Poems List

Peggy

Peggy
Now westlin winds and slaught'ring guns
Bring autumn's pleasant weather;
And the moorcock springs, on whirring wings,
Amang the blooming heather;
Now waving grain, wide o'er the plain,
Delights the weary farmer;
And the moon shines bright, when I rove at night.
To muse upou my charmer.
The partridge loves the fruitful fells;
The plover loves the mountains;
The woodcock haunts tbe lonely dell;
The soaring hern the fountains:
Thro' lofty groves the cushat roves,
The path of man to shun it;
The hazel bush o'erhangs the thrush,
The spreading thorn the linnet.
Thus ev'ry kind their pleasure find,
The savage and the tender;
Some social join, and leagues combine
Some solitary wander:
Avaunt, away, the cruel sway!
Tyrannic man's dominion;
The sportsman's joy, the murd'ring cry,
The flutt'ring, gory pinion!
But Peggy dear, the evening's clear,
Thick flies the skimming swallow;
The sky is blue, the fields in view,
All fading-green and yellow:
Come let us stray our gladsome way,
And view the charms of nature;
The rustling corn, the fruited thorn,
And every happy creature.
We'll gently walk, and sweetly talk,
Till the silent moon shine clearly;
I'll grasp thy waist, and, fondly prest,
Swear how I love thee dearly:
Not vernal show'rs to budding flow'rs,
Not autumn to the farmer,
So dear can be as thou to me,
My fair, my lovely charmer!
My Love is Like a Red, Red Rose
O, my luve is like a red, red rose,
That's newly sprung in June.
O, my love is like a melodie,
That's sweetly play'd in tune.


As fair thou art, my bonnie lass,
So deep in luve am I,
And I will luve thee still, my dear,
Till a' the seas gang dry.
Till a' the seas gang dry, my dear,
And the rocks melt wi' the sun!
And I will luve thee still, my dear,
While the sands of life shall run.
And fare the weel, my only luve!
And fare the well awhile!
And I will come again, my love.
Tho' it were ten thousand mile!
329

On A Bank Of Flowers

On A Bank Of Flowers
On a bank of flowers in a summer day
For summer lightly drest,
The youthful, blooming Nelly lay,
With love and sleep opprest;
When Willie, wand'ring thro the wood
Who for her favour oft had suedÑ
He gaz'd, he wish'd He fear'd, he blush'd
And trembled where he stood.
Her closèd eyes, like weapons sheath'd,
Were sealed in soft repose;
Her lips, still as she fragrant breath'd,
It richer dyed the rose.
The springing lilies, sweetly Crest,
Wild-wanton kissed her rival breast:
He gaz'd, he wish'd, He fear'd he blush'd
His bosom ill at rest.
Her robes, light-waving in the breeze,
Her tender limbs embrace;
Her lovely form, her native ease,
All harmony and grace.
Tumultuous tides his pulses roll,
A faltering, ardent kiss he stole;
He gaz'd, he wish'd, He fear'd, he blush'd,
And sigh'd his very soul.
As flies the partridge from the brake
On fear-inspired wings
So Nelly starting, half-awake
Away affrighted springs.
But Willie, follow'd---as he should
He overtook her in the wood;
He vow'd, he pray'd, He found the maid
Forgiving all, and good.
218

Of a' the Airts

Of a' the Airts
Of a' the airts the wind can blaw
I dearly like the west,
For there the bonie lassie lives,
The lassie I lo'e best.
There wild woods grow and rivers row,
And monie a hill between;
But day and night my fancy's flight
Is ever wi' my Jean.
I see her in the dewy flowers;
I see her sweet and fair:
I hear her in the tunefu' birds;
I hear her charm the air.
There's not a bonie flower that springs
By fountain, shaw, or green;
There's not a bonie bird that sings,
But minds me o' my Jean.
194

