style of beautiful simplicity, the passions and may be considered as a Scottish pastoral, is the affections of rural life are finely portrayed, and happiest of all his productions, and certainly the heart is pleasingly interested in the happi- was the archetype of the Cotter's Saturday ness that is bestowed on innocence and virtue. Night. Fergusson, and more especially Burns, Throughout the whole there is an air of reality have shown, that the character and manners of which the most careless reader cannot but per- the peasantry of Scotland, of the present times, ceive; and in fact no poem ever perhaps ac-are as well adapted to poetry, as in the days of quired so high a reputation, in which truth re- Ramsay, or of the author of Christis Kirk of ceived so little embellishment from the imagina- the Grene. tion. In his pastoral songs, and his rural tales, The humour of Burns is of a richer vein than Ramsay appears to less advantage, indeed, but that of Ramsay or Fergusson, both of whom, as still with considerable attraction. The story of he himself informs us, he had "frequently in his the Monk and the Miller's Wife, though some-eye, but rather with a view to kindle at their what licentious, may rank with the happiest flame, than to servile imitation." His descripproductions of Prior or La Fontaine. But when tive powers, whether the objects on which they he attempts subjects from higher life, and aims are employed be comic or serious, animate, or at pure English composition, he is feeble and inanimate, are of the highest order.-A supeuninteresting, and seldom even reaches medio-riority of this kind is essential to every species crity. Neither are his familiar epistles and of poetical excellence. In one of his earlier elegies in the Scottish dialect entitled to much poems his plan seems to be to inculcate a lesson approbation. Though Fergusson had higher of contentment on the lower classes of society, powers of imagination than Ramsay, his genius by showing that their superiors are neither was not of the highest order; nor did his learn-much better nor happier than themselves; and ing, which was considerable, improve his ge- this he chooses to execute in the form of a dianius. His poems written in pure English, in logue between two dogs. He introduces this which he often follows classical models, though dialogue by an account of the persons and chasuperior to the English poems of Ramsay, sel- racters of the speakers. The first, whom he dom rise above mediocrity; but in those com- has named Cæsar, is a dog of condition:posed in the Scottish dialect he is often very Showed him the gentleman and scholar." High-bred though he is, he is however full of condescension: "At kirk or market, mill or smiddie, Nae tawted tyke, tho' e'er sae duddie, The other, Luath, is a "plougman's-collie," but a cur of a good heart and a sound understanding. "His honest, sonsie, baws'nt face, successful. He was, in general, however, less" His locked, letter'd, braw brass collar, happy than Ramsay in the subjects of his muse As he spent the greater part of his life in Edinburgh, and wrote for his amusement in the intervals of business or dissipation, his Scottish poems are chiefly founded on the incidents of a town life, which, though they are not susceptible of humour, do not admit of those delineations of scenery and manners, which vivify the rural poetry of Ramsay, and which so agreeably amuse the fancy and interest the heart. The town eclogues of Fergusson, if we may so denominate them, are however faithful to nature, and often distinguished by a very happy vein of humour. His poems entitled The Daft Days, The King's Birth-day in Edinburgh, Leith Races, and The Hallow Fair, will justify this character. In these, particularly in the last, he imitated Christis Kirk of the Grene, as Ramsay had done before him. His Address to the Tron-kirk Bell is an exquisite piece of humour, which Burns has scarcely excelled. In appreciating the genius of Fergusson, it ought to be recollected, that his poems are the careless effu- Never were twa dogs so exquisitely delineatsions of an irregular though amiable young man, ed. Their gambols, before they sit down to who wrote for the periodical papers of the day, moralize, are described with an equal degree of and who died in early youth. Had his life been happiness; and through the whole dialogue, prolonged under happier circumstances of for-the character, as well as the different condition tune, he would probably have risen to much of the two speakers, is kept in view. The higher reputation. He might have excelled in speech of Luath, in which he enumerates the rural poetry, for though his professed pastorals comforts of the poor, gives the following acon the established Sicilian model, are stale and count of their merriment on the first day of the uninteresting, The Farmer's Ingle, which year: Aye gat him friends in ilka place; The farmer's fire-side. "That merry day the year begins, They bar the door on frosty winds. The nappy reeks wi' mantling ream, Freedom and Whisky gang thegither, Of this union of humour, with the higher powers of imagination, instances may be found in the poem entitled Death and Dr. Hornbook, and in almost every stanza of the Address to the Deil, one of the happiest of his productions, After reproaching this terrible being with all his " doings" and misdeeds, in the course of which he passes through a series of Scottish "But, fare ye weel, auld Nickie-ben! Still ha'e a stake I'm wae to think upo' yon den Of all the animals who have moralized on human affairs since the days