olden Time, 16 vols (London: Cramer, Beale, & Chappell [1855–1859]), II, 709. Hughes, p. 39. Preface, The Irish Minstrel, p. ii. The Harmonicon, 4.5 (May 1828), 104–05. All eight Irish songs are included by Hogg in Songs by the Ettrick Shepherd. See (S/SC, 2014). ‘The Minstrel Boy’ — see Songs by the Ettrick Shepherd (S/SC, 2014), pp. 11 and 160–62. Hughes, p. 40; Preface, The Irish Minstrel, p. iii. This edition is dated approximately via the review, which was published in The Harmonicon in May 1828. GUL Robertson MS, 12/6. The Journal of Thomas Moore, 6 vols (Newark, London & Toronto, 1983–88), vol. 2 1821–1825 (p. 855). Letters, II, 315–17.

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The Minstrel Boy. Air __ The Moreen. The Minstrel boy to the glen is gone, In its deepest dell you’ll find him, Where echoes sing to his music’s tone, And fairies listen behind him. He sings of nature all in her prime, Of sweets that around him hover, Of mountain heath and of moorland thyme, And trifles that tell the lover. How wildly sweet is the minstrel’s lay Thro’ cliffs and wild woods ringing! For, ah! there is love to beckon his way, And hope in the song he’s singing. The bard may indite and the minstrel sing, And maidens may chorus it rarely; But unless there be love in the heart within, The ditty will charm but sparely.

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How Dear to Me the Hour. Air __ The twisting of the rope. How dear to me the hour when daylight springs, And sheds new glories on the op’ning view, When westward far the towering mountain flings His shadow fringed with rainbows on the dew __ When westward far the towering mountain flings His shadow fringed with rainbows on the dew! In every flowering shrub then life is new, That sweetly opes on heaven the gladsome eye; So is life’s morn __ but, ah! what can renew The eve of life? we droop, hope, yearn, and die. James Hogg.

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There’s Gowd in the Breast. Air __The Red Fox. There’s gowd in the breast of the primrose pale, And siller in ev’ry blossom; There’s riches galore in the breeze of the vale, And health in the wildwood’s bosom. Then come, my love, at the hour of joy, When warbling birds sing o’er us, Sweet nature to us has no alloy, And the world is all before us. The courtier joys in bustle and power, The soldier in war-steeds bounding; The miser in hoards of treasured ore, The proud in the pomp around them: But we have yon heaven sae bonny and blue, And laverocks skimming out o’er us, The breezes of health and the vallies of dew __ O the world is all before us!

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Why Weeps Yon Highland Maid? Air __The dear black maid. Why weeps yon Highland maid Over the tartan plaid? Is it a pledge of care? Or are the blood drops there? Tell me, thou hind of humble seeming, Why the tears on her cheek are gleaming? Woe that the young and fair Should weep unpitied there! Stranger, that Highland plaid Low in the dust is laid: He who the relic wore __ He is, alas! no more.

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He and his loyal clan were trodden Down, by slaves on dark Culloden; Well o’er a lover’s pall __ Well may the tear-drops fall! Where now the clansmen true? Where is the bonnet blue? __ Where the claymore that broke Fearless thro’ fire and smoke? Not one gleam by glen or river, It lies dropt from the hand for ever. Stranger our fall deplore; Scotia’s name is no more!

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O’er the Ocean Bounding Air __ Maid of the Valley. O’er the ocean bounding Other lands surrounding, Love, I will think of thee! Though new skies me cover, And other stars shine over, Yet I am still with thee! When at morn or even, Low I kneel to heaven, Be my sins forgiven As my love shall be. When my hopes are dearest And my soul sincerest, Then I remember thee. Thee my soul’s sole pleasure; Then its dearest treasure, Life, health, all to me; All of land or ocean, All a world’s commotion, Knits me the more to thee.

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When new passions move me, When I cease to love thee, May the heavens above me Chasten my perfidy! Even in woe and cumber, Even in death’s last slumber, I will remember thee!

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Go Home, Go Home. Air __ The Dandy, O. Go home, go home to your rest, young man, The sky looks cold in the west, young man, For should we rove Through Morna’s grove, A noontide walk is the best, young man. Go sleep, the heav’ns look pale, young man, And sigh are heard in the gale, young man; A walk in the night, By the dim moonlight, A maiden might chance to bewail, young man. When all the world’s awake, young man, A proffer of love I may take, young man; But the star of truth, The guide of my youth, Never pointed to midnight wake, young man. Go sleep till rise of the sun, young man, The sage’s eye to shun, young man, For he’s watching the flight, Of demons to night, And may happen to take thee for one, young man. James Hogg.

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If E’er I Am Thine. Air __ The winnowing Sheet. If e’er I’m thine, the birds of the air, The beasts of the field, and fish of the sea, Shall in our love and happiness share, Within their elements fair and free, And rejoice because I am thine, love.

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We’ll have no flowers, nor words of love, Nor dreams of bliss that never can be; Our trust shall be in heaven above; Our hope to a far futurity Must arise when I am made thine, love.

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And this shall raise our thoughts more high Than visions of vanity here below; For chequer’d thro’ life our path must lie; ’Mid gleams of joy and shades of woe We must travel when I am thine, love.

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Come from the Sea. Air __ Cuishlih ma chree. Come from the sea, Maiden, to me, Maid of mystery, love, and pain; Wake from thy sleep, Low in the deep; Over thy green waves sport again! Come to this sequester’d spot, love, Death’s where thou art as where thou art not, love; Then come unto me, Maid of the sea; Rise from the wild and surging main; Wake from thy sleep, Calm in the deep;

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Over thy green wave sport again! Is not the wave Made for the slave, Tyrants, chains, and stern controul? Land for the free Spirit like thee, Thing of delight to a minstrel’s soul? Come, with thy song of love and of sadness, Beauty of face, and rapture of madness, O come unto me, Maid of the sea! Rise from the wild and surging main; Wake from thy sleep, Calm in the deep; Over thy green wave sport again! James Hogg.

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Select & Rare Scotish Melodies [1828] Select & Rare Scotish Melodies [1828] contains thirteen songs, all of which are written by Hogg. Henry R. Bishop (1786–1855) provided the musical settings. The collection is dated according to Hogg’s letter to William Blackwood on 8 October 1828 and the appearance of a review on 3 January 1829 (details below). The music publishing firm of Goulding & D’Almaine, which was established by George Goulding in Covent Garden in 1785 (D’Almaine most probably joined the firm in the mid 1790s), was one of the principal London music publishers of the moment, with an impressive catalogue of domestic chamber music (e.g. songs, and adaptations of theatre music and dances arranged for piano).1 They advertised themselves as a ‘firm of musical instrument makers, music sellers and publishers’ and, in various forms, were in existence for more than eighty years. By the 1820s, when Hogg became associated with them, the firm had moved to Soho Square, to much larger premises, and their own pamphlet ‘A Day at the Music Publishers’ (c.1848) with its attractive woodcuts of its warehouses, shows not just how busy the firm was, but how progressive they were in terms of modern music printing techniques.2 Their pamphlet gives a detailed account of how music plates are engraved and punched with musical notation and text, how the titles are engraved, and how the ink is made. It mentions the need for high-quality musical plates, rather than the new ‘moveable music types’, a process regarded as ‘unsightly’. The pamphlet announces the arrival of a new, more efficient method, namely ‘Lithographic Pictorial Music Plates’, which was to become the standard practice from this period onwards. This process also allowed coloured print, as some later Victorian song-sheets illustrate. Edmund Poole notes that by 1838 the firm’s catalogue included annuals, musical journals and magazines and listed works printed from some 200,000 engraved musical plates.3 As the images in the present volume indicate, Select & Rare Scotish Melodies was produced by the traditional method of engraved and punched plates as a volume of 13 songs. However, each could also be easily issued as a separate song-sheet with an attractive copperplate heading, and indeed copies of the individual songs lifted from the volume have been found. Poole states clearly that Goulding’s existence coincided with one of the liveliest periods of popular entertainment in London and that the firm was well placed to take advantage of this, publishing music from popular drama, ballet,

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opera, burlesque, vaudeville and the newly developing music-hall. They also had a particular affiliation with the work of contemporary English composers, and so securing Sir Henry Rowley Bishop was something of a catch. When Bishop became the firm’s house-composer in 1810 he had just assumed the post of Composer and Musical Director of Covent Garden — a position he held until the mid 1820s when a dispute over his salary caused his removal to the same post at Drury Lane. He was a founding member of the Philharmonic Society in 1813 and was also to be Music Director at the King’s Theatre throughout the 1810s. From 1830–1833 he was Director and Composer to Vauxhall Gardens, home of the most popular outdoor concerts in the city, so his influence, not to mention his popularity, was notable. Nowadays he is best known as composer of the popular song ‘Home, Sweet home’, but from the early 1810s until the 1840s he provided operatic scores and incidental music for dramatic productions, many of which were dramatisations of Walter Scott’s works. Bishop set a number of National songs when working for Goulding & D’Almaine, and, along with Sir John Stevenson, was closely involved in the musical settings for Thomas Moore’s Irish Melodies project.4 He also appears to have been well aware of the market for Scottish material, as his collaboration with George Thomson illustrates. He was apparently the first composer to provide a full musical arrangement of Burns’s cantata ‘Love and Liberty’ or ‘The Jolly Beggars’ published by Thomson as Part II of the fifth volume of A Select Collection of Original Scottish Airs in 1818 (Part I included three songs by Hogg with musical settings by Beethoven).5 Sadly there is no evidence of any direct communication between Hogg and Bishop, though Hogg’s headnotes to all 13 songs, which he proudly included in Songs by the Ettrick Shepherd in 1831, frequently refer to the songs being ‘finely set by Bishop’ or ‘beautifully set by Bishop’. There was only one setting that Hogg disliked, namely ‘Gang to the Brakens wi’ me’, where Hogg notes: ‘This pastoral ballad is likewise set to music by Bishop […] but I confess not much to my taste, as he has ruined the simplicity of my favourite air which I deemed a masterpiece’.6 There is, however, some extant correspondence with the firm Goulding & D’Almaine: two letters from Hogg of 17 March and 24 August 1829.7 The former letter refers to some ‘Cameronian poetry’ that Hogg has apparently sent the firm, but which they have not chosen to publish, and Hogg requests that it be returned to him. The August letter encloses song lyrics from his drama ‘The Haunted Glen’ (‘O weel befa’ the guileless heart’ and two fairy songs beginning ‘Never, gentle sprits — never’ and ‘Hie you away fairies hie you away’), but these, and

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another Highland song to which Hogg refers, were also not published. This second letter makes mention of Hogg having received a letter from ‘Mr Purdie’. As Gillian Hughes notes, the Edinburgh publisher Robert Purdie, who also published R. A. Smith’s The Scotish Minstrel [1821–1824] and The Irish Minstrel [1825], to which Hogg contributed, and Hogg’s The Border Garland (c. 1829), acted as Goulding & D’Almaine’s Scottish agent. Indeed there is clear evidence that Purdie was the link for Hogg both in the context of Select & Rare Scotish Melodies and also for Hogg’s contributions to the annual, The Musical Bijou, which the firm published.8 Hogg’s letters to Purdie all date from the period between January 1828 and November 1831 and include discussion of The Scotish Minstrel and The Border Garland as well as information about the copyright wrangle with the London music publisher Lonsdale & Mills over Hogg’s song ‘The Lark’ (or ‘The Skylark’) from John Clarke-Whitfeld’s Twelve Vocal Pieces.9 The only mention of Select & Rare Scotish Melodies is in Hogg’s letter to Purdie of 18 January 1828, in which he refers to Goulding & D’Almaine as ‘your correspondents’. Hogg encloses ‘eight more songs’ which he says have ‘such airs that I knew they could not command in London’.10 This suggests that Hogg has already supplied other songs before this date. He also gives some additional information about “The brakens wi’ me”, as he terms it, in relation to its earlier publication in Blackwood’s Edinburgh Magazine.11 Hogg’s letter to the poet Thomas Pringle of 27 November 1828 also makes reference to ‘£25—4—’ which he has received from ‘a music publisher’, and Hughes believes this may well be payment from Goulding & D’Almaine for a number of songs.12 Select & Rare Scotish Melodies was most favourably reviewed. The Edinburgh Literary Journal for Saturday January 3, 1829 gave a passionate and rather dramatic account of the values of National song and, even before addressing the new publication, the reviewer notes the major contributions of a number of national songwriters, including Ramsay, Burns and Moore. Hogg is introduced with the comment: ‘How dear art thou to us, James Hogg, — “Ettrick Shepherd.” “Forest Minstrel,” and “Mountain Bard.”’ Emphasising that Hogg has ‘already done much to protect the rights of that Muse whom he worships’, the reviewer forwards the ‘somewhat ludicrious’ assertion that ‘a poet like Burns or Hogg is the intellectual bagpipe of the land’. Hogg’s lyrics for ‘O what will a’ the lads do’ and ‘There’s nae laddie coming’ are quoted in full, along with ‘The Ladies’ Evening Song’ and ‘The Gathering of the Clans’, the first as an example of ‘quiet humour and sound morality’ and the last as an example of Hogg’s ability to supply ‘his countrymen with strains, which, in the day of battle, would be more dreaded than a thousand rockets’. The review concludes:

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These select and rare Scottish Melodies ought to be found among the music of every true Scottish family, and ought to be sung continually by all our “fair women and brave men.” There is the freshness of the country about them; —The wild luxuriance of the land “Where blooms the red heather and thistle sae green.”13 A shorter review in The Harmonicon was also very positive, though it confuses James with his nephew Robert Hogg. The second part of this issue included a slightly amended musical setting of the song ‘I downa laugh, I downa sing’ where the error in attribution is endorsed: ‘The Words and Melody by The Ettrick Shepherd, (R. Hogg,)’.14 The review highlights Bishop’s settings which are said to be appropriately supportive of the songs, in which ‘a few modest touches of German harmony are no more incongruous than a tropical flower in the braids of a Caledonian beauty’. The volume’s notably Scottish accent is strongly endorsed: The airs and words are exactly suited, and the accent is irreproachable. In two or three instances we had our doubts on the latter point; but recollecting that the northern and southern extremities of our island differ occasionally as much on this subject as in latitude, we no longer hesitated, for in a Scotish song, Scotish accent must be the most correct.15 Hogg was pleased with his involvement in Select & Rare Scotish Melodies, writing to William Blackwood on 8 October 1828: ‘There is a splendid work of mine published in London this week. It consists of Seventeen new Scottish songs most beautifully set to Music by Bishop and even the publishers themselves acknowledge that the sale promises to be extensive’. Moreover, Hogg continues: ‘It is the most elegant work I have seen and promised I think to do me more credit that any thing that has appeared although when I bargained with the house I looked on it as a mere trifle’.16 Clearly only thirteen of the seventeen songs sent were published. The descriptor on the bottom right hand corner of the plates — ‘Songs of the Ettrick Shepherd. B. 1’ — suggests that Goulding & D’Almaine may have considered this volume as the first of a series; however, no other volume was forthcoming. The collection was dedicated to ‘The Right Honorable The Ladies Ann, Margaret & Harriet Scott, of Buccleuch’, thus advertising Hogg’s link with the present Duke of Buccleuch and, moreover, endorsing the songs as being the kind of songs sung by all ladies of taste. The present edition reproduces images from the copy of Select & Rare Scotish Melodies held by the Bodleian Library [BOS Mus 5n e 77 (1)].17

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Notes 1 2

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9 10 11

12 13 14 15 16 17

For further notes on Goulding & D’Almaine see Letters, II, 492. See H. Edmund Poole, ‘A Day at the Music Publishers: A Description of the Establishment of D’Almaine & Co’, Journal of the Printing Historical Society, 14 (1979/80), 59–81. A pamphlet entitled ‘A Day at the Music Publishers’ was printed as an advertisement and account of the work of Goulding & D’Almaine’s firm. Poole’s article reprints the pamphlet with additional comment. The pamphlet is undated, but a pencil date of 1848 is written on the British Library copy. See also Humphries & Smith, pp. 158–59. See Poole, p. 64. See F. Corder, ‘The Works of Sir Henry Bishop’, Musical Quarterly, 4 (1918), 78–97. For more information on Bishop see Richard Northcote, The Life of Sir Henry Bishop (London, 1920) and entries in the ODNB and New Grove Online. See Songs by the Ettrick Shepherd, p. 10. Letters, II, 333–34, 351–54. See Note on Robert Purdie, Letters, II, pp. 512–14; and Contributions to Annuals and Gift-Books, ed. by Janette Currie and Gillian Hughes (S/SC, 2006), pp. 143–55 and note, pp. 316–18. See the Introductory notes to all three of these collections in the present volume. Letters, II, 284–85. See Contributions to Blackwood’s Edinburgh Magazine Volume 1, 1817–1828, ed. by Thomas C. Richardson (S/SC, 2008), pp. 181–82. It appeared in December 1825. See Letters, II, 318–19. The Edinburgh Literary Journal, 8 ( January 3, 1829), 101–03. See the introductory note for The Harmonicon in the present volume. The Harmonicon, 7.1 ( January 1829), 1–12. See Letters, II, 308–10. There is a presentation copy of the volume signed by Hogg (with some corrections), which is inscribed to Mary Foster: ‘To Mrs Mary Foster // As a small token of Admiration and Esteem // from her sincere friend // The Ettrick Shepherd’. This volume is bound with an inscribed copy of Hogg’s The Border Garland, Containing Twelve New Songs : ‘To Miss Mary Foster [Coldstream?] // From her sincere and affectionate friend // The Ettrick Shepherd’. The items are held by the Beinecke Library, Yale [BEIN 1974+68].

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Mary, Canst Thou Leave Me? Written by the Ettrick Shepherd Arranged with Symphonies and Accompaniments by Henry R. Bishop. Mary, can’st thou leave me, Is there nought will move thee? Dear lass, believe me, I but live to love thee! When we two are parted, When the seas us sever, Still this heart, deserted, Clings to thee for ever: Days so dull and dreary, Nights so mirk and eiry, Is there aught can cheer me? Never! my love! never! Colin, cease to borrow Woful terms to chide me, From this land of sorrow Haste, O haste to hide me; Danger may belay thee, Kinsmen may betray thee, But thy hapless Mary Ever will confide thee! Spirits round us hover, Breathing blood and plunder; But when this is over, Which we tremble under, Then, dear youth, believe me, Though this time I grieve thee, Kindly I’ll receive thee, Never more to sunder!

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O What Will A’ the Lads Do? Written by the Ettrick Shepherd Arranged with Symphonies & Accompaniments by Henry R. Bishop. O what will a’ the lads do, When Maggy gangs away? O what will a’ the lads do, When Maggy gangs away? There’s no heart in a’ the glen That dinna dread the day, O what will a’ the lads do, When Maggy gangs away! Young Jock has ta’en the hill for’t, A waefu’ wight is he; Poor Harry’s ta’en the bed for’t, An’ laid him down to die; An’ Sandy’s gane unto the kirk, An’ learning fast to pray; An’ O what will the lads do, When Maggy gangs away? The young laird o’ the Langshaw Has drunk her health in wine; The priest in confidence has said The lassie was divine; An’ that is mair in maiden’s praise Than ony priest should say, But O what will the lads do, When Maggy gangs away? The wailing in our green glen, That day will quaver high, ’Twill draw the redbreast frae the wood, The laverock frae the sky: The fairies frae their beds o’ dew Will rise, an’ join the lay; An’ Hey! what a day will be, When Maggy gangs away!

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There’s Nae Laddie Coming, Written by the Ettrick Shepherd Arranged with Symphonies & Accompaniments by Henry R. Bishop. There’s nae laddie coming for thee, my dear Jean, There’s nae laddie coming for thee, my dear Jean; I have watch’d you at mid-day, at morn an’ at e’en, And there’s nae laddie coming for thee, my dear Jean. But be nae down-hearted though wooers gang by, Thou’rt my only Sister, thy brother am I; An’ ay in my wee house thou welcome shalt be, An’ while I hae saxpence I’ll share it wi’ thee. O Jeanie, dear Jeanie, when we twa were young, I sat on your knee, to your bosom I clung, You kiss’d me, and clasp’d me, and croon’d your bit sang, An’ bore me about when you hardly dought gang. An’ when I fell sick wi’ a red wat’ry ee, You watch’d o’er your billy an’ fear’d he wad dee, I fand your cauld hand often laid on my brow, An’ the sweet kiss o’ kindness impress’d on my mow. Sae wae was my young heart to see my Jean weep, I clos’d my sick ee though I was nae asleep, It was then that I mark’d a’ thy kindness for me, O what do I owe, my dear Sister to thee! Then be nae down-hearted, for nae lad can feel, Sic true love as I do, or ken you sae weel; My heart it yearns o’er thee, an’ griev’d wad I be, If aught were to part my dear Jeanie an’ me.

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I Downa Laugh, I Downa Sing. Words & Melody by the Ettrick Shepherd Arranged with Symphonies and Accompaniments by Henry R. Bishop I downa laugh, I downa sing, Though sweet beseeching looks I see, Though smiles abound, and wine goes round, And ev’ry eye is turn’d on me; For there is ane out o’ the ring, Wha never can forgotten be! Aye, there’s a blank at my right hand That ne’er can be made up to me! ’Tis said as water wears the rock, That time wears out the deepest line, It may be true wi’ hearts enew, But never shall apply to mine! For I have liv’d to know and feel, Though losses should forgotten be, That still the blank at my right hand, Can never be made up to me. I blame not Providence’s sway, For I have many joys beside, And I would fain wi’ grateful heart, Esteem the same, whate’er betide. A mortal thing should ne’er repine, But stoop to the supreme decree; Yet O! the blank at my right hand, Can never be made up to me.

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Ye Breezes That Spring in Some Land Unknown, Written by the Ettrick Shepherd, Arranged with Symphonies & Accompaniments by Henry R. Bishop. Ye breezes that spring in some land unknown, Or sleep on your clouds of the eider down; Come over the mountain and over the dale, More sweet than Arabia’s spicy gale. Come over the heath-flower’s purple bloom, And gather the birks and the thyme’s perfume; For these are the sweets that bring no alloy To dark Caledonia’s mountain joy. But O thou breeze of the valley and hill, Thou can’st bring a richer off’ring still: The good man’s pray’r from ev’ry cot, And the poor’s kind blessing that’s never forgot. The cottager’s boast over lordlings and hall, And the song of the maiden, the sweetest of all; Bring these thou breeze of the Forest broad, And welcome be thou to this lowly abode.

The Souters o’ Selkirk Written by the Ettrick Shepherd, Arranged with Symphonies & Accompaniments by Henry R. Bishop. Up wi’ the Souters o’ Selkirk, The sons of an auld pedigree;

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An’ up wi’ the lads o’ the forest, Renown’d for their leal loyalty! I may be mista’en, but I carenae, My error I never shall rue, Of all manly virtues I value, The heart that is loyal and true. Let them brag of their factious republics, Of brawling, and plebean birth; But the land that has got a good Sov’reign, Has got the best blessing on earth; Then up wi’ our old fashion’d structure, And Geordie the top o’ the tree; And up wi’ the Souters of Selkirk, The sons of auld heroes for me!

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The Ladies’ Evening Song, Written by the Ettrick Shepherd, Arranged with Symphonies & Accompaniments, by Henry R. Bishop. O the glass is no for you, Bonny laddie, O, The glass is no for you, Bonny laddie, O, The glass is no for you, For it paints your manly brow, An’ it fills you roaring fou, Bonny laddie, O; Then drive us not away Wi’ your drinking, O, We like your presence mair Than you’re thinking o’, How happy wad your be In our blithsome company,

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Taking innocence an’ glee For your drinking, O. Now your een are glancing bright, Bonny laddie, O, Wi’ a pure an’ joyfu’ light, Bonny laddie, O, But at ten o’ clock at night, Take a lady’s word in plight, We will see another sight, Bonny laddie, O. There’s a right path and a wrang, Bonny laddie, O, An’ you needna arguy lang, Bonny laddie, O, For the mair you taste an’ see Of our guileless company Ay the happier you will be, Bonny laddie, O.

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Arabian Song, Written by the Ettrick Shepherd Composed by Henry R. Bishop. Meet me at even, my own true love; Meet me at even, my honey, my dove. Where the moon-beam revealing The cool fountain stealing, Away, and away, Through flow’rets so gay; Singing its silver roundelay. Love is the fountain of life and bliss; Love is the valley of joyfulness. A garden of roses Where rapture reposes, A temple of light,

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All heav’nly bright, O virtuous love is the soul’s delight.

Come, Row the Boat, Written by the Ettrick Shepherd Arranged with Symphonies and Accompaniments by Henry R. Bishop. Come row the boat, row the boat, Ply to the peibroch’s note, Steer for yon lonely cot, O’er the wild main. For there waits my dearie, Both lonesome, and eirie, And sorely she’ll weary, To hear our bold strain. Then row for her lover, And play, boys, to move her; The tide-stream is over, And mild blows the gale. I see her a roaming, Like Swan in the gloaming, Or Angel a coming, Her Ronald to hail. The deer of Ben-Airtly, Is comely and stately, As tall and sedately, She looks o’er the dale. The sea-bird rides sprightly, O’er billows so lightly, Or boldly and brightly, Floats high on the gale.

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But O my dear Mary, What heart can compare thee, With aught in the valley, The mountain or tide? All nature looks dreary, When thou art not near me, But lovely and dearly, When thou’rt by my side.

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Appie McGie, Written by the Ettrick Shepherd, Arranged with Symphonies & Accompaniments by Henry R. Bishop. O love has done mickle in city and glen, In tears of the women, and vows of the men; But the sweet little rogue, wi’ his visions of bliss, Has never done ought sae unhallow’d as this! For what do you think? at a dance on the green, Afore the dew fell i’ the gloaming yestreen, He has wounded the bosom and blindit the ee Of the flow’r of the valley, young Appie McGie! Young Appie was sweet as the zephyr of even, And blithe as the laverock that carols in heav’n, As bonny as ever was bud of the thorn, Or rose that unfolds to the breath of the morn: Her form was the fairest of nature’s design, And her soul was as pure as her face was divine, Ah! Love! ’Tis a shame, that a model so true, By thee should be melted, and moulded anew! The little pale flow’rets blush deep for thy blame, The fringe of the daisy is purple with shame; The heath-breeze that kisses the cheek of the free,

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Has even a shade of the tincture of thee. Of all the wild wasters of glee and of hue, And eyes that have depths of the ocean of blue, Love, thou art the chief! And a shame upon thee, For this deed thou hast done to young Appie McGie!

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The Broom Sae Green, Words & Melody by the Ettrick Shepherd, Arranged with Symphonies & Accompaniments by Henry R. Bishop. Lang I sat by the broom sae green, An’ O my heart grew eerie, For ay this strain it breath’d within, “Your laddie will no come near thee.” Lie still thou wee but flutt’ring thing, What means this weary wav’ring? Nae heart returns thy raptur’d spring, My laddie he’ll no come near me. His leifu’ sang the Robin sung, On the gowden broom sae near me, Wi’ tender grief my heart was wrung, For O the strain was dreary. The wee bird’s sang it cou’dna be, That gart the tear-drap frae mine ee; How ken’d the Redbreast on the tree That my laddie wad no come near me? The new wean’d lamb on yonder lea It bleats out through the braken, The harried bird upon the tree, Mourns o’er its nest forsaken. If they are wae O well may I,

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Nae grief like mine aneath the sky, The lad I loe he cares nae by, Though my fond heart is breaking.

Gang to the Brakens wi’ Me, A Pastoral Ballad, Written by the Ettrick Shepherd Arranged with Symphonies & Accompaniments by Henry R. Bishop. I’ll sing of yon glen of red heather, And a dear thing that ca’s it her hame, Wha’ is a’ made of love-life thegither, Fra the tie of the shoe to the kembe; Love beckons in ev’ry sweet motion, Commanding due homage to gie, But the shrine of my dearest devotion, Is the bend of her bonny eebree. I fleech’d an’ I pray’d the dear lassie To gang to the brakens wi’ me, But, though neither lordly nor saucy, Her answer was “laith will I be: I neither hae father nor mither, Sage counsel or caution to gie, But prudence has whisper’d me never To gang to the brakens wi’ thee.” Dear lassie how can you upbraid me, Or try your ain love to beguile, For you are the richest young lady That ever gaed ower the kirk-style: Your smile, that is blither than ony, The bend o’ your comely eebree, An’ the sweet blinks o’ love there sae bonny, Are five-hunder-thousand to me!

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She turn’d her around, and said, smiling, While the tear in her blue ee shone clear, You’re welcome, kind sir, to your mailing, For O, you have valued it dear. Gae make out the deed, do not linger, Let the parson endorse the decree, And then for a wave o’ your finger I’ll gang to the brakens wi’ thee. What joy in the bright blooming feature, When love lurks in ev’ry young line; There’s joy in the beauties of nature, There’s joy in the dance, and the wine But there’s a delight will ne’er perish ’Mong pleasure all fleeting and vain, And that is to love and to cherish The fond little heart that’s our ain!

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The Gathering of the Clans, A Jacobite Ballad, Written by the Ettrick Shepherd Arranged with Symphonies & Accompaniments by Henry R. Bishop. There’s news come over the highlands yestreen, Will soon gar bonnets and broadswords keen, And philabegs short and tartans green, Shine over the shore in the morning. He comes, he comes, our spirits to cheer, To cherish the land he holds so dear, To banish the reaver, the base deceiver, And raise the fame of the clans for ever, Our Prince is landed in Moidart bay; Come raise the clamour of bagpipes’ yamour, And join our lov’d Prince in the morning.

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Come brave Lochiel, the honour be thine, The first in loyal array to shine; If bold clan Ronald and thee combine, Then who dare remain in the morning? Glengarry will stand with arm of steel, And Keppoch is blood from head to heel, The whiggers of Sky may gang to the deil, When Connal and Donald, and gallant Clan-Ronald Are all in the field, and known not to yield, Are all in array, and hasting away To welcome their Prince in the morning. The Appin will come, while coming is good, The stern McIntosh is of trusty blood, McKenzie and Frazer will come at their leisure, The whiggens of Sutherland scorning. The Athol-men keen, as fire from steel, McPherson for Charlie will battle the deil, The hardy clan Dunnoch is up in the Runnoch, McLean, and McGregor are rising with vigour Unawed by the pride of haughty Argyle, And lordly Drummond is belted and coming, To join his lov’d Prince in the morning. Come a’ that are true men, steel to the bane, Come a’ that reflect on the days that are gane, Come a’ that have breeks, and a’ that have nane, An’ a’ that are bred unto sorning: Come Moidart and Moy, McGun and McCraw; McDugalds, McDonalds, McDevils an’ a’, McDuffs and McDumpies, McLeods and McLumpies, With Claymores gleaming, and standards streaming, Come swift as the roe for weal or for wo’, That whigs in their error, may quake for terror, To see our array in the morning.

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The Border Garland (c.1829) The Border Garland (c.1829) contains twelve songs, all of which were written by Hogg. This collection contained eight songs from A Border Garland [1819] along with four additional songs reprinted from the ‘Second Series’ of The Jacobite Relics of Scotland (1821), all with new musical settings by James Dewar. The collection is dated as most probably published in 1829 according to Hogg’s letter to Robert Purdie on 17 November 1828, in which he promises additional contributions to the collection, and a review in The Harmonicon of 1829 (details below). James Dewar (1793–1843) was ‘a well-known Edinburgh instrumental teacher and leader of the Theatre Royal orchestra’ from 1817 until his death.1 He composed music for several theatre productions of Sir Walter Scott’s novels, including Waverley (1823) and Redgauntlet (1825), and he was also the organist at St. George’s Episcopal Church in Edinburgh and a founding member of the Edinburgh Professional Society of Musicians. He issued six volumes of Popular National Melodies, which were published by Alexander Robertson in 1826.2 Little is known regarding the genesis of The Border Garland. The impetus behind the collection may have been the bankruptcy of Nathaniel Gow and Son, the publishers of A Border Garland, in 1827. The Edinburgh music publisher, Robert Purdie, ‘acquired and reissued (in conjunction with Alexander Robertson & Co.) several of the Gow family’s works after the bankruptcy’.3 In a letter to Purdie, dated 17 November 1828, Hogg grants the copyright of the nine songs published within A Border Garland to Purdie and furthers agrees ‘to give him three more of my compositions for a new edition of this work to contain Twelve songs’.4 As discussed in the above introduction to Twelve Vocal Pieces, ClarkeWhitfeld and the firm of Lonsdale and Mills challenged Hogg’s sale of copyright of ‘The Lark’ and ‘Naething to Fear Ye’ to Purdie. The decision to omit ‘The Laird of Lamington’ and to include an additional song from Jacobite Relics must have been made following this transaction. Three of the songs in the collection, ‘Bonnie Prince Charlie’, ‘The Lament of Flora Macdonald’, and ‘Turn the blue bonnet wha can’, have particularly elaborate headings, which enabled the songs to be easily reissued from the same musical plates for sale as individual song-sheets. The songs are listed as ‘from The Border Garland’ in bold typeface, and the publisher’s information is reproduced in full from the title page. ‘Bonnie Prince Charlie’ and ‘Turn the blue bonnet wha can’ also have

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individual performers named on their title pages, namely, ‘Madame Stockhausen’ and ‘Miss Noel’.5 A reviewer in The Harmonicon of 1829 offers up The Border Garland as proof ‘[t]hat the Muses of lyric poetry and song still vouchsafe to listen to their Scotish votaries, and bestow on them a portion of those favours which they granted so liberally to Caledonian suppliants in the seventeenth and eighteenth centuries.’ Some of the poetry is said to evoke the ‘true clannish energy: the fiery zeal of the partisan’, and while other songs are in ‘a more tender strain’, ‘all exhibit that richness and earnestness, which distinguish the productions of Mr. Hogg’s muse.’ ‘Culloden Day’ and ‘O Jeanie there’s naething tae fear ye’ are noted to be ‘impressive and pleasing’, and, in the latter, a modulation ‘from B‫ ל‬to G minor and immediately into E‫ל‬, is unexpected and good’. ‘Turn the Blue Bonnet wha Can’ is given extended treatment: ‘The symphony, in the bolero style, contributes not a little to its effect, and a novel feature is given to the air by commencing in the major, though the symphony begins, and the whole ends, in the minor’. ‘The Mermaid’s Song’ is reprinted in ‘Part Second’ of the same number ‘as a specimen of the work’, and the reviewer trusts that ‘it will have as many charms for others as it has for us.’ 6 A similarly enthusiastic review appeared in the Monthly Musical and Literary Magazine of January 1830.7 The Scottish character of the lyrics and melodies is again celebrated, and Dewar’s symphonies are said to be ‘in the style of those to the Irish melodies by Sir John Stevenson.’ The reviewers humorously recall a performance of ‘The Mermaid’s Song’ by ‘a young lady who appeared to think more of her own performance and capabilities than the style of the ballad’ to emphasise their preference for the natural simplicity of Hogg’s work. The lyrics of ‘The Poor Man’ are reproduced in full to give the reader a flavour of this ‘highly creditable’ work. The present edition reproduces images from the copy of The Border Garland held by the Edinburgh Central Music Library (WX M 1745 H71). Notes 1 2 3 4 5 6 7

Gillian Hughes, James Hogg: A Life (2007), p. 225. See the ODNB entry by Anne Pimlott Baker, and also Baptie, pp. 42–43. New Grove Online, entry by Frank Kidson/William C. Smith/David Johnson. Letters, II, 315. See the notes to these songs and the section entitled Miscellaneous Songs in the Introduction to the present edition. The Harmonicon, 7.1 (1829), 281–82; ‘The Mermaid’s Song’, in The Harmonicon, 7.2 (1829), 184–85. Monthly Musical and Literary Magazine, 1 ( January 1830), 10–11. For further

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information on this magazine, see Gillian Hughes, ‘Hogg and the Monthly Musical and Literary Magazine’, Studies in Hogg and his World, 15 (2004), 120–25.

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Bonnie Prince Charlie, The Favorite Jacobite Song, As Sung by Madame Stockhausen, from The Border Garland, Written by James Hogg The Celebrated Ettrick Shepherd, The Air composed by a Friend of the Author, and arranged with Symphonies & Accompaniments by James Dewar. Came ye by Athol lad wi’ the philabeg, Down by the Tummel or banks of the Gary? Saw ye my lad, wi’ his bonnet an’ white cockade Leaving his mountain to follow Prince Charlie Charlie Charlie wha wadna follow thee? Lang thou hast lov’d an’ trusted us fairly Charlie, Charlie wha wadna follow thee! King of the highland hearts bonnie Prince Charlie. I hae but ae son, my brave young Donald! But if I had ten they should follow Glengarry; Health to McDonnell and gallant Clan Ronald, For these are the men that will die for their Charlie. Charlie, Charlie &c. I’ll Lochiel, and Appin, and kneel to them; Down by Lord Murray, and Roy of Kildarlie; Brave Mackintosh he shall fly to the field with them; They are the lads I can trust wi’ my Charlie. Charlie, Charlie &c. Down through the lowlands, down wi’ the whigamore, Loyal true highlanders, down with them rarely! Ronald and Donald drive on with the broad claymore,

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Over the necks of the foes of Prince Charlie. Charlie, Charlie &c.

Culloden Day, The words by James Hogg The Celebrated Ettrick Shepherd, Arranged with Symphonies & Accompaniments by James Dewar. Fair lady mourn the memory Of all our Scottish fame! Fair lady mourn the memory E’vn of the Scottish name. How proud were we of our young prince, And of his native sway, But all our hopes are past and gone Upon Culloden day. There was no lack of bravery there, No spare of blood or breath, For, one to two, our foes we dar’d, For freedom or for death. The bitterness of grief is past, Of terror and dismay: The die was risk’d and foully cast Upon Culloden day. And must thou seek a foreign clime, In poverty to pine, No friend or clansmen by thy side, No vassal that is thine. Leading thy young son by the hand, And trembling for his life, As at the name of Cumberland, He grasps his father’s knife.

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I cannot see thee, lady fair, Turn’d out on the world wide; I cannot see thee lady fair, Weep on the bleak hill side. Before such noble stem should bend, To tyrants treachery, I’ll lay thee with thy gallant sire, Beneath the beechen tree. I’ll hide thee in Clan-Ronald’s isles, Where honour still bears sway; I’ll watch the traitors hovering sails, By islet and by bay: And ere thy honour shall be stain’d, This sword avenge shall thee, And lay thee with thy gallant kin, Beneath the beechen tree. What is there now in thee, Scotland, To us can pleasure give? What is there now in thee, Scotland, For which we ought to live? Since we have stood, and stood in vain, For all that we held dear, Still have we left a sacrifice To offer on our bier. A foreign and fanatic sway Our southron foes may gall; The cup is filled they yet shall drink, And they deserve it all. But there is nought for us or ours, In which to hope or trust, But hide us in our father’s graves, Amid our father’s dust.

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O Jeanie There’s Naething to Fear Ye, The Words by James Hogg, The Celebrated Ettrick Shepherd, Arranged with Symphonies & Accompaniments by James Dewar. O my lassie our joy to complete again Meet me again i’ the gloaming my dearie Low down in the dell let us meet again O Jeanie there’s naething to fear ye! Come when the wee bat flits silent an’ eiry Come when the pale face o’ nature looks weary Love be thy sure defence Beauty an’ innocence O Jeanie there’s naething to fear ye! Sweetly blows the haw an’ the rowan tree, Wild roses speck our thickets sae breerie; Still, still will our bed in the greenwood be O Jeanie, there’s naething to fear ye! Note when the blackbird o’ singin’ grows weary, List when the beetle bee’s bugle comes near ye, Then come with fairy haste, Light foot and beating breast; O Jeanie there’s naething to fear ye! Far, far will the bogle an’ brownie be, Beauty an’ truth they darna come near it; Kind love is the tie of our unity, A’ maun love it an’ a’ maun revere it! Love makes the sang of the woodland sae cheerie, Love gars a’ nature look bonny that’s near ye, That makes the rose sae sweet Cowslip an’ violet, O Jeanie there’s naething to fear ye!

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The Lament of Flora Macdonald, A Jacobite Song, from The Border Garland, Written by James Hogg The Celebrated Ettrick Shepherd, The Air composed by a friend of the Poet. Arranged with Symphonies & Accompaniments by James Dewar. Far over yon hills of the heather so green, And down by the Correi that sings to the sea, The bonny young Flora sat sighing her lane, The dew on her plaid an’ the tear in her ee. She look’d at a boat with the breezes that swung, Away on the wave, like a bird of the main, An’ ay as it lessen’d she sigh’d an’ she sung, Fareweel to the lad I shall ne’er see again; Fareweel to my hero the gallant and young Fareweel to the lad I shall ne’er see again. The Moorcock that craws on the brows o’ Ben-Connal, He kens o’ his bed in a sweet mossy hame, The Eagle that soars o’er the cliffs of Clan-Ronald Unawed and unhunted his eiry can claim; The Solan can sleep on his shelve of the shore, The Cormorant roost on his rock of the sea; But Oh! there is ane whose hard fate I deplore, Nor house, ha’, nor hame in his country has he; The conflict is past, and our name is no more, There’s nought left but sorrow for Scotland an’ me! The target is torn from the arms of the just, The helmet is cleft on the brow of the brave, The claymore for ever in darkness must rust;

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But red is the sword of the stranger an’ slave: The hoof of the horse, and the foot of the proud, Have trode o’er the plumes on the bonnet of blue: Why slept the red bolt in the breast of the cloud, When tyranny revelled in blood of the true? Farewell my young hero, the gallant and good! The crown of thy Fathers is torn from thy brow!

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The Sky Lark, The Words by James Hogg, The Celebrated Ettrick Shepherd, Arranged with Symphonies & Accompaniments, by James Dewar. Bird of the wilderness, Blithsome an’ cumberless, Sweet be thy matin o’er moorland an’ lea, Emblem of happiness, Blest is thy dwelling place, O to abide in the desert with thee! Wild is thy lay an’ loud, Far in the downy cloud; Love gives it energy, love gave it birth. Where on thy dewy wing, Where art thou journeying? Thy lay is in heav’n, Thy love is on earth. O’er fell an’ fountain sheen, O’er moor an’ mountain green, O’er the red streamer that heralds the day; Over the cloudlet dim, Over the rainbow’s rim, Musical cherubim, hie thee away.

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Then when the gloaming comes, Low in the heather blooms, Sweet will thy welcome and bed of love be, Emblem of happiness! Blest is thy dwelling place! O to abide in the desert with thee!

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Turn the Blue Bonnet Wha Can, A Jacobite Song, Sung by Miss Noel, from The Border Garland Written by James Hogg The Celebrated Ettrick Shepherd, Arranged with Symphonies & Accompaniments by James Dewar. Now up wi’ Donald my ain brave Donald, It’s up wi’ Donald and a’ his clan, He’s aff right early away wi’ Charlie, Now turn the blue bonnet wha can, wha can. His arm is ready his heart is steady, And that they’ll find when his claymore’s drawn, They’ll flee frae its dint like the fire frae flint, Then turn the blue bonnet wha can, wha can. The tartan plaid it is waving wide, The pibroch’s sounding up the glen, And I will tarry at Auchnacarry, To see my Donald and a’ his men. And there I saw the king o’ them a’, Was marching bonnily in the van;

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And aye the spell o’ the bagpipe’s yell Was, turn the blue bonnet wha can, wha can. There’s some will fight for siller and gowd, And march to countries far awa; They’ll pierce the waefu’ stranger’s heart, And never dream of honour or law. Gie me the plaid and the tartan trews, A plea that’s just, a chief in the van, To blink wi’ his e’e and cry “Oh wi’ me!” Then turn the blue bonnet wha can, wha can! Hersel pe neiter slack nor slow, Nor fear te face of southron loon; She ne’er pe stan’ to fleech or fawn, Nor parley at a’ wi’ hims plack tragoon. She just pe traw her trusty plade, Like pettermost highland shentleman; And as she platterin town te prae, Fait! turn her plue ponnet fa can, fa can!

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Caledonia, The Words by James Hogg The Celebrated Ettrick Shepherd, Air by a friend of the Poet Arranged with Symphonies & Accompaniments by James Dewar. Caledonia thou land of the mountain and rock, Of the ocean the mist and the wind: Thou land of the torrent the pine and the oak, Of the roebuck, the hart and the hind. Tho’ bare are thy cliffs, and tho’ barren thy glens; Tho’ bleak thy dun islands appear;

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Yet kind are the hearts and undaunted the clans, That roam on those mountains so drear. A foe from abroad, or a tyrant at home, Could never thy ardour restrain; The invincible bands of imperial Rome Assay’d thy proud spirit in vain. Firm seat of religion, of valour, of truth, Of genius unshackled and free; The Muses have left all the vales of the south, My lov’d Caledonia for thee. Sweet land of the bay and the wild winding deeps; There loneliness slumbers at even; While far in the deep, mid blue water sleeps A calm little motionless heaven. Thou land of the valley, the moor and the hill, Of the storm, and the proud rolling wave, Yes, thou art the land of fair liberty still, And the land of my forefather’s grave!

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The Poor Man, The Words by James Hogg The Celebrated Ettrick Shepherd, Air by a friend of the Poet. Arranged with Symphonies & Accompaniments by James Dewar. Loose the yett an’ let me in, Lady wi’ the glist’ning ee Dinna let your menial train Drive an auld man out to dee. Cauldrife is the winter ev’n See the rime hangs at my chin;

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Lady for the sake of Heav’n Loose the yett an’ let me in. Ye shall gain a virgin hue Lady for your courtesy, Ever bonny, ever new Aye to bloom, an’ ne’er to dee, Lady there’s a lovely plain Lies beyond yon setting sun, There we soon may meet again Short the race we hae to run. ’Tis a land of love an’ light, Rank or title is not there, High an’ low maun there unite, Poor man, prince, an’ lady fair, There what thou on earth hast given, Doubly shall be paid again, Lady for the sake of heaven, Loose the yett an’ let me in. Blessings rest upon thy head, Lady of this lordly ha’ That bright tear that thou did’st shed, Fell na down amang the snaw. It is gane to heav’n aboon, To the fount of charitye, When thy days on earth are done O how it shall plead for thee.

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I’ll No Wake wi’ Annie, Words & Melody by James Hogg The Celebrated Ettrick Shepherd, Arranged with Symphonies and Accompaniments by James Dewar. O mother tell the laird o’t, Or sairly it will grieve me O, That I’m to wake the ewes the night An’ Annie’s to gang wi’ me O, I’ll wake the ewes my night about, But ne’er wi’ ane sae saucy O, Nor sit my lane the lee lang night Wi’ sic a scornfu’ lassie O. I’ll no wake I’ll no wake I’ll no wake wi’ Annie O, Nor sit my lane o’er night wi’ ane Sae thraward an’ uncannie O. Dear son be wise an’ warie, But never be unmanly O, I’ve heard you tell another tale, O young an’ charming Annie O. The ewes ye wake are fair enough, Upon the brae sae bonny O, But the laird himsel wad gie them a’, To wake the night wi’ Annie O. I’ll no wake, &c. I tauld ye ear’, I tauld ye late, That lassie was trapan ye O, An’ ilka word ye boud to say, When left your lane wi’ Annie O, Tak my advice this night for ance

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Or beauty’s tongue will ban ye O, An’ sey your leel auld mother’s skeel, Ayont the moor wi’ Annie O. He’ll no wake, &c. The night it was a simmer night, An’ O the glen was lovely O, For just ae sternie’s gowden ee, Peep’d o’er the hill serenely O. The twa are in the flow’ry heath, Ayont the moor sae flowy O, An’ but ae plaid atween them baith, An’ wasna that right dowy O. He maun wake, &c. Neist morning at his mother’s knee, He bless’d her love unfeign’dly O; An’ aye the tear fell frae his ee, An’ aye he clasp’d her kindly O. Of a’ my griefs I’ve got amends, Upon yon glen sae grassy O, A woman only woman kens Your skill has won my lassie. I’ll aye wake, I’ll aye wake, I’ll aye wake, wi’ Annie O I’ll ne’er again keep wake wi’ ane, Sae sweet sae kind an’ cannie O.

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The Mermaids Song, The Words & Melody by James Hogg The Celebrated Ettrick Shepherd, Arranged with Symphonies & Accompaniments by James Dewar Lye still my love lye still and sleep, Long is thy night of sorrow, Thy maiden of the mountain deep, Shall meet thee on the morrow. But O when shall that morrow be, When my true love shall waken, When shall we meet refin’d and free, Amid the moorland braken. Full low and lonely is thy bed The worm ev’n flies thy pillow, Where now the lips so comely red That kiss’d me neath the willow? O I must laugh do as I can Even mid my song of mourning, At all the fuming freaks of man, To which there’s no returning. Lye still my love, lye still and sleep; Hope lingers o’er thy slumbers; What though thy years beneath the steep, Should all its stores out number? Though moons steal o’er and seasons fly On time’s swift wing unstaying; Yet there’s a spirit in the sky, That lives o’er thy decaying. In domes beneath the water springs, No end hath my sojourning; And to this land of fading things Far hence be my returning.

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For all the spirits of the deep Their long last leave are taking Lye still my love lye still and sleep, Thy day is near the breaking.

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The Women Fo’k, The Words & Melody by James Hogg The Celebrated Ettrick Shepherd, Arranged with Symphonies & Accompaniments by James Dewar. O sairly may I rue the day I fancy’d first the women kind For aye sinsyne I ne’er can hae A quiet thought or peace o’ mind: They hae plagued my heart an’ pleas’d my ee An’ teaz’d an’ flatter’d me at will But aye for a’ their witcherye The pawky things I lo’e them still: O the women fo’k, O the women fo’k, But they hae been the wreck o’ me, O weary fa’ the women fo’k For they winna let a body be. I’ve thought, an’ thought, but darna tell; I’ve studied them wi’ a’ my skill; I’ve loe’d them better than mysel’, I’ve try’d again to like them ill. Wha sairest strives will sairest rue, To comprehend what nae man can; When he has done what man can do, He’ll end at last where he began. O the women fo’k, &c.

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That they hae gentle forms and meet, A man wi’ half a look may see; An’ gracefu’ airs an’ faces sweet, An’ wavin’ curls aboon the bree, An’ smiles as saft as the young rose bud An’ een sae pawky bright an’ rare, Wad lure the laverock frae the clud But laddie seek to ken nae mair. O the women fo’k, &c. Even but this night nae farther gane, The date is nouther late nor lang, I tak’ ye witness ilka ane, How fell they fought and fairly dang; Their point they’ve carried, right or wrang, Without a reason, rhyme or law, An’ forced a man to sing a sang, That ne’er could sing a verse ava. O the women fo’k, &c.

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The Frasers in the Correi, The Words by James Hogg, The Celebrated Ettrick Shepherd, Arranged with Symphonies & Accompaniments by James Dewar. “Where is your daddy gone my little May? Where has our lady been a’ the lang day? Saw ye the redcoats rank on the hall green? Or heard you the horn on the mountain yestreen.” “Auld carle gray beard ye speer na at me; Gae speer at the maiden that sits by the sea. The redcoats were here, and it wasna for good, And the ravens turn’d hoarse wi’ the waughting o’ blood.

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“O listen, auld carle, how roopit his note! The blood of the Fraser’s too hot for his throat. I trow the black traitors of Sassenach breed; They prey on the living, and he on the dead. When I was a baby, we ca’d him, in joke, The harper of Errick, the priest of the rock; But he’s our mountain companion no more, The slave of the Saxon, the quaffer of gore.” “Sweet little maiden why talk you of death? The raven’s our friend and he’s croaking in wrath: He will not pick eye from a bonnetted head, Nor mar the brave form by the tartan that’s clad. But point me the cliff where the Fraser abides, Where Foyers, Culduthel, and Gorthaly hides. There’s danger at hand, I must speak with them soon, And seek them alone by the light of the moon.”

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“Auld carle graybeard, a friend you should be, 25 For the truth’s on your lip, and the tear in your e’e; Then seek in the Correi that sounds on the brae, And sings to the rock when the breeze is away. I sought them last night with the haunch of the deer, And far in yon cave they were hiding in fear: 30 There, at the last crow of the brown heather_cock, They pray’d for their prince, kneel’d, and slept on the rock.” “O tell me, auld carle, what will be the fate Of those who are killing the gallant and great? Who force our brave chiefs to the Correi to go, And hunt their own prince like the deer or the roe? My sweet little maiden, beyond yon red sun Dwells one who beholds all the deeds that are done: Their crimes on the tyrants one day he’ll repay, And the names of the brave shall not perish for aye.”

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The Harmonicon (1829 and 1832)

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The Harmonicon (1823–1833) The London-based music periodical The Harmonicon (1823–1833) contains four songs written by Hogg: ‘I Downa Laugh, I Downa Sing’ and ‘The Mermaid’s Song’ are published within volume 7 in 1829 and ‘The Women Fo’k’ and ‘Tis Sweet to See’ within volume 10 in 1832. The Harmonicon was ‘one of the most well-known and authoritative music periodicals in Europe’ and was one of only two British musical periodicals in the early nineteenth century with a print run of more than a decade.1 Each monthly number was divided into two parts: the first containing literary fare, such as reviews of music, musical news from Britain and abroad, and articles on biography, history, and aesthetics, and the second ‘a selection of printed music in performance editions’.2 National songs, standard classical pieces, and new compositions by contemporary composers were included, and this section ‘was said to be worth three times the cover price of a complete number, literature included.’3 The editor, William Ayrton (1777–1858), came from a musical family and was also the ‘founder, treasurer, and director of the Philharmonic Society (1812)’.4 The first two songs by Hogg in The Harmonicon are published as extracts from larger collections, thus advertising these larger publications. ‘I Downa Laugh, I Downa Sing’, for example, is announced as having just been published in Select & Rare Scotish Melodies, by Goulding and D’Almaine, while ‘The Mermaid’s Song’ is listed as coming from The Border Garland. The musical arrangement is the same as that published in Select & Rare Scotish Melodies and The Border Garland respectively; however, they are reproduced in The Harmonicon in abbreviated form. Reviews of these collections also appear in the corresponding literary portion of the magazine. From 1828, Goulding and D’Almaine was part of the core group of London music sellers who owned The Harmonicon, and their publications frequently appeared in its pages. Hogg would himself most probably have been familiar with The Harmonicon through William Blackwood, who acted as a provincial agent for the magazine from 1823.5 While Hogg does not reference The Harmonicon in his extant correspondence, it is notable that ‘The Women Fo’k’ and ‘Tis Sweet to See’, the first of which was arranged ‘expressly for The Harmonicon’, are published in the magazine shortly after his visit to London in 1832. All four songs are included in order to show Hogg’s relationship to this influential musical periodical. The present edition uses images from Cambridge University Library held at CUL Q 409.b.17.

