The Complete Works. Robert Burns

William Nicol, and the young and amiable Robert Ainslie shared: the name of the poet was coupled with those of profane wits, free livers, and that class of half-idle gentlemen who hang about the courts of law, or for a season or two wear the livery of Mars, and handle cold iron.

      Edinburgh had still another class of genteel convivialists, to whom the poet was attracted by principles as well as by pleasure; these were the relics of that once numerous body, the Jacobites, who still loved to cherish the feelings of birth or education rather than of judgment, and toasted the name of Stuart, when the last of the race had renounced his pretensions to a throne, for the sake of peace and the cross. Young men then, and high names were among them, annually met on the pretender’s birth-day, and sang songs in which the white rose of Jacobitism flourished; toasted toasts announcing adherence to the male line of the Bruce and the Stuart, and listened to the strains of the laureate of the day, who prophesied, in drink, the dismissal of the intrusive Hanoverian, by the right and might of the righteous and disinherited line. Burns, who was descended from a northern race, whoso father was suspected of having drawn the claymore in 1745, and who loved the blood of the Keith-Marishalls, under whose banners his ancestors had marched, readily united himself to a band in whose sentiments, political and social, he was a sharer. He was received with acclamation: the dignity of laureate was conferred upon him, and his inauguration ode, in which he recalled the names and the deeds of the Grahams, the Erskines, the Boyds, and the Gordons, was applauded for its fire, as well as for its sentiments. Yet, though he ate and drank and sang with Jacobites, he was only as far as sympathy and poesie went, of their number: his reason renounced the principles and the religion of the Stuart line; and though he shed a tear over their fallen fortunes—though he sympathized with the brave and honourable names that perished in their cause—though he cursed “the butcher, Cumberland,” and the bloody spirit which commanded the heads of the good and the heroic to be stuck where they would affright the passer-by, and pollute the air—he had no desire to see the splendid fabric of constitutional freedom, which the united genius of all parties had raised, thrown wantonly down. His Jacobitism influenced, not his head, but his heart, and gave a mournful hue to many of his lyric compositions.

      Meanwhile his poems were passing through the press. Burns made a few emendations of those published in the Kilmarnock edition, and he added others which, as he expressed it, he had carded and spun, since he passed Glenbuck. Some rather coarse lines were softened or omitted in the “Twa Dogs;” others, from a change of his personal feelings, were made in the “Vision:” “Death and Doctor Hornbook,” excluded before, was admitted now: the “Dream” was retained, in spite of the remonstrances of Mrs. Stewart, of Stair, and Mrs. Dunlop; and the “Brigs of Ayr,” in compliment to his patrons in his native district, and the “Address to Edinburgh,” in honour of his titled and distinguished friends in that metropolis, were printed for the first time. He was unwilling to alter what he had once printed: his friends, classic, titled, and rustic, found him stubborn and unpliable, in matters of criticism; yet he was generally of a complimental mood: he loaded the robe of Coila in the “Vision,” with more scenes than it could well contain, that he might include in the landscape, all the country-seats of his friends, and he gave more than their share of commendation to the Wallaces, out of respect to his friend Mrs. Dunlop. Of the critics of Edinburgh he said, they spun the thread of their criticisms so fine that it was unfit for either warp or weft; and of its scholars, he said, they were never satisfied with any Scottish poet, unless they could trace him in Horace. One morning at Dr. Blair’s breakfast-table, when the “Holy Fair” was the subject of conversation, the reverend critic said, “Why should

      ‘——Moody speel the holy door

       With tidings of salvation?’

      if you had said, with tidings of damnation, the satire would have been the better and the bitterer.” “Excellent!” exclaimed the poet, “the alteration is capital, and I hope you will honour me by allowing me to say in a note at whose suggestion it was made.” Professor Walker, who tells the anecdote, adds that Blair evaded, with equal good humour and decision, this not very polite request; nor was this the only slip which the poet made on this occasion: some one asked him in which of the churches of Edinburgh he had received the highest gratification: he named the High-church, but gave the preference over all preachers to Robert Walker, the colleague and rival in eloquence of Dr. Blair himself, and that in a tone so pointed and decisive as to make all at the table stare and look embarrassed. The poet confessed afterwards that he never reflected on his blunder without pain and mortification. Blair probably had this in his mind, when, on reading the poem beginning “When Guildford good our pilot stood,” he exclaimed, “Ah! the politics of Burns always smell of the smithy,” meaning, that they were vulgar and common.

