Robert Burns by Principal Shairp (read books for money .TXT) 📖

is not the only person who has suffered from this sort of officiousness.

Besides this, the tours were not made in the way which most conduces to poetic composition. He did not allow himself the quiet and the leisure from interruption which are needed. It was not with such companions as Ainslie or Nicol by his side that the poet's eye discovered new beauty in the sight of a solitary reaper in a Highland glen, and his ear caught magical suggestiveness in the words, "What! you are stepping westward," heard by the evening lake.

Another hindrance to happy poetic description by Burns during these journeys was that he had now forsaken his native vernacular, and taken to writing in English after the mode of the poets of the day. This with him was to unclothe himself of his true strength. His correspondent, Dr. Moore, and his Edinburgh critics had no doubt counselled him to write in English, and he listened for a time too easily to their counsel. He and they little knew what they were doing in giving and taking such advice. The truth is, when he used his own Scottish dialect he was unapproached, unapproachable; no poet before or since has evoked out of that instrument so perfect and so varied melodies. When he wrote in English he was seldom more than third-rate; in (p. 073) fact, he was but a common clever versifier. There is but one purely English poem of his which at all approaches the first rank - the lines
To Mary in Heaven .

These may probably have been the reasons, but the fact is certain that Burns's tours are disappointing in their direct poetic fruits. But in another way Burns turned them to good account. He had by that time begun to devote himself almost entirely to the cultivation of Scottish song. This was greatly encouraged by the appearance of Johnson's Museum , a publication in which an engraver of that name living in Edinburgh had undertaken to make a thorough collection of all the best of the old Scottish songs, accompanying them with the best airs, and to add to these any new songs of merit which he could lay hands on. Before Burns left Edinburgh for his Border tour, he had begun an acquaintance and correspondence with Johnson, and had supplied him with four songs of his own for the first volume of The Museum . The second volume was now in progress, and his labours for this publication, and for another of the same kind to be afterwards mentioned, henceforth engrossed Burns's entire productive faculty, and were to be his only serious literary work for the rest of his life. He therefore employed the Highland tour in hearing all he could, that had any bearing on his now absorbing pursuit, and in collecting materials that might promote it. With this view, when on his way from Taymouth to Blair, he had turned aside to visit the famous fiddler and composer of Scotch tunes, Neil Gow, at his house, which is still pointed out, at Inver, on the Braan water, opposite the grounds of Dunkeld. This is the entry about him in Burns's diary: - "Neil Gow plays - a short, stout-built, honest Highland figure, with his grey hair shed on (p. 074) his honest social brow; an interesting face marking strong sense, kind open-heartedness, mixed with unmistrusting simplicity; visit his house; Margaret Gow." It is interesting to think of this meeting of these two - the one a Lowlander, the other a Highlander; the one the greatest composer of words, the other of tunes, for Scottish songs, which their country has produced.

As he passed through Aberdeen, Burns met Bishop Skinner, a Bishop of the Scottish Episcopal Church; and when he learnt that the Bishop's father, the author of the song of Tulloch-gorum , and The Ewie wi' the crookit horn , and other Scottish songs, was still alive, an aged Episcopalian clergyman, living in primitive simplicity in a but and a ben at Lishart, near Peterhead, and that on his way to Aberdeen he had passed near the place without knowing it, Burns expressed the greatest regret at having missed seeing the author of songs he so greatly admired. Soon after his return to Edinburgh, he received from old Mr. Skinner a rhyming epistle, which greatly pleased the poet, and to which he replied, - "I regret, and while I live shall regret, that when I was north I had not the pleasure of paying a younger brother's dutiful respect to the author of the best Scotch song ever Scotland saw, Tulloch-gorum's my delight ." This is strong, perhaps too strong praise. Allan Cunningham, in his Songs of Scotland , thus freely comments on it: - " Tulloch-gorum is a lively clever song, but I would never have edited this collection had I thought with Burns that it is the best song Scotland ever saw. I may say with the king in my favourite ballad, -

I trust I have within my realm,
Five hundred good as he."

We also find Burns, on his return to Edinburgh, writing to the (p. 075) librarian at Gordon Castle to obtain from him a correct copy of a Scotch song composed by the Duke, in the current vernacular style,
Cauld Kail in Aberdeen . This correct copy he wished to insert in the forthcoming volume of Johnson's Museum , with the name of the author appended.

