Project Gutenberg's The Modern Scottish Minstrel, Volume II., by Various This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: The Modern Scottish Minstrel, Volume II. The Songs of Scotland of the past half century Author: Various Release Date: June 19, 2006 [EBook #18619] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK MODERN SCOTTISH MINSTREL *** Produced by Ted Garvin, Susan Skinner and the Online Distributed Proofreading Team at http://www.pgdp.net [Pg i] JAMES HOGG. THE ETTRICK SHEPHERD. Lithographed from an original Portrait in the possession of his widow by Schenck & McFarlane, Edinburgh. THE MODERN SCOTTISH MINSTREL; OR, THE SONGS OF SCOTLAND OF THE PAST HALF CENTURY. WITH Memoirs of the Poets, AND SKETCHES AND SPECIMENS IN ENGLISH VERSE OF THE MOST CELEBRATED MODERN GAELIC BARDS. BY CHARLES ROGERS, LL.D. F.S.A. SCOT. IN SIX VOLUMES; VOL. II. EDINBURGH: ADAM & CHARLES BLACK, NORTH BRIDGE, BOOKSELLERS AND PUBLISHERS TO HER MAJESTY. M.DCCC.LVI. EDINBURGH: PRINTED BY BALLANTYNE AND COMPANY, PAUL'S WORK. TO JOHN BROWN, Esq., of Marlie. My dear Sir, I dedicate to you this second volume of "The Modern Scottish Minstrel," as a sincere token of my estimation of your long continued and most disinterested friendship, and of the anxiety you have so frequently evinced respecting the promotion of my professional views and literary aspirations. I have the honour to be, My Dear Sir, your most obliged, and very faithful servant, CHARLES ROGERS. Argyle House, Stirling, December 1855. INTRODUCTION TO The Modern Gaelic Minstrelsy.[1] [Pg ii] [Pg iii] [Pg v] [Pg iv] The suspicion which arose in regard to the authenticity of Ossian, subsequent to his appearance in the pages of Macpherson, has unjustly excited a misgiving respecting the entire poetry of the Gael. With reference to the elder poetry of the Highlands, it has now been established[2] that at the period of the Reformation, the natives were engrossed with the lays and legends of Bards and Seanachies,[3] of which Ossian, Caoillt, and Cuchullin were the heroes. These romantic strains continued to be preserved and recited with singular veneration. They were familiar to hundreds in different districts who regarded them as relics of their ancestors, and would as soon have mingled the bones of their fathers with the dust of strangers, as ventured on the alteration of a single passage. Many of the reciters of this elder poetry were writers of verses,[4] yet there is no instance of any attempt to alter or supersede the originals. Nor could any attempt have succeeded. There are specimens which exist, independent of those collected by Macpherson, which present a peculiarity of form, and a Homeric consistency of imagery, distinct from every other species of Gaelic poetry. Of an uncertain era, but of a date posterior to the age of Ossian, there is a class of compositions called Ur-sgeula,[5] or new-tales, which may be termed the productions of the sub-Ossianic period. They are largely blended with stories of dragons and other fabulous monsters; the best of these compositions being romantic memorials of the Hiberno-Celtic, or Celtic Scandinavian wars. The first translation from the Gaelic was a legend of the Ur-sgeula. The translator was Ierome Stone,[6] schoolmaster of Dunkeld, and the performance appeared in the Scots Magazine for 1700. The author had learned from the monks the story of Bellerophon,[7] along with that of Perseus and Andromeda, and from these materials fabricated a romance in which the hero is a mythical character, who is supposed to have given name to Loch Fraoch, near Dunkeld. Belonging to the same era is the "Aged Bard's Wish,"[8] a composition of singular elegance and pathos, and remarkable for certain allusions to the age and imagery of Ossian. This has frequently been translated. Somewhat in the Ossianic style, but of the period of the Ur-sgeula are two popular pieces entitled Mordubh[9] and Collath. Of these productions the imagery is peculiarly illustrative of the character and habits of the ancient Gael, while they are replete with incidents of the wars which the Albyn had waged with their enemies of Scandinavia. To the same period we are disposed to assign the "Song of the Owl," though it has been regarded by a respectable authority[10] as of modern origin. Of a portion of this celebrated composition we subjoin a metrical translation from the pen of Mr William Sinclair. The Bard, expelled from the dwellings of men by plunderers according to one account, by a discontented helpmate according to another, is placed in a lone out-house, where he meets an owl which he supposes himself to engage in an interchange of sentiment respecting the olden time:— Hunter. O wailing owl of Strona's vale! We wonder not thy night's repose Is mournful, when with Donegal In distant years thou first arose: O lonely bird! we wonder not, For time the strongest heart can bow, That thou should'st heave a mournful note, Or that thy sp'rit is heavy now! Owl. Thou truly sayest I lone abide, I lived with yonder ancient oak, Whose spreading roots strike deep and wide Amidst the moss beside the rock; And long, long years have gone at last, And thousand moons have o'er me stole, And many a race before me past, Still I am Strona's lonely owl! Hunter. Now, since old age has come o'er thee, Confess, as to a priest, thy ways; And fearless tell thou unto me The glorious tales of bygone days. Owl. Rapine and falsehood ne'er I knew, Nor grave nor temples e'er have torn, My youthful mate still found me true— Guiltless am I although forlorn! [Pg vi] [Pg vii] [Pg viii] I 've seen brave Britto's son, the wild, The powerful champion, Fergus, too, Gray-haired Foradden, Strona's child— These were the heroes great and true! Hunter. Thou hast well began, but tell to me, And say what further hast thou known! E'er Donegal abode with thee, In the Fersaid these all were gone! Owl. Great Alexander of the spears, The mightiest chief of Albyn's race, Oft have I heard his voice in cheers From the green hill-side speed the chase; I saw him after Angus brave— Nor less a noble warrior he— Fersaid his home, his work he gave Unto the Mill of