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Notes 1

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Leanne Langley, ‘The Life and Death of “The Harmonicon”: An Analysis’, Royal Musical Association Research Chronicle, 22 (1989), 137–63 (137). For further information, see Leanne Langley, ‘The English Musical Journal in the Early Nineteenth Century’ (unpublished PhD dissertation, The University of North Carolina, Chapel Hill, 1983). Dictionary of Nineteenth-Century Journalism in Great Britain and Ireland, ed. by Laurel Brake and Marysa Demoor (Gent: Academia Press; London: British Library, 2009), p. 269. Langley, ‘The Life and Death of “The Harmonicon”’, p. 140. On The Harmonicon and national song, see Stanley C. Pelkey, ‘Music, Memory, and the People in Selected British Periodicals of the Late Eighteen and Early Nineteenth Centuries’, in Music and History: Bridging the Disciplines, ed. by Jeffrey H. Jackson and Standley C. Pelkey ( Jackson, Mississippi: University Press of Mississippi, 2005), pp. 61–83. Theodore Fenner, Opera in London: views of the press, 1785–1830 (Carbondale: Southern Illinois University Press, 1994), p. 41. Langley, ‘The Life and Death of “The Harmonicon”’, p. 143.

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Scotish Air,

“I Downa Laugh, I Downa Sing,” The Words and Melody by The Ettrick Shepherd, (R. Hogg,) The Symphonies and Accompaniments by H. R. Bishop. From “Select and Rare Scotish Melodies,” just published by Goulding and D’Almaine. See Review for the present month. I downa laugh, I downa sing, Tho’ sweet beseeching looks I see; Tho’ smiles abound, and wine goes round, And ev’ry eye is turn’d on me; For there is ane out o’ the ring, Wha never can forgotten be! Aye, there’s a blank at my right hand That ne’er can be made up to me. 2. ’Tis said, as water wears the rock, That time wears out the deepest line; It may be true wi’ hearts enew, But never shall apply to mine! For I have lived to know and feel, Though losses should forgotten be, That still the blank at my right hand Can never be made up to me. 3. I blame not Providence’s sway, For I have many joys beside, And I would fain, wi’ grateful heart, Esteem the same, whate’er betide. A mortal thing should ne’er repine, But stoop to the supreme decree; Yet O! the blank at my right hand Can never be made up to me!

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The Mermaid’s Song, (From The Border Garland,) The Words and Melody by James Hogg, The Ettrick Shepherd; The Symphonies and Accompaniments by James Dewar. Lie still, my love, lie still and sleep, Long is thy night of sorrow, Thy maiden of the mountain deep Shall meet thee on the morrow. But oh! when shall that morrow be When my true love shall waken? When shall we meet, refin’d and free, Amid the moorland braken? II. Full low and lonely is thy bed— The worm e’en flies thy pillow. Where now the lips so comely red That kiss’d me ’neath the willow? Oh, I must laugh, do as I can, Even ’mid my song of mourning, At all the fuming freaks of man, To which there’s no returning. III. Lie still, my love, lie still and sleep, Hope lingers o’er thy slumber! What though thy years beneath the steep Should all its stores outnumber? Though moons steal o’er, and seasons fly, On time’s swift wing unstaying; Yet there’s a spirit in the sky That lives o’er thy decaying. IV. In domes beneath the water-springs, No end hath my sojourning; And to this land of fading things Far hence be my returning.

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For all the spirits of the deep Their long, last leave are taking— Lie still, my love, lie still and sleep, Thy day is near the breaking.

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Ballad,

“The Woman Fo’k.” The Poetry by the Ettrick Shepherd: Composed Expressly for The Harmonicon by Edwin J. Nielson, Member of the Royal Academy of Music. O sairly may I rue the day, I fancied first the womankind; For aye sin syne I ne’er can hae Ae quiet thought or peace o’ mind! They hae plagued my heart and pleased my e’e, An’ teased an’ flatter’d me at will, But aye, for a’ their witcherye, The pawky things I lo’e them still. O the woman-fo’k! O the woman-fo’k! But they hae been the wreck o’ me; O weary fa’ the woman-fo’k, For they winna let a body be! II. I hae thought an’ thought, but darena tell, I’ve studied them wi’ a’ my skill, I’ve loe’d them better than mysell, I’ve tried again to like them ill. Wha sairest tries will sairest rue To comprehend what nae man can: When he has done what man can do, He’ll end at last where he began. O the woman-fo’k! O the woman-fo’k, &c. III. That they hae gentle forms an’ meet, A man wi’ half a look may see;

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An’ gracefu’ airs, an’ faces sweet, An’ waving curls aboon the bree; An’ smiles as soft as the young rosebud, An’ een sae pawky, bright an’ rare, Wad lure the laverock from the clud— But, laddie, seek to ken nae mair! O the women-fo’k! O the women-fo’k! &c. IV. Even but this night nae farther gane, The date is neither lost nor lang, I tak ye witness ilk a ane, How fell they fought, and fairly dang. Their point they’ve carried right or wrang, Without a reason, rhyme, or law, An’ forced a man to sing a sang That ne’er could sing a verse ava. O the women-fo’k! O the women-fo’k! &c.

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Ballad,

“’Tis Sweet to See.” The Words by James Hogg, Esq.: — The Music by G. B. Hullman. ’Tis sweet to see the opening flower Spread its fair bosom to the sun, ’Tis sweet to hear in vernal bower, The thrush’s earliest hymn begun. But sweeter far the prayer that wrings The tear from maiden’s beaming eye, And sweeter far the hymn that sings In grateful, holy extasy.

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Original Scottish Melodies [1834]

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Original Scottish Melodies [1834] Peter McLeod’s Original Scottish Melodies [1834] contains two songs written by Hogg: ‘The Bonny Lass o’ Deloraine’ and ‘Love came to the door of my heart’. McLeod (1797–1859) was a talented amateur composer, who was well known in the musical circles of Edinburgh and an early friend of the composer, R. A. Smith.1 This collection is dated according to a publication announcement in March 1834 (details below). McLeod published three collections of ‘Original Melodies’: Original Melodies: Consisting of Songs, Duets, & Glees [1828], Original Scottish Melodies [1834], and Original National Melodies of Scotland [1838]. The final publication is presented as a ‘collected Volume’ and contains many of the songs from the two previous, including Hogg’s ‘The Bonny Lass o’ Deloraine’ and ‘Love came to the door of my heart’. In the Preface, McLeod explains that his ‘sole motive, in venturing first to strike the Harp of Caledonia’ was to foster ‘the growing taste for the Music of our native country’. The frontispiece engraving included in both Original Scottish Melodies [1834] and Original National Melodies of Scotland [1838] highlights the Scottish subject matter — the ‘Harp of Caledonia’ stands surrounded by the white cockcade of Bonnie Prince Charlie, the pastoral shepherd’s plaid and staff, the pipes of the Highlanders, and the rampart lion shield of Scottish royal military clout. Original Scottish Melodies [1834] was additionally motivated by McLeod’s desire to raise funds towards the completion of the Edinburgh Burns monument, and the profits arising from the collection paid for the monument to be enclosed with an iron railing.2 The existing correspondence between Hogg and McLeod provides some clues to Hogg’s direct involvement in the ‘Original Melodies’ project. The three collections contain songs written by Hogg’s young Scottish protégés, Henry Scott Riddell, Robert Gilfillan, George Allan, and John Imlah. During Hogg’s London visit in 1832, he attempted to persuade the music publisher, Samuel Chappell, to publish a collection of songs by his young friends with musical settings by McLeod, but according to Hogg’s letter to McLeod in February 1832, Chappell was unconvinced by Hogg’s patronage and ‘persisted in denominating them “these unknown men”’.3 Chappell was more interested in publishing Hogg’s own verses set to music and had recently published a setting of ‘The Stuarts of Appin’ with a melody by McLeod and an arrangement by the composer John Thomson (1804–1851).4 Accordingly, in

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his response to Hogg dated 21 March 1832, McLeod implores, ‘I beg to say that if there are any of my airs that you like I shall feel honoured by your adopting them, and wedding them to your own more valuable Poetry’.5 The inclusion of Hogg’s songs in Original Melodies of Scotland [1834] is a realisation of McLeod’s proposal. According to an advertisement in the Edinburgh Evening Courant of 1 March 1834, Original Melodies of Scotland was initially published in three four-shilling parts on 1 March, 1 April, and 1 May 1834 respectively. Hogg’s ‘The Bonny Lass of Deloraine’ opens the collection with an evocation of the bard picking up his ‘mountain harp’ once more, while ‘Love came to my door’ falls within the final part. The songs were subsequently included in Original National Melodies of Scotland [1838] along with McLeod’s earlier setting of ‘The Stuarts of Appin’, which had been published as a single song-sheet in c. 1831–1832. This collection also includes a ‘Lament for the Ettrick Shepherd’ written by James Murray. The collection was dedicated to ‘her Grace the Duchess of Buccleuch and Queensberry’. Charlotte Anne Montagu-Douglas-Scott, Duchess of Buccleuch and Queensberry (1811–1895) was the wife of Walter Francis Montagu-Douglas-Scott, the eldest surviving son of Hogg’s great patron, Harriet, the Duchess of Buccleuch (1773–1814). The present edition reproduces images from the copy of Original Melodies of Scotland held by the National Library of Scotland [Glen 215]. The present edition does not reprint Hogg’s songs as they appear in Original National Melodies, as there are no substantive differences in text or music from the earlier publications. Notes 1 2

3 4 5

For further biographical information on McLeod, see ‘Notes on Contributors’ in Letters, III, 341–43. Musical Scotland Past and Present Being a Dictionary of Scottish Musicians From About 1400 Till the Present Time to which is added a Bibliography of Musical Publications Connected with Scotland from 1611, compiled and edited by David Baptie (Paisley: J. and R. Parlane; Edinburgh and Glasgow: John Menzies and Co.; London: Houlston and Sons, 1894), p. 126. McLeod also published an individual song-sheet of ‘Scotland Yet!’ the proceeds from which went towards the completion of the Burns monument (see The Scotsman, 19th July 1834). Letters, III, 41. For further information, see Letters, III, 41–42. NLS MS 2245, fol. 195.

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The Bonny Lass of Deloraine. Written by The Ettrick Shepherd. Still must my pipe lie idle by, And worldly cares my mind annoy, A gain its saftest notes I’ll try, So dear a theme can never cloy. Last time my mountain harp I strung, ’Twas she inspir’d the simple strain, That lovely flower so sweet and young, The bonny lass of Deloraine. How blest the breeze’s balmy sighs Around her ruddy lips that blow, The flower that in her bosom dies, Or grass that bends beneath her toe! Her cheeks endued with powers at will The rose’s richest shade to drain, Her eyes what soft enchantments fill __ The bonny lass of Deloraine. Let Athole boast her birchen bowers, And Windermere her woodlands green, And Lomond of her lofty shores __ Wild Ettrick boasts a blither scene; For there the evening twilight swells With many a wild and melting strain, And there the pride of beauty dwells, The bonny lass of Deloraine.

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Love Came to the Door o’ My Heart. Written by The Ettrick Shepherd. Love came to the door o’ my heart ae night, And he call’d wi’ a whining din, “Oh, open the door, for it is but thy part To let an old crony come in.” I open’d the door, though I ween’d it a sin, To the sweet little whimpering fay; But he rais’d sic a buzz the cove within, That he fill’d me with wild dismay. “Gae away, gae away, thou wicked wean!” I cried wi’ the tear in my e’e; “Ay, sae ye may say!” quo’ he, “but I ken Ye’ll be laith now to part wi’ me.” And what do you think? __ by day and by night For these ten lang years and twain, I have cherish’d the urchin with fondest delight, And we’ll never mair part again.

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Section II: Miscellaneous Songs

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Donald M‘Donald (c.1803)

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Donald M‘Donald, A Favorite New Scots Song, Set for the Voice, Piano-Forte, and Ger. Flute. Written by James Hog. MY name is DONALD M‘DONALD, I live in Lochaber sae grand, I’ve follow’d our banner, an’ will do, Wherever my maker has land; When rankit amang the blue bannets, Nae danger can fear me ava’, I ken that my brethren aroun’ me, Are either to conquer or fa’; Brogues an’ brochen an’ a, Brochen an’ brogues an’ a’ An’ is na’ she very weel aff, Wha has brogues an brochen an’ a’. Last year we were wonderfu’ canty, Our frien’s an’ our country to see; But since the proud CONSUL’S grown vantie, We’ll meet him by land or by sea. Whenever a clan is disloyal, Wherever our king has a foe, He’ll quickly see DONALD M‘DONALD, Wi’s highlandmen a’ in a row. Guns an’ pistols an a’, Pistols an’ guns an’ a’, He’ll quickly see DONALD M‘DONALD, Wi’ guns an’ pistols an’ a’. What tho’ we befriendit young CHARLEY, To tell it I dinna think shame, Poor lad he came to us but barely, And reckon’d our mountains his hame; ’Tis true that our reason forbade us, But tenderness carry’d the day, Had GEORDY come friendless amang us, Wi’ him we had a’ gane away. Sword an’ buckler an’ a’, Buckler an’ sword an’ a’;

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For GEORGE we’ll encounter the devil, Wi’ sword an’ buckler an’ a’. An’ O I wad eagerly press him, The keys o’ the East to retain; For sude he gie up the possession, We’ll soon hae to force them again. Than yield up ae inch wi’ dishonour, Tho’ it were my finishing blow, He ay may depend on M‘DONALD, Wi’s highlandmen a’ in a row. Knees an’ elbas an’ a’ Elbas an’ knees an’ a’, Depend upon DONALD M‘DONALD, His knees an’ elbas an’ a’, If BONAPARTE land at Fort William, Auld Europe nae langer sal grane, I laugh when I think how we’ll gall him, Wi’ bullet, wi’ steel, an’ wi’ stane. Wi’ rocks o’ the Nevis an’ Gairy, We’ll rattle him aff frae our shore; Or lull him asleep in a cairney, An’ sing him Lochaber no more. Stanes an’ bullets an’ a’, Bullets an’ stanes an’ a’, We’ll batter the Corsican callan, Wi’ stanes an’ bullets an’ a’. The GORDON is gude in a hurry, An’ CAMPBELL is steel to the bane, An’ GRANT, an M‘KENZIE, an’ MURRAY, An’ CAMERON will hurkle to nane. The STUART is sturdy and wannel, An’ sae is M‘LEOD an’ M‘KAY, An’ I, their gude-brither M‘DONALD, Sal ne’er be the last in the fray. Brogues an’ brochen an’ a’, Brochen an’ brogues an’ a’, An’ up wi’ the bonny blue bannet, The kilt, an’ the feather, an’ a’.

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Donald McDonald (c.1803)

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Donald McDonald. Written by James Hog. My name is DONALD McDONALD, I live in the Highlands sae grand, I’ve follow’d our banner, an’ will do, Wherever my Maker has land; When ranked amang the blue bannets, Nae danger can fear me ava, I ken that my brethren aroun’ me, Are either to conquer or fa’. Brogues an’ brochen an’ a, Brochen an’ brogues an’ a’, An’ is na she very weel aff, Wha has brogues an’ brochen an’ a’. Last year we were wonderfu’ canty, Our frien’s an’ our country to see; But since the proud CONSUL’s grown vantie, We’ll meet him by land or by sea. Whenever a clan is disloyal, Wherever our King has a foe, He’ll quickly see DONALD McDONALD, Wi’s highlandmen a’ in a row. Guns an’ pistols an’ a’, Pistols an’ guns an’ a’, He’ll quickly see DONALD McDONALD, Wi’ guns an’ pistols an’ a’. What tho’ we befriendit young CHARLEY, To tell it I dinna think shame, Poor lad he came to us but barely, And reckon’d our mountains his hame; ’Tis true that our reason forbade us, But tenderness carried the day, Had GEORDY come friendless amang us, Wi’ him we had a’ gane away. Sword an’ buckler an’ a’, Buckler an’ sword an’ a’; For GEORGE we’ll encounter the devil, Wi’ sword an’ buckler an’ a’.

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An’ O I wad eagerly press him, The keys o’ the East to retain; For sude he gie up the possession, We’ll soon hae to force them again. Than yield up ae inch wi’ dishonour, Tho’ it were my finishing blow He ay may depend on McDONALD, Wi’s highlandman a’ in a row. Knees an’ elbas an’ a’ , Elbas an’ knees an’ a’, Depend upon DONALD McDONALD, His knees an’ elbas an’ a’, If BONAPARTE land at Fort William, Auld Europe nae langer sal grane, I laugh when I think how we’ll gall him, Wi’ bullet, wi’ steel, an’ wi’ stane. Wi’ rocks of the Nevis an’ Gairy, We’ll rattle him aff frae our shore; Or lull him asleep in a cairney, An’ sing him Lochaber no more. Stanes an’ bullets an’ a’, Bullets an’ stanes an’ a’, We’ll finish the Corsican callan, Wi’ stanes an’ bullets an’ a’. The GORDON is good in a hurry, An’ CAMPBELL is steel to the bane, An’ GRANT, an McKENZIE, an’ MURRAY, An’ CAMERON will hurkle to nane. The STUART is sturdy and wannel, An’ sae is McLEOD an’ McKAY, An’ I, their gude-brither McDONALD, Sal ne’er be the last in the fray. Brogues an’ brochen an’ a’, Brochen an’ brogues an’ a’, An’ up wi’ the bonny blue bannet, The Kilt, an’ the feather, an’ a’.

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The Ettricke Garland (1815)

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To the Ancient Banner of the House of Buccleuch. AND has thou here, like Hermit grey, Thy mystic characters unroll’d, O’er peaceful revellers to play, Thou Emblem of the days of old; Or comest thou with the veteran’s smile, Who deems his days of conquest fled, Yet loves to view the bloodless toil Of sons whose sires he often led? Not such thy peaceable intent, When over border-waste and wood, On foray and achievement bent, Like eagle on thy path of blood. Symbol to ancient valour dear, Much has been dared and done for thee;— I almost weep to see thee here, And deem thee raised in mockery. But no—familiar to the brave, ’Twas thine thy gleaming moon and star Above their manly sports to wave, As free as in the field of war. To thee the faithful clans-man’s shout, In revel as in rage was dear; The more beloved in festal rout, The better fenced when foes were near. I love thee for the olden day, The iron age of hardihood; The rather that thou led’st the way To peace and joy, through paths of blood; For were it not the deeds of weir, When thou wert foremost in the fray, We had not been assembled here, Rejoicing in a father’s sway.

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And e’en the days ourselves have known, Alike the moral truth impress,— Valour and constancy alone Can purchase peace and happiness. Then hail, Memorial of the Brave, The Liegeman’s pride, the Border’s awe; May thy grey pennon never wave On sterner field than Carterhaugh, Quoth the Ettrick Shepherd. Altrive Lake, Dec. 1, 1815.

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Song for the Anniversary of the Caledonian Asylum (1815)

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Song, by the Ettrick Shepherd, Sung at the Institutory Dinner of the Caledonia Asylum, at the Freemasons’ Tavern, Saturday, March 4th, 1815; His Royal Highness the Duke of York and Albany, in the Chair. Air—The Birks of Invermay. I. THE flag wav’d o’er the castle wa’, The hind cam’ lilting o’er the lea, Loud joy rang thro’ the lighted ha’, An’ ilka ane was blithe but me; For, ah! my heart had tint its glee, Altho’ the wars had worn away:— The breast that us’d my stay to be, Was lyin’ cauld in foreign clay. II. I looket east, I looket west, I saw the darksome coming even;— The wild bird had its cozy nest, The kid was to the hamlet driven, But house nor hame, aneath the Heaven, Except the skeugh of greenwood tree; O that was a’ the comfort given To my three little bairns an’ me. III. I had a pray’r I cou’d na say! I had a vow I doughtna breathe— For aye they led my words astray, An’ aye they wer’ connectet baith Wi’ ane wha now was cauld in death! I lookit round wi’ wat’ry e’e— Hope was na there—but I was laith To see my little babies dee.

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IV. Just as the breeze the aspen stirr’d, And bore aslant the falling dew, I thought I heard a bonny bird Singing amid the air so blue; It was a lay that did renew The hope deep sunk in misery; It was of ane my woes that knew, And some kind hearts that car’d for me. V. O sweet as breaks the rising day, Or sunbeam thro’ the wavy rain, Fell on my soul the cheering lay— Was it an Angel pour’d the strain?— Wha kens a yearning mother’s pain, Bent o’er the child upon her knee! O mine will bliss, and bliss again, The generous hearts that car’d for me. VI. A cot was rear’d by Mercy’s hand Amid the Grampian wilderness— It rose as if by magic wand, A shelter to forlorn distress! An’ weel I ken that Heaven will bliss The hearts that issu’d the decree— The widow and the fatherless Can never pray, and slighted be.

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The Lament of Flora McDonald [1822] Second Edition

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The Lament of Flora McDonald, An Original and Favorite Jacobite Air The Poetry Imitated from the Gaelic by James Hogg. Arranged with Symphonies & Accompaniments for the piano forte or harp by Niel Gow Junr. Far over yon hills of the heather so green, And down by the Correi that sings to the sea, The bonny young Flora sat sighing her lane, The dew on her plaid an’ the tear in her ee. She look’d at a boat with the breezes that swung Away on the wave, like a bird of the main, An’ ay, as it lessen’d she sigh’d an’ she sung, Fareweel to the lad I shall ne’er see again; Fareweel to my hero, the gallant and young, Fareweel to the lad I shall ne’er see again. The Moorcock that craws on the brows o’ Ben-Connal, He kens o’ his bed in a sweet mossy hame, The Eagle that soars o’er the cliffs of Clan-Ronald Unawed and unhunted his eiry can claim; The Solan can sleep on his shelve of the shore, The Cormorant roost on his rock of the sea; But Oh! there is ane whose hard fate I deplore, Nor house, ha’, nor hame in his country has he; The conflict is past, and our name is no more, There’s nought left but sorrow for Scotland an’ me! The target is torn from the arms of the just, The helmet is cleft on the brow of the brave, The claymore for ever in darkness must rust; But red is the sword of the stranger an’ slave:

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The hoof of the horse, and the foot of the proud Have trode o’er the plumes on the bonnet of blue: Why slept the red bolt in the breast of the cloud When tyranny revelled in blood of the true? Farewell my young hero, the gallant and good! The crown of thy Fathers is torn from thy brow!

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Bonny Prince Charlie (c.1819–1823)

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Bonny Prince Charlie.* An Admired Scotish Melody, As Sung by Miss Stephens & Miss Noel. The Words Written by James Hogg the Ettrick Shepherd. The Music Composed & Arranged for the Piano Forte, by Niel Gow Junr. Came ye by Athol lad wi’ the philabeg, Down by the Tummel or banks of the Garry? Saw ye my lad wi’ his bonnet an’ white cockade, Leaving his mountains to follow Prince Charlie. Charlie, Charlie, wha wadna follow thee? Lang thou hast lov’d an’ trusted us fairly Charlie, Charlie, wha wadna follow thee? King of the highland hearts bonny Prince Charlie. I hae but ae son, my brave young Donald! But if I had ten they should follow Glengary; Health to M,Donnell and gallant Clan-Ronald, For these are the men that will die for their Charlie. Charlie, Charlie, &c. I’ll to Lochiel, and Appin, and kneel to them; Down by Lord Murray, and Roy of Kildarlie; Brave Mackintosh he shall fly to the field wi’ them; They are the lads I can trust wi’ my Charlie. Charlie, Charlie, &c. Down through the lowlands, down wi’ the whigamore, Loyal true highlanders, down with rarely! Ronald and Donald drive on with the broad claymore, Over the necks of the foes of Prince Charlie. Charlie, Charlie, &c. * This Song was first Published in the Border Garland the property of Nathaniel Gow & Son.

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Bonny Prince Charlie (c.1825)

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Bonny Prince Charlie, As Sung With distinguished applause by Miss Noel, In the National Play of Redgauntlet; Arranged with Symphonies & an Accompaniment for the Piano Forte, by James Dewar. Cam ye by Athole lad wi’ the philabeg, Down by the Tummel or banks o’ the Garry, Saw ye the lad wi’ his bonnet and white cockade, Leaving his mountains to follow Prince Charlie. Follow thee follow thee wha wadna follow thee, Long hast thou lov’d and trusted us fairly, Charlie, Charlie wha wadna follow thee, King o’ the highland hearts bonny Prince Charlie. I ha’e but ae son, my brave young Donald, But if I had ten, they would follow Glengarry, Health to McDonald and gallant Clanronald, For they are the lads that would die for Prince Charlie. Follow thee follow thee wha wadna follow thee, Long thou hast lov’d and trusted us fairly, Charlie, Charlie wha wadna follow thee, King o’ the highland hearts bonny Prince Charlie.

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Bonnie Prince Charlie (c.1835–1847)

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Bonnie Prince Charlie, A Favorite Scotch Ballad Sung By Miss Clara Novello, and Madame Stockhausen, Written by the Ettrick Shepherd, Newly Arranged with Symphonies and Accompts. By I. L. Hatton. Came ye by Athol lad wi’ the philabeg, Down by the Tummel or banks of the Gary? Saw ye my lad, wi’ his bonnet an’ white cockade Leaving his mountains to follow Prince Charlie, Charlie, Charlie, wha wadna follow thee? Lang thou hast lov’d an’ trusted us fairly, Charlie, Charlie, wha wadna follow thee! King of the highland hearts bonnie Prince Charlie. I hae but ae son, my brave young Donald! But if I had ten they should follow Glengarry; Health to McDonnell and gallant Clan Ronald, For these are the men that will die for their Charlie. Charlie, Charlie &c. I’ll to Lochiel, and Appin, and kneel to them; Down by Lord Murray, and Roy of Kildarlie: Brave Mackintosh he shall fly to the field with them; They are the lads I can trust wi’ my Charlie. Charlie, Charlie &c. Down through the lowlands, down wi’ the whigamore, Loyal true highlanders, down with them rarely! Ronald and Donald drive on with the broad claymore, Over the necks of the foes of Prince Charlie. Charlie, Charlie &c.

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O Jeanie, There’s Naething to Fear Ye (c.1822–1823)

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O Jeanie, There’s Naething to Fear Ye. A Favorite Song. Written by the Ettrick Shepherd & Originally Published in Hogg’s Border Garland. Arranged with Symphonies and Accompaniments. For the Piano Forte by Niel Gow Junr. O my Lassie our joy to complete again, Meet me again i’ the gloaming my dearie; Low down in the dell let us meet again O Jeanie there’s naething to fear ye! Come when the wee bat flits silent an’ eerie, Come when the pale face o’ nature looks weary Love be thy sure defence, Beauty and innocence, O Jeanie there’s naething to fear ye. Sweet blows the haw and the rowan-tree, Wild roses speck our thicket sae brierie; Still, still will our bed in the greenwood be; O Jeanie, there’s naething to fear ye! Note when the blackbird o’ singing grows weary, List when the beetle-bee’s bugle comes near ye, Then come wi’ fairy haste, Light foot an’ beating breast; O Jeanie, there’s naething to fear ye! Far, far will the bogle an’ brownie be, Beauty an’ truth they darna come near it; Kind love is the tie of our unity, A’ maun love it an’ a’ maun revere it!

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Love makes the sang of the woodland sae cheerie, Love gars a’ nature look bonny that’s near ye That makes the rose sae sweet Cowslip an’ violet, O Jeanie, there’s naething to fear ye!

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Niddity Noddity Nannie (c.1828–1839)

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Bonnie Nannie. The Poetry by Hogg, the Ettrick Shepherd. The Music by J. Blewitt. The daisy is fair, the day lily rare, The bud o’ the rose as sweet as its bonnie, But there ne’er was a flower in garden or bower, Like Auld Joe Nicholson’s bonnie Nannie, bonnie Nannie, My dear little Nannie, My sweet little dear little sweet little Nannie, There neer was a flower In garden or bower, Like Auld Joe Nicholson’s bonnie Nannie, Oh bonnie Nannie. Ae day she came out wi’ a rosy blush, To milk her twa Cye sae couthie an cannie, I cower’d me down at the back o’ the bush, To watch the air o’ my bonnie Nannie, bonnie Nannie, My dear little Nannie, My sweet little dear little sweet little Nannie, There ne’er was a flower, In garden or bower, Like Auld Joe Nicholson’s bonnie Nannie, Oh bonnie Nannie.

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There’s mony a Joy in this world below, And sweet the hopes that to sing were uncannie, But of all the pleasures I ever knew, There’s none like the love o’ my dearest Nannie, bonnie Nannie, My dear little Nannie, 25 My sweet little dear little sweet little Nannie, There ne’er was a flower, In garden or bower, Like Auld Joe Nicholson’s bonnie Nannie, Oh bonnie Nannie. 30

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“Oh Love’s a bitter thing to bide” (c.1829–1830)

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“Oh Love’s a Bitter Thing to Bide,” Ballad. The Words by the Ettrick Shepherd, The Music Composed and Dedicated to The Honble. Lady Maynard Hesilrige By Melle. D’Espourrin. O love’s a bitter thing to bide The lad that drees it’s to be pitied It blinds to a’ the warld beside And makes a body dilde and ditied; It lies so sair at my breast bane My Heart is melting saft and safter To dee out-right I wad be fain Wer’t no for fear what may be after. I dinna ken what course to steer, I’m sae to dool an’ daftness driven, For ane so lovely sweet and dear Sure never breath’d the breeze o’ heav’n; O there’s a soul beams in her ee, Ae blink o’t maks ane’s spirit gladder, And ay the mair she gecks at me It pits me aye in love the madder. Love winna heal, it winna thole, You canna shun’t even when you fear it An’ O this sickness of the soul, Tis past the pow’r of man to bear it, And yet to mak o’ her a wife, I could na square it wi’ my duty, I’d like to see her a’ her life Remain a virgin in her beauty. As pure as bonny as she’s now The walks of human life adorning; As blithe as bird upon the bough As sweet as breeze of summer morning; Love paints the Earth it paints the sky,

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An’ tints each lovely hue of nature An’ makes to the enchanted eye An angel of a mortal creature.

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MISCELLANEOUS SONGS

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Bird of the Wilderness (c.1830–1832)

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Bird of the Wilderness, A Favorite Scotch Song, The Poetry by Jas. Hogg, The Etrick Shepherd. Arranged with Symphonies & Accompaniments, By J. C. Clifton. Bird of the wilderness, Blithsome an’ cumberless, Sweet be thy matin o’er moorland an’ lea Emblem of happiness Blest is thy dwelling place, O to abide in the desert with thee. Wild is thy lay an’ loud, Far in the downy cloud, Love gives it energy love gave it birth; Where on thy dewy wing, Where art thou journeying, Thy lay is in heav’n, thy love is on earth. O’er fell an’ fountain sheen, O’er moor an’ mountain green, O’er the red streamer that heralds the day Over the cloudlet dim, Over the rainbow’s rim, Musical cherubim hie thee away. Then when the gloaming comes, Low in the heather blooms, Sweet will thy welcome and bed of love be, Emblem of happiness! Blest is thy dwelling place O to abide the desert with thee.

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MISCELLANEOUS SONGS

The Stuarts of Appin (c.1831–1832)

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589

The Stuarts of Appin. I sing of a land that was famous of yore, The land of green Appin __ the ward of the flood, Where ev’ry grey cairn that broods over the shore Marks grave of the royal __ the valiant and good! The land where the strains of grey Ossian were framed; The land of fair Selma __ the reign of Fingal; And late of a race that with tears must be nam’d __ The noble Clan STUART __ the bravest of all! Oh hon an Righ!* and the Stuarts of Appin! The gallant devoted old Stuarts of Appin! Their glory is o’er __ for their star is no more, And the green grass waves over the heroes of Appin! They are gone! they are gone! the redoubted! the brave! The sea breezes lone o’er their relics are sighing! Dark weeds of oblivion shroud many a grave Where the unconquer’d foes of the Campbell are lying! But long as the grey hairs wave over this brow, And earthly sensations my spirits are wrapping; My old heart with tides of regret shall o’erflow And bleed for the fall of the Stuarts of Appin. Oh hon an Righ! and the Stuarts of Appin! The gallant devoted old Stuarts of Appin! Their glory is o’er for their star is no more And the green grass waves over the heroes of Appin! * “Oh hon an righ! ” __ Alas, for the King! __ Gaelic coronach.

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MISCELLANEOUS SONGS

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MISCELLANEOUS SONGS

593

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I Hae Nae-Body Now (c.1833–1840)

597

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599

“I Hae Nae-Body Now.” The Poetry by the Ettrick Shepherd. Composed by E. J. Nielson. I hae nae body now __ I hae nae body now To meet me upon the green, Wi light locks waving o’er her brow, An’ joy in her deep blue een; Wi’ the soft sweet kiss an’ the happy smile, An’ the dance o’ the lightsome fay, An’ the wee bit tale o’ news the while That had happen’d when I was away. I hae nae body now __ I hae nae body now To clasp to my bosom at even; O’er her calm sleep to breathe the vow, An’ pray for a blessing from Heav’n; An’ the wild embrace an’ the gleesome face, In the morning that met mine eye! Where are they now? Where are they now? In the cauld, cauld grave they lie. O dinna break my poor auld heart, Nor at my loss repine; For the unseen hand that threw the dart Was sent from her Father and thine. Yes, I main mourn, An’ I will mourn, Even till my latest day; For though my darling can never return, I shall follow her soon away.

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MISCELLANEOUS SONGS

601

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MISCELLANEOUS SONGS

603

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MISCELLANEOUS SONGS

Maggy o’ Buccleuch (c.1833–1840)

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607

Maggy o’ Buccleuch! The Poetry by the Ettrick Shepherd. The Music by Edwin J. Nielson. O cam’ ye through the forests green, By Yarrow’s mountains wild an blue; O saw ye beauty’s rural queen, The bonny Maggy o’ Buccleuch! For Maggy is the bonniest flow’r On Yarrow haes that ever grew, That ever grac’d a vernal bower, Or frae the gowan brush’d the dew. O cam’ ye through the forests green, By Yarrow’s mountains wild an blue; O saw ye beauty’s rural queen, The bonny Maggy o’ Buccleuch! But oh! it’s no her comely face, Not blink o’ joy that’s in her ee, Nor her enchanting form o’ grace, That maks the lassie dear to me; Na, na, it’s no the cherry lip, The rosy cheek an lily chin, Which the wild bee wad like to sip __ ’Tis the sweet soul that dwells within. But oh! it’s no her comely face, Nor blink o joy thats in her ee, Nor her enchanting form o’ grace, That maks the lassie dear to me; I hae been up the cauld rife north, ’Many hills an dells o’ frozen brine, As far as reels the rowin earth, An far a yont the burning line; But a’ the lasses e’er I saw, For modest mien an lovely hue, There was na ane amang them a’ Like bonny Maggy o’ Buccleuch. But a’ the lasses e’er I saw, For modest mien an lovely hue, There was na ane amang them a’ Like bonny Maggy o’ Buccleuch.

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MISCELLANEOUS SONGS

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MISCELLANEOUS SONGS

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MISCELLANEOUS SONGS

O! What Will A’ the Lads Do (c.1834–1858)

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617

O! What Will A’ the Lads Do, Arranged as a Duet. By Sir H. R. Bishop. O! what will a’ the lads do When Maggy gangs away There’s no a heart in a’ the glen That dinna dread the day O! what will a’ the lads do When Maggy gangs away There’s no a heart in a’ the glen That dinna dread the day. Young Jock has ta’en the hill for’t A waefu’ wight is he Poor Harry’s ta’en the bed for’t And laid him down to die And Sandy’s gane unto the kirk An’ learning fast to pray An’ Sandy’s gane unto the kirk An’ learning fast to pray O! what will a’ the lads do When Maggy gangs away There’s no a heart in a’ the glen That dinna dread the day. The young laird of the Langshaw Has drunk her health in wine. The priest in confidence has said The lassie was divine. The young laird of the Langshaw Has drunk her health in wine. The priest in confidence has said The lassie was divine. An’ that is mair in maiden’s praise Than ony priest should say But O what will the lads do When Maggy gangs away The wailing in our fertile glen That day will quaver high

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Twill draw the red-breast frae the wood The lav’rock frae the sky O! what will a’ the lads do When Maggy gangs away There’s no a heart in a’ the glen That dinna dread the day.

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MISCELLANEOUS SONGS

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MISCELLANEOUS SONGS

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APPENDIX

Appendix

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APPENDIX

The Minstrel’s Song [1818]

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631

The Minstrel’s Song, from The Queen’s Wake, Composed & Arranged for the Piano Forte, By T. V. Wiesenthal Esqr. “O! Lady dear, fair is thy noon, But man is like th’ inconstant moon: Last night she smiled o’er lawn and lea; That moon will change, and so will he. “Thy time, dear Lady’s a passing shower; Thy beauty’s but a fading flower: Watch thy young bosom, and maiden eye, For the shower must fall, and the flowret die.”

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APPENDIX

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APPENDIX

Beethoven Schottische Lieder (1822)

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Frische Bursche Hochlands-Bursche Bonny Laddie Highland Laddie Wem den Silber mond Ihr dankt, Sagt mir frische Hochlands-Bursche! Glänzend euer Gürtel prangt Frische Bursche, Hochlands-Bursche! Rüstung, Mantel Blauhut wo? Frische Bursche, Hochlands-Bursche! War’t Ihr mit bei Waterloo? Frische Bursche, Hochlands-Bursche. Where got ye that siller moon Bonny Laddie, Highland Laddie! Glinting braw your belt a boon Bonny Laddie, Highland Laddie! Belted plaid and bonnet blue, Bonny Laddie, Highland Laddie! Have ye been at Waterloo? Bonny Laddie, Highland Laddie.

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Wenn Doch Die Arge Böse Welt Could This Ill Warld Have Been Contrived Wenn doch die arge böse Welt Nur ohne Weiber könnte dauern: Des Mannes friedlich Loos vergällt Keins von den Übeln die jetzt lauern. Warum ward ihm zu seiner Pein Dies Camerädchen falsch und niedlich? Musst solch bezaubernd Bild es sein So wundersüss und appetitlich? Could this ill warld have been contriv’d To stand without that mischief woman How peaceful bodies wou’d have liv’d Releas’d frae a’ the ills sae common. But since it is the waefu’ case That man must have this teasing crony Why such a sweet bewitching face? O had they no been made sae bonnie!

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Die Hochlands-Wache. The Highland Watch. Alt Schottland! Wecke deiner Höhn So wilde prächt’ge Weisen, Um deines Ruhmes Ritter schön Willkommen hier zu preisen! Stimm’ alle Harfen rein und klar So je im Wald erklungen; Denn nie hat eine kühnre Schaar Dein Bardenlied gesungen! Den Pibroch stimme Donald Bane Den alle hoch wir ehren: Es schalle kräft’ger Heldensang, Wie Krieger gern ihn hören! Old Scotia wake thy mountain strain In all its wilest splendors, And welcome back the lads again Our honour’s dear defenders! Be ev’ry harp and viol strung ’Till all the woodlands quaver; Of many a band your Bards have sung, But never hail’d a braver. Then raise the pibroch Donald Bane We’re all in key to cheer it: And let it be a martial strain That Warriors bold may hear it!

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APPENDIX

O Dinna Weep [1825]

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O Dinna Weep. A Duett Composed by J Macdonald Harris The Words by The Ettrick Shepherd. When the well runs dry Then the rain is nigh, The heav’ns from earth must borrow, And the streams that stray Thro’ the wastes to day May sail above tomorrow. And the streams &c. Then dinna dinna mourn, My bonny bonny bird, I downa’ bide to hear ye; The storm may blow, And the rain may fa; But neither shall come near ye. The storm &c. O dinna dinna weep For the day that’s gone, Nor on the present ponder, For thou shalt sing On the laverock’s wing, And far away beyond her. For thou &c.

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Bird of the Wilderness (c.1835–1837)

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Bird of the Wilderness, The Poetry by the Ettrick Shepherd. The Music Composed & dedicated To Miss Matilda Antonio Barclay, by W. R. Dempster. Bird of the wilderness, Blithsome and cumberless, Light be thy matin o’er moorland and lea; Emblem of happiness Blest is thy dwelling place Oh! to abide in the desert with thee. Wild is thy lay and loud, Far on the downy cloud Love gives it energy, Love gave it birth Where on thy dewy wing? Where art thou journeying? Thy lay is in heaven thy love is on earth. O’er moor and mountain green, O’er fell and fountain sheen, O’er the red streamer that heralds the day: Over the cloudlet dim, Over the rainbow’s rim, Musical cherub, hie, hie thee away. Then when the gloaming* comes, Low in the heather blooms, Sweet will thy welcome and bed of love be; Emblem of happiness, Blest is thy dwelling place, Oh! to abide in the desert with thee! *Gloaming. A Scotch word signifying twilight in the evening.

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APPENDIX

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NOTE ON THE TEXT

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Note on the Text The text presented includes facsimiles from the original collections and miscellaneous song-sheets as outlined in the Introduction to the present edition. This edition aims to present the reader with an opportunity to fully appreciate the many ways in which Hogg’s songs appeared during his lifetime. Songs are presented both as poetry and within their musical context, thereby illustrating that Hogg’s songs were for reading and were also part of contemporary performance culture. Each collection is presented in chronological order of publication, with the single exception of the three collections of George Thomson, which appeared over a wide timespan, but are part of the same narrative: these are grouped together. The facsimile copies of songs from each collection are preceded by an introductory essay giving information about the collection, its editors/ publishers and musicians, and accounting for Hogg’s involvement with it. The introductions to collections give full details of the sources used for the digital images, and this information appears at the end of the editorial notes for each of the miscellaneous songs. The single miscellaneous songs are not ‘introduced’ in the same way, but additional information about each of these is given in the Editorial Notes at the back of the volume. The texts of Hogg’s songs from the musical collections and miscellaneous song-sheets have also been lifted out of their musical contexts and presented separately. These are grouped together by collection and appear immediately following the Introduction to each collection and before the facsimile images of the songs themselves in their musical contexts. In the case of miscellaneous songs, where there is no introduction, each text appears before the relevant facsimile copy. This allows readers interested in different versions of Hogg’s songs to make text-only comparisons and caters for readers who are chiefly interested in the text rather than the music. Such a process has required some complex editorial decisions. Often the first verse of a song on the musical plate is underlaid with the music, but additional verses are presented as poetic text under the musical plate or on a separate page. In these cases the edited text is presented with the layout of the text-only verses. In the cases of songs where all the text is underlaid to music (notably in Select & Rare Scotish Melodies and in several of the miscellaneous song-sheets) the text has not been indented, as this would involve second-guessing what a publisher or editor might have done. Instead, in these cases, the edited text remains left-justified. In musical collections where a song is presented both as a complete poetic text and also then underlaid to music (notably in Twelve Vocal Pieces and German Hebrew Melodies) a number of variants between the text as poetry and the text underlaid to music have been identified. In these cases the text presented as poetic text has been used as

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the copy text, and only substantive variants between the original printed text and musical texts are given in the notes to the individual songs concerned. In these cases the majority of variants are minor: punctuation (e.g., missing at the end of lines), upper/lower-case letters (e.g., East/east, rise/Rise), hyphenated words (e.g., altar-stone/altarstone) and orthographic variants (e.g., heav’n/ heaven, fost’ring/fostering). Composers frequently repeat words, phrases or lines of text for musical effect (notably found in German Hebrew Melodies), and such repetitions are given neither in the edited texts nor referred to in editorial notes, with the exception of Henry Bishop’s later setting for duet of ‘O! What Will A’ The Lads Do’ (p. 617). Another notable characteristic when dealing with text underlaid to music is that its poetic form tends to disappear when it is printed on the musical plate. In such cases a number of capital letters are missing from words found at the beginning of a poetic line. These have been emended in the edited text and are included in the emendation list below. Furthermore, melismatic hyphens that appear in the text underlaid to music have been removed in the edited text. These are hyphens added by the composer to indicate which syllable of a word should be sung to which notes in the melody. They are indications for singers rather than readers. Presentation of the titles of songs has been rather more complex. Titles and subtitles are presented differently in each collection. Readers can see this easily in the present edition, as full facsimiles of the musical copies are presented. With the newly edited Hogg texts, all the information in the titles and subtitles as they appear on the musical publications is presented, and in a format as close as possible to the original publication. Publisher details are often given on the title pages of individual song-sheets, but this information is not included in the edited text of this edition. Those details may be seen on the facsimile copies, and further information about publishers is provided either in the introduction to the musical collection concerned or in the editorial notes for the song. We have standardised fonts and capitalisation in titles and subtitles. It would be virtually impossible to replicate the graphic effect of titles, especially those found in collections such as The Border Garland of c.1829 and some of the song-sheets. Moreover, even in the simpler headings we have adhered to this policy. The titles of melodies in Albyn’s Anthology, George Thomson’s Select Collection and Select Melodies, and the subtitles of song texts in German Hebrew Melodies, for example, are italicised in the originals (as can be seen here in facsimile), but they are not italicised in the edited text. Four collections, namely German Hebrew Melodies of [1817], A Border Garland of [1819], Select & Rare Scotish Melodies of c.1828 and The Border Garland of c.1829, are presented in full as they all contain texts by Hogg and no other writer. Facsimiles are presented including title pages for each collection. In cases such as Albyn’s Anthology (1816 and 1818), and Twelve Vocal Pieces [1817], where the second volume of the collection has the same title page as the first (with only the number of the volume changing), then the title page for the first volume alone is included. Title pages are sometimes given for individual volumes in collections where the information or format is notably different from the

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other volumes in the same collection. This is the case with both Thomson’s Select Melodies of Scotland in royal octavo (1822–1825), where Hogg’s songs appeared across three of the six volumes, and R. A. Smith’s The Scotish Minstrel, where Hogg’s songs appeared in five of the six volumes. In the case of songs from the musical magazine The Harmonicon, only the title page for the 1829 issue is given. The title page for the 1832 issue, which included Hogg’s songs ‘The Women Fo’k’ and ‘’Tis Sweet to See’, is not presented here, as the only differences are the date and the publisher information. The 1832 issue was published in London and ‘Printed for Longman, Rees, Orme, Brown, Green, and Longman, Paternoster Row.’ The present edition makes a number of emendations to the text, as listed below. Several of these are printer’s errors, and some are emended (as noted above) because of transmission of text from/to musical plates. These are listed below with the emended version first, followed by the original version from the musical publication concerned. References for page and line numbers are listed using the system adopted in the Editorial Notes. 25, l. 8 Brackadale ] Brakadale 179, l. 6 Away ] away 212, l. 7 Nor ] nor 212, l. 8 Wi’ ] wi’ 212, l. 12 Sae ] sae 214, l. 3 For ] for 214, l. 4 A ] a 214, l. 8 The ] the 214, l. 12 For ] for 215, l. 3 Thy ] thy 218, l. 6 desert ] desart 219, l. 6 Tho’ ] tho’ 220, l. 8 Honest ] honest 249, l. 47 gorse ] gerse 250 l. 1 [Sir David Græme] The do’e flew east, the do’e flew west, ] The do’e flew east, The do’e flew west, 257, l. 5 we’ll ] We’ll 258, l. 26 no longer ] no: longer 328, l. 8 Clings ] clings 328, l. 12 Never ] never 331, l. 17 Providence’s ] Providences 332, l. 14 the ] The 333, l. 10 [in ‘The Ladies’ Evening Song] Wi’ ] wi’ 333, l. 16 heroes ] hevas 339, l. 36 and ] And 340, l. 20 and ] And 340, l. 21 and ] And 340, l. 23 while ] While 340, l. 41 and ] And

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other volumes in the same collection. This is the case with both Thomson’s Select Melodies of Scotland in royal octavo (1822–1825), where Hogg’s songs appeared across three of the six volumes, and R. A. Smith’s The Scotish Minstrel, where Hogg’s songs appeared in five of the six volumes. In the case of songs from the musical magazine The Harmonicon, only the title page for the 1829 issue is given. The title page for the 1832 issue, which included Hogg’s songs ‘The Women Fo’k’ and ‘’Tis Sweet to See’, is not presented here, as the only differences are the date and the publisher information. The 1832 issue was published in London and ‘Printed for Longman, Rees, Orme, Brown, Green, and Longman, Paternoster Row.’ The present edition makes a number of emendations to the text, as listed below. Several of these are printer’s errors, and some are emended (as noted above) because of transmission of text from/to musical plates. These are listed below with the emended version first, followed by the original version from the musical publication concerned. References for page and line numbers are listed using the system adopted in the Editorial Notes. 25, l. 8 Brackadale ] Brakadale 179, l. 6 Away ] away 212, l. 7 Nor ] nor 212, l. 8 Wi’ ] wi’ 212, l. 12 Sae ] sae 214, l. 3 For ] for 214, l. 4 A ] a 214, l. 8 The ] the 214, l. 12 For ] for 215, l. 3 Thy ] thy 218, l. 6 desert ] desart 219, l. 6 Tho’ ] tho’ 220, l. 8 Honest ] honest 249, l. 47 gorse ] gerse 250 l. 1 [Sir David Græme] The do’e flew east, the do’e flew west, ] The do’e flew east, The do’e flew west, 257, l. 5 we’ll ] We’ll 258, l. 26 no longer ] no: longer 328, l. 8 Clings ] clings 328, l. 12 Never ] never 331, l. 17 Providence’s ] Providences 332, l. 14 the ] The 333, l. 10 [in ‘The Ladies’ Evening Song] Wi’ ] wi’ 333, l. 16 heroes ] hevas 339, l. 36 and ] And 340, l. 20 and ] And 340, l. 21 and ] And 340, l. 23 while ] While 340, l. 41 and ] And

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412, l. 6 claymore’s ] claymores 418, l. 21 seasons ] season’s 421, l. 11 traitors ] traitors’ 464, l. 15 fuming ] funning 464, l. 21 seasons ] season’s 466, l. 5 wrings ] wring’s 497, l. 32 we ] wi’ 498, l. 45 elbas ] elba’s 498, l. 46 elbas ] elba’s 498, l. 48 elbas ] elba’s 505, l. 32 we ] wi’ 505, l. 36 Wi’ ] Wi 506, l. 45 elbas ] elba’s 506, l. 46 elbas ] elba’s 506, l. 48 elbas ] elba’s 527, l. 6 Away ] away 527, l. 6 like ] Like 553, l. 8 Beauty ] beauty 561, l. 4 Like ] like 561, l. 7 There ] there 561, l. 8 In ] in 561, l. 27 There ] there 571, l. 2 The ] the 571, l. 4 And ] and 571, l. 7 To ] to 571, l. 8 Wer’t ] wer’t 571, l. 12 Sure ] sure 571, l. 14 Ae ] ae 571, l. 15 And ] and 571, l. 18 You ] you 571, l. 19 An’ ] an’ 571, l. 24 Remain ] remain 571, l. 26 The ] the 571, l. 28 As ] as 572, l. 32 An ] an 583, l. 15 heralds ] herald’s 583, l. 16 cloudlet ] cloud let 589, l. 11 for ] For 618, l. 37 no ] no’ 637, l. 2 Sagt ] sagt 637, l. 4 Frische ] frische 637, l. 6 Frische ] frische 637, l. 10 Bonny ] bonny 637, l. 12 Bonny ] bonny 637, l. 13 Belted ] belted 637, l. 14 Bonny ] bonny

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638, l. 2 Nur ] nur 638, l. 3 Des ] des 638, l. 4 Keins ] keins 638, l. 6 Dies ] dies 638, l. 8 So ] so 638, l. 10 To ] to 638, l. 11 How ] how 638, l. 11 peaceful ] peauceful 638, l. 12 Releas’d ] releas’d 638, l. 14 That ] that 638, l. 15 Why ] why 639, l. 2 So ] so 639, l. 3 Um ] um 639, l. 4 Wilkommen ] wilkommen 639, l. 7 Denn ] den 639, l. 8 Dein ] dein 639, l. 9 Den ] den 639, l. 12 Wie ] wie 639, l. 14 In ] in 639, l. 15 And ] and 639, l. 16 Our ] our 639, l. 17 Be ] be 639, l. 18 ’Till ] ’till 639, l. 19 Of ] of 639, l. 20 But ] but 639, l. 22 We’re ] we’re 639, l. 24 That ] that 651, l. 2 Then ] then 651, l. 5 Thro’ ] thro’ 651, ll. 15–16 O dinna dinna weep For the day that’s gone, ] O dinna dinna weep for the day that’s gone, 651, l. 19 laverock’s ] lave rock’s

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Editorial Notes Editorial Notes are provided here for each song in James Hogg’s Contributions to Musical Collections and Miscellaneous Songs. This volume should be used in consultation with the Stirling/South Carolina (hereafter S/SC) edition of Hogg’s Songs by the Ettrick Shepherd of 1831, for most of the songs in the present edition also appeared in that text-only collection. Amongst these the most notable omission was German Hebrew Melodies of [1817], which appears in the present edition for the first time since its original publication. The stories of Hogg’s involvement with the musicians and publishers/editors of each collection are given in this volume as introductions to the texts and musical copies. Where a song appears only in the present volume, and not in Songs by the Ettrick Shepherd, then full editorial notes are given below. However, in order to avoid major duplication, if a song is also included in Songs by the Ettrick Shepherd, then a summary note is given here and readers are advised to consult the full editorial notes for these songs in the accompanying S/SC edition of Songs by the Ettrick Shepherd. Full references are given in the publication-history section of each editorial note below. When a song appears several times in the present edition, then it is presented with a full note only on its first appearance. For example, Hogg’s song ‘The Lark’ first appears in [1817] in John Clarke-Whitfeld’s collection Twelve Vocal Pieces, then appears in [1819] in A Border Garland, then as ‘The Skylark’ in c.1829 in The Border Garland, then in the Miscellaneous Songs section of the present edition as ‘Bird of the Wilderness’ c.1830–1832, and finally within the Appendix to this edition. In this case a fuller editorial note for the song is given beside its first appearance in Twelve Vocal Pieces, and the reader is referred back to this note for all subsequent appearances. Additional information specific to the musical setting is provided for later versions of a song only where appropriate. Notes are given under the title of each song with reference to page numbers in this S/SC edition. Because many of the songs in this volume had already appeared elsewhere (sometimes in several different publications), the individual song histories are often complex. The notes are thus arranged in clearly defined sections. The first section of each note — Creative Context — provides information about the creative context of the song and includes details about related manuscript sources. The second section of the editorial note — Publication History — then gives a short chronological listing of the song’s appearance in Hogg works, providing brief references to the relevant sources. This allows readers to consult different versions/printings of the song in question. Citations from first editions are given alongside references, where possible, to the S/SC editions of Hogg’s Collected Works. Unauthorised versions, if applicable, will also be listed here. Such unauthorised and later versions are an important part of the overall picture of Hogg’s songs and their wider dissemination and reception. However, this list is by no means exhaustive, and only notable appearances that we have identified to date are given. The dating of the Musical Collections and Miscellaneous songsheets is complex, and a full explanation is provided in the section ‘The Present Edition’ in the Introduction to this volume. The third section of the editorial notes — Musical Context — discusses the musical context of the song, giving details of

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the melodies or airs associated with the song. Where a song also appears in Songs by the Ettrick Shepherd of 1831, then full musical notes may be found in the editorial notes to the song in the S/SC edition of that volume. The final section of the editorial notes — Explanatory Notes — gives further necessary information to elucidate the lyrics themselves, where helpful to the reader. Definitions of single words are given in the Glossary at the back of the present edition, and in the Explanatory Notes references to songs include page and line numbers. Biblical quotations are from the King James version, the translation most familiar to Hogg and his contemporaries. The notes make reference to standard works such as The Oxford Dictionary of National Biography (ODNB ), The Oxford English Dictionary (OED), and The Dictionary of the Scottish Language (DSL): http://www. dsl.ac.uk. This online resource incorporates the twelve-volume Dictionary of the Older Tongue, edited by William Craigie, et. al. (Oxford: Oxford University Press, 1931–2002) and the ten-volume Scottish National Dictionary, edited by William Grant and David Murison (Edinburgh: Scottish National Dictionary Association, 1931–1976). The first editions of Hogg’s work are cited in ‘Publication History’ and, where possible, references are given alongside these to the S/SC edition of the same work. Unless otherwise specified, the references given are to the first editions with a short title and page references only. The short titles used are as follows, in order of publication: The Mountain Bard: The Mountain Bard (Edinburgh: Archibald Constable; London: John Murray, 1807) The Forest Minstrel: The Forest Minstrel (Edinburgh: Archibald Constable; London: Hunter, Park and Hunter, 1810) The Queen’s Wake: The Queen’s Wake: A Legendary Poem (Edinburgh: George Goldie; London: Longman, Hurst, Rees, Orme, and Brown, 1813) Jacobite Relics I: The Jacobite Relics of Scotland. First Series (Edinburgh: William Blackwood; London: T. Cadell and W. Davies, 1819) Jacobite Relics II: The Jacobite Relics of Scotland. Second Series (Edinburgh: William Blackwood; London: W. Davies: London, 1821) Poetical Works: The Poetical Works of James Hogg, 4 vols (Edinburgh: Archibald Constable; London: Hurst, Robinson & Co., 1822) Songs 1831: Songs by the Ettrick Shepherd (Edinburgh: William Blackwood; London: T. Cadell, 1831) A Queer Book: A Queer Book (Edinburgh: William Blackwood; London: T. Cadell, 1832) Also frequently referred to are key musical collections to which Hogg contributes. Short titles of key collections listed in ‘Publication History’ are as follows in order of publication, excepting Thomson’s volumes which are grouped together.

