ALLAN CUNNINGHAM. 129 In 1809, R. H. Cromek was travelling in Scotland to collect songs. He brought an introduction to Cunningham from Mrs. Fletcher, well known in the Edinburgh circles. Cunningham produced his poems, of which Cromek thought little. Cunningham then hit upon the plan of disguising them as old songs. Cromek now admired, and was probably taken in for the moment. He accepted them readily, and was not less eager for the songs, if, as is probable, he suspected their real origin. Cunningham continued to forward ballads to Cromek in London, and Cromek persuaded him to come to London himself and try literature. Cunningham consented, reaching London on 9th April, 1810. A volume called 'Remains of Nithsdale and Galloway Song' appeared the following December, of which Cunningham says (HOGG, p. 79) that every article but two little scraps was contributed by me,' a fact by no means discoverable from Cromek's acknowledgement in the introduction of Cunningham's services in drawing many pieces from obscurity.' The book, which contains interesting accounts in prose of the Scotch border peasantry, obviously by Cunningham, was favourably received, and the mystification as to the origin of the ballads was always transparent to the more intelligent, especially Scott and Hogg. An article upon this volume by Professor Wilson in Blackwood's Magazine' for December, 1819, first drew public attention to Cunningham's poetical merits. Cromek paid Cunningham with a bound volume and a promise of something on a new edition. He also received Cunningham in his house, and gave him an introduction to Francis Chantrey, who was just rising into notice. Cunningham obtained employment from a sculptor named Bubb at twenty-five shillings (raised to thirty-two shillings) a week. He applied to Eugenius Roche, now editing the 'Day,' who allowed him a guinea a week for poetry, and employed him as a parliamentary reporter. He describes his performance in this capacity in a letter to his brother, dated December 29th, 1810, where he announces another collection of songs. Jean Walker now came to him, and they were married at St. Saviour's, Southwark, on July 1st, 1811. He obtained employment from his countryman, Jerdan, editor of the 'Literary Gazette,' and in 1813 published a volume of Songs, chiefly in the rural dialect of Scotland.' In 1814 he was engaged by Chantrey as superintendent of the works, and gave up newspapers. He lived afterwards at 27, Lower Belgrave Place, Pimlico. He acted as Chantrey's secretary, conducted his correspondence, represented him during his absence, and occasionally ventured an artistic hint. He became known to Chantrey's sitters, and comThe connection, honourable on both sides, lasted manded general respect. till Chantrey's death. Cunningham had to provide for a growing family, and worked hard at literature. He rose at six and worked till six' in Chantrey's studio, and wrote in the evening. He contributed a series of stories called 'Recollections of Mark Macrabin, the Cameronian,' to ' Blackwood's Magazine,' 1819-21. He gave up Blackwood' for the London Magazine.' In 1820 he submitted a drama called Sir Marmaduke Maxwell' to Sir Walter Scott, whose personal acquaintance he had made when Scott was sitting to Chantrey. Scott thought it unfit for the stage, though praising its poetry. He pays it a compliment in the preface to the Fortunes of Nigel.' It was published in 1322 with some other pieces. In 1822 appeared also two volumes of Traditional Tales of the English and Scottish Peasantry,' and in 1825 four volumes of 6 The Songs of Scotland, Ancient and Modern.' This includes A Wet Sheet and a Flowing Sea,' which though written by a landsman is one of our best sea songs. In the following years he tried romances, now forgotten, 'Paul Jones,' 1826, Sir Michael Scott,' 1828, Maid of Elvar,' poem in twelve parts, 1833, and the 'Lord Roldan,' 1836. He adopted the fashion of the day by bringing out the 'Anniversary' for 1829 and 1830, an annual with contributions from Southey, Wilson, Lockhart, Hogg, Croker, Procter, and others. From 1829 to 1833 appeared his Lives of the most Eminent British Painters, Sculptors, and Architects,' 6 vols., forming part of Murray's 'Family Library.' It is well and pleasantly written, and had a large sale. His knowledge of contemporary artists gives it some permanent value. An edition in three volumes, edited by Mrs. Charles Heaton, appeared in Bohn's 'Standard Library' in 