Allan Cunningham was born at Blackwood, in Nithside, Dumfriesshire, on the 7th December 1784. Of his ancestry, some account has been given in the memoir of his elder brother Thomas.[6] He was the fourth son of his parents, and from both of them inherited shrewdness and strong talent.[7] Receiving an ordinary elementary education at a school, taught by an enthusiastic Cameronian, he was apprenticed in his eleventh year to his eldest brother James as a stone-mason. His hours of leisure were applied to mental improvement; he read diligently the considerable collection of books possessed by his father, and listened to the numerous legendary tales which his mother took delight in narrating at the family hearth. A native love for verse-making, which he possessed in common with his brother Thomas, was fostered and strengthened by his being early brought into personal contact with the poet Burns. In 1790, his father removed to Dalswinton, in the capacity of land-steward to Mr Miller, the proprietor, and Burns' farm of Ellisland lay on the opposite side of the Nith. The two families in consequence met very frequently; and Allan, though a mere boy, was sufficiently sagacious to appreciate the merits of the great bard. Though, at the period of Burns' death, in 1796, he was only twelve years old, the appearance and habits of the poet had left an indelible impression on his mind.
In his fifteenth year, Allan had the misfortune to lose his father, who had sunk to the grave under the pressure of poverty and misfortune; he thus became necessitated to assist in the general support of the family. At the age of eighteen he obtained the acquaintance of the Ettrick Shepherd; Hogg was then tending the flocks of Mr Harkness of Mitchelslack, in Nithsdale, and Cunningham, who had read some of his stray ballads, formed a high estimate of his genius. Along with his elder brother James, he paid a visit to the Shepherd one autumn afternoon on the great hill of Queensberry; and the circumstances of the meeting, Hogg has been at pains minutely to record. James Cunningham came forward and frankly addressed the Shepherd, asking if his name was Hogg, and at the same time supplying his own; he then introduced his brother Allan, who diffidently lagged behind, and proceeded to assure the Shepherd that he had brought to see him "the greatest admirer he had on earth, and himself a young aspiring poet of some promise." Hogg warmly saluted his brother bard, and, taking both the strangers to his booth on the hill-side, the three spent the afternoon happily together, rejoicing over the viands of a small bag of provisions, and a bottle of milk, and another of whisky. Hogg often afterwards visited the Cunninghams at Dalswinton, and was forcibly struck with Allan's luxuriant though unpruned fancy. He had already written some ingenious imitations of Ossian, and of the elder Scottish bards.
On the publication of the "Lay of the Last Minstrel," in 1805, Cunningham contrived to save twenty-four shillings of his wages to purchase it, and forthwith committed the poem to memory. On perusing the poem of "Marmion," his enthusiasm was boundless; he undertook a journey to Edinburgh that he might look upon the person of the illustrious author. In a manner sufficiently singular, his wish was realised. Passing and repassing in front of Scott's house in North Castle Street, he was noticed by a lady from the window of the adjoining house, who addressed him by name, and caused her servant to admit him. The lady was a person of some consideration from his native district, who had fixed her residence in the capital. He had just explained to her the object of his Edinburgh visit, when Scott made his appearance in the street. Passing his own door, he knocked at that of the house from the window of which his young admirer was anxiously gazing on his stalwart figure. As the lady of the house had not made Scott's acquaintance, she gently laid hold on Allan's arm, inducing him to be silent, to notice the result of the proceeding. Scott, in a reverie of thought, had passed his own door; observing a number of children's bonnets in the lobby, he suddenly perceived his mistake, and, apologising to the servant, hastily withdrew.
Cunningham's elder brother Thomas, and his friend Hogg, were already contributors to the Scots' Magazine. Allan made offer of some poetical pieces to that periodical which were accepted. He first appears in the magazine in 1807, under the signature of Hidallan. In 1809, Mr Cromek, the London engraver, visited Dumfries, in the course of collecting materials for his "Reliques of Robert Burns;" he was directed to Allan Cunningham, as one who, having known Burns personally, and being himself a poet, was likely to be useful in his researches. On forming his acquaintance, Cromek at once perceived his important acquisition with respect to his immediate object, but expressed a desire first to examine some of his own compositions. Allan acceded to the request, but received only a moderate share of praise from the pedantic antiquary. Cromek urged him to collect the elder minstrelsy of Nithsdale and Galloway as an exercise more profitable than the composition of verses. On returning to London, Cromek received from his young friend packets of "old songs," which called forth his warmest encomiums. He entreated him to come to London to push his fortune,—an invitation which was readily accepted. For some time Cunningham was an inmate of Cromek's house, when he was entrusted with passing through the press the materials which he had transmitted, with others collected from different sources; and which, formed into a volume, under the title of "Remains of Nithsdale and Galloway Song," were published in 1810 by Messrs Cadell and Davies. The work excited no inconsiderable attention, though most of the readers perceived, what Cromek had not even suspected, that the greater part of the ballads were of modern origin. Cromek did not survive to be made cognizant of the amusing imposition which had been practised on his credulity.