O, Were My Love

O, Were My Love
O, were my love yon lilac fair
Wi' purple blossoms to the spring,
And I a bird to shelter there,
When wearied on my little wing.
How I wad mourn when it was torn
By Autumn wild and Winter rude!
But I wad sing on wanton wing
When youthfu May its bloom renew'd.
O, gin my love were yon red rose,
That grows upon the castle wa',
And I mysel a drap o' dew
Into her bonie breast to fa',
O, there, beyond expression blest,
I'd feast on beauty a' the night,
Seal'd on her silk-saft faulds to rest,
Till fley'd awa by Phoebus' light!
263

O Tibbie, I Hae Seen The Day

O Tibbie, I Hae Seen The Day
Tune - "Invercauld's Reel, or Strathspey."
Choir. - O Tibbie, I hae seen the day,
Ye wadna been sae shy;
For laik o' gear ye lightly me,
But, trowth, I care na by.
Yestreen I met you on the moor,
Ye spak na, but gaed by like stour;
Ye geck at me because I'm poor,
But fient a hair care I.
O Tibbie, I hae seen the day, &c.
When coming hame on Sunday last,
Upon the road as I cam past,
Ye snufft and ga'e your head a cast-
But trowth I care't na by.
O Tibbie, I hae seen the day, &c.
I doubt na, lass, but ye may think,
Because ye hae the name o' clink,
That ye can please me at a wink,
Whene'er ye like to try.
O Tibbie, I hae seen the day, &c.
But sorrow tak' him that's sae mean,
Altho' his pouch o' coin were clean,
Wha follows ony saucy quean,
That looks sae proud and high.
O Tibbie, I hae seen the day, &c.
Altho' a lad were e'er sae smart,
If that he want the yellow dirt,
Ye'll cast your head anither airt,
And answer him fu' dry.
O Tibbie, I hae seen the day, &c.
But, if he hae the name o' gear,
Ye'll fasten to him like a brier,
Tho' hardly he, for sense or lear,
Be better than the kye.
O Tibbie, I hae seen the day, &c.
But, Tibbie, lass, tak' my advice:
Your daddie's gear maks you sae nice;
The deil a ane wad speir your price,
Were ye as poor as I.
O Tibbie, I hae seen the day, &c.
There lives a lass beside yon park,
I'd rather hae her in her sark,
Than you wi' a' your thousand mark;


That gars you look sae high.
O Tibbie, I hae seen the day, &c.
212

Ny Nannie, O

Ny Nannie, O
Behind yon hills, where Lugar flows,
'Mang moors an' mosses many, O,
The wintry sun the day has clos'd,
And I'll awa to Nannie, O.
The westlin wind blaws loud and shill;
The night's baith mirk an' rainy, O;
But I'll get my plaid, an' out I'll steal,
An' owre the hills to Nannie, O.
My Nannie's charming, sweet, an' young:
Nae artfu' wiles to Will ye, O:
May ill befa' the flattering tongue
That wad beguile my Nannie, O.
Her face is fair, her heart is true,
She's spotless as she's bonnie, O:
The op'ning gowan, wet wi' dew,
Nae purer is than Nannie, O.
A country lad is my degree,
And few there be that ken me, O;
But what care I how few they be
I'm welcome aye to Nannie, O.
My riches a' 's my penny-fee,
An' I maun guide it cannie, O;
But warl's gear ne'er troubles me,
My thoughts are a' my Nannie, O.
Our auld guidman delights to view
His sheep and kye thrive bonnie, O;
But I'm as blythe that hauds his pleugh,
An' has nae care but Nannie, O.
Come weel, come woe, I care na by,
I'll tak' what Heav'n will sen' me, O;
Nae ither care in life have I,
But live, an' love my Nannie, O.
204

