[1] We are indebted for these observations on the Highland Muse to the learned friend who has supplied the greater number of the translations from the Gaelic poets, which appear in the present work.

[2] Highland Society's Report on Ossian, pp. 16-20.

[3] Genealogists or Antiquaries.

[4] Letter from Sir James Macdonald to Dr Blair.

[5] M'Callum's "Collection," p. 207. See also Smith's "Sean Dana, or Gaelic Antiquities;" Gillies' "Collection" and Clark's "Caledonian Bards."

[6] Highland Society's Report on Ossian, pp. 99, 105, 112.

[7] Boswell's "Life of Johnson," p. 320, Croker's edition, 1847.

[8] "Poems by Mrs Grant of Laggan," p. 395, Edinburgh, 1803, 8vo. The original is to be found in the Gaelic collections.

[9] Mrs Grant's Poems, p. 371; Mackenzie's "Gaelic Poets," p. 1.

[10] See Mrs Grant's "Highland Superstitions," vol. ii. p. 249. The original is contained in Mackenzie's "Gaelic Poets."

[11] See Johnson's "Journey to the Western Islands."

[12] Stewart's Collection, p. 1.

[13] Report on Ossian, p. 92. Sir Duncan Campbell fell at the battle of Flodden, Lady Campbell afterwards married Gilbert, Earl of Cassillis.

[14] Mrs Grant's "Highland Superstitions," vol. ii. p. 196.

[15] Mrs Ogilvie's "Highland Minstrelsy." For the original see Turner's Collection, p. 186.

[16] Reid's "Bibliotheca Scotica Celtica." Mackenzie's "Gaelic Poets," p. 36.

[17] Napier's "Memoirs of Montrose." In this work will be found a very spirited translation of Ian Lom's poem on the battle of Innerlochy.

[18] Mackenzie's "Gaelic Poets," pp. 24, 59, 77, 77, 151; Turner's "Gaelic Collection," passim.

[19] See the beautiful verses translated by the Marchioness of Northampton from "Ha tighinn fodham," in "Albyn's Anthology," or Croker's "Boswell."

[20] Mackenzie's "Gaelic Poets," p. 56.

[21] Johnson's Works, vol. xii. p. 291.

[22] Poems, Chambers' People's Edition, p. 134.

[23] Armstrong's "Gaelic Dictionary," p. 63.

[24] Edinburgh Review on Mitford's "Harmony of Language," vol. vi. p. 383.

[25] Brown's "History of the Highlands," vol. i. p. 89.

[26] Armstrong's "Gaelic Dictionary," p. 64.

[27] See also Logan's "Scottish Gael," vol. ii. p. 252.

[28] The Shepherd entertained the belief that he was born on the 25th of January 1772.

[29] Mr Macturk is well remembered in Dumfriesshire as a person of remarkable shrewdness and unbounded generosity.

[30] Mr Gray was the author of "Cona, or the Vale of Clywyd," "A Sabbath among the Mountains," and other poems.

[31] The ballad of "Gilmanscleuch" appeared in "The Mountain Bard." See "The Ettrick Shepherd's Poems," vol. ii., p. 203. Blackie and Son.

[32] "The Poetic Mirror," for which the Shepherd had begun to collect contributions.

[33] Jeffrey reviewed Wordsworth's "Excursion" in the Edinburgh Review for November 1814, and certainly had never used more declamatory language against any poem.

