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THIS IS NO MY AIN LASSIE.
109
Da Capo al Segno.
1 =3 :3=3^ 3
^^
±=±
kind love that's in her e'e.
ssitii
&
^m
T T-
ee^
t
^
t^=ts
fe^rf
a
°^ g -^^-
^
^pEp^E^pES^^^
The succeeding verses begin with the Second Part of the Air. and end with the First Part.
She's bonnie, bloomin', straight, an' tall,
An' lang has had my heart in thrall ;
An' aye it charms my very saul,
The kind love that's in her e'e.
this is no my ain lassie, &c.
A thief sae pawkie 1 is my Jean ;
She'll steal a blink by a' unseen ;
But gleg 2 as light are lover's een,
When kind love is in the e'e.
this is no my ain lassie, &c.
It may escape the courtly sparks,
It may escape the learned clerks ;
But weel the watchin' lover marks
The kind love that's in her e'e.
this is no my ain lassie, &c.
1 Cunning, sly.
2 Sharp, reaty.
" this is NO my ain lassie." In the summer of 1795, Burns wrote these stanzas for Mr. George Thomson's
Collection. James Hogg, in his Jacobite Relics, vol. i. pp. 57, 58, gives the old words, and says, p. 224, " The
air to which I have set this song is not the original one; but it is the most popular, being always sung both to
this song and ' This is no my ain lassie,' by Burns. For my part, I like the old original one much better." Hogg
prints the original air on the same page ; and his is a better set than the one given in Johnson's Museum, No. 216,
where, at the end of the first and second strains, the introduction of the sharp 7th of the tonic spoils the whole
character of the air. In the Museum Illustrations, vol. iii. p. 210, Mr. Stenhouse gives what lie says is " the
original air" of " This is no my ain house," from Mrs. Crockat's book, written in 1709. This is the air, with some
modifications found in later copies, which has been adopted in the present work. As a vocal air, it is much pre-
ferable to that given by Johnson. We have retained the leap of the 5th in the fourth measure of the first strain,
according to the Crockat MS. cited by Mr. Stenhouse.
In the Note, page 33, allusion was made to the unfortunate career of Burns. The following passages from the
pen of his talented countryman, Thomas Carlyle, (" Heroes, and Hero-worship,") are given as flowers laid reve-
rently on the tomb of the poet : — " The tragedy of Burns's life is known to all. Surely we may say, if discrepancy
between place held and place merited constitute perverseness of lot for a man, no lot could be more perverse than
Burns's. Among those second-hand acting figures, mimes for the most part, of the eighteenth century, once rose a
giant Original Man ; one of those men who reach down into the perennial deeps, who take rank with the heroic
among men, and he was born in an Ayrshire hut. The largest soul in all the British lands came among us in the
shape of a hard-handed Scottish peasant." (P. 296.) " Burns appeared under every disadvantage : uninstructed,
poor, born only to hard manual toil j and writing, when it came to that, in a rustic special dialect, known only
to a small province of the country he lived in. Had he written even what he did write in the general language
of England, I doubt not he had already become universally recognized as being, or capable to be, one of our
greatest men. That he should have tempted so many to penetrate through the rough husk of that dialect of his,
is proof that there lay something far from common within it. He has gained a certain recognition, and is con-
tinuing to do so over all quarters of our wide Saxon world ; wheresoever a Saxon dialect is spoken, it begins to
be understood, by personal inspection of this and the other, that one of the most considerable Saxon men of the
eighteenth century was an Ayrshire peasant, named Robert Burns." (P. 298, third edition, 1846.)
109
Da Capo al Segno.
1 =3 :3=3^ 3
^^
±=±
kind love that's in her e'e.
ssitii
&
^m
T T-
ee^
t
^
t^=ts
fe^rf
a
°^ g -^^-
^
^pEp^E^pES^^^
The succeeding verses begin with the Second Part of the Air. and end with the First Part.
