The Poets and Poetry of Scotland from the Earliest to the Present Time

Total Page:16

File Type:pdf, Size:1020Kb

The Poets and Poetry of Scotland from the Earliest to the Present Time ALLAN EAMSAY. 101 " Harmonious pipe, how I envye thy bliss, worth." During the poet's latter years much When to with kiss! press'd Sylphia's lips gentle of his time was spent at Pennycuik House, and And when her tender fingers round thee move at his death its master erected at his beautiful In soft embrace, I listen and approve seat an obelisk to Those melting notes, which soothe my soul to love. family Ramsay's memory. Embalm'd with odours from her breath that flow, Sir John by his second wife had seven sons Fou music when she's to yield your pleased blow; and six daughters. One of the former was And thus at once the fair charming lovely the author of the well-known work on Naval Delights with sounds, with sweets perfumes the air. Tactics, and father of the eccentric Lord Go, happy pipe, and ever mindful be Eldin, To court the charming Sylphia for me; one of Scotland's most eminent lawyers. Sir Tell all I feel you cannot tell too much John died at Pennycuik, October 4, 1755. Repeat my love at each soft melting touch; His extremely humorous and popular song of Since I to her my liberty resign, Take thou the care to tune her heart to mine." "The Miller" first appeared in the second volume of Yair's Charmer, published at Edin- It was to this lady that Allan Ramsay, in burgh four years before Sir John's death; and " 1726, dedicated his Gentle Shepherd." The since that date it has been included in almost baronet was one of Ramsay's warmest friends, all collections of Scottish song. The first verse " who admired his genius and knew his belongs to an older and an anonymous hand. THE MILLER. Merry may the maid be A good fat sow, a sleeky cow That marries the miller, Was standin' in the byre; For foul day and fair day While lazy puss with mealy mou' He's till her fire. aye bringing ; Was playing at the Has aye a penny in his purse Good are mither For dinner and for supper; signs these, my says, And bids me tak' the miller, And gin she please, a good fat cheese, For foul and fair And lumps of yellow butter. day day till her He's aye bringing ; When Jamie first did woo me, For meal and malt she does na want, I speir'd what was his calling; Nor anything that's dainty; Fair maid, says he, come and see, And noo and then a keckling hen Ye're welcome to my dwalling: To lay her eggs in plenty. Though I was shy, yet I cou'd spy In winter when the wind and rain The truth of what he told me, Blaws o'er the house and And that his house was warm and couth, byre, sits beside a clean hearth stane And room in it to hold me. He Before a rousing fire, Behind the door a bag of meal, With nut-brown ale he lilts his tale, And in the kist was plenty Which rows him o'er fu' happy: Of good hard cakes his mither bakes, Who'd be a king a petty thing, And bannocks were na scanty; When a miller lives so happy] ALLAN EAMSAY. BORN 1686 DIED 1757. ALLAN RAMSAY, the restorer of Scottish by the father's side from the Ramsays of Dal- poetry, was born Oct. 15, 1686, in the village housie, a genealogy of which he speaks in one Leadhills, Lanarkshire. He was descended of his pieces with conscious pride: 102 ALLAN KAMSAY. " Dalhousie, of an auld descent were in which found " they composed, shape they My chief, my stouj>e, and ornament ! a ready sale, the citizens being in the habit His father, John Ramsay, was superintendent of sending their children with a penny for of Lord Hopetoun's mines at Leadhills; and "Allan Ramsay's last piece." In 1720 he his mother, Alice Bowel's, was the daughter opened a subscription for a collection of his of a gentleman of Derbyshire, who had been poems in a quarto volume, and the liberal invited to Leadhills to assist by his skill in manner in which it was immediately filled up the introduction of some improvements in the by "all who were either eminent or fair in art of mining. Allan, while yet an infant, Scotland" affords a striking proof of the esteem lost his fathei; who died at the early age of in which the whilom wig-maker was now held. twenty-five. His mother soon after married The volume, which cleared him 400 guineas, a Mr. Crichton, a small landholder in Lanark- closed with an address by the author to his shire. He was sent to the village school, book after the manner of Horace, in which he where he acquired learning enough, as he tells thus boldly speaks of his hopes: us, to read Horace "faintly in the original." ' ' Gae spread my fame, In the year 1700 he lost his mother, and his And fix me an immortal name ; was not in that step-father long discovering Ages to come shall thee revive, he was old enough to take care of himself. And gar thee with new honours live. The future I He took Allan to Edinburgh, and apprenticed critics, foresee, Shall have their notes on notes on thee him to a an which ; wig-maker, occupation The wits unborn shall beauties find most of his are anxious to biographers very That never entered in my mind." distinguish from a barber. The vocation of a " skull-thacker," as Ramsay humorously calls In 1724 the poet published the first volume collection of it, would appear not to have been so uncon- of the Tea-table Miscellany, a genial as his biographers would have us songs Scottish and English, which was speedily believe, as it is certain that he did not abandon followed by a second; a third volume appeared