Page 33. I. LOVE : PERSONAL
No. 34. Now Spring has clad the grove in green.
(Tune unknown.)
* * *
Now Spring has clad the grove in green,
And strew'd the lea wi' flowers;
The furrow'd, waving corn is seen
Rejoice in fostering showers;
While ilka thing in Nature join
Their sorrows to forego,
O, why thus all alone are mine
The weary steps o' woe!
The trout within yon wImpling burn
That glides, a silver dart,
And, safe beneath the shady thorn,
Defies the angler's art—
My life was ance that careless stream,
That wanton trout was I,
But love wi' unrelenting beam
Has scorch'd my fountains dry.
The little floweret's peaceful lot,
In yonder cliff that grows,
Which, save the linnet's flight, I wot,
Nae ruder visit knows,
Was mine, till love has o'er me past,
And blighted a' my bloom ;
And now beneath the withering blast
My youth and joy consume.
The waken'd laverock warbling springs,
And climbs the early sky,
Winnowing blythe his dewy wings
In morning's rosy eye;
As little reck't I sorrow's power
Until the flowery snare
O' witching love in luckless hour
Made me the thrall o' care!
O, had my fate been Greenland snows
Or Afric's burning zone,
Wi' man and Nature leagu'd my foes,
So Peggy ne'er I'd known!
The wretch whase doom is, ' Hope nae mair,'
What tongue his woes can tell,
Within whase bosom, save despair,
Nae kinder spirits dwell.
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Source: «traditionalmusic.co.uk»
Page 363. I. LOVE-SONGS : PERSONAL
No. 34. Now Spring has clad the grove in green. Thomson's Scotish Airs, 1799, pi. 'Written for this work by Robert Burns.' The MS. is in the Thomson Collection. This address of condolement with Alexander Cunningham is on the same subject as the preceding song. Burns intended Stephen Clarke to compose for the verses, but nothing came of it, and the song has no original melody. Thomson obtained a copy of the verses in the beginning of August, 1795, and published them with, the old tune of Auld lang syne, disguised under a new title, The hopeless lover, which he lifted bodily from the Scots Musical Museum. There is no doubt about the source, because Johnson's setting of the tune is considerably different from all previous copies. Thomson did precisely the same thing with the popular tune, O, can ye labour lea for Burns's Auld lang syne.
Source: «traditionalmusic.co.uk»