You know that my pretensions to musical taste are merely a few of nature's instincts, untaught and untutored by art. For this reason, many musical compositions, particularly where much of the merit lies in counterpoint, however they may transport and ravish the ears of your connoisseurs, affect my simple lug no otherwise than merely as melodious din. On the other hand, by way of amends, I am delighted with many little melodies, which the learned musician despises as silly and insipid. I do not know whether the old air "Hey tuttie taitie," may rank among this number; but well I know that, with Frazer's haut-boy, it has often filled my eyes with tears. There is a tradition, which I have met with in many places in Scotland, that it was Robert Bruce's march at the battle of Bannockburn. This thought, in yesternight's evening walk, warmed me to a pitch of enthusiasm on the theme of liberty and independence, which I threw into a kind of Scottish ode, fitted to the air, that one might suppose to be the gallant Royal Scot's address to his heroic followers on the eventful morning.

Scots, wha hae wi' Wallace bled.[237]

So may God ever defend the cause of truth and liberty, as he did that day! Amen.

P.S. I showed the air to Urbani, who was highly pleased with it, and begged me to make soft verses for it; but I had no idea of giving myself any trouble on the subject, till the accidental recollection of that glorious struggle for freedom, associated with the glowing ideas of some other struggles of the same nature, not quite so ancient, roused my rhyming mania. Clarke's set of the tune, with his bass, you will find in the Museum, though I am afraid that the air is not what will entitle it to a place in your elegant selection.[238]

R. B.

FOOTNOTES:

[Footnote 237: Song CCVII.]

[Footnote 238: Song CCVIII.]

* * * * *



CCLXXII.

TO MR. THOMSON.

[This letter contains further proof of the love of Burns for the airs of the Highlands.]

Sept. 1793.

I dare say, my dear Sir, that you will begin to think my correspondence is persecution. No matter, I can't help it; a ballad is my hobby-horse, which, though otherwise a simple sort of harmless idiotical beast enough, has yet this blessed headstrong property, that when once it has fairly made off with a hapless wight, it gets so enamoured with the tinkle-gingle, tinkle-gingle of its own bells, that it is sure to run poor pilgarlick, the bedlam jockey, quite beyond any useful point or post in the common race of men.

The following song I have composed for "Oran-gaoil," the Highland air that, you tell me in your last, you have resolved to give a place to in your book. I have this moment finished the song, so you have it glowing from the mint. If it suit you, well!—If not, 'tis also well!

Behold the hour, the boat arrive!

R. B.

* * * * *



CCLXXIII.

TO MR. THOMSON.

[This is another of the sagacious letters on Scottish song, which poets and musicians would do well to read and consider.]

Sept. 1793.

I have received your list, my dear Sir, and here go my observations on it.[239]

"Down the burn, Davie." I have this moment tried an alteration, leaving out the last half of the third stanza, and the first half of the last stanza, thus:

As down the burn they took their way, And thro' the flowery dale; His cheek to hers he aft did lay, And love was aye the tale. With "Mary, when shall we return, Sic pleasure to renew?" Quoth Mary, "Love, I like the burn, And aye shall follow you."[240]

"Thro' the wood, laddie"—I am decidedly of opinion that both in this, and "There'll never be peace till Jamie comes hame," the second or high part of the tune being a repetition of the first part an octave higher, is only for instrumental music, and would be much better omitted in singing.

"Cowden-knowes." Remember in your index that the song in pure English to this tune, beginning,

"When summer comes, the swains on Tweed,"

is the production of Crawfurd. Robert was his Christian name.[241]

"Laddie, lie near me," must lie by me for some time. I do not know the air; and until I am complete master of a tune, in my own singing (such as it is), I can never compose for it. My way is: I consider the poetic sentiment correspondent to my idea of the musical expression; then choose my theme; begin one stanza: when that is composed, which is generally the most difficult part of the business, I walk out, sit down now and then, look out for objects of nature around me that are in unison and harmony with the cogitations of my fancy, and workings of my bosom; humming every now and then the air with the verses I have framed. When I feel my muse beginning to jade, I retire to the solitary fire-side of my study, and there commit my effusions to paper; swinging at intervals on the hind-legs of my elbow-chair, by way of calling forth my own critical strictures as my pen goes on. Seriously, this, at home, is almost invariably my way.

What cursed egotism!

"Gil Morice" I am for leaving out. It is a plaguy length; the air itself is never sung; and its place can well be supplied by one or two songs for fine airs that are not in your list—for instance "Craigieburn-wood" and "Roy's wife." The first, beside its intrinsic merit, has novelty, and the last has high merit as well as great celebrity. I have the original words of a song for the last air, in the handwriting of the lady who composed it; and they are superior to any edition of the song which the public has yet seen.

"Highland laddie." The old set will please a mere Scotch ear best; and the new an Italianised one. There is a third, and what Oswald calls the old "Highland laddie," which pleases me more than either of them. It is sometimes called "Ginglin Johnnie;" it being the air of an old humorous tawdry song of that name. You will find it in the Museum, "I hae been at Crookieden," &c. I would advise you, in the musical quandary, to offer up your prayers to the muses for inspiring direction; and in the meantime, waiting for this direction, bestow a libation to Bacchus; and there is not a doubt but you will hit on a judicious choice. Probatum est.

"Auld Sir Simon" I must beg you to leave out, and put in its place "The Quaker's wife."

"Blythe hae I been on yon hill,"[242] is one of the finest songs ever I made in my life, and, besides, is composed on a young lady, positively the most beautiful, lovely woman in the world. As I purpose giving you the names and designations of all my heroines, to appear in some future edition of your work, perhaps half a century hence, you must certainly include "The bonniest lass in a' the warld," in your collection.

"Dainty Davie" I have heard sung nineteen thousand nine hundred and ninety-nine times, and always with the chorus to the low part of the tune; and nothing has surprised me so much as your opinion on this subject. If it will not suit as I proposed, we will lay two of the stanzas together, and then make the chorus follow, exactly as Lucky Nancy in the Museum.

"Fee him, father:" I enclose you Frazer's set of this tune when he plays it slow: in fact he makes it the language of despair. I shall here give you two stanzas, in that style, merely to try if it will be any improvement. Were it possible, in singing, to give it half the pathos which Frazer gives it in playing, it would make an admirably pathetic song. I do not give these verses for any merit they have. I composed them at the time in which "Patie Allan's mither died—that was about the back o' midnight;" and by the lee-side of a bowl of punch, which had overset every mortal in company except the hautbois and the muse.

Thou hast left me ever, Jamie.[243]

"Jockie and Jenny" I would discard, and in its place would put "There's nae luck about the house,"[244] which has a very pleasant air, and which is positively the finest love-ballad in that style in the Scottish, or perhaps in any other language. "When she came ben she bobbit," as an air is more beautiful than either, and in the andante way would unite with a charming sentimental ballad.

"Saw ye my father?" is one of my greatest favourites. The evening before last, I wandered out, and began a tender song, in what I think is its native style. I must premise that the old way, and the way to give most effect, is to have no starting note, as the fiddlers call it, but to burst at once into the pathos. Every country girl sings "Saw ye my father?" &c.

My song is but just begun; and I should like, before I proceed, to know your opinion of it. I have sprinkled it with the Scottish dialect, but it may be easily turned into correct English.[245]

"Todlin hame." Urbani mentioned an idea of his, which has long been mine, that this air is highly susceptible of pathos: accordingly, you will soon hear him at your concert try it to a song of mine in the Museum, "Ye banks and braes o' bonnie Doon." One song more and I have done; "Auld lang syne." The air is but mediocre; but the following song, the old song of the olden times, and which has never been in print, nor even in manuscript, until I took it down from an old man's singing, is enough to recommend any air.[246]

Now, I suppose, I have tried your patience fairly. You must, after all is over, have a number of ballads, properly so called. "Gil Morice," "Tranent Muir," "Macpherson's farewell," "Battle of Sherriff-muir," or, "We ran, and they ran," (I know the author of this charming ballad, and his history,) "Hardiknute," "Barbara Allan" (I can furnish a finer set of this tune than any that has yet appeared;) and besides do you know that I really have the old tune to which "The cherry and the slae" was sung, and which is mentioned as a well-known air in "Scotland's Complaint," a book published before poor Mary's days?[247] It was then called "The banks of Helicon;" an old poem which Pinkerton has brought to light. You will see all this in Tytler's history of Scottish music. The tune, to a learned ear, may have no great merit; but it is a great curiosity. I have a good many original things of this kind.

R. B.

FOOTNOTES:

[Footnote 239: Mr. Thomson's list of songs for his publication.]

[Footnote 240: This is an alteration of one of Crawford's songs.]

[Footnote 241: His Christian name was William.]

[Footnote 242: Song CXCV.]

[Footnote 243: Song CCIX.]

[Footnote 244: By William Julius Mickle.]

[Footnote 245: The song here alluded to is one which the poet afterwards sent in an entire form:—

"Where are the joys I hae met in the morning."]

[Footnote 246: Song CCX.]

[Footnote 247: A curious and rare book, which Leyden afterwards edited.]

* * * * *



CCLXXIV.

TO MR. THOMSON.

[Burns listened too readily to the suggestion of Thomson, to alter "Bruce's Address to his troops at Bannockburn:" whatever may be the merits of the air of "Louis Gordon," the sublime simplicity of the words was injured by the alteration: it is now sung as originally written, by all singers of taste.]

September, 1793.

I am happy, my dear Sir, that my ode pleases you so much. Your idea, "honour's bed," is, though a beautiful, a hackneyed idea; so, if you please, we will let the line stand as it is. I have altered the song as follows:—[248]

N. B. I have borrowed the last stanza from the common stall edition of Wallace—

"A false usurper sinks in every foe, And liberty returns with every blow."

A couplet worthy of Homer. Yesterday you had enough of my correspondence. The post goes, and my head aches miserably. One comfort! I suffer so much, just now, in this world, for last night's joviality, that I shall escape scot-free for it in the world to come. Amen.

