of James, the fourteenth Earl, and Burns's | his friend and correspondent in former inbest patron.

PAGE 407, NOTE 172.-Lady Harriet Don was the daughter of the Dowager Countess of Glencairn, and sister to James, fourteenth Earl of Glencairn. The little angel to whom Burns alludes, was the Dowager Countess's grandson, then a child, and afterwards better known for his urbanity and accomplishments, as Sir Alexander Don, of Newton Don.

PAGE 410, NOTE 173.—“Mr. Thomson's list of songs for his publication. In his remarks the bard proceeds in order, and goes through the whole; but on many of them he merely signifies his approbation. All his remarks of any importance are presented to the reader.”—CURRIE.

PAGE 410, NOTE 174 "This alteration Mr. Thomson has adopted (or at least intended to adopt), instead of the last stanza of the original song, which is objectionable in point of delicacy."-CURRIE.

stances, with great readiness; perhaps, indeed, on all indifferent occasions. In the present instance, however, he rejected them, though repeatedly urged, with determined resolution. With every respect for the judgment of Mr. Thomson and his friends, we may be satisfied that he did so. He, who in preparing for an engagement, attempts to withdraw his imagination from images of death, will probably have but imperfect success, and is not fitted to stand in the ranks of battle, where the liberties of a kingdom are at issue. Of such men the conquerors of Bannockburn were not composed. Bruce's troops were inured to war, and familiar with all its sufferings and dangers. On the eve of that memorable day, their spirits were, without doubt, wound up to a pitch of enthusiasm suited to the occasion: a pitch of enthusiasm, at which danger becomes attractive, and the most terrific forms of death are no longer terrible. Such a strain of sentiment this heroic 'welcome' may be supposed well calculated to elevate-to raise their hearts high above fear, and to nerve their arms to the utmost pitch of mortal exertion. These observations might be illustrated and supported by a

PAGE 411, NOTE 175.-It is very surprising that Burns should have thought it necessary to substitute new verses for the old song to this air, which is one of the most exquisite effusions of genuine natural sentiment in the whole range of Scottish lyrical poetry. Its merit is now fully appre-reference to the martial poetry of all na ciated, while Burns's substituted song is never

sung.

PAGE 411, NOTE 176.-The song to which Burns here alludes, is one of which he afterwards sent a perfected copy, and which was published in Mr. Thomson's collection. The first line runs thus:

Where are the joys I hae met in the morning?

tions, from the spirit-stirring strains of Tyrtæus, to the war-song of General Wolfe, Mr. Thomson's observation, that 'Welcome to your gory bed,' is a discouraging address, seems not sufficiently considered. Perhaps, indeed, it may be aamitted, that the term gory is somewhat objectionable, not on account of its presenting a frightful, but a disagreeable image to the mind. But a great poet, uttering his conceptions on an interestThis song, however, was by no means so ing occasion, seeks always to present a successful as the majority of his compositions, picture that is vivid, and is uniformly disposed and the original words, to the same tune for to sacrifice the delicacies of taste on the altar which he had intended to adapt them, have of the imagination. And it is the privilege outlived his newer version, and still continue of superior genius, by producing a new to retain their former popularity and prefer-association, to elevate expressions that were ence. Indeed, they are actually more spirited, originally low, and thus to triumph over the and possess more essentially poetical spirit, deficiencies of language. In how many than the lines supplied by Burns. instances might this be exemplified from the works of our immortal Shakespeare:

PAGE 412, NOTE 177.-"Mr. Thomson has very properly adopted this song (if it may be so called) as the bard presented it to him. He has attached it to the air of 'Lewie Gordon,' and, perhaps, among the existing airs he could not find a better; but the poetry is suited to a much higher strain of music, and may employ the genius of some Scottish Handel, if any such should in future arise. The reader will have observed, that Burns adopted the alterations proposed by

'Who would fardels bear, When he himself might his quietus make To groan and sweat under a weary life

With a bare bodkin?

It were easy to enlarge, but to suggest such reflections is probably sufficient."-CURRIE.

