Bastion of Scottish Culture: Lady Carolina Nairne

Nairne’s poetic songs helped preserve the traditions of Scotland’s folk music.

A detail of Carolina Oliphant's portrait, circa 1818, by Sir John Watson Gordon. Scottish National Gallery, Edinburgh. Public Domain

“Everyone enjoys stories of double lives and secret identities,” writes poet Dana Gioia in his book “Can Poetry Matter?” When studying the life and work of Lady Carolina Nairne of Scotland (1766–1845), one quickly becomes delighted by mystery.

A skillful songwriter, Nairne not only penned some of the country’s beloved traditional compositions, she also helped preserve Scotland’s rich folk music history. Many of her lyrics were set to melodies of Scottish standards. But anonymity regarding her work was of utmost importance to her, and her vast contributions to the folk tradition only came to light after her death.

Her artistic contemporary, poet Robert Burns, is known as Scotland’s national poet. He is perhaps the country’s most important historic figure of the arts. But when analyzing those whose contributions created lasting cultural effects, Nairne’s poetic songs unequivocally make her the official runner-up.

‘The Flower of Strathearn’

Born Carolina Oliphant to parents Laurence and Margaret, Nairne’s interest in music was sparked at a young age. While attending a local fair, she came across a book featuring traditional folk songs and was shocked to find quite a few of the tunes’ words lacked modesty.

She then decided to update some of the songs with more appropriate language “in keeping with her deep Christian faith.” One song in particular, “The Pleughman,” or “plowman,” was embraced by locals after her brother performed her new rendition for audiences.

Carolina Nairne's sketch of her birthplace, the Auld House, featured in "Life and Songs of the Baroness Nairne," 1905. Internet Archive. Pubic Domain

Nairne’s beauty garnered her the nickname, “The Flower of Strathearn,” which honored the strath (river valley) of River Earn. The far-reaching river passes through Strathearn (located in Perthshire County) where Nairne’s native town of Gask is situated.

As she grew older, her family’s Jacobite background influenced her songwriting. The movement championed the restoration of power for the long-ruling Stuart dynasty, which had been exiled from Scotland. Due to her family’s support, her parents were temporarily exiled from their homeland as well. They returned to Gask, Scotland only a few years prior to their daughter’s birth.

Many of the traditional Scottish folk songs still sung today are performed according to the versions once written by the budding Flower of Strathearn.

A Songwriter Remains Hidden

In 1806, after a long courtship, Oliphant married William Murray Nairne, who would become Lord Nairne. The union meant the young bride would move from the quaint surroundings of her childhood home to the more upbeat daily life of Edinburgh. While there, she dutifully took on her new title as baroness.

A portrait of songwriter Carolina Oliphant, Lady Nairne, with her son William Murray Nairne, later soxth Lord Nairne, circa 1818, by Sir John Watson Gordon. Oil on canvas. National Galleries Scotland, Edinburgh. Public Domain

She spent a little more than two decades in Edinburgh. Though she penned many of her compositions in her hometown, she published much of her repertoire after moving.

For various reasons, she sought total anonymity regarding her songwriting. Some claim it was due to societal expectations of women at the time, her rank of nobility, or her faith, which cultivated piety not boastfulness. Others suggest it was because she had a clever sense of humor.

She often signed her works with the pseudonym “B.B.,” and, “on infrequent visits to her publisher, she dressed up as an old lady and adopted the pseudonym Mrs. Bogan of Bogan.”

After her music went to print, it became a topic of discussion. The news outlet The Times gives more insight on one such conversation:

“Oliphant refused to claim ownership of any of the 90 or so folk songs she wrote during her long life. So absolute was her silence over authorship that she once sat in a drawing room in Edinburgh as her friends discussed ‘The Land o’ the Leal,’ which she had written but which was then believed to have been written by Burns on his death bed. As she wrote at the time: ‘The parties could not decide why it never appeared in his [Burns’s] works, as his last song should have done. I never answered.’”

Nature as a Symbol for Life

One of her most famous songs, “The Rowan Tree,” has become a Scottish standard. For its coming-of-age story, she drew on nature as symbolic of life. Her lyrics offer a view into the melodic tone of old Scottish dialect. The phrase “nae mair” means “no more,” “gane” means “gone,” and “hame” means “home.”

Oh! there arose my father’s prayer In holy evening’s calm; How sweet was then my mother’s voice In the Martyr’s psalm! Now a'are gane! We meet nae mair Aneath the rowan tree, But hallowed thoughts around thee Turn o'hame and infancy. Oh! rowan tree.

It wasn’t until after her death in 1845 that her identity was revealed, and so many who had played and performed her beloved works could finally put a face to her pen name. One year after her passing, in 1846, a book of her songs was posthumously published, “Lays From Strathearn.” It was then that her talents were introduced to the world.

Signs of Immortality

Over the course of her lifetime, Lady Nairne wrote almost 100 songs. Much of her collection espouses a romantic view of her home country, and songs like “Charlie Is My Darling,” “The Hundred Pipers,” and “Will Ye No Come Back Again?” encapsulate the traditions of Scottish life.

"View of Strathearn Looking West," 19th century, by John Knox. Oil on canvas. Perth Art Gallery, UK. Public Domain

Her final song written at the age of 75, “Would You Be Young Again?,” finds her reminiscing about those who’ve gone before her. As she faces the reality of her own long journey, she writes, “Fly time, fly speedily,/ Come life and light.”

In 2019, musician and author Freeland Barbour published “The White Rose of Gask: The Life and Songs of Carolina Oliphant, Lady Nairne.” A descendant of the historic songwriter, he spoke to the spiritual nature of her songs and called Nairne’s ability with words and melody a “halo” around her.

Barbour’s biography is introducing new generations to one of Scotland’s preeminent writers and one of history’s unique and memorable stories. Barbour’s words highlight the legacy Nairne quietly left behind:

“Underpinning all her songwriting was the deep treasure trove of Scottish vernacular melody in all its particular richness, melodic and rhythmic strength and variety.”

After pointing out that her tireless efforts, “helped to reposition folk song and bring it from its folk tradition into an art tradition,” he shines a light on her character.

“Her innate character, kindness and consideration helped to mould further songs, a handful of which have been described as immortal and indeed show every sign of being so.”

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