How long and dreary is the night, &c.[262]
Tell me how you like this. I differ from your idea of the expression of the tune. There is, to me, a great deal of tenderness in it. You cannot, in my opinion, dispense with a bass to your addenda airs. A lady of my acquaintance, a noted performer, plays and sings at the same time so charmingly, that I shall never bear to see any of her songs sent into the world, as naked as Mr. What-d’ye-call-um has done in his London collection.[263]
These English songs gravel me to death. I have not that command of the language that I have of my native tongue. I have been at “Duncan Gray,” to dress it in English, but all I can do is deplorably stupid. For instance:—
Let not woman e’er complain, &c.[264]
Since the above, I have been out in the country, taking a dinner with a friend, where I met with a lady whom I mentioned in the second page in this odds-and-ends of a letter. As usual, I got into song; and returning home I composed the following:
Sleep’st thou, or wak’st thou, fairest creature &c.[265]
If you honour my verses by setting the air to them, I will vamp up the old song, and make it English enough to be understood.
I enclose you a musical curiosity, an East Indian air, which you would swear was a Scottish one. I know the authenticity of it, as the gentleman who brought it over is a particular acquaintance of mine. Do preserve me the copy I send you, as it is the only one I have. Clarke has set a bass to it, and I intend putting it into the Musical Museum. Here follow the verses I intend for it.
But lately seen in gladsome green, &c.[266]
I would be obliged to you if you would procure me a sight of Ritson’s collection of English songs, which you mention in your letter. I will thank you for another information, and that as speedily as you please: whether this miserable drawling hotch-potch epistle has not completely tired you of my correspondence?