R. B.

FOOTNOTES:

[Footnote 248: Song CCVII.]

* * * * *



CCLXXV.

TO MR. THOMSON.

[The poet's good sense rose at last in arms against the criticisms of the musician, and he refused to lessen the dignity of his war-ode by any more alterations.]

September, 1793.

"Who shall decide when doctors disagree?" My ode pleases me so much that I cannot alter it. Your proposed alterations would, in my opinion, make it tame. I am exceedingly obliged to you for putting me on reconsidering it, as I think I have much improved it. Instead of "sodger! hero!" I will have it "Caledonian, on wi' me!"

I have scrutinized it over and over; and to the world, some way or other, it shall go as it is. At the same time it will not in the least hurt me, should you leave it out altogether, and adhere to your first intention of adopting Logan's verses.

I have finished my song to "Saw ye my father?" and in English, as you will see. That there is a syllable too much for the expression of the air, is true; but, allow me to say, that the mere dividing of a dotted crotchet into a crotchet and a quaver, is not a great matter: however, in that I have no pretensions to cope in judgment with you. Of the poetry I speak with confidence; but the music is a business where I hint my ideas with the utmost diffidence.

The old verses have merit, though unequal, and are popular: my advice is to set the air to the old words, and let mine follow as English verses. Here they are:—

Where are the joys I have met in the morning?[249]

Adieu, my dear Sir! the post goes, so I shall defer some other remarks until more leisure.

R. B.

FOOTNOTES:

[Footnote 249: Song CCXI.]

* * * * *



CCLXXVI.

TO MR. THOMSON.

[For "Fy! let us a' to the bridal," and "Fy! gie me my coggie, Sirs," and "There's nae luck about the house," Burns puts in a word of praise, from a feeling that Thomson's taste would induce him to exclude the first—one of our most original songs—from his collection.]

September, 1793.

I have been turning over some volumes of songs, to find verses whose measures would suit the airs for which you have allotted me to find English songs.

For "Muirland Willie," you have, in Ramsay's Tea-Table, an excellent song beginning, "Ah, why those tears in Nelly's eyes?" As for "The Collier's Dochter," take the following old bacchanal:—

"Deluded swain, the pleasure, &c."[250]

The faulty line in Logan-Water, I mend thus:

How can your flinty hearts enjoy The widow's tears, the orphan's cry?

The song otherwise will pass. As to "M'Gregoira Rua-Ruth," you will see a song of mine to it, with a set of the air superior to yours, in the Museum, vol. ii. p. 181. The song begins,

Raving winds around her blowing.[251]

Your Irish airs are pretty, but they are rank Irish. If they were like the "Banks of Banna," for instance, though really Irish, yet in the Scottish taste, you might adopt them. Since you are so fond of Irish music, what say you to twenty-five of them in an additional number? We could easily find this quantity of charming airs; I will take care that you shall not want songs; and I assure you that you would find it the most saleable of the whole. If you do not approve of "Roy's wife," for the music's sake, we shall not insert it. "Deil tak the wars" is a charming song; so is, "Saw ye my Peggy?" "There's nae luck about the house" well deserves a place. I cannot say that "O'er the hills and far awa" strikes me as equal to your selection. "This is no my ain house," is a great favourite air of mine; and if you will send me your set of it, I will task my muse to her highest effort. What is your opinion of "I hae laid a herrin' in saut?" I like it much. Your jacobite airs are pretty, and there are many others of the same kind pretty; but you have not room for them. You cannot, I think, insert "Fy! let's a' to the bridal," to any other words than its own.

What pleases me, as simple and naive, disgusts you as ludicrous and low. For this reason, "Fy! gie me my coggie, Sirs," "Fy let's a' to the bridal," with several others of that cast, are to me highly pleasing; while "Saw ye my father, or saw ye my mother?" delights me with its descriptive simple pathos. Thus my song, "Ken ye what Meg o' the mill has gotten?" pleases myself so much, that I cannot try my hand at another song to the air, so I shall not attempt it. I know you will laugh at all this: but "ilka man wears his belt his ain gait."

R. B.

FOOTNOTES:

[Footnote 250: Song CCXII.]

[Footnote 251: Song LII.]

* * * * *



CCLXXVII.

TO MR. THOMSON.

[Of the Hon. Andrew Erskine an account was communicated in a letter to Burns by Thomson, which the writer has withheld. He was a gentleman of talent, and joint projector of Thomson's now celebrated work.]

October, 1793.

Your last letter, my dear Thomson, was indeed laden with heavy news. Alas, poor Erskine![252] The recollection that he was a co-adjutator in your publication, has till now scared me from writing to you, or turning my thoughts on composing for you.

I am pleased that you are reconciled to the air of the "Quaker's wife;" though, by the bye, an old Highland gentleman, and a deep antiquarian, tells me it is a Gaelic air, and known by the name of "Leiger m' choss." The following verses, I hope, will please you, as an English song to the air.

Thine am I, my faithful fair:[253]

Your objection to the English song I proposed for "John Anderson my jo," is certainly just. The following is by an old acquaintance of mine, and I think has merit. The song was never in print, which I think is so much in your favour. The more original good poetry your collection contains, it certainly has so much the more merit.

SONG.—BY GAVIN TURNBULL.[254]

Oh, condescend, dear charming maid, My wretched state to view; A tender swain, to love betray'd, And sad despair, by you.

While here, all melancholy, My passion I deplore, Yet, urg'd by stern, resistless fate, I love thee more and more.

I heard of love, and with disdain The urchin's power denied. I laugh'd at every lover's pain, And mock'd them when they sigh'd.

But how my state is alter'd! Those happy days are o'er; For all thy unrelenting hate, I love thee more and more.

Oh, yield, illustrious beauty, yield! No longer let me mourn; And though victorious in the field, Thy captive do not scorn.

Let generous pity warm thee, My wonted peace restore; And grateful I shall bless thee still, And love thee more and more.

The following address of Turnbull's to the Nightingale will suit as an English song to the air "There was a lass, and she was fair." By the bye, Turnbull has a great many songs in MS., which I can command, if you like his manner. Possibly, as he is an old friend of mine, I may be prejudiced in his favour; but I like some of his pieces very much.

THE NIGHTINGALE.

Thou sweetest minstrel of the grove, That ever tried the plaintive strain, Awake thy tender tale of love, And soothe a poor forsaken swain.

For though the muses deign to aid And teach him smoothly to complain, Yet Delia, charming, cruel maid, Is deaf to her forsaken swain.

All day, with fashion's gaudy sons, In sport she wanders o'er the plain: Their tales approves, and still she shuns The notes of her forsaken swain.

When evening shades obscure the sky, And bring the solemn hours again, Begin, sweet bird, thy melody, And soothe a poor forsaken swain.

I shall just transcribe another of Turnbull's, which would go charmingly to "Lewie Gordon."

LAURA.

Let me wander where I will, By shady wood, or winding rill; Where the sweetest May-born flowers Paint the meadows, deck the bowers; Where the linnet's early song Echoes sweet the woods among: Let me wander where I will, Laura haunts my fancy still.

If at rosy dawn I choose To indulge the smiling muse; If I court some cool retreat, To avoid the noontide heat; If beneath the moon's pale ray, Thro' unfrequented wilds I stray; Let me wander where I will, Laura haunts my fancy still.

When at night the drowsy god Waves his sleep-compelling rod, And to fancy's wakeful eyes Bids celestial visions rise, While with boundless joy I rove Thro' the fairy land of love; Let me wander where I will, Laura haunts my fancy still.

The rest of your letter I shall answer at some other opportunity.

R. B.

FOOTNOTES:

[Footnote 252: "The honorable Andrew Erskine, whose melancholy death Mr. Thomson had communicated in an excellent letter, which he has suppressed."—CURRIE.]

[Footnote 253: Song CCXIII.]

[Footnote 254: Gavin Turnbull was author of a now forgotten volume, published at Glasgow, in 1788, under the title of "Poetical Essays."]

* * * * *



CCLXXVIII.

TO JOHN M'MURDO, ESQ.,

WITH A PARCEL.

[The collection of songs alluded to in this letter, are only known to the curious in loose lore: they were printed by an obscure bookseller, but not before death had secured him from the indignation of Burns.]

Dumfries, [December, 1793.]

SIR,

'Tis said that we take the greatest liberties with our greatest friends, and I pay myself a very high compliment in the manner in which I am going to apply the remark. I have owed you money longer than ever I owed it to any man. Here is Kerr's account, and here are the six guineas; and now I don't owe a shilling to man—or woman either. But for these d——d dirty, dog's-ear'd little pages,[255] I had done myself the honour to have waited on you long ago. Independent of the obligations your hospitality has laid me under, the consciousness of your superiority in the rank of man and gentleman, of itself was fully as much as I could ever make head against; but to owe you money too, was more than I could face.

I think I once mentioned something to you of a collection of Scots songs I have for some years been making: I send you a perusal of what I have got together. I could not conveniently spare them above five or six days, and five or six glances of them will probably more than suffice you. When you are tired of them, please leave them with Mr. Clint, of the King's Arms. There is not another copy of the collection in the world; and I should be sorry that any unfortunate negligence should deprive me of what has cost me a good deal of pains.

I have the honour to be, &c.

R. B.

FOOTNOTES:

[Footnote 255: Scottish Bank notes.]

* * * * *



CCLXXIX.

TO JOHN M'MURDO, ESQ.,

DRUMLANRIG.

[These words, thrown into the form of a note, are copied from a blank leaf of the poet's works, published in two volumes, small octavo, in 1793.]

Dumfries, 1793.

Will Mr. M'Murdo do me the favour to accept of these volumes; a trifling but sincere mark of the very high respect I bear for his worth as a man, his manners as a gentleman, and his kindness as a friend. However inferior now, or afterwards, I may rank as a poet; one honest virtue to which few poets can pretend, I trust I shall ever claim as mine:—to no man, whatever his station in life, or his power to serve me, have I ever paid a compliment at the expense of TRUTH.

THE AUTHOR.

* * * * *



CCLXXX.