[34] In a letter to Mr Grosvenor C. Bedford, dated Keswick, December 22, 1814, Southey thus writes:—"Had you not better wait for Jeffrey's attack upon 'Roderick.' I have a most curious letter upon this subject from Hogg, the Ettrick Shepherd, a worthy fellow, and a man of very extraordinary powers. Living in Edinburgh, he thinks Jeffrey the greatest man in the world—an intellectual Bonaparte, whom nobody and nothing can resist. But Hogg, notwithstanding this, has fallen in liking with me, and is a great admirer of 'Roderick.' And this letter is to request that I will not do anything to nettle Jeffrey while he is deliberating concerning 'Roderick,' for he seems favourably disposed towards me! Morbleu! it is a rich letter! Hogg requested that he himself might review it, and gives me an extract from Jeffrey's answer, refusing him. 'I have, as well as you, a great respect for Southey,' he says, 'but he is a most provoking fellow, and at least as conceited as his neighbour Wordsworth.' But he shall be happy to talk to Hogg upon this and other kindred subjects, and he should be very glad to give me a lavish allowance of praise, if I would afford him occasion, &c.; but he must do what he thinks his duty, &c.! I laugh to think of the effect my reply will produce upon Hogg. How it will make every bristle to stand on end like quills upon the fretful porcupine!"—Life and Correspondence of Robert Southey, edited by his Son, vol. iv., p. 93. London: 6 vols. 8vo.

[35] The first edition of "Roderick" was in quarto,—a shape which the Shepherd deemed unsuitable for poetry.

[36] Murray of Abermarle Street, the famous publisher.

[37] Hogg evinced his strong displeasure with Sir Walter for his refusal, by writing him a declamatory letter, and withdrawing from his society for several months. The kind inquiries which his old benefactor had made regarding him during a severe illness, afterwards led to a complete reconciliation,—the Shepherd apologising by letter for his former rashness, and his illustrious friend telling him "to think no more of the business, and come to breakfast next morning."

[38] See Hogg's autobiography, prefixed to the fifth volume of Blackie's edition of his poems, p. 107.

[39] See the Works of Professor Wilson, edited by his Son-in-law, Professor Ferrier, vol. i., p. xvi. Edinburgh: 1855. 8vo.

[40] When the Shepherd was tending the flocks of Mr Harkness of Mitchel-slack, on the great hill of Queensberry, in Nithsdale, he was visited by Allan Cunningham, then a lad of eighteen, who came to see him, moved with admiration for his genius.—(See Memoir of Allan Cunningham, postea). [Transcriber's Note: This Memoir appears in Volume III.]

[41] Thomas Mouncey Cunningham. See postea.

[42] The Shakspeare Club of Alloa, which is here referred to, took its origin early in the century—being composed of admirers of the illustrious dramatist, and lovers of general literature in that place. The anniversary meeting was usually held on the 23d of April, generally supposed to be the birth-day of the poet. The Shepherd was laureate of the club, and was present at many of the meetings. On these occasions he shared the hospitality of Mr Alexander Bald, now of Craigward Cottage—"the Father of the Club," and one of his own attached literary friends. Mr Bald formed the Shepherd's acquaintance in 1803, when on a visit to his friend Grieve, at Cacrabank. This venerable gentleman is in possession of the original M.S. of the "Ode to the Genius of Shakspeare," which Hogg wrote for the Alloa Club in 1815. In a letter, addressed to Mr Bald, accompanying that composition, he wrote as follows: "Edin., April 23d, 1815.—Let the bust of Shakspeare be crowned with laurel on Thursday, for I expect it will be a memorable day for the club, as well as in the annals of literature,—for I yesterday got the promise of being accompanied by both Wilson, and Campbell, the bard of Hope. I must, however, remind you that it was very late, and over a bottle, when I extracted this promise—they both appeared, however, to swallow the proposal with great avidity, save that the latter, in conversing about our means of conveyance, took a mortal disgust at the word steam, as being a very improper agent in the wanderings of poets. I have not seen either of them to-day, and it is likely that they will be in very different spirits, yet I think it not improbable that one or both of them may be induced to come." The club did not on this occasion enjoy the society of any of the three poets.

