enter his mind. Song was, in fact, to him merely the language of love; and whatever he put into his magic cauldron, whether esteem, or respect, or reverence, the result was always the same. Pour what you chose into the conjuror's bottle, nothing came out but love. The beautiful Lucy Johnstone, says Allan Cunningham, married to Oswald, of Auchencruive, was the heroine of "Wat ye wha's in yon town," a lady of lofty station, an heiress, and a toast-and thus she is sung by the married gauger: O, wat ye wha's in yon town, Now haply down yon gay green shaw, How blest ye birds that round her sing, The sun blinks blithe on yon town, But my delight in yon town, And dearest bliss, is Lucy fair. Without my love, not a' the charms My cave wad be a lover's bower, That I wad tent and shelter there. O sweet is she in yon town, Yon sinkin sun's gane down upon; If His setting beam ne'er shone upon. angry fate is sworn my foe, And suffering I am doom'd to bear; But spare me-spare me, Lucy dear! For while life's dearest blood is warm, That e'enin sun is shining on. On a visit for a single day to the minister of Lochmaben, Dumfriesshire, he is very much pleased with the beauty and manners of his host's young daughter, the blue-eyed Jean Jeffrey. What was the form this feeling took in song? He threatens, if she refuses his love, to die for her sake! I gaed a waefu' gate yestreen, She talk'd, she smil'd, my heart she wyl’d; To her twa een sae bonnie blue. Many other instances might be given, but these will suffice to relieve the memory of the poet from the imputation of being a professed Lothario. Burns, in fact, seems to have been a hypocrite the wrong way, and to have affected more vices than he possessed. It is not indeed surprising that the number of those amorous effusions should have given rise to the reports of his dissolute life. He wrote so constantly in the character of a passionate admirer of the fair sex, that at last people thought "himself must be the hero of his story." You may have heard of an actor, who was placed so constantly before the audience in the character of a swindler, and sometimes even as first or second murderer in a melodrama, that he applied to the manager for a change of parts; for the baker had begun to refuse him credit, and his landlady expected to be strangled in her sleep. suffers from the same cause. worse amatory poems, he thought a better man. Burns's reputation If he had written would have been With this explanation we can look on his most rapturous effusions as exercises of his genius, and not manifestations of his inconstancy. "Wilt thou be my Dearie ?" seems rather a free-and-easy question if addressed to any mortal mixture of earth's mould, but soars away into the region where passion loses all its grossness when directed to an abstraction, or even, as the biographers maintain, to the mother of a belted earl: Wilt thou be my dearie ? When sorrow wrings thy gentle heart- Only thou, I swear and vow, Shall ever be my dearie. Lassie, say thou lo'es me; Say na thou'lt refuse me : Thou, for thine may choose me, Trusting that thou lo'es me. It requires also some acquaintance with the actual meaning of Burns' words to enter fully into the sense of his song to Chloris. Sae flaxen were her ringlets, Her eyebrows of a darker hue, Twa laughin' een o' bonnie blue. Wad make a wretch forget his woe; Unto these rosy lips to grow: Like harmony her motion; Her pretty ankle is a spy Betraying fair proportion, Wad mak a saint forget the sky. Her faultless form and gracefu' air; Ilk feature-auld Nature Declar'd that she could do nae mair: |