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Albyn’s Anthology: Albyn’s Anthology, or, A Select Collection of the Melodies & Vocal Poetry peculiar to Scotland & the Isles, hitherto unpublished, 2 vols (Edinburgh: Oliver & Boyd, 1816, 1818) Twelve Vocal Pieces: Twelve Vocal Pieces Most of them with Original Poetry […] by John Clarke Mus. Doc. Cam. […] (London: Birchall, [1817]) George Thomson, A Select Collection of Original Scottish Airs: A Select Collection of Original Scottish Airs, folio vol 5 (London: Preston; Edinburgh: Thomson, 1818, 1826, 1831) George Thomson, The Select Melodies of Scotland: The Select Melodies of Scotland Interspersed with those of Ireland and Wales united to the Songs of Robt. Burns […], octavo (vols 1–5) (London: Preston; Edinburgh: Thomson, 1822–1823) George Thomson, Thomson’s Collection of the Songs of Burns: Thomson’s Collection of the Songs of Burns, Sir Walter Scott Bart. And Other Eminent Lyric Poets Ancient and Modern […] (vols 1–6) (London: Preston; Edinburgh: Thomson) octavo [1825] [1830] George Thomson, Melodies of Scotland: The Melodies of Scotland with Symphonies and Accompaniments […] The Poetry Chielfy by Burns […] (London: Coventry & Hollier; Edinburgh: Thomson, folio 1831/1838 (vols 1–5) and 1841 (vol 6)) A Border Garland: A Border Garland containing Nine New Songs by James Hogg. The Music Partly Old Partly Composed by Himself and Friends And Arranged with Symphonies and Accompaniments for the Pianoforte (Edinburgh: Engraved Walker & Anderson; sold by Nathaniel Gow & Son, [1819]) The Scotish Minstrel: The Scotish Minstrel A Selection from the Vocal Melodies of Scotland, Ancient and Modern, Arranged for the Voice and Piano Forte by R. A. Smith, 6 vols (Edinburgh: Robt Purdie, [1821–1824] and (c.1828–37)) The Irish Minstrel: The Irish Minstrel A Selection from the Vocal Melodies of Ireland, Ancient and Modern, Arranged for the Piano Forte by R. A. Smith (Edinburgh: Robt Purdie, [1825]; second edition c.1828) Select & Rare Scotish Melodies: Select & Rare Scotish Melodies The Poetry by the Celebrated Ettrick Shepherd The Symphonies & Accompaniments composed & the Whole Adapted & Arranged by Henry R. Bishop (London: Goulding, D’Almaine & Co., [1828]) The Border Garland: The Border Garland Containing Twelve New Songs the Poetry by James Hogg the Celebrated Ettrick Shepherd, Several of the Airs composed by Himself and Friends Arranged with Symphonies and Accompaniments by James Dewar (Edinburgh: Robt Purdie, c.1829) Original Scottish Melodies: Original Scottish Melodies Composed by Peter McLeod (Edinburgh: Wood & Co., [1834]) References to volumes from The Collected Works of James Hogg in the Stirling/South

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Carolina Edition, published by Edinburgh University Press, are noted with the abbreviation ‘S/SC’ and the date of first publication given in parentheses. Several of the references to Hogg’s songs are quoted from or cross-reference notes to the following S/SC editions with the kind permission of the editors: The Three Perils of Woman (1823), edited by Antony Hasler and Douglas S. Mack (S/SC, 2002, paperback edition); The Spy, edited by Gillian Hughes (S/SC, 2000); The Jacobite Relics of Scotland. First Series, edited by Murray G. H. Pittock (S/SC, 2002); The Jacobite Relics of Scotland, Second Series, edited by Murray G. H. Pittock (S/SC, 2003); Contributions to Annuals and Gift Books, edited by Janette Currie and Gillian Hughes (S/SC, 2006); The Forest Minstrel, edited by Peter Garside and Richard Jackson (S/ SC, 2006); The Mountain Bard (1807 and 1821), edited by Suzanne Gilbert (S/SC, 2007); The Bush Aboon Traquair and The Royal Jubilee, edited by Douglas S. Mack, (S/SC, 2008); Contributions to Blackwood’s Edinburgh Magazine, I, 1817–1828, edited by Thomas B. Richardson (S/SC, 2008); Contributions to Blackwood’s Edinburgh Magazine, II, 1828–1835, edited by Thomas B. Richardson (S/SC, 2012); The Collected Letters of James Hogg, I, 1800–1819, edited by Gillian Hughes (S/SC, 2004; The Collected Letters of James Hogg, II, 1820–1831, edited by Gillian Hughes (S/SC, 2006); and The Collected Letters of James Hogg, III, 1832–1385, edited by Gillian Hughes (S/SC, 2008). Books frequently used in the Notes are referred to by the following abbreviations: Child: The English and Scottish Popular Ballads, ed. by Francis James Child, 5 vols (New York: The Folklore Press, 1957) Dick: The Songs of Robert Burns and Notes on Scottish Songs by Robert Burns, by James C. Dick. Together with Annotation of Scottish Songs by Burns, by Davidson Cook (Hatboro, Pennsylvania: Folklore Associates, 1962) Glen: John Glen, Early Scottish Melodies (Edinburgh: R. & J. Glen, 1900) Gooch and Thatcher: Musical Settings of British Romantic Literature: A Catalogue, 2 vols (New York and London: Garland Publishing, 1982) Graham: The Songs of Scotland Adapted to their Appropriate Melodies, arranged with Pianoforte Accompaniments by G. F. Graham, T. M. Mudie, J. T. Surenne, H. R. Dibdin, Finlay Dun, &c.: Illustrated with Historical, Biographical, and Critical Notices by George Farquhar Graham, 3 vols in 1 (Edinburgh: Wood and Co, 1848–1849) Groome: Ordnance gazetteer of Scotland: a survey of Scottish topography, statistical, biographical, and historical, edited by Francis H. Groome, 6 vols (Edinburgh : Thomas C. Jack, 1882–1885) Humphries & Smith: Charles Humphries and William C. Smith, Music Publishing in the British Isles from the Beginning until the middle of the nineteenth century (Oxford: Blackwell, 1970) SMM: The Scots Musical Museum 1787–1803, edited by James Johnson and Robert Burns, 6 vols. A two volume facsimile reprint, introduced by Donald A. Low (Aldershot: Scolar Press, 1991)

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Stenhouse: Illustrations of the Lyric Poetry and Music of Scotland, William Stenhouse [with additional notes and illustrations by David Laing and C. K. Sharpe], (Edinburgh: William Blackwood and Sons, 1853)

SECTION I: CONTRIBUTIONS TO MUSICAL COLLECTIONS Albyn’s Anthology (1816 and 1818) Why Should I Sit and Sigh? (pp. 10–11 and 28–29) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd (S/SC, 2014) where it appears with the title ‘Oh-hon, Oh Righ!’. In summary, the song first appeared in this first volume of Alexander Campbell’s Albyn’s Anthology in 1816 with the title ‘Why Should I Sit and Sigh’, and to the popular Gaelic tune entitled ‘Cnochd a Bheanneihd’. When Hogg included it in the fourth volume of his Poetical Works in 1822 he used the text from Campbell’s collection. It then appeared in the sixth and final volume of Robert Archibald Smith’s The Scotish Minstrel, published in [1824]. Textually the song is the same, but Smith presents a variant of the same tune ‘Cnochd a Bheanneihd’ (in a different key) and presents the verse first rather than the chorus. This means that the order of the lines has to be rearranged. Rather than beginning the lyric with ‘Why should I sit and sigh’ as in the version for Campbell, Smith begins with ‘Oh hon a ri! There’s something wantin’’ and gives the lines of text following this as the first part of the stanza (to match the lower-set part of the tune for the verse) and follows it with the four lines beginning ‘Why should I sit and sigh’ (to match the higher-set part of the tune for the chorus). This means that Smith omits Hogg’s earlier refrain ‘Ochon, o ri! there’s something wanting’ that had concluded each verse. In the second and third editions of the Scotish Minstrel the song moves to vol. 6, p. 60. On the new plates used for the second and third editions, the orthography of some of the wording is slightly changed by the removal of the final ‘g’ in words such as ‘rising’ and ‘wheeling’ (ll. 9–10). It is the version in Smith’s The Scotish Minstrel that Hogg uses when he includes it in Songs by the Ettrick Shepherd later in 1831, though he changes its form. The faircopy manuscript of Songs 1831 is the only extant manuscript of this song (NLS MS 4805, ff. 26–102 at f. 55). Publication History: 1816 – in Albyn’s Anthology, I, 14–15 — see pp. 10–11 and 28–29 in the present edition 1822 – in Poetical Works, IV, 321–22 [1824] – in The Scotish Minstrel, VI, 61 — see pp. 261–22 and 291 in the present edition 1831 – in Songs by the Ettrick Shepherd, pp. 124–55 — see (S/SC, 2014), p. 57 Musical Context: Beside this song in Albyn’s Anthology Campbell prints a fragment of six lines of a Gaelic song titled ‘Cnochd a Bheannichd’. He notes: ‘the remaining verses of this song have not come to the Editor’s hand — in truth, Mr Hogg has caught

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the general spirit of the piece, and highly improved the subject’ (I, p. 14). Smith’s setting in The Scotish Minstrel is simpler, and the tune is titled ‘Gaelic Air’. It is in a different key and is not identical to the Campbell tune, but it is clearly a variant. Bonny Tweedside (pp. 11–12 and 30–31) Creative Context: ‘Bonny Tweedside’ appears for the first time in the first volume of Albyn’s Anthology (1816) and was not reprinted during Hogg’s lifetime. Hogg’s lyrics are replete with local references and may be placed within a tradition of Scottish songs dedicated to the river Tweed, including the similarly named ‘And I’ll Awa’ to Bonny Tweed-Side’, first published in Allan Ramsay’s Tea-Table Miscellany in 1724. No manuscript has been located. Publication History: 1816 – in Albyn’s Anthology I, 16–17— see pp. 11–12 and 30–31 in the present edition Musical Context: The air is given as ‘Gowd in Goupins.’ In his ‘Journal of a Tour in the Scottish Border in 1816’, Campbell notes that the melody of “Bonny Tweedside, or gowd in the goupins” was collected for him by Brodie (a blacksmith in Melrose, said to wear ‘a gold ring on the little finger of his left hand’) twenty years prior to his Border tour (Hawick: Reprinted from the ‘Transactions’ of the Hawick Archaeological Society, 1904, p. 4). Explanatory Notes: 11, [Title] Tweedside the area surrounding the river Tweed, which flows through the southeast of Scotland. 11, l. 7 Ashiesteel a mansion in the north of Yarrow on the south bank of the Tweed. Sir Walter Scott was tenanted here from 1804–1812. 11, l. 11 Fairnilee an area on the left bank of the River Tweed about 5 km southwest of Galashiels. 11, l. 16 Gala the river Gala joins the Tweed near Melrose, and the town of Galashiels takes its name from the river. 11, l. 21 Peel perhaps referring to Peel Fell, a hill marking the boundary between the Scottish Borders and Northumberland. 11, l. 22 Yair a mansion in Selkirkshire on the right bank of the Tweed. 12, l. 25 Clovenford and Hollylee as a place name, Clovenford refers to a small village in Selkirkshire, while Hollylee refers to an estate with a mansion on the left bank of the Tweed in Innerleithen parish, Peeblesshire. Hogg is most probably referring to young gentlemen associated with these respective places. A Year O’er Young (pp. 12–13 and 32–33) Creative Context: ‘A Year O’er Young’ was written especially for the first volume of Albyn’s Anthology (1816) and was not reprinted during Hogg’s lifetime. According to the editorial footnote, Hogg composed only the first half of the song while the latter verses and the tune were collected from a ‘Maniac’. During his tour of the Borders in 1816, Campbell attempted to meet this songster:

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Saturday, October 12th. — Went after breakfast over the hill-road to Yarrow to James Hogg (the Ettrick Shepherd). Mr. [William] Laidlaw had sent a servant across the Tweed the preceding evening to bring over the female maniac Billy, who resides in Innerleithen, to come early this morning, but she was wandering about the country, consequently missed. This is the same poor thing from whom Hogg learnt “A year ower Young,” vide Albyn’s Anthology (‘Journal of a Tour in the Scottish Border in 1816’, p. 3). Gavin Grieg cites the song’s publication in Albyn’s Anthology as the ‘first trace’ of what is ‘evidently an old song’ and criticizes Hogg’s handling of an ‘old fragment’ (Folk-Song in Buchan and Folk-Song of the North-East (Hatboro, Pennsylvania: Folklore Associates, 1963), No. 131). Elaine Petrie notes that ‘Hogg attempted to rehabilitate an old fragment and achieved a good song’ and draws upon Grieg’s analysis to argue that it is most probable ‘that only the first two verses are entirely Hogg’s and the remaining four more or less traditional’ (‘Lyric Progressions: Ballad to Art Song’, Studies in Hogg and his World, 2 (1991), 81–90, (p. 83, p. 81)). No manuscript has been located. Publication History: 1816 – Albyn’s Anthology, I, 26–27 — see pp. 12–13 and 32–33 in the present edition Musical Context: The air is given as ‘A Border Melody’ and was noted down by Hogg from a “Maniac” (See above). Grieg notes the tune’s likeness to ‘The bonnie banks o’ Loch Lomond’ and suggests ‘they are both variants of the same original’ (FolkSong in Buchan, 1963, No. 131). Ronald Stevenson’s modern setting of Hogg’s song for voice and violin is said to capture ‘all the pathos and imbalance of poor Billy’ ( Judy Steel, ‘Ronald Stevenson and the Early Border Festivals’, Chapman, 89–90 (1998), pp. 46–47; see also Valentina Bold (1989), p. 102). Stevenson notes that ‘Billy’ may be from Hogg’s ‘A Boy’s Song’. The Last Cradle Song (pp. 13–14 and 34–35) Creative Context: ‘The Last Cradle Song’ was written especially for the first volume of Albyn’s Anthology (1816) and was subsequently reprinted in the fourth volume of Hogg’s Poetical Works in 1822. A comparison of the two texts reveals only minor nonsubstantive variants in spelling, such as bonny/bonnie and vallies/valleys. No manuscript has been located. In Campbell’s editorial note, he writes that the song is ‘as sung by MR HOGG, by whom it was communicated’. As the first volume of Albyn’s Anthology was announced as ‘this day published’ on [18 July 1816 or 16 October 1816], Hogg clearly communicated this song prior to Campbell’s tour of the Borders in October 1816, and he most probably did so via correspondence. On 8 April 1816, Hogg writes to John Clarke-Whitfeld that he has sent ‘old airs’ to Mr. Campbell ‘who is making a selection of Scotish ancient music and have likewise furnished him with verses for them he is a poor man and I wished to be of some service to him’ (Letters, I, 274). Hogg previously referred to his collection of ‘20 ancient Border airs’ in a letter to George Thomson dated 25 October 1815, and also wrote to Clarke-Whitfeld on 18 January 1816 that he ‘has for several years been engaged in picking up old border airs and chaunts that are just hanging on the verges of

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oblivion’ (Letters, I, 254, 264). Gillian Hughes indicates in her notes to the letters that ‘Hogg seems to have passed his collection of tunes to Alexander Campbell for use in his publication Albyn’s Anthology ’ (p. 255n). Publication History: 1816 – in Albyn’s Anthology, I, 30–31 — see pp. 13–14 and 34–35 in the present edition 1822 – in Poetical Works IV, 323–24 Musical Context: The air is simply designated as ‘A Border Melody’, and in his editorial footnotes Campbell provides the first verse of the ballad typically sung to this ‘elegantly simple and affecting Air’. The air is further specified as ‘My Love’s shoulders are broad and square’ in the Poetical Works (1822). Gordon Mooney includes a modern setting of ‘The Last Cradle Song’ in his recording O’er the Border: Music of the Scottish Borders Played on the Cauld Wind Pipes (Temple, 1989), and in the accompanying booklet notes that ‘the title of this beautiful tune reminds us of those appallingly high levels of child deaths which prevailed in Scotland until our doctors pioneered scientific medicine in the 18th and 19th centuries’. The Liddel Bower (pp. 14–16 and 36–37) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd (S/SC, 2014). In summary, as Hogg’s 1831 headnote states, the song was composed for Campbell’s Albyn’s Anthology, and evidence that it was one of Hogg’s first contributions is given in the ‘Prospectus for Albyn’s Anthology’, written by Walter Scott and circulated in March 1816 (Todd and Bowden, 92A, p. 300). It simulates a traditional border ballad, this one relating the circumstances leading to the death or disappearance of ‘the heiress of the lands of Nith’ through her relationship with an unidentified ancestor of the powerful Douglas family and their meeting ‘at Liddel bower’ or by Liddel Water in Liddesdale in the Scottish Borders. Hogg’s title, setting and references to the key Border families of Douglas, Jardine, Johnstone and Maxwell, give this ballad a very firm place in Border balladry. Further information about Hogg’s use of extant oral and printed sources for the ballad is given in the editorial note in Songs by the Ettrick Shepherd (S/SC, 2014, pp. 251–52). After appearing in Campbell’s work, Hogg included ‘Liddel Bower’ in the third volume of his Poetical Works of 1822, where clearly the copy text was Albyn’s Anthology: there are no substantive variants. Parts of the song were then redrafted for Songs 1831. A full account of the textual variants is given in Songs by the Ettrick Shepherd (S/SC, 2014). The only extant holograph version of ‘Liddel Bower’ known to survive is found in the fair-copy manuscript for Songs 1831, at NLS MS 4805, ff. 67v–69r. Publication History: 1816 – in Albyn’s Anthology, I, 38–9 — see pp. 14–16 and 36–37 in the present edition 1822 – in Poetical Works, III, 361–67 1831 – in Songs by the Ettrick Shepherd, pp. 169–73 — (S/SC, 2014), pp. 77–78

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Musical Context: Hogg’s headnote refers his reader to Campbell’s choice of ‘an old Border air’ which Cambpell had ‘picked up’ to include in his song collection, Albyn’s Anthology. But the only information given in the collection is ‘A Border Melody’. The title of the air has not yet been identified. Walter Scott’s introductory letter to Robert Shortreed, Sheriff Substitute of Roxburghshire, written on Campbell’s behalf and dated 18 October 1816, reveals at least one occasion when Campbell could have ‘picked up’ the air. Scott writes: Mr Alexander Campbell a man of great musical talent and an excellent singer is going forward into Liddesdale to try if he can find any original melodies and I will be much obliged to you to give him a recommendation or two to help him on his journey. If a good Scots song can pay for hospitality he is well qualified to give it. I think he may possibly pick up something in our dales though they have been well harried. (The Letters of Sir Walter Scott, 10 vols (London: Constable & Co., 1932–36), IV, 104) Explanatory Notes: See Songs by the Ettrick Shepherd, (S/SC, 2014), p. 252. Lady Linley (pp. 17–18 and 38–39) Creative Context: This song was also most probably created for Campbell’s Albyn’s Anthology where it was first published in the second volume in 1818, and not reprinted during Hogg’s lifetime. Hogg’s lyrics were written to accompany a melody collected by Alexander Campbell on his Border tour in 1816 (see below). As Elaine Petrie indicates, ‘Lady Linley’ reworks the popular ballad theme of infanticide and may have been influenced by ‘The Cruel Mother’ and ‘Mary Hamilton’ (‘Lyric Progressions: Ballad to Art Song’, Studies in Hogg and his World, 2 (1991), 81–90). No manuscript has been located. Publication History: 1818 – in Albyn’s Anthology, II, 8–9 — see pp. 17–18 and 38–39 in the present edition Musical Context: The air is designated as ‘Edinborough, Edinborough’. In his editorial footnote, Campbell indicates that he transcribed ‘this plaintful melody’ directly ‘from the singing of Thomas Hogg, tailor in Thirelstane’, whilst touring Ettrick-forest with Thomas’s cousin, the ‘ingenious’ James Hogg (p. 8). Campbell records this encounter in his ‘Journal of a Tour in the Scottish Border in 1816’: We went to two cousins of Hogg’s, viz, Thomas and Frank Hogg, who sing well, and I took down a good few melodies very old and entirely new to me, after which we came to Mrs. Brydon’s, where we supped and went to bed (p. 4). As Gillian Hughes notes, Thomas Hogg was ‘the son of Robert Hogg’s brother James, and baptised in 1768’ (Letters, I, 8n). Campbell includes the original words sung by Thomas to this air, and notes they share the same burden (or, ballad refrain) as a version of the ballad, ‘The Cruel Sisters’, referenced in Scott’s Minstrelsy of the Scottish Border (1802), II, 144. However, Elaine Petrie argues that Thomas may

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have sung a version of ‘The Cruel Mother’ with a refrain often associated with ‘The Cruel Sisters’. For further discussion, see ‘Lyric Progressions: Ballad to Art Song’, Studies in Hogg and his World, 2 (1991), 81–90. In a letter written to R. A. Smith during the preparation of his collection, The Scotish Minstrel [1821–1824], Hogg requests that Smith ‘Look at “Lady Linley” in the Anthology for the Ettrick set of the air we spoke of’, but as Hughes indicates in her note, the air was not used in The Scotish Minstrel (Letters, I, 396). O What Will I Do! (pp. 18–19 and 40–41) Creative Context: ‘O What Will I Do!’ was first published in the second volume of Albyn’s Anthology (1818) and was not reprinted during Hogg’s lifetime. This lament for the loss of ancient song and fairy lore has resonance with much of Hogg’s literary corpus, and Campbell’s project was motivated by an attempt ‘to collect and preserve the perishing remains of what is so closely interwoven with the history and literature of Scotland’ (Albyn’s Anthology, I, p. ix). No manuscript has been located. Publication History: 1818 – in Albyn’s Anthology, II, 16–17 — see pp. 18–19 and 40–41 in the present edition Musical Context: The air is designated “O What will I do”, and, as indicated in the editorial footnote, Campbell noted the melody down from Hogg’s singing, most probably during his Border tour in autumn 1816. My Peggy, Thou Art Gane Away (pp. 20 and 42–43) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd (S/SC, 2014), where it appears with the title ‘Love Letter’. In summary, the song was written in the early 1810s (Hogg dates it 1811) for Hogg’s wife-to-be Margaret Philips (1789–1871), along with the song ‘Mischievous Woman’ beginning ‘Could this ill warld hae been contrived’, which sits next to it in the 1831 collection. An account of how it relates to Hogg’s early letters to Margaret is given in the note in Songs by the Ettrick Shepherd. The song first appeared in a longer version of six verses under the general title ‘Scotch Song’ in The Spy in May 1811. It was then included in the second volume of Campbell’s Albyn’s Anthology as ‘My Peggy, Thou Art Gane Away’ and was presented by Campbell as having been ‘Written for this Work’. It was indeed a new version of the song as it had appeared in The Spy. Here there are only three verses, and of these the first and third verses are completely new, so that only verse two from the original version remains, albeit with slightly rearranged wording in l. 13. A further version of the song was included in the fourth volume of Hogg’s Poetical Works of 1822 under the title ‘Ah, Peggie, since thou’rt gane away’, and it was then included with several further changes in Songs by the Ettrick Shepherd in 1831. There are no extant manuscripts, and the song is one of those missing within the Blackwood Papers NLS MS 4805, which comprises the fair-copy holograph for Songs by the Ettrick Shepherd.

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Publication History: 1811 – in The Spy, No. 37 (11 May 1811), pp. 295–96 — see (S/SC, 2000), pp. 376–77 1818 – in Albyn’s Anthology, II, 24–25 — see pp. 20 and 42–43 in the present edition 1822 – in Poetical Works, IV, 331–33 1831 – in Songs by the Ettrick Shepherd, pp. 193–95 — see (S/SC, 2014) pp. 87–88 Musical Context: The tune to which ‘My Peggy, Thou Art Gane Away’ is set in Campbell’s collection is the ‘Royal Highlander’s March’, an unusually regimental tune for a love song. This is undoubtedly because Hogg’s text is the second choice to the first Gaelic text presented in Albyn’s Anthology with the title ‘Oran’. Campbell notes that the tune is referred to as ‘Le Alastair Caimbeal’ and that the song was connected to the 42nd regiment at Waterloo. He gives further information that the song is ‘inscribed to Sir John MacGregor Murray, Bart. Of Lanrick’, known as a ‘beneficent Patron of Celtic Literature and Song’. Campbell is here referring to Sir John MacGregor Murray (1745–1822), key member of the Highland Societies of London and Edinburgh and champion of the work of both James Macpherson and Patrick MacDonald. Campbell had stopped at Murray’s family seat of Lanrick Castle in July 1815 while undertaking his Highland tour. Hymn to the Evening Star (pp. 20–21 and 44–45) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd (S/SC, 2014). In summary, this song was initially written in 1811 for Hogg’s weekly magazine The Spy. A much longer version of the song first appeared there in August of that year, and the song was then included in a variety of different publications over the next twenty years (as listed in the ‘Publication History’ below). Full details of the textual variants across these versions is given in the note in Songs by the Ettrick Shepherd (S/SC, 2104). As with ‘My Peggy, thou’rt gane away’, Campbell claims that the song was ‘never before published’. This is partly true as Hogg clearly revised his text substantially for Campbell. It had appeared in 1815 in The Nithsdale Minstrel; for Campbell, Hogg omitted verse seven, and there is fresh wording scattered throughout the song: for example, ‘canopy of blue’ replaces ‘throne so bright and blue’ (l. 4), and at l. 21 ‘O let thy spirit seek the glade’ replaces ‘Say wilt thou hover o’er my head’. The closing lines receive further revision, with ‘modest light’ (l. 35) replacing ‘silver light’ (l. 39), while the final line is again revised with ‘Is cradled on the heaving sea’ (l. 36) replacing ‘Evanish of the western sea’ (l. 40). It was Campbell’s version that was used by Hogg as copy text for its inclusion in both Poetical Works in 1822 and also Songs by the Ettrick Shepherd in 1831. There are two extant manuscripts for ‘Hymn to the Evening Star’: Hogg’s holograph manuscript prepared around 1815 for The Nithsdale Minstrel is extant at the Mitchell Library, Special Collections, Cowie Collection, MS 283 c; and Hogg’s fair-copy holograph manuscript of the version of the song he prepared for Songs 1831 appears within NLS MS 4805, ff. 26–102 (Blackwood Papers) at f. 86. Publication History: 1811 – in The Spy, No. 49 (3 August 1811), 342 [mispaged] — see (S/SC, 2000), pp. 73–74

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1815 – in The Nithsdale Minstrel: Being Original Poetry Chiefly by the Bards of Nithsdale (Dumfries: C. Munro & Co. for Preacher and Dunbar), pp. 26–28 1818 – in Albyn’s Anthology, II, 39 — see pp. 20–21 and 44–45 in the present edition 1822 – in Poetical Works, IV, 240–42 1831 – in Songs by the Ettrick Shepherd, pp. 280–82 — see (S/SC, 2014), p. 123 Musical Context: Hogg names no melody or air for ‘Hymn to the Evening Star’. In Albyn’s Anthology the song is placed as second lyric after one beginning ‘Young Maidens I to You Consign’, ‘Written by a lady’ — both songs are intended to be sung to the arrangement given on the opposite page. In an editorial footnote Campbell writes, ‘This fine Melody is one of the many that have lain long dormant; it was communicated to the Editor by the Hon. Mrs Baron Norton. The words were written by an intimate and lamented friend of hers, a Lady of great worth and elegant acquirements, many years since dead’ (II, 39). The melody is unnamed. My Mary Is My Only Joy (pp. 22 and 46–47) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd (S/SC, 2014). In summary, as the introduction to Albyn’s Anthology in the present edition notes, Campbell had visited Hogg at Altrive in October 1816 seeking contributions for his collection. Hogg took him around Ettrick to visit several singers and provided songs himself. It is thus highly probable that the original version of ‘Black Mary’ was composed during this period. After its appearance in Campbell’s second volume in 1818, the song was published twice more during Hogg’s lifetime, but the text remained remarkably stable until its final appearance in Songs by the Ettrick Shepherd in 1831. It was published with the title ‘Mary Is My Only Joy’ in the third volume of Hogg’s Poetical Works of 1822. This first line bears much resemblance to another popular Scots song beginning ‘Robin is my only Jo[e]’, which Stenhouse notes was included by David Herd in his Ancient and Modern Scottish Songs in 1776, but Stenhouse believes it is much older than this (Stenhouse, pp. 421–22): a version of the text appears in SMM, IV, No. 478, p. 492. After 1822, Hogg’s text then appeared with no title in the newly established Edinburgh Literary Journal; or, Weekly Register of Criticism and Belles Lettres for Saturday, 27 December 1828. Hogg had begun to contribute to this magazine in November 1828, partly due to the increasing difficulties of his relationship with William Blackwood (for further detail see the note in Songs by the Ettrick Shepherd ). When Hogg included the song in 1831, he used the Campbell version as his copy text. The only manuscript is in the fair-copy manuscript for Songs 1831 at: NLS MS 4805, ff. 50v–51r. Publication History: 1818 – in Albyn’s Anthology, II, 46–47 — see pp. 22 and 46–47 in the present edition 1822 – in Poetical Works, III, 371–72 1828 – in the Edinburgh Literary Journal for 27 December (No. 7, 87–90 (pp. 89–90)) 1831 – in Songs by the Ettrick Shepherd, pp. 112–13 — see (S/SC, 2014), p. 51

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Musical Context: The musical setting by Alexander Campbell in Albyn’s Anthology uses the same Gaelic melody that Hogg mentions in his headnote to the song in Songs by the Ettrick Shepherd in 1831, namely ‘Is fallain gun dith thainig thu’. Hogg writes that the tune ‘was set by young Gow’, presumably referring to Niel Gow junior (1795– 1823), who set several of Hogg’s songs including ‘Flora MacDonald’s Lament’, and who was involved in A Border Garland of [1819]. A song-sheet entitled ‘Chai’ banachag na bouille o bhouchaileachd earrich oirn. Black Mary. A favourite old Gaelic song, set for the voice, piano forte, flute or violin’, printed by J. Watlen and published in Edinburgh and London around 1795, has been found (see BL H.1653.g (18) H). However, a setting for ‘Black Mary’ with the melody ‘Is fallain gun dith thainig thu’ by Niel Gow junior has not come to light. Hogg may have simply forgotten the original version of the song with its Gaelic melody in Albyn’s Anthology. Campbell’s own editorial note with the song explains that he was sent the air ‘ by Colonel David Stewart of Garth, to whom it was communicated by the learned and ingenious author of “Elements of Gaelic Grammar,” namely, the Rev. Alexander Stewart of Dingwall; but without the Gaelic words of the song’ (Albyn’s Anthology, II, 46). Campbell also notes that he supplied Hogg with the tune, ‘to suit which Mr Hogg composed his stanzas’ (II, 46). There’s Grace I’ Your Grey Locks (pp. 23 and 48–49) Creative Context: ‘There’s Grace I’ Your Grey locks’ was first published in the second volume of Albyn’s Anthology (1818) and was not reprinted during Hogg’s lifetime. This heartfelt address of a husband to his aged wife looks forward to Hogg’s sermon on ‘Marriage’ published in Lay Sermons (1834), in which he identifies the husband’s unwavering love and esteem as the key to a happy marriage, as This world has many pleasures between the cradle and the grave, yet, alas! how many of them are futile and vain! but the sweetest of them all, and one that will never decay, is to cherish the heart that loves you (S/SC, 1997, p. 98). Hogg himself did not enter into this exalted state until April 1820, at the age of forty-nine. No manuscript has been located. Publication History: 1818 – in Albyn’s Anthology, II, 64–65 — see pp. 23 and 48–49 in the present edition Musical Context: Hogg’s lyrics are set to the same air as the song ‘Oran do Cheile Nuadh Phoisde’, which is listed as ‘Le Donnchadh Macantsaoir’. Campbell notes, ‘This Song is very popular throughout the Highlands and Isles, and its air, which is very pretty, well known — though, as usual, every Glen has its own peculiar turns or variations in chaunting the melodies peculiar to the Gaël; yet the one here given is that which is least mutilated by vulgar performers of any the Editor is acquainted with’ (Albyn’s Anthology, II, p. 65).

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I Hae a Green Purse (pp. 24 and 50–51) Creative Context: ‘I Hae a Green Purse’ was first published in the second volume of Albyn’s Anthology (1818) and was not reprinted during Hogg’s lifetime. In his editorial footnote, Campbell writes, ‘this beautiful little Doric-pastoral of Hogg’s is a variation from one of far less merit, which is usually chaunted to this sweet melody’. Hogg’s text is clearly based on that included by Allan Ramsay in his Tea Table Miscellany beginning ‘I have a green purse and a wee pickle gowd’ (Edinburgh (1729), Vol II, p. 113). But Ramsay’s song is set to the tune known as ‘A Rock and a wee pickle Tow’ which bears little resemblance to the tune used for Hogg’s text in Albyn’s Anthology. Publication History: 1818 – in Albyn’s Anthology, II, 72–73 — see pp. 24 and 50–51 in the present edition Musical Context: The air is designated as ‘Wilzham Wallas’ March’, and according to Campbell’s footnote, this air was also collected from the singing of Hogg’s cousin, Thomas Hogg, during Campbell’s 1816 Border tour (see the note to ‘Lady Linley’ above). This tune can be found in folk music across the western world and has been collected in the Southern Appalachians, Wales, and Ireland; and Dutch and Flemish versions have also been recorded. (See Samuel P. Bayard, ‘A Miscellany of Tune Notes’, in Studies in Folklore: In Honor of Distinguished Service Professor Stith Thompson, ed. by W. Edson Richmond (Bloomington: Indiana University Press, 1957), pp. 151–76 (p. 170). John of Brackadale (pp. 25 and 52–53) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd (S/SC, 2014). In summary, there is no evidence of an exact date of composition, but it would appear that Hogg created the song for Campbell’s collection and so it must have been written sometime between February 1816 and February 1818. It was clearly inspired by Hogg’s Highland tour in summer 1803 when he visited Skye and the area around Bracadale: see Highland Journeys, ed. by Hans de Groot (S/SC, 2010), pp. 136–37. Hogg then included the song in his Poetical Works of 1822, where the copy text is the Albyn’s Anthology version, without change. The ‘air’ nominated below the title is ‘Nuair a thig an Samhra’ (see below). But he altered the wording significantly for its last appearance in Songs by the Ettrick Shepherd of 1831. The only extant manuscript of the song is found in the fair-copy manuscript for Songs 1831 at NLS MS 4805, ff. 26–102 (Blackwood Papers), f. 84v. Publication History: 1818 – in Albyn’s Anthology, II, 78 — see pp. 25 and 52–53 in the present edition 1822 – in Poetical Works, IV, 319–20 1831 – in Songs by the Ettrick Shepherd, pp. 274–75 — see (S/SC, 2014), pp. 120–21

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Musical Context: Hogg’s version of ‘John of Brackadale’ in Albyn’s Anthology was one of three songs Campbell gave for the air ‘Nuair a thig an samhra’ (on p. 78), which appears to be the opening phrase of the first song titled ‘Oran Sugradh’. Campbell explains in his collection that he took down the air while he was in Skye ‘in anno 1815, from the singing of Donald Nicolson, Esq. of Scorbreck’ and that the key set of lyrics was by ‘his late friend, the Rev. Hugh Macdonald of Portree’. Explanatory Notes: See Songs by the Ettrick Shepherd, pp. 307–08.

Twelve Vocal Pieces [1817] The Lark (pp. 62 and 65–69) Creative Context: A full textual and publishing history for this song — one of Hogg’s most popular songs — is given in Songs by the Ettrick Shepherd (S/SC, 2014) where it appears with the title ‘The Skylark’. In summary, it was created initially in 1816 in response to a letter from John Clarke-Whitfeld, most probably relating to Walter Scott’s involvement with Clarke’s project. Hogg’s letter to Clarke-Whitfeld dated 8 April [1816] (see Letters I, 275) responded to an appeal for a contribution, and Hogg sent his text for ‘The Lark’, noting that he has written it for Clarke-Whitfeld and suggesting that he has dedicated it to ‘your work alone’. This would lead to something of a copyright wrangle with the publisher of the collection, namely the London music publisher Lonsdale & Mills. Clarke-Whitfeld also included Hogg’s ‘There’s Naething to Fear Ye’ (see below). It is possible that Hogg was inspired by Psalm 55, vv. 1–7, though he makes no specific reference to this as a source for the song. Wordsworth’s earlier ‘To a Sky-Lark’, first published in 1807, also bears some similarities to Hogg’s text. The first use of the title ‘The Skylark’ was in the enlarged edition of The Border Garland: Containing Twelve New Songs by James Hogg, with arrangements by James Dewar, published by Robert Purdie in Edinburgh in c.1829. Apart from the altered title, the wording of this version is exactly that found in the earlier A Border Garland of [1819] — both versions of the song can be seen in the present volume. At around the same time Hogg also contributed ‘The Sky Lark: A Song’ to Rudolph Ackermann, for publication in the London-based annual Forget Me Not around November 1828. Ackermann made several alterations to the text: for a full discussion of the textual transmission, see Contributions to Annuals and Gift Books (S/SC, 2006), pp. 295–97. There is one notable variant, which is found in the song’s first printing in Twelve Vocal Pieces [1817] where the word ‘desart’ appears in the first and final verses. In A Border Garland in [1819] it appears as ‘desart’ in l. 6 (underlaid to music) but as ‘desert’ in the final line of the song (l. 24). This is emended in the present edition, and appears to have been emended to ‘desert’ for later versions of the song. When Hogg includes the text in Songs by the Ettrick Shepherd, he refers to his particular liking of James Dewar’s setting in The Border Garland of c.1829, most probably after the disagreement with Clarke-Whitfeld’s publisher. In the headnote for 1831 he comments that this ‘little pastoral song’ is ‘worth half-a-dozen of the

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foregoing’. Interestingly ‘the foregoing’ includes ‘Donald MacDonald’, ‘Flora Macdonald’s Farewell’, and ‘Bonny Prince Charlie’, all of which had gained assured popularity during Hogg’s lifetime, and which are to this day regarded as the best of his songs. Hogg’s awareness of the potential for wider popularity may well account for a number of extant manuscripts and signed holographs of this lyric: a full listing of these manuscript sources and their differences is found in Songs by the Ettrick Shepherd. Publication History: [1817] – in John Clarke-Whitfeld’s Twelve Vocal Pieces (Vol. I, No. V, (text, p. 8; music, pp. 41–44 ) — see pp. 62 and 65–69 in the present edition [1819] – in A Border Garland pp. 14–15 — see pp. 218 and 234–35 in the present edition 1828 – in The Forget Me Not, p.27— see Contributions to Annuals and Gift Books (S/SC, 2006), p. 39; notes, pp. 295–97 c.1829 – in The Border Garland pp. 13–15 — see pp. 411–12 and 435–37 in the present edition 1831 – Songs by the Ettrick Shepherd, pp. 15–16 — see (S/SC, 2014), p. 9 c.1830–32 – as the song-sheet ‘Bird of the Wilderness’, music by J. C. Clifton (London: Collard and Collard [late Clementi &c.] 26 Cheapside — see pp. 583– 86 in the present edition Musical Context: The song’s first musical setting, by John Clarke-Whitfeld, is a standard vocal aria of the period. Hogg’s letter to the publisher Lonsdale & Mills of 16 December 1830 (see Letters, II, 417–18) suggests that Hogg wrote the melody for this setting himself, but there is no evidence of Hogg having sent a tune alongside his lyric in 1816. The melody in Twelve Vocal Pieces may well be by Hogg, but it is unlike any other that Hogg created for his songs, and it differs from those included later in A Border Garland of [1819] and The Border Garland of c.1829. In A Border Garland the melodies employed tend to be traditional in nature, and this is the case with the ‘Air, Old’, which is used for the song’s appearance in this collection in [1819]. This tune is very much like a fiddle tune, following the common structure of fiddle tunes and thus many Scottish vocal airs or melodies of the period. It is likely that the musical setting for A Border Garland was created by the London composer William Heather, with whom Hogg was also working at this time on German Hebrew Melodies. ‘The Lark’ is not named specifically in correspondence with Heather, but if he is not the composer of the setting, then it is likely that Niel Gow junior is. Hogg’s preferred setting of this song is that in The Border Garland of c.1829 by James Dewar, and while more elaborate than the setting for A Border Garland of [1819] it does use the same ‘traditional’ melody. This is the musical source to which Hogg refers in his headnote to the song in Songs by the Ettrick Shepherd in 1831, noting that it has a ‘fine original air’. A setting by English composer J. C. Clifton is included in the present edition, published by the London firm Collard & Collard in c.1830–1832 (see Miscellaneous Songs). Other posthumous settings vary dramatically in style and are set for a variety of performers from solo singer with piano, to settings for voice, piano and violin obligato, to vocal duets, part songs and even a setting for children’s choir. For further information, see the note to the ‘The Skylark’ in Songs by the Ettrick Shepherd,

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and for more information and to listen to a variety of these settings see: James Hogg Research website at http://www.jameshogg.stir.ac.uk. One posthumous setting, also entitled ‘Bird of the Wilderness’ with a musical arrangement by W. R. Dempster, was published in New York between c.1835–1837 and is also included in the Appendix in the present edition (see pp. 657–60). Naething to Fear Ye (pp. 63 and 70–76) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd (S/SC, 2014). Indeed, Hogg’s 1831 headnote provides the only evidence we have of the song’s creation. In summary, the song dates from the early 1810s when Hogg frequented the home of his friend and early literary mentor James Gray (1770–1830), whose second wife, Mary Gray, nee Peacock (1767–1829) was a keen writer. Further information about her can be found in ‘Notes on Contributors’ in The Spy, (S/SC, 2000), pp. 562–64. In 1831 Hogg notes that this song ‘has been by far the most popular love-song I ever wrote’, and it was included in a number of contemporary song collections. The publication in John Clarke-Whitfeld’s Twelve Vocal Pieces of [1817] was the first of these, with the abbreviated title ‘Naething to Fear Ye’. After receiving Hogg’s ‘The Lark’(see the notes for ‘The Skylark’ p. 9), Clarke-Whitfeld requested further songs by Hogg and he sent another four in his letter to Clarke-Whitfeld of 11 November 1816 (Letters, I, 280–81). While Hogg confesses to having written ‘The Lark’ especially for Clarke-Whitfeld, the four songs he subsequently sent are from existing manuscripts, again helping to date the song to earlier in the 1810s. Hogg’s letter of 16 December 1830 to the publisher Lonsdale & Mills refers to the two songs in Twelve Vocal Pieces as having ‘been both published in ten different ways since, in periodicals in single sheets and collections of engraved music’: see Letters, II, 417–18. As was the case with ‘The Lark’, Hogg included ‘Naething to Fear Ye’ in his first Scottish musical collection A Border Garland in [1819]; and it was then included later in The Border Garland of c.1829 where the longer title as found in 1831 appears. There are surprisingly few textual variants between the appearances of the song from 1817 until 1831. The wording of the first and last verses remains stable in each version (with slight differences in spellings only). Verse 2 is subtly more sexual in its reference to ‘our bed in the greenwood’ in all early versions of the song, as opposed to ‘our walk in the greenwood’ of the 1831 text (17, l. 12). Hogg makes some other emendations in 1831, a full account of which are given in Songs by the Ettrick Shepherd (S/SC, 2014). There are only two extant manuscripts. Hogg sent the first verse and chorus in his letter of 1 April 1818 to William Heather [Boston Public Library/ Rare Books Department/ Mss. Acc. 70]. This text relates to Heather’s setting of the song for A Border Garland (see Musical Context below). NLS MS 4805, f. 36 is Hogg’s faircopy holograph manuscript of the complete text as included in Songs by the Ettrick Shepherd in 1831. Publication History: [1817] – in Twelve Vocal Pieces (Vol. II, No. III (text, p. 5; music, pp. 28–33)) — see pp. 63 and 70–76 in the present edition [1819] – in A Border Garland pp. 6–7 — see pp. 216–17 and 230–31 in the present edition

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c.1822–23 – as the song-sheet: ‘Jeanie, There’s naething to Fear ye’, music arranged for Piano Forte by Niel Gow, Jr. (Edinburgh: Gow & Galbraith, 60 Princes Street, and Gow and Son, 162 Regent Street) — see pp. 553–57 in the present edition c.1829 – in The Border Garland pp. 7–9 — see pp. 409 and 429–31 in the present edition 1831 – in Songs by the Ettrick Shepherd, pp. 33–34 — see (S/SC, 2014), p. 17 Musical Context: Hogg refers in his 1831 headnote to a tune with the title ‘Over the Border’. The melody included in John Clarke-Whitfeld’s Twelve Vocal Pieces of [1817] is a spirited tune, more like a traditional Scottish tune than that employed for the setting of ‘The Lark’. However, it is not the traditional tune to which Hogg refers in his headnote, which would appear to be the melody found with the song in A Border Garland in [1819]. It is this melody which also appears in The Border Garland of c.1829 and in the independent song-sheet published by Gow & Galbraith around c.1822–1823. The melody as printed in musical versions after ClarkeWhitfeld, is better known as ‘Blue Bonnets over the Border’, which is named in full, presumably as a marketing tool, in the separate Gow & Galbraith song-sheet. In A Border Garland [1819] where it appears first, the tune is simply called ‘Air, old’, and it is unnamed in the setting by James Dewar in The Border Garland in c.1829, but it is almost exactly the same melody, even in the same key. The tune is a rousing march which might seem a rather strange choice for the tenor of the lyric. But, like the melody for Hogg’s ‘Bonny Prince Charlie’ (see the note above) the tune was to gain huge popularity in the early 19th century. This may have to do with the appearance of new words for ‘the ancient air’ of ‘Blue Bonnets Over the Border’, which Walter Scott presented in his novel The Monastery in 1820 (Vol. II, pp. 322–23, Chapter XI). R. A. Smith set them to music in The Scotish Minstrel in the mid 1820s to an air which he titled ‘Blue Bonnets’. This appears to bear remarkable similarity to the tune published with Hogg’s song ‘O, Jeanie, There’s Naething to Fear Ye’ from 1819 onwards. And perhaps this context helps explain Gow & Galbraith’s decision to sell their song-sheet with the title ‘Blue Bonnets over the Border’ in full. Both Scott’s and Hogg’s knowledge of a pre-existing ‘ancient’ tune was clear. In his letter of 13 December 1829 to Thomas Proudfoot Hogg refers to ‘the fine old air of “Over the Border” which I am sure a true Borderer and his lady must know’: see Letters, II, 366. But there are numerous variant melodies associated with the title ‘Blue Bonnets’. Hogg’s song ‘Turn the Blue Bonnets wha can’ which is also a rousing marching song is found in The Border Garland of c.1829 with a musical setting by James Dewar, but is altogether different from the tune for ‘Jeanie’. In his Songs of Scotland (III, 55), George Farqhuar Graham notes that Scott’s song was based on an old Cavalier song which Hogg had included in 1819 in Jacobite Relics, I (pp. 5–7) entitled ‘Lesley’s March’ and he gives that melody for his reader to compare with the new popular tune associated with Scott’s text.

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German Hebrew Melodies [1817] Rise! Rise, Dawn of the Morn! (The Captive’s Song), (pp. 84–85 and 96–104) Creative Context: ‘The Captive’s Song’ appears to have been created for publication in A Selection of German Hebrew Melodies [1817]. The song leads the collection in 1817, but the text is published as the second ‘Sacred Melody’ in the fourth volume of Hogg’s Poetical Works in 1822. A comparison between the 1817 text and the lyrics published in Poetical Works reveals some non-substantive variants, including the removal of contractions in past tense verbs (belov’d/beloved) and minor changes in spelling and punctuation. The only substantive variants are the change from ‘Wake! wake!’ to ‘Awake, O sun!’ and to ‘Jehovah!’ at the beginnings of verses three and four respectively. The text of the song is also published in the Calcutta Journal, or, Political, Commercial and Literary Gazette in September 1819 as a ‘Specimen of the Poetry, written by Mr. Hogg, the Ettrick Shepherd, for the Hebrew Melodies.’ No manuscript has been located. The song is both a visionary call to battle and a lament and draws heavily on the Book of Ezekiel and Psalm 137. Of Hogg’s Hebrew Melodies, ‘The Captive’s Song’ is the most explicitly proto-Zionist and is written from the perspective of an exiled Jewish captive following the destruction of Jerusalem by the Babylonians in the sixth century BCE. The image of the harp of David hung upon the willows in Psalm 137 and then awakened in a song of lament may have been a potent image for Hogg, as the reawakened harp of Jerusalem was previously evoked in ‘Part the Second’ of The Pilgrims of the Sun (1815). For further discussion of the significance of the harp in Hogg’s poetry and song, see Kirsteen McCue, ‘From the Songs of Albyn to German Hebrew Melodies: The Musical Adventures of James Hogg’, Studies in Hogg and his World 20 (2009), 67–83. Publication History: [1817] – in A Selection of German Hebrew Melodies, pp. 1–9 — see pp. 84–85 and 96–104 in the present edition 1819 – in the Calcutta Journal, or, Political, Commercial and Literary Gazette in September 9, 1819 as a ‘Specimen of the Poetry, written by Mr. Hogg, the Ettrick Shepherd, for the Hebrew Melodies’, p. 88 1822 – in Poetical Works, IV, 206–08 Musical Context: There is nothing particularly Jewish about the content or source of this melody. Its hymn-like quality appears to belong more to a Germanic tradition. Heather sets it both as a solo song, with little melismatic cadenzas for the singer, and also for three voices, presumably sung by the named trio of Lightendale, Metz, and Solomon, which publisher Charles Christmas listed on the title-page of the collection. Explanatory Notes: 84, l. 3 Com’st thou afar, by cherubim borne in the book of Ezekiel, God arrives riding in a chariot, drawn by cherubs, and imparts a vision of the destruction of Jerusalem, the punishment of the enemies of Judah, and the building of a new temple.