of Æsop, the dog seems best entitled to this privilege, as well from superstitions, and rises at times into a high his superior sagacity, as from his being, more livered in a tone of great familiarity, not altostrain of poetry; he concludes this address, dethan any other, the friend and associate of man. The dogs of Burns, excepting in their talent for gether unmixed with apprehension, in the folmoralizing, are downright dogs. The "twa lowing words: dogs" are constantly kept before our eyes, and the contrast between their form and character as dogs, and the sagacity of their conversation, heightens the humour, and deepens the impression of the poet's satire. Though in this poem the chief excellence may be considered as humour, yet great talents are displayed in its composition the happiest powers of description and the deepest insight into the human heart. It is seldom, however, that the humour of Burns appears in so simple a form. The liveliness of his sensibility frequently impels him to introduce into subjects of humour, emotions of tenderness or of pity; and, where occasion admits, he is sometimes carried on to exert the higher powers of imagination. In such instances he leaves the society of Ramsay and of Fergusson, and associates himself with the masters of English poetry, whose language he frequently as sumes. Of the union of tenderness and humour, ex Ev'n for your sake! Humour and tenderness are here so happily intermixed, that it is impossible to say which preponderates. Fergusson wrote a dialogue between the This probably suggested to Burns his dialogue Causeway and the Plainstones,* of Edinburgh. between the Old and New Bridge over the river Ayr. The nature of such subjects requires that has attempted nothing beyond this. Though they shall be treated humorously, and Fergusson the Causeway and the Plainstones talk together, no attempt is made to personify the speakers. In the dialogue between the Brigs of Ayr, amples may be found in The Death and Dying the poet, Words of poor Mailie, in The auld Farmer's press'd by care," or " inspired by New-Year's Morning Salutation to his Mare whim," had left his bed in the town of Ayr, Maggie, and in many other of his poems. The and wandered out alone in the darkness and sopraise of whisky is a favourite subject with litude of a winter night, to the mouth of the Burns. To this he dedicates his poem of river, where the stillness was interrupted only Scotch Drink. After mentioning its cheering by the rushing sound of the influx of the tide. influence in a variety of situations, he describes, with singular liveliness and power of fancy, its stimulating effects on the blacksmith working at his forge: Nae mercy, then, for airn or steel; Again, however, he sinks into humour, and concludes the poem with the following most laughable, but most irreverent apostrophe : "Scotland, my auld, respected mither! Though whyles ye moistify your leather, "Till where you sit, on craps o' heather, Ye tine your dam; had struck two, and the sound had been re- "The chilly frost, beneath the silver beam, Crept, gently-crusting, o'er the glittering stream.” In this situation, the listening bard hears the "clanging sugh" of wings moving through the air, and speedily he perceives two beings, reared, the one on the Old, the other on the New Bridge, whose form and attire he describes, and whose conversation with each other he rehearses. These genii enter into a comparison of the respective edifices over which they preside, and afterwards, as is usual between the old and young, compare modern characters and manners with those of past times. They differ, as may be ex • Plains o tes-ide.pavement. pected, and taunt and scold each other in broad Scotch. This conversation, which is certainly humorous, may be considered as a proper business of the poem. As the debate runs high, and threatens serious consequences, all at once it is interrupted by a new scene of wonders: "all before their sight cluded his Dedication to G. H. Esq. discover, like his other writings, the powers of a superior understanding. They display deep insight into human nature, a gay and happy strain of reflection, great independence of sentiment, and generosity of heart. The Halloween of Burns is free from every objection. It is interesting not merely from its humorous description of manners, but as it records the spells and charms used on the celebration of a festival, now, even in Scotland, falling into neglect, but which was once observed over the greater part of Britain and Ireland. These charms are supposed to afford an insight into futurity, especially on the sub A fairy train appear'd in order bright; The Genius of the Stream in front appears, Next follow a number of other allegorical beings, among whom are the four seasons, Rural Joy, Plenty, Hospitality, and Courage. "Benevolence, with mild benignant air, A female form, came from the tow'rs of Stair: To rustic Agriculture did bequeath The broken iron instrument of Death; At sight of whom our Sprites forgat their kindling wrath." rural life. In the Halloween, a female, in performing one of the spells, has occasion to go out by moonlight to dip her shift-sleeve into a stream running towards the South. It was not necessary for Burns to give a description of this stream. But it was the character of his ardent mind to pour forth not merely what the occasion required, but what it admitted; and the temptation to describe so beautiful a natural object by moonlight, was not to be resisted "Whyles owre a linn the burnie plays, As through the glen it wimpl't; Wi' bickering