Altavaich. Hunter. From wild Lochaber, then, the sword With war's dread inroads swept apace; Where, gloomy-brow'd and ancient bird, Was then thy secret hiding-place? Owl. When the fierce sounds of terror burst, And plunder'd herds were passing on, I turn'd me from the sight accurst Unto the craig Gunaoch lone; Some of my kindred by the lands Of Inch and Fersaid sought repose, Some by Loch Laggan's lonely sands, Where their lamenting cries arose! Here follows a noble burst of poetical fervour in praise of the lonely rock, and the scenes of the huntsman's youth. The green plains, the wild harts, the graceful beauty of the brown deer, and the roaring stag, with the banners, ensigns, and streamers of the race of Cona,—all share in the poet's admiration. The following constitutes the exordium of the poem: — Oh rock of my heart! for ever secure, The rock where my childhood was cherish'd in love, The haunt of the wild birds, the stream flowing pure, And the hinds and the stags that in liberty rove; The rock all encircled by sounds from the grove, Oh, how I delighted to linger by thee, When arose the wild cry of the hounds as they drove, The herds of wild deer from their fastnesses free! Loud scream'd the eagles around thee, I ween, Sweet the cuckoos and the swans in their pride, More cheering the kid-spotted fawns that were seen, With their bleating, that sweetly arose by thy side, I love thee, O wild rock of refuge! of showers, Of the leaves and the cresses, all glorious to me, Of the high grassy heights and the beautiful bowers Afar from the smooth shelly brink of the sea! The termination of the Sub-Ossianic period brings us to another epoch in the history of Gaelic poetry. The Bard was now the chieftain's retainer, at home a crofter and pensioner,[11] abroad a follower of the camp. We find him cheering the rowers of the galley, with his birlinn chant, and stirring on the fight with his prosnuchadh catha, or battle-song. At the noted battle of Harlaw,[12] a piece was sung which has escaped the wreck of that tremendous slaughter, and of [Pg ix] [Pg x] contemporary poetry. It is undoubtedly genuine; and the critics of Gaelic verse are unanimous in ascribing to it every excellence which can belong either to alliterative art, or musical excitement. Of the battle-hymn some splendid specimens have been handed down; and these are to be regarded with an amount of confidence, from the apparent ease with which the very long "Incitement to Battle," in the "Garioch Battle-Storm," as Harlaw is called, was remembered. Collections of favourite pieces began to be made in writing about the period of the revival of letters. The researches of the Highland Society brought to light a miscellany, embracing the poetical labours of two contemporaries of rank, Sir Duncan Campbell[13] of Glenurchay, and Lady Isabel Campbell. From this period the poet's art degenerates into a sort of family chronicle. There were, however, incidents which deserved a more affecting style of memorial; and this appears in lays which still command the interest and draw forth the tears of the Highlander. The story of the persecuted Clan Gregor supplies many illustrations, such as the oft-chanted Macgregor na Ruara,[14] and the mournful melodies of Janet Campbell.[15] In the footsteps of these exciting subjects of poetry, came the inspiring Montrose wars, which introduce to our acquaintance the more modern class of bards; of these the most conspicuous is, Ian Lom[16] or Manntach. This bard was a Macdonald; he hung on the skirts of armies, and at the close of the battle sung the triumph or the wail, on the side of his partisans.[17] To the presence of this person the clans are supposed to have been indebted for much of the enthusiasm which led them to glory in the wars of Montrose. His poetry only reaches mediocrity, but the success which attended it led the chiefs to seek similar support in the Jacobite wars; and very animated compositions were the result of their encouragement. Mathieson, the family bard of Seaforth, Macvuirich, the pensioner of Clanranald, and Hector the Lamiter, bard of M'Lean, were pre-eminent in this department. The Massacre of Glencoe suggested numerous elegies. There is one remarkable for pathos by a clansman who had emigrated to the Isle of Muck, from which circumstance he is styled "Am Bard Mucanach." The knights of Duart and Sleat, the chiefs of Clanranald and Glengarry, the Lochaber seigniory of Lochiel, and the titled chivalry of Sutherland and Seaforth,[18] formed subjects of poetic eulogy. Sir Hector Maclean, Ailein Muideartach, and the lamented Sir James Macdonald obtained the same tribute. The second of these Highland favourites could not make his manly countenance, or stalwart arm, visible in hall, barge, or battle,[19] without exciting the enthusiastic strain of the enamoured muse of one sex, or of the admiring minstrel of the other. In this department of poetry, some of the best proficients were women. Of these Mary M'Leod, the contemporary of Ian Lom, is one of the most musical and elegant. Her chief, The M'Leod, was the grand theme of her inspiration. Dora Brown[20] sung a chant on the renowned Col- Kitto, as he went forth against the Campbells to revenge the death of his father; a composition conceived in a strain such as Helen Macgregor might have struck up to stimulate to some deed of daring and vindictive enterprise. Of the modern poetry of the Gael, Macpherson has expressed himself unfavourably; he regarded the modern Highlanders as being incapable of estimating poetry otherwise than in the returning harmony of similar sounds. They were seduced, he remarks, by the charms of rhyme; and admired the strains of Ossian, not for the sublimity of the poetry, but on account of the antiquity of the compositions, and the detail of facts which they contained. On this subject a different opinion has been expressed by Sir Walter Scott. "I cannot dismiss this story," he writes, in his last introduction to his tale of the "Two Drovers," "without resting attention for a moment on the light which has been thrown on the character of the Highland Drover, since the time of its first