estates. To the very last they maintained their Jacobite principles, and would acknowledge no King but "the one over the water," for whom they nightly prayed, and cherished their recollections of him in the household with the most fervent devotion. Before Carolina saw the light, the supreme desire of the parents was that the little Oliphant which was expected should turn out to be a boy so that he might be named Charles, and she used to say her parents had never forgiven her for having been born a girl. Hope was only deferred, however, for two boys were subsequently born, and for the mere accident of birth the young woman who was to justify her existence in the world as a gifted songstress was freely forgiven. In the atmosphere of Gask House, with its Jacobite stories and Highland legends, our authoress was born and reared. When about eight years old Carolina's mother died, leaving the Laird with six young children. Thus early our authoress was thrown upon her own resources, but her father, the Laird, was a man of superior character and accomplishments, and gave much attention to the rearing and education of his children. To boys and girls alike a wide range of reading was permitted, to which was added music and dancing-particularly Scots songs and Scots reel dancing, which was in great vogue at that time. At this time, too, Neil Gow, the famous Scots fiddler, was a wellknown figure at country balls, harvest homes, and fashionable weddings, and the visit of Neil Gow and his violin to Strathearn was an event the young people looked forward to with the most joyful anticipations. Carolina was by far the most musical of the family, but so well was the secret kept that her nearest and dearest friends would never have accused her of song-writing. For forty years she resided in the old house at Gask with her brother Larence, the new laird, and his wife, whom he married in 1795. Carolina from her early youth possessed a deep religious spirit, but she now became more pious and devout than ever. Although much of the religious sentiment of the time was opposed to the "profane art of writing poetry" her piety did not interfere with her passion for song, especially the songs of her beloved country. To the outside world it was not generally known that there had long been an engagement between her and her half-cousin, Captain Nairne, though at forty she was still unmarried. Captain Nairne was Irish by birth, but was connected with the Scottish family of the Perthshire Nairnes, and heir at his brother's death to the Nairne peerage, the civil rights of which had been revoked at the Jacobite Rebellion of 1715. Consequently Captain Nairne was in impecunious circumstances till the year 1806, when he was promoted to the brevet rank of Major, and obtained the appointment of Assistant Inspector-General of Barracks in Scotland, when he was able to marry and make Carolina Oliphant Lady Nairne. Both she and her husband were slightly acquainted with Sir Walter Scott, and by one of his great acts of kindness he exercised his influence in improving the fortune of the Nairne's. When George IV. visited Edinburgh in 1822 Scott suggested to him that the restoration of the forfeited Jacobite families might be one of the gracious acts of his reign, the result being that a Bill for the purpose received the Royal Assent in 1824. Thus at the age of sixty-seven Major Nairne became Baron Nairne of Nairne, and his wife at the age of fifty-eight Baroness Nairne. Unfortunately the new distinction was enjoyed only a few years by Lord Nairne, for he died in 1830, six years afterwards, at the age of seventy-three. His death brought changes in the domestic sphere, the most important of which was that it severed for a time Lady Nairne's connection with Edinburgh. She removed to the south of England, thence to Ireland, and, four years afterwards, to the Continent for the benefit of her son's health, then a young man of twentysix. He never recovered, and died at Brussels in the thirtieth year of his age. Lady Nairne continued to live abroad a little longer, but returned to Scotland in 1843, and took up her residence at Gask House once more, where she remained till her death, two years afterwards. To all who knew anything of her personality, the piety and devotion of her life was well known. The foreign waiting-maid who was long in her service declared "that her mistress was as near to the angel as human weakness might permit." The secret of Lady Nairne's authorship was all but buried in the grave with her; not even her husband to his dying day had the least suspicion that she was a song-writer, or indulged in any literary exercises whatever. Nevertheless, some of the songs must have been sung for half a century at least, and were referred to and admired as compositions of the most conspicuous genius. When Burns was