dancing dazzle; Those who understand the Scottish dialect This poem, irregular and imperfect as it is, will allow this to be one of the finest instances displays various and powerful talents, and may of description which the records of poetry afford. serve to illustrate the genius of Burns. In par- In pastoral, or, to speak more correctly, in ticular, it affords a striking instance of his being rural poetry of a serious nature, Burns excelled carried beyond his original purpose by the pow-equally as in that of a humorous kind, and, using ers of imagination. less of the Scottish dialect in his serious poems, In Fergusson's poem, the Plainstones and he becomes more generally intelligible. It is difCauseway contrast the characters of the differ-ficult to decide whether the Address to a Mouse ent persons who walked upon them. Burns whose nest was turned up with the plough, should probably conceived, that, by a dialogue between be considered as serious or comic. Be this as the Old and New Bridge, he might form a hu- it may, the poem is one of the happiest and morous contrast between ancient and modern most finished of his productions. If we smile manners in the town of Ayr. Such a dialogue at the "bickering brattle" of this little flying could only be supposed to pass in the stillness of night; and this led our poet into a description of a midnight scene, which excited in a high degree the powers of his imagination. During the whole dialogue the scenery is present to his fancy, and at length it suggests to him a fairy dance of aerial beings, under the beams of the moon, by which the wrath of the Genii of the Brigs of Ayr is appeased. Incongruous as the different parts of this poem are, it is not an incongruity that displeases; and we have only to regret that the poet did not bestow a little pains in making the figures more correct, and in smoothing the versification. The epistles of Burns, in which may be in animal, it is a smile of tenderness and pity. The descriptive part is admirable: the moral reflections beautiful, and arising directly out of the occasion; and in the conclusion there is a deep melancholy, a sentiment of doubt and dread, that arises to the sublime. The Address to a Mountain Daisy, turned down with the plough, is a poem of the same nature, though somewhat inferior in point of originality, as well as in the interest produced. To extract out of incidents so common, and seemingly so trivial as these, so fine a train of sentiment and imagery, is the surest proof, as well as the most brilliant triumph, of original genius. The Vision, in two cantos, from which a beautiful extract is taken by Mr The nappy reeks wi' mantling ream, Of all the animals who have moralized on human affairs since the days of Esop, the dog seems best entitled to this privilege, as well from his superior sagacity, as from his being, more than any other, the friend and associate of man. The dogs of Burns, excepting in their talent for moralizing, are downright dogs. The "twa dogs" are constantly kept before our eyes, and the contrast between their form and character as dogs, and the sagacity of their conversation, heightens the humour, and deepens the impression of the poet's satire. Though in this poem the chief excellence may be considered as humour, yet great talents are displayed in its composition the happiest powers of description and the deepest insight into the human heart. It is seldom, however, that the humour of Burns appears in so simple a form. The liveliness of his sensibility frequently impels him to introduce into subjects of humour, emotions of tenderness or of pity; and, where occasion admits, he is sometimes carried on to exert the higher powers of imagination. In such instances he leaves the society of Ramsay and of Fergusson, and associates himself with the masters of English poetry, whose language he frequently as sumes. Of the union of tenderness and humour, examples may be found in The Death and Dying Words of poor Mailie, in The auld Farmer's New-Year's Morning Salutation to his Mare Maggie, and in many other of his poems. The praise of whisky is a favourite subject with Burns. To this he dedicates his poem of Freedom and Whisky gang thegither, Tak' aff your dram!" Of this union of humour, with the higher powers of imagination, instances may be found in the poem entitled Death and Dr. Hornbook, and in almost every stanza of the Address to the Deil, one of the happiest of his productions. After reproaching this terrible being with all his "doings" and misdeeds, in the course of which he passes through a series of Scottish superstitions, and rises at times into a high livered in a tone of great familiarity, not altostrain of poetry; he concludes this address, degether unmixed with apprehension, in the following words: "But, fare ye weel, auld Nickie-ben! O wad ye tak a thought an' men'! Ye aiblins might—I dinna ken Still ha'e a stake I'm wae to think upo' yon den Ev'n for your sake! Humour and tenderness are here so happily intermixed, that it is impossible to say which preponderates. Fergusson wrote a dialogue between the This probably suggested to Burns his dialogue Causeway and the Plainstones, of Edinburgh. between the Old and New Bridge over the river Ayr. The nature of such subjects requires that has attempted nothing beyond this. Though they shall be treated humorously, and Fergusson the Causeway and the Plainstones talk together, no attempt is made to personify the speakers. In the dialogue between the Brigs of Ayr, the poet," press'd by care," or "inspired by whim," had left his bed in