TO CAPTAIN ——.

[This excellent letter, obtained from Stewart of Dalguise, is copied from my kind friend Chambers's collection of Scottish songs.]

Dumfries, 5th December, 1793.

SIR,

Heated as I was with wine yesternight, I was perhaps rather seemingly impertinent in my anxious wish to be honoured with your acquaintance. You will forgive it: it was the impulse of heart-felt respect. "He is the father of the Scottish county reform, and is a man who does honour to the business, at the same time that the business does honour to him," said my worthy friend Glenriddel to somebody by me who was talking of your coming to this county with your corps. "Then," I said, "I have a woman's longing to take him by the hand, and say to him, 'Sir, I honour you as a man to whom the interests of humanity are dear, and as a patriot to whom the rights of your country are sacred.'"

In times like these, Sir, when our commoners are barely able by the glimmer of their own twilight understandings to scrawl a frank, and when lords are what gentlemen would be ashamed to be, to whom shall a sinking country call for help? To the independent country gentleman. To him who has too deep a stake in his country not to be in earnest for her welfare; and who in the honest pride of a man can view with equal contempt the insolence of office and the allurements of corruption.

I mentioned to you a Scots ode or song I had lately composed, and which I think has some merit. Allow me to enclose it. When I fall in with you at the theatre, I shall be glad to have your opinion of it. Accept it, Sir, as a very humble but most sincere tribute of respect from a man, who, dear as he prizes poetic fame, yet holds dearer an independent mind.

I have the honour to be,

R. B.

* * * * *



CCLXXXI.

TO MRS. RIDDEL,

Who was about to bespeak a Play one evening at the Dumfries Theatre.

[This clever lady, whom Burns so happily applies the words of Thomson, died in the year 1820, at Hampton Court.]

I am thinking to send my "Address" to some periodical publication, but it has not yet got your sanction, so pray look at it.

As to the Tuesday's play, let me beg of you, my dear madam, to give us, "The Wonder, a Woman keeps a Secret!" to which please add, "The Spoilt Child"—you will highly oblige me by so doing.

Ah, what an enviable creature you are! There now, this cursed, gloomy, blue-devil day, you are going to a party of choice spirits—

"To play the shapes Of frolic fancy, and incessant form Those rapid pictures, assembled train Of fleet ideas, never join'd before, Where lively wit excites to gay surprise; Or folly-painting humour, grave himself, Calls laughter forth, deep-shaking every nerve."

THOMSON.

But as you rejoice with them that do rejoice, do also remember to weep with them that weep, and pity your melancholy friend.

R. B.

* * * * *



CCLXXXII.

TO A LADY.

IN FAVOUR OF A PLAYER'S BENEFIT.

[The name of the lady to whom this letter is addressed, has not transpired.]

Dumfries, 1794.

MADAM,

You were so very good as to promise me to honour my friend with your presence on his benefit night. That night is fixed for Friday first: the play a most interesting one! "The Way to Keep Him." I have the pleasure to know Mr. G. well. His merit as an actor is generally acknowledged. He has genius and worth which would do honour to patronage: he is a poor and modest man; claims which from their very silence have the more forcible power on the generous heart. Alas, for pity! that from the indolence of those who have the good things of this life in their gift, too often does brazen-fronted importunity snatch that boon, the rightful due of retiring, humble want! Of all the qualities we assign to the author and director of nature, by far the most enviable is—to be able "to wipe away all tears from all eyes." O what insignificant, sordid wretches are they, however chance may have loaded them with wealth, who go to their graves, to their magnificent mausoleums, with hardly the consciousness of having made one poor honest heart happy!

But I crave your pardon, Madam; I came to beg, not to preach.

R. B.

* * * * *



CCLXXXIII.

TO THE EARL OF BUCHAN,

With a Copy of Bruce's Address to his Troops at Bannockburn.

[This fantastic Earl of Buchan died a few years ago: when he was put into the family burial-ground, at Dryburgh, his head was laid the wrong way, which Sir Walter Scott said was little matter, as it had never been quite right in his lifetime.]

Dumfries, 12th January, 1794.

MY LORD,

Will your lordship allow me to present you with the enclosed little composition of mine, as a small tribute of gratitude for the acquaintance with which you have been pleased to honour me? Independent of my enthusiasm as a Scotsman, I have rarely met with anything in history which interests my feelings as a man, equal with the story of Bannockburn. On the one hand, a cruel, but able usurper, leading on the finest army in Europe to extinguish the last spark of freedom among a greatly-daring and greatly-injured people; on the other hand, the desperate relics of a gallant nation, devoting themselves to rescue their bleeding country, or perish with her.

Liberty! thou art a prize truly and indeed invaluable! for never canst thou be too dearly bought!

If my little ode has the honour of your lordship's approbation, it will gratify my highest ambition.

I have the honour to be, &c.

R. B.

* * * * *



CCLXXXIV.

TO CAPTAIN MILLER,

DALSWINTON.

[Captain Miller, of Dalswinton, sat in the House of Commons for the Dumfries district of boroughs. Dalswinton has passed from the family to my friend James M'Alpine Leny, Esq.]

DEAR SIR,

The following ode is on a subject which I know you by no means regard with indifference. Oh, Liberty,

"Thou mak'st the gloomy face of nature gay, Giv'st beauty to the sun, and pleasure to the day."

ADDISON.

It does me so much good to meet with a man whose honest bosom glows with the generous enthusiasm, the heroic daring of liberty, that I could not forbear sending you a composition of my own on the subject, which I really think is in my best manner.

I have the honour to be,

Dear Sir, &c.

R. B.

* * * * *



CCLXXXV.

TO MRS. RIDDEL.

[The dragon guarding the Hesperian fruit, was simply a military officer, who, with the courtesy of those whose trade is arms, paid attention to the lady.]

DEAR MADAM,

I meant to have called on you yesternight, but as I edged up to your box-door, the first object which greeted my view, was one of those lobster-coated puppies, sitting like another dragon, guarding the Hesperian fruit. On the conditions and capitulations you so obligingly offer, I shall certainly make my weather-beaten rustic phiz a part of your box-furniture on Tuesday; when we may arrange the business of the visit.

Among the profusion of idle compliments, which insidious craft, or unmeaning folly, incessantly offer at your shrine—a shrine, how far exalted above such adoration—permit me, were it but for rarity's sake, to pay you the honest tribute of a warm heart and an independent mind; and to assure you, that I am, thou most amiable and most accomplished of thy sex, with the most respectful esteem, and fervent regard, thine, &c.

R. B.

* * * * *



CCLXXXVI.

TO MRS. RIDDEL.

[The patient sons of order and prudence seem often to have stirred the poet to such invectives as this letter exhibits.]

I will wait on you, my ever-valued friend, but whether in the morning I am not sure. Sunday closes a period of our curst revenue business, and may probably keep me employed with my pen until noon. Fine employment for a poet's pen! There is a species of the human genus that I call the gin-horse class: what enviable dogs they are! Round, and round, and round they go,—Mundell's ox that drives his cotton-mill is their exact prototype—without an idea or wish beyond their circle; fat, sleek, stupid, patient, quiet, and contented; while here I sit, altogether Novemberish, a d—mn'd melange of fretfulness and melancholy; not enough of the one to rouse me to passion, nor of the other to repose me in torpor, my soul flouncing and fluttering round her tenement, like a wild finch, caught amid the horrors of winter, and newly thrust into a cage. Well, I am persuaded that it was of me the Hebrew sage prophesied, when he foretold—"And behold, on whatsoever this man doth set his heart, it shall not prosper!" If my resentment is awaked, it is sure to be where it dare not squeak: and if— * * * * *

Pray that wisdom and bliss be more frequent visiters of

R. B.

* * * * *



CCLXXXVII.

TO MRS. RIDDEL.

[The bard often offended and often appeased this whimsical but very clever lady.]

I have this moment got the song from Syme, and I am sorry to see that he has spoilt it a good deal. It shall be a lesson to me how I lend him anything again.

I have sent you "Werter," truly happy to have any the smallest opportunity of obliging you.

'Tis true, Madam, I saw you once since I was at Woodlea; and that once froze the very life-blood of my heart. Your reception of me was such, that a wretch meeting the eye of his judge, about to pronounce sentence of death on him could only have envied my feelings and situation. But I hate the theme, and never more shall write or speak on it.

One thing I shall proudly say, that I can pay Mrs. R. a higher tribute of esteem, and appreciate her amiable worth more truly, than any man whom I have seen approach her.

R. B.

* * * * *



CCLXXXVIII.

TO MRS. RIDDEL.

[Burns often complained in company, and sometimes in his letters, of the caprice of Mrs. Riddel.]

I have often told you, my dear friend, that you had a spice of caprice in your composition, and you have as often disavowed it; even perhaps while your opinions were, at the moment, irrefragably proving it. Could anything estrange me from a friend such as you?—No! To-morrow I shall have the honour of waiting on you.

Farewell, thou first of friends, and most accomplished of women; even with all thy little caprices!

R. B.

* * * * *



CCLXXXIX.

TO MRS. RIDDEL.

[The offended lady was soothed by this submissive letter, and the bard was re-established in her good graces.]

MADAM,

I return your common-place book. I have perused it with much pleasure, and would have continued my criticisms, but as it seems the critic has forfeited your esteem, his strictures must lose their value.

If it is true that "offences come only from the heart," before you I am guiltless. To admire, esteem, and prize you as the most accomplished of women, and the first of friends—if these are crimes, I am the most offending thing alive.

In a face where I used to meet the kind complacency of friendly confidence, now to find cold neglect, and contemptuous scorn—is a wrench that my heart can ill bear. It is, however, some kind of miserable good luck, and while de haut-en-bas rigour may depress an unoffending wretch to the ground, it has a tendency to rouse a stubborn something in his bosom, which, though it cannot heal the wounds of his soul, is at least an opiate to blunt their poignancy.

With the profoundest respect for your abilities; the most sincere esteem and ardent regard for your gentle heart and amiable manners; and the most fervent wish and prayer for your welfare, peace, and bliss, I have the honour to be,

Madam,

Your most devoted humble servant,

R. B.

* * * * *



CCXC.