PAGE 413, NOTE 178.-Burns here alludes to the melancholy death of the Honourable A. Erskine, respecting which

Thomson had written the poet a most fecling letter. Thomson, from a mistaken sense of delicacy, withheld this letter, when it subsequently fell into his hands.

PAGE 413, NOTE 179.-This Mr. Gavin Turnbull had, in 1788, published a volume of poems, entitled Poetical Essays. The work was published at Glasgow, and enjoyed even very little of its ephemeral admiration. It soon sunk into oblivion. The pieces which Burns himself quotes at full length in this letter, are really very inadequate to the brilliant eulogy with which he accompanies them. And it would seem as if his prejudice in favour of an old acquaintance had blinded his better judgment and taste; for he was very rarely guilty of such misprisions.

Scot's wha hae wi' Wallace bled.

PAGE 416, NOTE 187.-The same as stated in the foregoing Note, number 186.

PAGE 418, NOTE 188.-This gentleman held the office of Distributor of Stamps at Dumfries. Burns, who at first lived in the floor above his office, formed an intimacy with him, which lasted till the death of the poet. Mr. Syme was an agreeable table companion, and possessed considerable wit, the effusions of which were sometimes mistaken for Burns's. He died at his house of Ryedale, near Dumfries, November 24, 1831, in his seventy-seventh year.

here

PAGE 418, NOTE 189.-Burns alludes to the song, of which the first line runs thus:

Oh wat ye what's in yon town,

And which was composed in honour of Mrs. Oswald, of Auchincruive. |

PAGE 421, NOTE 190.—Mr. David Macculloch is no longer living. One of his

PAGE 414, NOTE 180.-În Dr. Currie's edition is inserted a letter from Burns to Thomson immediately following this, and before the next which I have adopted of the letters of Mr. Thomson. As the letter, No. 49, in Dr. Currie's edition, however, consisted merely of transcripts of the songs "Wilt thou be my Dearie, O!" and "Husband, | sisters, husband, cease your strife," both of which are inserted amongst the poems, I did not think it necessary to re-insert them in the form of a letter. The two songs in question, however, are thus identified as having been written especially for Mr. Thomson's col-possessed more euphony, and been more in lection.

PAGE 415, NOTE 181.-Burns here alludes to the well-worn Scottish bank notes.

PAGE 415, NOTE 182.-A present, consisting of the edition of his own poems, as published in 1793, which were despatched by Burns with this letter.

PAGE 415, NOTE 183.-It has been supposed that this letter was addressed to Captain Robertson, of Lude.

PAGE 415, NOTE 184.-Bruce's address to his troops before the Battle of Bannockburn :

Scot's wha hae wi' Wallace bled. PAGE 416, NOTE 185.-"The lady to whom the bard has so happily and justly applied the quotation in this letter, paid the debt of nature a few months ago. The graces of her person were only equalled by the singular endowments of her mind; and her poetical talents rendered her an interesting friend to Burns, in a part of the world where he was, in a great measure, excluded from the sweet intercourse of literary society."GILBERT BUrns, 1820.

PAGE 416, NOTE 186.-Bruce's address to his troops before the Battle of Bannockburn:

subsequently to the date of this letter, married Mr. Thomas Scott, brother to Sir Walter Scott.

PAGE 422, NOTE 191.-Dr. Currie objects to the expression "ruffian feeling." He suggests that the word "ruder" would have

keeping with the tenderness of the piece. I do not exactly agree in his criticism, nor do I think that the expression in the text is too "rugged an epithet" for the sense which Burns evidently intended to convey. It is one of the essential beauties of the poetry of Burns, that he seems almost invariably to have hit, as if by intuition, upon the most apt, appropriate, and positive expression whereby to convey the particular sentiment which he sought to communicate. He rarely says too much, and as rarely too little: a merit which has not been attributable to many of our most polished poets, and of which Shakepeare is the only pure example in English literature.

PAGE 423, NOTE 192.-"This Virgilian order of the poet should, I think, be disobeyed with respect to the song in question, the second stanza excepted."-NOTE BY MR. THOMSON.

"Doctors differ. The objection to the second stanza does not strike the editor."-Currie.

PAGE 425, NOTE 193.-Our bard had before received the same advice, and so far took it into consideration, as to have cast about for a subject.

