But there is an anecdote of John Skinner which should endear his memory to every generous and loving heart. On one occasion he was passing a small dissenting place of worship at the time when the congregation were engaged in singing: on passing the door--old-fashioned Scottish Episcopalian as he was--he reverently took off his hat. His companion said to him, "What! do you feel so much sympathy with this Anti Burgher congregation?" "No," said Mr. Skinner, "but I respect and love any of my fellow-Christians who are engaged in singing to the glory of the Lord Jesus Christ." Well done, old Tullochgorum! thy name shall be loved and honoured by every true liberal-minded Scotsman.
Yes! Mr. Skinner's experience of the goodness of God and of the power of grace, had led him to the conviction that the earnest song of praise, that comes from the heart of the sincere believer in Christ, can go up to Heaven from the humblest earthly house of prayer, and be received before the throne of grace as acceptably as the high and solemn service of the lofty cathedral,
"Where, from the long-drawn aisle and fretted vault,
The pealing anthem swells the note of praise."
We must firmly believe that, obsolete as the dialect of Scotland may become, and its words and expressions a matter of tradition and of reminiscence with many, still there are Scottish lines, and broad Scottish lines, which can never cease to hold their place in the affections and the admiration of innumerable hearts whom they have charmed. Can the choice and popular Scottish verses, endeared to us by so many kindly associations of the past, and by so many beauties and poetical graces of their own, ever lose their attractions for a Scottish heart? The charm of such strains can never die.
I think one subsidiary cause for permanency in the popularity still belonging to particular Scottish songs has proceeded from their association with Scottish music. The melodies of Scotland can never die. In the best of these compositions there is a pathos and a feeling which must preserve them, however simple in their construction, from being vulgar or commonplace. Mendelssohn did not disdain taking Scottish airs as themes for the exercise of his profound science and his exquisite taste. It must, I think, be admitted that singing of Scottish songs in the perfection of their style--at once pathetic, graceful, and characteristic--is not so often met with as to remove all apprehension that ere long they may become matters only of reminiscence. Many accomplished musicians often neglect entirely the cultivation of their native melodies, under the idea of their being inconsistent with the elegance and science of high-class music. They commit a mistake. When judiciously and tastefully performed, it is a charming style of music, and will always give pleasure to the intelligent hearer. I have heard two young friends, who have attained great skill in scientific and elaborate compositions, execute the simple song of "Low down in the Broom," with an effect I shall not easily forget. Who that has heard the Countess of Essex, when Miss Stephens, sing "Auld Robin Gray," can ever lose the impression of her heart-touching notes? In the case of "Auld Robin Gray," the song composed by Lady Anne Lindsay, although very beautiful in itself, has been, I think, a good deal indebted to the air for its great and continued popularity. The history of that tender and appropriate melody is somewhat curious, and not generally known. The author was not a Scotsman. It was composed by the Rev. Mr. Leves, rector of Wrington in Somersetshire, either early in this century or just at the close of the last. Mr. Leves was fond of music, and composed several songs, but none ever gained any notice except his "Auld Robin Gray," the popularity of which has been marvellous. I knew the family when I lived in Somersetshire, and had met them in Bath. Mr. Leves composed the air for his daughter, Miss Bessy Leves, who was a pretty girl and a pretty singer.
I cannot but deeply regret to think that I should in these pages have any ground for classing Scottish poetry and Scottish airs amongst "Reminiscences." It is a department of literature where, of course, there must be selection, but I am convinced it will repay a careful cultivation. I would recommend, as a copious and judicious selection of Scottish tunes, "The Scottish Minstrel," by R.A. Smith (Purdie, Edinburgh). There are the words, also, of a vast number of Scottish songs, but the account of their authorship is very defective. Then, again, for the fine Scottish ballads of an older period, we have two admirable collections--one by Mr. R. Chambers, and one by the late Professor Aytoun. For Scottish dialect songs of the more modern type, a copious collection will be found (exclusive of Burns and Allan Earn say) in small volumes published by David Robertson, Glasgow, at intervals from 1832 to 1853, under the title of Whistlebinkie.
But there are more than lines of Scottish poetry which may become matter of reminiscence, and more than Scottish song melodies which may be forgotten. There are strains of Scottish PSALMODY of which it would be more sad to think that they possibly may have lost their charm and their hold with Scottish people. That such psalmody, of a peculiar Scottish class and character, has existed, no one can doubt who has knowledge or recollection of past days. In glens and retired passes, where those who fled from persecution met together--on the moors and heaths, where men suffering for their faith took refuge--in the humble worship of the cottar's fireside--were airs of sacred Scottish melody, which were well calculated to fan the heavenward flame which was kindled in lays of the "sweet Psalmist of Israel." These psalm-tunes are in their way as peculiar as the song-tunes we have referred to. Nothing can be more touching than the description by Burns of the domestic psalmody of his father's cottage. Mr. E. Chambers, in his Life of Burns, informs us that the poet, during his father's infirmity and after his death, had himself sometimes conducted family worship. Happy days, ere he had encountered the temptations of a world in which he had too often fallen before the solicitations of guilty passion! and then, beautifully does he describe the characteristic features of this portion of the cottars worship. How solemnly he enumerates the psalm-tunes usually made use of on such occasions, and discriminates the character of each:--
"They chant their artless notes in simple guise;
They tune their hearts, by far the noblest aim:
Perhaps DUNDEE'S wild warbling measures rise,