Ca' the Yowes to the Knowes - Classic Text | Alexandria
Ca' the Yowes to the Knowes and Isobel Pagan (c.1741-1821)
"Ca' the Yowes to the Knowes" stands as one of Scotland's most cherished pastoral love songs, with its earliest known version attributed to Isobel Pagan, an 18th-century tavern keeper and folk poet from Ayrshire. The title, translated from Scots as "Drive the Ewes to the Hills," reflects the song's rustic origins and its celebration of pastoral Scottish life.
First documented in the late 18th century, the song emerged from the rich oral tradition of Scotland's lowlands during a period of significant cultural transformation. Isobel Pagan, born in New Cumnock, Ayrshire, around 1741, created and performed her verses despite being physically disabled and illiterate. She operated a small alehouse near Muirkirk, where she composed songs and poems that captured the attention of both local patrons and passing travelers, including potentially Robert Burns himself.
The song gained wider recognition when Robert Burns adapted and refined it in 1794, creating two versions that were published in James Johnson's "Scots Musical Museum" and George Thomson's "Select Collection." Burns's involvement has sometimes overshadowed Pagan's original authorship, though historical records confirm her as the song's creator. Her version, with its authentic pastoral imagery and emotional depth, offers a rare glimpse into the creative voice of a working-class woman in 18th-century Scotland.
Pagan's legacy extends beyond this single composition. Her collected works, published as "A Collection of Songs and Poems" in 1805, represents one of the few published works by a working-class woman of her era. The enduring popularity of "Ca' the Yowes to the Knowes" has ensured its place in the Scottish folk canon, with numerous recordings and performances continuing to this day. Modern interpretations often celebrate its dual heritage - both as a testament to Burns's literary craftsmanship and as a reminder of Pagan's remarkable achievement in creating lasting art despite significant social and physical constraints. The song remains a poignant example of how rural Scottish culture and creativity transcended class boundaries in the Age of Enlightenment.