THE GENTLE SHEPHERD. A Pastoral Comedy.

BY

ALLAN RAMSAY.

WITH A LIFE OF THE AUTHOR,

AND THE OPINIONS OF VARIOUS EMINENT MEN ON THE WORK.

TO WHICH IS ADDED,

A GREATLY IMPROVED GLOSSARY,

AND A CATALOGUE OF THE SCOTTISH POETS.

"Away sic fears! Gae spread my fame, And fix me an immortal name; Ages to come shall thee revive, And gar thee with new honours live; The future critics, I foresee, Shall have their notes on notes on thee; The wits unborn shall beauties find, That never entered in my mind."

Allan Ramsay to his Book.

"The Gentle Shepherd has exhibited rusticity without vulgarity, and elegant sentiment without affectation. Like the heroes of Homer, the characters of this piece can engage in the humblest occupation without degradation. Its verses have passed into proverbs, and it continues to be the delight and solace of the peasantry whom it describes." W. Roscoe.

NEW YORK:

WILLIAM GOWANS.

1852.

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Entered, according to Act of Congress, in the year 1852, By William Gowans, In the Clerk's Office of the District Court of the United States for the Southern District of New York.

[iii]

CONTENTS.

[iv] [v]

PREFACE.

The Publisher being desirous to present the American public with a correct edition of the "Gentle Shepherd," considerable pains have been taken to ascertain the best or standard text. Fortunately, there were, within reach, several of the best editions, as well as others of inferior character. A careful examination of these satisfied us, that, the subscription edition in quarto, printed for the Author by Thomas Ruddiman, in 1728, has higher claims to be considered the standard one, than any other within our knowledge.

For this conclusion, perhaps it might be a sufficient reason to state, that, it was so considered by Andrew Foulis, of Glasgow, who reprinted it in David Allan's celebrated quarto of 1788, undoubtedly the most sumptuous edition of the "Gentle Shepherd" ever published.[1] From the well-known intelligence and proverbial accuracy of the Foulis', and from the fact that the same house reprinted the 10th edition of the Pastoral in 1750, (about eight years before the Author's death,) there can be very little doubt that Andrew Foulis possessed both the means and the inclination to ascertain [vi] which was the genuine text, and did so accordingly. But, besides this, the publishers of the octavo of 1798, who seem to have taken unusual pains to give a correct text, have adopted the same edition as the standard, and have given a reprint, still more literal than that of Foulis. Moreover, the same text has been selected for the very elaborate edition of 1808, in two volumes, royal octavo; as well as for the royal quarto, printed by Ballantyne in the same year. It is true

the orthography of both these editions of 1808 is altered; that of the octavo being considerably Anglicised; while that of the quarto is changed throughout to the mode of spelling adopted by Burns. The verbal changes, however, are very few.

The text of the editions of 1761, 1800, and 1850, differs, in several places, from that of the editions before-mentioned. A list of the principal variations, with some further remarks, will be found in the Notes to the present edition. We have searched diligently for an explanation of the origin of these variations, but without success. They may belong either to the first edition, or, to some one subsequent to 1728. But, be this as it may, we cannot look upon them as improvements.

Neither have we been able to see any warrant for changes in orthography, such as those we have alluded to: we have rather supposed that readers generally, and especially the admirers of Ramsay, would prefer to see his best poem in precisely the same dress in which he ushered it into the world when his poetical powers were in their prime.

In accordance with these views, we have adopted, as the standard text, the quarto of 1728; of which the present edition is nearly a literal reprint. Some obvious typographical errors we have corrected, and a very few changes in orthography have been made; all of which, with one exception, are authorized by the editions of 1788 and 1798. Some what greater liberties have been taken with the punctuation, but in this also, we have been guided by the same editions, with the aid of the octavo of 1808.

Of the "Songs," the 9th, 11th, and 21st, with the verse [vii] at page 57, are the only ones that appear in the quarto of 1728, or in the preceding editions: the remaining eighteen were added, probably, in 1729. In Foulis' edition of 1788, these additional songs are excluded from the body of the poem; but are given, with the music, at the end. Every other edition, that we have seen, contains the whole twenty-one songs inserted in their proper places, as in the present edition. Another song (of which the last verse occurs at page 57) was added subsequently, probably after 1750, for it is not to be found among the other songs belonging to the "Gentle Shepherd," published in that year in the "Tea-table Miscellany."[2] It occurs in the edition of 1761, but it is not in those of 1788 and 1798. We have given it complete in the Notes at page 90. In a foot-note to the "Life" at page xviii, will be found a statement, explanatory of the causes why these additional songs were inserted. We quite agree with the writer of that Note, that they mar the beauty of

the poem; and, in this edition, we would have preferred to follow the example of David Allan and Foulis in that of 1788; but, it being the opinion of the Publisher, that the Pastoral, in such a form, would be generally considered incomplete, they have been inserted in the usual manner.

