I'd lock'd my heart in a case of gold, THE WEE THING. MACNEIL. TUNE-Bonnie Dundee. SAW ye my wee thing? saw ye my ain thing? Cross'd she the meadow yestreen at the gloamin? Her hair it is lint-white; her skin it is milk-white; I saw nae your wee thing, I saw nae your ain thing, Her hair it was lint-white; her skin it was milk-white; It was na my wee thing, it was na my ain thing, *This last line is substituted from an old nurse's copy, for one less delicate and pathetic, which has always hitherto been printed. The song appeared first in the Tea-Table Miscellany, marked with the signature Z, indicating that the editor did not know its age. Her name it is Mary; she's frae Castle-Cary; It was, then, your Mary; she's frae Castle-Cary; Sair gloom'd his dark brow-blood-red his cheek grew- Defend ye, fause traitor! for loudly ye lie. Awa wi' beguiling! cried the youth, smiling: Is it my wee thing! is it mine ain thing! O Jamie, forgie me; your heart's constant to me; OH tell me, oh tell me, bonnie young lassie, Say, maun I roose your een's pawkie scorning? Far hae I wander'd to see thee, dear lassie ! For ne'er loved I ony till ance I loved you; What care I for your wand'ring, young laddie! I hae nae gowd to busk ye aye gaudy! I canna buy pearlins and ribbons enew! I've naething to brag o' house or o' plenty! I've little to gie but a heart that is true. I cam na for tocher-I ne'er heard o' ony; I never loved Peggy, nor e'er brak my vow: I've wander'd, puir fule, for a face fause as bonnie! I little thocht this was the way for to woo! Hae na ye roosed my cheeks like the morning? Hae na ye roosed my cherry-red mou? Hae na ye come ower sea, muir, and mountain? What mair, my dear Johnnie, need ye for to woo? Far hae ye wander'd, I ken, my dear laddie! Now that ye've found me, there's nae cause to rue; Wi' health we'll hae plenty-I'll never gang gaudy: I ne'er wish'd for mair than a heart that is true. She hid her fair face in her true lover's bosom ; The saft tear of transport fill'd ilk lover's ee; The burnie ran sweet by their side as they sabbit, And sweet sang the mavis abune on the tree. He clasp'd her, he press'd her, he ca'd her his hinnie, O WHA IS SHE THAT LOES ME. BURNS. TUNE-" Morag." O WHA is she that loes me, O that's the queen o' womankind, If thou shalt meet a lassie In grace and beauty charming, Erewhile thy breast sae warming, If thou hadst heard her talking, But her, by thee is slighted; If thou hast met this fair one, If every other fair one But her thou hast deserted, And thou art broken-hearted; Oh that's the lassie o' my heart, Oh that's the queen of womankind, THE OLD MAN'S SONG.* THE REV. JOHN SKINNER. TUNE-Dumbarton's Drums. O! WHY should old age so much wound us, O? With my old wife sitting by, And our bairns and our oyes all around us, O. We began in the world wi' naething, O, And we've jogged on and toiled for the ae thing, O; *The author of this excellent song, of whose mild and well-regulated mind it is a most faithful reflection, was a clergyman of the Scottish Episcopal Church at Longside, a village in Aberdeenshire, about six miles west from Peterhead. For the last fifty or sixty years of a life protracted beyond the usual span, this venerable man lived in a style of almost apostolic simplicity, in a lowly cottage, or farm-house of the old fashion, called Linshart, half a mile from the village where his little straw-clad chapel reared its modest form. The editor of this collection visited the place in 1826, when he had the satisfaction of finding the whole domicile in precisely the same order as when the poet lived in it. The primitive simplicity of the whole details furnished a most admirable commentary on the humble circumstances of the Episcopal clergy during the period of their depression, which succeeded the insurrection of 1745. The walls were, as the song relates," not of stone and lime"-the floor was of earth-the chairs, tables, and beds, were composed of plain fir, or oak-the chimneys, according to a fashion still universal in the cottages of Buchan, were unprovided with grates. Around the walls of the principal room hung portraits, in watercolours, of the poet, his wife, and children,-taken seventy years ago by a wandering artist, and now almost smoked out of countenance. In that humble place, during the period when it was unlawful for an Episcopalian clergyman to perform divine service to above four persons, Skinner had often read prayers and preached, with his own family around him, and his little congregation arranged on the outside of an open window-an expedient to elude the terms of the penal act. It is told of this venerable man, that when he died, in 1808, he had the satisfaction of seeing not only his "oyes around him," but the children of these oyes. Some time before his death, he paid a visit with some of his family, when it was found that there were four John Skinners in company, all in direct descent; namely, the poet himself-his son, the late Bishop of Aberdeen-the present bishop-and an infant son of the latter right reverend gentleman. |