IN the autumn of 1792, Thomson planned his truly elegant and adventurous work, entitled: "A select Collection of original Scottish Airs, for the Voice: to which are added Introductory and Concluding Symphonies and Accompaniments for the Piano-forte and Violin, by Pleyel and Koseluck, with select and characteristic Verses by the most admired Scottish Poets;" and, as Burns was the only poet of that period worthy of the name, he was instantly applied to. He had contributed largely to the "Musical Museum" of Johnson, and was still composing for it: the work of Thomson presented something more worthy of his ambition, and he promised his aid with an enthusiasm and alacrity peculiar to himself. The songs were all to be published with the names of the authors; and, as the new lyrics were sure to be compared with those which they superseded, there was a twofold claim upon the Poet for his purest and happiest inusings.

"The undertaking of Thomson," says Currie, "is one on which the public may be congratulated in various points of view; not merely as having collected the finest of the Scottish songs and airs of past times, but as having given occasion to a number of original songs of our Bard, which equal or surpass the former efforts of the pastoral muses of Scotland; and which, if we mistake not, may be safely compared with the lyric poetry of any age or country. The letters of Burns to Thomson include the songs he presented to him, some of which appeared in different stages of their progress; and these letters will be found to exhibit occasionally his notions of song-writing, and his opinions on various subjects of taste and criticism. These opinions, it will be observed, were called forth by the observations of his correspondent; and without the letters of the latter, those of Burns would have been often unintelligible."

"The reasons which influenced Currie in printing the letters of Thomson along with those of the Poet are equally strong now. The opinions of Burns, though generally given spontaneously, were now and then forced from him by the criticisms of his friend: the former always thought and felt as a poet-the latter as a musician; one was chiefly solicitous about the weight of the sense-the other about the beauty

of the sound. The poetry which is written for music must, it is true, be measured in another way than that which is for perusal only. The emphatic notes of the music must find an echo in the emphatic words of the verse; and words soft and liquid are far fitter for ladies' lips than words rough and hissing. It is nevertheless certain that language at once emphatic and harmonious is not easily summoned into lyric verse: and it is quite as true that, in substituting a melodious for a harsher word, the sentiment is often crushed out by the experiment. A certain happiness of language as well as of thought is demanded by the lyric muse, and no one had this in greater perfection than Burns."-Cux

"To your request that I should furnish you with a few particulars respecting my personal history, I really know not well what to say, because my life has been too unimportant to merit much notice. It is in connection with National Music and Song, and my correspondence on that subject with Burns, chiefly, that I can have any reasonable hope of being occasionally spoken of. I shall therefore content myself with a brief sketch of what belongs to my personal history, and then proceed to the subject of Scottish Music and Burns.

"I was born at Limekilns, in Fife, about the year 1759, as I was informed, for I can scarce believe I am so old. My father taught a school there, and having been invited, in that capacity, to the town of Banff, he carried me thither in my very early years, instructed me in the elementary branches of knowledge, and sent me to learn the dead languages at what was called the grammar school. He had a hard struggle to maintain an increasing family, and, after trying some mercantile means of enlarging

his income, without success, he moved with his family to Edinburgh, when I was about seventeen. In a short time I got into a Writer to the Signet's office as a Clerk, and remained in that capacity with him, and another W.S., till the year 1780, when, through the influence of Mr. John Home, Author of Douglas,' with one of the Members of the Honourable Board of Trustees, I was recommended to that Board, and became their Junior Clerk. Not long after, upon the death of their Principal Clerk, I succeeded to his situation, Mr. Robert Arbuthnot being then their Secretary; under whom, and afterwards under Sir William, his son and successor, I have served the Board for upwards of half a century; enjoying their fullest confidence, and the entire approbation of both Secretaries, whose gentlemanly manners and kind dispositions were such, (for I never saw a frown on their brows, nor heard an angry word escape from their lips) that I can say, with heart-felt gratitude to their memory, and to all my superiors, in this the 58th year of my Clerkship, that I never have felt the word servitude to mean any thing in the least mortifying or unpleasant, but quite the reverse.