Fortune did not smile on Cunningham's first entrance into business in London. He was compelled to resume his former occupation as a mason, and is said to have laid pavement in Newgate Street. From this humble position he rose to a situation in the studio of Bubb, the sculptor; and through the counsel of Eugenius Roche, the former editor of the "Literary Recreations," and then the conductor of The Day newspaper, he was induced to lay aside the trowel and undertake the duties of reporter to that journal. The Day soon falling into the hands of other proprietors, Cunningham felt his situation uncomfortable, and returned to his original vocation, attaching himself to Francis Chantrey, then a young sculptor just commencing business. Chantrey soon rose, and ultimately attained the summit of professional reputation; Cunningham continued by him as the superintendent of his establishment till the period of his death, long afterwards.
Devoted to business, and not unfrequently occupied in the studio from eight o'clock morning till six o'clock evening, Cunningham perseveringly followed the career of a poet and man of letters. In 1813, he published a volume of lyrics, entitled "Songs, chiefly in the Rural Language of Scotland." After an interval of nine years, sedulously improved by an ample course of reading, he produced in 1822 "Sir Marmaduke Maxwell, a Dramatic Poem." In this work, which is much commended by Sir Walter Scott in the preface to the "Fortunes of Nigel," he depicts the manners and traditions he had seen and heard on the banks of the Nith. In 1819, he began to contribute to Blackwood's Magazine, and from 1822 to 1824 wrote largely for the London Magazine. Two collected volumes of his contributions to these periodicals were afterwards published, under the title of "Traditional Tales." In 1825, he gave to the world "The Songs of Scotland, Ancient and Modern, with an Introduction and Notes," in four volumes 8vo. This work abounds in much valuable and curious criticism. "Paul Jones," a romance in three volumes, was the product of 1826; it was eminently successful. A second romance from his pen, "Sir Michael Scott," published in 1828, in three volumes, did not succeed. "The Anniversary," a miscellany which appeared in the winter of that year, under his editorial superintendence, obtained an excellent reception. From 1829 to 1833, he produced for "Murray's Family Library" his most esteemed prose work, "The Lives of the Most Eminent British Painters, Sculptors, and Architects," in six volumes. "The Maid of Elvar," an epic poem in the Spenserian stanza, connected with the chivalrous enterprise displayed in the warfare between Scotland and England, during the reign of Henry VIII., was published in 1832. His admirable edition of the works of Robert Burns appeared in 1834, and 5000 copies were speedily sold.[8] In 1836, he published "Lord Roldan," a romance. From 1830 to 1834, he was a constant writer in The AthenÆum, to which, among many interesting articles, he contributed his sentiments regarding the literary characters of the times, in a series of papers entitled "Literature of the Last Fifty Years." He wrote a series of prose descriptions for "Major's Cabinet Gallery," a "History of the Rise and Progress of the Fine Arts," for the "Popular EncyclopÆdia;" an introduction, and a few additional lives, for "Pilkington's Painters," and a life of Thomson for Tilt's illustrated edition of "The Seasons." He contemplated a great work, to be entitled "Lives of the British Poets," and this design, which he did not live to accomplish, is likely to be realised by his son, Mr Peter Cunningham. His last publication was the "Life of Sir David Wilkie," which he completed just two days before his death. He was suddenly seized with an apoplectic attack, and died after a brief illness on the 29th October 1842. His remains were interred in Kensal-green Cemetery. He had married, in July 1811, Miss Jane Walker of Preston Mill, near Dumfries, who still survives. Of a family of four sons and one daughter, three of the sons held military appointments in India, and the fourth, who fills a post in Somerset House, is well known for his contributions to literature.
Allan Cunningham ranks next to Hogg as a writer of Scottish song. He sung of the influences of beauty, and of the hills and vales of his own dear Scotland. His songs abound in warmth of expression, simplicity of sentiment, and luxuriousness of fancy. Of his skill as a Scottish poet, Hogg has thus testified his appreciation in the "Queen's Wake":—
"Of the old elm his harp was made,
That bent o'er Cluden's loneliest shade;
No gilded sculpture round her flamed,
For his own hand that harp had framed,
In stolen hours, when, labour done,
He stray'd to view the parting sun.