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84, l. 10 Zion’s holy hill Jerusalem. 84, l. 11 Sabine’s altar-stone the Sabine area was to the north of Rome. Lord Byron references the ‘Sabine farm’ of the Roman lyrical poet, Horace, in Canto the Fourth of Childe Harold’s Pilgrimage, published in 1818. For a contemporary description of the Sabine area, see John Chetwode Eustace’s A Classical Tour through Italy, An. 1802 (1813). 84, l. 12 green groves of Lebanon the ‘cedars of Lebanon’ are widely referenced in the bible. For example, see Psalm 92.12 and Isaiah 2.13. 84, l. 15 Kedar Ishmaelite tribe frequently referenced in the Old Testament. As a place name, refers to lands in the distant east from the Mediterranean ( Jeremiah 2:10). In Psalm 120:5, ‘the tents of Kedar’ figuratively refer to a state of exiled darkness (also in Song of Songs 1:5). 84, l. 16 Chebar’s balmy wilderness the Chebar river was where Ezekiel received his first vision: Ezekiel 1:1, ‘Now it came to pass in the thirtieth year, in the fourth month, in the fifth day of the month, as I was among the captives by the river of Chebar, that the heavens were opened, and I saw visions of God.’ 84, l. 18 Chaldean’s sinful land Babylonia during the reign of the Chaldean dynasty (625–539 BCE). Ezekiel is exiled from Jerusalem and held captive ‘in the land of the Chaldeans’ (Ezekiel 1:3) when he receives his vision. 84, l. 23 Salem’s day often used synonymously with Jerusalem. 84, ll. 25–34 ‘Sing! sing! — How shall I sing […] And my reward let bondage be!’ Psalm 137: 1–6: ‘By the rivers of Babylon, there we sat down, yea, we wept, when we remembered Zion. We hanged our harps upon the willows in the midst thereof. For there they that carried us away captive required of us a song; and they that wasted us required of us mirth, saying, Sing us one of the songs of Zion. How shall we sing the LORD’S song in a strange land? If I forget thee, O Jerusalem, let my right hand forget her cunning. If I do not remember thee, let me tongue cleave to the roof of my mouth; if I prefer not Jerusalem above my chief joy.’ 85, l. 39 Before thee let the mountains quake Nahum 1:5, ‘The mountains quake at him, and the hills melt, and the earth is burned at his presence, yea, the world, and all that dwell therein.’ 85, ll. 40–41 Thy chariot be the winds of heaven! / Come on the clouds, image of God’s vengeance, echoing Jeremiah 4:13, ‘Behold, he shall come up as clouds, and his chariots shall be as a whirlwind: his horses are swifter than eagles. Woe unto us! for we are spoiled’. Also echoes Daniel 7:13, ‘I saw in the night visions, and, behold, one like the Son of man came with the clouds of heaven, and came to the Ancient of days, and they brought him near before him.’ 85, l. 44 as a garment cast away image of temporality, see Isaiah 51:8, ‘For the moth shall eat them up like a garment, and the worm shall eat them like wool’. 85, l. 46 David’s house David was to be the ruler of the restored people of Israel. David’s house refers to his dynasty. 85, l. 46 like grass decay a common biblical image, for example, see Isaiah 40:6–8. Must I Leave Thee? (pp. 85–86 and 105–09) Creative Context: ‘Must I Leave Thee?’ is an elegiac love song apparently created for publication in A Selection of German Hebrew Melodies [1817]. The song draws heavily on the

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Book of Lamentations, which provides an emotive and poetic account of the experience of the Jewish captives following the siege and fall of Jerusalem to the ‘New Babylonians’ or Chaldeans in 587/586 BCE. When the song is republished as part of ‘Sacred Melodies’ in the fourth volume of Hogg’s Poetical Works in 1822, it is given the more descriptive title of ‘Jewish Captives Parting’ and is notably placed as the first of the ‘Sacred Melodies’, thus setting the scene for Hogg’s ‘Hebrew Melodies’. A comparison of the 1817 text with Poetical Works reveals several non-substantive variants, and in particular, the removal of contractions within words (heav’n/heaven) and minor punctuation changes. No manuscript has been located. Publication History: [1817] – in A Selection of German Hebrew Melodies, pp. 11–14 — see pp. 85–86 and 105–09 in the present edition 1822 – in Poetical Works, IV, 203–05 Musical Context: There is more Jewish connection with this melody. Musicologist Ruth HaCohen has noted that the semi-tone motif plus the falling fourth to which the first and second lines ‘All our hopes forever thwarted?’ (and also ‘Take this last, this farewell token’ in v. 3) are underlaid, may recall a combination of motifs associated with the Days of Awe, especially the Kaddish and opening of Kol Nidre. This motif reiterates twice before it continues elsewhere. Yet the harmonization in the major (including the major, instead of minor second of the semitone motif), takes out the edge of this entreating gesture (which brings to mind that Heather might have seen a transcription of some sort, or related tunes, without a fuller musical context). The piece moves into the minor from ‘There is pang’ to ‘this bosom still’, rendering such motifs more faithfully. HaCohen has suggested that the figurations in the last part of the melody could allude to oriental or cantorial singing, connoting a sense of sobbing, most effective along with Hogg’s text. Explanatory Notes: 86, l. 25 How is the gold become so dim? Lamentations 4:1, ‘HOW is the gold become dim! how is the most fine gold changed! the stones of the sanctuary are poured out in the top of every street’. 86, l. 29 Was ever sorrow like mine? Lamentations 1:12, ‘Is it nothing to you, all ye that pass by? behold, and see if there be any sorrow like unto my sorrow, which is done unto me, wherewith the LORD hath afflicted me in the day of his fierce anger’. The Rose of Sharon [Oh! Saw Ye the Rose of the East?] (pp. 86–87 and 110–18) Creative Context: ‘The Rose of Sharon’ draws heavily from the Song of Songs and was created especially for publication in A Selection of German Hebrew Melodies [1817]. In comparison with the Hogg’s other ‘Hebrew Melodies’, there is a little more information about the creation of this song, which also appeared in Blackwood’s Edinburgh Magazine: a full account of the textual and publishing history of this song is given in Contributions to Blackwood’s Edinburgh Magazine I (S/SC, 2008). In summary, within a letter to William Blackwood, dated 5 January 1818, Hogg

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enclosed ‘a little Hebrew Melody which was written for a London work but not yet published’ (Letters, I, 323). ‘The Rose of Sharon’ subsequently appeared as ‘A Hebrew Melody’ (with minor variants only) in Blackwood’s Edinburgh Magazine in January 1818. This appearance in Blackwood’s also led directly to its inclusion in the American periodical The Athenaeum, or, Spirit of the English Magazines published in Boston: ‘Hebrew Melody. by the Ettrick Shepherd’ appeared in Vol. 6, No. 2 (15 October 1819), 88; advertised as coming ‘from the London Magazines’, but the text is that in Blackwood’s. ‘The Rose of Sharon’ also appeared as the fourth ‘Sacred Melody’ in the fourth volume of Hogg’s Poetical Works of 1822. It was then included in Allan Cunningham’s The Songs of Scotland in 1825, where it sits towards the end of the volume amongst other Scottish songs and ballads by Hogg, Scott and Thomas Campbell, amongst others. No manuscript has been located. Publication History: 1817 – in A Selection of German Hebrew Melodies, pp. 15–23 — see pp. 86–87 and 110–18 in the present edition 1818 – ‘A Hebrew Melody’, in Blackwood’s Edinburgh Magazine, 2 ( January 1818), 400 — see (S/SC, 2008), pp. 55 and 439–41 1822 – Poetical Works, IV, 212–14 1825 – in Allan Cunningham, The Songs of Scotland, Ancient and Modern: With an Introduction and Notes, Historical and Critical, and Characters of the Living Poets, 4 vols (London: John Taylor, 1825), IV, 330–31 Musical Context: The melody used by Heather for ‘The Rose of Sharon’, a paraphrase on the Song of Songs, appears to have Jewish roots. Its opening phrase is highly reminiscent of the beginning of a popular anonymous Hebrew children’s rhyme with the nonsense text ‘My hat has three corners. Had my hat had not have three corners, it would not have been my hat’. It is likely that this rhyme is set to a traditional Jewish melody. Heather chooses to set this song only once in German Hebrew Melodies where it appears for vocal trio with piano accompaniment. Explanatory Notes: See Contributions to Blackwood’s Edinburgh Magazine, I, (S/SC, 2008), pp. 440–41 Maiden of Jeshimon (pp. 88 and 119–24) Creative Context: ‘Maiden of Jeshimon’ appears to have been created for publication in A Selection of German Hebrew Melodies [1817]. Like his other ‘Hebrew Melodies’ it was then included as one of the ‘Sacred Melodies’ in the fourth volume of Hogg’s Poetical Works in 1822. The song is written as a playful duet between two lovers and draws heavily on the book of Ecclesiastes. All human pursuits are repeatedly declared to be ‘vanity’ in Ecclesiastes. However, despite this apparent senselessness, man is called to enjoy God’s gifts in this lifetime. Hogg’s song captures the circularity of Ecclesiastes, but human love remains as a pathway to godliness. The one substantive variant between the 1817 text and that included in Poetical Works emphasises this message, as in the final verse, ‘And, blithe as we, who shall be?’ is changed to ‘And who so blithe and blest as we?’ There are also several minor non-substantive variants in

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regard to punctuation and hyphenation, such as: greenwood-tree! /greenwood tree! No manuscript has been located. Publication History: 1817 – in A Selection of German Hebrew Melodies, pp. 24–29 — see pp. 88 and 119–24 in the present edition 1822 – Poetical Works, IV, 215–16 Musical Context: The Jewish roots of this setting are again rather mysterious. Ruth HaCohen suggests that the 6/8 opening melody for the voice is reminiscent of a melody sung in the Ashkenazi synagogue in the Shabbat before Tisha Beav — commemorating the destruction of the Temple — but once again in the major mode instead of the minor. And yet the minor in the 3/4 section captures the sense of lament characteristic of the Jewish melody (see especially ‘Time that appears…will lay me low’). The lyric is noted as a duet and consequently Heather sets it for two voices and piano accompaniment. Explanatory Notes: 88, [Title] Maiden of Jeshimon as a biblical place-name, Jeshimon probably refers to desert wastelands to the West of the Dead Sea (I Samuel 23:19/24) and is also the generic name for desert. 88, l. 7 Vanity! the vanity of human pursuits is repeated throughout Ecclesiastes. For example, in Ecclesiastes 1:2, ‘Vanity of vanities, saith the Preacher, vanity of vanities; all is vanity’. 88, l. 9 Wormwood and gall! Lamentations 3:19, ‘Remembering mine affliction and my misery, the wormwood and the gall’. See also, Jeremiah 9:15 and 23:15 and Deuteronomy 29:18. 88, ll. 24–29 Again we’ll sport […] And sweet the sun rise over the sea! echoes the sentiments of Ecclesiastes 9:9, ‘Live joyfully with the wife whom thou lovest all the days of the life of thy vanity, which he hath given thee under the sun, all the days of thy vanity: for that is thy portion in this life, and in thy labour which though takest under the sun’. Dweller in Heaven (pp. 89 and 125–34) Creative Context: ‘Dweller in Heaven’ is unique among the songs of A Selection of German Hebrew Melodies [1817] in not having been written especially for publication in this collection. It appears to have been created as a Covenanting hymn for inclusion in Hogg’s almost exactly contemporaneous novel The Brownie of Bodsbeck (1818). In his novel Hogg also includes ‘A Cameronian’s Midnight Hymn’ just a few pages before this, with musical notation, but no music is given for ‘Dweller in Heaven’. Nanny’s performance of the ‘Cameronian’s Midnight Hymn’ just moments earlier is particularly effecting and she notes that ‘It is said that the Englishes sing it in their chapels’(p. 293). Hogg then introduces ‘Dweller in Heaven’ as ‘One in a bolder and more regular strain, but wanting the simplicity of the former, it failed in having the same effect’ (p. 294). A comparison of the 1817 text with that published in The Brownie of Bodsbeck reveals only one minor substantive variant: The opening line, ‘Dweller in heaven’ is changed to ‘Dweller in Heaven High’. All other variants are non-substantive.

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The song draws heavily on Psalm 139, and in this context, has clear roots in the Presbyterian traditions of the Scottish Borders (see Kirsteen McCue, ‘From the Songs of Albyn to German Hebrew Melodies: The Musical Adventures of James Hogg’, Studies in Hogg and his World 20 (2009), 67–83). Hogg subsequently included the song as one of the ‘Sacred Melodies’ in the fourth volume of his Poetical Works in 1822, and it was also published in a slightly revised form as ‘Hymn on the Omnipresence of the Deity’ in the juvenile giftbook, A Father’s New Year’s Gift of 1832. This was Hogg’s own annual which he created for his wife and their four children. Hogg was especially keen on his children’s religious education, and this annual contains several prayers and hymns that he would most probably have expected them to be able to recite or sing from memory. For a full account of the textual and publishing history of this version of the song, see Contributions to Annuals and Gift-Books (S/SC, 2006). During Hogg’s lifetime the song was published in Henry Stebbing’s collection of Sacred Poetry: Consisting of Selections from the Works of the Most Admired Writers [1832], 17–18, and it continued to appear in collections of sacred song throughout the nineteenth century. The first fourteen lines of ‘Dweller in Heaven’ are included in the manuscript of The Brownie of Bodsbeck, held at NLS MS 4806. No other manuscripts have been located. Publication History: [1817] – A Selection of German Hebrew Melodies, pp. 30–39 — see pp. 89 and 125–34 in the present edition 1818 – The Brownie of Bodsbeck; and Other Tales, 2 vols (Edinburgh: Blackwood; London: Murray, 1818), I, pp. 294–95 1822 – Poetical Works IV, 217–19 1832 – as ‘Hymn on the Omnipresence of the Deity’, in A Father’s New Year’s Gift (London: Cochran, 1832), pp. 15–16 — see Contributions to Annuals and Gift-Books (S/SC, 2006), pp. 266 and 414–15 Musical Context: While Ruth HaCohen has suggested that the melody Heather uses is not particularly Jewish, she does note that the sequential repetition of the musical motif which is matched with the text beginning ‘How may it be…’ could sound Jewish to Heather’s ears or to those of his listeners. Heather chooses a rather triumphant hymn-like melody and, as with the opening ‘Captive’s Song’, he sets it both as a song for solo voice with piano accompaniment and as a vocal trio with piano accompaniment. Explanatory Notes: See Contributions to Annuals and Gift-Books (S/SC, 2006), pp. 414–15. Depart Ye, Depart Ye! (pp. 90–91 and 135–40) Creative Context: ‘Depart Ye, Depart Ye!’ was apparently created for publication in A Selection of German Hebrew Melodies [1817]. This poem was then included among the ‘Sacred Melodies’ in the fourth volume of Hogg’s Poetical Works of 1822, but with the more descriptive title of ‘Jacob and Laban’. This title clearly indicates that the dramatic exchange in the song is derived from the biblical story of Jacob and Laban, found in the Book of Genesis. In the biblical story, Laban fools Jacob by giving him his

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elder daughter, Leah, rather than the promised Rachel after seven years of labour. A comparison of the 1817 text with that in Poetical Works (1822) reveals only nonsubstantive variants, and in particular, the removal of contractions in past tense verbs (lov’d/loved). No manuscript has been located. Publication History: [1817] – in A Selection of German Hebrew Melodies, pp. 40–45 — see pp. 90–91 and 135–40 in the present edition 1822 – Poetical Works, IV, 209–11 Musical Context: There appears to be no particularly Jewish source or stimulus for Heather’s musical setting for this song. But the vocal part has moments of recitative-like quality and the vocal line is, at times, heavily ornamented. It is set for solo voice with piano accompaniment. Explanatory Notes: 90, ll. 9–12 These seven long years […] For the love that I bore her Genesis 29.20: ‘And Jacob served seven years for Rachel; and they seemed unto him but a few days, for the love he had to her’. 90, l. 29 For seven years more Genesis 29:27, ‘Fulfil her week, and we will give thee this also for the service which thou shalt serve with me yet seven other years’. On Carmel’s Brow (pp. 91–93 and 141–44) Creative Context: ‘On Carmel’s Brow’ was apparently first written for inclusion with musical setting in A Selection of German Hebrew Melodies [1817]. But like ‘The Rose of Sharon’ it was also included in Blackwood’s Edinburgh Magazine, this time in April 1818 and a full account of the textual and publishing history of this song is given in Contributions to Blackwood’s Edinburgh Magazine I. In summary, there is one substantive variant between the 1817 text and that published in Blackwood’s (line 33: ‘But, o that prophet’s vision’d eye’/‘But who had seen that Prophet’s eye’). The text of ‘On Carmel’s Brow’ then appeared with the other ‘Sacred Melodies’ in the fourth volume of Hogg’s Poetical Works of 1822 and it closely follows the 1817 text, with the exception of minor variations in punctuation and verb contractions (for example, look’d/looked). The Blackwoodian appearance also led directly to its inclusion in the American periodical The Athenaeum, or, Spirit of the English Magazines published in Boston: ‘On Carmel’s Brow. A Hebrew Melody, by the Ettrick Shepherd’, appeared in Vol. 6, No. 3 (1 November 1819), 126; ‘from Blackwood’s Edinburgh Magazine’. As Richardson indicates in his notes to Contributions to Blackwood’s Edinburgh Magazine, 1817–1828, the song draws heavily on Isaiah’s prophecies of the return of the Messiah and the redemption of Jerusalem. The image of prophetic visions from Mount Carmel may also be drawn from I Kings 18 and II Kings 2:25. No manuscript has been located. Publication History: [1817] – A Selection of German Hebrew Melodies, p. 49 — see pp. 91–93 and 141–44 in the present edition

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1818 – ‘On Carmel’s Brow. A Hebrew Melody’, in Blackwood’s Edinburgh Magazine, 3 (April 1818), 90 — see (S/SC, 2008), pp. 70–72 and 453–54 1822 – Poetical Works, IV, 220–24 Unauthorised versions: Of Hogg’s Hebrew melodies, ‘On Carmel’s Brow’ appears to have been one of the most popular. During his lifetime the text was included in several collections of sacred poetry and continued to be republished throughout the nineteenth century. For example, the song is included in a collection of School-Room Poetry (London: Simpkin, Marshall, and Co.; Ipswich: J. M Burton and Co., 1860). In John Douglas Borthwick’s The Harp of Canaan; or, Selections from the Poets on Biblical Historical Incidents (Montreal: Richard Worthington, 1866), the song is prefaced by a reference to Malachi 3:1, which reads ‘BEHOLD, I will send my messenger, and he shall prepare the way before me: and the Lord, whom ye seek, shall suddenly come to his temple, even the messenger of the covenant, whom ye delight in: behold, he shall come, saith the LORD of hosts.’ Musical Context: Ruth HaCohen has noted that ‘On Carmel’s Brow’ uses a melodic scale and style that is reminiscent of motifs sometimes used in Gregorian chant, but which is also reminiscent of certain uses of the Steiger (mode) called ‘Adonai Malach’, especially one used for the Jewish Passover (for the piyyut ‘Adir Hu’ song in the Seder’, which fits the redemptive message of Hogg’s text). Heather chooses to set the text for solo voice with piano accompaniment, and his melody demands a certain vocal flexibility and is marked ‘Cantabile’, meaning ‘singing’ or ‘songlike’. Explanatory Notes: See Contributions to Blackwood’s Edinburgh Magazine, I (S/SC, 2008), pp. 453–54 The Guardian Angels (pp. 93–94 and 145–52) Creative Context: ‘The Guardian Angels’ was apparently first created for publication with musical setting in A Selection of German Hebrew Melodies [1817]. Like Hogg’s other ‘Hebrew Melodies’ it was then included in the fourth volume of Hogg’s Poetical Works of 1822, with only minor changes to punctuation and spelling (for example, sueing/ suing, thro’/through). The song contains some echoes of Psalm 91, but more generally, follows from Hogg’s apparent fascination with angels. Douglas Mack argues that angels and angelic behaviour provide a sense of enduring moral value amongst the openended uncertainties of Hogg’s corpus (‘Hogg and Angels’, Studies in Hogg and his World, 15 (2004), 90–98), and this particular song closes the German Hebrew Melodies on a hopeful note of reassurance. An unrelated poem, entitled ‘The Guardian Angel’, appears in The Forest Minstrel (S/SC, 2006), pp. 44–45, and as Garside and Jackson indicate in their note (p. 248), the most famous guardian angel to appear in Hogg’s prose is the lady in white who appears to Robert Wringhim prior to his attempt to murder his brother upon Arthur’s Seat (The Private Memoirs and Confessions of a Justified Sinner (S/SC, 2001), pp. 108–09). No manuscript has been located.

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Publication History: [1817] – A Selection of German Hebrew Melodies, p. 50 — see pp. 93–94 and 145–52 in the present edition 1822 – Poetical Works, IV, 225–27 Musical Context: In this setting there are some echoes of the ancient Jewish tune of the prevalent recitative the Days of Awe, such as typifies the opening of ‘Standing Prayer’ by the precentor. Ruth HaCohen notes that the similarity is in the character and general contour; it also echoes the tune set to the blessing of the Lord in the Eve of the High Holiday, recited on a melodic scale similar to that of the ‘Guardian Angels’. But she also notes that the second part of the song, containing the responsive texture, alludes to a 17th century tradition of the ‘Duo Seraphim’ (‘Two angels were calling one to the other’) made most famous by Claudio Monteverdi’s Vespro della beata Vergine of 1610. Heather chooses to set the text for two voices with piano accompaniment, but follows Hogg’s text closely in this regard. For the first main stanza he uses a solo voice and gives the performance indication ‘rubato’, thus encouraging the singer to be expressive and individual with the rhythms of what they are singing. The second voice joins the first, as indicated by Hogg in his text, at ‘Over tower and palace’ and the two then sing alone or together as clearly indicated by Hogg in his text. Explanatory Notes: 93, ll. 2–4 Where dost thou dwell? / Dwell’st thou in the rainbow, / Or the hills of Israel? Psalm 91:1, ‘HE that dwelleth in the secret place of the most High shall abide under the shadow of the Almighty’. 93, l. 10 We’ll guard with care Psalm 91:11, ‘For he shall give him angels charge over thee, to keep thee in all thy ways’. 94, l. 36 For love is heaven, and heaven is love! Psalm 91:14, ‘Because he hath set his love upon me, therefore will I deliver him: I will set him on high, because he hath known my name’.

A Select Collection of Original Scottish Airs, Vol. V (Folio, 1818) Could This Ill Warld Have Been Contrived (pp. 163 and 168–69) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd (S/SC, 2014). In summary, along with the song known as ‘Love Letter’ (or ‘My Peggy, Thou art gane away’), this song was written for Hogg’s wife-to-be, Margaret Philips, and first published in Hogg’s magazine The Spy under the title ‘Scotch Song’ on 8 December 1810. Its next appearance was in Thomson’s Select Collection of Original Scottish Airs in 1818. Hogg sent his revised version of ‘Scotch Song’ to Thomson in a letter of 18 October 1815. Thomson specifically asked Hogg about his ‘beautiful song of Meg, which you sung the last time I had the pleasure of seeing you at the Exchange’: see Letters, I, 253–54 and notes on p. 255. Hogg redrafted much of the original song: see the note to the song in Songs by the Ettrick Shepherd (S/SC, 2014). Thomson’s 1818 published version of the song remains close to Hogg’s fair-copy holograph manuscript (reprinted in Letters, I, 254). He publishes it with a

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musical arrangement by Ludwig van Beethoven with the first line of the song as its title: ‘Could This Ill Warld Have Been Contrived’. The most significant alteration to this version occurs in the second line with the contraction of the word ‘mischievous’ into ‘mischief’, doubtless because it fits better with Thomson’s melody. The song (in German translation beginning ‘Wenn doch die arge böse Welt’) was then included in Beethoven’s Schottische Lieder published by Adolf Schlesinger in Berlin in 1822, though apparently without Hogg’s knowledge (see Appendix in the present edition, pp. 638 and 644–45). Thomson removed the song from the later editions of this volume in 1826 and 1831, but reprinted the song in 1841 in his sixth and final folio volume now entitled Melodies of Scotland. The setting is identical, though with new musical plates. The song is now entitled ‘Mischievous Woman’ and not ‘Could this ill warld have been contriv’d’. The text is stable with only minor variants, notably ‘bonnie’ at the end of the first verse is now ‘bonny’. After this appearance the song appeared twice more, with some redrafting, in the Christmas literary annual Friendship’s Offering for 1830, with the title, ‘A Scots Luve Sang’(see Contributions to Annuals and Gift Books (S/SC, 2006), p. 314) and in Songs by the Ettrick Shepherd the following year. Details of revisions made to the text are given in Songs by the Ettrick Shepherd (S/SC, 2014). A presentation holograph version of the song survives at the Pierpont Morgan Library, New York (MA 2406 R–V Autogr. Misc. Eng), which ‘consists of only the first and third stanzas of the poem, signed by Hogg at the end, and was probably produced as an autograph’ (Contributions to Annuals and Gift Books, p. 314). Only part of the song appears in Hogg’s fair-copy manuscript for Songs 1831 at NLS MS 4805 f.75v–76r). Publication History: 1810 – in The Spy, No. 15 (8 December 1810), p. 120 — see (S/SC, 2000), p. 163 1818 – in George Thomson, A Select Collection of Original Scottish Airs, v, 204, — see pp. 163 and 168–69 in the present edition 1830 – in Friendship’s Offering for 1830, (London: Smith Elder & Co), pp. 185–86 — see Contributions to Annuals and Gift Books (S/SC, 2006), pp. 131–32 1831 – in Songs by the Ettrick Shepherd, pp. 196–97 — see (S/SC, 2014), p. 88 1841 – in George Thomson, The Melodies of Scotland, VI (1841), 272 — see pp. 199 and 204–05 in the present edition Musical Context: The tune title ‘Delvin-side’ is given alongside the text for this song in The Spy and this is also the tune Hogg suggests to Thomson in October 1818 (Letters, I, 254). In Thomson’s Select Collection of Original Scottish Airs and Melodies of Scotland the air is named ‘Mischievous Woman’ and Thomson indicates ‘the air composed for the words by a friend of the editor’. No further information about this tune has yet been located. Further information about Beethoven’s handling of the melody can be found in Barry Cooper’s Beethoven’s Folksong Settings (Oxford: Clarendon Press, 1994). See also Ludwig van Beethoven, Schottische und walisische Lieder, ed. Petra Weber-Bockholdt in Beethoven Werke, Abteilung XI, Band I (Munich: G. Henle Verlag, 1999). The Highland Watch (pp. 164–65 and 170–71) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick

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Shepherd (S/SC, 2014) where the song is entitled ‘The Forty-Second’s Welcome to Scotland’. In summary, the song was created for George Thomson’s collection, having been initially suggested to Hogg in Thomson’s letter of 9 November 1815. Thomson had sent Hogg several tunes including ‘The Highland watch’, which Thomson describes as, ‘an air well worthy of the Poet’s favour, not only from its own intrinsic beauty, but from a consideration of the noble and daring deeds of that corps (the 42nd) in all parts of the globe’ (British Library MS Add. 35267, ff. 162–163). Hogg’s response is not extant but he probably contributed a song to Thomson at the end of 1815 that is now lost. Making no mention of having received a text from Hogg, Thomson repeated his invitation in a letter of 29 November 1817, as he had, by this time, received a setting of the tune by Beethoven and was looking for words to match with it. This letter offers a fine example of the textual detail Thomson discussed with his poets (British Library MS Add. 35268, ff. 13–14). Hogg responded within the week, sending three verses and a complaint that he had sent Thomson ‘ a song for that tune nearly two years ago [...] and I think it was a very good song too’ (see Hogg’s letter to Thomson, 29 November 1817 in Letters, I, 309–11). By December, Thomson had returned the proofs of the lyrics to Hogg who made some alterations, which were accepted by Thomson. He included it, with a setting by Beethoven, in the fifth volume of A Select Collection of Original Scottish Airs in 1818. The subject of the song was clearly connected to the intense celebrations which took place in Edinburgh immediately following the battle of Waterloo in 1814 (see Gillian Hughes, ‘James Hogg and Edinburgh’s Triumph over Napoleon’ in Scottish Studies Review (4:1 (Spring 2003), 98–111). Thomson subsequently published the song in further editions of his collections (in both octavo and folio formats) issued between 1818 and 1838. In all cases the text remains the same and the musical arrangement is by Beethoven. Hogg uses this text as copy text for its inclusion in Songs by the Ettrick Shepherd but he changes the title and the wording is altered in several places. The earliest manuscript version of the song is found in Hogg’s letter to George Thomson of 29 November 1817. It is reprinted in Letters, I, 309–10. Hogg’s corrected copy of 22 December 1817 showing all his alterations and corrections is also reprinted in Letters, I, 317–18. In summary, in the revised version, Hogg provides fresh wording at ll. 2, 4, 10–12, 13, 22 and the final chorus on ll. 33–36. The song also appears in Hogg’s fair-copy manuscript for Songs 1831 at NLS MS 4805 f. 81. Publication History: 1818 – in George Thomson, A Select Collection of Original Scottish Airs, v, 205 — see pp. 164–65 and 170–71 in the present edition 1822–23 – in George Thomson, The Melodies of Scotland , v, 15 (octavo collection) — see pp. 181–82 and 194–95 in the present edition 1831 – in Songs by the Ettrick Shepherd, pp. 218–20 — see (S/SC, 2014), pp. 97–98 Musical Context: As noted above the known musical setting for this Hogg song is that by Beethoven as found in Thomson’s collections — further information about Beethoven’s handling of the melody can be found in Barry Cooper’s Beethoven’s Folksong Settings (Oxford: Clarendon Press, 1994). See also Ludwig van Beethoven, Schottische und walisische Lieder, ed. Petra Weber-Bockholdt in Beethoven Werke,

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Abteilung XI, Band I ( Munich: G. Henle Verlag, 1999). Thomson made mention of the tune ‘The Highland Watch’ in his letter to Hogg of 23 November 1817 where he noted that the tune was often played by fiddler Niel Gow, and stated: it has never been vocalized, but with verses on any touching or striking soldierly theme, it will make one of our most admired national songs. I have sung the Music with my daughters at the piano forte, times without number, and always with fresh pleasure: one half of which at least is due to Beethoven, who has harmonized it with the utmost felicity, and given it a chorus. (British Library MS Add. 35268, ff. 13–14). It was also to be published by Beethoven’s Berlin publisher Adolf Schlesinger in 1822 in Beethoven’s Schottische Lieder, with the title ‘Die Hochlands-Wache’ (see Appendix in the present edition, pp. 639 and 646–47). This is cited by Gooch and Thatcher, 8652. A performance of the song by the well-known contemporary singer ‘Mr Broadhurst’ is advertised in The Times of Tuesday, 18 September 1821: Theatre-Royal, English Opera-House, Strand — Mr Broadhurst has the honour to inform his friends and the public in general, that his annual benefit will take place on Wednesday, September 26, when will be presented the melo-drama called “The Blind Boy”. In the course of the evening, Mr Broadhurst will, for that night only, sing the highly favourite Scotch Songs of “My ain kind dearie O” [...] “The Highland Watch, written on the return of the 42nd Regiment from Waterloo by the Ettrick Shepherd [...], with a variety of other entertainments, particulars of which will be duly announced. (p. 2) Mr Broadhurst is associated with the performance of several contemporary songs. As noted in The Biography of the British Stage: Being Correct Narratives of the Lives of all the Principal Actors and Actresses […] published in New York in 1824, Mr Broadhurst made his Covent Garden debut in 1811. He was however, ‘heard to much greater advantage in a room than on the boards of the theatre’ as he was celebrated for the ‘sweetness’ rather than the power of his voice (p. 24). Explanatory Notes: See Songs by the Ettrick Shepherd, (S/SC, 2014), pp. 278–79. Where Got Ye That Siller Moon (pp. 165–66 and 172–73) Creative Context: This song is part of what William Donaldson refers to as ‘The Laddie wi’ the Tartan Plaidie’ and Murray Pittock calls ‘The Bonnie Highland Laddie’ tradition (Jacobite Relics, II, p.508). In his study The Jacobite Song: Political Myth and National Identity, Donaldson notes that ‘the Bonny Highland Laddie is basically an erotic figure’ who ‘owes his popularity — indeed his very existence — to the spread of Jacobite sentiment in the Lowlands and is an early and important example of the cultural change the moment was to bring about’ (p. 58). This particular song was created especially for George Thomson’s collection, but was not Hogg’s first attempt at a song to match this tune. His ‘Highland Laddie’ appears towards the end of the National Song section of his first song collection The Forest Minstrel in

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1810 with the first line: ‘Were ye at Drumossie moor’ (see The Forest Minstrel (S/ SC, 2006) pp. 191–92 and 361–66. A later verison of this song then appears in the Second Series of the Jacobite Relics in 1821(Song CVII). This volume also includes a set of lyrics Hogg collected (thought to be by his friend Allan Cunningham) that has the refrain ‘Bonny Laddie, Highland Laddie’ (song LXIII). Other versions of this song are found in Jacobite Relics, II, as songs LX, CV and CVI. Pittock notes that this figure is sometimes James, but more often Prince Charles Edward, but Hogg’s song for Thomson is concerned with Waterloo and so clearly does not refer to either of the Stuarts. Thomson wrote to Hogg initially on 9 November 1815, requesting that Hogg write a set of lyrics to the tune ‘Bonny Laddie Highland Laddie’, which he says Hogg must have ‘frequently heard’. He cites a set of Jacobite lyrics known to both himself and Hogg as performed by their friend Robert Miller. Thomson quotes four lines of the song in his letter, which refer to the battle of Prestonpans and explains that this is not suitable for his collection. He refers to having already secured a fine musical setting: I have got the Air harmonised in the most masterly style, ‘tis gay, exhilarating & beautiful, & wants good words only to render it an [sic.] universal favourite (British Library MS Add. 35267, ff. 162–63) This accounts for Thomson’s collaboration with Beethoven, who had come on board with his project of Irish airs and had been creating musical settings for these and for Scottish airs from 1809 onwards. Hogg’s letter to Thomson of [16 March 1818] includes the song entitled ‘Highland Laddie’ that Hogg then created with the notable comment: ‘I wrote a few English verses first today, which were quite an anomaly the burden being so decidedly Scotch. I like the above better which I send’. Hogg provides a seven stanza text the last four of which are written in Hogg’s Highland ‘accent’ with the refrain ‘Ponny lattie Heelan lattie!’(see Letters, II, 336–38). Thomson’s response of 18 March 1818 is detailed in its comments. He writes that Hogg has ‘mentioned Bony & Blucher, very happily’ but notes that he thinks it necessary to add reference to the Duke of Wellington: but would it not seem rather awkward to leave out the greatest Warrior of the three? You must surely hitch The Duke into the beginning of the third stanza, just after Blucher: I do not mean for any laboured eulogy, but [merely?] in the same easy, en passant way with the other two. To make room for him, you might omit these lines, An’ wad ye tell me gin ye ken, Bonnie Laddie &c. Aught o’ Donald & his men, Bonnie Laddie &c. Indeed nothing material is thus taken away, because the subsequent lines relate precisely to Donald, when they say, O tell me o’ my kilted clan &c. (British Library MS Add. 35268, ff. 20–21) Furthermore, in his postscript to this letter Thomson explains that he wishes the last four stanzas to express the viewpoint of contempt at the solider who as chosen to run rather than facing the enemy (following up on the song’s earlier

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line ‘Gin they fought or gin they ran’) and he gives a first stanza himself. He notes that he does not like Hogg’s Highland language, believing that it ‘quite disfigured the Song, and made it too much like a Frenchman’s broken english’. Thomson explains that he has enclosed his own fair copy of the song for his printer and asks if Hogg might amend it and send it back. Hogg’s next letter of 25 March [1818] included this revised fair copy of the song with two new stanzas in the margin (in Hogg’s hand) concerning Wellington (British Library MS Add. 35265, ff. 24–25). The first of these is as follows but Thomson has noted beside it ‘X Omit this verse’: Wha has heard or wha has seen &c. Wha wi’ Wellington has been &c. Ever kend him quit the field. &c. Or the Clans to Frenchmen yield &c. The second verse, which is marked by Thomson with a ‘+’, is as follows: Of that dour an’ deadly Duke. Bonnie Laddie &c. Scattering Frenchmen wi’ his look, &c. Some say he the day may rue &c. Ye can tell gin this be true &c. And this appears as the third printed verse in Thomson’s Select Collection. There are other changes Hogg makes to Thomson’s fair-copy version. Notably in the first verse there is a clear indecision on Thomson’s behalf over the third line ‘That bobs sae braw your belt aboon’ where he has scored through ‘bobs’ and written ‘Bobbing’. In the margin Hogg has written: ‘Is not the alliteration in this line rather fulsome — what think you of “Glentin’” for “Bobbing”. In the final printed version Thomson makes this change though not in Scots (‘Glinting’). The first few words of first line of stanza three (from Hogg’s original song) are also scored through by Hogg but Thomson does not accept Hogg’s suggestion of ‘[Doubly] welcome’ and prints ‘Wou’d ye tell me’ instead. In short,Thomson sticks to the first three stanzas of Hogg’s original song from his letter of [16 March 1818] with several variants, including those noted above. Other changes help to anglicise the lyric: Hogg’s first line ‘War gat ye that siller moon’ becomes ‘Where got ye that siller moon’ in the printed text; and ‘Hae ye been to Waterloo’ in l. 7 is changed to ‘Have you been to Waterloo’. The second four stanzas of Hogg’s original text, which were written in Hogg’s Highland ‘accent’, are then basically used by Thomson, but they are almost completely translated into English. Indeed it is difficult to conclude that the final printed text is Hogg’s song rather than Thomson’s own effort. Nonetheless comparison with the text published in Letters, I, 337–38, illustrates the changes clearly. Hogg engages with Thomson’s redrafted version, as he did with ‘Where got ye that siller moon’, and makes a few emendations. In l. 1 he suggests that ‘Ye’re naething but some lawland loon’ is changed to ‘Ye are but some lawland loon’ and Thomson prints this in his Select Collection. In l. 3 Hogg scores out the first words on Thomson’s copy, ‘And nae the blude’ and replaces them with ‘No the blude’ and Thomson prints Hogg’s suggestion. In l. 7 Hogg scores out ‘And dare you speir the thing — for shame’ and replaces it with ‘Yet to spear sic things — for shame’, but Thomson prints ‘Yet to spear the thing — for shame’. In l. 17 Thomson’s beginning ‘And whan’ is emended by Hogg to be ‘Now whan’, and Thomson then prints ‘Now when’. In l. 23 Thomson’s ‘Wad ever’ is scored

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out and Hogg writes ‘E’re wad’ and Thomson prints ‘E’er wou’d’. In l. 27 ‘Ye’ll ablins hear’ in Thomson’s fair copy (which was from Hogg’s original song) is emended by Hogg to be ‘Ye may hear’ and this is what Thomson prints in the Select Collection. And finally Hogg suggests a different l. 29, and Thomson again prints Hogg’s suggestion. Thomson’s letter of 18 March 1818 illustrates that, regardless of all these issues, he was delighted with Hogg’s song: ‘Your Highland Laddie my dear Sir is an admirable fellow, and I shall have great pleasure in introducing him to the public’ (British Library Ms Add. 35 268, ff. 20–21). This song retained its place in the fifth volume of Thomson’s folio collection of Scottish Airs through the editions published in 1826 and in 1831/38, but did not appear in the octavo collection. Aside from the versions of the text included with the correspondence outlined above, no other extant manuscript has been located. Publication History: 1818 – in George Thomson, A Select Collection of Original Scottish Airs, v, 207— see pp. 165–66 and 172–73 in the present edition Musical Context: The song uses the well-known tune, which Thomson refers to as being ‘frequently heard’ at this time, known as ‘Bonnie Laddie Highland Laddie’. Garside and Jackson give a detailed account of the history of the tune in The Forest Minstrel, S/ SC, 2006), pp. 362–66). Hogg’s own notes to Song LXIII in Jacobite Relics, II (p. 337) observe that there are ‘six different airs designated, “Highland Laddie”’, but that this tune is the oldest of these. It is a slight variant of the Relics tune which Thomson sends to Beethoven to set for voice, piano, violin and ’cello. Details of Beethoven’s handling of the melody is given in Barry Cooper’s Beethoven’s Folksong Settings (Oxford: Clarendon Press, 1994). See also Schottische und walisische Lieder, ed. Petra Weber-Bockholdt in Beethoven Werke, Abteilung XI, Band I (Munich: G. Henle Verlag, 1999). In December 1817 Thomson requested that Beethoven simplify the string parts. Normally this caused Beethoven great anger and resulted in refusal to amend settings, but on this occasion Beethoven agreed to make changes. This is one of the most successful settings he produced for Thomson’s collections. And it was later also included in Adolf Schelsinger’s 1822 edition of Beethoven’s Schottische Lieder, with the title ‘Frische Bursche Hochlands-Bursche’ (see Appendix in the present edition, pp. 637 and 642–43). Explanatory Notes: 165, l. 13 Saw ye Bony by the way referring to Napoleon Bonaparte (1769–1821) whose second period of reign ended with the Battle of Waterloo. 165, l. 15 Blucher wi’ his beard sae grey referring to Prussian commander General Gebhard Leberecht von Blücher (1742–1819). He was 72 at the time of the Battle of Waterloo hence his ‘beard sae grey’, and had already defeated Napoleon once before this. It was his decision to join Wellington’s troops that helped secure victory over the French at Waterloo.

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Thomson’s The Select Melodies of Scotland (1822–1825) The Three Men of Moriston (pp. 177–79 and 184–85) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd (S/SC, 2014). In summary, the song was created for George Thomson’s collections in 1821– 22. In his letter of 30 November 1821 — in addition to requesting permission to reprint Niel Gow’s setting of Hogg’s ‘The Lament of Flora MacDonald’ — Thomson sent three airs or melodies to Hogg and suggested a Jacobite theme, capitalising on Hogg’s newfound fame for editing the two series of Jacobite Relics in 1819 and 1821 (see British Library MS Add. 35268, ff. 72–74). The context to this song is explained by Thomson in the note to the song in his Select Melodies of Scotland and by Hogg’s headnote to the song in Songs by the Ettrick Shepherd in 1831. There are one or two emendations, but the accompanying note printed by Thomson is almost identical to that included by Hogg in his headnote, except that Hogg frames the ‘story’ surrounding the subject of the song with comments about Thomson’s edition. Thomson’s note from a letter of 5 March 1822 clarifies that Hogg produced the requested songs. British Library MS Add. 35265, ff. 104–05 is a copy of the 10 stanzas with chorus that Hogg sent to Thomson to match the tune ‘Woo’d an’ married an’ a’’. Against the heading ‘Mr Hogg, Altrive Lake, by Selkirk’ Thomson wrote: ‘Letter sent, acknowledging receipt of three Songs of his writing, viz. a Jacobite ballad called The three men of Moriston [...] approving much of the first, but proposing to shorten it to 7 stanzas, and some slight alterations (British Library MS Add. 35268, fol. 88). Hogg was concerned (see ‘Musical Context’ below) about setting a lyric to the tune ‘Woo’d an’ married an’ a’’ because it was already well-known as the tune for his popular song ‘Donald MacDonald’. Thomson appears to have aided Hogg here by setting his revised text to a different tune, as noted in his letter of 16 March 1822 (British Library MS Add. 35 268, f. 90). Hogg seems to have further revised the song for Thomson (Letters, II, 156–58, pp. 156–59). Gillian Hughes provides Thomson’s revised lyric (British Library MS Add. 35265, ff. 115–116) alongside Hogg’s comments here, allowing the reader to see just how many revisions Thomson suggested and how the editor and poet worked together to finalise the text for publication. Hogg’s revised version was subsequently published, with further slight alterations by Thomson, in the third volume of his new ‘octavo’ edition of Select Melodies of Scotland […] in 1822–1825. Notably when Thomson presents it he does so without referring to Hogg’s creative input: Hogg’s name is found only in the index to the volume. This was common in Thomson, if he felt the lyric could be promoted as belonging to an active oral tradition. As mentioned above, two of Hogg’s holograph manuscripts of the earliest versions of ‘The Three Men of Moriston’, composed between November 1821and March 1822, are extant within the Thomson papers at the British Library MS Add. 35265, ff. 104–05 and 35, 265, ff. 115–16, the latter of which is reprinted in Letters, II, 156–57. But this is one of the songs missing from the fair-copy manuscript for Songs by the Ettrick Shepherd. Hogg had altered several things in the text between his final version and Thomson’s first printing of the song, some of which Thomson retained and some

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of which he ignored. For example Hogg had altered the word ‘Chiefs’ to ‘brave’(l. 7) but Thomson had printed ‘Chiefs’ in the Select Melodies of Scotland: see Letters, II, 156–57. Thomson included the song again, unchanged, in the later edition of his octavo volumes entitled Thomson’s Collection of the Songs of Burns. Publication History: 1822–23 – in George Thomson, The Select Melodies of Scotland, III, 30 — see pp. 177– 79 and 184–85 in the present edition 1831 – in Songs by the Ettrick Shepherd, pp. 47–50 — see (S/SC, 2014), pp. 22–24 Musical Context: As noted above, Thomson changed his choice of melody from ‘Woo’d an’ married an’ a’ to ‘Fy let’s a’ to the wedding’. Both melodies are uplifting in spirit and have the same metre. They are thus easily interchangeable, and Thomson often made such editorial choices. This tune also had notable Jacobite connotations by this time as discussed by William Donaldson in The Jacobite Song (pp. 31–35) who notes its use as a ‘model’ for others. The song (without music) had first appeared as ‘The Blythesome Bridal’ in James Watson’s Choice Collection in 1706 where it had been united with a lyric entitled ‘The Treaty of Union’ — thereafter it became a model for popular Scottish political and Jacobite songs. The details of the history of the tune, which appeared frequently in collections across the 18th century — from William Thomson’s 1725 Orpheus Caledonius (No. 36), to James Johnson’s SMM under the heading ‘An the Kirk wad let me be’ 1787 (No. 58) — is given in detail in Glen’s Early Scottish Melodies (pp. 75–76). Burns had more recently used the tune for the second of his Heron Ballads, a political satire beginning ‘Fy let’s a’ to Kirkcudbright’: see James Dick’s The Songs of Robert Burns, (pp. 457–58). Hogg refers to the musical setting, in the headnote to the song in Songs by the Ettrick Shepherd, as having been created by ‘the immortal Haydn’. Joseph Haydn (1732–1809) was one of the key European composers with whom Thomson collaborated to provide the musical settings for voice, piano, violin and ’cello for his folio collections. Simpler versions for just piano and voice were produced in his octavo collation in the 1820s. By the time Thomson contacted Haydn, he was famous across the continent and also in Britain, where he had made an extended visit in the 1790s. There he had been introduced to ‘Scots songs’ and had supplied folksong settings to the Scottish music publisher William Napier. In the last years of his life Haydn set over 400 Scottish and Welsh songs, with just over 200 of these commissioned by George Thomson. Although Haydn died in 1809, Thomson republished many of his settings in the later editions and issues of his collections, in both folio and octavo format. Thus, Haydn’s extant arrangement of the melody entitled ‘The Blythsome Bridal’ or ‘Fy let’s a’ to the bridal’ (it had already appeared in Thomson’s collection first in 1805 (IV, 187)) was married to Hogg’s new lyric in 1822. For further information on the musical relationship between Thomson and Haydn, see Marjorie Rycroft,‘ Eingriffe des Verlegers in Haydns Bearbeitungen Schottische Lieder’, in Haydn & Das Clavier, ed. Georg Feder & Walter Reicher (Tutzing: Schneider, 2002), pp. 51–76, and also Volksliedbearbeitungen Schottische Lieder für George Thomson, Joseph Haydn Werke, Band 3 (ed. Marjorie Rycroft, with Warwick Edwards and Kirsteen McCue). Explanatory Notes: See Songs by the Ettrick Shepherd (S/SC, 2014), pp. 182–83.

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The Lament of Flora MacDonald (pp. 179–80 and 188–89) A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd (S/SC, 2014). In summary, this is one of Hogg’s most popular songs, appearing first as a song-sheet published by Nathaniel Gow & Son in Edinburgh in 1819 and then on several subsequent occasions until Songs by the Ettrick Shepherd in 1831. It was included, just after its first musical appearance, in the second series of Jacobite Relics in 1821. Hogg’s notes there and in correspondence with George Thomson in 1821 make reference to the existence of verses and a melody that he and Niel Gow junior revised and amended for wider circulation, but the original Gaelic source has not been identified. Little information is available about Hogg’s relationship with Gow and the publishing house of Nathaniel Gow and Sons, though they were working on the production of A Border Garland at the time of the publication of ‘The Lament of Flora MacDonald’ (see the introduction to A Border Garland in the present edition). A comparison of the four authorised musical publications of the song — the undated Gow song-sheet; the version in Jacobite Relics, II, 1821; the appearance in George Thomson’s Select Melodies of Scotland in 1822; and finally the version found in The Border Garland c.1829 — with the text in Songs 1831 shows a number of other non-substantive variants, demonstrating that the song before 1831 was uniform. Full details of variants are given in Songs by the Ettrick Shepherd (S/SC, 2014). Notably Thomson, who had asked Hogg’s permission to include the song, gives full acknowledgement to Gow in the headnote to the song in his 1822–1823 edition. The only extant manuscript is that in the fair-copy holograph for Songs by the Ettrick Shepherd at NLS MS 4805, ff. 28–30. In this manuscript and in the publication the title is changed to ‘Flora MacDonald’s Farewell’. Thomson included the song again in the later edition of his octavo volumes entitled Thomson’s Collection of the Songs of Burns. Publication History: [c.1819/22] – ‘The Lament of Flora McDonald, An Original and Favorite Jacobite Air.’ The Poetry Imitated from the Gaelic by James Hogg. Arranged with Symphonies & Accompaniments for the Piano forte or harp by Niel Gow, Junr. (Edinburgh: Nathaniel Gow and Son, 60 Princes Street). No first edition of the song has been found and so information given here is from the second edition — see pp. 527–31 in the present edition. Gillian Hughes records notices from the Edinburgh Evening Courant of 20 December 1819 and 5 January 1822 advertising the first and second editions of the song-sheet of ‘The Lament of Flora McDonald’, and noting that it is described as ‘one of Gow’s most popular compositions’. Hughes comments that the second edition of the song dates from early 1822 (Letters, II, 134). 1821 – in Jacobite Relics, II, 179–80 and 369 — see also (S/SC, 2003), p. 520 1822–23 – in George Thomson, The Select Melodies of Scotland, IV, 13–14 (octavo edition), with a note stating ‘A new song by J. Hogg pubd singly by N. Gow & son, & given here by their authority’ — see pp. 179–80 and 188–89 in the present edition c.1829 – ‘The Lament of Flora Macdonald, A Jacobite Song’, The Air composed by a friend of the Poet, Arranged with Symphonies & Accompaniments by James Dewar in The Border Garland — see pp. 410–11 and 432–34 in the present edition

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1826/31 – Thomson reprinted ‘The Lament of Flora MacDonald’ in further editions of his collections of national songs: in ‘New Edition, with many additions and improvements’ of A Select Collection of Original Scottish Airs, folio edition of 1826, III, 150. And then in Melodies of Scotland, folio edition of 1831, III, 149. Both of these versions included the same note below the title ‘the Sym & Acc by N. Gow Junr And here pubd by permission of N. Gow & Son 1822’. Collation of the two editions would suggest that Thomson used the same musical plates. 1831 – in Songs by the Ettrick Shepherd, pp. 11–12 — see (S/SC, 2014), pp. 7–8. Unauthorised versions: This song was frequently reprinted in chapbooks — see Songs by The Ettrick Shepherd, (S/SC, 2104), p. 151 Musical Context: The success of the song undoubtedly has something to do with Niel Gow’s very fine, lilting melody, which provides an expansive musical foundation on which Hogg paints a detailed picture of highland landscape and Flora’s emotions. The structure of the melody — with its little 4-bar coda at the end — allows an additional couplet in which Hogg is able to provide a sentimentally powerful conclusion to each verse. Hogg’s notes to the song in Jacobite Relics make it clear that he and Gow were wishing to rework the song ‘for the sake of the old air’. It is thus difficult to know how much of this ‘old air’ Gow incorporated in his new melody. A tune with the title ‘Tha mi fodh ghruaim’ or ‘Flora McDonald’s Adieu to the Prince’ does appear, as noted by Pittock, in Simon Fraser’s influential The Airs and Melodies Peculiar to the Highlands of Scotland of 1816. However the melody in Fraser’s collection is wild and chromatic and bears little resemblance to the rather refined tune attributed to Gow. Gow also included a basic setting of his new melody in his Sixth collection of Strathspeys, reels and slow tunes for the piano forte, harp, violin & violoncello. Dedicated to the most noble the Marchioness of Huntly by Niel Gow & Songs (Edinburgh: Published by Nathaniel Gow & Son, [1822?], p. 20, where the note below the music reinforces the Hogg connection to Gow’s tune: ‘This beautiful Jacobite Air is published separately as a Song, words by the Ettrick Shepherd’. James Dewar’s later setting for The Border Garland uses Gow’s tune (with only slight variants) and is even in the same key, but the piano accompaniment differs in that he provides flowing semi-quavers for the right hand, perhaps a little more harp-like in style. Explanatory Notes: See Songs by the Ettrick Shepherd, (S/SC, 2014), pp. 151–52. Pull Away Jolly Boys (pp. 180–81 and 190–91) Creative Context: Hogg’s letter to George Thomson of [before 5 March 1822] includes a copy of this song. Hogg reminds him that he sent a version of the same song ‘eleven years ago’ and that he has amended it and sent it again. A note dated 5 March 1822 acknowledging receipt of the song is found within Thomson’s letterbooks and clearly shows that Hogg had sent this song prior to this date (British Library MS Add. 35268, ff. 88–89). Hogg’s memory would suggest that he had sent the first version of his song in 1811, but there is no extant evidence of his correspondence

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with Thomson having started before 1815. However, a song with the title ‘The British Tar’ appears at the end of the National Songs section of Hogg’s collection The Forest Minstrel in 1810 to the air titled ‘Pull away’ and it is clearly this song Hogg refers to in his letter to Thomson. There are significant variants between the text published in 1810 and that eventually included by Thomson in 1822. Full details can be found in the note to the song in The Forest Minstrel (S/SC, 2006). Most notable is that the version in The Forest Minstrel is what Garside and Jackson refer to as being an ‘unusual mixture of dramatic dialogue and boat-song’ suggesting that this first version might well have been created with theatrical performance in mind. Moreover, the text Thomson includes, while it still mentions ‘the British Tar’ and ‘Nelson’ is not as overtly British as the original, perhaps reflecting the contemporaneousness of Nelson’s prowess in the earlier years of the century. Garside and Jackson account for these changes, and also note an additional letter of 7 June 1822 from Hogg, with a revised second stanza. Gillian Hughes gives this stanza alongside that finally published by Thomson to illustrate the final changes Thomson made to Hogg’s suggested text (see Letters, II, 163). This reveals Thomson’s hands-on editorial policy as noted above with ‘Where Got Ye That Siller Moon’ and ‘The Three Men of Moriston’. Thomson included the song again in the later edition of his octavo volumes entitled Thomson’s Collection of the Songs of Burns. Aside from the versions of the text included with the correspondence outlined above, no other extant manuscript has been located. Publication History: 1810 – in The Forest Minstrel pp. 217–20 — see (S/SC, 2006), pp. 199–200 and 372–74 1822–23 – in George Thomson, The Select Melodies of Scotland, IV, 15–16 (octavo edition) — see pp. 180–81 and 190–91 in the present edition Musical Context: Thomson’s note about receipt of Hogg’s new song on 5 March 1822 gives the additional information that Hogg’s text is ‘for the air call’d the Wish, beginning Heave O upon the tide’. There is little information about the source of this air. Thomson’s headnote to the song notes that this text is ‘First united with the music, 1822’. The setting is by Joseph Haydn, but Haydn had died in 1809. While this might suggest that Thomson had just held on to the setting and first published it later, Richard Jackson’s note to the song in The Forest Minstrel reveals that Haydn’s setting of this melody had in fact appeared already in vol. IV of A Select Collection of Original Scottish Airs in 1805 (p. 181) united to a lyric by Anne Grant of Laggan. While not identical, this setting is very similar to the one Thomson then included in the octavo collection The Select Melodies of Scotland in 1822, though Jackson comments that the chorus in the later version is for three voices and Thomson has clearly adapted the text for this. For further information on the musical relationship between Thomson and Haydn, see Marjorie Rycroft, ‘ Eingriffe des Verlegers in Haydns Bearbeitungen Schottische Lieder’, in Haydn & Das Clavier, ed. Georg Feder & Walter Reicher (Tutzing: Schneider, 2002), pp. 51–76, and also Volksliedbearbeitungen. Schottische Lieder für George Thomson, Joseph Haydn Werke, Band 3 (ed. Marjorie Rycroft, with Warwick Edwards and Kirsteen McCue). Explanatory Notes: See Letters, II, 150.