66 In my 25th year, I married Miss Miller, whose father was a Lieutenant in the 50th Regiment, and her mother the daughter of a most respectable gentleman in Berwick-shire, George Peter, Esq., of Chapel, and this was the wisest act of my life. She is happily still living, and has presented me with six daughters, and two sons, the elder of the two being now a Lieutenant-Colonel of Engineers, and the other an Assistant-Commissary-General.

"From my boyhood I had a passion for the sister arts of music and painting, which I have ever since continued to cherish, in the society of the ablest professors of both arts. Having studied the violin, it was my custom, after the hours of business, to con over our Scottish melodies, and to devour the choruses of Handel's oratorios; in which, when performed at St. Cecilia's hall, I generally took a part, along with a few other gentlemen, Mr. Alexander Wight, one of the most eminent counsel at the bar, Mr. Gilbert Innes, of Stow, Mr. John Russel, W.S., Mr. John Hutton, &c.; it being then not uncommon for grave amateurs to assist at the St. Cecilia concerts, one of the most interesting and liberal musical institutions that ever existed in Scotland, or indeed in any country. I had so much delight in singing those matchless chorusses, and in practising the violin quartettos of Pleyel and Haydn that it was with joy I hailed the hour when, like the young amateur in the good old Scotch song, I could hie me hame to my Cremona, and enjoy Haydn's admirable fancies.

'I still was pleas'd where'er I went, and when I was alone, I screw'd my pegs and pleas'd myself with John o' Badenyon.'

6

"At the St. Cecilia concerts I heard Scottish songs sung in a style of excellence far surpassing any idea which I previously had of their beauty, and that, too, from Italians, Signor Tenducci the one, and Signora Domenica Corri the other. Tenducci's 'I'll never leave thee,' and Braes of Ballenden,' and the Signora's Ewebughts, Marion,' and ' Waly, waly,' so delighted every hearer that in the most crowded room not a whisper was to be heard, so entirely did they rivet the attention and admiration of the audience. Tenducci's singing was full of passion, feeling, and taste; and, what we hear very rarely from singers, his articulation of the words was no less perfect than his expression of the music. It was in consequence of my hearing him and Signora Corri sing a number of our songs, so charmingly, that I conceived the idea of collecting all our best melodies and songs, and of obtaining accompaniments to them worthy of their merit.

"On examining with great attention the various collections on which I could by any means lay my hands, I found them all more or less exceptionable, a sad mixture of good and evil, the pure and the impure. The melodies in general were without any symphonies to introduce and conclude them; and the accompaniments (for the piano only) meagre and common-place :-while the verses united with the melodies were in a great many instances coarse and vulgar, the productions of a rude age, and such as could not be tolerated or sung in good society.

Many copies of the same melody both in print and manuscript, differing more or less from each other, came under my view: and after a minute comparison of copies, and hearing them sung over and over by such of my fair friends as I knew to be most conversant with them, I chose that set or copy of each air which I found the most simple and beautiful.

"For obtaining accompaniments to the Airs, and also Symphonies to introduce and conclude each air-a most interesting appendage to the airs that had not before graced any of the collections, I turned my eyes first on Pleyel, whose compositions were remarkably popular and pleasing: and afterwards, when I had resolved to extend my work into a complete collection of all the Airs that were worthy of preservation, I divided them in different portions, and sent them from time to time to Haydn, to Beethoven, to Weber, Hummell, &c., the greatest musicians then flourishing in Europe. These Artists, to my inexpressible satisfaction, proceeded con amore with their respective portions of the work, and in the Symphonies, which are original and characteristic creations of their own, as well as in their judicious and delicate accompaniments for the Piano-forte, and for the Violin, Flute, and Violoncello, they exceeded my most sanguine expectations, and

obtained the decided approval of the best judges. Their compositions have been pronounced by the Edinburgh Review to be wholly unrivalled for originality and beauty.

"The poetry became next the subject of my anxious consideration, and engaged me in a far more extensive Correspondence than I had ever anticipated, which occupied nearly the whole of my leisure for many years. For, although a small portion of the melodies had long been united with excellent songs, yet a much greater number stood matched with such unworthy associates as to render a divorce, and a new union, absolutely necessary.

