"So, we'll go no more a roving" is a poem, written by (George Gordon) Lord Byron (1788–1824), and included in a letter to Thomas Moore on 28 February 1817. Moore published the poem in 1830 as part of Letters and Journals of Lord Byron.
It evocatively describes the fatigue of age conquering the restlessness of youth. Byron wrote the poem at the age of twenty-nine.
In the letter to Thomas Moore, the poem is preceded by an account of its genesis. "At present, I am on the invalid regimen myself. The Carnival--that is, the latter part of it, and sitting up late o' nights--had knocked me up a little. But it is over--and it is now Lent, with all its abstinence and sacred music... Though I did not dissipate much upon the whole, yet I find 'the sword wearing out the scabbard,' though I have but just turned the corner of twenty nine."
The poem seems to have been suggested in part by the refrain of a Scottish song known as "The Jolly Beggar." The Jolly Beggar was published in Herd's "Scots Songs" in 1776, 41 years before Byron's letter, and goes partially thus:
He took the lassie in his arms, and to bed he ran,
O hooly, hooly wi' me, Sir, ye'll waken our goodman!
And we'll go no more a roving
Sae late into the night,
And we'll gang nae mair a roving, boys,
Let the moon shine ne'er sae bright.
And we'll gang nae mair a roving.
The poem appears as "Go No More A-Roving" on the 2004 Leonard Cohen album, Dear Heather. It has been recorded by Ariella Uliano on her 2009 album 'A.U. (almost) a Compilation'. It was also recorded by Joan Baez on her 1964 Joan Baez/5 album, and by Mike Westbrook on his 1998 The Orchestra of Smith's Academy album. Richard Dyer-Bennet recorded his own setting, with slightly altered text, on the 1955 album "Richard Dyer-Bennet 1". The poem is also a centerpiece of "...And The Moon Be Still As Bright" f
rom Ray Bradbury's novel, The Martian Chronicles.
The poem serves as a basis for the chorus of the song "The Jolly Beggar" as recorded by the traditional Irish band Planxty, as well as the basis for the love leitmotif in Patrick Doyle's score for the film Mary Shelley's Frankenstein, where it is fully realized in the track, "The Wedding Night". The poem is also featured in John Wyndham's post-holocaust book, The Day of the Triffids, where it occurs when a blinded pianist commits suicide.
The first line is a sub theme to the Dark Autumn episode of Midsomer Murders.
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