The Modern Scottish Minstrel, Volume IV | Page 3

occupation it was to change the gold of his achievements into the silver of song. Scottish manners, too, as well as history, exerted a powerful influence on Scotland's peasant-poet. They were then far more peculiar than now, and had only been faintly or partially represented by previous poets. Thus, the christening of the _wean_, with all its ceremony and all its mirth--Hallowe'en, with its "rude awe and laughter"--the "Rockin'"--the "Brooze"--the Bridal--and a hundred other intensely Scottish and very old customs, were all ripe and ready for the poet, and many of them he has treated, accordingly, with consummate felicity and genius. It seems almost as if the _final cause_ of their long-continued existence were connected with the appearance, in due time, of one who was to extract their finest essence, and to embalm them for ever in his own form of ideal representation.
Burns, too, doubtless derived much from previous poets. This is a common case, as we have before hinted, with even the most original. Had not Shakspeare and Milton been "celestial thieves," their writings would have been far less rich and brilliant than they are; although, had they not possessed true originality, they would not have taken their present lofty position in the world of letters. So, to say that Burns was much indebted to his predecessors, and that he often imitated Ramsay and Fergusson, and borrowed liberally from the old ballads, is by no means to derogate from his genius. If he took, he gave with interest. The most commonplace songs, after they had, as he said, "got a brushing" from his hands, assumed a totally different aspect. Each ballad was merely a piece of canvas, on which he inscribed his inimitable paintings. Sometimes even by a single word he proclaimed the presence of the master-poet, and by a single stroke exalted a daub into a picture. His imitations of Ramsay and Fergusson far surpass the originals, and remind you of Landseer's dogs, which seem better than the models from which he drew. When a king accepts a fashion from a subject, he glorifies it, and renders it the rage. It was in this royal style that Burns treated the inferior writers who had gone before him; and although he highly admired and warmly praised them, he must have felt a secret sense of his own vast superiority.
We come now shortly to speak of the influence he has exerted on Scottish poetry. This was manifold. In the first place, a number were encouraged by his success to collect and publish their poems, although few of them possessed much merit; and he complained that some were a wretched "spawn" of mediocrity, which the sunshine of his fame had warmed and brought forth prematurely. Lapraik, for instance, was induced by the praise of Burns to print an edition of his poems, which turned out a total failure. There was only one good piece in it all, and _that_ was pilfered from an old magazine. Secondly, Burns exerted an inspiring influence on some men of real genius, who, we verily believe, would, but for Burns, have never written, or, at least, written so well--such as Alexander Wilson, Tannahill, Macneil, Hogg, and the numerous members of the "Whistle-Binkie" school. In all these writers we trace the influence of the large "lingering star" of the genius of Burns. "Wattie and Meg," by Wilson, when it first appeared anonymously, was attributed to Burns. Tannahill is, in much of his poetry, an echo of Burns, although in song-writing he is a real original. Macneil was roused by Burns' praises of whisky to give a _per contra_, in his "Scotland's Scaith; or, the History of Will and Jean." And although the most of Hogg's poetry is entirely original, we find the influence of Burns distinctly marked in some of his songs--such as the "Kye come Hame."
But there is a wider and more important light in which to regard the influence of our great national Bard. He first fully revealed the interest and the beauty which lie in the simpler forms of Scottish scenery, he darted light upon the peculiarities of Scottish manners, and he opened the warm heart of his native land. Scotland, previous to Burns' poetry, was a spring shut up and a fountain sealed.
"She lay like some unkenned-of isle?Ayont New Holland."
The glories of her lakes, her glens, her streams, her mountains, the hardy courage, the burning patriotism, the trusty attachments, the loves, the games, the superstitions, and the devotion of her inhabitants, were all unknown and unsuspected as themes for song till Burns took them up, and less added glory than shewed the glory that was in them, and shewed also that they opened up a field nearly inexhaustible. Writers of a very high order were thus attracted to Scotland, not merely as their