"Fortunately for the melodies, I turned my eyes towards Robert Burns, who no sooner was informed of my plan and wishes, than, with all the frankness, generosity, and enthusiasm, which marked his character, he undertook to write whatever Songs I wanted for my work; but in answer to my promise of remuneration, he declared, in the most emphatic terms, that he would receive nothing of the kind! He proceeded with the utmost alacrity to execute what he had undertaken, and from the year 1792 till the time of his death, in 1796, I continued to receive his exquisitely beautiful compositions for the melodies I had sent him from time to time: and, in order that nothing should be wanting which might suit my work, he em- | powered me to make use of all the other songs that he had written for Johnson's Scots Musical Museum, &c. My work thus contains above One hundred and twenty of his inimitable songs; besides many of uncommon beauty that I obtained from Thomas Campbell, Professor Smyth, Sir Walter Scott, Joanna Baillie, and other admired Poets: together with the best songs of the olden time."

[The remainder of this communication, containing his defence against semi-anonymous slanderers, will be found at the close of the Correspondence.]

general to have depended on the music proving an excuse for the verses; and hence, some charming melodies are united to mere nonsense and doggerel, while others are accommodated with rhymes so loose and indelicate as cannot be sung in decent company. To remove this reproach would be an easy task to the author of the "Cotter's Saturday Night;" and, for the honour of Caledonia, I would fain hope he may be induced to take up the pen. If so, we shall be enabled to present the public with a collection, infinitely more interesting than any that has yet appeared, and acceptable to all persons of taste, whether they wish for correct melodies, delicate accompaniments, or characteristic verses.-We will esteem your poetical assistance a particular favour, besides paying any reasonable price you shall please to demand for it.— Profit is quite a secondary consideration with us, and we are resolved to spare neither pains nor expense on the publication. Tell me frankly, then, whether you will devote your leisure to writing twenty or twenty-five songs, suited to the particular melodies which I am prepared to send you. A few songs, exceptionable only in some of their verses, I will likewise submit to your consideration; leaving it to you either to mend these, or make new songs in their stead. It is superfluous to assure you that I have no intention to displace any of the sterling old songs; those only will be removed which appear quite silly, or absolutely indecent. Even these shall be all examined by Mr. Burns, and, if he is of opinion that any of them are deserving of the music, in such cases no divorce shall take place.

Relying on the letter accompanying this, to be forgiven for the liberty I have taken in addressing you, I am, with great esteem, Sir, your most obedient humble servant, G. THOMSON.

No. II.

No. I.

G. THOMSON TO BURNS.

Edinburgh, September, 1792.

SIR: FOR some years past I have, with a friend or two, employed many leisure hours in selecting and collating the most favourite of our national melodies for publication. We have engaged Pleyel, the most agreeable composer living, to put accompaniments to these, and also to compose an instrumental prelude and conclusion to each air, the better to fit them for concerts, both public and private. To render this work perfect, we are desirous to have the poetry improved, wherever it seems unworthy of the music; and that it is so, in many instances, is allowed by every one conversant with our musical collections. The editors of these seem in

I HAVE just this moment got your letter. As the request you make to me will positively add to my enjoyments in complying with it, I shall enter into your undertaking with all the smail portion of abilities I have, strained to their utmost exertion by the impulse of enthusiasm.Only, don't hurry me: "Deil tak the hindmost" is by no means the cri de guerre of my muse. Will you, as I am inferior to none of you in enthusiastic attachment to the poetry and music of old Caledonia, and, since you request it, have cheerfully promised my mite of assistance-will you let me have a list of your airs with the first line of the printed verses you intend for them, that I may have an opportunity of suggesting any alteration that may