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For these eighteen extra songs we have not had what we can consider a standard text: they have been printed from the edition of 1798, collated with those of 1788 and 1808. We also compared them with those in the "Tea-table Miscellany" of 1733, the oldest copy in our possession, and found no difference of any consequence.

The Glossaries heretofore appended to the "Gentle Shepherd" have been, usually, reprints of that given by Ramsay in the quarto of 1728, which was prepared for his Poems, complete: that in the edition of 1800 being considerably enlarged. In the present edition the Glossary has been restricted chiefly to those words and phrases which occur in the Pastoral; of which, upwards of a hundred and fifty have been omitted in every former edition that we have seen: those are now added, with explanations. The rest of the Glossary has been carefully examined, and some corrections made.

In the "Life of Ramsay, by Tennant," we have made one or two corrections; and some additions, derived from various sources, have been inserted. These are distinguished by being enclosed in brackets.

The elaborate Essay by Lord Woodhouselee "on the Genius and Writings of Allan Ramsay," so far as it refers to the "Gentle Shepherd," we have given complete, excepting a few quotations in Italian. To this have been added, opinions and criticisms on the Pastoral, by various celebrated authors. These are not entirely confined to expressions of approbation; that of Pinkerton being quite the reverse, although, as we think, singularly unjust.

The Portrait prefixed to this edition is a careful and accurate copy of the print given by Cadell and Davies, in their edition of 1800; respecting which they make the following statement:—"there is prefixed a portrait of the [ix] author, which has been finely engraved by Mr. Ryder, from a drawing which was made by Allan Ramsay, the poet's son; the original of which is now in the possession of A. F. Tytler, Esq., of Edinburgh."

In order that we may not be charged with negligence, we subjoin a list of all the editions of the "Gentle Shepherd" to which we have had access during the preparation of the present edition; with a few slight remarks as to the character of these editions.

Poems:—"Printed for the Author at the Mercury, opposite, to Niddry's Wynd;" 1 vol. medium 8vo. Edinburgh, 1720-1. This is, perhaps, the first collected edition. It contains exactly the same poems (though differently arranged) and glossary, as the subscription 4to. of 1721. It has the first scene of the Pastoral, and the 11th Song.

Poems:—"Printed by Mr. Thomas Ruddiman, for the Author." 2 vols. 4to. Edinburgh, 1721-28. This is the subscription and, probably, the "best edition." The 1st volume has the first scene of the Pastoral, and the 11th Song: the 2d volume has the Pastoral complete.

*Poems:—Millar, Rivington, and others; 2 vols. 12mo. London, 1761. A neat edition, containing exactly the same poems as that of 1721-28.

*Poems:—Phorson; cheap edition; 2 vols. 12mo. Berwick, 1793.

*Poems:—Cadell and Davies; 2 vols. 8vo. London, 1800. This edition is well printed, on good paper: it is commonly called the "best edition;" but, so far as the "Gentle Shepherd" is concerned, it is not so.

Poems and Proverbs:—Oliver and Co.; 3 vols. 18mo. Edinburgh, no date. Neat edition, with plates, and music to the Songs in the "Gentle Shepherd."

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Poems and Proverbs:—Chapman; 2 vols. 8vo. Philadelphia, 1813.

Poems:—Fairbairn and Anderson; 1 vol. 24mo. Edinburgh, 1819. Neat but abridged edition; with Life of Ramsay by Wm. Tennant, author of "Anster fair."

*Poems:—Fullarton and Co.; 3 vols. 12mo. London, 1850. A very neat edition; a reprint of that of 1800, with additions; appendix, &c.

Gentle Shepherd:—Printed by A. Foulis; 4to. Glasgow, 1788. An elegant and correct edition, with David Allan's plates, and the songs set to music.

Gentle Shepherd:—Geo. Reid and Co.; 8vo. Edinburgh, 1798. A very accurate edition, with 5 plates.

