were felt in every bosom. The songs of Caledonia, under the
influence of his matchless power, became celebrated throughout the
world. He purified the elder minstrelsy, and by a few gentle, but
effective touches, completely renovated its fading aspects. "He could
glide like dew," writes Allan Cunningham, "into the fading bloom of
departing song, and refresh it into beauty and fragrance." Contemporary
with Burns, being only seven years his junior, though upwards of half a
century later in becoming known, Carolina Oliphant, afterwards Baroness
Nairn, proved a noble coadjutor and successor to the rustic bard in
renovating the national minstrelsy. Possessing a fine musical ear, she
adapted her lyrics with singular success to the precise sentiments of
the older airs, and in this happy manner was enabled rapidly to
supersede many ribald and vulgar ditties, which, associated with
stirring and inspiring music, had long maintained a noxious popularity
among the peasantry. Of Burns' immediate contemporaries, the more
conspicuous were, John Skinner, Hector Macneill, John Mayne, and Richard
Gall. Grave as a pastor, Skinner revelled in drollery as a versifier;
Macneill loved sweetness and simplicity; Mayne, with a perception of the
ludicrous, was plaintive and sentimental; Gall was patriotic and
graceful.

Sir Walter Scott, the great poet of the past half century, if his
literary qualifications had not been so varied, had obtained renown as a
writer of Scottish songs; he was thoroughly imbued with the martial
spirit of the old times, and keenly alive to those touches of nature
which give point and force to the productions of the national lyre.
Joanna Baillie sung effectively the joys of rustic social life, and
gained admission to the cottage hearth. Lady Anne Barnard aroused the
nation to admiration by one plaintive lay. Allan Cunningham wrote the
Scottish ballad in the peculiar rhythm and with the power of the older
minstrels. Alike in mirth and tenderness, Sir Alexander Boswell was
exquisitely happy. Tannahill gave forth strains of bewitching sweetness;
Hogg, whose ballads abound with supernatural imagery, evinced in song
the utmost pastoral simplicity; Motherwell was a master of the
plaintive; Robert Nicoll rejoiced in rural loves. Among living
song-writers, Charles Mackay holds the first place in general
estimation--his songs glow with patriotic sentiment, and are redolent in
beauties; in pastoral scenes, Henry Scott Riddell is