“Can you furnish me with a copy of Burns’ Poems,” I said, “either for love or money?”
“I have but one copy left,” replied the man, “and here it is.”
I flung down a guinea. “The change,” I said, “I shall get when I am less in a hurry.”
’Twas late that evening ere I remembered that ’tis customary to spend at least part of the night in bed. I read on and on with a still increasing astonishment and delight, laughing and crying by turns. I was quite in a new world; all was fresh and unsoiled—the thoughts, the descriptions, the images—as if the volume I read was the first that had ever been written; and yet all was easy and natural, and appealed, with a truth and force irresistible, to the recollections I cherished most fondly. Nature and Scotland met me at every turn. I had admired the polished compositions of Pope, and Gray, and Collins, though I could not sometimes help feeling that, with all the exquisite art they displayed, there was a little additional art wanting still. In most cases the scaffolding seemed incorporated with the structure which it had served to rear; and, though certainly no scaffolding could be raised on surer principles, I could have wished that the ingenuity which had been tasked to erect it, had been exerted a little further in taking it down. But the work before me was evidently the production of a greater artist; not a fragment of the scaffolding remained—not so much as a mark to show how it had been constructed. The whole seemed to have risen like an exhalation, and, in this respect, reminded me of the structures of Shakspeare alone. I read the inimitable “Twa Dogs.” Here, I said, is the full and perfect realization of what Swift and Dryden were hardy enough to attempt, but lacked genius to accomplish. Here are dogs—bona fide dogs—endowed indeed with more than human sense and observation, but true to character, as the most honest and attached of quadrupeds, in every line. And then those exquisite touches which the poor man, inured to a life of toil and poverty, can alone rightly understand! and those deeply-based remarks on character, which only the philosopher can justly appreciate! This is the true catholic poetry, which addresses itself not to any little circle, walled in from the rest of the species by some peculiarity of thought, prejudice, or condition, but to the whole human family. I read on:—“The Holy Fair,” “Hallow E’en,” “The Vision,” the “Address to the Deil,” engaged me by turns; and then the strange, uproarious, unequalled “Death and Dr. Hornbook.” This, I said, is something new in the literature of the world. Shakspeare possessed above all men the power of instant and yet natural transition, from the lightly gay to the deeply pathetic—from the wild to the humorous; but the opposite states of feeling which he induces, however close the neighbourhood, are ever distinct and separate; the oil and the water, though contained in the same vessel, remain apart. Here, however, for the first time, they mix and incorporate, and yet each retains its whole nature and full effect. I need hardly remind the reader that the feat has been repeated, and even with more completeness, in the wonderful, “Tam o’ Shanter.” I read on. “The Cotter’s Saturday Night” filled my whole soul—my heart throbbed and my eyes moistened; and never before did I feel half so proud of my country, or know half so well on what score it was I did best in feeling proud. I had perused the entire volume from beginning to end, ere I remembered I had not taken supper, and that it was more than time to go to bed.
But it is no part of my plan to furnish a critique on the poems of my friend. I merely strive to recall the thoughts and feelings which my first perusal of them awakened, and thus only as a piece of mental history. Several months elapsed from this evening ere I could hold them out from me sufficiently at arms’ length, as it were, to judge of their more striking characteristics. At times the amazing amount of thought, feeling, and imagery which they contained—their wonderful continuity of idea, without gap or interstice—seemed to me most to distinguish them. At times they reminded me, compared with the writings of smoother poets, of a collection of medals which, unlike the thin polished coin of the kingdom, retained all the significant and pictorial roughness of the original die. But when, after the lapse of weeks, months, years, I found them rising up in my heart on every occasion, as naturally as if they had been the original language of all my feelings and emotions—when I felt that, instead of remaining outside my mind, as it were, like the writings of other poets, they had so amalgamated themselves with my passions, my sentiments, my ideas, that they seemed to have become portions of my very self—I was led to a final conclusion regarding them. Their grand distinguishing characteristic is their unswerving and perfect truth. The poetry of Shakspeare is the mirror of life—that of Burns the expressive and richly modulated voice of human nature.
CHAPTER VIII.
“Burns was a poor man from his birth, and an exciseman from necessity; but—I will say it!—the sterling of his honest worth, poverty could not debase; and his independent British spirit oppression might bend, but could not subdue.”—Letter to Mr. Graham.
I have been listening for the last half hour to the wild music of an Eolian harp. How exquisitely the tones rise and fall!—now sad, now solemn—now near, now distant. The nerves thrill, the heart softens, the imagination awakes as we listen. What if that delightful instrument be animated by a living soul, and these finely-modulated tones be but the expression of its feelings! What if these dying, melancholy cadences, which so melt and sink into the heart, be—what we may so naturally interpret them—the melodious sinkings of a deep-seated and hopeless unhappiness! Nay, the fancy is too wild for even a dream. But are there none of those fine analogies, which run through the whole of nature and the whole of art, to sublime it into truth? Yes, there have been such living harps among us; beings, the tones of whose sentiments, the melody of whose emotions, the cadences of whose sorrows, remain to thrill, and delight, and humanize our souls. They seem born for others, not for themselves. Alas, for the hapless companion of my early youth! Alas, for him, the pride of his country, the friend of my maturer manhood!—But my narrative lags in its progress.
My vessel lay in the Clyde for several weeks during the summer of 1794, and I found time to indulge myself in a brief tour along the western coasts of the kingdom, from Glasgow to the Borders. I entered Dumfries in a calm, lovely evening, and passed along one of the principal streets. The shadows of the houses on the western side were stretched half-way across the pavement, while, on the side opposite, the bright sunshine seemed sleeping on the jutting irregular fronts, and high antique gables. There seemed a world of well-dressed company this evening in town; and I learned, on inquiry, that all the aristocracy of the adjacent country, for twenty miles round, had come in to attend a county ball. They went fluttering along the sunny side of the street, gay as butterflies—group succeeding group. On the opposite side, in the shade, a solitary individual was passing slowly along the pavement. I knew him at a glance. It was the first poet, perhaps the greatest man, of his age and country. But why so solitary? It had been told me that he ranked among his friends and associates many of the highest names in the kingdom, and yet to-night not one of the hundreds who fluttered past appeared inclined to recognise him. He seemed too—but perhaps fancy misled me—as if care-worn and dejected; pained, perhaps, that not one among so many of the great should have humility enough to notice a poor exciseman. I stole up to him unobserved, and tapped him on the shoulder; there was a decided fierceness in his manner as he turned abruptly round, but, as he recognised me, his expressive countenance lighted up in a moment, and I shall never forget the heartiness with which he grasped my hand.