PAGE 426, NOTE 194.-This, as well as other poems to which he alludes in this

letter, had previously been published by Mr. | The night's gloomy shades, cloudy, dark, Johnson in the Scots' Musical Museum, and Mr. Thomson, suspecting the authorship, had inquired of Burns if they were his composition.

And now your banks and bonnie braes
But waken sad remembrance smart;
The very shades I'held most dear
Now strike fresh anguish to my
heart:
Deserted bower! where are they now-
Ah! where the garlands that I wove
With faithful care, each morn to deck
The altars of ungrateful love?
The flowers of spring, how gay they bloomed

When last with him I wandered here!
The flowers of spring are passed away

For wintry horrors dark and drear. Yon osier'd stream, by whose lone banks My songs have lulled him oft to rest, Is now in icy fetters locked

Cold as my false love's frozen breast. PAGE 434, NOTE 207.-Mr. Heron is sometimes, indeed frequently, spoken of as Mr. Heron of Kerroughtree. His proper designation, however, was Heron of Heron.

PAGE 434, NOTE 208.-These ballads, which related to Mr. Heron's contest for the representation of the Stewartry of Kirkcudbright, will be found amongst the poems in the former portion of this work.

PAGE 435, NOTE 209.--Burns here alludes to the lines which open as follow:Still anxious to secure your partial favour, And which had been composed especially for Miss Fontenelle. The lines will be found at length amongst the poems.

PAGE 435, NOTE 210.-The pieces to which this letter referred, formed the introduction to the letter itself, Burns having transcribed them at length. They were those which respectively begin "How cruel are the parents," and "Mark yonder pomp of costly fashion."

PAGE 437, NOTE 211.-The song to which Burns here alludes, and a copy of which headed the letter, was that of which the initiatory line runs thus:

neighbour of the poet's at Dumfries called
on him, and complained that he had been
greatly disappointed in the irregular delivery
of the paper, of The Morning Chronicle
Burns asked, 'Why do not you write to the
editors of the paper?' 'Good God, Sir, can
I
presume to write to the learned editors of
a newspaper? ?' 'Well, if you are afraid of
writing to the editors of a newspaper, I am
not; and, if you think proper, I'll draw up a
sketch of a letter which you may copy.'

Burns tore a leaf from his Excise book, and instantly produced the sketch which I have transcribed, and which is here printed. The poor man thanked him, and took the letter home. However, that caution which the watchfulness of his enemies had taught him to exercise, prompted him to the prudence of begging a friend to wait on the person for whom it was written, and request the favour to have it returned. This request was complied with, and the paper never appeared in print."-CROMEK.

PAGE 440, NOTE 215.-The novel en

titled "Edward.”

PAGE 441, NOTE 216. The request conveyed in this letter was immediately compiled with.

PAGE 442, NOTE 217.—The child died suddenly at Mauchline, and Burns unable to see her at the last.

PAGE 442, NOTE 218.-No subsequent explanation was received by Mr. Thomson, of the name which should be substituted for

Chloris in these poems, and in the midst of rest, it was arrested by the last and fatal this work which created such general inteillness of the poet.

PAGE 443, NOTE 219.-His proposed revisal was prevented by the untimely death of the poet.

PAGE 444, Note 220.—“In this humble and delicate manner did poor Burns ask for a copy of a work, of which he was principally the founder, and to which he had contributed, gratuitously, not less than 184 original, altered, and collected songs! The editor has seen 180 transcribed by his own

Forlorn my love, no comfort near. PAGE 437, NOTE 212.-The lines to which Burns here refers, and which he had tran-hand for the Museum."—CROMEK. scribed at the head of his letter, are those which commence respectively as follows:Last May, a braw woer,

And,

Why, why tell thy lover. PAGE 438, NOTE 213.-This gentleman has since resided at Glasgow in retirement: 1838.

PAGE 439, NOTE 214.-"This letter owes its origin to the following circumstance:-A

PAGE 445, NOTE 221.—It is truly painful to mention, that the request was not granted.-CHAMBERS.