[43] Hogg used to say that his face was "out of all rule of drawing," as an apology for artists, who so generally failed in transferring a correct representation of him to canvas. There were at least four oil-paintings of the poet: the first executed by Nicholson in 1817, for Mr Grieve; the second by Sir John Watson Gordon for Mr Blackwood; the third by a London artist for Allan Cunningham; and the fourth by Mr James Scott of Edinburgh, for the poet himself. The last is universally admitted to be the most striking likeness, and, with the permission of Mrs Hogg, it has been very successfully lithographed for the present volume.

[44] See "Memoir and Correspondence of Mrs Grant of Laggan." 1844.

[45] See Lockhart's "Life of Sir Walter Scott."

[46] "The Domestic Memoirs and Private Life of Sir Walter Scott, by James Hogg," p. 118. Glasgow, 1834. 16mo.

[47] Blackwood's Magazine, vol. iv., p. 521.

[48] Mr H. S. Riddell.

[49] Mr J. G. Lockhart.

[50] This is the term by which the Highlander was wont to designate his lawful prince. The word "maker," which appears in former editions of the song, was accidentally printed in the first edition, and the Shepherd never had the confidence to alter it.

[51] Was composed to an air handed me by the late lamented Neil Gow, junior. He said it was an ancient Skye air, but afterwards told me it was his own. When I first heard the song sung by Mr Morison, I never was so agreeably astonished—I could hardly believe my senses that I had made so good a song without knowing it.—Hogg.

[52] For the fine original air, see Purdie's "Border Garland."—Hogg.

[53] An appropriate air has just been composed for this song by Mr Walter Burns of Cupar-Fife, which has been arranged with symphonies and accompaniments for the pianoforte by Mr Edward Salter, of St Andrews.

[54] In the title and chorus of this favourite pastoral song, I choose rather to violate a rule in grammar, than a Scottish phrase so common, that when it is altered into the proper way, every shepherd and shepherd's sweetheart account it nonsense. I was once singing it at a wedding with great glee the latter way, "When the kye come hame," when a tailor, scratching his head, said, "It was a terrible affectit way that!" I stood corrected, and have never sung it so again.—Hogg.

[55] The air of this song is my own. It was first set to music by Heather, and most beautifully set too. It was afterwards set by Dewar, whether with the same accompaniments or not, I have forgot. It is my own favourite humorous song when forced by ladies to sing against my will, which too frequently happens; and notwithstanding my wood-notes wild, it will never be sung by any so well again.—For the air, see the "Border Garland."—Hogg.

[56] I versified this song at Meggernie Castle, in Glen-Lyon, from a scrap of prose said to be the translation, verbatim, of a Gaelic song, and to a Gaelic air, sung by one of the sweetest singers and most accomplished and angelic beings of the human race. But, alas! earthly happiness is not always the lot of those who, in our erring estimation, most deserve it. She is now no more, and many a strain have I poured to her memory. The air is arranged by Smith.—See the "Scottish Minstrel."—Hogg.

[57] Altered at the request of a lady who sang it sweetly, and published in the "Jacobite Relics."—Hogg.

[58] This song was written at Elleray, Mr Wilson's seat in Westmoreland, where a number of my very best things were written. There was a system of competition went on there, the most delightful that I ever engaged in. Mr Wilson and I had a "Queen's Wake" every wet day—a fair set-to who should write the best poem between breakfast and dinner, and, if I am any judge, these friendly competitions produced several of our best poems, if not the best ever written on the same subjects before. Mr Wilson, as well as Southey and Wordsworth, had all of them a way of singing out their poetry in a loud sonorous key, which was very impressive, but perfectly ludicrous. Wilson, at that period, composed all his poetry by going over it in that sounding strain; and in our daily competitions, although our rooms were not immediately adjoining, I always overheard what progress he was making. When he came upon any grand idea, he opened upon it full swell, with all the energy of a fine fox-hound on a hot trail. If I heard many of these vehement aspirations, they weakened my hands and discouraged my heart, and I often said to myself, "Gude faith, it 's a' ower wi' me for this day!" When we went over the poems together in the evening, I was always anxious to learn what parts of the poem had excited the sublime breathings which I had heard at a distance, but he never could tell me.—Hogg.

