Will Ye No Come Back Again Lyrics All for Scotland s King and Laws

This commodity is nearly the Scottish songwriter. For other uses, see Lady Nairne.

Carolina Oliphant, Baroness Nairne, 1766–1845. Songwriter. Portrait past John Watson Gordon, c. 1818.

Carolina Oliphant, Lady Nairne (16 August 1766 – 26 October 1845) – also known equally Carolina Baroness Nairn in the peerage of Scotland and Baroness Keith in that of the Britain^[1] – was a Scottish songwriter. Many of her songs, such as, "Will ye no' come back again?", "Charlie is my Darling" , "The Rowan Tree" and "Wi' a Hundred Pipers' remain popular today, almost 2 hundred years after they were written. One of her songs, "Caller Herrin'", was sung at the 2022 commemoration of the 1881 Eyemouth disaster.^[2] She usually set up her words to traditional Scottish folk melodies, simply sometimes contributed her own music.

Carolina Nairne and her contemporary Robert Burns were influenced by the Jacobite heritage in their establishment of a distinct Scottish identity, through what they both chosen national vocal. Possibly in the belief that her work would not be taken seriously if it were known that she was a adult female, Nairne went to considerable lengths to conceal her identity (fifty-fifty from her hubby) when submitting her work for publication. Early on she called herself Mrs Bogan of Bogan, merely feeling that gave besides much away she oft attributed her songs to the gender-neutral B.B., S.G.,^[a] or "Unknown".

Although both working in the aforementioned genre of what might today exist called traditional Scottish folksongs, Nairne and Burns display rather dissimilar attitudes in their compositions. Nairne tends to focus on an earlier romanticised version of the Scottish way of life, tinged with sadness for what is gone forever, whereas Burns displays an optimism nigh a better future to come.

Life and antecedents [edit]

Sketch by Nairne of her birthplace, the Auld Hoose, which was demolished in c. 1800^[3]

Carolina Oliphant was born at the Auld Hoose, Gask, Perthshire (her male parent's ancestral family home)^[4] on 16 August 1766. She was the 4th child of the 3 sons and 4 daughters of Laurence Oliphant (1724–1792), laird of Gask, and his wife Margaret Robertson (1739–1774); her female parent was the eldest daughter of Duncan Robertson of Struan, the principal of Clan Donnachie, which fought on the Jacobite side in the uprisings of 1715 and '45. Her male parent was also a staunch Jacobite, and she was given the name Carolina in memory of Prince Charles Edward Stuart.^[four]

Following the failure of the Jacobite rising of 1745 the Oliphant family^[ii] – forth with the Robertsons and the Nairnes – was accused of high treason, exiled to France, and their estates seized. The exiles remained in France for xix years, during which time Carolina'due south parents were married at Versailles, in 1755. The government eventually allowed the family unit's kinsmen to buy back part of the Gask manor, and the couple returned to Scotland two years before Carolina'southward nativity.^{[4] [5]} Her parents were cousins, both grandchildren of Lord Nairne,^[6] who had commanded the second line of the Jacobite army at the Battle of Prestonpans in 1745. Although he was sentenced to decease the post-obit year,^[7] he managed to escape to French republic, where he remained in exile until his death in 1770.

The upbringing of Carolina and her siblings reflected their male parent's Jacobite fidelity, and their everyday lives were filled with reminders that he considered the Stewarts to be the rightful heirs to the throne.^[viii] A governess was employed to ensure that the girls had a 'full education including music and art',^[2] and that they did not speak in a broad Scots dialect, as their father considered it unladylike.^[8] Full general tuition was provided by a local minister – the children's prayer books had the Hanoverian sovereign's names obscured by those of the Stewarts – and music and dance teachers were also engaged.^[iv] Delicate as a child, Carolina gradually developed into a genteel young woman, much admired by fashionable families;^[nine] she was well educated, able to pigment and an accomplished musician familiar with traditional songs.^[10]