*****
That harp could make the matron stare,
Bristle the peasant's hoary hair,
Make patriot breasts with ardour glow,
And warrior pant to meet the foe;
And long by Nith the maidens young
Shall chant the strains their minstrel sung.
At ewe-bught, or at evening fold,
When resting on the daisied wold,
Combing their locks of waving gold,
Oft the fair group, enrapt, shall name
Their lost, their darling Cunninghame;
His was a song beloved in youth,
A tale of weir, a tale of truth."
As a prose writer, Cunningham was believed by Southey to have the best style ever attained by any one born north of the Tweed, Hume only excepted. His moral qualities were well appreciated by Sir Walter Scott, who commonly spoke of him as "Honest Allan." His person was broad and powerful, and his countenance wore a fine intelligence.
SHE 'S GANE TO DWALL IN HEAVEN.
She 's gane to dwall in heaven, my lassie,
She 's gane to dwall in heaven:
"Ye 're owre pure," quo' the voice o' God,
"For dwalling out o' heaven!"
Oh, what 'll she do in heaven, my lassie?
Oh, what 'll she do in heaven?
She 'll mix her ain thoughts wi' angels' sangs,
And make them mair meet for heaven.
She was beloved by a', my lassie,
She was beloved by a';
But an angel fell in love wi' her,
An' took her frae us a'.
Lowly there thou lies, my lassie,
Lowly there thou lies;
A bonnier form ne'er went to the yird,
Nor frae it will arise!
Fu' soon I 'll follow thee, my lassie,
Fu' soon I 'll follow thee;
Thou left me naught to covet ahin',
But took gudeness sel' wi' thee.
I look'd on thy death-cold face, my lassie,
I look'd on thy death-cold face;
Thou seem'd a lily new cut i' the bud,
An' fading in its place.
I look'd on thy death-shut eye, my lassie,
I look'd on thy death-shut eye;
An' a lovelier light in the brow of Heaven
Fell Time shall ne'er destroy.
Thy lips were ruddy and calm, my lassie,
Thy lips were ruddy and calm;
But gane was the holy breath o' Heaven,
That sang the evening psalm.
There 's naught but dust now mine, lassie,
There 's naught but dust now mine;
My soul 's wi' thee i' the cauld grave,
An' why should I stay behin'?
THE LOVELY LASS OF PRESTON MILL.
The lark had left the evening cloud,
The dew was soft, the wind was lowne,
The gentle breath amang the flowers
Scarce stirr'd the thistle's tap o' down;
The dappled swallow left the pool,
The stars were blinking owre the hill,
As I met amang the hawthorns green
The lovely lass of Preston Mill.
Her naked feet, amang the grass,
Seem'd like twa dew-gemm'd lilies fair;
Her brow shone comely 'mang her locks,
Dark curling owre her shoulders bare;
Her cheeks were rich wi' bloomy youth;
Her lips had words and wit at will,
And heaven seem'd looking through her een,
The lovely lass of Preston Mill.
Quo' I, "Sweet lass, will ye gang wi' me,
Where blackcocks crow, and plovers cry?
Six hills are woolly wi' my sheep,
Six vales are lowing wi' my kye:
I have look'd lang for a weel-favour'd lass,
By Nithsdale's holmes an' mony a hill;"
She hung her head like a dew-bent rose,
The lovely lass of Preston Mill.
Quo' I, "Sweet maiden, look nae down,
But gie 's a kiss, and gang wi' me:"
A lovelier face, oh! never look'd up,
And the tears were drapping frae her e'e:
"I hae a lad, wha 's far awa',
That weel could win a woman's will;
My heart 's already fu' o' love,"
Quo' the lovely lass of Preston Mill.
"Now wha is he wha could leave sic a lass,
To seek for love in a far countrie?"
Her tears drapp'd down like simmer dew:
I fain wad kiss'd them frae her e'e.
I took but ane o' her comely cheek;
"For pity's sake, kind sir, be still!
My heart is fu' o' ither love,"
Quo' the lovely lass of Preston Mill.
She stretch'd to heaven her twa white hands,
And lifted up her watery e'e—
"Sae lang 's my heart kens aught o' God,
Or light is gladsome to my e'e;
While woods grow green, and burns rin clear,
Till my last drap o' blood be still,
My heart shall haud nae other love,"
Quo' the lovely lass of Preston Mill.
There 's comely maids on Dee's wild banks,
And Nith's romantic vale is fu';
By lanely Cluden's hermit stream
Dwells mony a gentle dame, I trow.