1879. A meritorious edition of Burns in eight volumes, which appeared in 1834, was the last work of importance during his life. He corrected the last proofs of a life of Sir David Wilkie just before his death, and it appeared posthumously. Cunningham's domestic life was happy. His letters to his mother show that his filial affection was as as enduring as Carlyle's. A poem to his wife, first printed in Alaric Watts's ‘Literary Souvenir' for 1824, gives a pleasing and obviously sincere account of his lifelong devotion. They had five sons and a daughter. Scott in 1828 obtained cadetships for two sons, Alexander and Joseph, in the Indian service. Both did well. Peter became clerk in the audit office, and was the well-known antiquary. Francis also entered the Indian army. In 1831 Cunningham visited Nithsdale, was presented with the freedom of Dumfries, and entertained at a public dinner, whither Carlyle came from Craigenputtock and made a cordial speech in his honour. Carlyle afterwards met Cunningham in London. He admired the stalwart healthy figure and ways' of the solid Dumfries stonemason' (Reminiscences, ii. 211), and exempted him as a pleasant Naturmensch from his general condemnation of London scribblers. He was generally known as 'honest Allan Cunningham,' and was a stalwart, hearty, and kindly man, with a tag of rusticity to the last. Chantry died in 1841, leaving an annuity of 100l. to Cunningham, with a reversion to Mrs. Cunningham. Cunningham had already had a paralytic attack, and he died on October 30th, 1842, the day after a second attack. He was buried at Kensal Green. His widow died in September, 1864. A Wet Sheet and A Flowing Sea. A WET sheet and a flowing sea, A wind that follows fast, And fills the white and rustling sail, And bends the gallant mast; Bright like a steadfast star it smiles Far has it shone on fields of fame, What conquer'd aye and nobly spared, Gane Were but the Winter Cauld. GANE were but the winter cauld, Cauld's the snow at my head, And cauld at my feet, And the finger o' death's at my een, Closing them to sleep. Let nane tell my father, Or my mother dear: I'll meet them baith in heaven At the spring o' the year. THOMAS MOUNSEY CUNNINGHAM. 1776-1834. BY WALTER J. KAYE, M.A. THOMAS MOUNSEY CUNNINGHAM, an elder brother of Allan Cunningham, is entitled to commemoration among the song writers of his country. Thomas was educated at the village school of Kellieston, and subsequently at the academy of Dumfries. The circumstances of his parents required that he should choose a manual profession; and he was apprenticed by his own desire to a neighbouring millwright. It was during his intervals of leisure, while acquiring a knowledge of this laborious occupation, that he first essayed the composition of verses; he submitted his poems to his father, who mingled judicious criticism with words of encouragement. "The Har'st Home," one of his earliest pieces of merit, was privileged with insertion in the series of "Poetry, Original and Selected," published by Brash and Reid, booksellers in Glasgow. Proceeding to England in 1797, he entered the workshop of a millwright in Rotherham. Under the same employer he afterwards pursued his craft at King's Lynn; in 1800 he removed to Wiltshire, and soon after to the neighbourhood of Cambridge. He next received employment at Dover, and thence proceeded to London, where he occupied a situation in the establishment of Rennie, the celebrated engineer. He afterwards became foreman to one Dickson, an engineer, and superintendent of Fowler's chain-cable manufactory. In 1812 he returned to Rennie's establishment as a clerk, with a liberal salary. On leaving his father's house to seek his fortune in the south, he had been strongly counselled by Mr. Miller of Dalswinton to abjure the gratification of his poetical tendencies, and he seems to have resolved on the faithful observance of this injunction. For a period of nine years his muse was silent; at length, in 1806, he appeared in the Scots Magazine as the contributor of some elegant verses. The editor was eloquent in his commendations; and the Ettrick Shepherd, who was already a contributor to the magazine, took pains to discover the author, and addressed him a lengthened poetical epistle, expressive of his admiration. A private intimacy ensued between the two rising poets; and when the Shepherd, in 180), planned the “Forest Minstrel," he made application to his ingenious friend for contributions. |