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The Highland Watch (pp. 181–82 and 194–95) See the note to ‘The Highland Watch’ in Thomson’s A Select Collection of Original Scottish Airs (1818) above.

The Melodies of Scotland, Vol. vi (Folio, 1841) Come All Ye Jolly Shepherds (pp. 199 and 203) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd of 1831 (S/SC, 2014). Details about its earlier publications in Hogg’s novel The Three Perils of Man of 1822 and in Blackwood’s Edinburgh Magazine in 1823 can be found in the new S/SC editions of both texts (see ‘Publication History’ below). In summary, this is one of Hogg’s most highly regarded love songs. He had sent an early copy of this song to George Thomson with his letter of 14 December 1821 (see Letters, II, 131–33). Thomson did not publish the song at this point but did include it in his final sixth folio volume of The Melodies of Scotland in 1841 under the title, ‘Come all ye jolly Shepherds’(p. 256) with a previously unpublished musical setting by Joseph Haydn (see ‘Musical Context’ below). Thomas Richardson’s notes to the song account for the first appearance of the lyric in Hogg’s novel The Three Perils of Man in 1822 and the subsequent version which is sung by the Shepherd in Noctes Ambrosianae (No. VIII) published in Blackwood’s Edinburgh Magazine in May 1823. It is noteworthy that the Blackwoodian dialogue revolves around a comparison of Hogg’s song with a French song of the period by Pierre Jean de Beranger — suggesting that Hogg’s, or the Shepherd’s, songs have wider correspondence with contemporary European song culture. There are several extant manuscripts for the text. Richardson accounts for two manuscript versions of the song — the first in Hogg’s letter to Thomson and the second to a Mr ‘Blakie’ which appears to have been written after the Blackwood’s appearance (Edinburgh University Library, MS Dc. 4. 101–03). The details of the manuscript relating to the song’s appearance in The Three Perils of Man are given by Judy King and Graham Tulloch in The Three Perils of Man(S/SC, 2012) pp. xxxvi– vii. They also detail the changes to the text through its various appearances. A holograph manuscript titled ‘When the Kye Come Hame’ is within the manuscript holdings of Dean Castle Museum, Ayrshire: digital collection no. EADO109n. Comprising the first verse and the chorus written out in full it is signed ‘Autograph of James Hogg, the Ettrick Shepherd, Written by him, for R. A. Smith, at Edinburgh. 27th Feb. 1823’. Hogg clearly contributed this to Smith for possible inclusion in The Scotish Minstrel (see: ‘Preface to the 6th Volume. By the Editors’, Glasgow University Library Robertson MS 3, fols 32–33), but interestingly Smith never published the song. This is one of the songs missing in Hogg’s fair-copy manuscript for Songs by the Ettrick Shepherd, namely NLS MS 4805 ff.26–102. Gillian Hughes surmises that Hogg ‘probably began to prepare The Three Perils of Man in the summer of 1818’ with ‘the bulk of his manuscript’ being offered to the Edinburgh publishing firm of Oliver and Boyd on 5 May 1821: see ‘Recovering Hogg’s Personal Manuscript for The Three Perils of Man’, by Gillian

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Hughes, SHW, 13 (2002), 104–26, 110–11. This would thus coincide with Hogg’s letter to Thomson in December 1821, including a revised version of the song with three verses and a chorus: see Letters, II, 131–33. When Hogg picked up the song again for inclusion in Songs by the Ettrick Shepherd of 1831 he had apparently ‘forgotton’ it and he makes a number of revisions to earlier versions, also reordering verses. The song appears to have been circulated at this time as noted by the poet John Clare who particularly liked it (see The Letters of John Clare, ed. Mark Storey (Oxford: Clarendon Press, 1985), p. 543, p. 545 and pp. 571–573 respectively. Storey notes that the song was reprinted in the Stamford Champion on 1 February 1831. When Thomson chose to include it in his sixth folio volume in 1841 he appears to have paid little attention to either the earlier 1821 manuscript or to Songs by the Ettrick Shepherd. Thomson’s version of the lyric is much shorter. The now familiar opening two lines of the version printed in Blackwood’s replace those that Hogg had informed Thomson he didn’t like. The second verse supplied by Hogg is omitted and replaced by a long verse of eight lines, made up from a combination of an altered version of the third verse from Hogg’s letter of 1821 and the verse beginning ‘See, yonder pawky shepherd, that lingers on the hill’ (at verse six but noted ‘Verse the Fifteenth’ in Three Perils of Man, verse six of Blackwood’s, and verse five of Songs, 1831). Moreover, Thomson changes the refrain to ensure that his printing is grammatically correct and so it appears as ‘When the kye come hame’— overriding Hogg’s own rationale for the change to ‘When the kye comes hame’ which he gives in his 1831 headnote to the song. Thomson also chooses to set the song to a melody quite unlike Hogg’s initial choice (see ‘Musical Context’ below). It appeared with a previously unpublished essay by Joseph Haydn. Thomson was cobbling together existing materials which were now published posthumously, for Hogg had died in 1835, and Haydn had died in 1809. Thomson explained in the preface to this final volume, which he was issuing for the first and only time: ‘being in possession of about half a volume of Melodies with Symphonies and Accompaniments which had been composed for them by those greatest of masters, Haydn and Beethoven’, he found it ‘inexcusable in allowing such charming things to remain dormant in his portfolio’. This setting is by Joseph Haydn. Publication History: 1822 – in The Three Perils of Man, (Vol. III, pp. 19–22)) — see (S/SC, 2012), pp. 281–84 1823 – in Blackwood’s Edinburgh Magazine, 13 (May 1823), 598 — see (S/SC, 2008), pp. 138, 361–62, 366, and 488–90 1831 – in Songs by the Ettrick Shepherd, pp. 51–55 — see (S/SC, 2014), pp. 25–27 1841 – in George Thomson, The Melodies of Scotland, VI (1841), 256 — see pp. 199 and 203 in the present edition Unauthorised versions: See Songs by the Ettrick Shepherd (S/SC, 2014), p. 186. In short, this is one of a small group of Hogg’s songs, including ‘Donald MacDonald’, ‘Flora MacDonald’s Farewell’ and ‘Bonny Prince Charlie’, that were frequently anthologised after Hogg’s death and this one has remained one of his most popular songs to the present day, for it can be traced in general Scots song collections (both text only and with music) from the early Victorian period to the 21st century. Gooch and Thatcher list thirteen later versions of this popular song: 8770–8782.

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Musical Context: Hogg states in his 1831 headnote that the tune for this song is found in Noctes and ‘in no other place that I am aware of ’. Interestingly, as it is clearly one of Hogg’s most famous songs, it has no other musical appearance during Hogg’s lifetime. Thomson’s 1841 printing is the first so far located and the song was also subsequently included in George Farqhuar Graham’s The Songs of Scotland in 1848–1849. Of these appearances Graham’s is by far the more important as it is in this collection that the revised version of the Noctes melody is given for the first time. The Noctes melody, published in Contributions to Blackwood’s (see above) is entitled ‘The Blathrie o’t’ and appears to be a variant of an already extant fiddle tune, found earlier in both Oswald’s Caledonian Pocket Companion Book 5 and also in McGibbon’s Third Collection of 1755. Further information about the history of the melody can be found in Stenhouse’s Illustrations (No. XXXIII, pp. 32–33) and in Glen’s Early Scottish Melodies (p. 68). Stenhouse’s history of the song also accounts for the lyrics previously published with the melody from the early 1720s onwards. The Noctes variant is wild and modal and, as with many instrumental tunes, demands a great deal of the singer. But its modality is particularly expressive in terms of the poignancy of the lyric, and the tune fits that genre of melody that Hogg clearly appreciated. A variant of Graham’s tune is the one still popularly performed with Hogg’s lyric today. Further information about this tune is given in the note to the song in Songs by the Ettrick Shepherd (S/SC, 2014). Thomson’s setting is of an altogether different tune, much easier to sing (though with a couple of chromatic corners). His index to the Sixth Volume gives the title of the tune as ‘Come all ye jolly shepherds — Air from the Beggar’s Opera’. The musical arrangement is by Joseph Haydn (see ‘Musical Context’ for ‘The Three Men of Moriston’ above). The melody is very similar to that used for the second song (Act 1, Scene ii) in John Gay’s The Beggar’s Opera, sung by Filch with the lyrics beginning ‘’Tis woman that seduces all mankind’. Gay sets this song to the traditional tune of English origin entitled ‘The bonny grey-eyed morn’(see The Beggar’s Opera Written by John Gay. The Overture composed and the Songs arranged by John Chrisoph Pepusch, ed. Edward J. Dent (Oxford: Oxford University Press, 1954), pp. 6–7. For further information about Haydn’s collaboration with Thomson, see Marjorie Rycroft,‘ Eingriffe des Verlegers in Haydns Bearbeitungen Schottische Lieder’, in Haydn & Das Clavier, ed. Georg Feder & Walter Reicher (Tutzing: Schneider, 2002), pp. 51–76, and also Volksliedbearbeitungen Schottische Lieder für George Thomson, Joseph Haydn Werke, Band 3 (ed. Marjorie Rycroft, with Warwick Edwards and Kirsteen McCue). Explanatory Notes: See Explanatory Notes in Contributions to Blackwood’s Edinburgh Magazine I, (S/SC, 2008), p. 490; and The Three Perils of Man (S/SC, 2012), pp. 526–27. Mischievous Woman (pp. 199 and 204–05) See the note to the song entitled ‘Could this ill warld’ in Thomson’s A Select Collection of Original Scottish Airs (1818) above. The newly edited text in the present edition uses the text-only version of the song printed by Thomson as its copy text. This is a fine example of a song where the text printed on the musical plate varies from that on the opposite page presented as lyrical text. In this case there are substantive variants, e.g., l. 6 (‘maun hae’ for ‘must have’) and several variants in punctuation.

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A Border Garland [1819]: I’ll No Wake wi’ Annie (pp. 212–13 and 222–23) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd of 1831 (S/SC, 2014). In summary, Hogg’s 1831 headnote for the song would suggest that it dates from the period after 1816, as he refers to his friendship with William John Napier (1786–1834) who moved to the Ettrick district after his marriage that year. There is only one reference to the song in Hogg’s letter to the musician William Heather dated 1 April 1818 (Letters, II, 343–46), concerning the plans for publishing ‘seven or eight songs’ by Hogg. The two men had been collaborating on Charles Christmas’s publication of German Hebrew Melodies, which had appeared in [1817], but this letter was clearly referring to a second collection, this time of Scots songs. ‘I’ll No Wake wi’ Annie’ appeared as the first of nine songs in A Border Garland of [1819] and it was Heather and Niel Gow junior who provided the musical settings for this little volume. The song next appears as part of the Noctes Ambrosianae (No. XXXV) in Blackwood’s Edinburgh Magazine in January 1828 alongside the same melody as that in A Border Garland (and in the same key), which reinforces the performative nature of the song. Notably the ‘Shepherd’ sings the (untitled) song to himself while playing the fiddle. There is no evidence that Hogg sent the song directly to Blackwood and the version follows that in A Border Garland closely. Before picking it up for Songs 1831 the song appears again in the later collection The Border Garland published by Robert Purdie in Edinburgh in c.1829 with settings by Edinburgh musician James Dewar. This appearance is almost exactly contemporary with that in Blackwood’s, but Hogg appears to have made some changes to the text that are given in the note to the song in Songs by the Ettrick Shepherd (S/SC, 2104). Hogg further revised the text for its appearance in Songs by the Ettrick Shepherd. Aside from the text of the song with Hogg’s letter of 1 April 1818, the only other manuscript is that for its 1831 appearance in Songs by the Ettrick Shepherd located in Hogg’s fair-copy manuscript at NLS, MS 4805, f. 83v. However this manuscript contains only the title and headnote of the song as it appears in Songs 1831. Publication History: [1819] – in A Border Garland, pp. 2–3 — see pp. 212–13 and 222–23 in the present edition 1828 – in Blackwood’s Edinburgh Magazine, 23 ( January 1828) — see (S/SC, 2008), pp. 312–13, 375, and 544 c.1829 – in The Border Garland , pp. 25–27 — see pp. 416–17 and 447–49 in the present edition 1831 – in Songs by the Ettrick Shepherd, pp. 224–27 — see (S/SC, 2014), pp. 99–101 Musical Context: The song’s first musical appearance is in A Border Garland of [1819] with the note that the ‘Air’ or melody is by James Hogg and when the song appears in The Border Garland in c.1829 Hogg is also attributed as the creator of the ‘melody’ as well as the words. In his letter of 1 April 1818 Hogg reminds Heather of a song ‘on two

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flats consisting of three parts, two and a chorus’ and includes the first verse and chorus of ‘I’ll No Wake wi’ Annie’, indicating he has sent an earlier version of the song that has not apparently survived (Letters, I, 343–45 (p. 344)). Heather does not produce all the musical settings for the nine songs in A Border Garland but the correspondence would suggest that the musical setting of this song is by him. The tune in Blackwood’s is identical to that in the first musical collection. This is a tune which is typical of Hogg’s style and it clearly resembles a fiddle tune, with its octave leap (often coinciding with ‘O’) which is not easy for many to sing. Hogg does refer to both Heather’s and Dewar’s settings in his 1831 headnote, but directs the reader to the readily available The Border Garland, which had appeared only two years before Songs 1831. Explanatory Notes: See Songs by the Ettrick Shepherd (S/SC, 2014), pp. 282–83. Charlie [Bonnie Prince Charlie] (pp. 213–14 and 224–25) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd of 1831 (S/SC, 2014). In summary, Hogg appears to have created this song for the musical collection A Border Garland of [1819]. In his 1831 headnote Hogg states that he ‘dashed down the words at random’ after receiving the melody from his friend Niel Gow junior. But there is no further information about the song’s creation. Notably it is exactly contemporary with Hogg’s work as editor of The Jacobite Relics of Scotland in 1819– 1821, but this song does not appear there. The 1831 headnote also suggests that Hogg himself was not satisfied with his song and this is reiterated in a letter to George Thomson of 15 August 1829 (Letters, II, 350). Here Hogg explains that the copyright for the song is with the publisher Robert Purdie, but that he would happily create a better song for Thomson. There is no evidence that he did. Instead it is Purdie’s publication of James Dewar’s setting for The Border Garland (c.1829) that Hogg singles out in his 1831 headnote. Details of textual variants are given in the note to the song in Songs by the Ettrick Shepherd (S/SC, 2014), but aside from differences in spelling these are few (with the exception of the shortened text used in the setting of c.1825 within a dramatic production of ‘Redgauntlet’). The fair-copy manuscript of the version of the song as it appears in Songs 1831 is found in NLS MS 4805, f. 30. No other manuscript is extant. The publication history does illustrate the song’s popularity not just with Hogg’s musical collaborators but within the world of public entertainment. Publication History: [1819] – as ‘Charlie’ in A Border Garland, pp. 4–5 — see pp. 213–14 and 224–25 in the present edition c.1819–23 – ‘Bonny Prince Charlie’. An Admired Scotish Melody. As Sung by Miss Stephens & Miss Noel […] (Edinburgh: Nathaniel Gow & Son, 60 Princes Street and London: John Gow & Son, 162 Regent Street) — see pp. 535–38 in the present edition c.1825 – ‘Bonny Prince Charlie’, As Sung With the most distinguished applause by Miss Noel, In the National Play of REDGAUNTLET; Arranged with Symphonies & An Accompaniment for the Piano Forte by James Dewar […]

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(Edinburgh: Alexr. Robertson at the Music Saloon 47 Princes St). This was formerly thought to date from c.1845, but the dates at which Robertson was located at 47 Princes Street (c.1820–1833) points more clearly to an earlier date of publication and this has been narrowed due to the appearance of a dated ‘Second Edition’ (see below) to be c.1825 — see pp. 541–44 in the present edition c.1825 – ‘Second Edition. Bonny Prince Charlie. As sung with the most distinguished applause by Miss Noel […]Arranged with Symphonies & An Accompaniment for the Piano Forte by James Dewar (Edinburgh: Alexr. Robertson 47 Princes Street). Copies examined at the British Library (BL H 1652 (15)) and the Cambridge University Library (MRS 290.80.263) have a watermark of 1825. With the exception of the amended title, this songsheet uses the same musical plates as that listed directly above and is thus not included in the present edition. c.1829 – in The Border Garland, pp. 1–3. The song appears with the elaborate heading: ‘Bonnie Prince Charlie, The Favourite Jacobite Song’, as Sung by Madame Stockhausen, from The Border Garland, Written by James Hogg the Celebrated Ettrick Shepherd, the air composed by a friend of the Author, and arranged with Symphonies & Accompaniments by James Dewar (Ent. Stat. Hall; Edinburgh: Printed & Sold by Robt Purdie at his Music & Musical Instrument Warehouse 83 Princes St). This is the setting to which Hogg refers in his 1831 headnote — see pp. 406–07 and 423–25 in the present edition 1831 – in Songs by the Ettrick Shepherd, pp. 13–14 — see (S/SC, 2014), pp. 8–9 c.1828–37 – in The Scotish Minstrel, II, 104–05 — see pp. 250 and 272–73 in the present edition c.1835–47 – Bonnie Prince Charlie. A Favourite Scotch Ballad sun by Miss Clara Novello, and Madame Stockhausen […] with Symphonies and Accompts. By I. L. Hatton (Liverpool: Published by Hime and Son, Church Street […] — see pp. 547–50 in the present edition Unauthorised versions: A listing of these is given in Songs by the Ettrick Shepherd (S/SC, 2014), p. 154. Musical Context: As Hogg states in his 1831 headnote there is some confusion over the title of the melody. In A Border Garland [1819] it appears with the note: ‘Air, by a friend of the Editor’, but the friend is not named. Hogg clears up this mystery in the 1831 headnote, when he states categorically that the air (or melody) was ‘given me by my friend the late Mr Niel Gow’. The headnote then tells the story of Hogg’s disagreement with Mr Robertson (presumably the Alexander Robertson who prints the song in c.1825) over the title of the tune, which Robertson believed to be ‘Gala Water’. Hogg clearly and forcefully disagrees and indeed contemporary appearances of ‘Gala Water’ show a different melody, with a different structure and time signature, but with similarities in melodic shape (see SMM, II, No. 125). Notably all musical settings of Hogg’s lyric feature this melody by Niel Gow, with only slight variations in key and rhythm. However all musical settings of the melody vary in style and difficulty for the pianist. James Dewar’s popular setting was included in The Border Garland of c.1829, but clearly he had already created a slightly different setting for theatrical purposes, as can be seen by the version from c.1825 published by Alexander Robertson. More information about Dewar’s work as a theatre composer is given in the introduction to this collection in the present edition. The considerable celebrity

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of the song also led to Robert Archibald Smith including it in the third (and later) editions of The Scotish Minstrel. He was able to do this presumably because the publisher Robert Purdie held the copyright and was the publisher of both Dewar’s The Border Garland and Smith’s The Scotish Minstrel. Notably George Thomson also wished to publish the song, and Hogg had to advise him that this was not possible as the copyright lay with Robert Purdie: see Letters, II, 350–51. The final setting appears to have broken this agreement with Purdie. It was published in Liverpool by the publishing house of Hime & Co., which had been established in the city from the 1790s. Humphrey Hime was based there and his brother Morris (Maurice) had a business in Dublin. This setting from c.1835–1847 was created by composer John Liptrot Hatton (1809–1886). He had been born into a musical family and was both and actor and singer before developing as a composer of piano pieces and songs after moving to London in 1832. He directed the chorus at Drury Lane and would thus have been exactly contemporary with Sir Henry Bishop, who set Hogg’s songs for Select & Rare Scotish Melodies in [1828]. Hatton’s later career as a solo performer might suggest that Hogg’s song was performed during his tours of Britain and in America from 1850. Further details about the singers Miss Stephens, Miss Noel, Clara Novello and Madame Stockhausen are given in the section entitled Miscellaneous Songs in the Introduction to the present edition. This was one of Hogg’s most popular songs both in his lifetime and throughout the 19th century and appeared often with music. For further, later musical settings see: Gooch and Thatcher, I, 8608–8615 (p. 788). Explanatory Notes: See Songs by the Ettrick Shepherd (S/SC, 2014), pp. 154–55. The Women Fo’k (pp. 214–15 and 226–27) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd of 1831 (S/SC, 2014) and also in Contributions to Blackwood’s Edinburgh Magazine I (S/SC, 2008). In summary, ‘The Women Fo’k’ appears to have been created in collaboration with the composer William Heather for Hogg’s musical collection A Border Garland [1819] and the first verse and chorus of the song is mentioned in Hogg’s letter to Heather of 1 April 1818 (Letters, I, 343–45). Hogg reminds Heather that this song is ‘of two parts and a chorus which I think is set on two sharps’. It was included in Blackwood’s Edinburgh Magazine in December 1822 where it was ‘performed’ by ‘Hogg’ as part of Noctes Ambrosianae No. VI . This was the first appearance of Hogg as ‘Hogg’ and not as the ‘Shepherd’ in Noctes Ambrosianae. Richardson notes that there are only minor variants in spelling and punctuation between the different versions of the song. There is one later appearance of part of the song (its third stanza) as ‘Song X’ in the Blackie published version of Hogg’s drama ‘The Bush Aboon Traquair’ Act III, Scene 1 in Tales and Sketches of 1836– 1837 (see: The Bush Aboon Traquair, ed. Douglas Mack, (S/SC, 2008)). The only extant manuscript is that included in the fair-copy manuscript for Songs 1831 at at NLS, MS 4805, ff. 39r–40r. Publication History: [1819] – in A Border Garland, pp. 6–7 — see pp. 214–15 and 226–27 in the present edition

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1822 – in Blackwood’s Edinburgh Magazine, 12 (December 1822), 705–06 — see (S/SC, 2008), pp. 95, 365, and 474–75 c.1829 – in The Border Garland, pp. 31–33 — see pp. 419–20 and 453–55 in the present edition 1831 – in Songs by the Ettrick Shepherd, pp. 65–67 — see (S/SC, 2014), pp. 31–32 1832 – in The Harmonicon (November 1829, Vol. 7, Pt. 2) — see pp. 465–66 and 472–73 in the present edition 1836–37 – an extract only in Tales & Sketches, (Glasgow: Blackie & Son, 1836– 37) — see (S/SC, 2008), pp. 102, 180. See also the fair-copy manuscript in the Alexander Turnbull Library, New Zealand (pp. 45, 175–76) Musical Context: The song first appears in A Border Garland of [1819] with the note: ‘Air, by James Hogg’, and in the later The Border Garland of c.1829, the song is presented as ‘Words and Melody’ by Hogg. It is a characteristically bold and rhythmic tune. While the melody is the same in both musical collections, the two musical settings (firstly by William Heather and secondly by James Dewar) are in different keys, only the Heather setting adhering to the ‘two sharps’ referred to in Hogg’s letter. Musical notation of Hogg’s melody was also provided for the song’s appearance in the Noctes, and it is probable that the source for this was A Border Garland [1819]. A further setting of the song was ‘composed expressly for the musical magazine The Harmonicon by Edwin J. Nielson (also included in the present edition). Hogg may have authorised the publication of this version of the song, which coincided with his visit to London at the beginning of 1832. The text is clearly derived from Songs 1831 as the second verse contains the newly created words ‘I hae thought an’ thought’ (l. 1). It appeared in The Harmonicon, Vol. 10, Pt. 2 (London, 1832), 70–71. A separate song-sheet version of this setting by Nielson appeared with the heading ‘The Women Fo’k. A Ballad. The Poetry by the Ettrick Shepherd. Composed by Edwin J Nielson, Member of the Royal Academy of Music London’, (Philadelphia: Fiot, Meignen & Co. Philadelphia, [1835]. Neither of these settings, however, uses Hogg’s air or melody. The Mer-maid’s Song (pp. 215–16 and 228–29) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd of 1831 (S/SC, 2014). In summary, the song dates from the year 1819. In April Hogg visited the home of the literary patron John Aitken (1793–1833) (see Letters, I, ‘Notes on Correspondents’, 440–42, for details). Ten days later Hogg attended the annual celebrations of the Shakespeare Club of Alloa, which took place on the anniversary of Shakespeare’s birthday (on 23 April). Hogg was ‘Poet Laureate’ of this Club and probably composed this song for the occasion. The song ‘The Mermaid. A Scottish Ballad. By James Hogg’ first appears in the Edinburgh Magazine & Literary Miscellany for May 1819, immediately after a report of the ‘Alloa Speeches’ from this Shakespeare Club dinner (398–99). The Edinburgh Evening Courant for 8 May 1819 announced that the ‘singing verses’ were also published as the fourth song in A Border Garland published in [1819] by Hogg’s Edinburgh collaborators Gow & Son (see Letters, I, 408n). While the ballad is clearly related to the song in A Border Garland there are some significant changes. Verses four and five are omitted from the song in A Border Garland prompting an

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alteration of ll. 29–30: ‘I leave this grave, and glassy deep | A long last farewell taking’ becomes a wider lament ‘For all the spirits of the deep | Their long last leave are taking’. One further variant at l. 20 revises the original description of the ‘flowers’ [‘beneath the steep’ (l. 19)] to ‘stones’, more accurately depicting a seascape. ‘The Mermaid’s Song’ was then published in the second volume of Hogg’s four volume Poetical Works in 1822 as the final section of the longer ballad now titled ‘The Mermaid’. In this publication the song is set in quatrains and is textually close to the version in A Border Garland, although there is further alteration to the wording of l. 29, which becomes, ‘Spirits now have left the deep’. Verses four and five of the original are omitted, as in the Border Garland version. However, some of the wording from these omitted verses is included in two additional quatrains at the conclusion of the song. As was the case with all nine songs in A Border Garland, ‘The Mermaid’s Song’ was included in The Border Garland (c.1829) published in Edinburgh by Robert Purdie with new musical settings by James Dewar. The copy text is the earlier A Border Garland version with two verbal variants which may simply be printing errors: ‘fuming freaks’ (l. 15) becomes ‘funning freaks’ and ‘stones’ becomes ‘stores’ (l. 20).When Hogg included it in Songs 1831 he made several changes to the text. The only extant manuscript is that in the fair-copy manuscript for Songs by the Ettrick Shepherd at NLS MS 4805, ff. 46–47. Publication History: 1819 – in Edinburgh Magazine & Literary Miscellany, (May 1819), 400–01 [1819] – in A Border Garland, pp. 8–9 — see pp. 215–16 and 228–29 in the present edition 1822 – in Poetical Works, II, 230–37. The song text appears as part of the ballad now titled simply ‘The Mermaid’; (‘The Mermaid’s Song’, pp. 235–37) c.1829 – in The Border Garland — see pp. 418–19 and 450–52 in the present edition 1829 – in The Harmonicon (November 1829, Vol. 7, Pt. 2) — see pp. 464-65 and 470–71 in the present edition 1831 – in Songs by the Ettrick Shepherd, pp. 87–89 — see (S/SC,2014), pp. 40–41 Musical Context: In each version of the song the air is identified as Hogg’s own. Unlike the spirited melody for ‘The Women Fo’k’, which Hogg also includes in A Border Garland, ‘The Mermaid’s Song’ is an atmospheric lament with several enharmonic twists that give it a sense of wildness. James Dewar’s later setting for The Border Garland was reprinted in the musical magazine The Harmonicon in November 1829, flagged as ‘from the Border Garland’ (Vol. 7, Pt. 2). The newly-extended edition of The Border Garland (c.1829) was reviewed in this same issue (Pt. I, 281–82), so that the reprinting within the Harmonicon offered a ‘specimen’ of both Hogg’s text and Dewar’s arrangement. The editors express the hope that the song ‘will have as many charms for others as it has for us’ (p. 281). A copy of this version is included in the present edition. Naething to Fear Ye (pp. 216–17 and 230–31) See the note to the song in John Clarke-Whitfeld’s Twelve Vocal Pieces [1817].

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The Poor Man (pp. 217–18 and 232–33) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd of 1831 (S/SC, 2014). In summary, it is most likely that this song was composed in the mid-1810s for inclusion in A Border Garland of [1819]. There is scant information about the context for its creation. It does fall into a popular category of the ‘Fensterlied’ or ‘Window song’ in which the (in most cases) female protagonist is encouraged to let her lover in either to her garden, in this case, or through her window in many other cases. This song changes little over its appearances in Hogg’s lifetime. Its later musical publication in The Border Garland with musical settings by James Dewar is the version to which Hogg refers in his 1831 headnote to the song. There is only one extant fair-copy manuscript for the song, namely that found in the fair-copy manuscript for Songs by the Ettrick Shepherd at NLS MS 10256, ff. 64–66. Hogg’s text for 1831 clearly comes from the text as published in its two musical versions, though he makes a change to the final line from ‘O how it shall plead for thee’ to ‘That blest drop shall plead for thee’. Publication History: [1819] – in A Border Garland, pp. 12–13 — see pp. 217–18 and 232–33 in the present edition c.1829 – in The Border Garland, pp. 22–24 — see pp. 414–15 and 444–46 in the present edition 1831 – in Songs by the Ettrick Shepherd, pp. 63–64 — see (S/SC, 2014), pp. 30–31 Unauthorised versions: The song was included in a number of unauthorised versions listed in full in the note to the song in Songs by the Ettrick Shepherd (S/SC, 2014), pp. 192–93. Musical Context: Hogg’s headnote states that he has composed this melody or air himself. Its first musical appearance in A Border Garland [1819] states that the ‘Air’ is ‘By a Friend of the Editor’ and its later appearance in The Border Garland c.1829 states: ‘Air, by a Friend of the Poet’. This is one of few songs where Hogg claims authorship of the music and the nature of the melody, both simple and fiddle-like, would certainly support Hogg’s claim, but no further evidence has been sourced to prove his authorship. The setting in A Border Garland of [1819] is most likely by William Heather. James Dewar’s later setting for The Border Garland is the setting that Hogg promotes in his 1831 headnote. Dewar sets the same melody with slight variants, though it is transposed to a lower key which is much easier to sing. Explanatory Notes: See Songs by the Ettrick Shepherd (S/SC, 2014), p. 193. The Lark (pp. 218 and 234–35) See the note to the song in John Clarke-Whitfeld’s Twelve Vocal Pieces [1817].

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Caledonia (pp. 219 and 236–37) Creative Context: A full account of the textual and publishing history of ‘Caledonia’ (and a detailed history of the tune ‘Lord Aboyne’, which is associated with the text) is given in The Forest Minstrel (S/SC, 2006) and further information can be found in Songs by the Ettrick Shepherd (S/SC, 2014). In summary, there is no printing or manuscript of this song prior to its appearance in The Forest Minstrel in 1810, though it is thought to be one of Hogg’s early songs dating from the same period as ‘Donald MacDonald’ and ‘Scotia’s Glens’ (c.1803–1804) and further evidence for this is given in The Forest Minstrel (S/SC, 2006), where details of printed variants between the different published versions is also presented. Hogg’s fair-copy holograph version of the song as it appears in Songs 1831 is the only extant manuscript and is found at MS4805, ff. 33v–34r . Publication History: 1810 – in The Forest Minstrel, pp. 221–22 — see (S/SC, 2006), pp. 202–03 and 374–76 [1819] – in A Border Garland, pp. 16–17 — see pp. 219 and 236–37 in the present edition c.1829 – in The Border Garland, pp. 19–20 — see pp. 413–14 and 441–43 in the present edition 1831 – in Songs by the Ettrick Shepherd, pp. 26–27 — see (S/SC, 2014), pp. 13–14 Musical Context: The song is initially published in The Forest Minstrel to the tune entitled ‘Lord Aboyne’ and further information about the history of this melody is found in The Forest Minstrel (S/SC, 2006) pp. 375–76. The editors note that although this tune exists in many variants it ‘is unsuited metrically to the words of Hogg’s song’. Hogg’s 1831 headnote would suggest that he did not like this tune. Instead he refers to two other possible melodies: the first by Niel Gow junior for A Border Garland of [1819], which is also set in the c.1829 The Border Garland by James Dewar, and finally ‘another composed by a young lady’ (namely, Chalmers Forrest). The Gow tune is a hymn-like anthem, a dignified tune (notably with an impressive octave leap in the first bar) to match Hogg’s lofty and proud lyric. There is no extant copy of the melody ‘oftener sung’ with Hogg’s words, namely the melody created by Chalmers Forrest. Charles Rogers, in his The Modern Scottish Minstrel (6 vols (Edinburgh: Adam and Charles Black, 1855), mentions another newlycomposed air by ‘Mr Walter Burns of Cupar-Fife which has been arranged with symphonies and accompaniments for the pianoforte by Mr Edward Salter, of St Andrews’ (see Vol. II, p. 100). No copy has yet been found. Explanatory Notes: See Songs by the Ettrick Shepherd (S/SC, 2014), p. 165. The Laird o’ Lamington (pp. 219–20 and 238–39) Creative Context: ‘The Laird o’ Lamington’ (Lamington being a village in Lanarkshire not far from Lanark on the river Clyde) was first created for publication in A Border Garland [1819] and ends the collection on a jovial note. Hogg’s song was circulating in the

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early 1820s, and it was reportedly sung during the ‘Celtic Society Dinner’ held in Edinburgh in March 1823, which Hogg attended: Gow’s band played appropriate airs to the different toasts [...]. Several of the members in the course of the evening added the charms of song to the general entertainment, among which were ‘Donald MacDonald’, ‘The Minstrel Boy’, [...] ‘Laird of Lamington’, and some Gaelic songs. (Caledonian Mercury of 6 March 1823) Appropriately enough, the song was then included in the Noctes Ambrosianae (No. XX) of Blackwood’s Edinburgh Magazine in May 1825 as a drinking song performed by the Ettrick Shepherd: indeed North comments after the performance that he has never heard James ‘in better voice’. For a full account of the textual and publication history, see Contributions to Blackwood’s Edinburgh Magazine I. In short, a comparison of the two texts reveals only one minor non-substantive variant: in the Blackwoodian lyrics ‘Laird’ is capitalized throughout. Richardson’s notes for the Blackwoodian appearance also outline the connections to a ballad included by Walter Scott in his Minstrelsy of the Scottish Border. First entitled ‘The Laird of Lamington’, it was replaced by Scott with the title ‘Katharine Janfarie’ in the third edition of the Minstrelsy in 1806. It has little connection to Hogg’s drinking song, which was also included by Robert Chambers in his The Scottish Songs (1825), I, 50–51. There is no extant manuscript of this song. Publication History: c.1819 – A Border Garland, pp. 18–19 — see pp. 219–20 and 238–39 in the present edition 1825 – Blackwood’s Edinburgh Magazine, 17 (May 1825), 620 — see (S/SC, 2008), pp. 164–65 and 505–06 Musical Context: In A Border Garland the tune is identified as ‘by James Hogg’ (p. 18), and the same air is printed without variation in the Noctes Ambrosianae. As Elaine Petrie has already noted, this is much like other Hogg tunes, in that it is clearly based on a fiddle tune, commonly written in two parts: ‘the first part consists of a theme which is repeated with a different conclusion; the second part mounts higher up the scale but resolves on the same final phrase as the first part’ (‘Lyric Progressions: Ballad to Art Song’, Studies in Hogg and his World, 2 (1991), 81–90, (p. 89)). Explanatory Notes: See Contributions to Blackwood’s Edinburgh Magazine, I (S/SC, 2008), pp. 505–06.

The Scotish Minstrel [1821–1824], (c.1828–1837) Iona (pp. 248 and 267) Creative Context: There is little information about the creation of this song and no manuscript has been located. ‘Iona’ was one of only two Hogg songs first published in the second volume of The Scotish Minstrel in [1821]. A footnote in the first edition states, ‘The Kings of Scotland & learned men were buried in Iona’. In the second edition the footnote is lengthened:

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About the year 1066 the Court was removed by Malcolm Canmore, never to return to the mountains; the sepulchres as well as the residence of the future kings of Scotland were henceforth to be in the south. Dunfermline became the royal cemetry, instead of Icolmkill where so many kings, chiefs, bishops and eminent ecclesiastics, and men of learning lie entombed. From Col. Stewart’s sketches of the Highlands. The song retains its placing on p. 62 of vol II in all three key editions of this collection, and the text is unchanged with the exception of minor variations in capitalization and spelling. Iona and the story of St. Columba feature prominently in Hogg’s epic poem, Queen Hynde (1824). For background on Hogg’s portrayal of St. Columba, see Queen Hynde (S/SC, 1998), pp. xvi–xxxviii. No manuscript sources have been located. Publication History: [1821] – The Scotish Minstrel, II, 62 – see pp. 248 and 267 in the present edition Musical Context: The air is given the title ‘Iona’, an ‘old air, said to be sung by the monks of Iona’. Further investigation to date would suggest that, though there are highland characteristics in the tune, it is not immediately recognisable as a traditional tune. As such it is most probably created for the collection by Smith in the style of a highland tune. Explanatory Notes: 248 [Title] Iona is a small island just off the southwest corner of the island of Mull and is well known for its associations with St. Columba (521–597), who is attributed with the introduction of Christianity into Scotland. The Covenanter’s Tomb (pp. 248–49 and 268–69) Creative Context: ‘The Covenanter’s Tomb’ is extracted from a long poem entitled ‘Epistle to Mr. R. S****.’ originally included in The Poetic Mirror (1816), pp. 34–43, where it is ascribed to ‘Walter Scott’. This text was reprinted as part of The Poetic Mirror in volume three of Hogg’s Poetical Works, of 1822 (III, 29–51). In his revised ‘Memoir of the Life of James Hogg’ in The Mountain Bard (1821), Hogg acknowledges ‘the second poem in the volume, namely, the Epistle to R—S—, the most beautiful and ingenious work, is not mine. It was written by Mr. Thomas Pringle, and was not meant as an imitation of Mr Scott’s manner at all’ (S/SC, 2007, p. 222). Pringle’s lines formed part of his long poem ‘The Autumnal Excursion’, published in The Poetical Works of Thomas Pringle (London, 1838), pp. 117–34, (120–21). Nonetheless, Hogg lists the song as ‘written by James Hogg’ in a letter dated 17 November 1828, in which he grants the copyright of his songs within The Scotish Minstrel to the publisher, Robert Purdie (Letters, II, 316). The song ‘The Covenanter’s Tomb’ extracts part of this original text and there are some emendations made for its inclusion as a song lyric in volume two of The Scotish Minstrel in [1821]. The original text is an ardently nationalistic narrative poem in rhyming couplets that bemoans the English colonisation of the Scottish nation and laments the loss of Scottish life in the process. Hogg selects a passage from fairly early in the text beginning ‘’Tis a heart-stirring sight to view’ and lifts

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directly from the poem, breaking it into octaves for his song lyric. He removes the couplet from the poem that immediately follows ‘The despot’s champion, bloody Graham’; the final four lines of his song are two couplets from later in the text, which he puts together to complete the final verse of the song. Aside from some changes in punctuation there are few substantive variants from the text included in Poetical Works. A footnote below the first verse of the song in the first edition of The Scotish Minstrel notes, ‘Many of the Martyrs tombs are still to be seen in Scotland. — For a true account of their sufferings during the times of the persecution. See Woodrows Hist: [sic.]’. The note is removed in the second edition and revised in the third: ‘One of these Tombs are to be seen in the Pentland hills, and in many of the Kirk yards in Scotland’. The song retains its placing on pp. 98–99 of vol. II in all three key editions, and the text is unchanged with the exception of minor variations in capitalization. No manuscript of the song has been located. Publication History: [1821] – The Scotish Minstrel, II, 98–99 — pp. 248–50 and 268–69 in the present edition Musical Context: The air is entitled ‘The Covenanters Tomb’. No other melodies with this title have so far been located, and probably it was created by R. A. Smith for this collection. Smith provides a note, marked with an asterisk, at the bottom of the musical plate. Normally in his edition he also marks the title of the song to which the note applies with an asterisk (see ‘Iona’ as an example). But there is no asterisk given beside the title here, presumably because the song begins at the bottom of the page. Explanatory Notes: 249, l. 12 moss-cleughs narrow gorges or glens covered with moss. 249, l. 14 the Clyde and Tweed major Scottish rivers. 249, l. 17 traitor kings Charles I (1600–1649) and Charles II (1630–1685), whose ecclesiastic policies fuelled both the Civil War and subsequent Covenanting wars in the seventeenth century. 249, l. 18 basely sold Their country’s fame for Gallic gold echoes Burns’s ‘Parcel of Rogues in Nation’ (1791). 249, l. 24 bloody Graham John Graham of Claverhouse, Viscount Dundee (1648–1689). A distant relation of the fifth Earl of Montrose, he rose to prominence in action in the Low Countries in the latter half of the seventeenth century. On his return to Scotland he took commission of an independent Troop of Horse with orders to suppress sedition in the west of Scotland and entered Covenanting lore as ‘bluidy Graham’. He was killed in action as a Jacobite commander during the Battle of Killiecrankie in July 1689. Bonnie Prince Charlie (pp. 250 and 272–73) See the note to ‘Charlie’ in A Border Garland [1819]. This song was first included in the 3rd edition of Smith’s The Scotish Minstrel in c.1828–37. The publisher Robert Purdie was resident at 83 Princes Street (the address given on the title page for this edition) during that period.

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Sir David Græme (pp. 250–52 and 275) Creative Context: This ballad already has a substantial publishing history prior to its inclusion in the third volume of R. A. Smith’s collection, The Scotish Minstrel in [1821]. It first appeared in the Scots Magazine in 1805 and was later included in both the 1807 and 1821 editions of The Mountain Bard. For a full account of the publishing and textual history see The Mountain Bard (S/SC, 2007). In summary, Hogg appears to have created the song in 1805, as he mentions in his letter to Walter Scott of [1 December] 1805, with a view to its inclusion in his forthcoming volume of ballads that became The Mountain Bard and he regarded it at that time as ‘my best ballad without exception’ (Letters, I, 42). Suzanne Gilbert’s explanatory notes illustrate how closely Hogg’s ballad relates to elements of oral tradition. Hogg appears to have redrafted the 1807 version of the ballad specifically for inclusion in The Scotish Minstrel. However, only the first 17 stanzas of the ballad appear in this song version, while the previous versions ran to 37 (1805, 1807) or 42 (1821) stanzas. A comparison with the 1807 version reveals numerous textual variants. For example, ‘dow’ or dove is spelt ‘do’e’ throughout, and ‘ilka breast’ (l. 40) is rendered ‘every breast’ in The Scotish Minstrel. One of the most substantial variants is the redrafting of the final line from ‘The flower o’ a’ the British Isle’ to ‘The bravest Knight in Britain’s isle’. Some changes are perhaps the result of printer’s error. For example, ‘Reider fells’, an imaginary place-name, replaces ‘Kielder fells’ [near Dryfe Water] of The Mountain Bard (l. 29). The song retains its placing on p. 49 of vol. III in all three key editions of The Scotish Minstrel; however, the text printed in the second and third editions varies slightly from the first edition. There are numerous variations in capitalization (for example, Lady/lady; Father’s/father’s) and spelling (for example, and/an’; luve/ love, and hally/haly). A possible printer’s error may explain the change from ‘day’ to ‘lay’ at the end of l. 35 in both the second and third editions. A manuscript fragment that most closely reflects the Scots Magazine version of the ballad is held at NLS Acc. 9764 and is reprinted in The Mountain Bard, (S/SC, 2007), pp. 137–38. No other manuscript version is extant. Publication History: 1805 – ‘Sir David Graham. A Border Ballad’, Scots Magazine, 67 (September 1805), 701–03 — see The Mountain Bard (S/SC, 2007), pp. 138–42 1807 – The Mountain Bard (1807), pp. 3–14 — see (S/SC, 2007), pp. 21–25 and 403–05 1821 – The Mountain Bard (1821), pp. 1–16 — see (S/SC, 2007), pp. 235–40 and 490–91 1821 –The Scotish Minstrel, III, 49 — see pp. 250–52 and 275 in the present edition Musical Context: The tune is named as ‘Sir David Graeme’ in the index of ‘airs’ to the first edition of the song in Smith’s The Scotish Minstrel and on the musical plate it is referred to as the ‘Old Ballad’. This is emended to ‘Border Air’ in the second and third editions. No further information about the source or history of the melody has been located.

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Explanatory Notes: See The Mountain Bard (S/SC, 2007), pp. 403–05. Lord Eglinton’s Auld Man (pp. 253 and 277) Creative Context: A full account of the publication and textual history of the song is provided in The Forest Minstrel (S/SC, 2006), where it first appeared in the category of ‘Pathetic Songs’. It was subsequently reprinted with only minor variants in the fourth volume of Hogg’s Poetical Works in 1822. In summary, Hogg appears to have created it especially for The Forest Minstrel as he refers to it directly in a letter to his friend Eliza Izett of 11 December 1808 (Letters, I, 98). Garside and Jackson note that this song is a fine example of Hogg’s efforts to ‘fuse elements of the ‘folk’ and ‘drawing room’ song traditions’. The Scotish Minstrel version reprints only the first and last verses of this song of four verses, again with only minor variants. The song is printed on p. 84 of the fourth volume in the first edition and moves to p. 88 in the second and third editions. The text remains stable throughout. No manuscript has been located. Publication History: 1810 – The Forest Minstrel pp. 33–34 — see (S/SC, 2006), pp. 39–41 and 245–46 1822 – Poetical Works, IV, 339–40 [1822] –The Scotish Minstrel, IV, 84 — see p. 253 and 277 in the present edition Musical Context: No air title is given with the song’s appearance in The Scotish Minstrel, but strangely the air is different from that referred to in The Forest Minstrel. Garside and Jackson note ‘no tune is allocated beneath the title of this song in The Forest Minstrel (1810) presumably because the title is itself the name of a tune with which, as indicated above, Hogg was familiar’(S/SC, 2006), p. 246. Hogg mentions the tune ‘Lord Eglinton’s auld man’ in his letter to Eliza Izett of 11 December 1808 and as Garside and Jackson note it was a popular tune included in several fiddle collections from those of Gow right through the early decades of the nineteenth century. The air that Smith uses has not been identified. Explanatory Notes: See The Forest Minstrel (S/SC, 2006), pp. 245–46. Farewell to Glen-Shalloch (pp. 253–55 and 279) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd (S/SC, 2014). Additional information can be found in Jacobite Relics, II (S/ SC, 2003). In summary, this song first appeared in the Second Series of The Jacobite Relics of Scotland in 1821. The note ‘From the Gaelic’ is printed beneath the title of the song, which would suggest that Hogg had collected it, but Murray Pittock believes it is ‘probably by Hogg’. Hogg’s 1831 headnote gives details about the creation of the song as being part of a process of ‘translating’ from the Gaelic. When it appeared in Smith’s The Scotish Minstrel it had clearly been lifted directly from Jacobite Relics and the song remained unaltered across the editions of Smith’s

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collection. In 1828, when Robert Purdie decided to produce The Border Garland, with new musical settings by James Dewar, Hogg assigned the copyright of this song, amongst others, to Purdie (see Letters, II, 315–16), but it did not appear in the 12 songs included in this collection. The text was slightly altered for inclusion in Songs by the Ettrick Shepherd in 1831. The only extant manuscript of the song is found in Hogg’s fair-copy manuscript of Songs 1831at NLS MS 4805, ff. 32r–33r. Publication History: 1821 – in Jacobite Relics, II, 160–62 and 355 — see also (S/SC, 2003), p. 518 [1823] – in The Scotish Minstrel, V, 9 — see pp. 253–55 and 279 in the present edition 1831 – in Songs by the Ettrick Shepherd, pp. 22–25 — see (S/SC, 2014), pp. 12–13 Musical Context: There is a complicated story relating to the melody or air associated with ‘Farewell to Glen-Shalloch’. Hogg’s initial note in Jacobite Relics refers to a beautiful ‘original air’ but he notes that this is not the air published in Relics. He states that William Stenhouse has chosen a traditional Gaelic tune entitled ‘M‘Gregor-a-Ruara’, which Hogg argues might be easier to sing. But beside Hogg’s note to the song he gives another melody that he refers to as the ‘true air’ from Simon Fraser’s The Airs and Melodies Peculiar to the Highlands of Scotland of 1816 where it is apparently titled ‘Bodhan an Eassain’. It is this ‘true air’ that Smith then uses for the song in The Scotish Minstrel, though he slightly amends it by setting it in a much lower key (so that it is easier for the voice) and he irons out some of the more intricate rhythms. The Stenhouse choice of Gaelic tune is quite unlike this ‘true air’. It is much more regular and has a more militaristic feel to it than the Fraser tune, which may well have piping origins, and which hints at loss and lament. Murray Pittock also notes the similarities with another tune in Patrick MacDonald’s Highland Airs of 1784 (see Jacobite Relics, II, 518). Explanatory Notes: See Songs by the Ettrick Shepherd, p. 163. The Hill of Lochiel (pp. 255–56 and 281) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd (S/SC, 2014). Additional information can be found in Jacobite Relics, II (S/SC, 2003). In summary, there is no information about the creation of this song, but it did first appear in the Second Series of Jacobite Relics in 1821 as Song CIX. In the Relics Hogg notes that the song is ‘From the Gaelic’, translated by ‘Captain John Steuart’. As with ‘Farewell to Glenshalloch’, Murray Pittock believes it is most probably Hogg’s own creation. Hogg sent it to Robert Archibald Smith for inclusion in his The Scotish Minstrel where it appeared in the fifth volume in [1823]. Textually it is the same as the version in the Relics. It is the musical publication in Smith’s collection to which Hogg refers in his 1831 headnote, but Hogg makes several changes to the text for inclusion in Songs by the Ettrick Shepherd. This song is included in Hogg’s fair-copy manuscript for Songs 1831 at NLS MS 4805, ff. 57v–58v. No other manuscritps have been located.

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Publication History: 1821 – in Jacobite Relics, II, 209–11 and 377–78 — see also (S/SC, 2003), p. 524 [1823] – in the The Scotish Minstrel, V, 12 — see pp. 255–56 and 281 in the present edition 1831 – in Songs by the Ettrick Shepherd, pp. 140–42 — see (S/SC, 2014), pp. 64–65 Musical Context: In his notes to the song both for Relics and Songs 1831 Hogg makes a great deal about the air or melody, being the tune with the title ‘Braighe Loch Iall’ [‘The Braes of Lochiel’], which is No. 44 in Simon Fraser’s collection. But in his ‘errata’ for Jacobite Relics (p. 480) he states that the tune in the Relics is in fact a very different tune known as ‘The Banks of Devon’ (‘Bhannerach dhon na chri’), which Glen notes is a Highland melody not found in print before its appearance in SMM with Burns’s words (see Glen p. 112; SMM (1788), No. 157). Fraser’s notes to the melody in his collection refer closely to the events Hogg describes in his song (see Fraser, p. 108). The tune that appears with the song in R. A. Smith’s The Scotish Minstrel, is, however, the same as the tune in Relics — namely ‘The Banks of Devon’ — and in the same key. So it would appear that Hogg’s song never appears in print with his first choice of tune. A version of ‘Braighe Loch Iall’, with musical notation, together with a parallel English translation, is printed in Songs of Gaelic Scotland, by Anne Lorne Gillies (Edinburgh: Birlinn, 2005), pp. 257–59. The title and tune are the same, which Gillies translates as ‘The Braes of Lochiel’ (p. 257). She notes that it is ‘a beautiful song of parting’ and that is has ‘long been a favourite among Gaelic singers and instrumentalists alike’ (p. 259). Explanatory Notes: See Songs by the Ettrick Shepherd (S/SC, 2014), p. 238. Maclean’s Welcome (pp. 257 and 282–83) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd (S/SC, 2014). Additional information can be found in Jacobite Relics, II (S/SC, 2003). As with the two songs immediately above and included in Smith’s The Scotish Minstrel, this one was first published in the Second Series of Jacobite Relics in 1821 and Murray Pittock has concluded that the song is Hogg’s own, even if Hogg himself notes that he has ‘versified’ it from a Gaelic source. But in his 1831 headnote Hogg suggests that the inspiration for this particular song was a visit to Meggernie Castle in Glen-Lyon and a possible performance of the song by Mrs Menzies of Culdares, who was the subject of a fiddle tune that had appeared in fiddle collections by Joshua Campbell and the Gow family from the 1780s onwards. If this is so, then the date of composition is earlier than 1821. While there are one or two emendations to the text it is clear that the Relics text had been used by Smith for his Scotish Minstrel. For Songs 1831 Hogg sticks to this text with few emendations. Hogg’s fair-copy holograph version of the text found in Songs 1831 is in the fair-copy manuscript for the collection at NLS MS 4805, ff. 40r–41r. There is no other extant manuscript.

