Read The Canongate Burns Online
Authors: Robert Burns
First printed in S.M.M., 1796.Â
O Galloway Tam came here to woo,
      I'd rather we'd gin him the brawnit cow;
given
For our lass Bess may curse and ban
      The wanton wit o Galloway Tam.Â
O Galloway Tam came here to shear,
      I'd rather we'd gin him the gude gray mare;
He kist the gudewife and strack the gudeman,
      And that 's the tricks o' Galloway Tam.Â
This was unsigned in the S.M.M. A longer version is given by Cromek in his
Remains of Nithsdale and Galloway Song
in 1810, suggesting that the work copied by Burns from oral tradition was probably not changed by him.
First printed in S.M.M., 1796.Â
As I cam down by yon castle wa'
     And in by yon garden green,
O there I spied a bony bony lass,
     But the flower-borders were us between.Â
5
A bony bony lass she was,
     As ever mine eyes did see;
O five hundred pound would I give,
     For to have such a pretty bride as thee. Â
To have such a pretty bride as me,
10
     Young man ye are sairly mista'en
Tho ye were king of fair Scotland,
     I wad disdain to be your queen.
Talk not so high, bony lass,
     O talk not so very, very high;
15
The man at the fair that wad sell,
     He maun learn at the man that wad buy.
must
I trust to climb a far higher tree,
     And herry a far richer nest;
Tak this advice o me, bony lass,
20
     Humility wad set thee best.Â
This work was unsigned in the S.M.M. Kinsley and Mackay both accept it to the canon although aware that it was probably transcribed by Burns from a traditional Ayrshire folk-song. He probably did no more than send it to Johnson.
First printed in Johnson's S.M.M., 1803.
O ken ye what Meg o' the Mill has gotten?
An' ken ye what Meg o' the Mill has gotten?
A braw new naig wi' the tail o' a rottan,
horse, rat
And that's what Meg o' the Mill has gotten.
5
O ken ye what Meg o' the Mill lo'es dearly,
An' ken ye what Meg o' the Mill lo'es dearly;
A dram o' gude strunt in a morning early,
spirits
And that's what Meg o' the Mill loe's dearly!
O ken ye how Meg o' the Mill was married,
10
An' ken ye how Meg o' the Mill was married;
The Priest he was oxter'd, the Clark he was carried,
manhandled
And that's how Meg o' the Mill was married!
O ken ye how Meg o' the Mill was bedded,
An' ken ye how Meg o' the Mill was bedded;
15
The groom gat sae fu' he fell awald beside it,
And that's how Meg o' the Mill was bedded.
This version again appears to be no more than the traditional song transcribed by Burns. For comparison, see the accepted version of the same name. Kinsley and Mackay print two versions of this song, both remarking that this is a doubtful lyric.
Was e'er puir poet sae befitted,
The maister drunk â the horse commited?
Puir harmless beast! tak thee nae care,
Thou'lt be a horse when he's nae mair.
This appears in
The Complete Works of Burns
(p. 105) by William Gunnyon, published by W.P. Nimmo, Edinburgh, 1865. It is supposed to relate to an incident that occurred in Carlisle when the poet grazed his horse on corporation land and, when he returned, he found the horse had been impounded. It is probably spurious.
LIKE to a fading flower in May,
  Which Gardner cannot save
So Beauty must, sometime, decay
  And drop into the grave.
Fair Burns, for long the talk and toast
   Of many a gaudy Beau,
That Beauty has forever lost
   That made each bosom glow.
Think, fellow sisters, on her fate!
   Think, think how short her days!
Oh! think, and e'er it be too late,
   Turn from your evil ways.
Beneath this cold, green sod lies dead
   That once bewitching dame
That fired Edina's lustful sons,
   And quench'd their glowing flame.Â
There is a very specific context for this poem. Miss Burns was an Edinburgh prostitute brought to legal book. Burns did write to his
politically sympathetic Edinburgh bookseller, Peter Hill, about her on 2nd February, 1790. One can hardly imagine that such an anaemic, sentimental poem came from the same pen on the same subject. The edition closes, then, with Burns in a characteristic, outraged cry against hypocrisy in Scottish society. One can hardly think of a more apt conclusion than this:
What are you doing, and how are you doing? Have you lately seen any of my few friends? What is become of the Borough Reform, or how is the fate of my poor Namesake, Madamois-selle [
sic
] Burns, decided? Which of their grave Lordships can lay his hand on his heart and say that he has not taken the advantage of such frailty; nay, if we may judge by near six thousand years experience, can the World do without such frailty? O Man! but for thee & thy selfish appetites & dishonest artifices, that beauteous form, & that once innocent & still ingenuous mind might have shone conspicuous & lovely in the faithful wife and the affectionate mother; and shall the unfortunate sacrifice to thy pleasures have no claim on thy humanity! As for those flinty-bosomed, puritannic Prosecutors of Female Frailty & Persecutors of Female Charms â I am quite sober â I am dispassionate â to shew you that I am so I shall mend my Pen ere I proceed â It is written, “Thou shalt not take the name of the Lord they God in vain,” so I shall neither say, Gâ curse them! nor Gâ blast them! nor Gâ damn them! but may Woman curse them! May Woman blast them! May Woman damn them! May her lovely hand inexorably shut the Portal of Rapture to their most earnest Prayers & fondest essays for entrance! And when many years, and much port and great business have delivered them over to Vulture Gouts and Aspen Palsies,
then
may the dear, bewitching Charmer in derision throw open the blissful Gate to tantalize their impotent desires which like ghosts haunt their bosoms when all their powers to give or receive enjoyment, are for ever asleep in the sepulchre of their fathers!!!