As a teenager, Carolina was betrothed to William Murray Nairne,^[11] some other of Lord Nairne's grandchildren, who became the 5th Lord Nairne in 1824.^[four] Born in Ireland to a Jacobite family from Perthshire whose lands had also been forfeited,^[10] he regularly visited Gask.^[12] It was merely after he was promoted to the position of assistant inspector-general at a Scottish billet that the pair were married on ii June 1806.^[four] The couple settled in Edinburgh, where their merely son, also named William Murray Nairne (1808–1837), was born two years later.^[13] He was a sickly child and, following her husband'south expiry in 1830, Lady Nairne lived with her son in Ireland and on the continent.^{[iv] [xiv]} The change in climate was not as benign to his wellness as had been hoped; he died in Brussels in December 1837.^[15] Nairne returned to Gask in 1843, but following a stroke her wellness deteriorated; she died on 26 Oct 1845 and was cached in the family chapel.^[ten]

Songwriting [edit]

External video
"The Hundred Pipers", by Carolina Nairne, sung by Kenneth McKellar[xvi]
Will Ye No Come Back Again? sung by Ewan MacColl and Peggy Seeger[17]

Nairne began writing songs soon later her begetter'south death in 1792.^[iii] She was a contemporary of the all-time-known Scottish songwriter and poet Robert Burns. Although the two never met, together they forged a national song for Scotland, that in the words of Dianne Dugaw, Professor of English and Sociology at the University of Oregon, "lies somewhere between folk-vocal and art-song." For both, Jacobite history was a powerful influence.^[18] Nairne could read music and played the harpsichord, which allowed her to contribute some of her own tunes. Three tunes she almost certainly wrote are those to "Will Ye No Come Back Again", "The Rowan Tree", and "The Auld Firm", as no before printed versions have been institute.^[3]

What was probably her first composition – The Pleughman (ploughman) – may have been a tribute to Burns.^[three] Only like him, Nairne's songs were at get-go circulated by beingness performed, but her interest in Scottish music and song brought her into contact with Robert Purdie, an Edinburgh publisher. Purdie was gathering together "a drove of the national airs, with words suited for refined circles" to which Nairne contributed a significant number of original songs, all without attribution to her.^[4] The collection was published in vi volumes every bit The Scottish Minstrel from 1821 to 1824, with music edited past Robert Archibald Smith.^[four]

The majority of Nairne's more than 80 songs have Jacobitism as their backdrop, perhaps unsurprising given her family unit background and upbringing.^[4] Examples of the best known of such works include "Wha'll exist Rex but Charlie?" "Charlie is my darling", "The Hundred Pipers", "He's owre the Hills", and "Will ye no' come back once more?". In part she wrote such songs as a tribute to the mid-18th century struggles of her parents and grandparents, but the Jacobite influence in her piece of work runs deep. In "The Laird o' Cockpen", for instance, Nairne echoes the Jacobite distaste for the Whiggish displays and manners of the nouveau riche in postal service-Spousal relationship Scotland, as does the evocative "Caller Herrin'".^{[three] [b]}

Most of Nairne'due south songs were written before her marriage in 1806. She completed her last – "Would Ye Be Young Again?" – at the age of 75, adding a note in the manuscript that perhaps reveals much of her attitude to life: "The thirst of the dying wretch in the desert is nothing to the pining for voices which have ceased forever!" Indeed, her songs frequently focus on grief, on what tin can be no more than, and romanticise a traditional way of Scottish life. Her contemporary Burns, on the other paw, had an heart on a global future – "a brotherhood of working people 'the warld o'er' that's 'comin all the same'".^[3]

Anonymity [edit]

Nairne concealed her achievements as a songwriter throughout her life; they only became public on the posthumous publication of "Lays from Strathearn" (1846).^[4] She took pleasance in the popularity of her songs, and may have been concerned that this could be jeopardised if it became public cognition that she was a adult female. It also explains why she shortly switched from Mrs Bogan of Bogan to the gender-neutral BB when submitting her contributions to The Scottish Minstrel, and even disguised her handwriting. On one occasion, pressed by her publisher Purdie who wanted to meet his best contributor, she appeared disguised equally an elderly gentlewoman from the country. She succeeded in persuading Purdie that she was merely a conduit for the songs she gathered from elementary countryfolk, and non their author. Merely the entire editorial committee of the Minstrel – all of them female – was aware of her identity for instance, as were her sis, nieces and grandniece. On the other paw, she shared her hugger-mugger with very few men, not even her hubby; as she wrote to a friend in the 1820s "I have not told even Nairne lest he blab".^[3]