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Publication History: 1821 – in Jacobite Relics, II, 90–92 and 300–01 — see (S/SC, 2003), also pp. 505–06 [1823] – in The Scotish Minstrel, V, 54–55 — see pp. 257 and 282–83 in the present edition 1831 – in Songs by the Ettrick Shepherd, pp. 68–70 — see (S/SC, 2014), pp. 32–33 Unauthorised versions: See Songs by the Ettrick Shepherd (S/SC, 2014), pp. 195–96. Gooch and Thatcher list a further ten unauthorised and later versions of the song: 8732–8741. Musical Context: Hogg’s note to the song in Jacobite Relics is very useful here for he refers to the variant of the melody included in Simon Fraser’s The Airs and Melodies Peculiar to the Highlands of Scotland of 1816 and notes also that ‘his [Fraser’s] are always the best sets I have ever either seen or heard’. Hogg is often critical of William Stenhouse’s notation for the Relics. In this case Stenhouse’s simple unnamed melody is that also used (in the same key) by Smith in The Scotish Minstrel. Explanatory Notes: See Songs by the Ettrick Shepherd (S/SC, 2014), p. 196. The Highlander’s Farewell (pp. 257–58 and 284) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd (S/SC, 2014). Additional information can be found in Jacobite Relics, II (S/SC, 2003). In summary, as with the songs immediately given above, there is no information about the specific creation of this song short of its initial publication in the Second Series of the Jacobite Relics in 1821 where Hogg noted that it was ‘From the Gaelic’. Pittock states that it is most unlikely that the text is from the Gaelic but there is evidence that the tune has Gaelic roots. He also notes that this song is the reverse of the gallant ‘Highland Laddie’ genre. Like ‘Farewell to Glen-Shalloch’, ‘The Hill of Lochiel’ and ‘ MacLean’s Welcome’ this was one of the Jacobite songs Hogg sent to Robert Archibald Smith for inclusion in The Scotish Minstrel where it appeared with those above in the fifth volume in [1823]. And as with the others, Hogg most probably used the Relics text as copy text for The Scotish Minstrel, as there are no changes between the two. In the second and third editions of The Scotish Minstrel the song moves to the sixth volume within the collection (p. 97). One slight change occurs on l. 9 in the second edition, where ‘might’ becomes ‘night’. This is most likely the result of a printing error, revealing that this is a new plate. The error is carried forward into the third edition where the title is altered to ‘The Hielander’s Farewell’ but otherwise the song is textually unaltered from the Jacobite Relics version. Hogg then made several changes to the text before printing it in Songs by the Ettrick Shepherd in 1831. There are no extant manuscripts of this song, and it is one of those missing from the fair-copy manuscript for Songs by the Ettrick Shepherd at NLS MS 4805, ff. 26–102. Publication History: 1821 – in Jacobite Relics, II, 185–86 and 369 — see also (S/SC, 2003), p. 521 [1823] – in the The Scotish Minstrel, V, 88 — see pp. 257–58 and 284 in the present edition

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1831 – in Songs by the Ettrick Shepherd, pp. 131–32 — see (S/SC, 2014), pp. 60–61 Unauthorised versions: See Songs by the Ettrick Shepherd (S/SC, 2014), p. 233 Musical Context: Hogg makes no comment about the melody or the musical setting. Pittock notes that there is good evidence to suggest that the melody that appears beside the song in Jacobite Relics is of Gaelic origin. This is not the same melody used by Smith for The Scotish Minstrel. The tune presented by Smith is also noted to be a ‘Gaelic air’ but he gives no title. Explanatory Notes: See Songs by the Ettrick Shepherd (S/SC, 2014), pp. 233–34. Lenachan’s Farewell (pp. 258–59 and 287) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd (S/SC, 2014). Additional information can be found in Jacobite Relics, II (S/SC, 2003). In summary, this is another of Hogg’s songs from the Second Series of Jacobite Relics of 1821 to have been sent to Smith for inclusion in The Scotish Minstrel, where it appears in the sixth and final volume in [1824]. There is little information about its initial creation, though Hogg notes in the Relics that he collected the song from Mr John Stewart, who had in turn translated it from a Gaelic emigrant by the name of Macmurich. This would suggest that Hogg is simply a vehicle for transmission, and Murray Pittock notes the lack of textual evidence for Hogg’s creation of the song. There are changes between the Relics text and that printed in Smith’s collection, and the Smith text is clearly the copy text for the version Hogg then prints in Songs by the Ettrick Shepherd in 1831. The note to the song in Songs by the Ettrick Shepherd (S/SC, 2014) lists the emendations in detail. Notably in 1831 Hogg’s headnote emphasises the strength and power of the named Jacobite Alexander Stuart (also celebrated in Hogg’s song ‘The Stuarts of Appin’). The manuscript of ‘Lenachan’s Farewell’ for Songs 1831 is located at NLS MS 10256, ff. 64–66, which comprises Hogg’s fair-copy holograph manuscript versions of three songs: ‘Lenachan’s Farewell’ (f. 64), the title of ‘The Stuarts of Appin’ (ff. 64v–65r), and ‘The Poor Man’ (f. 65). There are no other extant manuscripts. Publication History: 1821 – in Jacobite Relics, II, 189–90 and 370 — see also (S/SC, 2003), p. 522 [1824] – in The Scotish Minstrel, VI, 45 — see pp. 258–59 and 287 in the present edition 1831 – in Songs by the Ettrick Shepherd, pp. 56–58 — see (S/SC, 2014), pp. 27–28 Musical Context: The melody is named in Hogg’s notes for the song in the Second Series of Jacobite Relics (see above) where he states that the tune ‘Ho cha neil mulad oirn’ is included in Simon Fraser’s The Airs and Melodies Peculiar to the Highlands of Scotland of 1816 (No. 226). Hogg clearly admired Fraser’s collection, as noted in the case

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of a number of Jacobite melodies. This one, as printed in Relics is both bold and slightly melancholic, and sounds very much like a pipe tune. It is this tune (in a different key) that Smith sets for The Scotish Minstrel. In all editions of the Scotish Minstrel, Smith prints the Gaelic spelling of the tune with a translation alongside, ‘Ho cha neil mulad oir’, or ‘The Emigrant’s Adieu’. Explanatory Notes: See Songs by the Ettrick Shepherd (S/SC, 2014), pp. 189–90. Callum-a-Glen (pp. 259–60 and 288–89) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd (S/SC, 2014). Additional information can be found in Jacobite Relics, II (S/SC, 2003). In summary, there is little detailed information about the creation of the song, but it first appears in the Second Series of Jacobite Relics in 1821 with the title ‘Callum-a-Glen. From the Gaelic’. As with ‘Farewell to Glen-Shalloch’ it may well have been one of the ‘few Gaelic translations of Jacobite songs’ that Hogg mentions in his letter of 4 March 1820 to David Laing (see Letters, II, 13–14). Murray Pittock states that there is too little textual evidence to be able to ascertain Hogg’s creative input in this song. Along with several other Jacobite songs by Hogg, it appears in the sixth and final volume of R. A. Smith’s The Scotish Minstrel in [1824], where the copy text is the version found in Jacobite Relics. Across the several editions of Smith’s collection ranging through the 1830s the song is found without any major textual variation. There is no extant manuscript of the song: this is one of the songs missing in Hogg’s fair-copy manuscript (NLS MS 4805) for this 1831 collection. Publication History: 1821 – in Jacobite Relics, II, 155–56 and 353–54 — see also (S/SC, 2003), p. 517 [1824] – in The Scotish Minstrel, VI, 56–57 — see pp. 259–60 and 288–89 in the present edition 1831 – in Songs by the Ettrick Shepherd, pp. 45–46 — see (S/SC, 2014), p. 22 Unauthorised versions: See Songs by the Ettrick Shepherd S/SC, 2014), p. 178. In musical terms Gooch and Thatcher list a further three unauthorised and later versions: 8644–8646. Musical Context: Hogg is more concerned, in both Jacobite Relics and in Songs 1831, to present information about the melody for the song than with the text. He strongly disagrees with William Stenhouse’s choice of tune in Relics. Thus, as he does for ‘Farewell to Glenshalloch’, Hogg chooses to give an ‘older’ Gaelic tune in full in his note for Relics. The tune is ‘Callum a ghlinne’ [Malcolm of the Glen] from Simon Fraser’s influential collection The Airs and Melodies Peculiar to the Highlands and Islands (Edinburgh, 1816) p. 103, No. 229. This is also the tune used by Smith for The Scotish Minstrel in [1824]. Stenhouse’s choice of tune for Jacobite Relics is understandable, as the tessitura of the melody is much lower than Fraser’s tune and in general it is easier to sing. But it does lack the character and the wildness of Fraser’s tune, which Hogg clearly much preferred. The Fraser tune has a wide range, reminiscent of pipe tunes and a wonderful flattened seventh of the scale

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(common to the myxolydian mode), which makes the tune particularly expressive and thus ideal for the tenor of the lyric of old Callum. Information about a melody with the title ‘Callum a Ghlinne’ is also given by Donald Campbell in his essay on ‘The Music, Poetry, and Traditions of the Highlands’ in Tait’s Edinburgh Magazine for May 1849 (271–81). See also Anne Lorne Gillies’s Songs of Gaelic Scotland (Edinburgh: Birlinn, 2005), pp. 506–08, which gives information about the creation of a song of this name which she believes was composed by ‘Malcolm Maclean (Calumn of the glen) of Kinlochewe, Rosshire, who flourished in the first half of the eighteenth century’ (p. 508). Explanatory Notes: See Songs by the Ettrick Shepherd (S/SC, 2014), p. 179. Kane to the King (pp. 260–61 and 290) Creative Context: ‘Kane to the King’ appears to date from Hogg’s work on Jacobite song in the late 1810s. It was first published as Song LXXIII in the Second Series of Jacobite Relics in 1821 with the words ‘From the Gaelic’ printed below the title (pp. 147–48). Murray Pittock categorises the song as ‘a known air’ where there is evidence of its use in both manuscript and printed texts. Hogg’s use of a melody from Simon Fraser’s Airs and Melodies Peculiar to the Highlands and Islands of 1816 also clearly links the song to Gaelic tradition. Hogg’s own note (pp. 351–52) gives a detailed account of the history behind the song relating to ‘the Lady of Moy’ and more notably a ‘still more celebrated heroine’, Miss Jenny Cameron, who helped raise an army and lead it to Prince Charlie in advance of his march into England. The song appears nowhere else in Hogg’s opus and no manuscript has been located. R. A. Smith then includes the song in his final sixth volume of the first edition of The Scotish Minstrel in [1824] where it appears on p.60 — but it is later moved to pp. 70–71 of the same volume in the second and third editions. The copy text is the Jacobite Relics version, and a textual comparison reveals only minor variations in spelling (for example, Bonny/Bonnie; ranting/rantin). There are some minor textual variations between the three editions of The Scotish Minstrel. Most significantly, in the third edition at l. 17, ‘Highlandmen’ becomes ‘Hielandmen’. The song appears in Jacobite Minstrelsy; with Notes Illustrative of the Text, and Containing Historical Details in Relation to the House of Stuart, from 1640–1784 (Glasgow: Richard Griffin and Co., 1829), pp. 173–74. Gillian Hughes notes that Griffin ‘plundered’ Hogg’s Jacobite Relics for material (James Hogg: A Life, p. 156), and that Hogg had complained about this in a letter to Robert Blackwood, of 4 May [1829]. He writes: ‘There is a new work lately come to my hand “The Jacobite Minstrelsy of Scotland” which is the most bare faced plagiarism that ever was attempted. It is by a Griffin & Co Glasgow Nearly one half of the songs are my own genuine copyright attained by myself at great trouble and expense and no one has the least right in them but myself’ (Letters, II, 341). Publication History: 1821 – Jacobite Relics, II, 147–48 — see (S/SC, 2003), p. 147–48 and 516 [1824] –The Scotish Minstrel, VI, 60 [then 70–71 in later editions] — see pp. 260–61 and 290 in the present edition

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Musical Context: The ‘Air’ or melody to which Hogg’s song is set is entitled “Brigus mhic ruaridh” (misspelled ‘mich’ in the second and third editions of The Scotish Minstrel ), which is also the air of the Jacobite Relics version. Indeed the melody in the first edition of The Scotish Minstrel is clearly taken directly from that included in the Relics. According to Hogg’s note to the Jacobite Relics, this is ‘a beautiful and most original Gaelic air’ and he also refers to the English translation of its title as ‘stealing from the men with the breeks’ (S/SC, 2003), p. 352. The tune in Fraser’s Airs and Melodies Peculiar to the Highlands and Islands of 1816 (No. 147) is not exactly that used by Hogg for Jacobite Relics, but is clearly a variant of the same tune and it appears with its title given in translation as ‘The Stolen Breeks’. Explanatory Notes: 260, [Title] a payment in kind, a restorative payment. In his extended note in Jacobite Relics (1821) Hogg writes, ‘this seems to have been made by some Highland minstrel, to instigate the chiefs of the prince’s army to a foray on the Grants, and others of their Whig friends, after the retreat of the army to the north’ (p. 562). 260, l. 4, 7–11 Knockhaspie [...] Gillespie, | Callum, Rouky, nor Alan, | Monnaughty, Tannachty, Moy and Glentrive, | Brodie, and Balloch, and Ballindalloch these lines are similar to Hogg’s earlier listing of real and imaginary Highland clans and mixing loyalist with royalist clans in the closing lines of ‘Donald Macdonald’, where Hogg mingles real and fictional clan names to express and exaggerate the extent of Highland support for the rebellion. 260, l. 13 Strathaven – a town in the valley of the river Avon in South Lanarkshire. 260, l. 20 lady of Moy Lady Anne, or‘Colonel Anne’ Mackintosh was instrumental in raising forces for the ‘Rout of Moy’ in 1746. Both Lady Anne and the ‘Rout of Moy’ play a prominent part in the events of the final segment of Hogg’s The Three Perils of Woman (1823). 261, l. 21 Appin […] Glengary names associated with Jacobite military might. 261, l. 24 Keppoch and Dunain Macdonald of Keppoch died at Culloden. The Macdonalds of Keppoch had their stronghold in the Lochaber region of Western Highland Scotland. 261, l. 27 Mark for the seven that is, using the constellation of the ‘Plough’ as a guide. 261, l. 28 the Spey a major river in the northeast of Scotland. 261, l. 31 Badenoch the south-eastern district of Inverness-shire Oh Hon O Ri (pp. 261–62 and 291) See the note to ‘Why should I Sit and Sigh’ in Alexander Campbell’s Albyn’s Anthology (1816). O Strike Your Harp, My Mary (pp. 262–63 and 292–93) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd (S/SC, 2014) where it appears with the title ‘Cameron’s Welcome Hame’. In summary, this song (which shares its theme with ‘The Hill of Lochiel’, included in the fifth volume of R. A. Smith’s The Scotish Minstrel), was most

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probably created in the early 1820s when Hogg was working on songs for George Thomson. It is first mentioned in a letter to Thomson of March 1822 (Letters, II, 149) and it clearly has Jacobite resonance following Hogg’s work on the Second Series of Jacobite Relics the previous year. Thomson decided not to publish the song, but, undeterred, Hogg asked him in his letter of 21 March to return it so that he could publish it himself (Letters, II, 157–58). The song subsequently appeared amongst several Hogg songs in the sixth and final volume of The Scotish Minstrel completed in January 1824 under the title ‘O Strike Your Harp, My Mary’. In the first edition the song is printed over pp. 70–71, but appears on pp. 20–21 in the second and third editions. Collation between Hogg’s original manuscript submitted to Thomson in March 1822 and the version published in the first edition of The Scotish Minstrel reveals significant redrafting of verses three and five. The copy text for Songs 1831 is the version in The Scotish Minstrel with slight verbal variations. Hogg’s fair-copy holograph manuscript of the original version submitted to Thomson in March 1822 survives at NLS MS Acc. 9789, together with Hogg’s accompanying letter and a typescript. The holograph is undated and there is no watermark so that the original date of composition is not known. The full text of the song and Hogg’s letter to Thomson are reprinted in Letters, II, 153–55. The fair-copy manuscript of the song for Songs 1831 is at NLS MS 4805, ff. 55v–59r. Publication History: [1824] – in The Scotish Minstrel, VI, 20–21 — see pp. 262–63 and 292–93 in the present edition 1831 – in Songs by the Ettrick Shepherd, pp. 121–23 — see (S/SC, 2014), pp. 55–56 Musical Context: Hogg’s 1831 headnote states that the ‘song was written to the Highland air bearing that name’ and he understandably refers his reader to Smith’s The Scotish Minstrel for a musical setting. Originally composed to match the spirited tune ‘Rattling, Roaring Willie’ for Thomson’s collections, Smith chooses to set the lyric to a melody with very different mood. ‘Rattling Roaring Willie’ was a spirited traditional border tune best known to Burns’s lyric with this title: see Donald A. Low’s, The Songs of Robert Burns (London: Routledge, 1993), pp. 276–77 (p. 276) and also in Stenhouse, p. 184. This tune had already appeared in Johnson’s SMM, II, No. 192. But the first edition of The Scotish Minstrel notes that the air is ‘Cameron’s welcome hame’ and Smith notes on the musical plate that the melody has been ‘written from the singing of Mrs Maxwell Senr. of Bredliand. This is also marked ‘lively’ but the tune bears no resemblance to ‘Rattling Roaring Willie’. Explanatory Notes: See Songs by the Ettrick Shepherd (S/SC, 2014), p. 225. Good Night an’ Joy Be wi’ You A’ (pp. 263–64 and 294) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd of 1831 (S/SC, 2014). In summary, as Hogg states in his 1831 headnote, this song was created as the final song for R. A. Smith’s sixth and final volume of The Scotish Minstrel of [1824]. Smith must have invited Hogg to produce lyrics for the song sometime in

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,

1823. His letter to Hogg is not extant, but there is a letter from Smith to William Motherwell, dated 14 November 1823, in which Smith refers to Hogg’s text. In short Smith was not enamoured with Hogg’s attempt at a song for the melody and was asking Motherwell if he might also provide a superior one (GUL Robertson MS, ff. 26–27). Smith was also not impressed with Motherwell’s attempt and apparently left the final decision to ‘the Ladies’ of his house (GUL Robertson MS, f. 30).They clearly chose Hogg’s text. After its first appearance in [1824] Robert Purdie published two further editions of Hogg’s song in the Scotish Minstrel during Hogg’s lifetime (between 1829–1834). Both versions appear to reuse the original plate and all versions occupy the same important position in the final sixth volume (p. 104). The song also appeared, with several changes (and different Scots orthography), in Blackwood’s Edinburgh Magazine in May 1828, sung by the ‘Shepherd’ in Noctes Ambrosianae No. XXXVI, at the conclusion of a Noctean revel, so that the ‘night’ rather than ‘year’ is ‘wearing to the wane’. When Hogg chose to conclude his Songs by the Ettrick Shepherd with the song he appears to have worked with the Smith version rather than the text from Blackwood’s. No manuscript of the Smith or Blackwood’s versions of the song have been located. NLS MS 3112, f. 280, appears to be Hogg’s fair-copy version of the song, which he composed as ‘an appropriate conclusion’ to Songs 1831.

Publication History: [1824] – in The Scotish Minstrel, VI, 104 — see pp. 263–64 and 294 in the present edition 1828 – in Blackwood’s Edinburgh Magazine, 23 (May 1828), 80 — see also (S/SC, 2008), pp. 315 and 548 1831 – in Songs by the Ettrick Shepherd, pp. 310–11 — see (S/SC, 2014), pp. 135 Musical Context: Hogg and Smith are here choosing a well-known melody with an established ancestry. Robert Burns used it twice: for the final song in Johnson’s Scots Musical Museum and also for his song, ‘The Farewell. To the Brethren of St. James’ Lodge, Tarbolton’ (Kinsley, 115), which first appeared in his ‘Kilmarnock Edition’ in 1786. The old words to which Burns refers in his letter to Johnson of Aug. or Sept. 1795 were traditionally sung at parting during this period. Johnson took his advice and included the song as the final piece in the sixth volume of the SMM in 1803 (No. 600, p. 370), but with Burns’s text rather than the old song. Glen comments further that a variant of the same tune was found in the Skene Manuscript (c.1620) with the title “Good Night, and God be with you”. He also notes its Scottish roots as it appeared under the same title in Henry Playford’s “Original Scotch Tunes (Full of the Highland Humours) for the Violin; Being the first of this kind yet printed, etc” in 1700. This work was published in London by the son of John Playford. (Glen, p. 241). The traditional words given by Burns later appeared in Minstrelsy of the Scottish Border (1802/03) as a fragment of two verses titled ‘Armstrong’s Goodnight’ where, although he did not mention his source, Scott’s note acknowledged that ‘the tune is popular in Scotland, but whether these are the original words will admit of some doubt’. Clearly Hogg would also have known the song in this context.

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Explanatory Notes: See Songs by the Ettrick Shepherd (S/SC, 2104), pp. 332–33.

The Irish Minstrel [1825] The Minstrel Boy (pp. 301 and 308–09) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd of 1831 (S/SC, 2014). And an account of the copyright wrangle about Hogg’s songs for R. A. Smith’s The Irish Minstrel is given in the introduction to this collection in the present edition (pp. 297–300). In summary, there is little information about the creation of the song, but it appears to have been produced for Smith’s The Irish Minstrel in [1825]. It is clearly based on Thomas Moore’s more famous lyric beginning ‘The Minstrel-Boy to the war is gone/ In the ranks of death you’ll find him’ which first appeared in 1813 in the fifth number Irish Melodies (VI) with the same title and set to the same melody ‘The Moreen’. There are two different versions of Hogg’s ‘The Minstrel Boy’ in the fair-copy manuscript for Songs by the Ettrick Shepherd of 1831 at NLS MS 4805, at ff. 31v–32r and at f. 57r. The text of both songs is identical in both manuscripts, but Hogg wrote out a new headnote for the second version of the song. Hogg clearly used the song in Smith’s collection as copy text for his later version included in Songs by the Ettrick Shepherd. Publication History: [1825] – in The Irish Minstrel, pp. 14–15 — see p. 301 and 308–09 in the present edition 1831 – in Songs by the Ettrick Shepherd, pp. 20–21 — see (S/SC, 2104), p. 11 Musical Context: The air or melody ‘The Moreen’ is a wide-ranging and melancholic tune, still best known in association with Moore’s lyric from Irish Melodies, yet often set by composers, such as Beethoven, with a more aggressive war-like tempo. A published source for the air before its appearance with Moore’s text in 1813 has not been found and it is reasonable to conclude that Moore may have received it in manuscript form. The melody did appear in 1816 in the second volume of George Thomson’s A Select Collection of Irish Airs. It would appear that Smith uses Moore’s Irish Melodies as his source for the tune, which is even in the same key. How Dear to Me the Hour (pp. 301 and 310) Creative Context: As above, a full textual and publishing history for this song is given in Songs by the Ettrick Shepherd of 1831 (S/SC, 2014). And an account of the copyright wrangle about Hogg’s songs for R. A. Smith’s The Irish Minstrel is given in the introduction to this collection in the present edition (pp. 297–300). In summary, this is another of the eight Irish songs Hogg created for inclusion in the first edition of Smith’s The Irish Minstrel in [1825]. As with the other songs in this group, Hogg’s song shares a great deal of similarity with a partner song

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by Thomas Moore: in this case Moore’s ‘How Dear to me the Hour’ to the tune ‘The Twisting of the Rope’, which first appeared in in the second number of Irish Melodies in 1808 (II). Hogg’s song echoes Moore’s original lyric notably in the first line, where Moore’s evening setting — ‘How dear to me the hour when day-light dies’ is replaced by Hogg’s daytime setting — ‘How dear to me the hour when daylight springs’ (l. 1). But his version was deemed too close to Moore’s to be one of the three songs included in Smith’s second edition of The Irish Minstrel in c.1828. Hogg made significant changes to the song for its inclusion in Songs by the Ettrick Shepherd in 1831. There is an extant manuscript in Hogg’s fair-copy manuscript for Songs by the Ettrick Shepherd of 1831 at NLS MS 4805, f. 57v. Publication History: [1825] – in The Irish Minstrel, p. 73 — see pp. 301 and 310 in the present edition 1831 – in Songs by the Ettrick Shepherd, p. 139 — see (S/SC, 2104), p. 63 Musical Context: Smith appears to have used Moore’s Irish Melodies as his musical source. ‘The Twisting of the Rope’ is even in the same key as the tune in Moore’s collection, though the rhythm of the ending of the song is slightly different and Moore’s setting accommodates a number of semiquaver rests (for the singer to breathe) which Smith omits. Moore’s semiquaver upbeat is also turned into a quaver by Smith. Otherwise the two are very similar. Moore clearly used Edward Bunting’s collection as the source for his melody: namely, Edward Bunting, A General Collection of theAncient Irish Music (London: Preston and Son, 1796). Bunting obtained the air from Rose Mooney, the only woman harper to attend the Belfast Harp Festival in 1792. Donal O’Sullivan maintains that the folk tale for the twisting of the rope was prevalent in Connaught and Munster: see D. J. O’Sullivan, ed. The Bunting Collection of Irish Folk Music and Song, I, 67 (NLI catalogue no. Ir 7844 I 3). There’s Gowd in the Breast (pp. 302 and 311) Creative Context: As above, a full textual and publishing history for this song is given in Songs by the Ettrick Shepherd of 1831 (S/SC, 2014). And an account of the copyright wrangle about Hogg’s songs for R. A. Smith’s The Irish Minstrel is given in the introduction to this collection in the present edition (pp. 297–300). In summary, this is another of the eight ‘proscribed’ Irish songs (as he refers to them in the headnote for this song in Songs by the Ettrick Shepherd) that Hogg wrote initially for Smith’s The Irish Minstrel in [1825]. As with those above this song has a counterpart or companion lyric by Thomas Moore: ‘Let Erin Remember’ that is set to the Irish tune ‘The Red Fox’ and appeared in the second number of Irish Melodies in 1808 (VIII). But unlike most of the other songs, Hogg’s text is altogether different from Moore’s in this case, and, as a result, it is one of only three of Hogg’s Irish songs to be granted a place in Smith’s second edition of The Irish Minstrel in c.1828. Hogg makes some alterations when he then includes it in Songs by the Ettrick Shepherd in 1831. The fair-copy manuscript of the text found in Songs 1831 is extant at NLS MS 4805, f. 45r.

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Publication History: [1825] – in The Irish Minstrel, p. 76 — see pp. 302 and 311 in the present edition c.1828 – in The Irish Minstrel, p. 76 1831 – in Songs by the Ettrick Shepherd, pp. 81–82 — see (S/SC, 2104), pp. 38–39 Musical Context: There are enough similarities to suggest that the traditional Irish air of ‘The Red Fox’ as found in Moore’s Irish Melodies is the source for Smith’s version, though Smith’s setting is in F Major rather than G Major and the Moore setting is more jaunty or militaristic in its rhythms and with a different ending. Moore most probably sourced the tune from Smollet Holden’s A Collection of Old Established Irish Slow and Quick Tunes, book II (Dublin c.1805) where it is called ‘The red dog or fox’. There are actually two versions printed in Holden (called ‘sets’) that follow each other in Fleischmann’s records, but the first of these is closer to Moore’s version of the air: see Aloys Fleischmann, ed.: Sources of Irish Traditional Music c.1600–1855, 2 vols. (New York and London: Garland, 1998), p. 838. Why Weeps Yon Highland Maid (pp. 302–03 and 313) Creative Context: As above, a full textual and publishing history for this song is given in Songs by the Ettrick Shepherd (S/SC, 2014). And an account of the copyright wrangle about Hogg’s songs for R. A. Smith’s The Irish Minstrel is given in the introduction to this collection in the present edition (pp. 297–300). This song sits next to ‘There’s Gowd in the Breast’ (above) in Songs by the Ettrick Shepherd. In summary, this is another of the eight Irish songs which Hogg wrote initially for Smith’s The Irish Minstrel in [1825]. Its counterpart lyric by Thomas Moore is ‘How Oft has the Banshee Cried — the dirge’, first published in the second number Irish Melodies in 1808 (V). Both songs are set to the traditional Irish tune ‘The Dear Black Maid’. While Hogg’s song shares the theme of mourning over the loss of national heroic warriors, he refers to Culloden in 1746, whereas Moore’s text refers to the heroism of the Irish and makes empathetic reference to the loss of English warriors, with specific mention of Nelson. Hogg’s text is thus different enough to allow it to be reprinted in the second edition of Smith’s The Irish Minstrel in c.1828. Hogg makes several changes to the text for inclusion in Songs by the Ettrick Shepherd of 1831. His fair-copy manuscript of the text found in Songs 1831 is in NLS MS 4805, ff. 45v–46r. Publication History: [1825] – in The Irish Minstrel, p. 77 — see pp. 302–03 and 313 in the present edition c.1828 – in The Irish Minstrel, p. 77 1831 – in Songs by the Ettrick Shepherd, pp. 83–84 — see (S/SC, 2014), p. 39 Musical Context: This tune used by Moore and Hogg is the Irish air ‘The Dear Black Maid’. Hogg does not refer to it by name in Songs 1831, rather he notes that Smith has sent him ‘a cramp air’ which is ‘however, very beautiful and pathetic’. The flat key (E flat) lends it a particularly mournful character. While this is in a different key to the tune from Moore’s Irish Melodies (where it is in F) and while there are some rhythmic differences, the similarities are enough to suggest that Smith uses Irish

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Melodies as his source. Moore appears to have used Bunting’s 1796 collection as his source, where the tune is named by both its English and Irish title: ‘A bhean dubh run dileas dubh’ (see Edward Bunting, A General Collection of the Ancient Irish Music (London: Preston and son, 1796), I, 40. Explanatory Notes: See Songs by the Ettrick Shepherd (S/SC, 2014), p. 204. O’er the Ocean Bounding (pp. 303–04 and 314–15) Creative Context: As above, a full textual and publishing history for this song is given in Songs by the Ettrick Shepherd of 1831 (S/SC, 2014). And an account of the copyright wrangle about Hogg’s songs for R. A. Smith’s The Irish Minstrel is given in the introduction to this collection in the present edition (pp. 297–300). In summary, this is another of the eight Irish songs which Hogg appears to have created specially for Smith’s The Irish Minstrel in [1825]. As with Hogg’s other Irish songs, ‘O’er the Ocean Bounding’ shares a traditional Irish tune with one of Moore’s Irish Melodies, in this case, ‘Maid of the Valley’, which accompanies Moore’s song ‘Go Where Glory Waits Thee’, published in the first number of Irish Melodies in 1808(I). But Hogg’s song is both shorter and more secular than Moore’s and it was deemed different enough from Moore’s original to be one of only three of Hogg’s songs to be reprinted in the second edition of The Irish Minstrel in c.1828. Hogg uses Smith’s collection as copy text for the version then included in Songs by the Ettrick Shepherd in 1831. No manuscript version of the text has been located. This is one of the songs missing in the main surviving manuscript for Songs 1831 at NLS MS 4805, ff. 26–102. Publication History: [1825] – in The Irish Minstrel, pp. 80–81 — see pp. 303–04 and 314–15 in the present edition c.1828 – in The Irish Minstrel, pp. 80–81 1831 – in Songs by the Ettrick Shepherd, pp. 94–95 — see (S/SC, 2104), pp. 43–44 Musical Context: The traditional Irish air ‘Maid of the Valley’ is nominated as the melody for the song in both editions of The Irish Minstrel. While the Smith song is in a different key (E flat) from Moore’s (in F) the melodies are close enough to suggest that Smith used Moore’s Irish Melodies as his source. Moore seems to have used Edward Bunting’s 1796 collection as his source for the melody: see Edward Bunting, A General Collection of the Ancient Irish Music (London: Preston and Son, 1796), 47. Go Home, Go Home (pp. 304 and 316) Creative Context: As above, a full textual and publishing history for this song is given in Songs by the Ettrick Shepherd (S/SC, 2014), where it appears with the title ‘Go Home to your Rest’. An account of the copyright wrangle about Hogg’s songs for R. A. Smith’s The Irish Minstrel is given in the introduction to this collection in the present edition (pp. 297–300).

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In summary, this song appeared initially under the title ‘Go home, Go Home’. It is a contrasting lyric to Thomas Moore’s ‘The Young May-Moon’ first published in the fifth number of his Irish Melodies in 1813 (V), to the tune ‘The Dandy O’ with which is may be closely compared. Hogg used the The Irish Minstrel version as copy text for its inclusion in Songs by the Ettrick Shepherd in 1831, where the text remains unaltered with only slight changes to punctuation. Hogg’s fair-copy holograph version of the text found in Songs 1831 is extant within NLS MS 4805, f. 42r. Publication History: [1825]– in The Irish Minstrel, p. 88 — see pp. 304 and 316 in the present edition 1831 – in Songs by the Ettrick Shepherd, pp. 73–74 — see (S/SC, 2014), p. 35 Musical Context: Smith uses the traditional Irish air of ‘The Dandy, O’ as used by Moore. Smith’s setting is in a different key (B flat) from Moore’s (in C) and there are some rhythmical differences, but there are enough similarities to suggest that Smith used Moore’s Irish Melodies as his source. Moore probably got the tune from Shield’s Robin Hood (1784) where it is noted as an Irish tune, but its name is a misnomer. The title belongs to another tune that Moore used in his song ‘Eveleen’s Bower’ (Irish Melodies, II, VII) although in the latter Moore gives the title as ‘unknown’. Veronica ni Chinneide cites Moffat as the source of a theory that Moore’s name for the air originated from part of the second verse of the song in Shield’s work, which reads: ‘And I’m her a-dandy O’: see Veronica Ni Chinneide: ‘The Sources of Moore’s Irish Melodies’, Journal of the Royal Society of Antiquaries of Ireland (1959), 123. Explanatory Notes: See Songs by the Ettrick Shepherd (S/SC, 2014), p. 198 If E’er I Am Thine (pp. 305 and 317) Creative Context: As above, a full textual and publishing history for this song is given in Songs by the Ettrick Shepherd of 1831 (S/SC, 2014). And an account of the copyright wrangle about Hogg’s songs for R. A. Smith’s The Irish Minstrel is given in the introduction to this collection in the present edition (pp. 297–300). In summary, this is another of the eight Irish songs that Hogg created for Smith’s The Irish Minstrel in [1825]. It was clearly a partner text to Thomas Moore’s ‘If thou’lt be mine’, in the seventh number of Irish Melodies (1815, VIII) and shares a traditional Irish air, ‘The Winnowing Sheet’. Hogg’s song is similar to Moore’s in theme and form (comprising quintains), and at times, such as in the title, it strays textually close to Moore’s. Consequently it was not one of the songs which Smith was able to reprint in the second edition of The Irish Minstrel in c.1828. It is the text in Smith’s collection that Hogg then uses as copy text of the Songs 1831 with only slight variants. This is another of the songs missing from the main body of the fair-copy manuscript for Songs 1831, namely NLS MS 4805, ff. 26–102. Publication History: [1825] – in The Irish Minstrel, p. 98 — see pp. 305 and 317 in the present edition 1831 – in Songs by the Ettrick Shepherd, pp. 98–99 — see (S/SC, 2014), p. 45

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Musical Context: Smith appears to have used Moore’s Irish Melodies (1815, VIII) as his source for the air ‘The Winnowing Sheet’: he keeps the melody in the same key although there are some rhythmical differences. This air belongs to a song entitled ‘An Cháitheach Róin’(‘The Winnowing Sheet’). Moore’s source is certainly Edward Bunting’s collection (II, 1809), and is a tune collected from the County Leitrim harper, Charles Byrne. The version used by Moore is almost identical to Bunting in every respect (see: D. J. O’Sullivan, ed.: The Bunting Collection of Irish Folk Music and Song, parts I–VI, 1927–1939: VI, 27 (NLI catalogue no. Ir 7844 I 3). Explanatory Notes: See Songs by the Ettrick Shepherd (S/SC, 2014), pp. 212–13 Come from the Sea (pp. 305–06 and 318–19) Creative Context: As above, a full textual and publishing history for this song is given in Songs by the Ettrick Shepherd of 1831 (S/SC, 2014) where the song appears with the title ‘The Maid of the Sea’. And an account of the copyright wrangle about Hogg’s songs for R. A. Smith’s The Irish Minstrel is given in the introduction to this collection in the present edition (pp. 297–300). In summary, this is one of the group of eight Irish songs Hogg appears to have created for Smith’s musical collection The Irish Minstrel of [1825], where this song appeared under the title of its first line ‘Come from the Sea’. Comparison might be made with Thomas Moore’s song titled ‘Come o’er the sea’, first published in the sixth number of Irish Melodies in 1815 ( I ). Hogg clearly used the copy of his song in The Irish Minstrel as his copy text for Songs 1831 with slight variation. Hogg’s fair-copy holograph version of the text found in Songs 1831 is extant at NLS MS 4805, ff. 41r–42r. Publication History: [1825] – in The Irish Minstrel, pp. 100–01 — see pp. 305–06 and 318–19 in the present edition 1831 – in Songs by the Ettrick Shepherd, pp. 71–72 — see (S/SC, 2104), pp. 34–35 Musical Context: The Irish air ‘Cuishlih ma chree’ is used. The melody that Smith uses is in the same key and is very close to that found in Moore’s Irish Melodies, which suggests that this was Smith’s source. There is only one notable difference when Smith deletes the F sharp Moore inserts in bar 12, preferring instead G followed by A. There are few possible printed sources for Moore although a manuscript — Dr Kelly’s music book — is named by Veronica Ni Chinneide: see Veronica Ni Chinneide, ‘The Sources of Moore’s Irish Melodies’, Journal of the Royal Society of Antiquaries of Ireland (1959), 111–12. Explanatory Notes: See Songs by the Ettrick Shepherd (S/SC, 2014), p. 197.

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Select & Rare Scottish Melodies [1828] Mary, Canst Thou Leave Me (pp. 328 and 343–46) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd of 1831 (S/SC, 2014). In summary, there is little detail about its creation, but the song appears to have been produced in 1827–1828 when Hogg was involved in sending songs to the London music publisher Goulding, D’Almaine & Co. for the collection Select & Rare Scotish Melodies [1828]. A manuscript of this version of the song is extant among the James Hogg papers at the Alexander Turnbull Library, New Zealand. (2 verses of 8 lines each) MS Papers 42, No. 66 (i). See Peter Garside, ‘An Annotated Checklist of Hogg’s literary manuscripts in the Alexander Turnbull library, Wellington, New Zealand’ in The Bibliotheck, 5–23 (p. 5). This was most probably sent in correspondence with the publisher’s agent, Edinburgh-based Robert Purdie (see the introduction to this collection in the present edition p. 325). Hogg included it in Songs by the Ettrick Shepherd in 1831 but made some significant changes to the text. The version Hogg publishes in Songs 1831 is included in the fair-copy manuscript for this collection at: NLS MS 4805, f. 50r. Publication History: [1828] – in Select & Rare Scotish Melodies, pp. 1–4 — see pp. 328 and 343–46 in the present edition 1831 – in Songs by the Ettrick Shepherd, pp. 110–11 — see (S/SC, 2014), pp. 50–51 Musical Context: Hogg’s headnote to Songs 1831 notes that this is to ‘a melody of my own’, but he then continues by declaring that he’s not so sure it is ‘thoroughly my own’. Sometimes Bishop creates his own melodies for the songs in Select & Rare Scotish Melodies (as with ‘Arabian Song’). But at times he refines a traditional tune (as with ‘Gang to the Brakens wi’ me’) or sets a traditional tune (as with ‘The Souters o’ Selkirk’). In this case the tune has the range and modality of a traditional fiddle tune, so it is likely that it may well have been Hogg’s air or a variant of a known fiddle tune that Bishop has adapted. O What Will A’ The Lads Do (pp. 329 and 347–51) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd of 1831 (S/SC, 2014), where it appears with the title ‘When Maggy gangs away’. In summary, this song appears to have been created especially for inclusion in Select & Rare Scotish Melodies in [1828], where it appeared with the title ‘O What Will a’ the Lads Do?’. There are two possible subjects for the song: Hogg’s wife, Margaret, and his second daughter, Margaret Laidlaw Hogg. Hogg’s 1831 headnote suggests that it was his daughter he had in mind. Hogg’s correspondence to his wife from the summer of 1827 onwards makes reference to the family’s need to leave Ettrick and travel regularly to Edinburgh (see Letters, II, 301–08), hence the content of Hogg’s song.

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Hogg uses the text in Select & Rare as copy text for its inclusion in Songs by the Ettrick Shepherd with few changes, and the fair-copy manuscript of the 1831 text is included in NLS MS 4805, ff. 43–44. Publication History: [1828] – in Select & Rare Scotish Melodies, pp. 5–9 — see p. 329 and 347–51 in the present edition 1831 – in Songs by the Ettrick Shepherd, pp. 77–78 — see (S/SC, 2014), pp. 36–37 c.1834–58 — O! What Will a’ the Lads Do, A Popular Scotch Air. Arranged as a Duet. The Poetry Written by The Ettrick Shepherd. The Music Arranged by Sir Henry Bishop. London D’Almaine & Co, 20 Soho Square — see pp. 617–25 in the present edition Unauthorised versions: This song was clearly popular. Later nineteenth-century versions include an American music pamphlet titled O What will a’ the Lads Do? and When the Kye Come Hame: Two Popular Songs, Written by Hogg, the Ettrick Shepherd, with music by William Rogers, published in 1844 by the Boston music-publishing company, G. P. Reed. For further information, see Songs by the Ettrick Shepherd (S/SC, 2014), p. 200. Musical Context: Hogg’s 1831 headnote illustrates that he liked Bishop’s setting of this song. The tune bears a close similarity to that for which Burns wrote his lyrics beginning ‘I’ll ay ca’ in by yon toun’, which appeared in the SMM, (1796), v, No. 458 (pp. 470–71). The melody is known as ‘I’ll gae na [nae] mair to your [yon] town’ and Glen notes that the tune had appeared in Oswald’s Caledonian Pocket Companion (book x, p. 15). Gore’s Scottish Fiddle Index notes its popularity across a wide range of musical collections, and that it also had connections with the dance tune ‘The Eight Men of Moidart’. Bishop’s setting for two voices, also published by D’Almaine & Co., appeared in c.1833–1840 and is included in the present edition in Miscellaneous Songs. He made a considerable number of changes to the text in this later setting, and these are explained in the note for the later song-sheet in the present edition. There’s Nae Laddie Coming (pp. 330 and 352–56) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd of 1831 (S/SC, 2014). In summary, this song most probably dates to the period 1827–1828 and it is possible that this song was one of those sent to Robert Purdie with Hogg’s letter of 18 January 1828 when Hogg informs Purdie that he ‘encloses eight more songs for your correspondents’: see Letters, II, 284. Further details about its creation are not given. The song only appeared in Select & Rare Scottish Melodies and in Songs 1831 in Hogg’s lifetime and yet he did some redrafting for Songs that, interestingly, further anglicised the song. The only extant manuscript of the song is found in Hogg’s fair-copy manuscript for Songs 1831 at NLS MS 4805, f. 79r. Publication History: [1828] – in Select & Rare Scotish Melodies, pp. 10–14 — see pp. 330 and 352–56 in the present edition

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1831 – in Songs by the Ettrick Shepherd, pp. 207–08 — see (S/SC, 2014), p. 93 Unauthorised versions: 1835 – The song’s continuing popularity is revealed in an unauthorised American version of ‘There’s Nae Laddie Coming, by the Ettrick Shepherd’ published in the Southern Literary Messenger (Richmond), 1.5 ( January 1835), 200. For further information, see Songs by the Ettrick Shepherd (S/SC, 2014), pp. 269–70. Musical Context: In his letter to Purdie of 18 January 1828 Hogg also includes ‘such airs as I knew they could not command in London’ (Letters, II, 284), but the names of these tunes are not stated. In his 1831 headnote Hogg writes that Bishop set the song to ‘a sweet original air’. The name of the air has not been identified, but the indication to the performers is that it should be ‘very slow with considerable feeling and expression’ (p. 10). I Downa Laugh, I Downa Sing (pp. 331 and 357–60) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd of 1831 (S/SC, 2014), where it appears with the title ‘A Father’s Lament’. In summary, Hogg’s 1831 headnote explains that he wrote the song in memory of his young friend Robert Anderson who had died on 20 November 1823. Hogg enclosed the song in a letter to Robert’s father, Adam, of 28 April 1828 in which he remembered the ‘acute feelings I had at that time by putting myself in your place’ (Letters, II, 290–91). Although Hogg had intended this to be a ‘private memorial’ he then appears to have sent a revised version of the lyric for consideration by Goulding & D’Almaine for inclusion in Select & Rare Scotish Melodies where it appeared in [1828] with the title ‘I Downa Laugh, I Downa Sing’. This version was also reprinted in the musical magazine The Harmonicon in 1829, where it was presented as a promotion for Select & Rare Scotish Melodies, which is also reviewed in the magazine. Gillian Hughes has noted that a version of the song with the title ‘The Blank at My Right Hand’ (and other changes) then appeared in the short-lived Monthly Musical and Literary Magazine in May 1830. The manuscript of the first version of the song entitled ‘In Memory of Mr Robert Anderson’ was included in Hogg’s letter to Adam Anderson, dated 28 April 1828 (NLS, MS 3112, fols 278–79, with a typescript copy in NLS, MS 1758, fols 7–9: the full text is reproduced in Letters, II, 290–91). The manuscript of ‘I Downa Laugh, I Downa Sing’ for Select & Rare Scotish Melodies has not survived. But the copy of the song used for Songs 1831 is found in NLS MS 4805, f. 44. Publication History: [1828] – in Select & Rare Scotish Melodies, pp. 15–18 — see pp. 331 and 357–60 in the present edition 1829 – in The Harmonicon, VII, Part 2 ( January 1829), pp. 8–9 — see pp. 463 and 468–69 in the present edition 1830 – as ‘The Blank in My Right Hand’ in the Monthly Musical and Literary Magazine (May 1830), 94 1831 – in Songs by the Ettrick Shepherd, pp. 79–80 — see (S/SC, 2014), pp. 37–38 Unauthorised versions: 1835 – ‘A Father’s Lament. By James Hogg’, in The Zodiac, A Monthly Periodical

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devoted to Science, Literature and the Arts, 2 vols (Albany, New York: E. Perry, 1835 36), I, No. 9, March 1835, p. 144. For further information, see Songs by the Ettrick Shepherd (S/SC, 2014), pp. 201–02. Musical Context: Hogg gives no indication of an existing melody for this song. It is most likely that melody and setting were thus by Henry Bishop for Select & Rare Scotish Melodies. Hogg states, in his 1831 headnote, that his song is ‘finely set by Bishop’. Ye Breezes That Spring in Some Land Unknown (pp. 332 and 361–64) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd of 1831 (S/SC, 2014). In summary, this song was created for Hogg’s short political drama of 1822 titled The Royal Jubilee. A Scottish Mask (Edinburgh: William Blackwood), which included eight songs. This appeared as ‘Song II’ where, untitled, it is presented simply as ‘By the Sea-Nymphs’ to the air ‘Birks of Invermay’. More information on the drama can be found in James Hogg: The Bush Aboon Traquhair and The Royal Jubliee (S/SC, 2008). In short the play was written for George IV’s famous visit to Scotland in August 1822, the first undertaken by a British monarch for over a century. King George travelled to Edinburgh from London by sea and within the context of the play, the ‘sea-nymphs’ fly out to meet the Royal Ship, while singing this song. Taking its title from the first line, the song then appeared as ‘Ye Breezes that Spring’ within Select & Rare Scottish Melodies in [1828]. Its first fourteen lines follow the text of ‘Song II’, with one minor change in l. 4 to ‘Arabia’s spicy gale’. The ‘free man’s boast from the forest and hall’ becomes ‘the cottager’s boast over lordlings and hall’ (l. 13), and the song understandably removes its specific reference to the King at the end amending the final two lines to: ‘Bring these thou breeze of the Forest abroad, / And welcome be thou to this lowly abode’. It is not clear if Hogg uses this [1828] text or the original from The Royal Jubliee as his copy text for Songs 1831 as he makes considerable changes to the text. No manuscript for the song has yet been found. This is one of the songs missing from the fair-copy manuscript for Songs 1831 (NLS MS 4805, ff. 26–102). Publication History: 1822 – as ‘Song II’ in The Royal Jubliee: a Scottish Mask, pp. 13–14 — see The Bush Aboon Traquhair and The Royal Jubliee (S/SC, 2008) pp. 125–26 (text and musical notation) and pp. 185–56 (notes) [1828] – in Select & Rare Scotish Melodies, pp. 19–22 — see pp. 332 and 361–64 in the present edition 1831 – in Songs by the Ettrick Shepherd, pp. 129–30 — see (S/SC, 2014), p. 59 Musical Context: The song’s appearance in The Royal Jubilee is with the tune ‘The Birks of Invermay’ and melodic notation is printed above the words of the first verse (on p. 13). The tune was one of the most popular of the eighteenth century and appeared in many of the major collections including Orpheus Caledonius (1725). See Glen, p. 80 for further details. Hogg’s song ‘I Lookit East, I Lookit West’ (Songs 1831, pp. 18–20) was also sung to this tune. However, the melody

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Bishop sets is not ‘The Birks of Invermay’ and may be Bishop’s own composition. Explanatory Notes: See Songs by the Ettrick Shepherd (S/SC, 2014), p. 231. The Souters o’ Selkirk (pp. 332–33 and 365–67) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd of 1831 (S/SC, 2014). In summary, Hogg’s 1831 headnote states that it was written for one Dr Clarkson, for his own singing. This is clearly Ebeneezer Clarkson (1799–1844) who was both a surgeon, and Bailie (sic.) and Provost of Selkirk’ (Letters, I, 8). In [August 1828] Hogg appears to have attended a dinner to ‘mark the disbanding of the Selkirkshire Yeomanry by their Captain, Alexander Pringle of Whytbank and Yair’(see Letters, II, 302–05) at which Clarkson was also present and it is thought the song was created for and first performed there. It first appeared in print in [1828] in Select & Rare Scotish Melodies. Hogg had sent eight songs (all but ‘The brakens wi’ me’ are unnamed) in a letter to Robert Purdie in January 1828 to forward to Goulding for inclusion in Select & Rare Scotish Melodies (see Letters, II, 284). However, it is possible that others were sent later in 1828 — at this point Hogg was involved in sending songs (mostly through Purdie) to Goulding for inclusion in Select & Rare but also in its annual The Musical Bijou. Hogg appears to have used the text from [1828] for his Songs 1831, but with notable emendations. One of these alterations clears up a misprint that occurred within the text of Select & Rare Scotish Melodies where the printer presumably misread Hogg’s handwriting: ‘heroes’ replaces ‘hevas’ (v. 2, l. 8) in the final line of the song for Songs 1831. This is noted within a presentation copy of Select & Rare Scotish Melodies, inscribed to ‘Miss Foster’, where Hogg himself has made this correction, and thus it is emended in the present edition. Interestingly, the version of the song within Select & Rare Scotish Melodies does not include a chorus. It is not known whether the chorus was omitted in this collection or was added later by Hogg. But it is interesting that the earlier appearance of a song with this name, and the same melody, in SMM, also has no chorus. The only extant manuscript version of the song is located within the fair-copy manuscript of Songs 1831, at NLS MS 4805 f. 35v. Publication History: [1828] – in Select & Rare Scotish Melodies, pp. 23–25 — see pp. 332–33 and 365–67 in the present edition 1831 – in Songs by the Ettrick Shepherd, pp. 31–32 — see (S/SC, 2014), p. 16 Musical Context: Hogg refers to ‘the old air’ in his headnote. Clearly the tune was already wellknown. Burns informed Thomson, in the marginalia of the manuscript version of ‘The Sutors o’ Selkirk’ for SMM, that “This tune can be found anywhere” ( James C. Dick (p. 490)). Burns’s version is in the sixth volume of SMM (1796, No. 438). Dick notes that the earliest appearance of ‘the tune with the title’ was in A Collection of the Choicest Scots Tunes by Adam Craig (Edinburgh, 1730). The tune was reprinted in most of the major eighteenth-century fiddle collections, including those by Aird and McGibbon. Thomas Crawford cautions against accepting traditional

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interpretations of the song at face value and classifies the song amongst ‘tradesongs’ of ‘fairly recent oral transmission’ (Society and the Lyric: a Study of the Song Culture of Eighteenth-Century Scotland (Edinburgh: Scottish Academic Press, 1979), p. 125). Bishop sets the tune as it appears in SMM (in the same key and with only slight variants). Explanatory Notes: See Songs by the Ettrick Shepherd (S/SC, 2014), pp. 168–69. The Ladies Evening Song (pp. 333–34 and 368–71) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd of 1831 (S/SC, 2014). In summary, this song appears to have been created in 1827–28 for Select & Rare Scotish Melodies [1828], but it is a reworking of an earlier song to which Hogg refers in his 1831 headnote, entitled ‘The Drinkin’ O. A Sang for the Edinburgh Ladies’. This song had appeared in The Scots Magazine for November 1805 (vol. 67, p. 864) and also in The Greenock Advertiser for Friday 13 December 1805. It was later included by Hogg in The Forest Minstrel in 1810 and discussion of it can be sourced in the new edition of that volume (S/SC, 2006), pp. 128–29 with notes on pp. 310–12. The new version entitled ‘The Ladies Evening Song’ was probably one of the ‘eight more songs for your correspondents’ that Hogg sent with his letter to Robert Purdie of 18 January 1828: see Letters, II, 284. In redrafting this version of the song Hogg omits early contemporary references, retaining only the barest elements from the original. In this new version he reuses only the wording from ll. 17 and 18 and also a modified form of l. 8. He also changes the format from six quintets to four octets and shortens the lines. The copy text of the Songs 1831 version is that of Select & Rare Scotish Melodies without change. The only surviving manuscript version of the song is that in Hogg’s fair-copy manuscript for Songs 1831, where it is found at NLS MS 4805, f. 49. Publication History: [1828] – in Select & Rare Scotish Melodies, pp. 26–29 — see pp. 333–34 and 368–71 in the present edition 1831 – in Songs by the Ettrick Shepherd, pp. 108–09 — see (S/SC, 2014), pp. 49–50 Unauthorised versions: 1831 – The song’s popularity is revealed in an unauthorised American version of ‘The Ladies Evening Song’ reprinted in The Liberator of Boston for Saturday, 30 April 1831, where the text is flagged ‘from Songs by the Ettrick Shepherd, just published’ (p. 72). For further information, see Songs by the Ettrick Shepherd (S/SC, 2014), p. 216. Musical Context: Since its first publication in 1805 ‘Dumbarton Drums’ is the tune nominated as providing a suitable accompaniment to the song. The history of this the traditional Scottish tune is discussed at length in The Forest Minstrel (S/SC, 2006), pp. 310–12. It is a variant of this tune which Henry Bishop uses for his setting in Select & Rare Scotish Melodies in [1828], an arrangement of which Hogg appears to have approved as he states this clearly in his headnote for 1831. A version of this tune was included in SMM (1788), II, No. 161, (169).