She's bonnie, bloomin', straight, an' tall,
An' lang has had my heart in thrall ;
An' aye it charms my very saul,
The kind love that's in her e'e.
this is no my ain lassie, &c.
A thief sae pawkie 1 is my Jean ;
She'll steal a blink by a' unseen ;
But gleg 2 as light are lover's een,
When kind love is in the e'e.
this is no my ain lassie, &c.
It may escape the courtly sparks,
It may escape the learned clerks ;
But weel the watchin' lover marks
The kind love that's in her e'e.
this is no my ain lassie, &c.
1 Cunning, sly.
2 Sharp, reaty.
" this is NO my ain lassie." In the summer of 1795, Burns wrote these stanzas for Mr. George Thomson's
Collection. James Hogg, in his Jacobite Relics, vol. i. pp. 57, 58, gives the old words, and says, p. 224, " The
air to which I have set this song is not the original one; but it is the most popular, being always sung both to
this song and ' This is no my ain lassie,' by Burns. For my part, I like the old original one much better." Hogg
prints the original air on the same page ; and his is a better set than the one given in Johnson's Museum, No. 216,
where, at the end of the first and second strains, the introduction of the sharp 7th of the tonic spoils the whole
character of the air. In the Museum Illustrations, vol. iii. p. 210, Mr. Stenhouse gives what lie says is " the
original air" of " This is no my ain house," from Mrs. Crockat's book, written in 1709. This is the air, with some
modifications found in later copies, which has been adopted in the present work. As a vocal air, it is much pre-
ferable to that given by Johnson. We have retained the leap of the 5th in the fourth measure of the first strain,
according to the Crockat MS. cited by Mr. Stenhouse.
In the Note, page 33, allusion was made to the unfortunate career of Burns. The following passages from the
pen of his talented countryman, Thomas Carlyle, (" Heroes, and Hero-worship,") are given as flowers laid reve-
rently on the tomb of the poet : — " The tragedy of Burns's life is known to all. Surely we may say, if discrepancy
between place held and place merited constitute perverseness of lot for a man, no lot could be more perverse than
Burns's. Among those second-hand acting figures, mimes for the most part, of the eighteenth century, once rose a
giant Original Man ; one of those men who reach down into the perennial deeps, who take rank with the heroic
among men, and he was born in an Ayrshire hut. The largest soul in all the British lands came among us in the
shape of a hard-handed Scottish peasant." (P. 296.) " Burns appeared under every disadvantage : uninstructed,
poor, born only to hard manual toil j and writing, when it came to that, in a rustic special dialect, known only
to a small province of the country he lived in. Had he written even what he did write in the general language
of England, I doubt not he had already become universally recognized as being, or capable to be, one of our
greatest men. That he should have tempted so many to penetrate through the rough husk of that dialect of his,
is proof that there lay something far from common within it. He has gained a certain recognition, and is con-
tinuing to do so over all quarters of our wide Saxon world ; wheresoever a Saxon dialect is spoken, it begins to
be understood, by personal inspection of this and the other, that one of the most considerable Saxon men of the
eighteenth century was an Ayrshire peasant, named Robert Burns." (P. 298, third edition, 1846.)
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Special collections of printed music > Inglis Collection of printed music > Printed music > Songs of Scotland adapted to their appropriate melodies > Volume 1 > (125) Page 109 |
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Permanent URL | https://digital.nls.uk/94708472 |
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Shelfmark | Ing.127 |
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More information |
Description | Scottish and English songs, military music and keyboard music of the 18th and 19th centuries. These items are from the collection of Alexander Wood Inglis of Glencorse (1854 to 1929). Also includes a few manuscripts, some treatises and other books on the subject. |
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Description | The Glen Collection and the Inglis Collection represent mainly 18th and 19th century Scottish music, including Scottish songs. The collections of Berlioz and Verdi collected by bibliographer Cecil Hopkinson contain contemporary and later editions of the works of the two composers Berlioz and Verdi. |
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