Consideration for her hubby may have been another of Nairne's motives for maintaining her anonymity. Despite his Jacobite family unit background he had served with the British Army since his youth, and it might have caused him some professional embarrassment if it had get widely known that his wife was writing songs in honour of the Jacobite rebels of the previous century. Somewhat testifying against that view however is that she maintained her secrecy for fifteen years afterward his expiry.^[iii]

References [edit]

Notes [edit]

1. ^ South.M. stands for Scottish Minstrel.
2. ^ Caller ways chilled, frozen.^[iii]

Citations [edit]

1. ^ "The Dowager Lady Nairne", The Illustrated London News, p. 315, 15 November 1845, retrieved 24 Jan 2018 – via British Paper Annal
2. ^ ^{a b c} MacPherson, Hamish (nine November 2021). "A look into the women of the Scottish Enlightenment". The National. p. 21. Archived from the original on 9 November 2021. Retrieved 22 Nov 2021.
3. ^ ^{a b c d east f thou h i} McGuirk, Carol (Summer 2006), "Jacobite History to National Vocal: Robert Burns and Carolina Oliphant (Baroness Nairne)", The Eighteenth Century, Academy of Pennsylvania Press, 47 (two/iii): 253–287, doi:10.1353/ecy.2007.0028, JSTOR 41468002, S2CID 162235375
4. ^ ^{a b c d e f yard h i j k} Donaldson, William (2004), "Oliphant, Carolina, Lady Nairne (1766–1845), songwriter", Oxford Lexicon of National Biography (online ed.), Oxford University Printing (Subscription or UK public library membership required.)
5. ^ "Sketch of Lady Nairne", Aberdeen Evening Express, no. 4353, p. iv, eight September 1894 – via British Newspaper Archive
6. ^ Thomson (1875), p. 190
7. ^ Robinson, Kristen (2004), "Nairne, John, styled third Lord Nairne and Jacobite 2nd earl of Nairne", Oxford Dictionary of National Biography (online ed.), Oxford University Press (Subscription or Uk public library membership required.)
8. ^ ^{a b} Fry (2014), p. 185
9. ^ Rogers (1869), pp. 30–31
10. ^ ^{a b c} Bold (2006), p. 286
11. ^ "A modest genius", The Akron Beacon Journal, vol. xxvii, no. 164, p. x, 18 June 1897
12. ^ Rogers (1869), p. 37
13. ^ "Carolina Oliphant, Lady Nairne, 1766–1845. Songwriter", Sir John Gordon Watson, National Galleries Scotland, archived from the original on 4 January 2018, retrieved 4 January 2018
14. ^ Tytler & Watson (1871), p. 140
15. ^ Tytler & Watson (1871), p. 143
16. ^ "Wi' a 100 Pipers (with lyrics) – Kenneth Mc Kellar", retrieved x January 2018 – via YouTube
17. ^ "Ewan MacColl & Peggy Seeger – Will Ye No Come Back Again?", retrieved 10 January 2018 – via YouTube
18. ^ Dugaw, Dianne (Summer 2006), "On the 'Darling Songs' of Poets, Scholars, and Singers: An Introduction", The Eighteenth Century, Academy of Pennsylvania Press, 47 (2/3): 97–113, doi:ten.1353/ecy.2007.0024, JSTOR 41467995, S2CID 44128864

Bibliography [edit]

• Assuming, Valentina (2006), Ewan, Elizabeth; Innes, Sue; Reynolds, Siân (eds.), The Biographical Dictionary of Scottish Women: From the Earliest Times to 2004, Edinburgh University Printing, ISBN978-0-7486-1713-five
• Fry, Michael (2014), A Higher World: Scotland 1707–1815, Birlinn, ISBN978-0-85790-832-two
• Rogers, Charles (1869), Life and Songs of the Baroness Nairne; with a memoir and poems of Caroline Oliphant the younger, Charles Griffin
• Thomson, Thomas (1875), "Nairn, Carolina", Biographical Dictionary of Eminent Scotsmen, vol. 2, Blackie & Sons
• Tytler, Sarah; Watson, J. 50. (1871), The Songstresses of Scotland, vol. 2, Strahan

External links [edit]

• Works past Carolina Nairne at LibriVox (public domain audiobooks)
• Works by Carolina Nairne at Open up Library

pagebasure.blogspot.com

Source: https://en.wikipedia.org/wiki/Carolina_Nairne

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