it when his apprenticeship ceased, but followed in 1727, and a fourth after another interval. it for many years after. In the parish registers This publication acquired him more profit he is called a wig-maker down to 1716. Four than lasting fame, passing through no less years previous to this he married Christian than twelve editions in a few years. This was Ross, a writer's daughter, with whom he lived followed by "The Evergreen : being a Collection most happily for a period of thirty years. of Scots Poems, wrote by the Ingenious before The earliest of his poems which can now be 1600," in two volumes. This work did him " traced is an epistle addressed in 1712 To the even less credit as an editor than the Tea- Most Happy Members of the Easy Club," a table Miscellany had done. Lord Hailes says convivial society, of which in 1715 he was with truth that he took great liberty with appointed poet-laureate; but it was soon after the originals, omitting some stanzas and add- others at the same time broken up by the Rebellion. In 1716 Ramsay ing ; modernizing published an edition of James I.'s poem of the versification, and varying the ancient "Christ's Kirk on the Green," with a second manner of spelling. Ramsay availed himself canto by himself, to which, two years after, of the opportunity of concealment afforded by he added a third. The wit, fancy, and perfect this publication to give expression in a poem mastery of the Scottish language which his of pretended antiquity, and with a feigned additions to the king's poem displayed, greatly signature, to those Jacobite feelings which extended his reputation as a poet. Abandon- prudence led him to conceal. It was called ing his original occupation, he entered upon "The Vision," and said to be "compylit in the more congenial business of bookselling. Latin be a most lernit clerk in tyme of our His first shop was "at the sign of the Mercury, hairship and opression, anno 1300, and trans- " opposite to Niddry's Wynd, Edinburgh. Here latit in 1524." The pretended subject was the he appears to have represented the threefold "history of the Scots' sufferings by the character of author, editor, and bookseller. unworthy condescension of Baliol to Edward I. His poems were printed on single sheets as of England till they recovered their indepen- DRAM SAY* ALLAN KAMSAY. 103 dence by the conduct and valour of the Great Chronicle of Scottish Poetry, by whose exe- Bruce." For the period of Edward I. substi- cutors it was sold in 1806, and has since that tute that of George I., and for "the Great time been broken up and disposed of by auction. " Bruce" the Pretender, and the object of the Here," says one of Ramsay's biographers, " poem will stand revealed. "The Vision" is he sold and lent books to a late period of a production of great power; in it the genius his life; here the wits of Edinburgh used to of Scotland is drawn with a touch of the old meet for their amusement and for information; heroic muse: and here Gay, a congenial poet ("a little man with a Mr. "Great daring darted frae his e'e, pleasant tye wig," says Tytler), A braidsword shogled at his thie, was wont to look out upon the Exchange in Ou his left arm a ; targe Edinburgh, to know persons and ascertain A filled his shining spear right hand, characters." Allan was now a famous and In stalwart make in bane and bravvnd, prosperous man.
Recommended publications
  • Hugh Macdiarmid and Sorley Maclean: Modern Makars, Men of Letters
    Hugh MacDiarmid and Sorley MacLean: Modern Makars, Men of Letters by Susan Ruth Wilson B.A., University of Toronto, 1986 M.A., University of Victoria, 1994 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY in the Department of English © Susan Ruth Wilson, 2007 University of Victoria All rights reserved. This dissertation may not be reproduced in whole or in part, by photo-copying or other means, without the permission of the author. ii Supervisory Committee Dr. Iain Higgins_(English)__________________________________________ _ Supervisor Dr. Tom Cleary_(English)____________________________________________ Departmental Member Dr. Eric Miller__(English)__________________________________________ __ Departmental Member Dr. Paul Wood_ (History)________________________________________ ____ Outside Member Dr. Ann Dooley_ (Celtic Studies) __________________________________ External Examiner ABSTRACT This dissertation, Hugh MacDiarmid and Sorley MacLean: Modern Makars, Men of Letters, transcribes and annotates 76 letters (65 hitherto unpublished), between MacDiarmid and MacLean. Four additional letters written by MacDiarmid’s second wife, Valda Grieve, to Sorley MacLean have also been included as they shed further light on the relationship which evolved between the two poets over the course of almost fifty years of friendship. These letters from Valda were archived with the unpublished correspondence from MacDiarmid which the Gaelic poet preserved. The critical introduction to the letters examines the significance of these poets’ literary collaboration in relation to the Scottish Renaissance and the Gaelic Literary Revival in Scotland, both movements following Ezra Pound’s Modernist maxim, “Make it new.” The first chapter, “Forging a Friendship”, situates the development of the men’s relationship in iii terms of each writer’s literary career, MacDiarmid already having achieved fame through his early lyrics and with the 1926 publication of A Drunk Man Looks at the Thistle when they first met.