PAGE 445, NOTE 222.-Just before his death, however, Burns had the satisfaction of receiving a most satisfactory explanation of Mrs. Dunlop's silence, and the warmest assurances, that if any thing untoward should occur to him, her friendship should unremittingly be extended to his widow and children. The subsequent history of his

family sufficiently proves how nobly, gene- | although not forming an adequate recomrously, and devotedly Mrs. Dunlop kept her promise to the poor dying poet.

PAGE 446, NoTE 223.—Mr. James Burness immediately complied with the request. PAGE 446, NOTE 224.-The song of which Burns here alludes, is that of which the initiatory line runs thus :

Fairest maid on Devon's banks.

This

pense for Burns's services, was still one which such men might be apt, at that period, to offer and accept from each other. Burns, with hesitation, accepted, but sternly forbade any further remittance, protesting, that it would put a period to their correspondence. Yet Mr. Thomson, from time to time, expressed his sense of obligation, by presents of a different nature, and these the Dr. Currie adds the following note:- poet accepted. Burns ultimately, on an emer"These verses, and the letter enclosing gency, requested a renewal of the former rethem, are written in a character that marksmittance, using such terms on the occasion, as the very feeble state of Burns's bodily strength. Mr. Syme is of opinion that he could not have been in any danger of a jail at Dumfries, where certainly he had many firm friends, nor under any such necessity of imploring aid from Edinburgh. But about this time his reason began to be at times unsettled, and the horrors of a jail perpetually haunted his imagination. He died on the 21st of this month.'

PAGE 446, NOTE 225.-The pecuniary circumstances attending Mr. Thomson's connection with Burns, appear liable, at the present day, to much misapprehension. This gentleman, whose work has ultimately met with a good sale, seems to be regarded by some, as an enriched man who measured a stinted reward to a poor one, looking for a greater recompense: and several writers have, on this ground, spoken of him in an ungracious manner.

When we go back to the time of the correspondence between the two men, and consider their respective circumstances, and the relation in which they came to stand towards each other, the conduct of Mr. Thomson assumes quite a different aspect. He and He and Burns were enthusiasts, the one in music, the other in poetry; they were both of them servants of the government, on limited salaries, with rising families. Mr. Thomson, with little prospect of profit, engaged in the preparation of a work which was designed to set forth the music of his native land to every possible advantage, and of which the paper and print alone were likely to exnaust his very moderate resources. For literary aid in this labour of love, he applied to the great Scottish poet, who had already gratuitously assisted Johnson in his Scottish Musical Museum. Mr. Thomson offered reasonable remuneration, but the poet scorned the idea of recompense, and declared he would write only because it gave him pleasure. Nevertheless, Mr. Thomson, in the course of their correspondence, ventured to send a pecuniary present, which,

showed that his former scorn of all pecuniary remuneration was still a predominant feeling in his mind. Mr. Thomson, therefore, sent the very sum asked, believing, if he presumed to send more, that he would run a greater risk of offending than of gratifying the poet, in the then irritable state of his feelings. In all this, we humbly conceive that no unprejudiced person at the time would have seen grounds for any charge against Mr. Thomson.

It may further be remarked, that, at the time of the poet's death, though many songs had been written, only six had been published, namely, those in the first half volume, so that during the life of the poet, the publisher had realised nothing by the songs, and must have still been greatly doubtful if he should ever recover what he had already expended on the work. Before many more of the songs had appeared in connection. with his music, the friends of the poet's family had resolved to collect his works for publication; upon which, Mr. Thomson thought it a duty incumbent on him to give up the manuscripts of the whole of the songs, together with the poet's and his own letters, to Dr. Currie, that they might form part of the edition of Burns's works. The full benefit of them, as literary compositions, was thus realised for the poet's family, Mr. Thomson only retaining an exclusive right to publish them afterwards in connection with the music. And hence, after all, the debtor side of his account with Burns is not so great as it is apt to appear. No further debate could arise on this subject, if it were to be regarded in the light in which the parties chiefly interested have regarded it. We see that Burns himself manifests no trace of a suspicion that his correspondent was a selfish or niggardly man; and it is equally certain, that his surviving family always looked on that gentleman as one of the poet's and their own kindest friends. Here, we trust, the matter will at length rest.

It is a curious fact, not hitherto known to