Studies In Folk-song And Popular Poetry

An Extensive Investigation Into The Sources And Inspiration Of National Folk Song

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Frien's, gie yere advice — I '11 follow yere counsel. Maun I speak to the Provost or honest Town Council ? Or the writers, or lawyers, or doctors ? now say, For the law o' the Lucky I shall and will hae. The hale town at me are jibbin' an' jeerin', For a leddy like me it's really past hearin' ; The Lucky now maun hae done wi' her claverin', For I '11 no pit up wi' her an' her haverin'.
For oh, she 's a randy, I trow, I trow,
For oh, she 's a randy, I trow, I trow.
" He's a fell clever lad an' a bonnie wee man,"
Is aye the beginnin' an' end o' her sang.
The finest efflorescence of Scotch lyric poetry, which is the richest and finest in the English lan­guage, if not in the world, was that of the Jacob­ite era, and the influence which followed it and inspired the renaissance of Scotch song is the gen­ius of Burns, Hogg, Cunningham, Lady Nairne, and many more of less distinction, who made a galaxy of singers hardly less remarkable in their way, as marking an era in literature, than the dramatists of the Elizabethan age. The genius of folk-song and ballad poetry had always been remarkably developed in Scotland, in comparison, at least, with England, and, in spite of many charac­teristics among the Lowlanders, worldly thrift, bit­ter and barren bigotry, and a sort of dourness and hardheadedness, not calculated to encourage sen­timent and emotion; and the student of racial dis-
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