in the heyday of his fame, Lady Nairne must have written her first lyrical piece, entitled "The Ploughman," which was composed to be sung by her brother at a dinner of the Gask tenantry. It was greatly appreciated by all present, and it was afterwards circulated by the brother of its author, but with the precaution that the name of its author should not be revealed. This same song was much appreciated by Burns, who had now become lyrical critic, and was using his utmost endeavours to improve and reform Scottish song by providing new words for old airs which needed refining and purifying. At the commencement of her poetical efforts Carolina Oliphant dces not appear to have been a fertile genius, for there is nothing to show that she wrote anything further till 1797, the year after the death of Burns, when she was in the thirty-second year of her age. Then came the song that touched every true lover of song to their most sensitive depths, "The Land o' the Leal." This beautiful lyric came to be attributed to Burns, composed, it was asserted, on his death-bed, and subsequently printed in editions of his works. As this song first came from the pen of Lady Nairne, it 66 was supposed to be the address of a dying wife to her husband, and read “I'm wearin' awa, John.” In spite of the more popular substitution of Jean," the second stanza is in favour of the poem being the address of a dying wife to her husband "Our bonnie bairn's there, John, She was baith guid and fair, John, This song, though perhaps the best example of Lady Nairne's lyrical productions, is by no means her only one As a matter of fact, there are some ninety-eight in all which are said to be the productions of her genius, and between twenty and thirty of these are of high poetic merit, while nine at least approach the highest lyrical excellence. In 1821, well nigh a quarter of a century before she died, she entered into a compact with a small committee of other Edinburgh ladies, all sworn to secrecy, to contribute to a collection of national airs called The Scottish Minstrel, under the nom de plume of "B.B.," or Mrs Bogan of Bogan. The Scottish Minstrel was issued by Herbert Purdie, a music publisher in the city, and was completed in six volumes in 1824, the same year as our authoress became Baroness Nairne. It was not till 1846, the year after Lady Nairne died, that the long-kept secret was revealed. In that year her sister, Mrs Keith, thought there was no further need of concealing the authorship, and the disclosure astonished the whole literary world of Edinburgh, where the quiet, pious, unassuming lady had been so well known and respected. The songs were published in a thin folio, bearing the title, Lays from Strathearn: Carolina Baroness Nairne, Author of The Land o' the Leal,' &c.; Arranged with Symphonies and Accompaniments for the Pianoforte by Finlay Dun." In a subsequent edition several pieces that had been omitted were included, and Dr Charles Rogers brought out a still 6 more complete edition in 1869, while another was brought out by the Rev. George Henderson, M.A., B.D., thus reaching a fourth edition in 1906. 66 66 Although the Jacobite songs of Lady Nairne are her most spirited compositions-for intance, “Charlie's Landing," "Wha'll be King but Charlie?" "Charlie is my Darling," and "Will ye no come back again?"—she could sing well on other themes. Among her songs of character and incident we have "The Auld Hoose,' The Rowan Tree," Caller Herrin'," and John Tod." Among songs of thought and sentiment, where can "The Land o' the Leal," already alluded to, be excelled, while her love songs have a fascination all their own. Among these may be mentioned The Laird Kind Robin lo'es me," and "True Love is water'd aye wi' tears." o' Cockpen," 66 66 Lady Nairne's power in drawing from actual life is exemplified in many of her pieces, but in few is it better illustrated than in Caller Herrin'," which has immortalised the fisherwomen of the Forth. This song was composed for the benefit of the son of Neil Gow, the celebrated Scottish violinist, previously mentioned. The fortunes of Nathaniel Gow had fallen on evil days, and he had become reduced to extreme poverty. To assist him Lady Nairne sent him 66 Caller Herrin' anonymously for his benefit through an Edinburgh friend. "The Lass o' Gowrie," usually found among the collected songs of Lady Nairne, was originally written by William Reid, a Glasgow bookseller with musical and poetical tastes, whose shop was frequented by Robert Burns, John Galt, and other literary contemporaries. In Reid's version an incongruity occurs in his heroine, "Kate o' Gowrie," which obviously marred the sense of the song. The incongruity was adjusted by Lady Nairne, and in that sense the song was improved; but it must be admitted that Reid's verses 2 and 3 are superior in sentiment |