At Perth he made inquiries, we are told, "as to the whereabouts of the burn-brae on which be the graves of Bessy Bell and Mary Gray." Whether he actually visited the spot, near the Almond Water, ten miles west of Perth, is left uncertain. The pathetic story of these two hapless maidens, and the fine old song founded on it, had made it to him a consecrated spot.

O Bessy Bell and Mary Gray!
They were twa bonny lasses,
They biggit a bower on yon burn-brae,
And theekit it owre wi' rashes,

is the beginning of a beautiful song which Allan Ramsay did his best to spoil, as he did in many another instance. Sir Walter Scott afterwards recovered some of the old verses which Ramsay's had superseded, and repeated them to Allan Cunningham, who gives them in his Songs of Scotland . Whether Burns knew any more of the song than the one old verse given above, with Ramsay's appended to it, is more than doubtful.

As he passed through Perth he secured an introduction to the family of Belches of Invermay, that, on crossing the river Earn on his southward journey, he might be enabled to see the little valley, running down from the Ochils to the Earn, which has been consecrated by the old and well-known song, The Birks of Invermay .

It thus appears that the old songs of Scotland, their localities, (p. 076) their authors, and the incidents whence they arose, were now uppermost in the thoughts of Burns, whatever part of his country he visited. This was as intense and as genuinely poetical an interest, though a more limited one, than that with which Walter Scott's eye afterwards ranged over the same scenes. The time was not yet full come for that wide and varied sympathy, with which Scott surveyed the whole past of his country's history, nor was Burns's nature or training such as to give him that catholicity of feeling which was required to sympathize as Scott did, with all ranks and all ages. Neither could he have so seized on the redeeming virtues of rude and half-barbarous times, and invested them with that halo of romance which Scott has thrown over them. This romantic and chivalrous colouring was an element altogether alien to Burns's character. But it may well be, that these very limitations intensified the depth and vividness of sympathy, with which Burns conceived the human situations portrayed in his best songs.

There was one more brief tour of ten days during October, 1787, which Burns made in the company of Dr. Adair. They passed first to Stirling, where Burns broke the obnoxious pane; then paid a second visit to Harvieston near Dollar - for Burns had paid a flying visit of one day there, at the end of August, before passing northward to the Highlands - where Burns introduced his friend, and seems to have flirted with some Ayrshire young ladies, relations of his friend Gavin Hamilton. Thence they passed on a visit to Mr. Ramsay at Ochtertyre on the Teith, a few miles west from Stirling. They then visited Sir William Murray at Ochtertyre in Strathearn, where Burns wrote his
Lines on scaring some waterfowl in Lock Turit , and a pretty (p. 077) pastoral song on a young beauty he met there, Miss Murray of Lintrose. From Strathearn he next seems to have returned by Clackmannan, there to visit the old lady who lived in the Tower, of whom he had heard from Mr. Ramsay. In this short journey the most memorable thing was the visit to Mr. Ramsay at his picturesque old country seat, situate on the river Teith, and commanding, down the vista of its old lime-tree avenue, so romantic a view of Stirling Castle rock. There Burns made the acquaintance of Mr. Ramsay, the laird, and was charmed with the conversation of that "last of the Scottish line of Latinists, which began with Buchanan and ended with Gregory," - an antiquary, moreover, whose manners and home Lockhart thinks that Sir Walter may have had in his recollection, when he drew the character of Monkbarns. Years afterwards, in a letter addressed to Dr. Currie, Ramsay thus wrote of Burns: - "I have been in the company of many men of genius, some of them poets, but I never witnessed such flashes of intellectual brightness as from him, the impulse of the moment, sparks of celestial fire. I never was more delighted, therefore, than with his company two days tête-à-tête . In a mixed company I should have made little of him; for, to use a gamester's phrase, he did not know when to play off, and when to play on.... When I asked, whether the Edinburgh literati had mended his poems by their criticisms, 'Sir,' said he, 'these gentlemen remind me of some spinsters in my country, who spin their thread so fine, that it is neither fit for weft nor woof."

There are other incidents recorded of that time. Among these was a visit to Mrs. Bruce, an old Scottish dame of ninety, who lived in the ancient Tower of Clackmannan, upholding her dignity as the lineal descendant and representative of the family of King Robert Bruce, (p. 078) and cherishing the strongest attachment to the exiled Stuarts. Both of these sentiments found a ready response from Burns. The one was exemplified by the old lady conferring knighthood on him and his companion with the actual sword of King Robert, which she had in her possession, remarking as she did it, that she had a better right to confer the title than some folk. Another sentiment she charmed the poet by expressing in the toast she gave after dinner, " Hooi Uncos ," that is, Away Strangers, a