[59] This song was suggested to the Shepherd by the words adapted to the formerly popular air, "Lass, gin ye lo'e me"—beginning, "I hae laid a herring in saut."

[60] This song was addressed, in 1811, to Miss Margaret Phillips, who in nine years afterwards became the poet's wife.

[61] We have frequently had occasion to remark the ignorance of modern editors regarding the authorship of the most popular songs. Every collector of Scottish song has inserted "Bess, the Gawkie;" but scarcely one of them has correctly stated the authorship. The song has been generally ascribed to an anonymous "Rev. Mr Morehead;" by some to the "Rev. Robert Morehead;" and Allan Cunningham, who states that his father was acquainted with the real author, has described him as the "Rev. William Morehead!"

[62] In the Author's MS., the following sentences occur prefatory to this song:—"Everybody knows Neil Gow. When he was poorly, the physicians forbade him to drink his favourite liquor. The words following were composed, at his particular desire, to a lamentation he had just made." Mrs Lyon became acquainted with Gow when she was a young lady, attending the concerts in Dundee, at which the services of the great violinist were regularly required. The song is very inaccurately printed in some of the collections.

[63] A beverage composed of honey dissolved in whisky.

[64] These simple stanzas, conveying such an excellent morale at the close, were written, almost without premeditation, for the amusement and instruction of a little girl, the author's grandchild, who had been on a visit at the manse of Glammis. The allusion to the board in the second verse refers to a little piece of timber which the amiable lady of the house had affixed on the outside of one of the windows, for holding a few crumbs which she daily spread on it for Robin, who regularly came to enjoy the bounty of his benefactress. This lyric, and those following, are printed for the first time.

[65] This lively lyrical rhapsody, written in April 1821, celebrates an amusing incident connected with the visit of Sir Walter Scott to the Castle of Glammis, in 1793. Sir Walter was hospitably entertained in the Castle, by Mr Peter Proctor, the factor, in the absence of the noble owner, the Earl of Strathmore, who did not reside in the family mansion; and the conjecture may be hazarded, that he dropt his whip at the manse door on the same evening that he drank an English pint of wine from the lion beaker of Glammis, the prototype of the silver bear of Tully-Veolan, "the poculum potatorium of the valiant baron."—(See Note to Waverley, and Lockhart's Life of Sir Walter Scott).

[66] The whip is now in the custody of Mr George Lyon, of Stirling, the author's son.

[67] This lay of affection is dated September 1820, when the author received a visit from her eldest son, who was then settled as a merchant in London. Mr George Lyon, the subject of the song, and the only surviving member of the family, is now resident at Snowdoun House, Stirling.

[68] This song is here printed for the first time.

[69] Mr James Chambers, of Peebles, who died in 1824.

[70] A song of this title was composed by Robert Fergusson.

[71] Mr James Bowie, of Paisley, to whom we are under obligations for supplying curious and interesting information regarding several of the bards of the west, kindly furnished the particulars of the above memoir.

[72] We are indebted to Mr W. Deans, author of a "History of the Ottoman Empire," for much of the information contained in this memoir. Mr Deans was personally acquainted with Mr Hamilton Paul.

[73] "He never took any credit to himself," communicates his friend, Mr H. S. Riddell, "from the widely-known circumstance of his having carried off the prize from Campbell. He said that Campbell was at that period a very young man, much younger than he, and had much less experience in composition than himself."

[74] The English pronouncing the name of this river Stinkar, induced the poet Burns to change it to Lugar.

[75] See Semple's "Continuation of Crawford's History of Renfrewshire," p. 116.

