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last phrase has evidently been modernized. The words were written in the summer of 1803, "when it was understood that a negotiation for bringing Mr. P(itt) again into office had failed." (See Thomson's Collection, vol. iv. p. 153.) cxxxiv. "This song," says Mr. Chambers, "has found a lodgment in the hearts of Scotsmen in all parts ot the earth, and must there remain while the words continue to be understood." cxxxv. A fine example of a plagal tune, ending not on the
final or key note, but on the 4th below it cxxxvi. This melody has been singularly fortunate in having called into existence two songs of entirely opposite character—the one the most defiant, the other the most resigned, in its tone, of their age and country. The tune requires an additional note at the beginning when sung to Lady Nairn's words. cxxxix. There is a Scottish version of this dialogue not differing in any important particular from that in Percy's Rcliques, followed above. cxl. A spirit-stirring Jacobite song. The second section has much character. cxli. From their place in Thomson's Collection these beautiful verses would seem to have been written to this tune, which is surely unworthy of them. cxliii. There is a song by Burns, Thoic hast left me ever, Ta7ii, in Thomson's Collection, to this tune, but Macneil's has a prior, and even a better, claim; and there was not room for both. cxlvi. The first section of this melody is somewhat confused, but the second is exquisite. cxlviii. Mr. Chambers' version of this pleasing and popular song differs slightly from the above from Thomson. cxlix. Probably old, certainly beautiful. The sequence in the second section is found in more than one melody —of all nations. cl. A tune which owes its individuality to the omission of the 4th of the scale, though the 7th is of frequent occurrence. cliii. No music has ever been more happily married to verse than this. Not to speak of its perpetual motion—hardly giving breathing-time to the singer —the gude wife's dazed condition is admirably expressed by the uncertain tonality of the tune which, beginning in G, leaves off, but cannot be said to end, inD. clv. Another violin tune—the original key D. clvi. The words usually sung to this tune, beginning— "In April when primroses paint the sweet plain," are by Allan Ramsay. I have printed the older and less known song. clx. This beautiful melody—claimed also by the Irish— has inspired both Burns and Moore. The songs, |
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