TO JOHN SYME, ESQ.

[John Syme, of the stamp-office, was the companion as well as comrade in arms, of Burns: he was a well-informed gentleman, loved witty company, and sinned in rhyme now and then: his epigrams were often happy.]

You know that among other high dignities, you have the honour to be my supreme court of critical judicature, from which there is no appeal. I enclose you a song which I composed since I saw you, and I am going to give you the history of it. Do you know that among much that I admire in the characters and manners of those great folks whom I have now the honour to call my acquaintances, the Oswald family, there is nothing charms me more than Mr. Oswald's unconcealable attachment to that incomparable woman. Did you ever, my dear Syme, meet with a man who owed more to the Divine Giver of all good things than Mr. O.? A fine fortune; a pleasing exterior; self-evident amiable dispositions, and an ingenuous upright mind, and that informed, too, much beyond the usual run of young fellows of his rank and fortune: and to all this, such a woman!—but of her I shall say nothing at all, in despair of saying anything adequate: in my song I have endeavoured to do justice to what would be his feelings, on seeing, in the scene I have drawn, the habitation of his Lucy. As I am a good deal pleased with my performance, I, in my first fervour, thought of sending it to Mrs. Oswald, but on second thoughts, perhaps what I offer as the honest incense of genuine respect, might, from the well-known character of poverty and poetry, be construed into some modification or other of that servility which my soul abhors.

R. B.

* * * * *



CCXCI.

TO MISS ——.

[Burns, on other occasions than this, recalled both his letters and verses: it is to be regretted that he did not recall more of both.]

Dumfries, 1794.

MADAM,

Nothing short of a kind of absolute necessity could have made me trouble you with this letter. Except my ardent and just esteem for your sense, taste, and worth, every sentiment arising in my breast, as I put pen to paper to you, is painful. The scenes I have passed with the friend of my soul and his amiable connexions! the wrench at my heart to think that he is gone, for ever gone from me, never more to meet in the wanderings of a weary world! and the cutting reflection of all, that I had most unfortunately, though most undeservedly, lost the confidence of that soul of worth, ere it took its flight!

These, Madam, are sensations of no ordinary anguish.—However, you also may be offended with some imputed improprieties of mine; sensibility you know I possess, and sincerity none will deny me.

To oppose those prejudices which have been raised against me, is not the business of this letter. Indeed it is a warfare I know not how to wage. The powers of positive vice I can in some degree calculate, and against direct malevolence I can be on my guard; but who can estimate the fatuity of giddy caprice, or ward off the unthinking mischief of precipitate folly?

I have a favour to request of you, Madam, and of your sister Mrs. ——, through your means. You know that, at the wish of my late friend, I made a collection of all my trifles in verse which I had ever written. They are many of them local, some of them puerile and silly, and all of them unfit for the public eye. As I have some little fame at stake, a fame that I trust may live when the hate of those who "watch for my halting," and the contumelious sneer of those whom accident has made my superiors, will, with themselves, be gone to the regions of oblivion; I am uneasy now for the fate of those manuscripts—Will Mrs. —— have the goodness to destroy them, or return them to me? As a pledge of friendship they were bestowed; and that circumstance indeed was all their merit. Most unhappily for me, that merit they no longer possess; and I hope that Mrs. —— 's goodness, which I well know, and ever will revere, will not refuse this favour to a man whom she once held in some degree of estimation.

With the sincerest esteem,

I have the honour to be,

Madam, &c.

R. B.

* * * * *



CCXCII.

TO MR. CUNNINGHAM.

[The religious feeling of Burns was sometimes blunted, but at times it burst out, as in this letter, with eloquence and fervour, mingled with fear.]

25th February, 1794.

Canst thou minister to a mind diseased? Canst thou speak peace and rest to a soul tost on a sea of troubles, without one friendly star to guide her course, and dreading that the next surge may overwhelm her? Canst thou give to a frame tremblingly alive as the tortures of suspense, the stability and hardihood of the rock that braves the blast? If thou canst not do the least of these, why wouldst thou disturb me in my miseries, with thy inquiries after me?

* * * * *

For these two months I have not been able to lift a pen. My constitution and frame were, ab origine, blasted with a deep incurable taint of hypochondria, which poisons my existence. Of late a number of domestic vexations, and some pecuniary share in the ruin of these cursed times; losses which, though trifling, were yet what I could ill bear, have so irritated me, that my feelings at times could only be envied by a reprobate spirit listening to the sentence that dooms it to perdition.

Are you deep in the language of consolation? I have exhausted in reflection every topic of comfort. A heart at ease would have been charmed with my sentiments and reasonings; but as to myself I was like Judas Iscariot preaching the gospel; he might melt and mould the hearts of those around him, but his own kept its native incorrigibility.

Still there are two great pillars that bear us up, amid the wreck of misfortune and misery. The one is composed of the different modifications of a certain noble stubborn something in man, known by the names of courage, fortitude, magnanimity. The other is made up of those feelings and sentiments, which, however the sceptic may deny them, or the enthusiast disfigure them, are yet, I am convinced, original and component parts of the human soul; those senses of the mind, if I may be allowed the expression, which connect us with, and link us to, those awful, obscure realities—an all-powerful, and equally beneficent God; and a world to come, beyond death and the grave. The first gives the nerve of combat, while a ray of hope beams on the field: the last pours the balm of comfort into the wounds which time can never cure.

I do not remember, my dear Cunningham, that you and I ever talked on the subject of religion at all. I know some who laugh at it, as the trick of the crafty few, to lead the undiscerning MANY; or at most as an uncertain obscurity, which mankind can never know anything of, and with which they are fools if they give themselves much to do. Nor would I quarrel with a man for his irreligion, any more than I would for his want of a musical ear. I would regret that he was shut out from what, to me and to others, were such superlative sources of enjoyment. It is in this point of view, and for this reason, that I will deeply imbue the mind of every child of mine with religion. If my son should happen to be a man of feeling, sentiment, and taste, I shall thus add largely to his enjoyments. Let me flatter myself that this sweet little fellow, who is just now running about my desk, will be a man of a melting, ardent, glowing heart; and an imagination, delighted with the painter, and rapt with the poet. Let me figure him wandering out in a sweet evening, to inhale the balmy gales, and enjoy the growing luxuriance of spring; himself the while in the blooming youth of life. He looks abroad on all nature, and through nature up to nature's God. His soul, by swift delighting degrees, is rapt above this sublunary sphere, until he can be silent no longer, and bursts out into the glorious enthusiasm of Thomson,

"These, as they change, Almighty Father, these Are but the varied God.—The rolling year Is full of thee."

And so on, in all the spirit and ardour of that charming hymn. These are no ideal pleasures, they are real delights; and I ask what of the delights among the sons of men are superior, not to say equal to them? And they have this precious, vast addition, that conscious virtue stamps them for her own; and lays hold on them to bring herself into the presence of a witnessing, judging, and approving God.

R. B.

* * * * *



CCXCIII.

TO THE EARL OF GLENCAIRN.

[The original letter is in the possession of the Hon. Mrs. Halland, of Poynings: it is undated, but from a memorandum on the back it appears to have been written in May, 1794.]

May, 1794.

MY LORD,

When you cast your eye on the name at the bottom of this letter, and on the title-page of the book I do myself the honour to send your lordship, a more pleasurable feeling than my vanity tells me that it must be a name not entirely unknown to you. The generous patronage of your late illustrious brother found me in the lowest obscurity: he introduced my rustic muse to the partiality of my country; and to him I owe all. My sense of his goodness, and the anguish of my soul at losing my truly noble protector and friend, I have endeavoured to express in a poem to his memory, which I have now published. This edition is just from the press; and in my gratitude to the dead, and my respect for the living (fame belies you, my lord, if you possess not the same dignity of man, which was your noble brother's characteristic feature), I had destined a copy for the Earl of Glencairn. I learnt just now that you are in town:—allow me to present it you.

I know, my lord, such is the vile, venal contagion which pervades the world of letters, that professions of respect from an author, particularly from a poet, to a lord, are more than suspicious. I claim my by-past conduct, and my feelings at this moment, as exceptions to the too just conclusion. Exalted as are the honours of your lordship's name, and unnoted as is the obscurity of mine; with the uprightness of an honest man, I come before your lordship with an offering, however humble, 'tis all I have to give, of my grateful respect; and to beg of you, my lord,—'tis all I have to ask of you,—that you will do me the honour to accept of it.

I have the honour to be,

R. B.

* * * * *



CCXCIV.

TO MR. THOMSON.

[The correspondence between the poet and the musician was interrupted in spring, but in summer and autumn the song-strains were renewed.]

May, 1794.

MY DEAR SIR,

I return you the plates, with which I am highly pleased; I would humbly propose, instead of the younker knitting stockings, to put a stock and horn into his hands. A friend of mine, who is positively the ablest judge on the subject I have ever met with, and, though an unknown, is yet a superior artist with the burin, is quite charmed with Allan's manner. I got him a peep of the "Gentle Shepherd;" and he pronounces Allan a most original artist of great excellence.

For my part, I look on Mr. Allan's choosing my favourite poem for his subject, to be one of the highest compliments I have ever received.

I am quite vexed at Pleyel's being cooped up in France, as it will put an entire stop to our work. Now, and for six or seven months, I shall be quite in song, as you shall see by and bye. I got an air, pretty enough, composed by Lady Elizabeth Heron, of Heron, which she calls "The Banks of Cree." Cree is a beautiful romantic stream; and, as her ladyship is a particular friend of mine, I have written the following song to it.

Here is the glen and here the bower.[256]

R. B.

FOOTNOTES:

[Footnote 256: Song CCXXIII.]

* * * * *



CCXCV.

TO DAVID M'CULLOCH, ESQ.