    [Show full text]
  • Allan Ramsay, London, Royal Academy
    Neil Jeffares, Dictionary of pastellists before 1800 Online edition RAMSAY, Allan Edinburgh 13.X.1713 – Dover 10.VIII.1784 The leading British portrait painter in the middle of the century, Ramsay was trained in London, travelling in 1736 to Rome and Naples where he studied with Francesco Solimena and Imperiali. He returned to Edinburgh in 1738 but soon moved to London. A further trip to Italy took place in 1754–57. According to Cunningham, Ramsay’s 1764 portrait of George III met with such demand for repetitions that he was forced to take on assistants to meet the demand; among them were Mary Black and Vispré (qq.v.). Ramsay was a great admirer of French pastellists such as La Tour (to whom he makes approbatory reference in a Dialogue on Taste, of J.6092.111 Hugh Hume-Campbell, 3rd Earl of which the second edition appeared in 1762), and MARCHMONT (1708–1794), in an embroidered his oil portraits often strive after similar lighting ~self-portrait at an easel, pnt., c.1756 (PC). Lit.: coat; & pendant: J.6092.1111 his first wife (∞ effects; but he seems rarely to have used pastel Smart 1999, no. 430, fig. 478 1731), née Anne Western ( –1747), in a black himself. The only secure example, the self- J.6092.104 ~other studies and white dress, pstl, 59.7x44.5 (London, portrait in Edinburgh, shows a tentative handling J.6092.105 William EVELYN of St Clere (1734– Christie’s, 26.II.1917, Lot 34 n.r.) using a medium of pastel mixed with 1813), MP, high sheriff of Kent, monochrome J.6092.112 Mrs Chase PRICE, née Sarah Glanville watercolour in which the artist is distinctly less at pstl/ppr, 52x42 ov.
    [Show full text]
  • Scots Verse Translation and the Second-Generation Scottish Renaissance
    Sanderson, Stewart (2016) Our own language: Scots verse translation and the second-generation Scottish renaissance. PhD thesis https://theses.gla.ac.uk/7541/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] Our Own Language: Scots Verse Translation and the Second-Generation Scottish Renaissance Stewart Sanderson Kepand na Sudroun bot our awyn langage Gavin Douglas, Eneados, Prologue 1.111 Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy School of Critical Studies College of Arts University of Glasgow September 2015 Contents Acknowledgements ............................................................................................................................... 2 Abstract .................................................................................................................................................. 3 Introduction: Verse Translation and the Modern Scottish Renaissance ........................................
    [Show full text]
  • Allan Ramsay's Poetic Language of Anglo-Scottish Rapprochement
    Études écossaises 17 | 2015 La poésie écossaise Allan Ramsay’s Poetic Language of Anglo-Scottish Rapprochement Allan Ramsay et le langage du rapprochement anglo-écossais Michael Murphy Electronic version URL: http://journals.openedition.org/etudesecossaises/919 DOI: 10.4000/etudesecossaises.919 ISSN: 1969-6337 Publisher UGA Éditions/Université Grenoble Alpes Printed version Date of publication: 25 April 2015 Number of pages: 13-30 ISBN: 978-2-84310-296-7 ISSN: 1240-1439 Electronic reference Michael Murphy, “Allan Ramsay’s Poetic Language of Anglo-Scottish Rapprochement”, Études écossaises [Online], 17 | 2015, Online since 25 April 2016, connection on 15 March 2021. URL: http:// journals.openedition.org/etudesecossaises/919 ; DOI: https://doi.org/10.4000/etudesecossaises.919 © Études écossaises Michael Murphy Université du Littoral Côte d’Opale Allan Ramsay’s Poetic Language of Anglo-Scottish Rapprochement Ramsay (1684?–1758), one of the last generation born in an independent Scottish state, was also part of the first generation of Hanoverian Britons; his career began just after the Treaty of Union of 1707. There is a polit- ical tension in his writings: until the 1730s at least he hoped for the resto- ration of an independent, Stuart, Scottish kingdom, but he also worked for Anglo-Scottish reconciliation. The latter was neither a premedit- ated project on his part, nor direct support of the Hanoverian dynasty, their governments, or the terms of the Treaty of Union. It was a slow movement, measured notably through epistolary poems exchanged with Englishmen. These personal, literary contacts helped him to imagine a common future shared by two peoples, or more precisely their elites.