My Nannie, O

My Nannie, O
Behind yon hills, where Lugar flows,
'Mang moors an' mosses many, O,
The wintry sun the day has clos'd,
And I'll awa to Nannie, O.
The westlin wind blaws loud and shill;
The night's baith mirk an' rainy, O;
But I'll get my plaid, an' out I'll steal,
An' owre the hills to Nannie, O.
My Nannie's charming, sweet, an' young:
Nae artfu' wiles to Will ye, O:
May ill befa' the flattering tongue
That wad beguile my Nannie, O.
Her face is fair, her heart is true,
She's spotless as she's bonnie, O:
The op'ning gowan, wet wi' dew,
Nae purer is than Nannie, O.
A country lad is my degree,
And few there be that ken me, O;
But what care I how few they be
I'm welcome aye to Nannie, O.
My riches a' 's my penny-fee,
An' I maun guide it cannie, O;
But warl's gear ne'er troubles me,
My thoughts are a' my Nannie, O.
Our auld guidman delights to view
His sheep and kye thrive bonnie, O;
But I'm as blythe that hauds his pleugh,
An' has nae care but Nannie, O.
Come weel, come woe, I care na by,
I'll tak' what Heav'n will sen' me, O;
Nae ither care in life have I,
But live, an' love my Nannie, O.
244

My Heart's In The Highlands

My Heart's In The Highlands
Farewell to the Highlands, farewell to the North,
The birth-place of Valour, the country of Worth;
Wherever I wander, wherever I rove,
The hills of the Highlands for ever I love.
My heart's in the Highlands, my heart is not here;
My heart's in the Highlands a-chasing the deer;
A-chasing the wild-deer, and following the roe,
My heart's in the Highlands wherever I go.
Farewell to the mountains high covered with snow;
Farewell to the straths and green valleys below;
Farewell to the forests and wild-hanging woods;
Farewell to the torrents and loud-pouring floods.
My heart's in the Highlands, my heart is not here;
My heart's in the Highlands a-chasing the deer;
A-chasing the wild-deer, and following the roe,
My heart's in the Highlands wherever I go.
276

Montgomerie's Peggy

Montgomerie's Peggy
Tune - "Galla Water."
Altho' my bed were in yon muir,
Amang the heather, in my plaidie;
Yet happy, happy would I be,
Had I my dear Montgomerie's Peggy.
When o'er the hill beat surly storms,
And winter nights were dark and rainy;
I'd seek some dell, and in my arms
I'd shelter dear Montgomerie's Peggy.
Were I a baron proud and high,
And horse and servants waiting ready;
Then a' 'twad gie o' joy to me, -
The sharin't with Montgomerie's Peggy.
210

Love in the Guise of Frindship

Love in the Guise of Frindship
Talk not of love, it gives me pain,
For love has been my foe;
He bound me in an iron chain,
And plung'd me deep in woe.
But friendship's pure and lasting joys,
My heart was form'd to prove;
There, welcome win and wear the prize,
But never talk of love.
Your friendship much can make me blest,
O why that bliss destroy?
Why urge the only, one request
You know I will deny?
Your thought, if Love must harbour there,
Conceal it in that thought;
Nor cause it in that thought;
Nor cause me from my bosom tear
The very friend I sought.
367

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Identification and basic context

Robert Burns, often hailed as the Bard of Ayrshire, is Scotland's national poet and a globally recognized figure in literature. He was born in Alloway, Ayrshire, Scotland. His primary language of writing was Scots, though he also wrote in English and occasionally in a heavily anglicized Scots. Burns lived during a period of significant social and political change, influenced by the Enlightenment and the French Revolution, which fostered a spirit of reform and nationalism.

Childhood and education

Burns's childhood was shaped by rural poverty and hard agricultural labor. His father, William Burnes, was a tenant farmer who instilled in his children a strong sense of self-improvement and education. Robert received a basic formal education but was largely self-taught, devouring books on literature, philosophy, and history. Early influences included the Bible, Scottish ballads, and the works of Enlightenment thinkers like Robert Fergusson and Allan Ramsay, which kindled his interest in Scottish culture and language.