[The endorsement on the back of the original letter shows in what far lands it has travelled:—"Given by David M'Culloch, Penang, 1810. A. Fraser." "Received 15th December, 1823, in Calcutta, from Captain Frazer's widow, by me, Thomas Rankine." "Transmitted to Archibald Hastie, Esq., London, March 27th, 1824, from Bombay."]

Dumfries, 21st June, 1794.

MY DEAR SIR,

My long-projected journey through your country is at last fixed: and on Wednesday next, if you have nothing of more importance to do, take a saunter down to Gatehouse about two or three o'clock, I shall be happy to take a draught of M'Kune's best with you. Collector Syme will be at Glens about that time, and will meet us about dish-of-tea hour. Syme goes also to Kerroughtree, and let me remind you of your kind promise to accompany me there; I will need all the friends I can muster, for I am indeed ill at ease whenever I approach your honourables and right honourables.

Yours sincerely,

R. B.

* * * * *



CCXCVI.

TO MRS. DUNLOP.

[Castle Douglas is a thriving Galloway village: it was in other days called "The Carlinwark," but accepted its present proud name from an opulent family of mercantile Douglasses, well known in Scotland, England, and America.]

Castle Douglas, 25th June, 1794.

Here, in a solitary inn, in a solitary village, am I set by myself, to amuse my brooding fancy as I may.—Solitary confinement, you know, is Howard's favourite idea of reclaiming sinners; so let me consider by what fatality it happens that I have so long been so exceeding sinful as to neglect the correspondence of the most valued friend I have on earth. To tell you that I have been in poor health will not be excuse enough, though it is true. I am afraid that I am about to suffer for the follies of my youth. My medical friends threaten me with a flying gout; but I trust they are mistaken.

I am just going to trouble your critical patience with the first sketch of a stanza I have been framing as I passed along the road. The subject is Liberty: you know, my honoured friend, how dear the theme is to me. I design it as an irregular ode for General Washington's birth-day. After having mentioned the degeneracy of other kingdoms, I come to Scotland thus:—

Thee, Caledonia, thy wild heaths among, Thee, famed for martial deed, and sacred song, To thee I turn with swimming eyes; Where is that soul of freedom fled? Immingled with the mighty dead! Beneath the hallowed turf where Wallace lies! Hear it not, Wallace, in thy bed of death! Ye babbling winds in silence sweep, Disturb not ye the hero's sleep.

with additions of

That arm which nerved with thundering fate, Braved usurpation's boldest daring! One quenched in darkness like the sinking star, And one the palsied arm of tottering, powerless age.

You will probably have another scrawl from me in a stage or two.

R. B.

* * * * *



CCXCVII.

TO MR. JAMES JOHNSON.

[The anxiety of Burns about the accuracy of his poetry, while in the press, was great: he found full employment for months in correcting a new edition of his poems.]

Dumfries, 1794.

MY DEAR FRIEND,

You should have heard from me long ago; but over and above some vexatious share in the pecuniary losses of these accursed times, I have all this winter been plagued with low spirits and blue devils, so that I have almost hung my harp on the willow-trees.

I am just now busy correcting a new edition of my poems, and this, with my ordinary business, finds me in full employment.

I send you by my friend Mr. Wallace forty-one songs for your fifth volume; if we cannot finish it in any other way, what would you think of Scots words to some beautiful Irish airs? In the mean time, at your leisure, give a copy of the Museum to my worthy friend, Sir. Peter Hill, bookseller, to bind for me, interleaved with blank leaves, exactly as he did the Laird of Glenriddel's, that I may insert every anecdote I can learn, together with my own criticisms and remarks on the songs. A copy of this kind I shall leave with you, the editor, to publish at some after period, by way of making the Museum a book famous to the end of time, and you renowned for ever.

I have got an Highland dirk, for which I have great veneration; as it once was the dirk of Lord Balmerino. It fell into bad hands, who stripped it of the silver mounting, as well as the knife and fork. I have some thoughts of sending it to your care, to get it mounted anew.

Thank you for the copies of my Volunteer Ballad.—Our friend Clarke has done indeed well! 'tis chaste and beautiful. I have not met with anything that has pleased me so much. You know I am no connoisseur: but that I am an amateur—will be allowed me.

R. B.

* * * * *



CCXCVIII.

TO MR. THOMSON.

[The blank in this letter could be filled up without writing treason: but nothing has been omitted of an original nature.]

July, 1794.

Is there no news yet of Pleyel? Or is your work to be at a dead stop, until the allies set our modern Orpheus at liberty from the savage thraldom of democrat discords? Alas the day! And woe is me! That auspicious period, pregnant with the happiness of millions. * * * *

I have presented a copy of your songs to the daughter of a much-valued and much-honoured friend of mine, Mr. Graham of Fintray. I wrote on the blank side of the title-page the following address to the young lady:

Here, where the Scottish muse immortal lives, &c.[257]

R. B.

FOOTNOTES:

[Footnote 257: Song CCXXIX.]

* * * * *



CCXCIX.

TO MR. THOMSON.

[Thomson says to Burns, "You have anticipated my opinion of 'O'er the seas and far away.'" Yet some of the verses are original and touching.]

30th August, 1794.

The last evening, as I was straying out, and thinking of "O'er the hills and far away," I spun the following stanza for it; but whether my spinning will deserve to be laid up in store, like the precious thread of the silk-worm, or brushed to the devil, like the vile manufacture of the spider, I leave, my dear Sir, to your usual candid criticism. I was pleased with several lines in it at first, but I own that now it appears rather a flimsy business.

This is just a hasty sketch, until I see whether it be worth a critique. We have many sailor songs, but as far as I at present recollect, they are mostly the effusions of the jovial sailor, not the wailings of his love-lorn mistress. I must here make one sweet exception—"Sweet Annie frae the sea-beach came." Now for the song:—

How can my poor heart be glad.[258]

I give you leave to abuse this song, but do it in the spirit of Christian meekness.

R. B.

FOOTNOTES:

[Footnote 258: Song CCXXIV.]

* * * * *



CCC.

TO MR. THOMSON.

[The stream on the banks of which this song is supposed to be sung, is known by three names, Cairn, Dalgonar, and Cluden. It rises under the name of Cairn, runs through a wild country, under the name of Dalgonar, affording fine trout-fishing as well as fine scenes, and under that of Cluden it all but washes the walls of Lincluden College, and then unites with the Nith.]

Sept. 1794.

I shall withdraw my "On the seas and far away" altogether: it is unequal, and unworthy the work. Making a poem is like begetting a son: you cannot know whether you have a wise man or a fool, until you produce him to the world to try him.

For that reason I send you the offspring of my brain, abortions and all; and, as such, pray look over them, and forgive them, and burn them. I am flattered at your adopting "Ca' the yowes to the knowes," as it was owing to me that ever it saw the light. About seven years ago I was well acquainted with a worthy little fellow of a clergyman, a Mr. Clunie, who sang it charmingly; and, at my request, Mr. Clarke took it down from his singing. When I gave it to Johnson, I added some stanzas to the song, and mended others, but still it will not do for you. In a solitary stroll which I took to-day, I tried my hand on a few pastoral lines, following up the idea of the chorus, which I would preserve. Here it is, with all its crudities and imperfections on its head.

Ca' the yowes to the knowes, &c.[259]

I shall give you my opinion of your other newly adopted songs my first scribbling fit.

R. B.

FOOTNOTES:

[Footnote 259: Song CCXXV.]

* * * * *



CCCI.

TO MR. THOMSON.

[Dr. Maxwell, whose skill called forth the praises of the poet, had the honour of being named by Burke in the House of Commons: he shared in the French revolution, and narrowly escaped the guillotine, like many other true friends of liberty.]

Sept. 1794.

Do you know a blackguard Irish song called "Onagh's Waterfall?" The air is charming, and I have often regretted the want of decent verses to it. It is too much, at least for my humble rustic muse, to expect that every effort of hers shall have merit; still I think that it is better to have mediocre verses to a favourite air, than none at all. On this principle I have all along proceeded in the Scots Musical Museum; and as that publication is at its last volume, I intend the following song, to the air above mentioned, for that work.

If it does not suit you as an editor, you may be pleased to have verses to it that you can sing in the company of ladies.

Sae flaxen were her ringlets.[260]

Not to compare small things with great, my taste in music is like the mighty Frederick of Prussia's taste in painting: we are told that he frequently admired what the connoisseurs decried, and always without any hypocrisy confessed his admiration. I am sensible that my taste in music must be inelegant and vulgar, because people of undisputed and cultivated taste can find no merit in my favourite tunes. Still, because I am cheaply pleased, is that any reason why I should deny myself that pleasure? Many of our strathspeys, ancient and modern, give me most exquisite enjoyment, where you and other judges would probably be showing disgust. For instance, I am just now making verses for "Rothemurche's rant," an air which puts me in raptures; and, in fact, unless I be pleased with the tune, I never can make verses to it. Here I have Clarke on my side, who is a judge that I will pit against any of you. "Rothemurche," he says, "is an air both original and beautiful;" and, on his recommendation, I have taken the first part of the tune for a chorus, and the fourth or last part for the song. I am but two stanzas deep in the work, and possibly you may think, and justly, that the poetry is as little worth your attention as the music.

[Here follow two stanzas of the song, beginning "Lassie wi' the lint-white locks." Song CCXXXIII.]

I have begun anew, "Let me in this ae night." Do you think that we ought to retain the old chorus? I think we must retain both the old chorus and the first stanza of the old song. I do not altogether like the third line of the first stanza, but cannot alter it to please myself. I am just three stanzas deep in it. Would you have the denouement to be successful or otherwise?—should she "let him in" or not?

Did you not once propose "The sow's tail to Geordie" as an air for your work? I am quite delighted with it; but I acknowledge that is no mark of its real excellence. I once set about verses for it, which I meant to be in the alternate way of a lover and his mistress chanting together. I have not the pleasure of knowing Mrs. Thomson's Christian name, and yours, I am afraid, is rather burlesque for sentiment, else I had meant to have made you the hero and heroine of the little piece.