Oh, they are lights of a gladsome kind,
As ever shone on vale or hill;
But there 's a light puts them a' out,
The lovely lass of Preston Mill.
GANE WERE BUT THE WINTER CAULD.
Gane were but the winter cauld,
And gane were but the snaw,
I could sleep in the wild woods,
Where primroses blaw.
Cauld 's the snaw at my head,
And cauld at my feet,
And the finger o' death 's at my een,
Closing them to sleep.
Let nane tell my father,
Or my mither dear:
I 'll meet them baith in heaven,
At the spring o' the year.
IT 'S HAME, AND IT 'S HAME.
It 's hame, and it 's hame, hame fain wad I be,
An' it 's hame, hame, hame, to my ain countrie!
When the flower is i' the bud, and the leaf is on the tree,
The lark shall sing me hame in my ain countrie;
It 's hame, and it 's hame, hame fain wad I be,
An' it 's hame, hame, hame, to my ain countrie!
The green leaf o' loyalty 's beginning for to fa',
The bonnie white rose it is withering an' a':
But I 'll water 't wi' the blude of usurping tyrannie,
An' green it will grow in my ain countrie.
It 's hame, and it 's hame, hame fain wad I be,
An' it 's hame, hame, hame, to my ain countrie!
There 's naught now frae ruin my country to save,
But the keys o' kind Heaven to open the grave,
That a' the noble martyrs who died for loyaltie,
May rise again and fight for their ain countrie.
It 's hame, and it 's hame, hame fain wad I be,
And it 's hame, hame, hame, to my ain countrie!
The great now are gane, a' who ventured to save,
The new grass is springing on the tap o' their grave;
But the sun through the mirk blinks blithe in my e'e:
"I 'll shine on ye yet in your ain countrie."
It 's hame, an' it 's hame, hame fain wad I be,
An' it 's hame, hame, hame, to my ain countrie!
THE LOVELY LASS OF INVERNESS.
There lived a lass in Inverness,
She was the pride of a' the town;
Blithe as the lark on gowan-tap,
When frae the nest but newly flown.
At kirk she won the auld folks' love,
At dance she was the young men's een;
She was the blithest aye o' the blithe,
At wooster-trystes or Hallowe'en.
As I came in by Inverness,
The simmer-sun was sinking down;
Oh, there I saw the weel-faur'd lass,
And she was greeting through the town:
The gray-hair'd men were a' i' the streets,
And auld dames crying, (sad to see!)
"The flower o' the lads of Inverness
Lie dead upon Culloden-lee!"
She tore her haffet-links of gowd,
And dighted aye her comely e'e;
"My father's head 's on Carlisle wall,
At Preston sleep my brethren three!
I thought my heart could haud nae mair,
Mae tears could ever blin' my e'e;
But the fa' o' ane has burst my heart,
A dearer ane there couldna be!
"He trysted me o' love yestreen,
Of love-tokens he gave me three;
But he 's faulded i' the arms o' weir,
Oh, ne'er again to think o' me!
The forest flowers shall be my bed,
My food shall be the wild berrie,
The fa' o' the leaf shall co'er me cauld,
And wauken'd again I winna be."
Oh weep, oh weep, ye Scottish dames,
Weep till ye blin' a mither's e'e;
Nae reeking ha' in fifty miles,
But naked corses, sad to see.
Oh spring is blithesome to the year,
Trees sprout, flowers spring, and birds sing hie;
But oh! what spring can raise them up,
That lie on dread Culloden-lee?
The hand o' God hung heavy here,
And lightly touch'd foul tyrannie;
It struck the righteous to the ground,
And lifted the destroyer hie.
"But there 's a day," quo' my God in prayer,
"When righteousness shall bear the gree;
I 'll rake the wicked low i' the dust,
And wauken, in bliss, the gude man's e'e!"
A WET SHEET AND A FLOWING SEA.
A wet sheet and a flowing sea,
A wind that follows fast,
And fills the white and rustling sail,
And bends the gallant mast;
And bends the gallant mast, my boys,
While, like the eagle free,
Away the good ship flies, and leaves
Old England on the lee.
Oh for a soft and gentle wind!
I hear a fair one cry;
But give to me the snoring breeze,
And white waves heaving high;
And white waves heaving high, my boys,
The good ship tight and free—
The world of waters is our home,
And merry men are we.
There 's tempest in yon hornÈd moon,
And lightning in yon cloud;
And hark the music, mariners!
The wind is piping loud;
The wind is piping loud, my boys,
The lightning flashing free—
While the hollow oak our palace is,
Our heritage the sea.
THE BONNIE BARK.
O come, my bonnie bark!