Gentle Shepherd:—A. Constable and Co., and others: printed by Abernethy and Walker; 2 vols. roy. 8vo. Edinburgh, 1808. One of the best editions, with many plates and an elaborate dissertation on the scenery, &c. Understood to have been edited by Robert Brown, Esq., advocate.

Gentle Shepherd:—Watt and Baillie, Leith: Printed by Jas. Ballantyne and Co.; Edinburgh. roy. 4to. 1808. A good edition, (with copies of David Allan's plates,) but the orthography much changed.

Gentle Shepherd:—Griffin and Co.; 32mo. Glasgow, 1828. In all the above editions, with the exception of those of 1788 and 1798, the orthography of the "Gentle Shepherd" is more or less changed from that of the original quarto of 1728. The editions marked thus (*) follow a different text of the "Gentle Shepherd" from that of the present edition. See the Notes.

[xi]

THE LIFE

OF

ALLAN RAMSAY.

Born 1686.—Died 1758.

Allan Ramsay, the restorer of Scottish Poetry, was born on the 15th day of October, 1686, at Leadhills, in the parish of Crawfordmoor, in Lanarkshire. His father, John Ramsay, superintended Lord Hopetoun's lead mines at that place; and his grandfather, Robert Ramsay, a writer or attorney in Edinburgh, had possessed the same appointment: his great-grandfather, Captain John Ramsay, was the son of Ramsay of Cockpen in Mid-Lothian, who was brother of Ramsay of Dalhousie. His mother, Alice Bower, was daughter of Allan Bower, a gentleman of Derbyshire, whom Lord Hopetoun had brought to Scotland to instruct and superintend his miners. His grandmother, Janet Douglas, was daughter of Douglas of Muthil. In his lineage, therefore, our Poet had something to boast of, and, though born to nae lairdship, he fails not to congratulate himself on being sprung from the loins of a Douglas. He did not long enjoy the blessing of paternal care and instruction; for, shortly after his birth, his father died, leaving the widow and family in a condition rather destitute. His

mother soon after married a Mr. Crichton, a petty landholder of the same county, by whom she had several children. Under these unfortunate circumstances, young Allan entered upon the [xii] career of life; and, for fourteen years he remained in the house of his stepfather, with no other education than was supplied by the school of the parish. Here, surrounded by wild and mountainous scenery, and amid an artless and secluded people, whose manners and language were of patriarchal simplicity, his childhood received those pastoral and Arcadian impressions, which were too lively to be effaced by future habits, however uncongenial, and of which he in his manhood, amid all the artificial life of the city, made so lively and fascinating a transcription.

Of his progress and attainments at school, we have no record. It does not appear that he read much poetry prior to his twentieth year; and his emulation, and ambitious thoughts, of which he says he had some, seem to have slumbered in inactivity, till they were awakened to unceasing exercise by the society and the excitements of Edinburgh.

To Edinburgh he was sent in his fifteenth year, when the felicity of his boyhood had been broken by the death of his mother. We have the assurance of undoubted testimony, that at that early age, when his mind was beginning to search about for the choice of a profession, his wishes were to be a painter; a circumstance too little known, and too little noticed by his biographers, but strongly indicative, in our opinion, of the aspirations of his youthful disposition. While yet in the country, he had been in the practice of amusing himself with copying such prints as he found in the books of his mother's house. This early predilection for an art kindred to that wherein he afterwards excelled, very likely followed bins through life, and led him to devote his son to that favourite study, from which he himself was so harshly precluded. For his stepfather, little consulting the inclination of young Allan, and wishing as soon as possible, and at any rate, to disencumber himself of the charge of his support, bound this nursling of the Muses apprentice to a wig-maker. Lowly as this

profession is, it has been vindicated by one of Ramsay's biographers into comparative dignity, by separating it from the [xiii] kindred business of barber, with which it is vulgarly, and too frequently confounded. Ramsay was never, it seems, a barber; his enemies never blotted him with that ignominy; his calling of "scull-thacker," as he himself ludicrously terms it, was too dignified to be let down into an equality with the men of the razor.

Thus from the beginning his business was with the heads of men. We know not on what authority it is asserted by some of his biographers, that he abandoned this profession on finishing his apprenticeship: he is called wig-maker in the parish record down to the year 1716; and we suspect he continued so till the year 1718, or 1719, for in one of Hamilton's letters to him, dated 24th of July, 1719, mention is made of his "new profession."