appearance, by the account of a drover poet, by name Robert Mackay, or, as he was commonly called, Rob Donn, i.e., Brown Robert; and certain specimens of his talents, published in the ninetieth number of the Quarterly Review. The picture which that paper gives of the habits and feelings of a class of persons with which the general reader would be apt to associate no ideas but those of wild superstition and rude manners, is in the highest degree interesting; and I cannot resist the temptation of quoting two of the songs of this hitherto unheard-of poet of humble life.... Rude and bald as these things appear in a verbal translation, and rough as they might possibly appear, even were the originals intelligible, we confess we are disposed to think they would of themselves justify Dr Mackay (editor of Mackay's Poems) in placing this herdsman-lover among the true sons of song." Of that department of the Gaelic Minstrelsy admired by Scott and condemned by Macpherson, the English reader is presented in the present work with specimens, to enable him to form his own judgment. These specimens, it must however be remembered, not only labour under the ordinary disadvantages of translations, but have been rendered from a language which, in its poetry, is one of the least transfusible in the world. Yet the effort which has been made to retain the spirit, and preserve the rhythm and manner of the originals, may be sufficient to establish that the honour of the Scottish Muse has not unworthily been supported among the mountains of the Gael. Some of the compositions are Jacobite, and are in the usual warlike strain of such productions, but the majority sing of the rivalries of clans, the emulation of bards, the jealousies of lovers, and the honour of the chiefs. They likewise abound in pictures of pastoral imagery; are redolent of the heath and the wildflower, and depict the beauties of the deer forest. The various kinds of Highland minstrelsy admit of simple classification. The Duan Mor is the epic song; its subdivisions are termed duana or duanaga. Strings of verse and incidents (Ῥαψωδια) were intended to form an epic history, and were combined by successive bards for that purpose. The battle-song (Prosnuchadh-catha) was the next in importance. The model of this variety is not to be found in any of the Alcaic or Tyrtæan remains. It was a dithyrambic of the wildest and most passionate enthusiasm, inciting to carnage and fury. Chanted in the hearing of assembled armies, and sometimes sung before the van, it was intended as an incitement to battle, and even calculated to stimulate the courage of the general. The war-song of the Harlaw has been already noticed; it is a rugged tissue of alliteration, every letter having a separate division in the remarkable string of adjectives which are connected to introduce a short exordium and grand finale. The Jorram, or boat-song, some specimens of which attracted the attention of Dr [Pg xi] [Pg xii] [Pg xiii] [Pg xiv] Johnson,[21] was a variety of the same class. In this, every measure was used which could be made to time with an oar, or to mimic a wave, either in motion or sound. Dr Johnson discovered in it the proceleusmatic song of the ancients; it certainly corresponds in real usage with the poet's description:— "Stat margine puppis, Qui voce alternos nautarum temperet ictus, Et remis dictet sonitum pariterque relatis, Ad numerum plaudet resonantia cærula tonsis." Alexander Macdonald excels in this description of verse. In a piece called Clanranald's Birlinn, he has summoned his utmost efforts in timing the circumstances of a voyage with suitable metres and descriptions. A happy imitation of the boat-song has been rendered familiar to the English reader by Sir Walter Scott, in the "Roderigh Vich Alpine Dhu, ho! ieroe," of the "Lady of the Lake." The Luineag, or favourite carol of the Highland milkmaid, is a class of songs entirely lyrical, and which seldom fails to please the taste of the Lowlander. Burns[22] and other song-writers have adopted the strain of the Luineag to adorn their verses. The Cumha, or lament, is the vehicle of the most pathetic and meritorious effusions of Gaelic poetry; it is abundantly interspersed with the poetry of Ossian. Among the Gael, blank verse is unknown, and for rhyme they entertain a passion.[23] They rhyme to the same set of sounds or accents for a space of which the recitation is altogether tedious. Not satisfied with the final rhyme, their favourite measures are those in which the middle syllable corresponds with the last, and the same syllable in the second line with both; and occasionally the final sound of the second line is expected to return in every alternate verse through the whole poem. The Gael appear to have been early in possession of these coincidences of termination which were unknown to the classical poets, or were regarded by them as defects.[24] All writers on Celtic versification, including the Irish, Welsh, Manx, and Cornish varieties, are united in their testimony as to the early use of rhyme by the Celtic poets, and agree in assigning the primary model to the incantations of the Druids.[25] The lyrical measures of the Gael are various, but the scansion is regular, and there is no description of verse familiar to English usage, from the Iambic of four syllables, to the slow-paced Anapæstic, or the prolonged Alexandrine, which is not exactly measured by these sons and daughters of song.[26] Every poetical composition in the language, however lengthy, is intended to be sung or chanted. Gaelic music is regulated by no positive rules; it varies from the wild chant of the battle-song to the simple melody of the milkmaid. In Johnson's "Musical Museum," Campbell's "Albyn's Anthology," Thomson's "Collection," and Macdonald's "Airs," the music of the mountains has long been familiar to the curious in song, and lover of the national minstrelsy.