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Arabian Song (pp. 334–35 and 372–74) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd of 1831 (S/SC, 2014). In summary, Hogg refers, in his 1831 headnote, to an earlier ‘Arabian Song’ that he had composed to a tune sent to him by Robert Archibald Smith. Hogg’s correspondence with Smith dates from February 1818 until January 1824 and may have related to Smith’s plans for a collection of ‘national songs’ entitled Select Melodies, with appropriate words, chiefly original, collected and arranged with symphonies and accompaniments for the pianoforte (Edinburgh: Robert Purdie (n.d.), c.1827. Although not containing any of Hogg’s songs, Smith did include some by Hogg’s nephew, Robert Hogg. No further information about the ‘earlier’ song has been found and Hogg most probably rewrote the lyric for Select & Rare Scotish Melodies. It is likely to have been one of the songs included in his letter to Robert Purdie of 18 January 1828: see Letters, II, 284. Hogg clearly used this [1828] version as his copy text when preparing the version found in Songs 1831. There is only one extant manuscript found at NLS MS 4805, ff. 36–37v, within the fair-copy manuscript used in the preparation of Songs 1831. ‘Arabian Song’ is singled out in a review of Select & Rare Scotish Melodies published in the Edinburgh Literary Journal, No. 8 (3 January 1829), 101–03. The unnamed critic states: ‘but we like our author when he keeps on the north side of the Tweed; the air, composed by Bishop, is simple and beautiful, but strikes me as a little out of place’ (p. 103). Publication History: [1828] – in Select & Rare Scotish Melodies, pp. 30–32 — pp. 334–35 and 372–74 in the present edition 1831 – in Songs by the Ettrick Shepherd, pp. 35–36 — see (S/SC,2014), p. 18 Unauthorised versions: Arabian Song’ appears in a number of posthumous collections and anthologies, suggesting that the lyric was popular amongst the Victorians. For further information, see Songs by the Ettrick Shepherd (S/SC, 2014), pp. 172–73. Musical Context: Hogg notes his preference for Bishop’s musical setting of his lyric rather than the ‘Arabian air’ sent to him by R. A. Smith. As the latter is now lost, it is not possible to discuss the reasons for this preference. Bishop’s melody does not seem particularly ‘eastern’ in tenor, but is a simple aria common of domestic song books of the period and in keeping with his other settings for Select & Rare Scotish Melodies. Explanatory Notes: See Songs by the Ettrick Shepherd (S/SC, 2014), p. 173. Come Rowe the Boat (pp. 335–36 and 375–78) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd of 1831 (S/SC, 2014).

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In summary, Hogg’s 1831 headnote to the song suggests that it was written much earlier in his career, most probably in relation to his Highland journeys between 1802 and 1804, but it does not appear in print until Select & Rare Scotish Melodies in [1828]. As such it may have been one of the songs included with Hogg’s letter to Robert Purdie of 18 January 1828: see Letters, II, 284. Thereafter it only appears once more during Hogg’s lifetime in Songs 1831 and it is the [1828] version that Hogg uses as copy text, with only slight variation. There is no extant manuscript for this song as it is one of the missing songs within Hogg’s fair-copy manuscript for Songs 1831 at NLS MS 4805, ff. 26–102. Publication History: [1828] – in Select & Rare Scotish Melodies, pp. 33–36 — see pp. 335–36 and 375–78 in the present edition 1831 – in Songs by the Ettrick Shepherd, pp. 131–32 — see (S/SC, 2014), pp. 59–60 Musical Context: In his 1831 headnote Hogg states that the song is in ‘a short cross measure’and that ‘it is set in a modern style by Bishop’. It is most likely that Bishop created his own melody as a nod to the pibroch or piobaireachd (Gaelic), the music of the pib mhor (Gaelic) or Highland pipe, mentioned by Hogg in the text. The dotted rhythms and the wide leaps in the melody are tokenistic, however, for Bishop’s melody is gentle and smooth and does not create that sense of wildness often associated with pibroch. The tune does have resonances of ‘Fear a’ bhata’ (‘The Boatman’) which appeared in Simon Fraser’s Airs and Melodies peculiar to the Highlands of Scotland of 1816. Explanatory Notes: See Songs by the Ettrick Shepherd (S/SC, 2014), p. 232. Appie McGie (pp. 336–37 and 379–82) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd of 1831 (S/SC, 2014). In summary, this was another song most probably created especially for inclusion in Select & Rare Scotish Melodies of [1828] and it may have been within the group of eight songs Hogg sent with his letter of 18 January 1828 to Robert Purdie: see Letters, II, 284. While there is little about its creation, it must have been completed by 27 February 1828, when Hogg sent a slightly different version of the song to an unidentified person named ‘William’: see Letters, II, 289. The manuscript of this version is held by the Scottish Border Archive and Local History Centre in Selkirk (SC/S/10/2/1). The wording is slightly different from the earliest-known published version in Select & Rare Scotish Melodies. Hogg then used the [1828] version as copy text for the version he included in Songs by the Ettrick Shepherd in 1831 with only some verbal emendations. The manuscript of 1831 version is found in Hogg’s fair-copy manuscript for Songs 1831 at NLS MS 4805, ff. 79v–80r.

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Publication History: [1828] – in Select & Rare Scotish Melodies, pp. 37–40 — see pp. 336–37 and 379–82 in the present edition 1831 – in Songs by the Ettrick Shepherd, pp. 209–10 — see (S/SC, 2014), pp. 93–94 Unauthorised versions: 1831 – ‘Appie M’Gie. By James Hogg, the Ettrick Shepherd’, an unauthorised version of the song derived from Songs 1831 was published in the Philadelphia Lady’s Book in May 1831 (p. 253). Further details of the American publication of Hogg’s songs can be found in the Listing of Hogg Items in the American Periodical Press, by Janette Currie, at http://www.jameshogg.stir.ac.uk. Musical Context: Hogg’s 1831 headnote suggests that this song is already known by a tune or air in Scotland that is taken from ‘Captain Fraser’s Collection’, namely Simon Fraser’s Airs and Melodies Peculiar to the Highlands and Islands (1816), which Hogg often uses or cites as a source for tunes. But no tune title is given and no match has been located in Fraser’s collection. Bishop’s setting for Select & Rare Scotish Melodies, gives no title for the melody and is most probably a new tune created by Bishop for the collection. The Broom Sae Green (pp. 337–38 and 383–86) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd of 1831 (S/SC, 2014). In summary, ‘The Broom Sae Green’ was created most probably in early January 1828 by Hogg for inclusion in the musical collection Select & Rare Scotish Melodies and may well have been one of the songs he sent in his letter to Robert Purdie in January that year: see Letters, II, 284. It appears thereafter as one of the first group of Hogg’s most popular songs in Songs by the Ettrick Shepherd of 1831 where Hogg refers to it as ‘my greatest favourite at present’. Modesty not permitting, Hogg explains that this is because both the words and the melody are his own. The [1828] version is clearly the copy text for Songs 1831, though Hogg does make some changes given in the note to the song in Songs by the Ettrick Shepherd (S/SC, 2014). The fair-copy manuscript for Songs 1831 is the only extant manuscript and is found at NLS MS 4805, f. 28. Publication History: [1828] – in Select & Rare Scotish Melodies, pp. 41–44 — see pp. 337–38 and 383–86 in the present edition 1831 – in Songs by the Ettrick Shepherd, pp. 9–10 — see (S/SC, 2014), pp. 6–7 Musical Context: Hogg’s 1831 headnote leads the reader directly to the authorised musical publication of the song in Select & Rare Scotish Melodies and he notes that it is ‘beautifully set by Bishop’. The melody Hogg created for this lyric is clearly inspired by his fiddle playing. There is a wide range of well over an octave and many leaps (notably in the first phrase of the tune) that are easier to play than to sing.

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Explanatory Notes: See Songs by the Ettrick Shepherd (S/SC, 2014), p. 148. Gang to the Brakens wi’ Me (pp. 338–39 and 387–92 ) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd (S/SC, 2014) and in Contributions to Blackwood’s Edinburgh Magazine I, where information about the song’s melody ‘Driving the steers’ (with melodic notation) is also given. In summary, this song was first published in Blackwood’s on 18 December 1825 where it appears, as do a number of Hogg’s songs, in the Noctes Ambrosianae (in this particular case in No. XXIII). There is no further evidence about the date or context of its creation and the original manuscript for Blackwood has not survived. A revised version of the Blackwoodian song, with the same title, was sent to Robert Purdie on 18 January 1828 (Letters, II, 284–85). There are substantive variants between the earlier Blackwood’s version of the song and that published in Select & Rare Scotish Melodies (discussed by Thomas Richardson Contributions to Blackwood’s I). Suffice it to say that Hogg revised the lyric to remove any earlier sexual connotations. It is the text in Select & Rare Scotish Melodies that Hogg then uses for inclusion in Songs by the Ettrick Shepherd in 1831. The fair-copy manuscript for the song included in Songs 1831 is the only extant manuscript of the song (NLS MS 4805, ff. 30v–31v). Publication History: 1825 – in Blackwood’s Edinburgh Magazine, 18 (December 1825), 753–54 — see also (S/SC, 2008), pp. 181–2, 370 and 513–14 [1828] – in Select & Rare Scotish Melodies pp. 45–50 — see pp. 338–39 and 387–92 in the present edition 1831 – in Songs by the Ettrick Shepherd, pp. 17–19 — see (S/SC, 2014), pp. 10–11 Musical Context: Hogg makes detailed reference both to the melody or air for this song and its new setting by Henry Bishop for Select & Rare Scotish Melodies in the headnote to the song’s appearance in Songs by the Ettrick Shepherd 1831. Thomas Richardson gives information on the Gaelic roots of the air ‘Driving the Steers’ to which the song is set in Blackwood’s. This tune was also apparently intended for Hogg’s unpublished ‘Ode on the Death of Lord Byron’. The setting by Henry Bishop for Select & Rare Scotish Melodies refines the original modal melody, which has a certain wildness about it and, while Hogg is elsewhere complimentary about Bishop’s settings of his songs, he notes, in this case, that Bishop ‘has ruined the simplicity of my favourite air, which I deemed a masterpiece’. Explanatory Notes: See Songs by the Ettrick Shepherd (S/SC, 2014), p. 160. The Gathering of the Clans (pp. 339–40 and 393–99) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd (S/SC, 2014).

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In summary, this was most probably one of the songs Hogg created for inclusion in Select & Rare Scotish Melodies of [1828] and may well have been one of the songs he sent in his letter to Robert Purdie in January that year: see Letters, II, 284. In his 1831 headnote to the song, Hogg writes that it was ‘originally composed to the popular Irish air, “St Patrick’s Day in the Morning” ’(p. 94), indicating that there is perhaps an earlier version, but this has not been located nor has more information about the creation of the song. This is unusual amongst the 13 songs included in Select & Rare Scotish Melodies as most are love songs. But here Hogg’s depiction of the mustering of the clans in 1745 under the Stewart standard is highly imaginative and humorous (the ‘M‘Dumpies and M‘Lumpies’ are pure invention for literary effect). Hogg uses the [1828] version as copy text for the version he includes in 1831 with some changes. The only extant manuscript is found within Hogg’s fair-copy manuscript for Songs 1831 at NLS MS 4805, ff. 80r–81r. Publication History: [1828] – in Select & Rare Scotish Melodies, pp. 51–57— see pp. 339–40 and 393–99 in the present edition 1831 – in Songs by the Ettrick Shepherd, pp. 211–14 — see (S/SC, 2014), pp. 94–95 Musical Context: The popular Irish air, “St Patrick’s Day in the Morning”, which Hogg refers to in his 1831 headnote, is a military tune for bagpipes, dating from at least 1745 when the Irish Brigade pipers played it during the battle of Fontenoy. By the nineteenth century it was also a popular dance tune. For example, a version is found Gow’s Complete Repository of Original Scottish Slow Strathspeys and Dances (Edinburgh: Gow and Shepherd), 4 parts, (3, No. 18). Hogg’s marriage of this tune with his Highland ‘gathering’ song is entirely appropriate, as the ’45 campaign was ‘buoyed by the Irish brigade’s victory at Fontenoy on 11 May [1745] which meant more British troops would be needed to maintain the war in Flanders’: see ODNB entry for ‘Charles Edward [styled Charles III [...] (1720–1788)’, by Murray G. H. Pittock. Notably the Bishop setting has the performance indication that the song is ‘With martial spirit and in moderate time’. Explanatory Notes: See Songs by the Ettrick Shepherd (S/SC, 2014), pp. 272–73.

The Border Garland (c.1829) Bonnie Prince Charlie (pp. 406–07 and 423–25) See the note to ‘Charlie’ in A Border Garland [1819]. Musical Context: This is the not the first time this musical setting by James Dewar appears in print. The Miscellaneous Songs section of the present edition includes an earlier printing of c.1825, as performed by Miss Noel, associated with a theatrical version of Walter Scott’s Redgauntlet. The copy included in The Border Garland lists the name of Madame Stockhausen in its elaborate title. More information about her is given in the Miscellaneous Songs section of the Introduction to the present edition. She was a well-known performer of the moment, and her name is also

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included on a separate song-sheet of ‘Bonnie Prince Charlie’, also published by Robert Purdie, namely: Bonnie Prince Charlie The Favourite Jacobite Song, As Sung by Madame Stockhausen from The Border Garland, Written by James Hogg, The Celebrated Ettrick Shepherd. The Air composed by a Friend of the Author, and Arranged with Symphonies & Accompaniments by James Dewar. Ent Sta Hall Price 1/6. Edinburgh, Printed and Sold by ROBERT PURDIE at his Music & Musical Instrument Warehouse 83 Princes Street. A copy was located at the British Library: BL H 1601 b.b. (7). Purdie was at this address from c.1828–1837, so the chances are that this song-sheet also appeared during Hogg’s lifetime, but it is identical to the version in The Border Garland c.1829 and so is not included in the present edition. Culloden Day (pp. 407–08 and 426–28) Creative Context: ‘Culloden Day’ was first published as Song LXXIV in the ‘Second Series’ of Jacobite Relics of 1821 where it appears as ‘Culloden Day. From the Gaelic’. The song’s placement after ‘Bonnie Prince Charlie’ in The Border Garland (c.1829) strengthens the theme of Jacobitism in this collection. In his note to the song in Jacobite Relics, Hogg indicates that ‘the song is the address of a Highland bard to the lady of his chief’ and is ‘the first of a long series of mournful and affecting ditties on that battle, in which all the hopes of the bold assertors of the right of the Stuarts were for ever annihilated’ (p. 352). This song did not appear in the first A Border Garland, but was one of the four songs added to the expanded collection in c.1829. In The Border Garland (c.1829) the text is no longer noted as ‘From the Gaelic’, but overall is unchanged. The Jacobite Relics version is thus the copy text, but a textual comparison reveals a few non-substantive variants, such as the omission of a question mark at the end of l. 20 and the lowering of the capital in Southron (l. 50). This is a song that is clearly regarded as part of tradition. It appears twice more during Hogg’s lifetime but not attributed to him. In Jacobite Minstrelsy; with Notes Illustrative of the Text, and Containing Historical Details in Relation to the House of Stuart, from 1640–1784 (Glasgow: Richard Griffin and Co., 1829) it appears without Hogg’s name but with reference to ‘The Ettrick Shepherd’ in its footnote (pp. 232–35). In The Scottish Songs; Collected and Illustrated by Robert Chambers Author of ‘Traditions of Edinburgh’, ‘The Picture of Scotland &c.’, 2 vols (Edinburgh: Ballantyne & Co, 1829) it appears in the first volume (pp. 67–69) where it is presented without Hogg’s name but with the words ‘From the Gaelic’. In both cases there are only minor variants and the text is clearly that from Jacobite Relics. No manuscript source has been located. Publication History: 1821 – in Jacobite Relics, II, 149–50 and 352 — see (S/SC, 2003), p. 516 c.1829 – in The Border Garland, pp. 4–6 — see pp. 407–08 and 426–28 in the present edition Musical Context: In his note in the Jacobite Relics, Hogg writes, ‘the air bears the same name with

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the song. Fraser calls it “N’cual sibh mar thackair dhuin”’ (p. 352). This traditional Gaelic air first appeared in print in Captain Simon Frazer’s 1816 collection of The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles (No. 167, p. 68). In the Editorial endnotes Fraser writes, ‘The only words the Editor ever heard to this air are by Donald Downe Fraser, forrester and gamekeeper to Simon Fraser, Esq. of Foyers. If there are none more ancient, the same man should have the merit of composing this sweet eccentric air’ (p. 115). It is the air from Fraser that appears in Jacobite Relics though in a different key and with some variants: Fraser’s tune (with its repeats) is in eight phrases but the Relics tune more typically only uses four. It is this air that is used by James Dewar in his setting for The Border Garland but he changes key signature and time signature. Fraser’s original melody is indeed ‘eccentric’ with enharmonic turns and grace notes and with several difficult leaps for the singer and Dewar evens these out with his much simpler melody. Explanatory Notes: 407, [Title] Culloden Day referring to the devastating defeat of the Jacobite army at the battle on Culloden Moor on 16 April 1746. 407, l. 17 a foreign clime a reference to the mass eviction and emigration of the Highlands in the brutal aftermath of Culloden. See also note to 28, ll. 12–13 of Songs 1831. 407, l. 23 Cumberland Prince William Augustus, Duke of Cumberland (1721– 1765), army officer and the ‘second surviving son of George, prince of Wales, the future George II, and his wife, Caroline’ (entry by W. A. Speck, ODNB). 408, l. 32 and l. 40 beechen probably relating to birchen, or the birch tree which is native to the Western Highlands of Scotland. 408, l. 33 Clan-Ronald’s isles the Clan Ranald lands of the Western Highlands included Moidart where the Prince first landed in Scotland. See also note 8, l. 12 and ‘Red Clan-Ranald’s Men’, pp. 71–72 and Notes in Songs 1831. O Jeanie, There’s Naething to Fear Ye (pp. 409 and 429–31) See the note to ‘Naething to fear ye’ in John Clarke-Whitfeld’s Twelve Vocal Pieces [1817]. The Lament of Flora Macdonald (pp. 410–11 and 432–34) See the note to the ‘The Lament of Flora MacDonald’ in George Thomson’s Select Melodies of Scotland 1822–1823. The Sky Lark (pp. 411–12 and 435–37) See the note to ‘The Lark’ in John Clarke-Whitfeld’s Twelve Vocal Pieces [1817]. Turn the Blue Bonnets Wha Can (pp. 412–13 and 438–40) Creative Context: This song was first published as ‘Song LI’ in the ‘Second Series’ of Jacobite Relics in 1821. Hogg notes, ‘the name is ancient’ (p. 302). There is no specific information about its creation. Pittock doubts whether the song is of Jacobite origins, noting as an example, ‘the third stanza appears to indicate a post-Jacobite distaste for ‘the

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Saxon shilling’ being taken by Scots in the British Army’ (S/SC, 2003), p. 506. Indeed, for Pittock there is not sufficient evidence to confirm Hogg’s authorship either . The song is found as part of the Turnbull MS (fol. 70) where it is identified as a late song. Publication History: 1821 – in Jacobite Relics, II, 95–96 and 301–02 — see also (S/SC, 2003), pp. 506–07 c.1829 – in The Border Garland, pp. 4–6 — see pp. 412–13 and 438–40 in the present edition Musical Context: This melody should not be confused with ‘Over the Border’, the tune that Hogg mentions in relation to his song ‘Jeanie, There’s naething to fear ye’ in his headnote for 1831 (see Songs by the Ettrick Shepherd (S/SC, 2014) for further detail. In his own note to ‘Turn the Blue Bonnet’ in Jacobite Relics Hogg is unclear whether or not the air is ‘ancient’. The tune printed there is modal and rather melancholic and, if not ancient then it is a fine imitation. It is a variant of this tune that Dewar sets here in The Border Garland of c.1829. Miss Noel, whose name appears on the title, performed regularly in dramatic productions and concerts at the Theatre Royal, Edinburgh. Her name is also associated with Hogg’s ‘Bonnie Prince Charlie’ (see Miscellaneous Songs). Explanatory Notes: 412, l. 1 Donald a generic name for the Scottish Highlander, see ‘Donald MacDonald’ and notes in Songs 1831. 412, l. 11 Auchnacarry the Clan Cameron lands were traditionally at Auchnacarry in Inverness-shire. Caledonia (pp. 413–14 and 441–43) See the note to ‘Caledonia’ in A Border Garland [1819]. The Poor Man (pp. 414–15 and 444–46) See the note to ‘The Poor Man’ in A Border Garland [1819]. I’ll No Wake wi’ Annie (pp. 416–17 and 447–49) See the note to ‘I’ll No Wake wi’ Annie’ in A Border Garland [1819]. The Mermaid’s Song (pp. 418–19 and 450–52) See the note to ‘The Mer-maid’s Song’ in A Border Garland [1819]. The Women Fo’k (pp. 419–20 and 453–55) See the note to ‘The Women Fo’k’ in A Border Garland [1819].

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The Frasers in the Correi (pp. 420–21 and 456–58) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd (S/SC, 2014). In summary, the song was prepared for inclusion in the Second Series of Jacobite Relics in 1821 as ‘Song LXXXV’ where it appeared with the heading ‘From the Gaelic’. But Murray Pittock’s recent work suggests that Hogg probably created it himself. The idea for the song may have originated with historical information that Hogg came across in Simon Fraser’s ‘Letter and Prospectus relative to the Airs and Melodies Peculiar to the Highlands of Scotland’, end-dated ‘1 November 1815’. As noted elsewhere Hogg was very positively influenced by Fraser’s Airs and Melodies Peculiar to the Highlands of Scotland (first appeared in 1816). The hero of the song’s title is James Fraser, 9th of Foyers, who hid in a cave in Stratherrick, near to the Falls of Foyers in Inverness-shire for seven years after Culloden to avoid prosecution for his part in the rebellion. The song had not appeared in the first A Border Garland of [1819], but it was one of four additional songs to appear in the extended The Border Garland in c.1829. Robert Purdie, who edited the volume for the publisher Alexander Robertson & Co., simply reprinted the text from the Jacobite Relics version. Collation between these versions reveals small verbal and non-verbal variants, but too few to amount to whole scale redrafting on Hogg’s part. In 1834, Hogg published a story of the same title in which he fleshed out the details of the song more fully: see Fraser’s Magazine, 9 (March 1834), 273–278. A further, redrafted version of the song was included at the conclusion of the story (p. 278). The only extant manuscript version of the song is Hogg’s fair-copy manuscript for Songs 1831 at NLS MS 4805, ff. 55v–56r. Publication History: 1821 – in Jacobite Relics, II, 166–67 and 356 — see also (S/SC, 2003), p. 519 c.1829 – in The Border Garland, pp. 34–36 — see pp. 420–21 and 456–58 in the present edition 1831 – in Songs by the Ettrick Shepherd, pp. 126–28 — see (S/SC, 2014), pp. 58–59 1834 – in Fraser’s Magazine, 9 (March 1834), 273–78 Unauthorised versions: See Songs by the Ettrick Shepherd (S/SC, 2014). Musical Context: Hogg’s notes to the song in Jacobite Relics state that there is a fuller ‘set of the air’‘to the same name’ in Simon Fraser’s The Airs and Melodies Peculiar to the Highlands of Scotland (1816). Pittock notes that no air of this name is in that collection. However, Fraser’s note about the story of the hiding Highlanders, quoted above, is clearly connected to the tune titled ‘The Jacobites in their Hiding Places’ or ‘Nach bocdh a bhi’m falach’[“the Rebels in their Hiding Places”] (See Fraser’s Airs and Melodies, p. 58). It is a variant of this tune that is used for the song in Jacobite Relics and which James Dewar also chooses to set (with slight variants) in The Border Garland.

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The Harmonicon (1829 and 1832) I Downa Laugh, I Downa Sing (pp. 463 and 468–69) See the note to ‘I Downa Laugh, I Downa Sing’ in Select & Rare Scotish Melodies [1828]. The Mermaid’s Song (pp. 464–65 and 470–71) See the note to ‘The Mer-maid’s Song’ in A Border Garland [1819]. The Women Fo’k (pp. 465–66 and 472–73) See the note to ‘The Women Fo’k’ in A Border Garland [1819]. ‘’Tis Sweet to See’ (pp. 466 and 474–76) Creative Context: The lyrics for this song are extracted from Hogg’s narrative poem The Queen’s Wake of 1813. The two quatrains appear in the ballad, ‘Mary Scott’, performed during ‘Night the Third’, and describe the young Border beauty’s exquisite piety (The Queen’s Wake (S/SC, 2003), pp. 110–11, ll. 208–215). The ballad, as noted by Douglas Mack, is ‘set in Ettrick forest and has deep roots in Ettrick oral tradition’ and Hogg himself notes that the ballad is based on an old song called ‘The Grey Goss Hawk’, a variant of which appeared in Scott’s Minstrelsy of the Scottish Border in 1802–1803. There is no variation in the two quatrains between the 1813 and 1819 editions of The Queen’s Wake, and a comparison with the text published in The Harmonicon reveals only minor non-substantive variants in spelling (for example, wrings / wring’s; ecstacy / extasy). The lyrics appear for the first time with musical setting in The Harmonicon in 1832. However, these two quatrains were previously singled out for their excellence. The Carcanet, A Literary Album, Containing Select Passages from the Most Distinguished Writers (London: William Pringle, 1828) extracts the verses (p. 117). Hogg later included two comparable quatrains in ‘Jocke Taittis Expeditioune till Hell’, first published in Blackwood’s Edinburgh Magazine in September 1830 and later included in A Queer Book of 1832: “’Tis sweitte to se the lasse we lyke Come lynking ower the le; ’Tis sweite to se the earlye budde First nodding fro the tre; “’Tis sweite to se the morning beime Kyssing the sylver dewe; But forgivenesse is the sweeteste thyng That evir ane kyne herte knewe. (A Queer Book (S/SC, 1995), p. 143, ll. 233–41) The opening line of ‘’Tis sweet to see’ appears to have been commonplace in Romantic poetry. For example, the famous passage beginning with ‘’Tis sweet to

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see the evening star appear’ in ‘Canto the First’ of Byron’s Don Juan (1819) echoes Hogg’s lyrics; however, for Byron, the sweetest thing, ‘Is First and passionate Love’, rather than hymns of holy ecstasy. No manuscript has been located. Publication History: 1832 – ‘ ’Tis Sweet to See’ [music by G. B. Hullman], Harmonicon, X, Part 2, (1832), pp. 158–60 — see pp. 466 and 474–76 in the present edition Musical Context: No information has been located about the composer G. B. Hullman who sets the song for its appearance in The Harmonicon, but it is a simple setting ideal for the magazine, as it is not too difficult for amateur performance.

Original Scottish Melodies [1834] The Bonnie Lass o’ Deloraine (pp. 481 and 485–87) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd (S/SC, 2104) and also in The Forest Minstrel (S/SC, 2006). And further information about the song can be sourced in Richard D. Jackson’s article ‘The Pirate and the Bonny Lass of Deloraine’ in the Scott Newsletter (No. 40 (Summer 2002), 9–21). Jackson concludes that ‘the Bonnie Lass’ is one Eliza Scott (b. 1786), who lived in Wester Deloraine in the Ettrick district from the 1780s and who married the Rev. William Berry Shaw of Langholm in 1813. Hogg composed the song before he left Ettrick in 1804, which matches the information in his 1831 headnote that the song was written ‘nearly thirty years ago’. In summary, as Garside and Jackson note, the earliest-known publication of the song is a much longer version comprising six verses that first appeared in The Scots Magazine in August 1807 immediately below ‘Verses on the Earl of Dalkieth’s Birthday’, ‘by the Ettrick Shepherd’. A shortened version of the song, which omits references to ‘Scott of Deloraine’ and a fifth verse ‘in which Hogg by implication proposes himself as a potential suitor’ was next published in The Forest Minstrel in 1810. The song then appeared once more in the fourth volume of Hogg’s 1822 Poetical Works of 1822 before Hogg chose to include it in Songs by the Ettrick Shepherd in 1831. The song is extant within the fair-copy manuscript for Songs 1831 at NLS MS 4805, ff. 59v–60r, but there appear to be no other extant manuscripts. Publication History: 1807 – in The Scots Magazine, 69 (August, 1807), 607–08 1810 – in The Forest Minstrel pp. 62–64 — see (S/SC, 2006), pp. 67–69 and 264–66 1822 – in Poetical Works, IV, 357–59 1831 – in Songs by the Ettrick Shepherd, pp. 145–47 — see (S/SC, 2014), pp. 66–67 [1834] – in Original Scottish Melodies pp. 1–3 — see pp. 481 and 485–87 in the present edition Musical Context: As Garside and Jackson state in The Forest Minstrel, Hogg’s 1831 headnote refers

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to the song having ‘never been set to music’. But when it appears in The Forest Minstrel it does so with the tune title ‘The Maid of Isla’. More information about this tune is given in The Forest Minstrel, and the editors choose to present a variant of the tune from Gow’s Fourth Collection of Strathspey Reels with Hogg’s text (p. 266). But after the song’s appearance in Songs 1831 it was taken up for inclusion in Peter McLeod’s Original Scottish Melodies of [1834]. McLeod also included it in his later [1838] edition of Original National Melodies of Scotland, but it was a reprint from the [1834] musical plates. McLeod does not use the tune ‘The Maid of Isla’ and gives no title for the tune which is presented in his collection. The text which appears with music in McLeod’s collection is clearly derived from Songs 1831, though McLeod only sets the first three verses. Explanatory Notes: See Songs by the Ettrick Shepherd, p. 241. Love Came to the Door o’ My Heart (pp. 482 and 488–91) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd (S/SC, 2104) where it appears with the title ‘Love’s Visit’. In summary, the song first appears in the Edinburgh Literary Journal for May 1829. Hogg had been contributing a number of items to this magazine in 1828–1829, at a time when he was dissatisfied with his relationship with its rival Blackwood’s Edinburgh Magazine. There is no further information about the song’s creative context. It did not appear elsewhere before Hogg picked it up for inclusion in Songs 1831. This is one of the songs missing from the fair-copy holograph for Songs by the Ettrick Shepherd at NLS MS 4805 ff. 26–102 and no other manuscript sources have been identified. Publication History: 1829 – in Edinburgh Literary Journal, No. 25 (2 May 1829), 352 1831 – in Songs by the Ettrick Shepherd, pp. 251–52 — see (S/SC, 2014), p. 111 [1834] – in Original Scottish Melodies, pp. 63–66 — see pp. 482 and 488–91 in the present edition Musical Context: Hogg gives no information about a choice of tune or air or any musical settings. But Peter McLeod published an arrangement of the song in his Original Scottish Melodies [1834] under the title ‘Love Came to the Door O’ My Heart’. It was subsequently reprinted under this title in McLeod’s Original National Melodies of Scotland [1838], with the same plates. There is no title for the melody or air.

SECTION II: MISCELLANEOUS SONGS Donald M‘Donald (c.1803) (pp. 497–98 and 500–01) Creative Context: A full account of the textual and publishing history of ‘Donald MacDonald’ (and

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a detailed history of the tune ‘Woo’d an’ married an’ a’’ which is closely associated with the text) is given in The Forest Minstrel (S/SC, 2006). Further context and Explanatory Notes to the text are found in The Mountain Bard (S/SC, 2007). And further information is included also in Songs by the Ettrick Shepherd (S/SC, 2014). In summary, this is one of Hogg’s best-known songs, categorised by Hogg in his 1831 headnote as his ‘first song’. His 1832 ‘Memoir’ specifically dates the song to 1800 (Altrive Tales (S/SC, 2003), p. 20). But research for the editions above concur that it is more probable that Hogg wrote the song in 1803 when he was undertaking his second, more extensive Highland journey and at a time when there was a wave of anxiety about Napoleonic invasion. ‘Donald MacDonald’ is central to Hogg’s song opus. It was indeed the first of his songs to appear with musical accompaniment in a broadsheet for voice, piano and German flute, published, in two slightly different versions, by John Hamilton of Edinburgh in c.1803, both of which are included in the present edition. It is also a song that Hogg famously performed himself as noted in his 1832 ‘Memoir’ and his ‘Anecdotes of Scott’. It appeared as text alone in the 1807 edition of The Mountain Bard and in The Forest Minstrel of 1810. Hogg did not include it in the revised and extended edition of The Mountain Bard in 1821. Its appearance as the first song in Songs 1831 was its next, and its last, authorised printing. An early holograph version of the song is extant at NLS MS 10279, f. 83 (see The Forest Minstrel (S/SC, 2006), p. 349). The fair-copy manuscript for 1831 is found at NLS MS 4805, ff. 26r–27r. There are notable variants between 1831 and earlier printings. The headnote and footnote to the song in Songs by the Ettrick Shepherd are often quoted by scholars wishing to emphasise the importance of Hogg’s song in performance and also to emphasise Hogg’s role as tradition bearer: this is a song that was frequently performed without knowledge of Hogg’s authorship. As the note to the song in Songs by the Ettrick Shepherd (S/SC, 2014) also illustrates the song was performed abroad during Hogg’s lifetime, with specific documented performances in India. Publication History: c.1803 – ‘Donald M ‘Donald, A Favorite New Scots Song set for the Voice, PianoForte, and Ger. Flute, written by James Hog.’ [sic] dated c.1801 — see pp. 497–98 and 500–01 in the present edition c.1803 – ‘Donald McDonald’ — Edinburgh, Printed & Sold by J. Hamilton at his Music Library No. 24 North Bridge Street. — see pp. 505–07 in the present edition 1807 – in The Mountain Bard, pp. 179–82 — see (S/SC, 2007), pp. 108–09, 178–79, and 454–55 1810 – in The Forest Minstrel, pp. 190–93 — see (S/SC, 2006), pp. 176–78 and 348–52 1831 – in Songs by the Ettrick Shepherd, pp. 1–5 — see (S/SC, 2014), pp. 3–5 Unauthorised versions: See Songs by the Ettrick Shepherd (S/SC, 2014) Musical Context: The traditional Scottish tune ‘Woo’d an’ Married an’ a’’ was nominated as the chosen melody for this song from the first song-sheets up to and including its appearance in Songs 1831. This was a tune with a long history of publication, regarded as one of the most popular Scottish tunes of the period, and was regularly

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in print from the 1750s onwards. An account of its history can be found in The Forest Minstrel (2006), pp. 350–52. The two versions which appeared in c.1803, both published by the Edinburgh music publisher John Hamilton, are given in the present edition. In this one the bass accompaniment is very simple, clearly encouraging domestic performance. Hamilton produces many single song-sheets through the 1790s and into the first decade of the nineteenth century, including some of the earliest settings of songs by Robert Burns. Explanatory Notes: See The Mountain Bard (S/SC, 2007), pp. 454–56. The present edition reproduces images from the copy held at Stirling University Library. Donald McDonald (c.1803) (pp. 505–07) See the note immediately above. This is the second musical setting also published by John Hamilton of Edinburgh. There is no watermark on the copy and it is impossible to date it exactly. It is thus difficult to say which of these two musical settings appeared first. While they share the same text with virtually no changes, the melody in this second version is substantially different. It uses the same basic tune and is in the same key, but the melody is significantly altered and has a ‘trumpeting’ quality about it which is not apparent in the previous setting. Moreover, the bass line is notably more complex in this setting, replacing a very simple part for the left hand in the other Hamilton song-sheet. The present edition reproduces images from the copy held at the British Library [BL G.370.2 (13)]. The Ettricke Garland (1815) (pp. 511–16) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd (S/SC, 2104). In summary, this is one of Hogg’s Ettrick songs and as he notes in 1831 it was composed for an important football match organised by the Duke of Buccleuch and Walter Scott that took part on 4 December 1815; not 5 December as Hogg states in his 1831 headnote. Correspondence between Hogg and Scott during November 1815 illustrates that the two worked closely together on the song for the event. The textual changes between this early version and that published just three weeks later in an eight-page pamphlet by James Ballantyne are discussed in detail in Douglas S. Mack’s article ‘“ The Ettricke Garland” by Scott and Hogg: a Note’: see The Bibliotheck, 7 No. 4 (1975), 105–11. It is Hogg’s song as it appears in this pamphlet that is included in the present edition. There were many changes to the text as outlined also in the note to the song in Songs by the Ettrick Shepherd (S/SC, 2014). Hogg chose to include the song in his Poetical Works in 1822, now retitled ‘On the Lifting of the Banner of Buccleuch’ and sub-titled ‘at the great football match on Carterhaugh, Dec. 4, 1815’. The copy text is The Ettricke Garland with no textual alterations and this was also the copy text for his inclusion of the song in Songs by the Ettrick Shepherd in 1831, when he revised the title to ‘The Ancient

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Banner’. As noted above Hogg’s fair-copy holograph manuscript of the original song composed on 24 November 1815 is extant at NLS MS 38886, ff. 241–42. This manuscript is discussed in detail in Douglas Mack’s article and Hughes reprints the original version in Letters, I, 258–59. Publication History: 1815 – The Ettricke Garland; being Two Excellent New Songs on The Lifting of the Banner of the House of Buccleuch, at the great football match on Carterhaugh, Dec. 4, 1815 ‘To the Ancient Banner of the House of Buccleuch’ (Edinburgh: James Ballantyne & Co., 1815): see The Bibliotheck, 7 no 4 (1975), 105–11 — and see pp. 511–16 in the present edition 1822 – in Poetical Works, IV, 287–89 1831 – in Songs by the Ettrick Shepherd, pp. 262–63 — see (S/SC, 2104), pp. 116–17 Unauthorised versions: See Songs by the Ettrick Shepherd (S/SC, 2014), p. 302. Musical Context: Hogg makes no mention of a melody or air for this song in 1831 or elsewhere and no musical settings of it have been located. Further information about music at the event is given in Songs by the Ettrick Shepherd (S/SC, 2014), p. 302. Explanatory Notes: See Songs by the Ettrick Shepherd (S/SC, 2014), pp. 302–03. The present edition reproduces images from the copy held at the National Library of Scotland [NLS R Y.IV.C.2] Song for the Anniversary of the Caledonian Asylum (1815) (pp. 519–23) Creative Context: A full account of the textual and publishing history of this song with its title ‘I Lookit East, I Lookit West’ is given in Contributions to Blackwood’s Edinburgh Magazine, I (S/SC, 2008) and also in Songs by the Ettrick Shepherd (S/SC, 2014). In summary, this song appeared in Blackwood’s on 20 October 1826 as the first of three songs sung by the Shepherd in the Noctes Ambrosianae No. XXVIII and there, and in his 1831 headnote, Hogg explains why he wrote it. The song was created at the request of John Galt and other literary friends for a new organisation that was ‘for the purpose of relieving the wives and families of Scottish solidiers who had fallen in our sanguine wars abroad’. It was first performed at the institutionary dinner of the Caledonian Asylum held at the Freemason’s Tavern in London on Saturday 11 March 1815 and the specially printed version for this occasion is the copy included in the present edition. Thomas Richardson’s notes for the song in Contributions to Blackwood’s give further details as to the first printing of the song and of the manuscript Hogg sent to George Thomson (BL Add MS 35, 265, fol. 340); he refers to Gillian Hughes’s discovery of the song’s appearance in the Edinburgh Evening Courant of 13 March 1815, as part of the paper’s account of the dinner. See also Gillian Hughes, ‘James Hogg, and Edinburgh’s Triumph Over Napoleon’, Scottish Studies Review (Spring 2003), 98–111. The fair-copy manuscript for Songs 1831 is found within NLS MS 4805, ff. 37r–38r.

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Publication History: 1815 – ‘SONG, / BY THE ETTRICK SHEPHERD, / Sung at the Institutory Dinner of the CALEDONIAN ASSYLUM, at the Freemason’s Tavern, Saturday, March 4th, 1815 — see pp. 519–23 in the present edition 1815 – in Edinburgh Evening Courant, 13 March 1815 1826 – in Blackwood’s Edinburgh Magazine, 20 (October 1826), 622–23 — see (S/SC, 2008), pp. 253–54 and 529–31 1831 – in Songs by the Ettrick Shepherd, pp. 37–40 — see (S/SC, 2014), pp. 18–20 Musical Context: Hogg’s ‘afterword’ to the song’s appearance in Songs 1831 refers to its London premiere by ‘professional singers’ — the account in the Edinburgh Evening Courant mentions a Master Millar as the singer, and notes that he was a pupil of ‘Mr Addison’, who was presumably the composer and singer John Addison (c.1766– 1844). Hogg also explains that the tune to which his lyrics were sung was ‘The Birks of Invermay’. Further information about this tune is given in Songs by The Ettrick Shepherd (S/SC, 2014) p. 174. Hogg may well have known it from its appearance in SMM (1787), No. 72 (p. 73). It is a wistful and slightly haunting tune, well chosen for the tenor of Hogg’s lyric, which speaks so expressively of a destitute widow and her three children finding Divine comfort. According to John Galt, who had ‘commissioned’ Hogg, the songs performed at the institutionary dinner were published by Chappell (The Autobiography of John Galt, i, 273). But neither such a collection, nor any later musical settings of Hogg’s song have yet been located. Explanatory Notes: See Songs by the Ettrick Shepherd (S/SC, 2014), p. 175. The present edition reproduces images from the copy held at Perth Museum and Art Gallery [SRO–1472/150]. The Lament of Flora McDonald, Second Edition (1822) (pp. 527–31) See the note to the ‘The Lament of Flora MacDonald’ in George Thomson’s Select Melodies of Scotland 1822–1823. Musical Context: This song-sheet was entered at Stationers’ Hall on 22 January 1822. As noted in the editorial note to the song, the first edition of this song-sheet has not been located. Gillian Hughes records notices from the Edinburgh Evening Courant of 20 December 1819 and 5 January 1822 advertising the first and second editions (Letters, II, 134). The present edition reproduces images from the copy held at the Bodleian Library, Oxford [Mus Voc 1 24]. Bonny Prince Charlie (c.1819–1823) (pp. 535–38) See the note for ‘Charlie’ in A Border Garland [1819] Musical Context: This is a copy of the song with melody and musical setting by Niel Gow junior

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that first appeared in [1819] in A Border Garland. It is the same musical setting by Gow, but in a lower, and much more singable key. The information given at the foot of the first page of this song-sheet notes: ‘This Song was first Published in the Border Garland the property of Nathaniel Gow & Son’. Gow was at 60 Princes Street between 1818 and 1823, and if the song was printed after A Border Garland then its earliest date of publication must be later in 1819. The singers mentioned here are Miss Stephens and Miss Noel, both popular performers of the moment and further information on both of them is given in the Introduction to the present edition (in the section entitled Miscellaneous Songs). The present edition reproduces images from the copy held at Special Collections at the University of Glasgow [GUL Ca 12–y.44]. Bonny Prince Charlie (c.1825) (pp. 541–44) See the note for ‘Charlie’ in A Border Garland [1819] and The Border Garland c.1829. Musical Context: This is an early setting by theatre composer James Dewar of Niel Gow junior’s melody. While Gow’s melody and setting first appeared in A Border Garland in [1819], this first Dewar setting appears to have been published in c.1825 by Alexander Robertson at 47 Princes Street, Edinburgh. Robertson’s business was resident there between c.1820 and 1833. Dewar produced a second setting of the same song in c.1829 for the later and expanded The Border Garland, but while in the same key as this one, it has a very different piano accompaniment. The text is significantly shorter here (there is no third verse), and there are significant textual variants — presumably to better suit its dramatic context in the production of Redgauntlet. Notably the chorus is also different from that set by either Gow or Dewar as it begins with the words ‘Follow thee, Follow thee!’ rather than ‘Charlie, Charlie’. Miss Noel’s name is again associated with this song, but there is little biographical information about her. Her name is also given in the title of ‘Turn the Blue Bonnet wha can’ in The Border Garland of c.1829, so she is clearly someone known for her performances of Hogg’s songs. She appears to have performed regularly in dramatic productions and concerts at the Theatre Royal, Edinburgh, where Dewar was musical director. Her name appears on other Scots song-sheets produced by Robertson around this time such as ‘The Birks of Aberfeldy, as sung at the Theatre Royal and the Concerts by Miss Noel’ (advertisement in The Caledonian Mercury of 14 December 1826). For further information on James Dewar, see the introduction to The Border Garland in the present edition. The present edition reproduces images from the copy held at the University of Aberdeen Bernard C. Lloyd Scott Collection [WS S45]. Bonnie Prince Charlie (c.1835–1847) (pp. 547–50) See the note for ‘Charlie’ in A Border Garland [1819] Musical Context: As with the versions of ‘Bonnie Prince Charlie’ immediately preceding it in the present edition, this setting by John Liptrot Hatton uses basically the same melody as the settings by Gow and Dewar. This setting, unlike Dewar’s c.1825 setting for Redgauntlet, returns to the four stanzas of the original song as found in A Border Garland of [1819] with only slight variants. Further information on Hatton

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is given in the note to the song in A Border Garland [1819] and the singers named here, Madame Stockhausen and Clara Novello, are further discussed in the Introduction to the present edition (in the section entitled Miscellaneous Songs). The present edition reproduces images from the copy held at the British Library [BL H.1653.x. (2)]. O Jeanie, There’s Naething to Fear Ye’ (c.1822–1823) (pp. 553–57) See the note to ‘Naething to fear ye’ in John Clarke-Whitfeld’s Twelve Vocal Pieces [1817]. Musical Context: Details of the various musical settings of this song are given in the note mentioned above. The publishing house Gow & Son were the combined team of Niel Gow junior and his son Nathaniel and they were at 60 Princes Street (the address given on this song-sheet) between August 1818–1823 and again between May 1824 and February 1826. The song-sheet in the present edition appears to have been entered at Stationers’ Hall on 10 June 1822, hence the dating of c.1822–1823. Niel died in 1823 and the firm then became Gow and Galbraith who remained at the Princes Street establishment until October 1826. A second copy of the song has been found, published by Gow and Galbraith with the additional information ‘Adapted to the Favourite Tune of Blue Bonnets over the Border’ on its title. This second song-sheet presumably dates to [1826]. The present edition reproduces images from the copy held at the British Library [BL H. 1670. (47)]. Niddity, Noddity, Nannie (c.1828–1839) (pp. 561–67) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd (S/SC, 2104). In summary, this song, with the slightly different title of ‘Auld Joe Nicholson’s Bonny Nannie. A Scotch Sang’, appeared in the popular London literary annual Friendships’s Offering in 1829. Between 1828 and his death in 1834 the annual was edited by Hogg’s friend, the writer Thomas Pringle (1789–1834), who encouraged contributions from his Scottish literary friends. Seven of Hogg’s texts were published there between 1828 and 1831. For further information, see Contributions to Annuals and Gift Books (S/SC, 2006), pp. 123–43. The song also appeared in Noctes Ambrosianae (No. XL) of Blackwood’s Edinburgh Magazine for December 1828, where it fitted neatly into a discussion about literary annuals. Aside from usual orthographic changes (‘bonny Nannie’ becomes ‘bonny Nanny’), all printed versions are stable until Songs by the Ettrick Shepherd of 1831. There are no extant manuscripts. Publication History: 1828 – in Blackwood’s Edinburgh Magazine, 24 (December 1828), 688 — see (S/SC, 2008), pp. 350–51 and 561 1829 – in Friendship’s Offering (1829), pp. 263–64 — see Contributions to Annuals and Gift Books, (S/SC, 2006), pp. 123–24, 311 and 388 1831 – in Songs by the Ettrick Shepherd, pp. 268–70 — see (S/SC, 2014), pp. 118–19 c.1828–39 – as ‘Niddity Noddity Nannie, Ballad in the Scottish Style, words by the

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Ettrick Shepherd [...] by J. Blewitt’ (London: Mori & Lavenu) — see pp. 561–67 in the present edition Musical Context: Hogg boldly states in his headnote for 1831 that he has ‘composed an air for it myself’ and, moreover, that he is sure he will always prefer his own tune to any other. He also states that he has ‘refused all applications to have it set to music’. He does not name his tune, nor has it been located. But the setting included in the present edition is a later, most probably unauthorised, musical setting by Jonathan Blewitt entitled ‘Niddity, Noddity, Nannie. A Ballad in the Scottish Style, music by J. Blewit, ‘Sung by Mr Wilson with Great Applause at the Theatre Royal, Covent Garden (London: Mori & Lavenu, 28 New Bond Street, c.1828–1839) Price 2s’. Blewitt was born in London in 1782 and died there in 1853. He was an organist, conductor and composer who studied with Haydn. He spent the early part of his career in Dublin, but was back in London by the mid-1820s and was involved in producing music for Drury Lane. As such he would have known Henry Bishop who produced all the settings of Hogg’s songs for Select & Rare Scotish Melodies in [1828]. This would fit nicely with the dating of this setting of Hogg’s song. The tenor John Wilson was associated with performances of Hogg’s songs, notably in the 1840s. Further information about him is given in the Introduction to the present edition (in the section entitled Miscellaneous Songs). Later versions of the song are found with an arrangement by John Fulcher in The Casquet of Lyric Gems (Glasgow: Bell and Bain, n.d.), pp. 234–35; and in The Lyric Gems of Scotland (Glasgow: David Jack, 1856), p. 129 (with unnamed melody only). Gooch and Thatcher list a further three versions of the song: 8659–8662. The present edition reproduces images from the copy held at the British Library [BL H. 1650. gg. (16)]. Oh Love’s a Bitter Thing to Bide (c.1829–1830) (pp. 571–79) Creative Context: The lyrics to ‘Oh Love’s a Bitter Thing to Bide’ were first published in the ‘Noctes Ambrosianae’ No. XLV of Blackwood’s Edinburgh Magazine in July 1829. When requested to sing ‘a song of the true Scottish cut — a genuine bud of the heather’, the ‘Shepherd’ exclaims, ‘Is that a’? I’ll mak and sing ane aff hand—love never comes wrang to me’. The lyrics set to music by Mademoiselle D’Espourrin in the present edition do not substantively differ from the Blackwoodian version, and there are only minor variations in spelling (for example, sae/so; an’/and). A manuscript of the song as it appears in Blackwood’s can be found at NLS MS 4854 (fols 27–28) and is discussed by Thomas Richardson in his notes to the song in the magazine. It is unusual that Hogg chose not to include this attractive love song in his Songs by the Ettrick Shepherd of 1831, when he did include so many of his songs created for ‘Noctes’ and also when a new musical setting had been produced so recently. Publication History: 1829 – Blackwood’s Edinburgh Magazine, 26 ( July 1829), 135 — see (S/SC, 2012) pp. 46–47 and 372–73 c.1829–30 – ‘“Oh Love’s a bitter thing to bide,” Ballad. The Words by the Ettrick Shepherd, The Music Composed and Dedicated to The Honble. Lady Maynard Hesilrige by Melle. D’Espourrin.’ (London: Printed for the Author

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by Chappell, c.1829–1830) — see pp. 571–79 in the present edition Musical Context: Hogg’s lyrics were arranged for ‘Harp or Piano Forte’, by the renowned harpist, Mademoiselle D’Espourrin, who received high praise for the composition from the New Monthly Magazine in April 1830: A charming unaffected composition by a young lady of very considerable acquirements in the science of music. It will best witness itself the excellence of the adaptation. There is a neatness, if the word can be applied to music, a pleasing impression produced by its simplicity, and a certain recollection of some of our airs of “Lang Syne,” mingled with its modern fashion, that renders it doubly welcome to us in addition to our stock of sweet and agreeable aural desserts. We are persuaded that if Mademoiselle D’Espourrin cultivates her talents, and directs her faculties unceasingly to acquiring very high excellence in the science, she will not fail of success’ (New Monthly Magazine, 30.112 (1 April 1830), p. 157). D’Espourrin was a well-known performer by 1830 and went on to be ‘considered as one of the best harpistes of this metropolis’ (The Musical World, 14 (9 July 1840), p. 27). She is also advertised as a ‘Professor of the Harp’ in London in The Morning Post (24 April 1840). Her setting of ‘Oh Love’s a Bitter Thing to Bide’ is dedicated to Lady Maynard Hesilrige (1774–1864), the ‘last surviving daughter of John, first Lord Wodehouse’ and wife of ‘Sir Thomas Maynard Hesilrige, who died in 1817’ (The Gentleman’s Magazine, 216 (February 1864), 266). D’Espourrin’s setting was entered at Stationers’ Hall on 11 March 1830. The present edition reproduces images from the copy held at the British Library [BL H. 1668 (28)]. Bird of the Wilderness (c.1830–1832) (pp. 583–86) See the note to ‘The Lark’ in John Clarke-Whitfeld’s Twelve Vocal Pieces [1817]. Musical Context: This setting is one of many contemporary and later Victorian settings of Hogg’s ‘The Skylark’ and further information on many of these (and a selection of performances) is available on the James Hogg Research website at http://www. jameshogg.stir.ac.uk. There is little biographical information about the composer J. C. Clifton, but his name appears in the pages of the musical magazine The Harmonicon which sometimes included his work. The firm of Collard & Collard was a musical instrument maker as well as seller, publisher and printer and was based at 26 Cheapside and the 195 Tottenham Court Road between c.1830–1834. They were succeeded by Clementi, Collard & Collard at this time and Thomas E. Purday took over the publishing business from 1834. The present edition reproduces images from the copy held at the British Library [BL H. 2832.p. (26)].