He was in 1712 induced, as one of his biographers observes, by the example of other citizens, to enter into the state of marriage. His wife's name was Christian Ross, daughter of a writer in Edinburgh, who brought him, year after year, a numerous family of three sons and five daughters. Of this family, Allan, the eldest, and the only son who survived him, inherited the genius of his father, and, having received a liberal education, became afterwards conspicuous as a scholar, and a painter.[3]

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About the year 1711 or 1712 our Poet seems first to have ventured into the regions of rhyme. The clubs and societies of Edinburgh had provoked in him this new passion, and his earliest effort, so far as is known, is an Address, supplicatory of admission, "To the most happy members of the Easy Club," a production bearing every mark of unskilfulness and juvenility. Of this club he was afterwards appointed poet-laureate, in which capacity he was wont to recite to that jolly fraternity his successive productions, for their criticisms and their applause.

Many of these poems were published in a detached form at a penny a-piece, and his name became by this means celebrated in the city. About the year 1716, and ere he relinquished his avocation of wig-maker, he published an edition of the excellent old poem of "Christ's Kirk on the Green," with a second canto by himself. Having thus associated himself in the walks of humour with the King of Scotland, he was induced, by the approbation which he gained, and the rapid sale of the book, to "keep a little more company with these comical characters," and to complete the story, by adding afterwards a third canto. This attempt was crowned with all the success he anticipated, and numerous editions of the work afforded him satisfactory proof, that, in the public opinion, he had not unworthily put himself into partnership with the royal humourist.[4]

Elevated by the distinction his productions had now procured him, and losing at last all liking to a business which was [xv] at utter variance with his ambition and darling amusements; he commenced bookseller, most probably in the year 1718, when he was in the thirty-second year of his age. This was a trade at once more congenial to his habits, and more likely to be lucrative, on account of his being already recommended by his authorship to the buyers of books. His first shop as a bookseller was in the High-street opposite to Niddry's-wynd, with the figure of Mercury for his sign. From this shop proceeded, in 1721, a collection of his various poems in one quarto volume, published by subscription, which contained every eminent name in Scotland. It was thus advertised in the Edinburgh Evening Courant: "The poems of Allan Ramsay, in a large quarto volume, fairly printed, with notes, and a complete glossary (as promised to the subscribers), being now finished; all who have generously contributed to carrying on of the design, may call

for their copies as soon as they please, from the author, at the Mercury, opposite to Niddry's-wynd, Edinburgh."

From the sale of this volume he realized 400 guineas, which was in those days a very considerable profit on a book of Scottish poetry. In 1722 he gave to the world his Fables and Tales; in the same year his tale of The Three Bonnets; and in 1724 his poem on Health. In January, 1724, he published the first volume of the Tea-table Miscellany, being a collection of Scottish and English songs; this volume was speedily followed by a second; [in 1727] by a third; [and some years afterwards by a fourth; all] under the same title. Hamilton of Bangour, and Mallet, assisted him by their lyrical contributions. Encouraged by the popularity of these books, he published, in October, 1724, the Evergreen, "a collection of Scots poems written by the ingenious before 1600." For the duties of an editor of such a work, it is generally agreed that Ramsay was not well fitted. For, neither had he a complete knowledge of the ancient Scottish language, nor was his literary conscience sufficiently tender and scrupulous to that fidelity, which is required by the office

of editor. He abridged, he varied, modernized, and superadded. In that collection first appeared under a feigned signature his [xvi] Vision, a poem, full of genius, and rich with Jacobitism, but disguising the author and his principles under the thin concealment of antique orthography.

At length appeared in 1725 his master-work, the Gentle Shepherd, of which two scenes had been previously printed, [the first] in 1721, under the title of Patie and Roger, and [the second] in 1723, under that of Jenny and Meggy. [In the quarto of 1721, there is likewise to be found (Sang XI.) the dialogue song between Patie and Peggy, afterwards introduced into the second act.] The reputation he had obtained by these detached scenes, and the admonitions of his friends, who perceived how easily and how happily they could be connected, induced him to re-model and embody them into a regular pastoral drama. Its success corresponded to his own hopes, and to his friends' anticipations. [In the following letter, (published for the first time by R. Chambers in his Scottish Biographical Dictionary, 1835,) it will be seen that he was engaged on this task in spring, 1724.