LORD GREGORY. O mirk, mirk is this midnight hour, An exile frae her father's ha', At least some pity on me shaw, If love it mayna be. Lord Gregory, mind'st thou not the By bonnie Irwin side, Where first I own'd that virgin love, I lang, lang had denied? grove How aften didst thou pledge and vow And my fond heart, itsel sae true, It ne'er mistrusted thine. Hard is thy heart, Lord Gregory, And flinty is thy breast: Thou dart of heaven that flashest by, O wilt thou give me rest! Ye mustering thunders from above, Your willing victim see! But spare, and pardon my fause love, His wrangs to heaven and me! This song, by Burns, and also a song of the same name by Wolcot, were suggested by a very old lyric, called "The Lass of Lochroyan," which far excels them both in poetry and pathos. Wolcot complained with some bitterness of the unkindness of Burns in selecting the same subject as himself, and imputed it to envy. They have both written fine songs: the English verse is the more elegant-the Scottish the more natural. Dr. Currie claims the merit of originality for Wolcot; and Burns disclaims all wish to enter into competition :— "My song," he modestly says, "though much inferior in poetic merit, has, I think, more of the ballad simplicity about it."—I wonder if he ever read “The Lass of Lochroyan?" A RED, RED ROSE. O, my luve's like a red, red rose, So deep in luve am I; And I will luve thee still, my dear, Till a' the seas gang dry : Till a' the seas gang dry, my dear, While the sands o' life shall run. Tho' it were ten thousand mile. There is an old Nithsdale song which seems to have suggested to Burns some part of this delightful little lyric. The heroine loses her lover, and exclaims O where's he gone whom I love best? And has left me here to sigh and mourn ; OI shall wander the world over Till once I see if my love return. The rocks shall melt down wi' the sun The labouring man shall forget his labour; If ever I prove false to my love Till once I see if he will return. If all the song had equalled this specimen, it would have merited a place in any collection, O POORTITH CAULD. O poortith cauld, and restless love, Or why sae sweet a flower as love Depend on Fortune's shining? This warld's wealth when I think on, Its pride, and a' the lave o't; Fie, fie on silly coward man, That he should be the slave o't. Her een sae bonnie blue betray O wha can prudence think upon, O wha can prudence think upon, How blest the wild-wood Indian's fate! He woos his simple dearie; Can never make them eerie. O why should Fate sic pleasure have "Poortith cauld" was sent to George Thomson unaccompanied by any remarks from Burns: it is a sweet and a touching song. The old words are of a gay and a pleasant character: the hero who " had a horse and had nae mair" was a man of a different stamp from the hero of the present song. In uniting the air to sadder words, Burns perhaps was conscious that he was disobeying the warning spirit of the old melody: but his mind was not always in a mirthful mood; and, I confess, I love his pathos more than his humour. I have followed the poet's first version of the song in the last verse, as more natural than the amended copy. The "humble cottar" has his visions of wealth and importance, as well as the most lordly. The "wild-wood Indian" is living in what Alexander Peden called "black nature," a state of irreclaimable barbarism. G VOL. IV., |