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thoughtlessness and casual impulse. Such protestations, therefore, will always be treated, as they deserve, not only with contempt, but with incredulity; and their magnanimous authors set down as determined profligates, who seek to disguise their selfishness under a name somewhat less revolting. That profligacy is almost always selfishness, and that the excuse of impetuous feeling can hardly ever be justly pleaded for those who neglect the ordinary duties of life, must be apparent, we think, even to the least reflecting of those sons of fancy and song. It requires no habit of deep thinking, or anything more, indeed, than the information of an honest heart, to perceive that it is cruel and base to spend, in vain superfluities, that money which belongs of right to the pale, industrious tradesman and his famishing infants; or that it is a vile prostitution of language to talk of that man's generosity or goodness of heart who sits raving about friendship and philanthropy in a tavern, while his wife's heart is breaking at her cheerless fireside and his children pining in solitary poverty.

This pitiful cant of careless feeling and eccentric genius, accordingly, has never found much favour in the eyes of English sense and morality. The most signal effect which it ever produced was on the muddy brains of some German youths, who are said to have left college in a body to rob on the highway, because Schiller had represented the captain of a gang as so very noble a creature. But in this country, we believe, a predilection for that honourable profession must have preceded this admiration of the character. The style we have been speaking of, accordingly, is now the heroics only of the hulks and the house of correction, and has no chance, we suppose, of being greatly admired, except in the farewell speech of a young gentleman preparing for Botany Bay.

It is humiliating to think how deeply Burns has fallen into this debasing error. He is perpetually making a parade of his thoughtlessness, inflammability, and imprudence, and talking with much complacency and exultation of the offence he has occasioned to the sober and correct part of mankind. This odious slang infects almost all his prose and a very great proportion of his poetry, and is, we are persuaded, the chief, if not the only, source of disgust with which, in spite of his genius, we know that he is regarded by many very competent and liberal judges. His apology, too, we are willing to believe, is to be found in the original lowness of his situation and the slightness of his acquaintance with the world. With his talents and powers of observation, he could not have seen much of the beings who echoed this raving, without feeling for them that distrust and contempt which would have made him blush to think he had ever stretched over them the protecting shield of his genius.

Akin to this most lamentable trait of vulgarity, and indeed in some measure arising out of it, is that perpetual boast of his own independence, which is obtruded upon the readers of Burns in almost every page of his writings. The sentiment itself is noble, and it is often finely expressed; but a gentleman would only have expressed it when he was insulted or provoked, and would never have made it a spontaneous theme to those friends in whose estimation he felt that his honour stood clear. It is mixed up, too, in Burns with too fierce a tone of defiance, and indicates rather the pride of a sturdy peasant than the calm and natural elevation of a generous mind.

The last of the symptoms of rusticity which we think it necessary to notice in the works of this extraordinary man is that frequent mistake of mere exaggeration and violence for force and sublimity, which has defaced so much of his prose composition, and given an air of heaviness and labour to a good deal of his serious poetry. The truth is, that his forte was in humour and in pathosor rather in tenderness of feeling; and that he has very seldom succeeded either where mere wit and sprightliness or where great energy and weight of sentiment were requisite. He had evidently a very false and crude notion of what constituted strength of writing; and instead of that simple and brief directness which stamps the character of vigour upon every syllable, has generally had recourse to a mere accumulation of hyperbolical expressions, which encumber the diction instead of exalting it, and show the determination to be impressive without the power of executing it. This error also we are inclined to ascribe entirely to the defects of his education. The value of simplicity in the expression of passion is a lesson, we believe, of nature and of genius; but its importance in mere grave and impressive writing is one of the latest discoveries of rhetorical experience.

With the allowances and exceptions we have now stated, we think Burns entitled to the rank of a great and original genius. He has in all his compositions great force of conception, and great spirit and animation in its expression. He has taken a large range through the region of Fancy, and naturalised himself in almost all her climates. He has great humour-great powers of description--great pathos—and great discrimination of character. Almost everything that he says has spirit and originality; and everything that he says well is characterised by a charming facility which gives a grace even to occasional rudeness, and communicates to the reader a delightful sympathy with the spontaneous soaring and conscious inspiration of the poet.