[27] CONTENTS. [Pg xv] [Pg xvi] [Pg xvii] JAMES HOGG, JAMES MUIRHEAD, D.D., 1 Donald Macdonald, Flora Macdonald's farewell, Bonnie Prince Charlie, The skylark, Caledonia, O Jeanie, there 's naething to fear ye, When the kye comes hame, The women folk, M'Lean's welcome, Charlie is my darling, Love is like a dizziness, O weel befa' the maiden gay, The flowers of Scotland, Lass, an' ye lo'e me, tell me now, Pull away, jolly boys, O, saw ye this sweet bonnie lassie o' mine? The auld Highlandman, Ah, Peggy, since thou 'rt gane away, Gang to the brakens wi' me, Lock the door, Lariston, I hae naebody now, The moon was a-waning, Good night, and joy, 48 50 51 52 53 54 55 58 59 61 62 64 66 67 69 70 71 72 74 75 77 78 79 81 Bess the gawkie, 82 MRS AGNES LYON, ROBERT LOCHORE, JOHN ROBERTSON, ALEXANDER BALFOUR, GEORGE MACINDOE, ALEXANDER DOUGLAS, WILLIAM M'LAREN, HAMILTON PAUL, ROBERT TANNAHILL, HENRY DUNCAN, D.D., ROBERT ALLAN, 84 Neil Gow's farewell to whisky, See the winter clouds around, Within the towers of ancient Glammis, My son George's departure, 86 87 88 90 91 Now, Jenny lass, Marriage, and the care o't, Mary's twa lovers, The forlorn shepherd, 92 94 95 96 98 The toom meal pock, 99 101 The bonnie lass o' Leven water, Slighted love, 104 105 106 Cheese and whisky, The burn trout, 108 109 110 Fife, an' a' the land about it, 112 114 Now summer shines with gaudy pride, And dost thou speak sincere, my love? Say not the bard has turn'd old, 116 116 117 120 Helen Gray, The bonnie lass of Barr, 128 129 131 Jessie, the flower o' Dumblane, Loudon's bonnie woods and braes, The lass of Arranteenie, Yon burn side, The braes o' Gleniffer, Through Crockston Castle's lanely wa's, The braes o' Balquhither, Gloomy winter 's now awa', O! are ye sleeping, Maggie? Now winter, wi' his cloudy brow, The dear Highland laddie, O, The midges dance aboon the burn, Barrochan Jean, O, row thee in my Highland plaid, Bonnie wood of Craigie lea, Good night, and joy, 136 137 139 140 141 142 143 145 146 147 148 149 150 151 153 154 156 Curling song, On the green sward, The Ruthwell volunteers, Exiled far from scenes of pleasure, The roof of straw, Thou kens't, Mary Hay, 161 163 164 165 166 167 169 Blink over the burn, my sweet Betty, Come awa, hie awa, On thee, Eliza, dwell my thoughts, 171 171 173 ANDREW MERCER, JOHN LEYDEN, M.D., JAMES SCADLOCK, SIR ALEXANDER BOSWELL, BART., WILLIAM GILLESPIE, THOMAS MOUNSEY CUNNINGHAM, JOHN STRUTHERS, RICHARD GALL, To a linnet, The primrose is bonnie in spring, The bonnie lass o' Woodhouselee, The sun is setting on sweet Glengarry, Her hair was like the Cromla mist, O leeze me on the bonnie lass, Queen Mary's escape from Lochleven Castle, When Charlie to the Highlands came, Lord Ronald came to his lady's bower, The lovely maid of Ormadale, A lassie cam' to our gate, The thistle and the rose, The Covenanter's lament, Bonnie lassie, 174 174 175 176 177 178 179 180 181 183 184 186 187 188 189 The hour of love, 190 191 Ode to the evening star, The return after absence, Lament for Rama, 196 197 197 199 Along by Levern stream so clear, Hark, hark, the skylark singing, October winds, 201 202 203 204 Jenny's bawbee, Jenny dang the weaver, The lass o' Isla, Taste life's glad moments, Good night, and joy be wi' ye a', Old and new times, Bannocks o' barley meal, 208 210 211 212 214 215 216 218 The Highlander, Ellen, 220 221 223 Adown the burnie's flowery bank, The hills o' Gallowa', The braes o' Ballahun, The unco grave, Julia's grave, Fareweel, ye streams, 227 227 229 230 231 232 235 Admiring Nature's simple charms, Oh, bonnie buds yon birchen tree, 239 240 241 How sweet is the scene, Captain O'Kain, My only jo and dearie, O, The bonnie blink o' Mary's e'e, The braes o' Drumlee, I winna gang back to my mammy again, The bard, Louisa in Lochaber, The hazlewood witch, Farewell to Ayrshire, 243 243 244 245 246 248 249 249 250 251 METRICAL TRANSLATIONS FROM THE MODERN GAELIC MINSTRELSY. GEORGE SCOTT, THOMAS CAMPBELL, MRS G. G. RICHARDSON, THOMAS BROWN, M.D., WILLIAM CHALMERS, JOSEPH TRAIN, ROBERT JAMIESON, WALTER WATSON, WILLIAM LAIDLAW, 253 The flower of the Tyne, 254 255 Ye mariners of England, Glenara, The wounded hussar, Battle of the Baltic, Men of England, 262 263 264 265 268 269 The fairy dance, Summer morning, There 's music in the flowing tide, Ah! faded is that lovely broom, 273 274 275 276 278 Consolation of altered fortunes, The faithless mourner, The lute, 281 282 283 285 Sing on, The Lomond braes, 286 287 288 My doggie, Blooming Jessie, Old Scotia, 293 295 296 297 My wife 's a winsome wee thing, Go to him, then, if thou can'st go, 299 300 302 My Jockie 's far awa, Maggie an' me, Sit down, my cronie, Braes o' Bedlay, Jessie, 304 305 306 307 308 310 Lucy's flittin', Her bonnie black e'e, Alake for the lassie, 314 316 317 ALEXANDER MACDONALD, JOHN ROY STUART, JOHN MORRISON, ROBERT MACKAY, 321 The lion of Macdonald, The brown dairy-maiden, The praise of Morag, News of Prince Charles, 323 327 329 335 340 Lament for Lady Macintosh, The day of Culloden, 341 343 346 My beauty dark, 347 349 The Highlander's home sickness, 349 THE MODERN SCOTTISH MINSTREL JAMES HOGG. The last echoes of the older Border Minstrelsy were dying from the memory of the aged, and the spirit which had awakened the strains seemed to have sighed an eternal farewell to its loved haunts in the past, when, suddenly arousing from a long slumber, it threw the mantle of inspiration, at the close of last century, over several sons of song, worthy to bear the lyre of their minstrel sires. Of these, unquestionably the most remarkable was James Hogg, commonly designated "The Ettrick Shepherd." This distinguished individual was born in the bosom of the romantic vale of Ettrick, in Selkirkshire,—one of the most mountainous and picturesque districts of Scotland. The family of Hogg claimed descent from Hougo, a Norwegian baron; and the poet's paternal ancestors at one period possessed the lands of Fauldshope in Ettrick Forest, and were followers, under the feudal system, of the Knights of Harden. For several generations they had adopted the simple occupation of shepherds. On the mother's side, the poet was descended from the respectable family of Laidlaw,—one of the oldest in Tweeddale, and of which all the representatives bore the reputation of excelling either in intellectual vigour or physical energy; they generally devoted themselves to the pastoral life. Robert Hogg, the poet's father, was a person of very ordinary sagacity, presenting in this respect a decided contrast to his wife, Margaret Laidlaw, a woman of superior energy and cultivated mind. Their family consisted of four sons, of whom the second was James, the subject of this Memoir. The precise date of his birth is unknown: he was baptised, according to the Baptismal Register of Ettrick, his native parish, on the 9th of December 1770.