Volume I Part 17 (1/2)

To Joanna, Scott inscribed his fragmental drama of ”Macduff's Cross,”

which was included in a Miscellany published by her in 1823.

Though a penury of incident, and a defectiveness of skill in sustaining an increasing interest to the close, will probably prevent any of her numerous plays from being renewed on the stage, Joanna Baillie is well ent.i.tled to the place a.s.signed her as one of the first of modern dramatists. In all her plays there are pa.s.sages and scenes surpa.s.sed by no contemporaneous dramatic writer. Her works are a magazine of eloquent thoughts and glowing descriptions. She is a mistress of the emotions, and

”Within _her_ mighty page, Each tyrant pa.s.sion shews his woe and rage.”

The tragedies of ”Count Basil” and ”De Montfort” are her best plays, and are well termed by Sir Walter Scott a revival of the great Bard of Avon.

Forcible and energetic in style, her strain never becomes turgid or diverges into commonplace. She is masculine, but graceful; and powerful without any ostentation of strength. Her personal history was the counterpart of her writings. Gentle in manners and affable in conversation, she was a model of the household virtues, and would have attracted consideration as a woman by her amenities, though she had possessed no reputation in the world of letters. She was eminently religious and benevolent. Her countenance bore indication of a superior intellect and deep penetration. Though her society was much cherished by her contemporaries, including distinguished foreigners who visited the metropolis, her life was spent in general retirement. She was averse to public demonstration, and seemed scarcely conscious of her power. She died at Hampstead, on the 23d of February 1851, at the very advanced age of eighty-nine, and a few weeks after the publication of her whole Works in a collected form.

The songs of Joanna Baillie immediately obtained an honourable place in the minstrelsy of her native kingdom. They are the simple and graceful effusions of a heart pa.s.sionately influenced by the melodies of the ”land of the heath and the thistle,” and animated by those warm affections so peculiarly nurtured in the region of ”the mountain and the flood.” ”Fy, let us a' to the wedding,” ”Saw ye Johnnie comin'?” ”It fell on a morning when we were thrang,” and ”Woo'd, and married, and a',” maintain popularity among all cla.s.ses of Scotsmen throughout the world. Several of the songs were written for Thomson's ”Melodies,” and ”The Harp of Caledonia,” a collection of songs published at Glasgow in 1821, in three vols. 12mo, under the editorial care of John Struthers, author of ”The Poor Man's Sabbath.” The greater number are included in the present work.

[28] _Literary Gazette_, March 1851.

THE MAID OF LLANWELLYN.

I 've no sheep on the mountain, nor boat on the lake, Nor coin in my coffer to keep me awake, Nor corn in my garner, nor fruit on my tree-- Yet the maid of Llanwellyn smiles sweetly on me.

Soft tapping, at eve, to her window I came, And loud bay'd the watch-dog, loud scolded the dame; For shame, silly Lightfoot; what is it to thee, Though the maid of Llanwellyn smiles sweetly on me?

Rich Owen will tell you, with eyes full of scorn, Threadbare is my coat, and my hosen are torn: Scoff on, my rich Owen, for faint is thy glee When the maid of Llanwellyn smiles sweetly on me.

The farmer rides proudly to market or fair, The clerk, at the alehouse, still claims the great chair; But of all our proud fellows the proudest I 'll be, While the maid of Llanwellyn smiles sweetly on me.

For blythe as the urchin at holiday play, And meek as the matron in mantle of gray, And trim as the lady of gentle degree, Is the maid of Llanwellyn who smiles upon me.

GOOD NIGHT, GOOD NIGHT!

The sun is sunk, the day is done, E'en stars are setting one by one; Nor torch nor taper longer may Eke out the pleasures of the day; And since, in social glee's despite, It needs must be, Good night, good night!

The bride into her bower is sent, And ribbald rhyme and jesting spent; The lover's whisper'd words and few Have bade the bashful maid adieu; The dancing-floor is silent quite-- No foot bounds there, Good night, good night!

The lady in her curtain'd bed, The herdsman in his wattled shed, The clansman in the heather'd hall, Sweet sleep be with you, one and all!

We part in hope of days as bright As this now gone--Good night, good night!

Sweet sleep be with us, one and all!

And if upon its stillness fall The visions of a busy brain, We 'll have our pleasure o'er again; To warm the heart, to charm the sight, Gay dreams to all! Good night, good night!

THOUGH RICHER SWAINS THY LOVE PURSUE.

Though richer swains thy love pursue, In Sunday gear and bonnets new; And every fair before thee lay Their silken gifts, with colours gay-- They love thee not, alas! so well As one who sighs, and dare not tell; Who haunts thy dwelling, night and noon, In tatter'd hose and clouted shoon.

I grieve not for my wayward lot, My empty folds, my roofless cot; Nor hateful pity, proudly shown, Nor altered looks, nor friends.h.i.+p flown; Nor yet my dog, with lanken sides, Who by his master still abides; But how wilt thou prefer my boon, In tatter'd hose and clouted shoon?