Considering the reception which these works have met with from the public, and the long period during which the greater part of them have been in their possession, it may appear superfluous to say anything as to their characteristic or peculiar merit. Though the ultimate judgment of the public, however, be always sound, or at least decisive as to its general result, it is not always very apparent upon what grounds it has proceeded; nor in consequence of what, or in spite of what, it has been obtained. In Burns's works there is much to censure, as well as much to praise; and as time has not yet separated his ore from its dross, it may be worth while to state, in a very general way, what we presume to anticipate as the result of this separation. Without pretending to enter at all into the comparative merit of particular passages, we may venture to lay it down as our opinion that his poetry is far superior to his prose; that his Scottish compositions are greatly to be preferred to his English ones; and that his songs will probably outlive all his other productions. A very few remarks on each of these subjects will comprehend almost all that we have to say of the volumes now before us.

The prose works of Burns consist almost entirely of his letters. They bear, as well as his poetry, the seal and the impress of his genius; but they contain much more bad taste, and are written with far more apparent labour. His poetry was almost all written primarily from feeling, and only secondarily from ambition. His letters seem to have been nearly all composed as exercises, and for display. There are few of them written with simplicity or plainness; and though natural enough as to the sentiment, they are generally very strained and elaborate in the expression. A very great proportion of them, too, relate neither to facts nor feelings peculiarly connected with the author or his correspondent, but are made up of general declamation, moral reflections, and vague discussions all evidently composed for the sake of effect, and frequently introduced with long complaints of having nothing to say, and of the necessity and difficulty of letter-writing.

By far the best of those compositions are such as we should consider as exceptions from this general character —such as contain some specific information as to himself, or are suggested by events or observations directly applicable to his correspondent. One of the best, perhaps, is that addressed to Dr. Moore, containing an account of his early life, of which Dr. Currie has made such a judicious use in his biography. It is written with great clearness and characteristic effect, and contains many touches of easy humour and natural eloquence. We are struck, as we open the book accidentally, with the following original application of a classical image by this unlettered rustic. Talking of the first vague aspirations of his own gigantic mind, he says--we think very finely—“I had felt some early stirrings of ambition; but they were the blind gropings of Homer's Cyclop round the walls of his cave!” Of his other letters, those addressed to Mrs. Dunlop are, in our opinion, by far the best. He appears, from first to last, to have stood somewhat in awe of this excellent lady; and to have been no less sensible of her sound judgment and strict sense of propriety, than of her steady and generous partiality. The following passage we think is striking and characteristic:--

I own myself so little a Presbyterian, that I approve of set times and seasons of more than ordinary acts of devotion, for breaking in on that habituated routine of life and thought which is so apt to reduce our existence to a kind of instinct, or even sometimes, and with some minds, to a state very little superior to mere machinery.

This day; the first Sunday of May; a breezy, blue-skyed noon, some time about the beginning, and a hoary morning and calm sunny day about the end of autumn—these, time out of mind, have been with me a kind of holiday.

I believe I owe this to that glorious paper in the Spectator, “ The Vision of Mirza”; a piece that struck my young fancy before I was capable of fixing an idea to a word of three syllables. “On the 5th day of the moon, which, according to the custom of my forefathers, I always keep holy, after having washed myself, and offered up my morning devotions, I ascended the high hill of Bagdat, in order to pass the rest of the day in meditation and prayer."

We know nothing, or next to nothing, of the substance or structure of our souls, so cannot account for those seeming caprices in them, that one should be particularly pleased with this thing, or struck with that, which, on minds of a different cast, makes no extraordinary impression. I have some favourite flowers in spring; among which are the mountain daisy, the harebell, the foxglove, the wild brier-rose, the budding birch, and the hoary hawthorn, that I view and hang over with particular delight. I never hear the loud, solitary whistle of the curlew in a summer noon, or the wild, mixing cadence of a troop of grey plover in an autumnal morning, without feeling an elevation of soul, like the enthusiasm of devotion or poetry. Tell me, my dear friend, to what can this be owing? Are we a piece of machinery, which, like the Eolian harp, passive, takes the impression of the passing accident? Or do these workings argue something within us above the trodden clod ?-Vol. ii., pp. 195-197.

To this we may add the following passage, as a part, indeed, of the same picture:

There is scarcely any earthly object gives me more I do not know if I should call it pleasure—but something which exalts me,

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