[28] At the period of his marriage, Robert Hogg was in circumstances of considerable affluence; he had saved money as a shepherd, and, taking on lease the two adjoining pastoral farms of Ettrick-hall and Ettrick-house, he largely stocked them with sheep adapted both for the Scottish and English markets. During several years he continued to prosper; but a sudden depression in the market, and the absconding of a party who was indebted to him, at length exhausted his finances, and involved him in bankruptcy. The future poet was then in his sixth year. In this destitute condition, the family experienced the friendship and assistance of Mr Brydon, tenant of the neighbouring farm of Crosslee, who, leasing Ettrick-house, employed Robert Hogg as his shepherd. But the circumstances of the family were much straitened by recent reverses; and the second son, young as he was, and though he had only been three months at school, was engaged as a cow-herd, his wages for six months being only a ewe-lamb and a pair of shoes! Three months' further attendance at school, on the expiry of his engagement, completed the future bard's scholastic instructions. It was the poet's lot, with the exception of these six months' schooling, to receive his education among the romantic retreats and solitudes of Nature. First as a cow-herd, and subsequently through the various gradations of shepherd-life, his days, till advanced manhood, were all the year round passed upon the hills. And such hills! The mountains of Ettrick and Yarrow are impressed with every feature of Highland scenery, in its wildest and most striking aspects. There are stern summits, enveloped in cloud, and stretching heavenwards; huge broad crests, heathy and verdant, or torn by fissures and broken by the storms; deep ravines, jagged, precipitate, and darksome; and valleys sweetly reposing amidst the sublimity of the awful solitude. There are dark craggy mountains around the Grey-Mare's-Tail, echoing to the roar of its stupendous cataract; and romantic and beautiful green hills, and inaccessible heights, surrounding and towering over St Mary's Loch, and the Loch of the Lowes. To the sublimity of that vast academy, in which he had learned to invoke the Muse, the poet has referred in the "Queen's Wake":— "The bard on Ettrick's mountain green, In Nature's bosom nursed had been; And oft had mark'd in forest lone The beauties on her mountain throne; Had seen her deck the wildwood tree, And star with snowy gems the lea; In loveliest colours paint the plain, And sow the moor with purple grain; By golden mead and mountain sheer, Had view'd the Ettrick waving clear, When shadowy flocks of purest snow Seem'd grazing in a world below." Glorious as was his academy, the genius of the poet was not precocious. Forgetting everything he had learned at GLOSSARY, 350 [Pg 1] [Pg 2] [Pg 3] [Pg 4] school, he spent his intervals of toil in desultory amusements, or in pursuing his own shadow upon the hills. As he grew older, he discovered the possession of a musical ear; and saving five shillings of his earnings, he purchased an old violin, upon which he learned to play his favourite tunes. He had now attained his fourteenth year; and in the constant hope of improving his circumstances, had served twelve masters. The life of a cow-herd affords limited opportunities for mental improvement. And the early servitude of the Ettrick Shepherd was spent in excessive toil, which his propensities to fun and frolic served just to render tolerable. When he reached the respectable and comparatively easy position of a shepherd, he began to think of teaching himself to read. From Mrs Laidlaw, the wife of the farmer at Willinslee, on which he served, he was privileged with the loan of two works, of which the reputation had been familiar to him from childhood. These were Henry the Minstrel's "Life and Adventures of Sir William Wallace," and the "Gentle Shepherd" of Allan Ramsay. On these the future poet with much difficulty learned to read, in his eighteenth year. He afterwards read a number of theological works, from his employer's collection of books; and among others of a speculative cast, "Burnet's Theory of the Conflagration of the Earth," the perusal of which, he has recorded, "nearly overturned his brain." At Whitsunday 1790, in his twentieth year, Hogg entered the service, as shepherd, of Mr James Laidlaw, tenant of Blackhouse,—a farm situate on the Douglasburn in Yarrow. This proved the most signally fortunate step which he had yet taken. Mr Laidlaw was a man of singular shrewdness and of a highly cultivated mind; he readily perceived his shepherd's aptitude for learning, and gave him the use of his library. But the poet's connexion with Blackhouse was especially valuable in enabling him to form the intimacy of Mr William Laidlaw, his master's son, the future factor and amanuensis of Sir Walter Scott. Though ten years his junior, and consequently a mere youth at the period of his coming to Blackhouse, young Laidlaw began early to sympathise with the Shepherd's predilections, and afterwards devoted a large portion of time to his society. The friendship which ensued proved useful to both. A MS. narrative of the poet's life by this unfailing friend, which has been made available in the preparation of this Memoir, enables us to supply an authentic account of this portion of his career. "He was not long," writes Mr Laidlaw, "in going through all the books belonging to my father; and learning from me that Mr Elder, bookseller, Peebles, had a large collection of books which he used as a circulating library, he forthwith became a subscriber, and by that means read Smollett's and Fielding's novels, and