    [Show full text]
  • Linda Christine Knowles Phd Thesis
    IN SEARCH OF A NATIONAL VOICE : SOME SIMILARITIES BETWEEN SCOTTISH AND CANADIAN POETRY 1860-1930 Linda Christine Knowles A Thesis Submitted for the Degree of PhD at the University of St Andrews 1981 Full metadata for this item is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/15190 This item is protected by original copyright In Search of a National Voice: Some Similarities Between Scottish and Canadian Poetry 1860-1930. by Linda Christine Knowles 1981 ProQuest Number: 10167356 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest 10167356 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 s tv3. This thesis has been composed by me, and the work of which it is a record has been done by myself. It has not been accepted in any previous application for a higher degree. I have carried out research in Canadian and Scottish poetry in the Department of English, University of St Andrews under the supervision of Dr R.P.
    [Show full text]
  • National Qualifications Curriculum Support
    NATIONAL QUALIFICATIONS CURRICULUM SUPPORT English and Communication Using Scottish Texts Support Notes and Bibliographies [MULTI-LEVEL] Edited by David Menzies INTRODUCTION First published 1999 Electronic version 2001 © Scottish Consultative Council on the Curriculum 1999 This publication may be reproduced in whole or in part for educational purposes by educational establishments in Scotland provided that no profit accrues at any stage. Acknowledgement Learning and Teaching Scotland gratefully acknowledge this contribution to the Higher Still support programme for English. The help of Gordon Liddell is acknowledged in the early stages of this project. Permission to quote the following texts is acknowledged with thanks: ‘Burns Supper’ by Jackie Kay, from Two’s Company (Blackie, 1992), is reproduced by permission of Penguin Books Ltd; ‘War Grave’ by Mary Stewart, from Frost on the Window (Hodder, 1990), is reproduced by permission of Hodder & Stoughton Ltd; ‘Stealing’, from Selling Manhattan by Carol Ann Duffy, published by Anvil Press Poetry in 1987; ‘Ophelia’, from Ophelia and Other Poems by Elizabeth Burns, published by Polygon in 1991. ISBN 1 85955 823 2 Learning and Teaching Scotland Gardyne Road Dundee DD5 1NY www.LTScotland.com HISTORY 3 CONTENTS Section 1: Introduction (David Menzies) 1 Section 2: General works and background reading (David Menzies) 4 Section 3: Dramatic works (David Menzies) 7 Section 4: Prose fiction (Beth Dickson) 30 Section 5: Non-fictional prose (Andrew Noble) 59 Section 6: Poetry (Anne Gifford) 64 Section 7: Media texts (Margaret Hubbard) 85 Section 8: Gaelic texts in translation (Donald John MacLeod) 94 Section 9: Scots language texts (Liz Niven) 102 Section 10: Support for teachers (David Menzies) 122 ENGLISH III INTRODUCTION HISTORY 5 INTRODUCTION SECTION 1 Introduction One of the significant features of the provision for English in the Higher Still Arrangements is the prominence given to the study of Scottish language and literature.