O'er the waves let us go,
With thy neck like the swan,
And thy wings like the snow.
Spread thy plumes to the wind,
For a gentle one soon
Must welcome us home,
Ere the wane of the moon.
The proud oak that built thee
Was nursed in the dew,
Where my gentle one dwells,
And stately it grew.
I hew'd its beauty down;
Now it swims on the sea,
And wafts spice and perfume,
My fair one, to thee.
Oh, sweet, sweet 's her voice,
As a low warbled tune;
And sweet, sweet her lips,
Like the rose-bud of June.
She looks to sea, and sighs,
As the foamy wave flows,
And treads on men's strength,
As in glory she goes.
Oh haste, my bonnie bark,
O'er the waves let us bound,
As the deer from the horn,
Or the hare from the hound.
Pluck down thy white plumes,
Sink thy keel in the sand,
Whene'er ye see my love,
And the wave of her hand.
THOU HAST SWORN BY THY GOD, MY JEANIE.
Thou hast sworn by thy God, my Jeanie,
By that pretty white hand o' thine,
And by a' the lowing stars in heaven,
That thou would aye be mine;
And I hae sworn by my God, my Jeanie,
And by that kind heart o' thine,
By a' the stars sown thick owre heaven,
That thou would aye be mine.
Then foul fa' the hands that loose sic bands,
And the heart that would part sic love;
But there 's nae hand can loose my band
But the finger o' God above.
Though the wee, wee cot maun be my bield,
And my claithing e'er sae mean,
I wad lap me up rich i' the faulds o' luve,
Heaven's armfu' o' my Jean.
Her white arm wad be a pillow for me,
Fu' safter than the down;
And luve wad winnow owre us his kind, kind wings,
And sweetly I 'll sleep, an' soun'.
Come here to me, thou lass o' my love,
Come here and kneel wi' me;
The morn is fu' o' the presence o' God,
And I canna pray without thee.
The morn-wind is sweet 'mang the beds o' new flowers,
The wee birds sing kindlie an' hie;
Our gudeman leans owre his kale-yard dyke,
And a blithe auld bodie is he.
The Beuk maun be ta'en when the carle comes hame,
Wi' the holie psalmodie,
And thou maun speak o' me to thy God,
And I will speak o' thee.
YOUNG ELIZA.[9]
Come, maid, upon yon mountain brow,
This day of rest I 'll give to you,
And clasp thy waist with many a vow,
My loved, my young Eliza.
'Tis not that cheek, that bosom bare,
That high arch'd eye, that long brown hair,
That fair form'd foot, thine angel air,—
But 'tis thy mind, Eliza.
Think not to charm me with thine eye,
Those smiling lips, that heaving sigh,
My heart 's charm'd with a nobler tie,—
It is thy mind, Eliza.
This heart, which every love could warm,
Which every pretty face could charm,
No more will beat the sweet alarm,
But to my young Eliza.
The peasant lad unyokes his car,
The star of even shines bright and far,
And lights me to the flood-torn scaur,
To meet my young Eliza.
There is the smile to please, where truth
And soft persuasion fills her mouth,
While warm with all the fire of youth,
She clasps me, young Eliza.
My heart's blood warms in stronger flow,
My cheeks are tinged with redder glow,
When sober matron, Evening slow,
Bids me to meet Eliza.
The bard can kindle his soul to flame,
The patriot hunts a deathless name;
Give me the peasant's humble fame,
And give me young Eliza.
The warlock glen has tint its gloom,
The fairie burn the witching broom,
All wear a lovelier, sweeter bloom,
For there I meet Eliza.
Then come that mind, so finely form'd,
By native truth and virtue warm'd,
With love's soft simplest lay is charm'd,
Come to my breast, Eliza.
LOVELY WOMAN.[10]
I 've rock'd me on the giddy mast,
Through seas tempestuous foamin',
I 've braved the toil of mountain storm,
From dawning to the gloamin';
Round the green bosom'd earth, sea-swept,
In search of pleasure roamin',
And found the world a wilderness,
Without thee, lovely woman!
The farmer reaps his golden fields,
The merchant sweeps the ocean;
The soldier's steed, gore-fetlock'd, snorts
Through war-field's wild commotion;
All combat in eternal toil,
Mirk midnight, day, and gloamin',
To pleasure Heaven's divinest gift,
Thee, lovely, conquering woman!
The savage in the desert dark,
The monster's den exploring;
The sceptre-swaying prince, who rules
The nations round adoring;
Nay, even the laurell'd-templed bard
Dew-footed at the gloamin',
Melodious wooes the world's ear,
To please thee, lovely woman!