[76] Tannahill was believed never to have entertained particular affection towards any of the fair sex. We have ascertained that, at different periods, he paid court to two females of his own rank. The first of these was Jean King, sister of his friend John King, one of the minor poets of Paisley; she afterwards married a person of the name of Pinkerton; and her son, Mr James Pinkerton, printer, Paisley, has frequently heard her refer to the fear she had entertained lest "Rob would write a song about her." His next sweetheart was Mary Allan, sister of the poet Robert Allan. This estimable woman was a sad mourner on the poet's death, and for many years wept aloud when her deceased lover was made the subject of conversation in her presence. She still survives, and a few years since, to join some relations, she emigrated to America. Some verses addressed to her by the poet she continues to retain with the fondest affection.

[77] "Jessie, the flower o' Dumblane" was published in 1808, and has since received an uncommon measure of popularity. The music, so suitable to the words, was composed by R. A. Smith. In the "Harp of Renfrewshire" (p. xxxvi), Mr Smith remarks that the song was at first composed in two stanzas, the third being subsequently added. "The Promethean fire," says Mr Smith, "must have been burning but lownly, when such commonplace ideas could be written, after the song had been so finely wound up with the beautiful apostrophe to the mavis, 'Sing on, thou sweet mavis, thy hymn to the e'ening.'" The heroine of the song was formerly a matter of speculation; many a "Jessie" had the credit assigned to her; and passengers by the old stage-coaches between Perth and the south, on passing through Dunblane, had pointed out to them, by the drivers, the house of Jessie's birth. One writer (in the Musical Magazine, for May 1835) records that he had actually been introduced at Dunblane to the individual Jessie, then an elderly female, of an appearance the reverse of prepossessing! Unfortunately for the curious in such inquiries, the heroine only existed in the imagination of the poet; he never was in Dunblane, which, if he had been, he would have discovered that the sun could not there be seen setting "o'er the lofty Benlomond." Mr Matthew Tannahill states that the song was composed to supplant an old one, entitled, "Bob o' Dumblane." Mr James Bowie, of Paisley, supplies the information, that in consequence of improvements suggested from time to time by R. A. Smith and William Maclaren, Tannahill wrote eighteen different versions of this song.

[78] Tannahill wrote this song in honour of the Earl of Moira, afterwards Marquis of Hastings, and the Countess of Loudoun, to whom his Lordship had been shortly espoused, when he was called abroad in the service of his country.

[79] This song was written on a young lady, whom a friend of the author met at Ardentinny, a retired spot on the margin of Loch Long.

[80] The poet and one of his particular friends, Charles Marshall (whose son, the Rev. Charles Marshall, of Dunfermline, is author of a respectable volume, entitled "Lays and Lectures"), had met one evening in a tavern, kept by Tom Buchanan, near the cross of Paisley. The evening was enlivened by song-singing; and the landlord, who was present, sung the old song, beginning, "There grows a bonny brier-bush," which he did with effect. On their way home together, Marshall remarked that the words of the landlord's song were vastly inferior to the tune, and humorously suggested the following burlesque parody of the first stanza:—

He added that Tannahill would do well to compose suitable words for the music. The hint sufficed; the friends met after a fortnight's interval, when the poet produced and read the song of "Yon burn side." It immediately became popular. Marshall used to relate this anecdote with much feeling. He died in March 1851, at the age of fourscore.

[81] The Braes of Gleniffer are a tract of hilly ground, to the south of Paisley. They are otherwise known as Stanley Braes.

[82] The ruin of Crockston Castle is situated on the brow of a gentle eminence, about three miles south-east of Paisley. The Castle, in the twelfth century, was possessed by a Norman family, of the name of Croc; it passed, in the following century, by the marriage of the heiress, into a younger branch of the House of Stewart, who were afterwards ennobled as Earls of Lennox. According to tradition, Queen Mary and Lord Darnley occasionally resided in the castle; and it is reported that the unfortunate princess witnessed from its walls the fall of her fortunes at the battle of Langside. Crockston Castle is now the possession of Sir John Maxwell, Bart., of Pollock.