S.M.M. | The Scots Musical Museum , ed. James Johnson, Vols. 1787â1803, Edinburgh |
S.C. | A Select Collection of Orginal Scottish Airs for the Voice , ed. George Thomson, Vols. 1794â1818, Edinburgh. |
F.C.B. | First Commonplace Book , 1783â5, introduced by J.C. Ewing and D. Cook, 1938, fac. in Mitchell Library |
S.C.B. | Second Commonplace Book , 1787, in Birthplace Museum, 1970, fac. in Mitchell Library. |
M.M.C. | The Merry Muses of Caledonia , ed. James Barke and Sydney Goodsir Smith, Auk Society, MacDonald, Edinburgh, 1959. |
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The Complete Works of Robert Burns
, Milner & Sowerby, Halifax, 1824.
Douglas, W. Scott.
The Kilmarnock Edition of the Poetical Works of
Robert Burns
, Special Presentation Edition,
Scottish Daily Express
, Glasgow, 1938.
Henley, W.E. and Henderson, T.F.
The Poetry of Robert Burns
, Vols. 1â4, T.C. and E.C. Jack, Edinburgh, 1896.
Chambers, Robert and Wallace, William.
Life and Works of Robert
Burns
, 4 Vols. Edinburgh, 1896.
Dick, James C.
Songs of Robert Burns
, Mitchell Library fac. 1903.
Ferguson, J. De Lancey and Roy, G. Ross.
The Letters of Robert
Burns
2 Vols., Clarendon, Oxford, 1985.
Kinsley, James,
The Poems and Songs of Robert Burns
, 3 Vols., Clarendon, Oxford, 1968.
Low, Donald A., ed.
Songs of Robert Burns
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Robert Burns: Selected Poems
, Penguin Classic, London, 1993.
Mackay, James.
Robert Burns: The Complete Poetical Works
, Alloway Publishing, Darvel, 1993.
Bateman, Raymond.
Robert Burns
, Twayne, Boston, 1987.
Carswell, Catherine.
Life of Robert Burns
, Canongate Classic, Edinburgh, 1990.
Crawford, Thomas.
Burns: A Study of the Poems and Songs
, Canongate Academic, Edinburgh, 1994.
Daiches, David.
Robert Burns: The Poet
, Saltire Society, Edinburgh 1994.
Donaldson, William.
The Jacobite Song: Poetical Myth and National
Identity
, Aberdeen University Press, 1988.
Ericson Roos, Catarina.
The Songs of Robert Burns: A Study of the
Unity and Poetry of Music
, diss. Studia Anglistica Upsaliensia, 30, 1977.
Ferguson, J. De Lancey. âThey Censored Burns'
Scotland's Magazine
, Vol. 51, 1955.
Ferguson, J. De Lancey.
Pride and the Passion
: Robert Burns, Oxford, New York, 1939.
Hogg, Patrick Scott.
Robert Burns: The Lost Poems
, Clydeside Press, Glasgow, 1997.
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The Art of Robert Burns
, Vision Press, London, 1982.
Low, Donald.
Critical Essays on Robert Burns
, Routledge, London, 1975.
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Robert Burns: The Critical Heritage
, Routledge, London, 1974.
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A Biography of Robert Burns
, Mainstream, Edinburgh, 1992.
McGuirk, Carol.
Robert Burns and the Sentimental Era
, University of Georgia Press, 1985.
Muir, Edwin.
Edwin Muir: Uncollected Scottish Criticism
, ed. Andrew Noble, Vision Press, London/N.Y., 1982.
Simpson, Kenneth.
Love and Liberty: Robert Burns: A Bicentenary
Celebration
, Tuckwell Press, Edinburgh, 1997.
Simpson, K. G., ed.
Burns Now
, Canongate Academic, 1994.
Thornton, Robert D.
William Maxwell to Robert Burns
, John Donald, Edinburgh, 1979.
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James Currie: The Entire Stranger and Robert
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, Oliver and Boyd, Edinburgh, 1963.
Werkmeister, Lucylle. âRobert Burns and the London Newspapers',
Bulletin of the New York Public Library
, Vol. 65, Oct. 1961.
Werkmeister, Lucylle. âRobert Burns and the London Daily Press',
Modern Philology
, New York, 1966.Â
Research for this edition was conducted in the following archives:
   Â
TS refers to the Treasury Solicitors Papers, Public Record Office, Kew, London.
RH refers to Registry House papers, Scottish Record Office, Princes Street, Edinburgh.
Laing I and II manuscripts, University Library, Edinburgh.
Ewart Library, Dumfries.
Geddes Archive, Essex Country Record Office, Cheltenham.
Linen Hall Library, Belfast.
Public Record Office, Kew, London.
Scottish Catholic Archives, Edinburgh.
The Mitchell Library, Glasgow.
The University Library, Glasgow.
The University Library, Strathclyde.
The University Library, Edinburgh.
The National Library of Scotland, Edinburgh.
The Central Library, Edinburgh.
The Borough Museum, Dumfries.
John Syme's MSS, Broughton House, Kirkcudbright.
The Roscoe Collection, Liverpool City Library.
The British Library, London.
Trinity College Library, University of Cambridge.
Wisbech and Fenland Museum, Cambridge.Â
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