the town of Ayr, and wandered out alone in the darkness and solitude of a winter night, to the mouth of the river, where the stillness was interrupted only Scotch Drink. After mentioning its cheering by the rushing sound of the influx of the tide. influence in a variety of situations, he describes, had struck two, and the sound had been reIt was after midnight. The Dungeon-clock with singular liveliness and power of fancy, its stimulating effects on the blacksmith working peated by Wallace-Tower. All else was hushed, at his forge: The moon shone brightly, and Nae mercy, then, for airn or steel; Again, however, he sinks into humour, and concludes the poem with the following most laughable, but most irreverent apostrophe : "Scotland, my auld, respected mither! Though whyles ye moistify your leather, "Till where you sit, on craps o' heather, Ye tine your dam; "The chilly frost, beneath the silver beam, Crept, gently-crusting, o'er the glittering stream." In this situation, the listening bard hears the "clanging sugh" of wings moving through the air, and speedily he perceives two beings, reared, the one on the Old, the other on the New Bridge, whose form and attire he describes, and whose conversation with each other he rehearses. These genii enter into a comparison of the respective edifices over which they preside, and afterwards, as is usual between the old and young, compare modern characters and manners with those of past times. They differ, as may be ex • Plains o reside.pavement. pected, and taunt and scold each other in broad |cluded his Dedication to G. H. Esq. discover, Scotch. This conversation, which is certainly like his other writings, the powers of a superior humorous, may be considered as a proper busi-understanding. They display deep insight into ness of the poem. As the debate runs high, and human nature, a gay and happy strain of reflecthreatens serious consequences, all at once it is tion, great independence of sentiment, and geinterrupted by a new scene of wonders: "all before their sight nerosity of heart. The Halloween of Burns is free from every objection. It is interesting not merely from its humorous description of manners, but as it records the spells and charms used on the celebration of a festival, now, even in Scotland, falling into neglect, but which was once observed over the greater part of Britain and Ireland. These charms are supposed to afford an insight into futurity, especially on the sub A fairy train appear'd in order bright; rural life. In the Halloween, a female, in performing one of the spells, has occasion to go out by moonlight to dip her shift-sleeve into a stream running towards the South. It was not necessary for Burns to give a description of this stream. But it was the character of his ardent mind to pour forth not merely what the occasion required, but what it admitted; and the temptation to describe so beautiful a natural object by moonlight, was not to be resisted Those who understand the Scottish dialect This poem, irregular and imperfect as it is, will allow this to be one of the finest instances displays various and powerful talents, and may of description which the records of poetry afford. serve to illustrate the genius of Burns. In parIn pastoral, or, to speak more correctly, in ticular, it affords a striking instance of his being rural poetry of a serious nature, Burns excelled carried beyond his original purpose by the pow-equally as in that of a humorous kind, and, using ers of imagination. less of the Scottish dialect in his serious poems, In Fergusson's poem, the Plainstones and he becomes more generally intelligible. It is difCauseway contrast the characters of the differ-ficult to decide whether the Address to a Mouse ent persons who walked upon them. Burns whose nest was turned up with the plough, should probably conceived, that, by a dialogue between be considered as serious or comic. Be this as the Old and New Bridge, he might form a hu- it may, the poem is one of the happiest and morous contrast between ancient and modern most finished of his productions. If we smile manners in the town of Ayr. Such a dialogue at the "bickering brattle" of this little flying could only be supposed to pass in the stillness of night; and this led our poet into a description of a midnight scene, which excited in a high degree the powers of his imagination. During the whole dialogue the scenery is present to his fancy, and at length it suggests to him a fairy dance of aerial beings, under the beams of the moon, by which the wrath of the Genii of the Brigs of Ayr is appeased. animal, it is a smile of tenderness and pity. The descriptive part is admirable: the moral reflections beautiful, and arising directly out of the occasion; and in the conclusion there is a deep melancholy, a sentiment of doubt and dread, that arises to the sublime. The Address to a Mountain Daisy, turned down with the plough, is a poem of the same nature, though somewhat inferior in point of originality, as well as in the Incongruous as the different parts of this poem interest produced. To extract out of incidents are, it is not an incongruity that displeases; and so common, and seemingly so trivial as these, we have only to regret that the poet did not be- so fine a train of sentiment and imagery, is the stow a little pains in making the figures more surest proof, as well as the most brilliant triumph, correct, and in smoothing the versification. of original genius. The Vision, in two cantos, The epistles of Burns, in which may be in- from which a beautiful extract is taken by Mr |