[83] A clerical friend has communicated to us the following stanza, which he heard sung by an old Highlander, as an addition to the "Braes o' Balquhither:"—

[84] This expression commonly means, the direction in which the clouds are carried by the wind, but it is here used to denote the firmament.

[85] Writing to his friend Barr, on the 24th December 1809, Tannahill remarks:—"You will, no doubt, have frequently observed how much some old people are given to magnify the occurrences of their young days. 'Barrochan Jean' was written on hearing an old grannie, in Lochwinnoch parish, relating a story something similar to the subject of the song; perhaps I have heightened her colouring a little."

[86] Craigie Lea is situated to the north-west of Paisley.

[87] We have been favoured, by Mr Matthew Tannahill, with a copy of the above song of his late gifted brother. It is not included in any edition of his poems, but has been printed, through the favour of Mr M. Tannahill, in the "Book of Scottish Song."

[88] Composed in 1804. This song and those following, by Dr Duncan, are here published for the first time.

[89] Written in 1805, when the nation was in apprehension of the French invasion.

[90] Composed in 1807.

[91] Composed in 1830.

[92] We have to acknowledge our obligations to Mr John Macgregor, of Paisley, son-in-law of Mr Allan, for most of the particulars contained in this short memoir. Mr Macgregor prepared an extended life of the poet for our use, which, however, was scarcely suited for our purpose. A number of Mr Allan's songs, transcribed from his manuscripts, in the possession of his son in New York, were likewise communicated by Mr Macgregor. These being, in point of merit, unequal to the other productions of the bard, we have not ventured on their publication.

[93] The keys here alluded to were, at a recent period, found in the lake.

[94] We lately visited the spot. Not a vestige of the cottage remains. A wilder and more desolate locality hardly ever nourished the youthful imagination of a poet.

[95] Leyden was assisted in his outfit for India by Sir Walter Scott and Sydney Smith, the latter contributing forty pounds. (See "Memoir of the Rev. Sydney Smith," by his daughter, Lady Holland, vol. i. p. 21. London: 1855. 2 vols. 8vo.)

[96] Thomas Campbell was one of Leyden's early literary friends; they had quarrelled, but continued to respect each other's talents. The following anecdote is recorded by Sir Walter Scott in his diary:—"When I repeated 'Hohenlinden' to Leyden, he said, 'Dash it, man, tell the fellow that I hate him; but, dash him, he has written the finest verses that have been published these fifty years.' I did mine errand as faithful as one of Homer's messengers, and had for answer:—'Tell Leyden that I detest him, but I know the value of his critical approbation.'"—Lockhart's Life of Scott.

[97] Set to music by R. A. Smith.

[98] Another copy has since been discovered.

[99] The last stanza does not appear in the original version of the song; it is here added from Allan Cunningham's collection. The idea of the song, Cunningham remarks, was probably suggested to the author by an old fragment, which still lives among the peasantry:—

[100] The origin of the air is somewhat amusing. The Rev. Mr Gardner, minister of Birse, in Aberdeenshire, known for his humour and musical talents, was one evening playing over on his Cremona the notes of an air he had previously jotted down, when a curious scene arrested his attention in the courtyard of the manse. His man "Jock," who had lately been a weaver in the neighbouring village, had rudely declined to wipe the minister's shoes, as requested by Mrs Gardner, when the enraged matron, snatching a culinary utensil, administered a hearty drubbing to the shoulders of the impudent boor, and compelled him to execute her orders. The minister witnessing the proceeding from the window, was highly diverted, and gave the air he had just completed the title of "Jenny Dang the Weaver." This incident is said to have occurred in the year 1746.

[101] These verses, which form a translation of FreÙt euch des Libens, were written at Leipsig in 1795, when the author was on his continental tour. He was then in his twentieth year.

[102] Contributed to the fourth volume of Mr George Thomson's Collection.