Literary trajectory

Burns's literary career began in earnest in his early twenties. He started writing poetry as a pastime, initially to court women and to express his feelings about life in rural Scotland. His first collection, *Poems, Chiefly in the Scottish Dialect*, published in 1786, was a resounding success, quickly bringing him fame and allowing him to move to Edinburgh. He continued to write and collect Scottish folk songs, contributing significantly to the preservation and popularization of Scottish musical heritage. He also worked as an exciseman (tax collector) to supplement his income, a profession that sometimes interfered with his writing but also exposed him to different aspects of Scottish life.

Works, style, and literary characteristics

Burns's most famous works include "Auld Lang Syne," "Tam o' Shanter," "Scots Wha Hae," and "Ae Fond Kiss." His dominant themes are love (often unrequited or passionate), nature (the beauty of the Scottish landscape, the cycles of life), friendship, social inequality, and Scottish identity. His style is characterized by its directness, emotional sincerity, and vibrant use of Scots dialect, which he elevated to a literary language. He masterfully employed rhyme, rhythm, and folk song structures, often infused with a lyrical and sometimes satirical tone. His poetic voice is intimate, earthy, and often deeply patriotic or humanist. Burns's innovations lay in his ability to imbue traditional folk forms with profound personal and social commentary, making his work accessible and resonant across social classes.

Cultural and historical context

Burns was a product of the Scottish Enlightenment, a period of intellectual and cultural flourishing. His work reflected the social changes and national consciousness of late 18th-century Scotland. He was often critical of social injustices and the established church, aligning himself with reformist sentiments. His poetry captured the spirit of rural life and the burgeoning sense of Scottish identity, making him a folk hero during his lifetime and beyond. He was part of a generation of Scottish writers who sought to celebrate and preserve Scottish culture.

Personal life

Burns's personal life was tumultuous and marked by numerous romantic relationships, illegitimate children, and financial struggles. His passionate nature and strong convictions often led to conflicts with authority. His friendships, particularly with other poets and intellectuals, were important, though he also faced professional rivalries. His dedication to his family and his love for Scotland were central to his identity. His beliefs were complex, often questioning religious dogma while cherishing spiritual sentiments and humanistic values.

Recognition and reception

Burns achieved considerable fame during his lifetime, particularly after the publication of his first volume of poetry. He was celebrated in Edinburgh's literary circles, though his rural origins and sometimes unconventional lifestyle set him apart. Posthumously, his reputation grew, and he became an enduring symbol of Scottish culture. His songs and poems are now sung and recited worldwide, especially during Burns Night celebrations. His popular appeal has remained strong across centuries and social strata.

Influences and legacy

Burns was influenced by Scottish folk traditions, ballads, and poets like Allan Ramsay and Robert Fergusson. His legacy is immense; he is considered the definitive voice of Scottish poetry and song, shaping national identity and inspiring generations of Scottish writers and musicians. His works have been translated into numerous languages and continue to be performed and studied globally. His impact on the preservation and popularization of the Scots language is invaluable.

Interpretation and critical analysis

Burns's work is often interpreted through the lens of Scottish nationalism, romanticism, and social commentary. Critics debate the balance between his celebration of rural life and his critique of social structures. His use of dialect and his passionate voice invite analyses of authenticity, emotion, and cultural representation.

Curiosities and lesser-known aspects

Despite his often romanticized image, Burns faced significant financial hardship throughout his life, working as an exciseman to support his family. He was also a Freemason and held a deep interest in Scottish history and folklore. His passionate personality and sharp wit were well-known, and he was not afraid to challenge the status quo through his writings.

Death and memory

Robert Burns died at the age of 37. His death was widely mourned, and his legacy was immediately cemented through the continued publication and performance of his works. Burns Night, celebrated annually on January 25th, ensures his enduring memory and cultural significance.