How do you like the following epigram which I wrote the other day on a lovely young girl's recovery from a fever? Doctor Maxwell was the physician who seemingly saved her from the grave; and to him I address the following:

TO DR. MAXWELL,

ON MISS JESSIE STAIG'S RECOVERY.

Maxwell, if merit here you crave, That merit I deny: You save fair Jessy from the grave?— An angel could not die!

God grant you patience with this stupid epistle!

R. B.

FOOTNOTES:

[Footnote 260: Song CCXXVI.]

* * * * *



CCCII.

TO MR. THOMSON.

[The poet relates the history of several of his best songs in this letter: the true old strain of "Andro and his cutty gun" is the first of its kind.]

19th October, 1794.

MY DEAR FRIEND,

By this morning's post I have your list, and, in general, I highly approve of it. I shall, at more leisure, give you a critique on the whole. Clarke goes to your town by to-day's fly, and I wish you would call on him and take his opinion in general: you know his taste is a standard. He will return here again in a week or two, so please do not miss asking for him. One thing I hope he will do—persuade you to adopt my favourite "Craigieburn-wood," in your selection: it is as great a favourite of his as of mine. The lady on whom it was made is one of the finest women in Scotland; and in fact (entre nous) is in a manner to me what Sterne's Eliza was to him—a mistress, or friend, or what you will, in the guileless simplicity of Platonic love. (Now, don't put any of your squinting constructions on this, or have any clishmaclaver about it among our acquaintances.) I assure you that to my lovely friend you are indebted for many of your best songs of mine. Do you think that the sober, gin-horse routine of existence could inspire a man with life, and love, and joy—could fire him with enthusiasm, or melt him with pathos, equal to the genius of your book? No! no! Whenever I want to be more than ordinary in song—to be in some degree equal to your diviner airs—do you imagine I fast and pray for the celestial emanation? Tout au contraire! I have a glorious recipe; the very one that for his own use was invented by the divinity of healing and poetry, when erst he piped to the flocks of Admetus. I put myself in a regimen of admiring a fine woman; and in proportion to the adorability of her charms, in proportion you are delighted with my verses. The lightning of her eye is the godhead of Parnassus, and the witchery of her smile the divinity of Helicon!

To descend to business: if you like my idea of "When she cam ben she bobbit," the following stanzas of mine, altered a little from what they were formerly, when set to another air, may perhaps do instead of worse stanzas:—

O saw ye my dear, my Phely.[261]

Now for a few miscellaneous remarks. "The Posie" (in the Museum) is my composition; the air was taken down from Mrs. Burns's voice. It is well known in the west country, but the old words are trash. By the bye, take a look at the tune again, and tell me if you do not think it is the original from which "Roslin Castle" is composed. The second part in particular, for the first two or three bars, is exactly the old air. "Strathallan's Lament" is mine; the music is by our right trusty and deservedly well-beloved Allan Masterton. "Donocht-Head" is not mine; I would give ten pounds it were. It appeared first in the Edinburgh Herald, and came to the editor of that paper with the Newcastle post-mark on it "Whistle o'er the lave o't" is mine: the music said to be by a John Bruce, a celebrated violin-player in Dumfries, about the beginning of this century. This I know, Bruce, who was an honest man, though a red-wud Highlandman, constantly claimed it; and by all the old musical people here is believed to be the author of it.

"Andrew and his cutty gun." The song to which this is set in the Museum is mine, and was composed on Miss Euphemia Murray, of Lintrose, commonly and deservedly called the Flower of Strathmore.

"How long and dreary is the night!" I met with some such words in a collection of songs somewhere, which I altered and enlarged; and to please you, and to suit your favourite air, I have taken a stride or two across my room, and have arranged it anew, as you will find on the other page.

How long and dreary is the night, &c.[262]

Tell me how you like this. I differ from your idea of the expression of the tune. There is, to me, a great deal of tenderness in it. You cannot, in my opinion, dispense with a bass to your addenda airs. A lady of my acquaintance, a noted performer, plays and sings at the same time so charmingly, that I shall never bear to see any of her songs sent into the world, as naked as Mr. What-d'ye-call-um has done in his London collection.[263]

These English songs gravel me to death. I have not that command of the language that I have of my native tongue. I have been at "Duncan Gray," to dress it in English, but all I can do is deplorably stupid. For instance:—

Let not woman e'er complain, &c.[264]

Since the above, I have been out in the country, taking a dinner with a friend, where I met with a lady whom I mentioned in the second page in this odds-and-ends of a letter. As usual, I got into song; and returning home I composed the following:

Sleep'st thou, or wak'st thou, fairest creature &c.[265]

If you honour my verses by setting the air to them, I will vamp up the old song, and make it English enough to be understood.

I enclose you a musical curiosity, an East Indian air, which you would swear was a Scottish one. I know the authenticity of it, as the gentleman who brought it over is a particular acquaintance of mine. Do preserve me the copy I send you, as it is the only one I have. Clarke has set a bass to it, and I intend putting it into the Musical Museum. Here follow the verses I intend for it.

But lately seen in gladsome green, &c.[266]

I would be obliged to you if you would procure me a sight of Ritson's collection of English songs, which you mention in your letter. I will thank you for another information, and that as speedily as you please: whether this miserable drawling hotch-potch epistle has not completely tired you of my correspondence?

VARIATION.

Now to the streaming fountain, Or up the heathy mountain, The hart, hind, and roe, freely, wildly-wanton stray; In twining hazel bowers, His lay the linnet pours; The lav'rock to the sky Ascends wi' sangs o' joy, While the sun and thou arise to bless the day.

When frae my Chloris parted, Sad, cheerless, broken-hearted, The night's gloomy shades, cloudy, dark, o'ercast my sky. But when she charms my sight, In pride of beauty's light; When through my very heart Her beaming glories dart; 'Tis then, 'tis then I wake to life and joy!

R. B.

FOOTNOTES:

[Footnote 261: Song CCXXVII.]

[Footnote 262: Song CCXXVIII.]

[Footnote 263: Mr. Ritson, whose collection of Scottish songs was published this year.]

[Footnote 264: Song CCXXIX.]

[Footnote 265: Song CCXXX.]

[Footnote 266: Song CCXVI.]

* * * * *



CCCIII.

TO MR. THOMSON.

[The presents made to the poet were far from numerous: the book for which he expresses his thanks, was the work of the waspish Ritson.]

November, 1794.

Many thanks to you, my dear Sir, for your present; it is a book of the utmost importance to me. I have yesterday begun my anecdotes, &c., for your work. I intend drawing them up in the form of a letter to you, which will save me from the tedious dull business of systematic arrangement. Indeed, as all I have to say consists of unconnected remarks, anecdotes, scraps of old songs, &c., it would be impossible to give the work a beginning, a middle, and an end, which the critics insist to be absolutely necessary in a work. In my last, I told you my objections to the song you had selected for "My lodging is on the cold ground." On my visit the other day to my friend Chloris (that is the poetic name of the lovely goddess of my inspiration), she suggested an idea, which I, on my return from the visit, wrought into the following song.

My Chloris, mark how green the groves.[267]

How do you like the simplicity and tenderness of this pastoral? I think it pretty well.

I like you for entering so candidly and so kindly into the story of "ma chere amie." I assure you I was never more in earnest in my life, than in the account of that affair which I sent you in my last. Conjugal love is a passion which I deeply feel, and highly venerate; but, somehow, it does not make such a figure in poesy as that other species of the passion,

"Where love is liberty, and nature law."

Musically speaking, the first is an instrument of which the gamut is scanty and confined, but the tones inexpressibly sweet, while the last has powers equal to all the intellectual modulations of the human soul. Still, I am a very poet in my enthusiasm of the passion. The welfare and happiness of the beloved object is the first and inviolate sentiment that pervades my soul; and whatever pleasures I might wish for, or whatever might be the raptures they would give me, yet, if they interfere with that first principle, it is having these pleasures at a dishonest price; and justice forbids and generosity disdains the purchase.

Despairing of my own powers to give you variety enough in English songs, I have been turning over old collections, to pick out songs, of which the measure is something similar to what I want; and, with a little alteration, so as to suit the rhythm of the air exactly, to give you them for your work. Where the songs have hitherto been but little noticed, nor have ever been set to music, I think the shift a fair one. A song, which, under the same first verse, you will find in Ramsay's Tea-table Miscellany, I have cut down for an English dress to your "Dainty Davie," as follows:—

It was the charming month of May.[268]

You may think meanly of this, but take a look at the bombast original, and you will be surprised that I have made so much of it. I have finished my song to "Rothemurche's rant," and you have Clarke to consult as to the set of the air for singing.

Lassie wi' the lint-white locks, &c.[269]

This piece has at least the merit of being a regular pastoral: the vernal morn, the summer noon, the autumnal evening, and the winter night, are regularly rounded. If you like it, well; if not, I will insert it in the Museum.

R. B.

FOOTNOTES:

[Footnote 267: Song CCXXXI.]

[Footnote 268: Song CCXXXII.]

[Footnote 269: Song CCXXXIII.]

* * * * *



CCCIV.

TO MR. THOMSON.

[Sir Walter Scott remarked, on the lyrics of Burns, "that at last the writing a series of songs for large musical collections degenerated into a slavish labour which no talents could support."]

I am out of temper that you should set so sweet, so tender an air, as "Deil tak the wars," to the foolish old verses. You talk of the silliness of "Saw ye my father?"—By heavens! the odds is gold to brass! Besides, the old song, though now pretty well modernized into the Scottish language, is originally, and in the early editions, a bungling low imitation of the Scottish manner, by that genius Tom D'Urfey, so has no pretensions to be a Scottish production. There is a pretty English song by Sheridan, in the "Duenna," to this air, which is out of sight superior to D'Urfey's. It begins,

"When sable night each drooping plant restoring."

The air, if I understand the expression of it properly, is the very native language of simplicity, tenderness, and love. I have again gone over my song to the tune.

Now for my English song to "Nancy's to the greenwood," &c.