those voyages and travels which were published at the time, including those of Cook, Carteret, and others." The progress of the Shepherd in learning was singularly tardy. He was, by a persevering course of reading, sufficiently familiar with the more esteemed writers in English literature, ere he attempted penmanship. He acquired the art upon the hill-side by copying the Italian alphabet, using his knees as his desk, and having his ink-bottle suspended from his button. In his twenty-sixth year he first essayed to write verses,—an effort attended, in the manual department, with amusing difficulty, for he stripped himself of his coat and vest to the undertaking, yet could record only a few lines at a sitting! But he was satisfied with the fame derived from his verses, as adequate compensation for the toil of their production; he wrote for the amusement of the shepherd maidens, who sung them to their favourite tunes, and bestowed on him the prized designation of "Jamie the Poeter." At the various gatherings of the lads and lasses in the different homesteads, then frequent in this pastoral district, he never failed to present himself, and had golden opportunities of winning the chaplet of applause, both for the strains of his minstrelsy, and the music of his violin. These réunions were not without their influence in stimulating him to more ambitious efforts in versification. The Shepherd's popularity, while tending the flocks of Mr Laidlaw at Blackhouse, was not wholly derived from his skill as a versifier, and capabilities as a musician, but, among the fairer portion of the creation, was perhaps scarcely less owing to the amenity of his disposition, combined with the handsomeness of his person. As a candidate for the honour of feminine approbation, he was successful alike in the hall and on the green: the rumour of his approach at any rural assemblage or merry-meeting was the watchword for increased mirth and happiness. If any malignant rival had hinted aught to his prejudice, the maidens of the whole district had assembled to vindicate his cause. His personal appearance at this early period is thus described by Mr William Laidlaw:—"About nineteen years of age, Hogg was rather above the middle height, of faultless symmetry of form; he was of almost unequalled agility and swiftness. His face was then round and full, and of a ruddy complexion, with bright blue eyes that beamed with gaiety, glee, and good-humour, the effect of the most exuberant animal spirits. His head was covered with a singular profusion of light-brown hair, which he was obliged to wear coiled up under his hat. On entering church on a Sunday (where he was all his life a regular attender) he used, on lifting his hat, to raise his right hand to assist a graceful shake of his head in laying back his long hair, which rolled down his back, and fell below his loins. And every female eye was upon him, as, with light step, he ascended the stair to the gallery where he sat." As the committing of his thoughts to paper became a less irksome occupation, Hogg began, with commendable prudence, to attempt composition in prose; and in evidence of his success, he had the satisfaction to find short essays which he sent to the Scots Magazine regularly inserted in that periodical. Poetry was cultivated at the same time with unabated ardour, though the bard did not yet venture to expose his verses beyond the friendly circle of his associates in Ettrick Forest. Of these, the most judicious was young Laidlaw; who, predicting his success, urged him to greater carefulness in composition. There was another stimulus to his improvement. Along with several shepherds in the forest, who were of studious inclinations, he formed a literary society, which proposed subjects for competition in verse, and adjudged encomiums of approbation to the successful competitors. Two spirited members of this literary conclave were Alexander Laidlaw, a shepherd, and afterwards tenant of Bowerhope, on the border of St Mary's Lake, and the poet's elder brother, William, a man of superior talent. Both these individuals subsequently acquired considerable distinction as intelligent contributors to the agricultural journals. For some years, William Hogg had rented the sheep-farm of Ettrick- [Pg 5] [Pg 6] [Pg 7] [Pg 8] house, and afforded shelter and support to his aged and indigent parents. In the year 1800, he resigned his lease to the poet, having taken another farm on the occasion of his marriage. James now established himself, along with his parents, at Ettrick-house, the place of his nativity, after a period of ten years' connexion with Mr Laidlaw of Blackhouse, whose conduct towards him, to use his own words, had proved "much more like that of a father than a master." It was during the course of a visit to Edinburgh in the same year, that an accidental circumstance gave a wider range to his poetical reputation. Spending an evening with a party of friends in the Crown Tavern, he was solicited for a song. He sung the last which he had composed; it was "Donald Macdonald." The reception was a roar of applause, and one of the party offered to get it set to music and published. The song was issued anonymously from the music establishment of Mr John Hamilton of Edinburgh. Within a few months it was sung in every district of the kingdom; and, at a period when the apprehended invasion of Napoleon filled the hearts of the nation with anxiety, it was hailed as an admirable stimulus to patriotism. In the preparation of the "Minstrelsy of the Scottish Border," Scott had been largely indebted to the intelligent peasantry of the south. He was now engaged in making collections for his third volume, and had resolved to examine the pastoral inhabitants of Ettrick and Yarrow. Procuring a note of introduction from his friend Leyden to young Laidlaw, Scott arrived at Blackhouse during the summer of 1801, and in his native home formed the acquaintance of his future steward. To his visitor, Laidlaw commended Hogg as the best qualified in the forest to assist him in his researches; and Scott, who forthwith accompanied Laidlaw to Ettrick-house, was more than