was rejected by the author, when he republished his poems. Allan had this year been elected Poet Laureate of the club. But the rising of Mar put an end to its meetings; and Ramsay, though still a keen Jacobite, felt it to be for his interest to be so in secret. It was now, however, that he commenced in earnest his poetical career, and speedily rose to a degree of popularity, which had been attained by no poet in Scotland since the days of Sir David Lindsay. For more than a century, indeed, Scottish poetry had been under an eclipse, while such poetical genius as the age afforded chose Latin as the medium of communication. Semple, however, and Hamilton of Gilbertfield had of late years revived the notes of the Doric reed; and it seems to have been some of their compositions, as published in Watson's Collection in 1706, that first inspired Ramsay. Maggy Johnston's Elegy was speedily followed by that on John Cowper, quite in the same strain of broad humour. The publication of king James's "Christ's Kirk on the Green," from an old manuscript, speedily followed, with an additional canto by the editor, which, possessing the same broad humour, in a dialect perfectly level to the comprehension of the vulgar, while its precursor could not be read even by them without the aid of explanatory notes, met with a most cordial reception. Commentators have since that period puzzled themselves not a little to explain the language of the supposed royal bard. Ramsay, however, saved himself the trouble, leaving every one to find it out the best way he might, for he gave no explanations; and at the same time, to impress his readers with admiration of his great learning, he printed his motto, taken from Gawin Douglas, in Greek characters. A second edition of this work was published in the year 1718, with the addition of a third canto, which increased its popularity so much, that, in the course of the four following years, it ran through five editions. It was previously to the publication of this work in its extended form, that Allan Ramsay had commenced the bookselling business, for it was "printed for the author, at the Mercury, opposite to Niddry's Wynd;" but the exact time when or the manner how he changed his profession has not been recorded. At the Mercury, opposite to the head of Niddry's Wynd, Ramsay seems to have prosecuted his business as an original author, editor, and bookseller, with great diligence for a considerable number of years. His own poems he continued to print as they were written, in single sheets or half sheets, in which shape they are reported to have found a ready sale, the citizens being in the habit of sending their children with a penny for "Allan Ramsay's last piece." In this form were first published, besides those we have already mentioned, "The City of Edinburgh's address to the Country," "The City of Edinburgh's Salutation to the marquis of Caernarvon," "Elegy on Lucky Wood," "Familiar Epistles," &c. &c., which had been so well received by the public that in the year 1720, he issued proposals for republishing them, with additional poems, in one volume quarto. The estimation in which the poet was now held was clearly demonstrated by the rapid filling up of a list of subscribers, containing the names of all that were eminent for talents, learning, or dignity in Scotland. The volume, handsomely printed by Ruddiman, and ornamented by a portrait of the author, from the pencil of his friend Smibert, was published in the succeeding year, and the fortunate poet realized four hundred guineas by the speculation. This volume was, according to the fashion of the times, prefaced with several copies of recommendatory verses; and it contained the first scene of the Gentle Shepherd, under the title of "Patie and Roger," and apparently intended as a mere pastoral dialogue. Incited by his brilliant success, Ramsay redoubled his diligence, and in the year 1722, produced a volume of Fables and Tales; in 1723, the Fair Assembly; and, in 1724, Health, a poem, inscribed to the earl of Stair. In the year 1719, he had published a

volume of Scottish Songs, which had already run through two editions, by which he was encouraged to publish in January 1724, the first volume of "The Tea Table Miscellany," a collection of Songs, Scottish and English. This was soon followed by a second; in 1727, by a third; and some years afterwards by a fourth. The demand for this work was so great that, in the course of a few years, it ran through twelve editions. In later times Ramsay has been condemned for what he seems to have looked upon as a meritorious piece of labour. He had refitted about sixty of the old airs with new verses, partly by himself, and partly by others; which was perhaps absolutely necessary on account of the rudeness and indecency of the elder ditties. Modern antiquaries, however, finding that he has thus been the means of banishing the latter order of songs out of existence, declaim against him for a result which he perhaps never contemplated, and which, to say the least of it, could never have occurred, if the lost poems had possessed the least merit. That Ramsay, in publishing a work for the immediate use of his contemporaries, did not consult the taste or wishes of an age a century later, was certainly very natural; and though we may regret that the songs are lost, we cannot well see how the blame lies with him. Ramsay, let us also recollect, was at this very time evincing his desire to bring forward the really valuable productions of the elder muse. In the year 1724, he published the "Ever-Green, being a Collection of Scots Poems, wrote by the Ingenious before 1600." Ramsay, however, was neither a faithful, nor a well informed editor. He introduced into this collection, as ancient compositions, two pieces of his own, entitled, “The Vision," and "The Eagle and Robin Redbreast," the former being a political allegory with a reference to the Pretender.

Ramsay had already written and published, in his first volume of original poetry," Patie and Roger," which he had followed up the following year with "Jenny and Maggy," a pastoral, being a sequel to "Patie and Roger." These sketches were so happily executed, as to excite in every reader a desiro to see them extended. He therefore proceeded with additional colloquies in connexion with the former, so as to form in the end a dramatic pastoral in five acts. In the following letter, published here for the first time, it will be seen that he was engaged on this task in spring 1724, at a time when the duties of life were confining him to the centre of a busy city, and when, by his own confession, he had almost forgot the appearance of those natural scenes which he has nevertheless so admirably described :—

ALLAN RAMSAY TO WILLIAM RAMSAY, OF TEMPLEHALL, Esq.

"Edinburgh, April 8th, 1724.

"Sir,―These come to bear you my very heartyest and grateful wishes. May you long enjoy your Marlefield, see many a returning spring pregnant with new beautys; may every thing that's excellent in its kind continue to fill your extended soul with pleasure. Rejoyce in the beneficence of heaven, and let all about ye rejoyce—whilst we, alake, the laborious insects of a smoaky city, hurry about from place to place in one eternal maze of fatiguing cares, to secure this day our daylie bread—and something till't. For me, I have almost forgot how springs gush from the earth. Once, I had a notion how fragrant the fields were after a soft shower; and often, time out of mind! the glowing blushes of the morning have fired my breast with raptures. Then it was that the mixture of rural music echo'd agreeable from the sorrounding hills, and all nature appear'd in gayety.

"However, what is wanting to me of rural sweets I endeavour to make up by