is the production of Crawford; Robert was his Christian name.
"Laddie lie near me," must lie by me for some time. I do not know the air; and until I am complete master of a tune in my own singing (such as it is), I never can compose for it. My way is: I consider the poetic sentiment correspondent to my idea of the musical expression, then choose my theme, begin one stanza; when that is composed, which is generally the most difficult part of the business, I walk out, sit down now and then, look out for objects in nature around me that are in unison or harmony with the cogitations of my fancy, and workings of my bosom; humming every now and then the air, with the verses I have framed. When I feel my muse beginning to jade, I retire to the solitary fireside of my study, and there commit my effusions to paper; swinging at intervals on the hind legs of my elbow chair, by way of calling forth my own critical strictures, as my pen goes on. Seriously, this, at home, is almost invariably my way. What cursed egotism!
"Gil Morice" I am for leaving out. It is a plaguy length; the air itself is never sung, and its place can well be supplied by one or two songs for fine airs that are not in your list. For instance, "Craigieburn-wood" and "Roy's Wife". The first, besides its intrinsic merit, has novelty; and the last has high merit, as well as great celebrity. I have the original words of a song for the last air in the handwriting of the lady who composed it, and they are superior to any edition of the song which the public has yet seen.
"Highland Laddie". The old set will please a mere Scotch ear best; and the new an Italianised one. There is a third, and what Oswald calls the "Old Highland Laddie", which pleases we more than either of them. It is sometimes called "Jinglan Johnnie", it being the air of an old humorous tawdry song of that name. You will find it in the Museum, "I hae been at Crookie-den," etc. I would advise you in this musical quandary, to offer up your prayers to the muses for inspiring direction; and, in the meantime, waiting for this direction, bestow a libation to Bacchus, and there is not a doubt but you will hit on a judicious choice. Probatum est.
"Auld Sir Simon," I must beg you to leave out, and put in its place "The Quaker's Wife".
"Blythe hae I been on yon hill" is one of the finest songs ever I made in my life; and, besides, is composed on a young lady positively the most beautiful, lovely woman in the world. As I purpose giving you the names and designations of all my heroines, to appear in some future edition of your work, perhaps half a century hence, you must certainly include the bonniest lass in a' the warld in your collection.
"Daintie Davie" I have heard sung nineteen thousand, nine hundred, and ninety-nine times, and always with the low part of the tune; and nothing has surprised me so much as your opinion on this subject. If it will not suit, as I propose, we will lay two of the stanzas together, and then make the chorus follow.
"Fee him, Father". I enclose you Frazer's set of this tune when he plays it slow; in fact, he makes it the language of despair, I shall here give you two stanzas in that style, merely to try if it will be any improvement. Were it possible, in singing, to give it half the pathos which Frazer gives it in playing, it would make an admirable pathetic song. I do not give these verses for any merit they have. I composed them at the time at which Patie Allan's mither died; that was the back o' midnight; and by the lee-side of a bowl of punch, which had overset every mortal in the company, except the hautbois and the muse.
Thou hast left me ever, Jamie, (etc.)
"Jockie and Jenny" I would discard, and in its place would put "There's nae luck about the house", which has a very pleasant air; and which is positively the finest love-ballad in that style in the Scottish, or perhaps in any other language. "When she came ben she bobbet", as an air, is more beautiful than either, and in the andante way would unite with a charming sentimental ballad.