    [Show full text]
  • This House, This Poem… This Fresh Hypothesis
    This house, this poem… this fresh hypothesis - Iain Crichton Smith A brief history of the Scottish Poetry Library In the Canongate in Edinburgh, not far from the Scottish Parliament, the following words are formed of steel, looping along a facade and round the corner into Crichton’s Close: ‘a nation is forged in the hearth of poetry’¹. Just a few metres further down the Close, there is a place which houses the nation’s poetry, and more: the Scottish Poetry Library. Twenty-five years ago, long before the revitalised nation voted itself a stronger identity, the SPL had started to gather the written expression of that identity; today it is an institution which holds a unique position in the cultural life of Scotland. The story of how the SPL came to such a position starts when it was just an idea in the mind of its founder, Tessa Ransford. As a practising poet, and having recently set up the School of Poets in Edinburgh, she felt that a much greater audience for poetry existed than was apparent, but without a central forum there was no way for people to express their interest – poetry needed a place of its own. During the Edinburgh Festival in 1981, the Poetry Society from London had a stall in the Assembly Rooms; it was there that Tessa Ransford overheard an American voice asking ‘Where is the poetry library in Edinburgh?’ A library! It seemed to be the obvious answer. Tessa was aware that few public libraries could afford to cover more than the obvious giants of 20th century poetry, and that publishers had little financial incentive to publish 1 John Purser The aims of the SCOTTISH POETRY LIBRARY ASSOCIATION 1 To establish the Scottish Poetry Library, a library that would contain a complete collection of Scots, Gaelic and English poetry written in Scotland, or promote it.
    [Show full text]
  • The Poetry of William Forbes of Disblair (1661-1740)
    The Poetry of William Forbes of Disblair (1661-1740) The MIT Faculty has made this article openly available. Please share how this access benefits you. Your story matters. Citation Donaldson, William. "The Poetry of William Forbes of Disblair (1661-1740)." Studies in Scottish Literature 45, 2 (2019): 121–137 As Published https://scholarcommons.sc.edu/ssl/vol45/iss2/14/ Publisher University of South Carolina Libraries Version Final published version Citable link https://hdl.handle.net/1721.1/128885 Terms of Use Article is made available in accordance with the publisher's policy and may be subject to US copyright law. Please refer to the publisher's site for terms of use. Studies in Scottish Literature Volume 45 Issue 2 Article 14 12-15-2019 The Poetry of William Forbes of Disblair (1661-1740) William Donaldson Massachusetts Institute of Technology Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the Literature in English, British Isles Commons Recommended Citation Donaldson, William (2019) "The Poetry of William Forbes of Disblair (1661-1740)," Studies in Scottish Literature: Vol. 45: Iss. 2, 121–137. Available at: https://scholarcommons.sc.edu/ssl/vol45/iss2/14 This Article is brought to you by the Scottish Literature Collections at Scholar Commons. It has been accepted for inclusion in Studies in Scottish Literature by an authorized editor of Scholar Commons. For more information, please contact [email protected]. THE POETRY OF WILLIAM FORBES OF DISBLAIR (1661-1740) William Donaldson William Forbes of Disblair is a name well-known to students of Scottish vernacular music during the first half of the eighteenth century.
    [Show full text]
  • The Poetry and Humor of the Scottish Language
    in" :^)\EUN'i\TPr/> ^ c^ < ^ •-TilJD^ =o o ir.t' ( qm-^ I| POETRY AND HUMOUR OF THE SCOTTISH LANGUAGE. THE POETRY AND HUMOUR OF THE SCOTTISH LANGUAGE. BY CHARLES MACKAY, LL.D, " Autlior of The Gaelic Etymology of the Languages of Westerti Europe, tuore particularly of the English and Lowland Scotch;" " Recreations Gauloises, or Sources Celtigues de la " " Langue Fratifaise ; and The Obscure Words and Phrases in Shakspeare and his Con- temporaries" is'c. ALEXANDER GARDNER, PAISLEY; LONDON : 12 PATERNOSTER ROW. 1882. :•: J ^ PREFACE. a I/) c The nucleus of this volume was contributed in three " papers to Blackwood's Magazine," at the end of the year 1869 and beginning of 1870. They are here of Messrs. r--. reprinted, by the kind permission Blackwood, CO ^ with many corrections and great extensions, amounting "^ to more than two-thirds of the volume. The original :> intention of the work was to present to the admirers of ^o Scottish literature, where it differs from that of England, only such words as were more poetical and humorous in the Scottish language than in the English, or were \ altogether wanting in the latter. The design gradually extended itself as the with his ^ compiler proceeded task, ^^11 it came to include large numbers of words derived from the Gaelic or Keltic, with which Dr. Jamieson, the 4 author of the best and most copious Scottish Dictionary ^ hitherto published, was very imperfectly or scarcely at all acquainted, and which he very often wofuUy or ludi- crously misunderstood. " Broad Scotch," says Dr. Adolphus Wagner, the eru- and editor of the Poems of Robert dite sympathetic Burns,— pubUshed in Leipzig, in 1835, "is literally broadened, i.e.^ a language ot dialect very worn off, and blotted, whose VL PREFACE.