Farewell thou stream that winding flows.[270]

There is an air, "The Caledonian Hunt's Delight," to which I wrote a song that, you will find in Johnson, "Ye banks and braes o' bonnie Doon:" this air I think might find a place among your hundred, as Lear says of his knights. Do you know the history of the air? It is curious enough. A good many years ago, Mr. James Miller, writer in your good town, a gentleman whom possibly you know, was in company with our friend Clarke; and talking of Scottish music, Miller expressed an ardent ambition to be able to compose a Scots air. Mr. Clarke, partly by way of joke, told him to keep to the black keys of the harpsichord, and preserve some kind of rhythm, and he would infallibly compose a Scots air. Certain it is that, in a few days, Mr. Miller produced the rudiments of an air, which Mr. Clarke, with some touches and corrections, fashioned into the tune in question. Ritson, you know, has the same story of the black keys; but this account which I have just given you, Mr. Clarke informed me of several years ago. Now, to show you how difficult it is to trace the origin of our airs, I have heard it repeatedly asserted that this was an Irish air; nay, I met with an Irish gentleman who affirmed he had heard it in Ireland among the old women; while, on the other hand, a countess informed me, that the first person who introduced the air into this country, was a baronet's lady of her acquaintance, who took down the notes from an itinerant piper in the Isle of Man. How difficult, then, to ascertain the truth respecting our poesy and music! I, myself, have lately seen a couple of ballads sung through the streets of Dumfries, with my name at the head of them as the author, though it was the first time I had ever seen them.

I thank you for admitting "Craigieburn-wood;" and I shall take care to furnish you with a new chorus. In fact, the chorus was not my work, but a part of some old verses to the air. If I can catch myself in a more than ordinarily propitious moment, I shall write a new "Craigieburn-wood" altogether. My heart is much in the theme.

I am ashamed, my dear fellow, to make the request; 'tis dunning your generosity; but in a moment when I had forgotten whether I was rich or poor, I promised Chloris a copy of your songs. It wrings my honest pride to write you this; but an ungracious request is doubly so by a tedious apology. To make you some amends, as soon as I have extracted the necessary information out of them, I will return you Ritson's volumes.

The lady is not a little proud that she is to make so distinguished a figure in your collection, and I am not a little proud that I have it in my power to please her so much. Lucky it is for your patience that my paper is done, for when I am in a scribbling humour, I know not when to give over.

R. B.

FOOTNOTES:

[Footnote 270: Song CCXXXIV.]

* * * * *



CCCV.

TO MR. THOMSON.

[Willy and Phely, in one of the lyrics which this letter contained, carry on the pleasant bandying of praise till compliments grow scarce, and the lovers are reduced to silence.]

19th November, 1794.

You see, my dear Sir, what a punctual correspondent I am; though, indeed, you may thank yourself for the tedium of my letters, as you have so flattered me on my horsemanship with my favourite hobby, and have praised the grace of his ambling so much, that I am scarcely ever off his back. For instance, this morning, though a keen blowing frost, in my walk before breakfast, I finished my duet, which you were pleased to praise so much. Whether I have uniformly succeeded, I will not say; but here it is for you, though it is not an hour old.

O Philly, happy be the day.[271]

Tell me honestly how you like it, and point out whatever you think faulty.

I am much pleased with your idea of singing our songs in alternate stanzas, and regret that you did not hint it to me sooner. In those that remain, I shall have it in my eye. I remember your objections to the name Philly, but it is the common abbreviation of Phillis. Sally, the only other name that suits, has to my ear a vulgarity about it, which unfits it, for anything except burlesque. The legion of Scottish poetasters of the day, whom your brother editor, Mr. Ritson, ranks with me as my coevals, have always mistaken vulgarity for simplicity; whereas, simplicity is as much eloignee from vulgarity on the one hand, as from affected point and puerile conceit on the other.

I agree with you as to the air, "Craigieburn-wood," that a chorus would, in some degree, spoil the effect, and shall certainly have none in my projected song to it. It is not, however, a case in point with "Rothemurche;" there, as in "Roy's Wife of Aldivalloch," a chorus goes, to my taste, well enough. As to the chorus going first, that is the case with "Roy's Wife," as well as "Rothemurche." In fact, in the first part of both tunes, the rhythm is so peculiar and irregular, and on that irregularity depends so much of their beauty, that we must e'en take them with all their wildness, and humour the verse accordingly. Leaving out the starting note in both tunes, has, I think, an effect that no regularity could counterbalance the want of.

Try, {Oh Roy's wife of Aldivalloch. {O lassie wi' the lint-white locks.

and

compare with {Roy's wife of Aldivalloch. {Lassie wi the lint-white locks.

Does not the lameness of the prefixed syllable strike you? In the last case, with the true furor of genius, you strike at once into the wild originality of the air; whereas, in the first insipid method, it is like the grating screw of the pins before the fiddle is brought into tune. This is my taste; if I am wrong, I beg pardon of the cognoscenti.

"The Caledonian Hunt" is so charming, that it would make any subject in a song go down; but pathos is certainly its native tongue. Scottish bacchanalians we certainly want, though the few we have are excellent. For instance, "Todlin hame," is, for wit and humour, an unparalleled composition; And "Andrew and his cutty gun" is the work of a master. By the way, are you not quite vexed to think that those men of genius, for such they certainly were, who composed our fine Scottish lyrics, should be unknown? It has given me many a heart-ache. Apropos to bacchanalian songs in Scottish, I composed one yesterday, for an air I like much—"Lumps o' pudding."

Contented wi' little and cantie wi' mair.[272]

If you do not relish this air, I will send it to Johnson.

R. B.

FOOTNOTES:

[Footnote 271: Song CCXXXV.]

[Footnote 272: Song CCXXXVI.]

* * * * *



CCCVI.

TO MR. THOMSON.

[The instrument which the poet got from the braes of Athol, seems of an order as rude and incapable of fine sounds as the whistles which school-boys make in spring from the smaller boughs of the plane-tree.]

Since yesterday's penmanship, I have framed a couple of English stanzas, by way of an English song to "Roy's Wife." You will allow me, that in this instance my English corresponds in sentiment with the Scottish.

Canst thou leave me thus, my Katy?[273]

Well! I think this, to be done in two or three turns across my room, and with two or three pinches of Irish blackguard, is not so far amiss. You see I am determined to have my quantum of applause from somebody.

Tell my friend Allan (for I am sure that we only want the trifling circumstance of being known to one another, to be the best friends on earth) that I much suspect he has, in his plates, mistaken the figure of the stock and horn. I have, at last, gotten one, but it is a very rude instrument. It is comprised of three parts; the stock, which is the hinder thigh bone of a sheep, such as you see in a mutton ham; the horn, which is a common Highland cow's horn, cut off at the smaller end, until the aperture be large enough to admit the stock to be pushed up through the horn until it be held by the thicker end of the thigh-bone; and lastly, an oaten reed exactly cut and notched like that which you see every shepherd boy have, when the corn-stems are green and full grown. The reed is not made fast in the bone, but is held by the lips, and plays loose in the smaller end of the stock; while the stock, with the horn hanging on its larger end, is held by the hands in playing. The stock has six or seven ventages on the upper side, and one back-ventage, like the common flute. This of mine was made by a man from the braes of Athole, and is exactly what the shepherds wont to use in that country.

However, either it is not quite properly bored in the holes, or else we have not the art of blowing it rightly; for we can make little of it. If Mr. Allan chooses, I will send him a sight of mine, as I look on myself to be a kind of brother-brush with him. "Pride in poets is nae sin;" and I will say it, that I look on Mr. Allan and Mr. Burns to be the only genuine and real painters of Scottish costume in the world.

R. B.

FOOTNOTES:

[Footnote 273: Song CCXXXVII.]

* * * * *



CCCVII.

TO PETER MILLER, JUN., ESQ.,

OF DALSWINTON.

[In a conversation with James Perry, editor of the Morning Chronicle, Mr. Miller, who was then member for the Dumfries boroughs, kindly represented the poverty of the poet and the increasing number of his family: Perry at once offered fifty pounds a year for any contributions he might choose to make to his newspaper: the reasons for his refusal are stated in this letter.]

Dumfries, Nov. 1794.

DEAR SIR,

Your offer is indeed truly generous, and most sincerely do I thank you for it; but in my present situation, I find that I dare not accept it. You well know my political sentiments; and were I an insular individual, unconnected with a wife and a family of children, with the most fervid enthusiasm I would have volunteered my services: I then could and would have despised all consequences that might have ensued.

My prospect in the Excise is something; at least it is, encumbered as I am with the welfare, the very existence, of near half-a-score of helpless individuals, what I dare not sport with.

In the mean time, they are most welcome to my Ode; only, let them insert it as a thing they have met with by accident and unknown to me.—Nay, if Mr. Perry, whose honour, after your character of him, I cannot doubt; if he will give me an address and channel by which anything will come safe from those spies with which he may be certain that his correspondence is beset, I will now and then send him any bagatelle that I may write. In the present hurry of Europe, nothing but news and politics will be regarded; but against the days of peace, which Heaven send soon, my little assistance may perhaps fill up an idle column of a newspaper. I have long had it in my head to try my hand in the way of little prose essays, which I propose sending into the world though the medium of some newspaper; and should these be worth his while, to these Mr. Perry shall be welcome; and all my reward shall be, his treating me with his paper, which, by the bye, to anybody who has the least relish for wit, is a high treat indeed.

With the most grateful esteem I am ever,

Dear Sir,

R. B.

* * * * *



CCCVIII.

TO MR. SAMUEL CLARKE, JUN.,

DUMFRIES.

[Political animosities troubled society during the days of Burns, as much at least as they disturb it now—this letter is an instance of it.]

Sunday Morning.