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The Stuarts of Appin (c.1831–1832) (pp. 589–95) Creative Context: A full account of the textual and publishing history of ‘The Stuarts of Appin’ is given in Contributions to Blackwood’s Edinburgh Magazine I (S/SC, 2008) and further details are given in Songs by the Ettrick Shepherd (S/SC, 2014). In summary, the song is first mentioned in Hogg’s letter to William Blackwood of 1 August 1828 (see Letters, II, 299–300), but a fair-copy manuscript with a watermark of 1827 is held by Dunedin Public Libraries, New Zealand. The song first appeared in Blackwood’s Edinburgh Magazine on 24 October 1828 in Noctes Ambrosianae No. XXXVIII, in a discussion relating to an honorary dinner for General David Stewart of Garth for which the Shepherd has written two songs. The dinner referred to in the Noctes was a real event held by Highland Club of Scotland, in Edinburgh in September 1828. A detailed account of this ‘public dinner’, which reported the nationalist and patriotic songs, toasts and guests in attendance, was printed in The Edinburgh Evening Courant of Monday 15 September. Richardson’s note for the Blackwood’s appearance of the song also gives an account of its various manuscript sources, including the existence of the fair-copy manuscript in the Dunedin Public Libraries, New Zealand, mentioned above, A presentation holograph of verses 1, 5 and 6 of the song, titled ‘The Appin Coronach’ (Gaelic term for a lament), is located at NLS, Acc. 10001. A fragment of a further holograph manuscript of ‘The Stuarts of Appin’, written while Hogg was in London in the early months of 1832, is located at the Fales Library, New York. This version relates to the music sheet published by Chappell in c.1831–32, which is most probably the song-sheet included in the present edition. Publication History: 1828 – in Blackwood’s Edinburgh Magazine, 24 (October 1828), 535 — see (S/SC, 2008), pp. 348–50 and 557–661 1831 – in Songs by the Ettrick Shepherd, pp. 59–62 — see (S/SC, 2014), pp. 28–30 c.1831–32 – The Stuarts of Appin, music by Peter McLeod, arranged by John Thomson (London: S Chappell, 50 New Bond Street) — see pp. 589–95 in the present edition [1838] – in Original National Melodies of Scotland, Composed by Peter McLeod (London: George Virtue, 26 Ivy Lane, Paternoster Row; Edinburgh: A. Crichton, 27 West Register Street, n.d.)[1838]), pp. 192–98. Note: the same song as that published by Chappell in c.1831–1832 Musical Context: Hogg writes in his 1831 headnote to ‘The Stuarts of Appin’: ‘The song is set to a fine warlike air, by Peter M‘Leod, Esq.’ (1831, p. 59). The earliest musical setting to be found is most probably the one included in the present edition, published by the famous London music publisher Samuel Chappell. The firm was based at 50 Bond Street (as noted on the song-sheet) between c.1830–1834, but Hogg’s own comments allow us to date this c.1831–1832. The song, comprising only the first and last verses, with a melody composed by McLeod and arranged by the Edinburgh composer John Thomson, appeared almost exactly a year after publication of Songs by the Ettrick Shepherd of 1831.Writing to McLeod from London on 27 February 1832, Hogg informs him of its recent publication and relates how he had been present in Chappell’s shop when Thomson had performed several songs attempting to interest him in a collection of Scottish songs. Hogg writes

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how ‘Thomson […] did them ample justice’: see Letters, III, 41–42. While Hogg’s headnote, written in 1830, reveals that McLeod’s music was composed for the song before Hogg’s London visit, it is not known when McLeod first composed the music, nor how Thomson came to arrange it. A holograph manuscript of the song in the Fales Library, New York appears to be the copy text of the Chappell music sheet. This is confirmed by Hogg’s directions at the beginning and end of the manuscript where he directs that ‘singing stanzas’ and ‘the chorus of each song to be printed in full’ and by his end note stating it was ‘Written off-hand in the British Coffee-House on the 21st of Janr 1832 — for a queer callant they ca’ John M,c Crone — By the Ettrick Shepherd’: see Fales Manuscript Collection, Box 89, folder 21. Although the manuscript consists of three verses of the song (1, 3 and 6 of Songs 1831), Chappell omitted the second verse so that only the first and last verse and chorus appear on the song-sheet. ‘Lament for the Stuarts of Appin’ is a further printing of the song as a music score. It appeared in the third and final edition of Original National Melodies of Scotland, Composed by Peter McLeod (London: George Virtue, 26 Ivy Lane, Paternoster Row; Edinburgh: A. Crichton, 27 West Register Street, n.d.)[1838]), pp. 192–98. Collation with Chappell’s score of 1832 reveals only one substantive alteration: the omission of Hogg’s gloss to the Gaelic refrain that was inserted as a footnote to p. 3. Explanatory Notes: See Contributions to Blackwood’s Edinburgh Magazine, I (S/SC, 2008), pp. 559–61. The present edition reproduces images from the copy held at the British Library [BL H. 1653. r .(4)]. I Hae Naebody Now (c.1833–1840) (pp. 599–604) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd (S/SC, 2104). In summary, Hogg states clearly in his 1831 headnote that this song was ‘published lately in Fraser’s Magazine’. Hogg’s involvement with the magazine began in 1830 through his acquaintance with the writer John Galt (1779–1839) who, Gillian Hughes notes, had written to Hogg on 6 February 1830 soliciting articles for Fraser’s Magazine for Town and Country on the editor’s and publisher’s behalf: see Letters, II, 387n. The only extant manuscript is that found in Hogg’s fair-copy manuscript for Songs 1831 at NLS MS 4805, f. 81. Publication History: 1830 – in Fraser’s Magazine for Town and Country fourth number for May 1830 (p. 398) 1831 – in Songs by the Ettrick Shepherd, pp. 215–17 — see (S/SC, 2104), pp. 96–97 Unauthorised versions: See Songs by the Ettrick Shepherd (S/SC, 2014), p. 274 Musical Context: In his 1831 headnote Hogg refers to a setting of the song by one ‘Mr Ebsworth’ in Edinburgh, though no such setting has yet been located. The musical setting in the present edition is by the English composer Edward J. Nielson and sets the text

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as it appeared in Fraser’s. Nielson’s setting, as its ornate cover-page explains, was performed at the ‘Nobilities and other Concerts’ in London by one ‘Miss Bruce’. Unlike several of the singers associated with Hogg’s songs during this period, it is difficult to find information about ‘Miss Bruce’. She appears to have made her London debut at a concert which featured ‘A Selection of Ancient and Modern Music’ (including Part II of Handel’s Messiah and Part III of Haydn’s Creation) at Covent Garden on 30 January 1830 and the review in The Dramatic Magazine for (March 1830), noted that: ‘Miss Bruce is evidently a singer of great promise’ (p. 54). This song-sheet was published in London by W. H. Aldridge of 264 Regent Street between c.1833 and 1840. Hogg discusses a newspaper report of a performance of ‘I Hae Naebody Now’ on the London stage in his letter of 3 August 1833 to ‘N. Lamont’ (NLS MS 10279, f. 73). There is a reproduction of this song-sheet also on the James Hogg Research website at http://www.jameshogg.stir.ac.uk. Nielson set two further Hogg songs: ‘Maggy o’ Buccleuch’ (see below) and ‘The Woman Fo’k’ (see The Harmonicon in ‘Collections’ in the present edition). American versions of the songs were also produced. ‘I hae naebody now, a Scotch Ballad. By the Ettrick Shepherd’ comprises a five-page music score produced in 1841 and sold for 50 cents by the New York music publishing firm of C. T. Geslain, 72 Lispernard Street, Nr. Broadway. The title page records it was ‘sung by Mrs Hardwick at Public and Private Concerts’ and though it gives no composer’s name, it is the Nielson setting replicated with only very slight amendments. The music score is reproduced on the Music for the Nation: American Sheet Music website at the Library of Congress located at http://memory.lc.gov. Explanatory Notes: See Songs by the Ettrick Shepherd (S/SC, 2014), p. 275. The present edition reproduces images from the copy held at the British Library [BL H. 2832. b. (19)]. Maggy o’Buccleuch (c.1833–1840) (pp. 607–14) Creative Context: ‘Maggy o’ Buccleuch’ was first published as a literary song in Rudolph Ackermann’s London-based annual, Forget Me Not, in 1832. For more detailed discussion of this annual and Hogg’s involvement with it see Contributions to Annuals and Giftbooks (S/SC, 2006, pp. 294–95). Currie and Hughes note that the song was created by way of a compliment to Hogg’s patrons, the Dukes of Buccleuch, as the musical setting by Edward J. Nielson, given in the present volume, was dedicated ‘to her Grace the Duchess of Buccleuch’. Charlotte Anne Montagu-Douglas-Scott, Duchess of Buccleuch and Queensberry (1811–1895), was the wife of Walter Francis Montagu-Douglas-Scott, the eldest surviving son of Hogg’s great patron, Harriet, the Duchess of Buccleuch (1773–1814). A textual comparison of the song-sheet text with the version in Forget Me Not reveals only minor non-substantive variants, and in particular, the text for Nielson’s setting includes more contractions, such as ‘flow’r’ (l. 5), ‘grac’d’ (l. 7), and ‘brush’d’ (l. 8). There is no surviving manuscript of this song. Publication History: 1832 – in Forget Me Not (1832), 182–83 — see Contributions to Annuals and Gift-Books (S/SC, 2006), pp. 73–74 and 301–02

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c.1833–40 – Maggy o’ Buccleuch, A Ballad sung by Mr Wilson at the Theatres Royal, The Poetry by The Ettrick Shepherd, And most respectfully dedicated to her Grace, the Duchess of Buccleuch, by E. J. Nielson (London: W. H. Aldridge, 264 Regent Street, c.1833–1840) — see pp. 607–14 in the present edition Musical Context: While no musical air is printed in the Forget Me Not, Hogg indicates it may be sung to a tune titled ‘Days of Yore’ (Contributions to Annuals and Gift Books, p. 73). However, the musical setting by Edwin John Nielson (b.1812) does not use this air. Nielson was known as a harpist and composed music for harp and pianoforte between 1833 and 1840 (Brown and Stratton, 1897, pp. 297–98). Nielson’s setting is undated. According to Humphries and Smith (1970), the music publisher W. H. Aldridge was at this address between c.1831 and 1840, and this date range can be narrowed, as Nielson composed music for harp and pianoforte mainly between 1833 and 1840 (Brown and Stratton, 1897, pp. 297–98). The song is advertised as ‘sung by Mr. Wilson at the Theatre Royal’. The Scottish tenor, John Wilson (1800–1849), was a regular performer at Covent Garden and Drury Lane between 1830 and 1837, and Hogg’s song ‘Niddity Noddity Nannie’ is similarly advertised as ‘sung by Mr Wilson, with great applause, at the Theatre Royal, Covent Garden’. Wilson went on to become a major advocate of Scottish song — lecturing and performing across Britain and America, and rendering ‘the simple melodies of Scotland illustrious throughout the world’ (Mitchison, ‘Biographical Sketch of John Wilson’, in Hand-book of the Songs of Scotland (1851), p. xii). Wilson’s later published collections of the Songs of Scotland include settings of many of Hogg’s songs. Explanatory Notes: See Contributions to Annuals and Gift-Books (S/SC, 2006), pp. 377–78. The present edition reproduces images from the copy held at the British Library [BL H.1654. mm. (5)]. O! What Will A’ the Lads Do (c.1834–1858) (pp. 617–25) See the note to ‘O! What Will A’ the Lads Do’ in Select & Rare Scotish Melodies [1828]. The edited text given here presents the text as it appears in the musical setting for vocal duet and piano by Henry Bishop. Bishop repeated particular lines of the original text used for Select & Rare Scotish Melodies. He also chose not to set part of the final verse (namely the last four lines) from c.1828, and this later text is notably stripped of much punctuation. Because the repetitions are irregular, it is almost impossible to standardise the text as poetry. The present edition reproduces images from the copy held at the British Library [BL H. 1427. (10)].

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APPENDIX The Minstrel’s Song [1818] (pp. 631–34) Creative Context: A full textual and publishing history for this song is given in Songs by the Ettrick Shepherd (S/SC, 2014). In summary it was initially included by Hogg his long narrative poem The Queen’s Wake: A Legendary Poem published in Edinburgh in 1813, where it simply appeared as part of the introduction as ‘The Song’ and where it is used to welcome the Queen back to Scotland and to herald the beginning of the singing competition or ‘wake’ over which she will preside as judge over the next three nights. As part of The Queen’s Wake the song then appeared in Hogg’s Poetical Works of 1822 and, due to its popularity, was then selected by Hogg for inclusion in Songs by the Ettrick Shepherd in 1831. Retitled, ‘O, Lady dear’ from the first line of the song, the layout in Songs 1831 is altered from the original two quatrain format to an octet. One substantive alteration occurs at l. 7, where ‘maiden’ of all previous versions becomes ‘virgin’. In the unauthorised musical settings of the songs included here (see ‘Musical Context’ below) there are few variants from the text in The Queen’s Wake: ‘the inconstant’ in l. 2 becomes ‘th’inconstant’ and in l. 6 ‘beauty is’ becomes ‘beauty’s’. The change which Hogg makes to the text in 1831 from ‘virgin’ to ‘maiden’ in l. 7 is also made here. Publication History: 1813 – in The Queen’s Wake: A Legendary Poem, pp.12 — see (S/SC, 2005), p. 12 1822 – in Poetical Works, I, 14 1831 – in Songs by the Ettrick Shepherd, pp. 288 — see (S/SC, 2014), p. 126 Unauthorised Musical Settings: [1818] – as ‘The Minstrel’s Song’ published as part of American Musical Miscellany No. 7 [musical setting by Thomas Van Dyke Wiesenthal], (Philadelphia: Bacon & Co.) – see pp. 631–34 in the present edition [1823] – the same setting as above but published (Philadelphia: J. G. Klemm) Musical Context: In Songs by the Ettrick Shepherd Hogg follows ‘O Lady Dear’ by including other songs from The Queen’s Wake with the note that these are ‘pieces that might be successfully set to music’. His headnote for ‘O Lady Dear’ refers to the song as having been ‘set to music on a single sheet by Mr Monzanni’. Moreover, Gillian Hughes has located an advertisement under the ‘New Music’ section of the Edinburgh Evening Courant for 1 July 1813 which notes that ‘ “O Lady Dear” (described as “A Song from The Queen’s Wake”) is this day published” by Penson, Robertson of Edinburgh’ (The Queen’s Wake (S/SC, 2004), p. 405). In short, neither information about ‘Monzanni’ nor a copy of the song-sheet has ever been found. Notably there is a popular composer named Joseph Mazzinghi (1765–1844) who had found inspiration in Walter Scott for some of his compositions. However, Jon Finson records a version of ‘The Song’, retitled ‘The Minstrel’s Song’, published in 1818 by Thomas Van Dyke Wiesenthal (1790–1831). As Finson comments: ‘American-born’ Wiesenthal, ‘a naval surgeon by profession’,

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EDITORIAL NOTES

set at least one poem from Rokeby in 1818, ‘Oh! Lady Twine no Wreath for Me!’ (‘The Cypress Wreath’), and in the same series he included ‘The Minstrel’s Song’ (Philadelphia: Bacon & Co., 1818) with lyrics from James Hogg’s poem, The Queen’s Wake. Finson reproduces this in The Voices that are Gone: Themes in Nineteenthcentury American Popular Music (Oxford: Oxford University Press, 1994), pp. 16–17. This song-sheet also appears in the present volume. The copy used here is held by the Library of Congress: Private Collection of J. Francis Driscoll, Boston Public Library, Harvard University, American Antiquarian Society, New York Public Library, Private Collection of Dr Saul Starr. This setting was subsequently reprinted from the same plates with the name of another Philadelphian publisher, J. G. Klemm, with the later date of [1823]. Finson finds his original date of 1818 from Wolfe, Secular Music in America, 1801– 1825 (1964), Vol. 3, No. 9909A. In summary, the publishers of the first songsheet, Bacon & Co., were based at 11 South Fourth Street between 1814–1819 and, with the name ‘Bacon & Hart’, in 1820. J. G. Klemm, whose name appears on the second issue of the same song-sheet, was based at 3 South Third Street between 1823 and 1825 and it is known that Klemm used some ‘Bacon & Hart’ plates in 1823. A copy of the Klemm song-sheet is located at the Boston Public Library, American Antiquarian Society, Free Library of Philadelphia, Edward I Keffer Collection, Library Company of Philadelphia. It is thought that Hogg was unaware of these transatlantic publications of his song. The present edition reproduces images from the copy held at the Newberry Library, Philadelphia [Newberry Case 8A 1733].

Beethoven Schottische Lieder (1822) Frische Bursche Hochlands-Bursche (Bonny Laddie Highland Laddie) (pp. 637 and 642–43) Wenn Doch Die Arge Böse Welt (Could This Ill Warld Have Been Contrived) (pp. 638 and 644–45) Die Hochlands-Wache (The Highland Watch) (pp. 639 and 646–48) See the notes to ‘Where Got Ye that Siller Moon’, ‘Mischievous Woman’ and ‘The Highland Watch’ in Thomson’s A Select Collection of Original Scottish Airs, vol. V (1818). All three songs first appeared in a set of twenty-five new musical settings by Ludwig van Beethoven in Thomson’s Select Collection in 1818. As Barry Cooper notes, Beethoven was required to make new copies of all 25 songs from Thomson’s edition for the Berlin music publisher Adolf Schlesinger in 1820 and the manuscripts of these copies are now housed in Bonn in the Beethoven-Archiv (SBH 728). Cooper states that the musical text is copied ‘in two hands and has been corrected by Beethoven himself, while a third hand has inserted the English verses’ (see Barry Cooper, Beethoven’s Folksong Settings (Oxford: Oxford University Press, 1994) pp. 52–53. He also notes that Beethoven was unhappy with the order of the songs Thomson had published in 1818, and he rearranged the order in the Schlesinger edition. Schlesinger decided to produce them in three separate parts or ‘hefte’. Hogg’s three songs appeared in each of the three parts (only the title

EDITORIAL NOTES

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page for the first is included in the present edition). Cooper states that the first two hefte became interchanged. Beethoven supplied Schlesinger with a list of the authors of the song texts in July 1821 and appears to have engaged in discussion about the translations, but the handling of texts for the songs was confused and complex and Schlesinger did not follow Beethoven’s suggestions. It is notable that the ‘English verses’ are not translated in full and incomplete lyrics appear without their author’s names on the final printed edition of the songs, as shown in the case of these three songs of Hogg’s in the present edition. The translator was the Berlin librarian Samuel Heinrich Spiker, though he is not named as such until Schelsinger’s later edition of the songs entitled 25 Schottische Lieder mit deutschem und englishem Text für eine Singstimme begleitet von Pianoforte, Violine und Violoncelle obligat componiert von L. van Beethoven, published between 1845–1850. Cooper does note that of all editions of Beethoven’s folksongs that appeared after the Thomson editions, this was the most significant because of the level of Beethoven’s direct involvement. See also Kirsteen McCue, ‘“Schottische Lieder ohne Worte?”: what happened to the words for the Scots song arrangements by Beethoven and Weber?’, in Scotland in Europe, eds. R. D. S. Jack and Tom Hubbard (Amsterdam/New York: Rodopi, 2006), pp. 119–36. The present edition reproduces images from the copy held at the National Library of Scotland [NLS Mus E m 56]. O Dinna Weep [1825] (pp. 651–53) Creative Context: ‘O Dinna Weep’ was first published as a literary song, without musical setting, in Hogg’s novel The Brownie of Bodsbeck in 1818, where like ‘Dweller in Heaven’ (see German Hebrew Melodies [1817]), it is sung by the Covenanter, Nanny. As established by a review appearing in the Quarterly Musical Magazine and Review, 3.11 ( July 1821), p. 365, the lyrics were set to music by Joseph Macdonald Harris for publication in London by James Power in c.1821. An extant copy of this songsheet has not been located to date; however, Harris’s setting was republished in Philadelphia by Benjamin Carr in c.1825, and a copy of this version was located at the Newberry Library, Chicago. It is this copy that appears in the present edition. There is no date on the song-sheet itself, and it is likely that the approximate date of publication comes from Richard J. Wolfe, Secular Music in America, 1801–1825, A Bibliography (New York: New York Public Library; Astor, Lenox and Tilden Foundations, 1964), p. 346, where it is listed as item no. 3442 and is dated c.1825. Dating via address is impossible since there is no address but ‘Philadelphia’. According to Dichter & Shapiro (1941, reprint 1977), Benjamin Carr published in Philadelphia as ‘Carr, B.’ from 1794–1807, and then from 1811–1831. If this is the case it is not impossible that the setting published by Carr appeared before the Power publication. A comparison with the literary text in The Brownie of Bodsbeck illustrates that the song contains several minor textual variants that generally anglicise Hogg’s lyrics (for example, maun/must; nouther/neither; gane/gone; aboon the morrow/ above tomorrow). The form of the lyric that appears in quatrains in The Brownie of Bodsbeck is amended to shorter-lined octaves for the song setting, with the last long line of each verse thus repeated. One or two other variants are notable: at the beginning of verses 2 and 3 the word ‘dinna’ is repeated in the song and in verse 2 the word ‘bonny’ is also repeated.

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No manuscript of the song lyric has been located, but the manuscript for The Brownie of Bodsbeck is located at NLS MS 4806. Though only featuring the first twelve chapters of the book, the manuscript thus includes the text of ‘O Dinna Weep’ as this appears in Chapter XI of the novel. Publication History: 1818 – in The Brownie of Bodsbeck; and Other Tales, 2 vols (Edinburgh: Blackwood; London: Murray, 1818), I, pp. 213–13 c.1821 – O dinna weep; a Duet, composed by J. Macdonald Harris; the Words by the Ettrick Shepherd (London: J. Power) [1825] – O Dinna Weep. A Duett Composed by J. Macdonald Harris. The Words by The Ettrick Shepherd. (Philadelphia: B. Carr) — see pp. 651–53 in the present edition Musical Context: In a joint review with ‘Nights of Music; for two Voices; by Blangini, with Words by Thos. Moore, Esq. London. Power’ and ‘The Maid of Valdarno; a Duet for two Voices; the Words by W. F. Collard; the Music by John Field, of St. Petersburgh. London. Clementi and Co.’, Harris’s setting of ‘O Dinna Weep’ is singled out as by far the best of the three, if things so dissimilar can be compared. This mingles plaintiveness with a sort of promise of joys to come: the melody is very good, and both parts sing well. We do not however think that the division towards the end is in good taste; it is too gaudy and stage-like. But from the specimens with have seen of MR HARRIS’S talent in duet writing, his genius appears to us to lay that way; and we should recommend to him a sedulous study of the old English and Italian masters, together with an examination of the means the modern Italian writers of duets employ. Besides those of MOZART, PAER and ROSSINI have produced some most elegant and expressive morceaux (Quarterly Musical Magazine and Review, 3.11 ( July 1821), p. 365). Harris (1789–1860) was a composer, born in London, who was first a chorister in Westminster Abbey and later studied under the organist of the abbey, Robert Cooke. He published numerous songs, also setting to music the lyrics of Thomas Moore, Lord Byron, and Felicia Hemans and arranging Burgoyne’s Collection of Psalms and Hymns (1827). The present edition reproduces images from the copy held at the Newberry Library, Philadelphia [Newberry Case 8A 1352]. Bird of the Wilderness (c.1835–1837) (pp. 657–60) See the note to ‘The Lark’ in John Clarke-Whitfeld’s Twelve Vocal Pieces [1817]. There are two settings of the song by W. R. Dempster, who appears to have been a composer of popular American song-sheets, often of ballads, during the 1840s and 1850s. The one included here, published by Dubois & Bacon in New York dates from c.1835–1837 and the copy given here was sourced at the Newberry Library in Chicago. It is presented here because, though difficult to date precisely, it may have appeared as early as the year of Hogg’s death in 1835. It is the first of two settings Dempster produced, both using basically the same melody but each with quite different piano accompaniment. The other setting entitled ‘Bird

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of the Wilderness. Ballad, The Poetry by the Ettrick Shepherd, Composed by W. R. Dempster’, was published in London by B. Williams, 11 Paternoster Row & 170 Gt. Dover Rd. It is available to consult on the James Hogg Research website at http://www.jameshogg.stir.ac.uk, and the copy there is from the British Library [H 1771 e (12)]. Though undated, the publisher Benjamin Williams was resident at this address between the years of c.1847 and 1868. As such this copy is not included in the present edition. The James Hogg Research website also includes an article on the popularity of Hogg’s ‘The Skylark’ or ‘Bird of the Wilderness’ and various performances of the song are available to hear: Kirsteen McCue,‘“The Skylark”: the popularity of Hogg’s “Bird of the Wilderness”’(2009). This setting of the song included in the present edition most probably based its text on that included in Songs by the Ettrick Shepherd, but there are substantive variants. Firstly, as was common in the Victorian musical settings of the song, the title is that of Hogg’s first line ‘Bird of the Wilderness’ rather than the simpler ‘The Skylark’. Aside from one or two slight changes to punctuation the remaining variants include the transposition of ll. 13–14 in the Dempster version and in l. 18 he replaces Hogg’s ‘Musical cherub, soar, singing, away!’ with ‘Musical cherub hie, hie thee away’. Explanatory Notes: See Contributions to Annuals and Giftbooks, p. 371. The present edition reproduces images from the copy held at the Newberry Library, Philadelphia [Newberry Case Sheet Music M1.A13 no. 1491].

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INDEX OF FIRST LINES AND MELODY TITLES

Index of First Lines and Melody Titles Each song appears twice in the present edition and, as such, each song has two page references. The first of these refers to the text-only version of the song and the second, given in italics, to its respective musical setting.

First Lines The first lines of texts of songs included in Contributions to Musical Collections and Miscellaneous Songs are given below. Texts have been standardised (namely, capitalisation of words and punctuation at the ends of lines have been removed). In some cases a song appears more than once in the same collection (e.g. ‘Could this ill warld have been contrived’), and in such cases there are more than two references given. Alt Schottland! Wecke deiner Höhn And has thou here, like Hermit grey Arise, arise, thou queen of love! Bawloo, my bonny baby, bawlillilu Bird of the wilderness Bird of the wilderness Bird of the wilderness Bird of the wilderness Bird of the wilderness Caledonia thou land of the mountain and rock Caledonia! thou land of the mountain and rock Cam ye by Athole lad wi’ the philabeg Came ye by Athol lad wi’ the philabeg Came ye by Athol lad wi’ the philabeg Came ye by Athol lad wi’ the philabeg Came ye by Athol lad wi’ the philabeg Came ye by Athol lad wi’ the philabeg Came ye o’er by Morvich? Can I bear to part wi’ thee Come all ye jolly shepherds that whistle thro’ the glen Come from the sea Come ilka lad and lovely maid

639, 646 511, 513 20, 44 13, 34 62, 65 218, 234 411, 435 583, 584 657, 658 413, 441 219, 236 541, 542 213, 224 250, 272 406, 423 535, 536 547, 548 25, 52 219, 238 199, 203 305, 318 11, 30

INDEX OF FIRST LINES AND MELODY TITLES

Come o’er the stream, Charlie, dear Charlie, brave Charlie Come row the boat, row the boat Could this ill warld ha’e been contrived Could this ill warld have been contriv’d Could this ill warld have been contrived “Depart ye,—depart ye Dweller in Heaven high, Ruler below! Fair lady mourn the memory Far over yon hills of the heather so green Far over yon hills of the heather so green Far over yon hills of the heather so green Fare thee weel, my native cot Farewell to Glenshalloch Go home, go home to your rest, young man Hark the horn! up i’ in the morn Here we go upon the tide How dear to me the hour when daylight springs I downa laugh, I downa sing I downa laugh, I downa sing I hae a green purse an’ a wee pickle goud I hae nae body now __ I hae nae body now I sing of a land that was famous of yore I’ll sing of yon glen of red heather If e’er I’m thine, the birds of the air Lang I sat by the broom sae green Lie still, my love, lie still and sleep Long have I pin’d for thee Loose the yett an’ let me in Loose the yett an’ let me in Love came to the door o’ my heart ae night Lye still my love lye still and sleep Lye still my love lye still and sleep Mary is my only joy Mary, can’st thou leave me Meet me at even, my own true love Must I leave thee broken-hearted My name is Donald M‘Donald

771 257, 282 335, 375 199, 204 638, 644 163, 168 90, 135 89, 125 407, 426 179, 188 410, 432 527, 529 258, 287 253, 279 304, 316 260, 290 180, 190 301, 310 331, 357 463, 468 24, 50 599, 600 589, 590 338, 387 305, 317 337, 383 464, 470 255, 281 217, 232 414, 444 482, 489 215, 228 418, 450 22, 46 328, 343 334, 372 85, 105 497, 500

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INDEX OF FIRST LINES AND MELODY TITLES

My name is Donald McDonald My Peggy thou art gane away Now cease of auld ferlies to tell us Now up wi’ Donald my ain brave Donald O cam’ ye through the forests green O love has done mickle in city and glen O love’s a bitter thing to bide O Mother tell the laird o’t O mother tell the laird o’t O my lassie our joy to complete again O my Lassie our joy to complete again O my Lassie, our joy to complete again O Sairly may I rue the day O sairly may I rue the day O sairly may I rue the day O strike your harp, my Mary O the glass is no for you O what will a’ the lads do O where shall I gae seek my bread? O why comes my love nae langer to woo me? “O! Lady dear, fair is thy noon O! Lives one love-spark in your breast O! my lassie! our joy to complete again O! what will a’ the lads do “O will ye walk the wood, lady? O’er the ocean bounding Oh ’tis a heartstirring sight to view Oh hon a ri! there’s something wantin Oh! saw ye the Rose of the East Old Scotia wake thy mountain strain Old Scotia, wake thy mountain strain On Carmel’s brow the wreathy vine On Ettrick’s haunted holms so eiry Rise! rise, dawn of the morn! Still must my pipe lie idle by ’Tis sweet to see the opening flower The auld gudeman cam hame at night

505, 507 20, 42 177, 184 412, 438 607, 608 336, 379 571, 573 212, 222 416, 447 409, 429 553, 555 216, 230 214, 226 419, 453 465, 472 262, 292 333, 368 329, 347 257, 284 12, 32 631, 632 88, 119 63, 70 617, 619 14, 36 303, 314 248, 268 261, 291 86, 110 181, 194, 639, 646 164, 170 91, 141 18, 40 84, 96 481, 485 466, 474 253, 277

INDEX OF FIRST LINES AND MELODY TITLES

The daisy is fair, the day lily rare The do’e flew east, the do’e flew west The flag wav’d o’er the castle wa’ The Minstrel boy to the glen is gone The year is wearin’ to the wane There’s gowd in the breast of the primrose pale There’s grace i’ your grey locks, my auld dearie! There’s nae laddie coming for thee, my dear Jean There’s news come over the highlands yestreen Up wi’ the Souters o’ Selkirk Was ever old warrior of suff’ring so weary? Wem den Silber mond Ihr dankt Wenn doch die arge böse Welt When the well runs dry Where floated crane, and clam’rous gull Where got ye that siller moon “Where is your daddy gone my little May? Whither journeyest thou? Why does Lady Linley weep Why should I sit and sigh Why weeps yon Highland maid Ye are but some lawland loon Ye breezes that spring in some land unknown

773

561, 562 250, 275 519, 521 301, 308 263, 294 302, 311 23, 48 330, 352 339, 393 332, 365 259, 288 637, 642 638, 644 651, 652 248, 267 165, 172, 637, 642 420, 456 93, 145 17, 38 10, 28 302, 313 166, 172 332, 361

Titles of Melodies / Airs / Tunes Hogg and his publishers do not always give information about melodies/airs/ tunes for all songs. Sometimes a melody title is exactly the same as the general title for the song (see ‘Contents’ list). The following list thus comprises the titles of melodies/airs/tunes where Hogg or his publisher has given them on the publication, or where they have been identified by other means. Readers should consult the section entitled ‘Musical Context’ in the Editorial Notes for further information. Bhannerach dhon na chri Blue Bonnets over the Border Bodhan an Eassain Bonny Laddie, Highland Laddie Brigus mhic ruaridh

255, 281 216, 230, 409, 429, 553, 555 253, 279 165, 166, 172, 637, 642 260, 290

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INDEX OF FIRST LINES AND MELODY TITLES

Callum a ghlinne Cameron’s welcome hame Cnochd a Bheannichd Cuishlih ma chree Driving the Steers Dumbarton Drums Edinborough, Edinborough Fy, let us a’ to the bridal Gowd in Goupins Ho cha neil mulad oirn I’ll gae nae mair to yon town Is fallain gun dìth thainig thu Maid of the Valley Malcolm of the Glen Mischievous Woman My love’s shoulders are broad and square N’cual sibh mar thackair dhuin Nach bocdh a bhi’m falach O what will I do! Royal Highlander’s March St Patrick’s Day in the Morning The Banks of Devon The Birks of Invermay The bonny grey-eyed morn The Dandy, O The dear black Maid The Emigrant’s adieu The Highland Watch The Jacobites in their Hiding Places The Moreen The Red Fox The twisting of the rope The winnowing Sheet Turn the Blue Bonnet Wilzham Wallas’ March Woo’d an’ married an’ a’

259, 288 262, 292 10, 28 305, 318 338, 387 333, 368 17, 38 177, 184 11, 30 258, 287 329, 347 22, 46 303, 314 259, 288 163, 168, 199, 204, 638, 644 13, 34 407, 426 420, 456 18, 40 20, 42 339, 393 255, 281 519, 521 199, 203 304, 316 302, 313 258, 287 164, 170, 639, 646 420, 456 301, 308 302, 311 301, 310 305, 317 412, 438 24, 50 497, 500, 505, 507

GLOSSARY

775

Glossary Janette Currie This Glossary provides a guide to Hogg’s Scots and English words in Songs 1831 that readers may find unfamiliar. In preparing the Glossary the online Dictionary of the Scottish Language (DSL) — located at http://www.dsl.ac.uk — has been particularly useful [accessed September 2005–June 2008]. This online resource incorporates both the 12 vol. Dictionary of the Older Tongue, ed. by William Craigie, et. al. (Oxford: Oxford University Press, 1931–2002) and the 10 vol. Scottish National Dictionary, ed. by William Grant and David Murison (Edinburgh: Scottish National Dictionary Association, 1931–1976). The Scots Dialect Dictionary, compiled by Alexander Warrack (New Lanark: Waverley Books, 2000) was also useful. The Oxford English Dictionary (OED) was helpful for locating those words that have now fallen out of common usage. Likewise The Concise Scots Dictionary, ed. by Mairi Robinson (Aberdeen: Aberdeen University Press, 1985) was used in preparation of the Glossary. Often a Scots spelling of a word is formed by changing the English ‘ed’ to ‘it’ (as in wantit for wanted) and ‘qu’ to ‘wh’ (as in quat for what). Moreover, often words ending in ‘y’, are amended by adding ‘e’ — e.g., loyaltye and courtesye. These words are not glossed. In several songs Hogg uses a synthetic literary Highland dialect which is achieved by swapping the values of letters, so that ‘p’ stands for ‘b’ such as ‘pe’ or ‘be’, ‘t’ replaces ‘d’ such as ‘Cullotin’ or ‘Culloden’, ‘f’ replaces ‘v’ as in ‘nefer’ or ‘never’, ‘s’ replaces ‘z’ as in ‘plase’ or blaze, ‘c’ and ‘k’ replaces ‘g’ as in ‘cot’ or ‘got’ and ‘ket’ or ‘get’, and so on. Only those synthetic words where Hogg’s usage might be confusing are glossed. Words requiring longer explanations are given in the Explanatory Notes section at the end of the Editorial Notes to individual songs.

a’: all; everyone abigh: aside, away, apart (from company) aboon: above, in the heavens ae: one [numerical]; a aff: off affrontit: affronted afore: before aft/aftener: often ain: own (belonging to) aince: once air: early alane: to be alone; lonely alloy: to mix with something of inferior quality altar-cloth: linen cloth used at the celebration of Communion or Mass amang/’mang: among

ane: a person, some one; one [numerical] aneath: beneath, below, under anes: once arles: payments or wages for services array: to draw up in battle lines atween: between auld/aulden/auldest: old; aged; oldest auld: (of people) advanced in years; aged ava: at all awa’: away aweel: used as ‘well’, such as expressing an agreement, or introducing a statement ay/aye: always, ever, continually ayont: on the further side of bairnly: childlike

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GLOSSARY

bairns/bairnies: children, offspring of any age baith: both balloch: a narrow mountain pass ban: prohibit, interdict; to curse (a person or thing) bandalet: a small band or streak banes: bones; the human skeleton bannets: bonnets barley bree: a Scots phrase meaning ‘malt liquor, whisky’ batten: to grow fat, to thrive(OED) baukit: to avoid, shirk bauld/bauldy: (of persons) brave bear: barley beaver: a hat made of beaver’s fur beetle-bee: a humming beetle befa’: to befall; to happen begoud: to begin to do something bein: to be water-tight bell: the cry of a deer ben: in, or towards the back or inner parts of a house or dwelling bent: a strong, coarse, or wiry variety of grass betide: to happen beuk: a book bide: to stay, remain big/biggin’: to build; a building bike: an insect nest, i.e. ants or bees; a swarm billman: soldier carrying a weapon, usually a broadsword birk: the birch tree bit: a small piece or portion bladds: a lump or portion (of something) blasted: blighted blathrie: trumpery, foolishness, ostentation, harm blaw: to blow bleeze: to blaze blewart: the harebell blin’: to be blind blithe: joyous, cheerful, happy blithesome: cheery blude: blood bogle: a ghost

bonnet: a cloth cap, often with a peak at the front booby: a dunce boordly: stalwart, well built, powerful bore: to pierce through bothy: a primitive dwelling house, often the place used by shepherds during the summer months boud: (verb) had to bowzy: covered with bushes; bushy bracken/braken: fern brae: a hill or hillside, a sloping bank braid: broad (as in length) brairding: the first shoots of grain, turnips, etc.; sprouting brake: breach braken: fern brand: a sword braw: fine, splendid; elegant bree: the eyebrow, or, broth or juice breeks: breeches breery: the rose briar; a prickly shrub breviary: a book containing the ‘Divine Orders’ for each day recited by those in holy orders (in Roman Catholicism) brier: a prickly shrub (often the wild rose) brochin: a plaid (of tartan) brock: a badger brogs/brogues: roughly made shoes worn by Highlanders broom, bushes brose: oatmeal brow: the brow of a hill; or, to face or confront brownie: a supernatural being in human form (often harmless) bruiks: bears or endures buckler: a small round shield bught: a sheepfold, sheep-pen bulk: the bosom bung: part of an item of clothing burd: a bird burn/burnie: a brook or a stream; a river but: also

GLOSSARY

byre: a building for keeping cattle ca’: to call cairny: small pile of stones, a marker for the dead, or a boundary mark callan/callant: a young boy; in older men, a term of endearment or familiarity cam: to come; came canna: cannot cannie/canny: skilfull; careful; shrewd; knowing, wise canopy: a tent or pavilion canty: lively, cheerful; contented caper’d: danced or leapt in frolicsome manner, skipped merrily carbineer: soldier who carries a firearm, a sort of musket carena: uncaring; careless carle: a man, fellow (sometimes derogatory term) carle: man or fellow, old man cauld/cauldness/cauldest: cold/coldness/ coldest cauld: to be cold cauldrife: chilly caup: cup cauve: a calf chaperoon: a hooded cloak, formerly worn by nobility Cherman: German clay: [literary] the ground claymore: a two-edged broadsword cleuch/cleugh: ravine or gorge cludd: a cloud coble: a small, flat-bottomed rowing boat coffer: strong box or chest for storing valuables cog: wooden vessel, made of hooped staves coof: a fool, simpleton, dull-witted fellow coronach: a lament for the dead, a dirge, either sung or played on the bagpipes coronal: a garland; a circlet of gold

777

worn on the head corrie/correi: a hollow in a hillside or between hills cot: a small house or cottage, used poetically to denote size or humbleness couldnae, could not counterfeit: not genuine, malformed courser: a large, powerful horse; a racing horse couthy: agreeable, sociable, friendly, sympathetic cove: a cave; a recess crabbit: in bad humour, cross crack/ crackit: to boast; to chat; boasted, bragged craigy: rocky, craggy craws: crows; to crow creat: great cumber: trouble, distress or hardship; a state of difficulty or anxiety cummer: a female intimate, a gossip; a form of designation curd: curdled milk curlew: a bird of the Nemenius family, known as a whaup in Scotland daddin’: to plod, to trudge daft: stupid; foolish dang: to strike, to knock darena: dare not (to) daunder: to stroll, saunter; walk uncertainly declivity: downward slope or incline. dee/dee’d: to die/died deevil/deil: Satan, the Devil deil: behaving in such a way to indicate a familiar or humorous personification of the spirit of mischief denty: [colloquial] dainty deray: a disturbance dewlaps: the loose skin under the throat of dogs, etc. dight: to adorn dike: a low wall or fence of turf or stone serving as a division or enclosure

778

GLOSSARY

dilde/dilder: a frightened state din: a loud noise dingle: a deep dell or hollow; ‘now usually applied (after Milton) to one that is closely wooded or shaded with trees’ (OED) dink: fastidious, prim dinna: do not; did not dirk/durk: a Highland dagger disna: does not ditty/ditties: a short simple song; often used of the songs of birds, or applied depreciatively; stories or tales doddit: hornless doited: (of persons) not of sound mind; impaired intellect dool: stupid, or stupidity dort: ill-humoured dorty: peevish, sulky dought: strength, ability doughtna: was not able to, i.e., did not have the strength to perform an act doup: the buttocks dover’d: stunned dowiei/dowye: to be sad, melancholy; [colloquial] stupid downa: unfit or unable to perform an action; cannot dowy: dull and lonely, or melancholy dracht: (Hogg’s own spelling) a draught drappin: dropping dree: to endure, to bear drifty: used to denote fallen snow, driven by the wind drill: a small furrow made in the soil, in which seed is sown; a ridge having such a furrow on its top; also, the row of plants then sown drouth: thirst drysome: cold, unemotional dulefu’: sorrowful; distressing dun: a dull or dingy brown colour duntin’: stamped heavily

dwomony: (dominie) a student at university, one with learning e’en: evening, dusk e’er: ever ee/een/ eebree: the eyes; the eyebrows ee: in view, within sight eerie/eery: affected by fear or dread, especially by a fear of the supernatural which gives rise to uneasiness or loneliness; gloomy, dismal, melancholy ell: a unit of linear measurement equal to around 38 inches of cloth elwand: a measuring wand enow: enough erst: formerly ether: an adder or poisonous snake or serpent fa’: to fall (down) fain: gladly; lovingly faem: foam fand: put to the test fank: to catch in a noose, to snare fat: what fauldit: folded fause: false fay: unearthly; possessing fairylike or supernatural qualities; a fairy feath: faith (shortened form of ‘in good faith’) feint: weak, feeble fell: [figurative] to cast down, defeat, ruin, humiliate; (of persons) fierce, cruel, severe; a hill or mountain fend: to defend from want, to provide sustenance ferly/ferlies: to marvel or wonder; marvellous things firth: a wood flang: flung flaughten: a flake fleech’d: to coax, wheedle, flatter; to beseech, entreat fley’d: to be frightened, scared flichterin’: fluttering (as a bird)

GLOSSARY

flittin’: moving house flosh/flush: a piece of boggy ground especially with water on the surface; a large shallow puddle flowy: adj. spongy, or boggy flyting: the act of quarrelling, scolding, or employing abusive language foggies: a veteran; an army pensioner forby: besides, in addition to, as well as forgie: to forgive forspent: exhausted forworn: forewarned foster: nourish; encourage, indulge foughten: fought frae: from (indicating departure) froward: perverse fu’: fully; with force; to be drunk funk: a strong, unpleasant smell funkit: to flinch or shrink through fear fusionless: (of people) fainthearted; spiritless gadman: a blacksmith gae/gane/gang/gaed/gaun: to go (on foot); the act of walking or going; went gaishen: a thin, emaciated person, a skeleton gaits: goats gar/gars/gart/: to cause (something) to be done garret: a turret, or watch-tower gat: to get gate: a way or road gaucy: (of people) plump; cheery gaw: to irritate, annoy gear/gier: possessions gecks: mocks geen: given gie: to give gin: of time: by, before, when, etc.; if girt/gird: encircle glen: a valley between hills or mountains gloamin’: evening twilight, dusk

779

goadman: the man or boy who accompanied the ploughman to direct and incite the team of oxen or horses with his gaud (bar or stick) gorse: common prickly shrub goud/gowden : gold (money); golden (colour) gouk/gowk: the cuckoo gowl: to howl; to yell grane: to groan; to suffer greet/grat: to weep; wept grews: greyhounds grist: corn to be ground Gude: God gude: good gudebrither: a brother-in-law ha’: a farm-house, the main dwelling of a farm, less commonly with Eng. sense of a manor-house hae: to have; possess haffets/haffits: temples; namely the region on each side of the head in front of the ear and above the cheek bone haill: whole halberd: a military weapon, around five feet long comprising a battle-axe and spear head halberdier: soldier who carries a halberd hale: sound in body hallan: an internal wall that prevents wind penetration; a dwelling or house hame: a dwelling house; a habitation han’: a hand hapless: unsuccessful happing: (of tears), to trickle down rapidly happit: covered; wrapped up harp: to sing hart: a stag; a male deer (especially of the red species) hauberk: a piece of defensive clothing, such as chain mail haud/hauds: to hold; holds

780

GLOSSARY

haw: the hawthorn tree heath-cock: (Tetrao tetrix) the male of the black grouse herd: a herdsman, denotes a shepherd in Scotland herry/herried: to harry; harried, robbed; ravaged hie: hasten hill cheek: hill side hind: a female deer; a person; a married farm-worker; a peasant hing: to look glum or doleful hinney/hinny: honey hirple: lameness; walk unevenly hirst: a threshold hives: see mussell hives ho: singular form of hose, such as stockings or socks holm: a small grassy island hoody craw: the hooded crow (Corvidae) a close relation of the carrion crow hough: the joint between the knee and fetlock, often an animal, sometimes on a person hough’d: cut the hamstrings (of a horse or other animal) hunder: [numerical] a hundred hurkle: crouch down; to yield hussey: shortened form of ‘housewife’ i’: in ilka/ilk ane: each; every one; all ill: badly, unsatisfactory; trouble; ill-luck; to take offence; be displeased at indite: to write; to compose ingle: the fire on a household hearth ingle-cheek: the fire-side of a household hearth ither: other (as person) jaunt: a trip or journey (usually for pleasure) jinking/ jinks: move around quickly; elusive kaime/ kem’d: to comb; combed kebbit: a ‘keb-ewe’ has lost its lamb

kebbuck: a cabbage kebbuck: a home-made cheese; a lump of cheese keekit/keek’d: peeped, glanced at inquisitively ken/kens/kend: to perceive, recognise or know; knew kendnae: did not know not to keust: to cast aside; throw off kie/kye: cows, cattle kipple: a rafter kirk: a church building; parochial church kirk-stile: a stile, or gate-way for footpassengers, giving entrance to a church-yard kirtle: a woman’s gown or skirt knowe: a small rounded hillock or a mound kyle: a sound or strait; a ninepin or skittle laith/laigh: averse, reluctant, unwilling, loth lammie: the lamb (term of endearment) lance: a lancet, a two-edged surgical instrument with a point like a lance, used for bleeding etc. lane/lanely/ lanesome: lone, solitary; lonely, lonesome lang: long (as in measurement); long (with reference to duration of time) lang: to long for; to hope langkail: a type of cabbage langsome: lengthy; tedious larry: see Explanatory note for 108, l. 39 laverock: the skylark; ‘the common lark of Europe, Alauda arvensis, so called from its habit of soaring towards the sky while singing’ (OED) lea, ground left untilled, fallow leal/leal-hearted: loyal, faithful leears/leeing: liars; lying lee-lang: live-long

GLOSSARY

leeve: to live leg-bail: to run away leifu’: solitary, desolate, eerie leman: lover (often unlawful) liegeman: a vassal (owing allegiance) lift: the sky, firmament, upper regions liltit: sung in a low, clear voice; singing sweetly lily: the common daffodil limmers: rascals; mischievous rogues ling: the fish lingel: waxed thread (in shoemaking) links: gorse or grass-land found along the coast linn: a waterfall, a cataract list: to hear, listen to littit: dyed (coloured) lo’e/loe/loed: to love; loved lone/loan: to drive cattle to pasture along a loaning loon: derogatory term, a worthless person lowe: a flame; to blaze lucken gowan: the globe-flower lum: a chimney mailing: the action of letting or taking for rent main: a stretch of open or deep water mair: more; further maist: most mak: to make, devise marmalete: [colloquial] marmalade marrow: companion matin: the morning (chorus) or combined song of birds maun: must mavis: the starling (Sturnus) meal-pock: a beggar’s bag used for holding oatmeal meed: to reward; a deserved accolade or titled (OED) meetness: to be fit, or qualified for a purpose mend: to put on weight, to fatten menzie: a crowd, multitude

781

micht: might, or strength mind: give heed to; remember minister: a Parish clergyman of the Church of Scotland mirds: obsequiousness mirk: dark, murky (weather) mony: many (in number) mou’: the mouth moudie: the mole muckle: much, a great amount mump: to nibble (denotes a toothless person) mumpit: be deceived mussel hives: breeding place for mussels na/nae: no, not, none, not one naebody: no one naething: not anything, nothing nain sell: the self, literary expression pertaining to ‘her/his own self’ nane: no one ne’er: never neb: the nose; the tip or point; a protuberance needfu’: needful needna: need not neist: next no: not nor: than norlan’: belonging to the north nout: collective term for cattle, oxen, etc. nouther/ nowther: neither nown: own (as belonging to) nowther: neither nummers: numbers o’er: over ony: any oult: old out-ower: (of motion) outwards and over, over the top of, over to the other side of, across, etc. ower/owre: over (as in jumped over) pall: a cloth spread over a coffin or tomb panniels: possibly dialect for panniers

782

GLOSSARY

pavilion: a temporary dwelling ornate or ornamental in style pawkie/pawky: wily, sly, cunning, crafty pech: to puff or pant, to gasp pen: an enclosure (for livestock) pether: to run hurriedly philabeg: short kilt, introduced in the eighteenth century pickle: an indefinite amount of a substance pingle: contention, open disagreement plack: [literary] Scottish coinage made of copper out of circulation by the 18c plaid: a regular piece of woollen cloth, used as an outer garment pliskie: an awkward or distressing situation; a predicament ploot: plunging or submerging plough: to make furrows in and turn up (the earth, land) with a plough, esp. as a preparation for sowing or planting plover: a short-billed bird of the Charadriidae family. Usually found near the shore-line, it is also common to grass-land and mountain regions plover: the lapwing pluff: a mild explosion; can be applied to anything that disintegrates easily into dust; also a term for the instrument used to apply hair-powder pock: type of small bag or pouch; a small sack popplin: bubbling (as boiling water) porpy: porpoise pouches: pockets (in a garment) pouk or bouk: a body, either of a living or a dead person pow: head preen: [figurative] a pin, symbol of something of little or low value prig: to resist, stand against prigging: pleading or talking

persuasively; haggling prinkling: a prickling or tingling sensation pruved: verified, confirmed; attempted pu’: to pull pund: a form of Scottish currency ; a measurement of weight quaich/queich: a drinking vessel quean: a young, unmarried woman rant: a tirade rase: race (as in fight or battle) reave/reaved: rob (to steal from); to be deprived (of) reaver: robber or plunderer; a marauder, raider reck: to reckon redding: the action of clearing out reek: smoke, vapour reft/reif: take by force, such as robbery, etc. reid: red (colour) riggin’: a roof, the ridge of a roof rime: a hoar-frost rin: to run roopit: a hoarse sound rouse: to stir up, provoke. routh: plenty, an abundance row’d: rolled ruffed: applauded by making a noise with the feet (OED) sae: so saftly: softly sair/ sairer/ sairly: causing mental distress or grief; sore; more painful or distressing; sorely sall: shall sang: a song sauf: save sauls: souls saut: salt sax-an-thretty: thirty-six saxpence: a sixpence (coinage) scadd: to scald; to mark or blemish scimitar: a sword with a curved blade

GLOSSARY

sclate: a thin piece of slate used as a writing utensil scour: to search (over a wide area) screw’d: tightened serried: (of files or ranks of men) pressed close together; shoulder to shoulder sey: a trying out, a test, a putting to the proof seybos: a cut of beef, hollow or rounded in shape shaw: a small wood (especially one of natural growth), a thicket, etc. shieling: a rough hut built near to pasture, often used by shepherds; a habitation shoon: shoes or other articles of footwear shumpit: jumped sic/ sicklike: such; similar, of the same kind siller: silver (colour); coinage simmer: summer sin/sinsyne: since; since then skaith: to damage; to hurt or inflict injury skeel: skill skelp: to strike (a blow) skeugh: to take shelter from (rain, etc.) skull: a close-fitting hat or cap slee: sly slummers: a period of sleep sma’: small snaw: snow snool’d: crawled meekly or humbly sock: a ploughshare solan: (Sulidae) the gannet sonsy: (of women) comely, attractive, good-looking; buxom, plump sorde: sword sorning: living at the expense of others sough/soughs: (of the wind), a whistling or rushing sound sourock: sorrel spavie: a enlargement of the hock, causing lameness in cattle and horses

783

sparks: a man, fellow (derogatory term) speer: to ask, enquire squib: a firework stamocks: stomachs stane: a stone stang’d: stung starn/sternies: a star; the stars stoon: stone stound: to affect with a pang or throb; to cause pain stown: vernacular form of stolen strang: strong, solidly constructed sward: the surface of the ground; dense covering of grass or turf sweart: swore sweer: lazy, lacking effort sweets: pleasant fragrance tae: the toe; toes tak: to take tangleness: involved (a person) in a state of affairs tauld: to relate (information) (to a person); to let (a person) know (something) te/ten: the/then tem/ter/tee: them/their/thee tent: give heed to tether: a rope for used to restrain animals (livestock, etc.) thae: those theek: to roof (a building) with material , including straw (as in thatch) thegither: together thimble: possibly ‘thrimble’, to jostle, or use roughly; to press or squeeze thole: to suffer or undergo thrapple: the throat thraw: distort by twisting and turning; become crooked thraward: to be perverse, refractory, contrary thrawn: difficult or perverse; or mechanical contrivances, etc., which refuse to function properly

784

GLOSSARY

thrush: probably the musical species, the song thrush (Turdus musicus) tirl: to turn or twirl tine/tines: to lose, suffer loss; decline; wanes, fades tint: lost toom: (of a person) thin, lean, lank tout: to sound a horn tow: rope trakoon: dragoon trapan/trepan/trepann’d: a trick, a trap; beguiled tree: three trews: close-fitting trousers worn by Highlanders, usually of a tartan pattern and extended to cover the feet trifles: a lying story, a fable, a fiction; a jest or joke trig: neat, in good shape trow/troth: in truth; to believe or trust (a person) twa/twain: two (as in number) unbritherly: unbrotherly uncanny: incautious unco: strange, unfamiliar; unusual; very usquebae: whisky vaunty: proud, boastful wa/wa’s: a wall, walls wad, would wad: to pledge a wager wadna: would not wae/waeful/waesome, grieved, wretched, sorrowful; woeful waik: weak wain: the Plough or Great Bear constellation wan: pale or sickly in appearance wan: won wantit: lacked the presence of a person war: were wardly: wordly warie: to be aware, be conscious of wark: to work

warld: world warst: worst wasna: was not wasters: squander; spoiler wat: to know waughtin’: drinking in large quantities or draughts wean: a child weary fa’: an expression of exasperation damn! the devil take (DSL). wee: a small quantity or size (measurement) weel: to be well; wellness ween/weened: to think; surmise; thought weigh-bauk: the beam of a pair of scales; scales weir: war, war-mongering weird/weirdly: fate; destiny; supernatural, other-wordly welkin: [poetic] the sky wert: were westlin: the western side wha/wha’s/ whase: (pronoun) who; who is; whose wheedle: to persuade (a person) into a way of thinking or course of action whigging: urging forward; playing the part of a Whig whilly-whawp: Scots name for the curlew (Numenius arquata) whisht: hush, be quiet wi’: with (as together) wicker-work: a hut or dwelling made of wickerwork, most likely of the willow tree widdy: a wooden pole (derogatory term) winding-sheet: special clothes used for burial; a shroud winna: will not wold: open countryside; the earth wons: dwells woo: wool wrang: a wrong-doing against the moral law

GLOSSARY

wud: mad, demented, insane wudna: would not yarely: quickly, promptly yaud: old mare ycleped: called, named ye: (pronoun) you (singular); you (plural) yepic: epic yerk: draw together (as in shoemaking); to beat, thump

785

or strike severely yestreen: yesterday evening; last night yett: a gate (of a field, or enclosure) yird: the ground, the earth yon: that, those, yonder yout: to howl, roar; to bellow yowes: ewes ’zoons: abbreviation of the oath, ‘by God’s wounds’