occur to me? You know 'tis in the way of my trade; still leaving you, gentlemen, the undoubted right of publishers to approve or reject, at your pleasure, for your own publication.Apropos! if you are for English verses, there is, on my part, an end of the matter. Whether in the simplicity of the ballad, or the pathos of the song, I can only hope to please myself in being allowed at least a sprinkling of our native tongue. English verses, particularly the works of Scotsmen, that have merit, are certainly very eligible. "Tweedside!""Ah! the poor shepherd's mournful fate!"-"Ah! Chloris, I could I now but sit," &c. you cannot mend :but such insipid stuff as "To Fanny fair could I impart," &c., usually set to "The Mill, Mill, O" is a disgrace to the collections in which it has already appeared, and would doubly disgrace a collection that will have the very superior merit of yours. But more of this in the farther prosecution of the business, if I am called on for my strictures and amendments -I say amendments; for I will not alter except where I myself, at least, think that I amend.

As to any remuneration, you may think my songs either above or below price; for they shall absolutely be the one or the other. In the honest enthusiasm with which I embark in your undertaking, to talk of money, wages, fee, hire, &c., would be downright prostitution of soul! A proof of each of the songs that I compose or amend, I shall receive as a favour. In the rustic phrase of the season, "Gude speed the wark !" I am, Sir, your very humble servant, R. BURNS.

P. S.-I have some particular reasons for wishing my interference to be known as little as possible.

["At the time of the commencement of this correspondence, Scottish songs were but little regarded. Ramsay's Miscellany was deformed by innumerable vulgarities: Herd's collection, though curious, was chiefly interesting to the antiquary; and Johnson's Museum, great as its merits were, both in verse and music, had not become popular. Thomson perceived this, and set about supplying the deficiency with considerable taste and skill. His chief ally was Burns. In music Pleyel ranks high, but no one can help feeling that his symphonies and accompaniments now and then encumber the music they were intended to adorn. The extreme simplicity of our northern airs is hurt by these embellishments, as a Doric temple would be injured by a Corinthian portico, or the Venus de Medici with bracelets of gold and diamonds on her arms, and drops at her ears."CUNNINGHAM.]

No. III.

G. THOMSON TO BURNS. Edinburgh, 13th Oct. 1792.

DEAR SIR:

I RECEIVED, with much satisfaction, your pleasant and obliging letter, and I return my warmest acknowledgments for the enthusiasm with which you have entered into our undertaking. We have now no doubt of being able to produce a collection highly deserving of public attention in all respects.

I

agree with you in thinking English verses, that have merit, very eligible, wherever new verses are necessary; because the English becomes, every year, more and more the language of Scotland; but if you mean that no English verses, except those by Scottish authors, ought to be admitted, I am half inclined to differ from you. I should consider it unpardonable to sacrifice one good song in the Scottish dialect, to make room for English verses; but, if we can select a few excellent ones suited to the unprovided or ill-provided airs, would it not be the very bigotry of literary patriotism to reject such, merely because the authors were born south of the Tweed? Our sweet air, "My Nannie, O," which in the collections is joined to the poorest stuff that Allan Ramsay ever wrote, beginning, "While some for pleasure pawn their health," answers so finely to Dr. Percy's beautiful song, "O Nancy, wilt thou go with me," that one would think he wrote it on purpose for the air. However, it is not at all our wish to confine you to English verses: you shall freely be allowed a sprinkling of your native tongue, as you elegantly express moreover, we will patiently await your own time. One thing only I beg, which is, that however gay and sportive the muse may be, she may always be decent. Let her not write what beauty would blush to speak, nor wound that charming delicacy which forms the most precious dowry of our daughters. I do not conceive the song to be the most proper vehicle for witty and brilliant conceits: simplicity, I believe, should be its prominent feature; but, in some of our songs, the writers have confounded simplicity with coarseness and vulgarity; although between the one and the other, as Dr. Beattie well observes, there is as great a difference as between a plain suit of clothes and a bundle of rags. The humorous ballad, or pathetic complaint, is best suited to our artless melodies; and more interesting, indeed, in all songs, than the most pointed wit, dazzling descriptions, and flowery fancies.

it;

and

With these trite observations, I send you eleven of the songs, for which it is my wish to substitute others of your writing. I shall soon transmit the rest, and, at the same time, a