gratified by an interview with the shepherd-bard. "He found," writes his biographer, "a brother poet, a true son of nature and genius, hardly conscious of his powers.... As yet, his naturally kind and simple character had not been exposed to any of the dangerous flatteries of the world; his heart was pure; his enthusiasm buoyant as that of a happy child; and well as Scott knew that reflection, sagacity, wit and wisdom, were scattered abundantly among the humblest rangers of these pastoral solitudes, there was here a depth and a brightness that filled him with wonder, combined with a quaintness of humour, and a thousand little touches of absurdity, which afforded him more entertainment, as I have often heard him say, than the best comedy that ever set the pit in a roar." Scott remained several days in the forest, daily accompanied in his excursions by Hogg and Laidlaw, both of whom rapidly warmed in his regard. From the recitation of the Shepherd's mother, he obtained important and interesting accessions to his Minstrelsy. With the exception of the song of "Donald Macdonald," Hogg had not yet published verses. His début as an author was sufficiently unpropitious. Shortly after Scott's visit, he had been attending the Monday sheep-market in Edinburgh, and being unable to dispose of his entire stock, was necessitated to remain in the city till the following Wednesday. Having no acquaintances, he resolved to employ the interval in writing from recollection several of his poems for the press. Before his departure, he gave the pieces to a printer; and shortly after, he received intimation that a thousand copies were ready for delivery. On comparing the printed sheets with his MSS. at Ettrick, he had the mortification of discovering "many of the stanzas omitted, others misplaced, and typographical errors abounding in every page." The little brochure, imperfect as it was, sold rapidly in the district; for the Shepherd had now a considerable circle of admirers, and those who had ridiculed his verse-making, kept silent since Scott's visit to him. A copy of the pamphlet is preserved in the Advocates' Library; it consists of sixty-two pages octavo, and is entitled, "Scottish Pastorals, Poems, Songs, &c., mostly written in the Dialect of the South, by James Hogg. Edinburgh: printed by John Taylor, Grassmarket, 1801. Price One Shilling." The various pieces evince poetic power, unhappily combined with a certain coarseness of sentiment. One of the longer ballads, "Willie and Keatie," supposed to be a narrative of one of his early amours, obtained a temporary popularity, and was copied into the periodicals. It is described by Allan Cunningham as a "plain, rough-spun pastoral, with some fine touches in it, to mark that better was coming." The domestic circumstances of the Shepherd were meanwhile not prosperous; he was compelled to abandon the farm of Ettrick-house, which had been especially valuable to him, as affording a comfortable home to his venerated parents. In the hope of procuring a situation as an overseer of some extensive sheep-farm, he made several excursions into the northern Highlands, waiting upon many influential persons, to whom he had letters of recommendation. These journeys were eminently advantageous in acquainting him with many interesting and celebrated scenes, and in storing his mind with images drawn from the sublimities and wild scenery of nature, but were of no account as concerned the object for which they were undertaken. Without procuring employment, he returned, with very reduced finances, to Ettrick Forest. He published a rough narrative of his travels in the Scots Magazine; and wrote two essays on the rearing and management of sheep, for the Highland Society, which were acknowledged with premiums. Frustrated in an attempt to procure a farm from the Duke of Buccleuch, and declining an offer of Scott to appoint him to the charge of his small sheep-farm at Ashestiel, he was led to indulge in the scheme of settling in the island of Harris. It was in the expectation of being speedily separated from the loved haunts of his youth, that he composed his "Farewell to Ettrick," afterwards published in the "Mountain Bard," one of the most touching and pathetic ballads in the language. The Harris enterprise was not carried out; and the poet, "to avoid a great many disagreeable questions and explanations," went for several months to England. Fortune still frowned, and the ambitious but unsuccessful son of genius had to return to his former subordinate occupation as a shepherd. He entered the employment of Mr Harkness of Mitchel-Slack, in Nithsdale. Dissatisfied with the imitations of ancient ballads in the third volume of "The Border Minstrelsy," Hogg proceeded to embody some curious traditions in this kind of composition. He transmitted specimens to Scott, who warmly commended them, and suggested their publication. The result appeared in the "Mountain Bard," a collection of poems and ballads, which he published in 1803, prefixed with an account of his life. From the profits of this volume, with the sum of eighty-six pounds paid him by Constable for the copyright of his two treatises on sheep, he became master of three hundred pounds. With this somewhat startling acquisition, visions of prosperity arose in his ardent and enthusiastic mind. He hastily took in lease the pastoral farm of Corfardin, in the parish of Tynron, Dumfriesshire, to which he [Pg 8] [Pg 9] [Pg 10] [Pg 11] [Pg 12] afterwards added the lease of another large farm in the same neighbourhood. Misfortune still pursued him; he rented one of the farms at a sum exceeding its value, and his capital was much too limited for stocking the other, while a disastrous murrain decimated his flock. Within the space of three years he was again a penniless adventurer. Removing from the farm-homestead of Corfardin, he accepted the generous invitation of his hospitable neighbour, Mr James Macturk of Stenhouse, to reside in his house till some suitable employment might occur. At Stenhouse he remained three months; and he subsequently acknowledged the generosity of his friend, by honourably celebrating him