[103] This song was contributed by Sir Alexander Boswell to the third volume of Thomson's Collection. It is not wholly original, but an improved version of former words to the same air, which are understood to be the composition of John Campbell, the celebrated Duke of Argyle and Greenwich, who died on the 4th October 1743.

[104] Many years ago, a poor Highland soldier, on his return to his native hills, fatigued, as was supposed, by the length of the march and the heat of the weather, sat down under the shade of a birch tree on the solitary road of Lowran, that winds along the margin of Loch Ken, in Galloway. Here he was found dead; and this incident forms the subject of these verses.—Note by the Author. "The Highlander" is set to a Gaelic air in the fifth volume of R. A. Smith's "Scottish Minstrel."

[105] See Scottish Monthly Magazine, August 1836.

[106] Written when the author was quite a youth.

[107] Like many other Scottish songs composed early in the century, and which at the time of publication were unacknowledged by their authors, the "Hills o' Gallowa'" came to be attributed to Burns. It is included among his songs in Orphoot's edition of his poetical works, which was published at Edinburgh in 1820. In the "Harp of Caledonia," the editor, Mr Struthers, assigns it to the Ettrick Shepherd. Along with those which follow, the song appeared in the "Forest Minstrel." The heroine was Julia Curtis, a maiden in Galloway, to whom Cunningham was early attached. She is also celebrated by the poet in the "Braes of Ballahun," and her early demise is lamented in the tender stanzas of "Julia's Grave." The latter composition first appeared in the Scots Magazine for 1807, p. 448.

[108] Ballahun is a romantic glen, near Blackwood House, on the river Nith.

[109] The Clouden is a stream which flows into the Nith, at Lincluden College, near Dumfries.

[110] Cromeck in his "Reliques," erroneously attributes this song to Burns.

[111] This is another song of Richard Gall which has been assigned to Burns; it has even been included in Dr Currie's edition of his works. It was communicated anonymously by Gall to the publisher of the "Scots Musical Museum," and first appeared in that work. The original MS. of the song was in the possession of Mr Stark, the author of a memoir of Gall in the "Biographia Scotica."

[112] The memoir of Mrs G. G. Richardson has been kindly supplied by her accomplished relative, Mrs Macarthur, Hillhead, near Glasgow.

[113] Margaret Brown, one of the three sisters of Dr Brown, published "Lays of Affection." Edinburgh, 1819, 12mo. She was a woman of gentle and unobtrusive manners and of pious disposition. Her poems constitute a respectable memorial of her virtues.

[114] Mr Train published, in 1806, a small volume, entitled "Poetical Reveries."

[115] Sir Walter Scott was convinced of the accuracy of the statement, regarding the extraordinary connexion between the Wellesley and Bonaparte families, and deferred publishing it only to avoid giving offence to his intimate friend, the Duke of Wellington.

[116] The last stanza of this song has, on account of its Bacchanalian tendency, been omitted.

[117] The braes of Bedlay are in the neighbourhood of Chryston, about seven miles north of Glasgow.

[118] This exquisite ballad was contributed by Laidlaw to Hogg's "Forest Minstrel." There are two accounts as to the subject of it, both of which we subjoin, as they were narrated to us during the course of a recent excursion in Tweedside. According to one version, Lucy had been in the service of Mr Laidlaw, sen., at Blackhouse, and had by her beauty attracted the romantic fancy of one of the poet's brothers. In the other account Lucy is described as having served on a farm in "The Glen" of Traquair, and as having been beloved by her master's son, who afterwards deserted her, when she died of a broken heart. The last stanza was added by Hogg, who used to assert that he alone was responsible for the death of poor Lucy. "The Glen" is a beautiful mountain valley opening on the Tweed, near Innerleithen; it formerly belonged to Mr Alexander Allan, but it is now the possession of Charles Tennent, Esq., Glasgow.

[119] The clan badge is a tuft of heather.

[120] The Macdonalds claimed the right wing in battle.

[121] A lion rampant is their cognizance; gules.