    [Show full text]
  • Vernacular Literary Culture in Lowland Scotland, 1680-1750
    Vernacular Literary Culture in Lowland Scotland, 1680-1750. George M. Brunsden. Submitted to the Faculty of Arts, University of Glasgow, For the Degree of Ph.D. October, 1998. Research conducted in conjunction with the Department of Scottish History, University of Glasgow. © George M. Brunsden, 1998. ProQuest Number: 13818609 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818609 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 GLASGOW UNIVERSITY jJPDLPV i'34ol |rofa ' Abstract Vernacular Literary Culture in Lowland Scotland, 1680-1750. This thesis examines literature that because of the frequency of its printing, and social relevance, might be called prevalent examples of a tradition. The strength of these traditions over time, and the way in which they reflect values of Lowland Scottish society are also examined. Vernacular literary tradition faced a period of crisis during the seventeenth and eighteenth centuries, and its survival seemed uncertain. Its vitality, however, was reaffirmed mainly because it was able to evolve. The actions of several key individuals were instrumental in its maintenance, but ultimately, it was the strength of the traditions themselves which proved to be most influential.
    [Show full text]
  • The Poets and Poetry of Scotland from the Earliest
    18 EGBERT HENRYSON. wox as meek as any mulis, The town sowtar in grief was bowilin, They That were with mailis: His wife hang in his waist: mangit For faintness thir forfochin fulis His body was with blood all browdin, Fell down, like flauchtir failis; He granit like any gaist; in and haild the dulis was full Fresh men came His glittering hair, that gowden, And them down in dailis, So hard in love him laist; dang Bedene, That for her sake he was not zowdin, Christ's Kirk on the that day. Seven mile while he was chaist, At green, And more, When all was done, Dick, with an aix, At Christ's Kirk on the green, that day. Came forth, to fell a futher; Where are smaiks, The miller was of manly mak, Quod he, yon hangit wald slain bruther ? To meet him was no mowis; Right now my bad him Their durst not ten come him to tak, His wife go home, good glaiks, so did his So nowit he their nowis; And Meg mother; and them both their The buschment haill about him brak, He turn'd, gave paiks; he durst none And bikkerit him with bowis, For ding other, For feir, Syne traifcourly behind his back, At Christ's Kirk on the that day. They hewed him on the howis, green, Behind, At Christ's Kirk on the green, that day. Two that were heidsmen of the herd, DIVINE TRUST. 1 Ran upon uderis like rammis; Sen throw vertew incressis Than followit feymen, right unaffeir'd, dignitie, vertew is flour and rute of nobles Bet on with barrow trammis; And ay, Of wit or estait thou be But where their gobbis were ungeird, ony quhat His steppis follow, and dreid for none effray; They got upon the gammis; Eject vice, and follow truth alway; While bloody barkit was their beird; Lufe maist thy God that first thy lufe began, As they had werreit lammis And for ilk inche He will thS quyte ane span.
    [Show full text]
  • Allan Ramsay, by William Henry Oliphant 1
    Allan Ramsay, by William Henry Oliphant 1 Allan Ramsay, by William Henry Oliphant The Project Gutenberg eBook, Allan Ramsay, by William Henry Oliphant Smeaton 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 Allan Ramsay, by William Henry Oliphant 2 Title: Allan Ramsay Famous Scots Series Author: William Henry Oliphant Smeaton Release Date: June 1, 2010 [eBook #32642] Language: English Character set encoding: ISO-8859-1 ***START OF THE PROJECT GUTENBERG EBOOK ALLAN RAMSAY*** E-text prepared by Susan Skinner and the Project Gutenberg Online Distributed Proofreading Team (http://www.pgdp.net) ALLAN RAMSAY by OLIPHANT SMEATON Famous Scots Series Published by Oliphant Anderson & Ferrier Edinburgh and London The designs and ornaments of this volume are by Mr. Joseph Brown, and the printing from the press of Messrs. Morrison & Gibb, Edinburgh. TO DAVID MASSON, LL.D. EMERITUS-PROFESSOR OF RHETORIC AND ENGLISH LITERATURE IN EDINBURGH UNIVERSITY Allan Ramsay, by William Henry Oliphant 3 THIS VOLUME IS DEDICATED in grateful acknowledgment of kindly encouragement given in years long gone by, and of intellectual stimulus received from him by his former student THE AUTHOR PREFACE Since this Volume was in type, I have received some additional information which I feel constrained to lay before my readers. With reference to the Easy Club, I have been favoured, through the courtesy of the Rev. Dr. A.
    [Show full text]