in the "Queen's Wake." Writing to Mr Macturk, in 1814, he remarks, in reference to his farming at Corfardin, "But it pleased God to take away by death all my ewes and my lambs, and my long-horned cow, and my spotted bull, for if they had lived, and if I had kept the farm of Corfardin, I had been a lost man to the world, and mankind should never have known the half that was in me. Indeed, I can never see the design of Providence in taking me to your district at all, if it was not to breed my acquaintance with you and yours, which I hope will be one source of happiness to me as long as I live. Perhaps the very circumstance of being initiated into the mysteries of your character,[29] is of itself a sufficient compensation for all that I suffered in your country." Disappointed in obtaining an ensigncy in a Militia Regiment, through the interest of Sir Walter Scott, and frustrated in every other attempt to retain the social position he had gained, he returned to Ettrick, once more to seek employment in his original occupation. But if friendship had somewhat failed him, on his proving unsuccessful at Ettrick-house, his prestige was now completely gone; old friends received him coldly, and former employers declined his services. He found that, till he should redeem his reputation for business and good management, there was no home for him in Ettrick Forest. Hogg was not a man who would tamely surrender to the pressure of misfortune: amidst his losses he could claim the strictest honesty of intention, and he was not unconscious of his powers. With his plaid over his shoulders, he reached Edinburgh in the month of February 1810, to begin, in his fortieth year, the career of a man of letters. The scheme was singularly adventurous, but the die was cast; he was in the position of the man on the tread-wheel, and felt that he must write or perish. It affords no matter of surprise that the Shepherd was received coldly by the booksellers, and that his offers of contributing to their periodicals were respectfully declined. His volume, "The Mountain Bard," had been forgotten; and though his literary fitness had been undisputed, his lengthened want of success in life seemed to imply a doubt of his general steadiness. Mr Constable, his former publisher, proved the most friendly; he consented to publish a collection of songs and ballads, which he had prepared, two-thirds being his own composition, and the remainder that of his ingenious friends. This publication, known as "The Forest Minstrel," had a slow sale, and conferred no benefit on the unfortunate author. What the booksellers would not do for him, Hogg resolved to do for himself; he originated a periodical, which he designated "The Spy," acting as his own publisher. The first number of this publication—a quarto weekly sheet, price fourpence—was issued on the first of September 1810. With varied popularity, this paper existed during the space of a year; and owing to the perseverance of the conductor might have subsisted a longer period, but for a certain ruggedness which occasionally disfigured it. As a whole, being chiefly the composition of a shepherd, who could only read at eighteen, and write at twenty-six, and who, to use his own words, "knew no more of human life or manners than a child," the work presented a remarkable record in the annals of literature. As a business concern, it did not much avail the projector, but it served indirectly towards improving his condition, by inducing the habit of composing readily, and with undeviating industry. A copy of "The Spy" is now rare. From his literary exertions, Hogg was long, subsequent to his arrival in the metropolis, in deriving substantial pecuniary emolument. In these circumstances, he was fortunate in the friendship of Mr John Grieve, and his partner Mr Henry Scott, hat manufacturers in the city, who, fully appreciating his genius, aided him with money so long as he required their assistance. These are his own words, "They suffered me to want for nothing, either in money or clothes, and I did not even need to ask these." To Mr Grieve, Hogg was especially indebted; six months he was an inmate of his house, and afterwards he occupied comfortable lodgings, secured him by his friend's beneficence. Besides these two invaluable benefactors, the Shepherd soon acquired the regard and friendship of several respectable men of letters, both in Edinburgh and elsewhere. As contributors to "The Spy," he could record the names of James Gray of the High School, and his accomplished wife; Thomas Gillespie, afterwards Professor of Humanity in the University of St Andrews; J. Black, subsequently of the Morning Chronicle; William Gillespie, the ingenious minister of Kells; and John Sym, the renowned Timothy Tickler of the "Noctes." Of these literary friends, Mr James Gray was the more conspicuous and devoted. This excellent individual, the friend of so many literary aspirants, was a native of Dunse, and had the merit of raising himself from humble circumstances to the office of a master in the High School of Edinburgh. Possessed of elegant and refined tastes, an enthusiastic admirer of genius, and a poet himself,[30] Mr Gray entertained at his table the more esteemed wits of the capital; he had extended the hand of hospitality to Burns, and he received with equal warmth the author of "The Forest Minstrel." In the exercise of disinterested beneficence, he was aided and encouraged by his second wife, formerly Miss Peacock, who sympathised in the lettered tastes of her husband, and took delight in the society of men of letters. They together made annual pedestrian excursions into the Highlands, and the narrative of their adventures proved a source of delightful instruction to their friends. Mr Gray, after a lengthened period of residence in Edinburgh, accepted, in the year 1821, the Professorship of Latin in the Institution at Belfast; he subsequently took orders in the Church of England, and proceeded to India as a chaplain. In addition to his chaplaincy, he held the office of preceptor to one of the native princes of Hindostan. He died at Bhoog, in the kingdom of Cutch, on the 25...