DEAR SIR,

I was, I know, drunk last night, but I am sober this morning. From the expressions Capt. —— made use of to me, had I had no-body's welfare to care for but my own, we should certainly have come, according to the manners of the world, to the necessity of murdering one another about the business. The words were such as, generally, I believe, end in a brace of pistols; but I am still pleased to think that I did not ruin the peace and welfare of a wife and a family of children in a drunken squabble. Farther, you know that the report of certain political opinions being mine, has already once before brought me to the brink of destruction. I dread lest last night's business may be misrepresented in the same way.—You, I beg, will take care to prevent it. I tax your wish for Mr. Burns' welfare with the task of waiting as soon as possible, on every gentleman who was present, and state this to him, and, as you please, show him this letter. What, after all, was the obnoxious toast? "May our success in the present war be equal to the justice of our cause."—A toast that the most outrageous frenzy of loyalty cannot object to. I request and beg that this morning you will wait on the parties present at the foolish dispute. I shall only add, that I am truly sorry that a man who stood so high in my estimation as Mr. ——, should use me in the manner in which I conceive he has done.

R. B.

* * * * *



CCCIX.

TO MR. THOMSON.

[Burns allowed for the songs which Wolcot wrote for Thomson a degree of lyric merit which the world has refused to sanction.]

December, 1794.

It is, I assure you, the pride of my heart to do anything to forward or add to the value of your book; and as I agree with you that the jacobite song in the Museum to "There'll never be peace till Jamie comes hame," would not so well consort with Peter Pindar's excellent love-song to that air, I have just framed for you the following:—

Now in her green mantle, &c.[274]

How does this please you? As to the point of time for the expression, in your proposed print from my "Sodger's Return," it must certainly be at—"She gaz'd." The interesting dubiety and suspense taking possession of her countenance, and the gushing fondness, with a mixture of roguish playfulness, in his, strike me as things of which a master will make a great deal. In great haste, but in great truth, yours,

R. B.

FOOTNOTES:

[Footnote 274: Song CCXXXVIII.]

* * * * *



CCCX.

TO MR. THOMSON.

[In this brief and off-hand way Burns bestows on Thompson one of the finest songs ever dedicated to the cause of human freedom.]

January, 1795.

I fear for my songs; however, a few may please, yet originality is a coy feature in composition, and in a multiplicity of efforts in the same style, disappears altogether. For these three thousand years, we poetic folks have been describing the spring, for instance; and as the spring continues the same, there must soon be a sameness in the imagery, &c., of these said rhyming folks.

A great critic (Aikin) on songs, says that love and wine are the exclusive themes for song-writing. The following is on neither subject, and consequently is no song; but will be allowed, I think, to be two or three pretty good prose thoughts inverted into rhyme.

Is there for honest poverty.[275]

I do not give you the foregoing song for your book, but merely by way of vive la bagatelle; for the piece is not really poetry. How will the following do for "Craigieburn-wood?"—

Sweet fa's the eve on Craigieburn.[276]

Farewell! God bless you!

R. B.

FOOTNOTES:

[Footnote 275: Song CCLXIV.]

[Footnote 276: Song CCXLV.]

* * * * *



CCCXI.

TO MR. THOMSON.

[Of this letter, Dr. Currie writes "the poet must have been tipsy indeed to abuse sweet Ecclefechan at this rate;" it is one of the prettiest of our Annandale villages, and the birth-place of that distinguished biographer.]

Ecclefechan, 7th February, 1795.

MY DEAR THOMSON,

You cannot have any idea of the predicament in which I write to you. In the course of my duty as supervisor (in which capacity I have acted of late), I came yesternight to this unfortunate, wicked little village. I have gone forward, but snows of ten feet deep have impeded my progress: I have tried to "gae back the gate I cam again," but the same obstacle has shut me up within insuperable bars. To add to my misfortune, since dinner, a scraper has been torturing catgut, in sounds that would have insulted the dying agonies of a sow under the hands of a butcher, and thinks himself, on that very account, exceeding good company. In fact, I have been in a dilemma, either to get drunk, to forget these miseries; or to hang myself, to get rid of them: like a prudent man (a character congenial to my every thought, word, and deed), I of two evils have chosen the least, and am very drunk, at your service!

I wrote you yesterday from Dumfries. I had not time then to tell you all I wanted to say; and, Heaven knows, at present have not capacity.

Do you know an air—I am sure you must know it—"We'll gang nae mair to yon town?" I think, in slowish time, it would make an excellent song. I am highly delighted with it; and if you should think it worthy of your attention, I have a fair dame in my eye to whom I would consecrate it.

As I am just going to bed, I wish you a good night.

R. B.

* * * * *



CCCXII.

TO MR. THOMSON.

[The song of Caledonia, in honour of Mrs. Burns, was accompanied by two others in honour of the poet's mistress: the muse was high in song, and used few words in the letter which enclosed them.]

May, 1795.

O stay, sweet warbling woodlark, stay![277]

Let me know, your very first leisure, how you like this song.

Long, long the night.[278]

How do you like the foregoing? The Irish air, "Humours of Glen," is a great favourite of mine, and as, except the silly stuff in the "Poor Soldier," there are not any decent verses for it, I have written for it as follows:—

Their groves o' sweet myrtle let foreign lands reckon.[279]

Let me hear from you.

R. B.

FOOTNOTES:

[Footnote 277: Song CCXLIX.]

[Footnote 278: Song CCL.]

[Footnote 279: Song CCLI.]

* * * * *



CCCXIII.

TO MR. THOMSON.

[The poet calls for praise in this letter, a species of coin which is always ready.]

How cruel are the parents.[280]

Mark yonder pomp of costly fashion.[281]

Well, this is not amiss. You see how I answer your orders—your tailor could not be more punctual. I am just now in a high fit for poetizing, provided that the strait-jacket of criticism don't cure me. If you can, in a post or two, administer a little of the intoxicating potion of your applause, it will raise your humble servant's phrensy to any height you want. I am at this moment "holding high converse" with the muses, and have not a word to throw away on such a prosaic dog as you are.

R. B.

FOOTNOTES:

[Footnote 280: Song CCLIII.]

[Footnote 281: Song CCLIV.]

* * * * *



CCCXIV.

TO MR. THOMSON.

[Thomson at this time sent the drawing to Burns in which David Allan sought to embody the "Cotter's Saturday Night:" it displays at once the talent and want of taste of the ingenious artist.]

May, 1795.

Ten thousand thanks for your elegant present—though I am ashamed of the value of it, being bestowed on a man who has not, by any means, merited such an instance of kindness. I have shown it to two or three judges of the first abilities here, and they all agree with me in classing it as a first-rate production. My phiz is sae kenspeckle, that the very joiner's apprentice, whom Mrs. Burns employed to break up the parcel (I was out of town that day) knew it at once. My most grateful compliments to Allan, who has honoured my rustic music so much with his masterly pencil. One strange coincidence is, that the little one who is making the felonious attempt on the cat's tail, is the most striking likeness of an ill-deedie, d—n'd, wee, rumblegairie urchin of mine, whom from that propensity to witty wickedness, and man-fu' mischief, which, even at twa days auld, I foresaw would form the striking features of his disposition, I named Willie Nicol, after a certain friend of mine, who is one of the masters of a grammar-school in a city which shall be nameless.

Give the enclosed epigram to my much-valued friend Cunningham, and tell him, that on Wednesday I go to visit a friend of his, to whom his friendly partiality in speaking of me in a manner introduced me—I mean a well-known military and literary character, Colonel Dirom.

You do not tell me how you liked my two last songs. Are they condemned?

R. B.

* * * * *



CCCXV.

TO MR. THOMSON.

[In allusion to the preceding letter, Thomson says to Burns, "You really make me blush when you tell me you have not merited the drawing from me." The "For a' that and a' that," which went with this letter, was, it is believed, the composition of Mrs. Riddel.]

In "Whistle, and I'll come to ye, my lad," the iteration of that line is tiresome to my ear. Here goes what I think is an improvement:—

Oh whistle, and I'll come to ye, my lad; Oh whistle, and I'll come to ye, my lad; Tho' father and mother and a' should gae mad, Thy Jeanie will venture wi' ye, my lad.

In fact, a fair dame, at whose shrine I, the priest of the Nine, offer up the incense of Parnassus—a dame whom the Graces have attired in witchcraft, and whom the Loves have armed with lightning—a fair one, herself the heroine of the song, insists on the amendment, and dispute her commands if you dare?

This is no my ain lassie,[282] &c.

Do you know that you have roused the torpidity of Clarke at last? He has requested me to write three or four songs for him, which he is to set to music himself. The enclosed sheet contains two songs for him, which please to present to my valued friend Cunningham.

I enclose the sheet open, both for your inspection, and that you may copy the song "Oh bonnie was yon rosy brier." I do not know whether I am right, but that song pleases me; and as it is extremely probable that Clarke's newly-roused celestial spark will be soon smothered in the fogs of indolence, if you like the song, it may go as Scottish verses to the air of "I wish my love was in a mire;" and poor Erskine's English lines may follow.

I enclose you a "For a' that and a' that," which was never in print: it is a much superior song to mine. I have been told that it was composed by a lady, and some lines written on the blank leaf of a copy of the last edition of my poems, presented to the lady whom, in so many fictitious reveries of passion, but with the most ardent sentiments of real friendship, I have so often sung under the name of Chloris:—

To Chloris.[283]

Une bagatelle de l'amitie.

COILA.

R. B.

FOOTNOTES:

[Footnote 282: Song CCLV.]

[Footnote 283: Poems, No. CXLVI.]

* * * * *



CCCXVI.

TO MR. THOMSON.

[In the double service of poesy and music the poet had to sing of pangs which he never endured, from beauties to whom he had never spoken.]

FORLORN my love, no comfort near, &c.[284]

How do you like the foregoing? I have written it within this hour: so much for the speed of my Pegasus; but what say you to his bottom?

R. B.

FOOTNOTES:

[Footnote 284: Song CCLVIII.]

* * * * *



CCCXVII.

TO MR. THOMSON.

[The unexampled brevity of Burns's letters, and the extraordinary flow and grace of his songs, towards the close of his life, have not now for the first time been remarked.]

LAST May a braw wooer.[285]

Why, why tell thy lover.[286]

Such is the peculiarity of the rhythm of this air, that I find it impossible to make another stanza to suit it.

I am at present quite occupied with the charming sensations of the toothache, so have not a word to spare.