MRS COCKBURN. 1712-1794. Of the sociality, the ready wit, and | the irrepressible vivacity of Mrs Cockburn, a most ample and faithful record is preserved in her letters; but her right to a place among the poets of Scotland is due to her being the author of one of the two beautiful lyrics known as The Flowers of the Forest. Alice or Alison Rutherford-for that was her maiden name, the daughter of Robert Rutherford of Fairnalee-was born at the family mansion in Selkirkshire, in 1712. Little is known of her youth, except that she was a great beauty; and it may be inferred from her letters that she received the best education that it was then customary to give to girls of her social rank. Referring to her youth, she herself says: "I was a prude when young, and remarkably grave; it was owing to a consciousness that I could not pass unobserved, and a fear of giving offence, or incurring censure. I loved dancing exceedingly, because I danced well." In 1731, she was married to Patrick Cockburn, advocate, who died in 1753, leaving an only son. She survived her husband forty years, and died in 1794, at the age of eighty-two. She was buried in Buccleuch Churchyard, Edinburgh. Her version of The Flowers of the Forest is said to have been written before her marriage-a fact which, if true, would make this beautiful lyric the composition of a young girl of eighteen. The air to which it is sung, (9) and the refrain, are those of an old song, now lost, on the fall of so many of the natives of Ettrick Forest at the battle of Flodden. There is some doubt about the occasion of Mrs Cockburn's song, but Dr Robert Chambers records, on Sir Walter Scott's authority, that it was written in consequence of the unfortunate bankruptcy of several border gentlemen. Sir Walter from boyhood was well acquainted with Mrs Cockburn, and was a special favourite of hers. Her letters convey a remarkably vivid picture of Edinburgh social life during the time when she flourished as one of its chief ornaments,-a time of great interest from a national and a literary point of view. They have never been published entire, but pretty copious extracts are given in The Songstresses of Scotland, London, 1871. They were known and appreciated in manuscript by Scott. THE FLOWERS OF THE I've seen the smiling Of fortune beguiling; I've felt all its favours, and found its decay : Sweet was its blessing, Kind its caressing; But now 'tis fled-fled far away. excellent JANE, or according to the Scotch | expected, she received an rendering, Jean Elliot, although fifteen years Mrs Cockburn's junior, we place immediately after her sister-poetess, on account of their both owing their laurels to what may be called twin lyrics. Both compositions are beautiful, yet they cannot be said to borrow a single feature from one another; for they derive the air and the refrain from the same traditionary source. It has been remarked, and perhaps correctly, that Mrs Cockburn's sings best, but that Miss Elliot's is the most poetical. It certainly has caught the tone and spirit, and treats of the proper subject, of the ancient relics that suggested it, which the other does not. education, and was characterized by those hereditary traits of sagacity and capacity which distinguished her family. It is related that, in 1745, when in her nineteenth year, her self-possession so imposed upon a party of Jacobites, who made their appearance at the house in search of her father (who was a staunch Whig) before he could escape beyond Minto Crags, in the immediate neighbourhood, that they left without making any further search; judging, from the absence of any signs of anxiety on the part of their young entertainer, that the object of their search must have been safe beyond their reach. Miss Elliot was the daughter of Sir Gilbert Elliot, the second baronet of Minto; and the third baronet, Sir Gilbert, the author of Amynta, was her brother. She was born at Minto House, not far from the banks of the Teviot, in Roxburghshire, in 1727. As might be I Weeded. Her version of The Flowers of the Forest is said to have originated in a wager by her brother Gilbert, who ventured a pair of gloves, or a set of ribbons, on the chance of her composing a ballad on the battle of Flodden. need not be doubted that he paid his forfeit with a good grace on the produc It tion of The Flowers of the Forest. Miss Elliot was in her twenty-eighth year when she wrote it; but its success did not stimulate her ambition to further efforts, nor even to acknowledging the authorship; for it was circulated anonymously as an old ballad recovered. Being unmarried, on her brother's succession to the baronetcy, she went to reside in Edinburgh with her mother, and here she lived till 1804. Having gone to live with her friends in Teviotdale, she died on the 29th March 1805, in her seventy-eighth year. The Flowers of the Forest was traced to her authorship by Sir Walter Scott, Ramsay of Ochtertyre, and Dr Somerville. THE FLOWERS OF THE I've heard them lilting at our yowe-milking, Lasses a' lilting before the dawn o' day; But now they are moaning on ilka green loaning 2 The Flowers of the Forest are a' wede away. At buchts, in the morning, nae blythe lads are scorning, 3 We'll hear nae mair lilting at the yowemilking, Women and bairns are heartless and wae; The lasses are lonely and dowie and Sighing and moaning on ilka green loanwae ; 4 Nae daffin', nae gabbin', 5 but sighing and sabbing, Ilk ane lifts her leglen,7 and hies her ing SIR GILBERT ELLIOT. 1722-1777. THE Elliots have the distinction of being a musical, a poetical, an eloquent, and a political family. Sir Gilbert, the second baronet, was the first to introduce the German flute into Scotland. His son, Sir Gilbert, the third baronet, the author of Amynta, was born in 1722, at the family seat in Roxburghshire. He was educated for the Scottish bar, and for the space of twenty years represented the counties of Roxburgh and Selkirk in Parliament, where he was distinguished as a speaker. In 1763, he became Treasurer of the Navy; and, on the death of his father, in 1766, he succeeded him in the office of Keeper of the Signet in Scotland. In 1777, his health having given way, he sought the benefit of the milder climate of the south of France, but without effect; for he died at Marseilles that same year. His son, Sir Gilbert, the fourth baron, who was some time Governorgeneral of India, was raised to the peerage as Lord Minto; and his sister Jane is the authoress of the beautiful lyric, "The Flowers of the Forest." His own poetic fame, like that of the accomplished Baron of Penicuik, depends on a single song, which, about the same time as 66 The Miller," first appeared ADAM SKIRVING. 1719-1803. PERHAPS no better example of what is so easy to feel, yet so difficult to define -dry Scotch humour-could be selected than Skirving's "Johnnie Cope." It has a dramatic vividness in its banter unequalled since Sir John Suckling's supposed witty pasquil upon his own military exploits in Scotland, when— "Sir John he got on an ambling nag, To guard him on every side-a." that they are only known in their present connection. Skirving died in 1803, and was buried at Athelstaneford. JOHNNIE COPE. COPE sent a challenge frae Dunbar, Or are your drums a-beating yet? Its author, Adam Skirving, was a native of East Lothian, where he occupied the farm of Garelton, near Haddington, for many years. He wrote a ballad song, of no great merit, on the battle of Prestonpans, called "Tranent Muir," in which he reflects on the fugitive And we'll meet Johnnie Cope i' the mornexploits and veracity of an Irish Lieutenant Smith, in terms which provoked the calumniated son of Erin to send him a challenge to meet him at Haddington. Skirving, who was a powerful but good-natured wag, is related by Burns to have said to Smith's messenger, “Gang awa back, and tell Mr Smith that I hae nae leisure to come to Haddington; but tell him to come here, and I'll tak a look o' him, and if I think I'm fit to fecht him, I'll fecht him, and if no, I'll do as he did, I'll rin awa." Several versions of "Johnnie Cope" are in existence, but mostly variations of Skirving's. The air and chorus may have previously existed, but if so, the popularity of his has so absorbed both "Come follow me, my merry merry men, ing." Hey, Johnnie Cope, etc. Now, Johnnie, be as gude's your word, When Johnnie Cope he heard of this, Hey, Johnnie Cope, etc. Hey, Johnnie Cope, etc. |