n Scottish
history, particularly a great many of the actions of the glorious
WALLACE, the SAVIOUR of his country; yet, we have never had one Scotch
poet of any eminence, to make the fertile banks of Irvine, the romantic
woodlands and sequestered scenes on Ayr, and the healthy mountainous
source and winding sweep of DOON, emulate Tay, Forth, Ettrick, Tweed,
&c. This is a complaint I would gladly remedy, but, alas! I am far
unequal to the task, both in native genius and education. Obscure I am,
and obscure I must be, though no young poet, nor young soldier's heart,
ever beat more fondly for fame than mine--

"And if there is no other scene of being
Where my insatiate wish may have its fill,--
This something at my heart that heaves for room,
My best, my dearest part, was made in vain."

* * * * *

_September._

There is a great irregularity in the old Scotch songs, a redundancy of
syllables with respect to that exactness of accent and measure that
the English poetry requires, but which glides in, most melodiously,
with the respective tunes to which they are set. For instance, the
fine old song of "The Mill, Mill, O,"[153] to give it a plain prosaic
reading, it halts prodigiously out of measure; on the other hand, the
song set to the same tune in Bremner's collection of Scotch songs,
which begins "To Fanny fair could I impart," &c., it is most exact
measure, and yet, let them both be sung before a real critic, one
above the biases of prejudice, but a thorough judge of nature,--how
flat and spiritless will the last appear, how trite, and lamely
methodical, compared with the wild warbling cadence, the heart-moving
melody of the first!--This is particularly the case with all those
airs which end with a hypermetrical syllable. There is a degree of
wild irregularity in many of the compositions and fragments which are
daily sung to them by my compeers, the common people--a certain happy
arrangement of old Scotch syllables, and yet, very frequently,
nothing, not even like rhyme or sameness of jingle, at the ends of the
lines. This has made me sometimes imagine that perhaps it might be
possible for a Scotch poet, with a nice judicious ear, to set
compositions to many of our most favourite airs, particularly that
class of them mentioned above, independent of rhyme altogether.

* * * * *

There is a noble sublimity, a heart-melting tenderness, in so