      In April, the second or Edinburgh, edition was published: it was widely purchased, and as warmly commended. The country had been prepared for it by the generous and discriminating criticisms of Henry Mackenzie, published in that popular periodical, “The Lounger,” where he says, “Burns possesses the spirit as well as the fancy of a poet; that honest pride and independence of soul, which are sometimes the muse’s only dower, break forth on every occasion, in his works.” The praise of the author of the “Man of Feeling” was not more felt by Burns, than it was by the whole island: the harp of the north had not been swept for centuries by a hand so forcible, and at the same time so varied, that it awakened every tone, whether of joy or woe: the language was that of rustic life; the scenes of the poems were the dusty barn, the clay-floored reeky cottage, and the furrowed field; and the characters were cowherds, ploughmen, and mechanics. The volume was embellished by a head of the poet from the hand of the now venerable Alexander Nasmith; and introduced by a dedication to the noblemen and gentlemen of the Caledonian Hunt, in a style of vehement independence, unknown hitherto in the history of subscriptions. The whole work, verse, prose, and portrait, won public attention, and kept it: and though some critics signified their displeasure at expressions which bordered on profanity, and at a license of language which they pronounced impure, by far the greater number united their praise to the all but general voice; nay, some scrupled not to call him, from his perfect ease and nature and variety, the Scottish Shakspeare. No one rejoiced more in his success and his fame, than the matron of Mossgiel.

      Other matters than his poems and socialities claimed the attention of Burns in Edinburgh. He had a hearty relish for the joyous genius of Allan Ramsay; he traced out his residences, and rejoiced to think that while he stood in the shop of his own bookseller, Creech, the same floor had been trod by the feet of his great forerunner. He visited, too, the lowly grave of the unfortunate Robert Fergusson; and it must be recorded to the shame of the magistrates of Edinburgh, that they allowed him to erect a headstone to his memory, and to the scandal of Scotland, that in such a memorial he had not been anticipated. He seems not to have regarded the graves of scholars or philosophers; and he trod the pavements where the warlike princes and nobles had walked without any emotion. He loved, however, to see places celebrated in Scottish song, and fields where battles for the independence of his country had been stricken; and, with money in his pocket which his poems had produced, and with a letter from a witty but weak man, Lord Buchan, instructing him to pull birks on the Yarrow, broom on the Cowden-knowes, and not to neglect to admire the ruins of Drybrugh Abbey, Burns set out on a border tour, accompanied by Robert Ainslie, of Berrywell. As the poet had talked of returning to the plough, Dr. Blair imagined that he was on his way back to the furrowed field, and wrote him a handsome farewell, saying he was leaving Edinburgh with a character which had survived many temptations; with a name which would be placed with the Ramsays and the Fergussons, and with the hopes of all, that, in a second volume, on which his fate as a poet would very much depend, he might rise yet higher in merit and in fame. Burns, who received this communication when laying his leg over the saddle to be gone, is said to have muttered, “Ay, but a man’s first book is sometimes like his first babe, healthier and stronger than those which follow.”

      On the 6th of May, 1787, Burns reached Berrywell: he recorded of the laird, that he was clear-headed, and of Miss Ainslie, that she was amiable and handsome—of Dudgeon, the author of “The Maid that tends the Goats,” that he had penetration and modesty, and of the preacher, Bowmaker, that he was a man of strong lungs and vigorous remark. On crossing the Tweed at Coldstream he took off his hat, and kneeling down, repeated aloud the two last verses of the “Cotter’s Saturday Night:”