[122] Their original patronymic, from, we suppose, Old King Coul; Coll, or Colla, is a common name in the tribe.

[123] The "Mire Chatta," or battle-dance, denotes the frenzy, supposed to animate the combatants, during the period of excitement.

[124] The clan consisted of many septs, whose rights of precedence are not quite ascertained; as Sleat, Clanronald, Glengarry, Keppoch, and Glencoe.

[125] Lit. Lowland or stranger. Killiecrankie and Sheriff Muir, not to mention Innerlochy and Tippermuir, must have blended the dying shrieks of Lowlanders with the triumphant shouts of the Gael. The image is a fine one.

[126] The armorial emblem was gules.

[127] Prince Charles Edward was expected.

[128] Dress ornaments are much prized by the humbler Gael, and make a great figure in their poetry.

[129] The most frequent of all song-images in Gaelic, is the description of yellow or auburn hair.

[130] We must suppose some sylvan social occupation, as oak-peeling or the like, in which Morag and her associates had been employed.

[131] Here follows a catalogue of rival beauties, with satirical descriptions. Cowley has such a list, which may possibly have been in the poet's eye.

[132] Mull.

[133] Morag's beauties are so exquisite, that all Europe, nay, the Pope would be inflamed to behold them. The passage is omitted, though worthy of the satiric vein of Mephistopheles.

[134] The gannet, or the stranger-bird, from his foreign derivation and periodic visits to the Islands.

[135] A snowy grass, well known in the moors.

[136] Lit., On the day of devotion.

[137] The mainland, or terra firma, is called Morir by the islanders.

[138] Here Morag's musical performance on the flute, form the subject of a panegyric, in which Urlar, Siubhal, and Crunluath are imitated.

[139] "Round as the shield of my fathers."—Ossian.

[140] The French military costume, distinguished by its white colour, was assumed by the Jacobites.

[141] "Come, and I will give you flesh," a Highland war-cry invoking the birds and beasts of prey to their bloody revel.

[142] Macdonald of Sleat, Macleod, and others, first hesitated, and finally withheld themselves from the party of the white cockade.

[143] Flag.

[144] Warrior.

[145] Lovat and his clan.

[146] See the Rev. Patrick Macdonald's Collection, No. 106.

[147] She was a daughter of Menzies of that Ilk, in Perthshire. The founder of the family was a De Moyeners, in the reign of William the Lion. The name in Gaelic continued to testify to its original, being Meini, or Meinarach.

[148] George the First's Queen was a divorcÉe. The Jacobites retorted the alleged spuriousness of the Chevalier de St George, on George II., the reigning Sovereign.

[149] Glengyle, and his Macgregors, were on their way from the Sutherland expedition, but did not reach in time to take part in the action.

[150] Macpherson of Clunie, the hero of the night skirmish at Clifton, and with his clan, greatly distinguished in the Jacobite wars.

[151] Macdonald of the Isles refused to join the Prince.

[152] Of the routed army, the division whereof the Frazers formed the greater number fled to Inverness. Being the least considerable in force, they were pursued by the Duke of Cumberland's light horse, and almost entirely massacred.

[153] The Farquharsons formed part of the unfortunate right wing in the battle, and suffered severely.

[154] The Mackintoshes, whose impetuosity hurried the right wing into action before the order to engage had been transmitted over the lines. They were of course the principal sufferers.

[155] An allusion to the provocation given to the Macdonalds of Clanranald, Glengarry, and Keppoch, by being deprived of their usual position—the right wing. Their motions are supposed to have been tardy in consequence. The poet was himself in the right wing.

[156] The unfortunate night-march of the Highlanders is described with historic truth and great poetic effect.

[157] Roy Stuart lived and died in the belief (most unfounded, it seems), that Lord George Murray was bribed and his army betrayed.

[158] Military orders received from the Court of St Germains.

[159] The Duke of Cumberland.

[160] Evidently a Valentine morning surprise.