In joy and gladness, [Death.] [This poem is supposed to have been the last, or among the last, of Nicoll's compositions.] The dew is on the summer's greenest grass, Through which the modest daisy blushing peeps; The gentle wind that like a ghost doth pass, A waving shadow on the corn-field keeps ; But I, who love them all, shall never be Again among the woods, or on the moorland lea! The sun shines sweetly-sweeter may it shine!— Blessed is the brightness of a summer day; It cheers lone hearts; and why should I repine, Although among green fields I cannot stray! Woods! I have grown, since last I heard you wave, Familiar with death, and neighbour to the grave! These words have shaken mighty human soulsLike a sepulchre's echo drear they soundE'en as the owl's wild whoop at midnight rolls The ivied remnants of old ruins round. Yet wherefore tremble? Can the soul decay? Or that which thinks and feels in aught e'er fade away? Are there not aspirations in each heart After a better, brighter world than this? Longings for beings nobler in each partThings more exalted-steeped in deeper bliss? Who gave us these? What are they? Soul, in thee The bud is budding now for immortality! Death comes to take me where I long to be; One pang, and bright blooms the immortal flower; Death comes to lead me from mortality, To lands which know not one unhappy hour; I have a hope, a faith-from sorrow here I'm led by Death away-why should I start and fear? If I have loved the forest and the field, Can I not love them deeper, better there? If all that Power hath made, to me doth yield Something of good and beauty-something fairFreed from the grossness of mortality, May I not love them all, and better all enjoy? A change from wo to joy-from earth to heaven, Death gives me this-it leads me calmly where The souls that long ago from mine were riven May meet again! Death answers many a prayer. Bright day, shine on! be glad: days brighter far Are stretched before my eyes than those of mortals are! ROBERT GILFILLAN. Though no Scottish poetry besides that of Burns attracts attention out of its native country, there is not wanting a band of able and warm-hearted men who continue to cultivate it for their own amusement and that of their countrymen. Amongst these may be mentioned MESSRS RODGER, BALLANTYNE, VEDDER, and GRAY: a high place in the class is due to MR ROBERT GILFILLAN, a native of Dunfermline, whose Poems and Songs have passed through three editions. The songs of Mr Gilfillan are marked by gentle and kindly feelings, and a smooth flow of versification, which makes them eminently suitable for being expressed in music. The Exile's Song. Oh! why left I my hame? O' my ain countrie! Awakes the Sabbath morn, Amang the yellow corn: For the tyrant's voice is here, And the wail of slaverie; But the sun of freedom shines In my ain countrie! There's a hope for every wo, And a balm for every pain, But the first joys o' our heart Come never back again. There's a track upon the deep, And a path across the sea; But the weary ne'er return To their ain countrie! In the Days o' Langsyne. In the days o' langsyne, when we carles were young, An' were clad frae the sheep that gaed white on the hill; The Hills o' Gallowa'. [By Thomas Cunningham.] [Thomas Cunningham was the senior of his brother Allan by some years, and was a copious author in prose and verse, though with an undistinguished name, long before the author of the Lives of the British Painters was known. He died in 1834.] Amang the birks sae blithe and gay, On ilka howm the sward was mawn, And saftly slade the hours awa', The warld's drumlie gloom to cheer. Ye powers wha row this yirthen ba', And our gudeman ca's hame the yowes, That owre the muir meandering rows; And sing the streams, the straths, and howes, And when auld Scotland's heathy hills, Awake nae mair my canty strains; ▾ Lucy's Flittin'. [By William Laidlaw.] [William Laidlaw is son of the Ettrick Shepherd's master at Blackhouse. All who have read Lockhart's Life of Scott, know how closely Mr Laidlaw was connected with the illustrious baronet of Abbotsford. He was his companion in some of his early wanderings, his friend and land-steward in advanced years, his amanuensis in the composition of some of his novels, and he was one of the few who watched over his last sad and painful moments. Lucy's Flittin' is deservedly popular for its unaffected tenderness and simplicity. In printing the song, Hogg added the last four lines to complete the story."] 'Twas when the wan leaf frae the birk-tree was fa'in, Then what gars me wish ony better to be? Wi' the rest o' my claes I hae rowed up the ribbon, The lamb likes the gowan wi' dew when its droukit; The Brownie of Blednoch. [By William Nicholson.] Wi' a dreary, dreary hum. His face did glow like the glow o' the west, I trow the bauldest stood aback, Wi' a gape an' a glower till their lugs did crack, O! had ye seen the bairns' fright, As they stared at this wild and unyirthly wight; The black dog growling cowered his tail, At the sight o' Aiken-drum. His matted head on his breast did rest, Roun' his hairy form there was naething seen On his wauchie arms three claws did meet, But he drew a score, himsel' did sain, But the canny auld wife cam till her breath, But it feared na Aiken-drum.. 'His presence protect us!' quoth the auld gudeman; 'What wad ye, whare won ye, by sea or by lan'? I conjure ye-speak-by the beuk in my han'!' What a grane ga'e Aiken-drum! 'I lived in a lan' where we saw nae sky, I dwalt in a spot where a burn rins na by; I'll shiel a' your sheep i' the mornin' sune, If ye'll keep puir Aiken-drum. I'll loup the linn when ye canna wade, I'se tame't,' quoth Aiken-drum. To wear the tod frae the flock on the fell, I'se seek nae guids, gear, bond, nor mark; But a cogfu' o' brose 'tween the light an' dark Quoth the wylie auld wife, The thing speaks weel; But the wenches skirled, 'He's no be here! 'Puir clipmalabors! ye hae little wit; 6 Sit yer Roun' a' that side what wark was dune By the streamer's gleam, or the glance o' the moon ; On Blednoch banks, an' on crystal Cree, But a new-made wife, fu' o' frippish freaks, ; Let the learned decide when they convene, He was heard by a herd gaun by the Thrieve, Awa, ye wrangling sceptic tribe, Though the Brownie o' Blednoch' lang be gane, Tell the feats o' Aiken-drum. E'en now, light loons that jibe an' sneer At the Glashnoch mill hae swat wi' fear, An' guidly folks hae gotten a fright, [Mr Train will be memorable in our literary history for the assistance he rendered to Sir Walter Scott in the contribution of some of the stories on which the Waverley novels were founded. He entered life as a private soldier, and rose by merit to be a supervisor of excise, from which situation he has now retired on a superannuation allowance.] Wi' drums and pipes the clachan rang, I bickered down the mountain side, To do the auld thing o'er again. Wha fight your battles far awa'. The auld thing weel done o'er again. Right far a-fiel' I freely fought, 'Gainst mony an outlandish loon; In battle I ne'er met wi' ane Discharges a' my toil and pain, The Cameronian's Dream. [By James Hislop.] [James Hislop was born of humble parents in the parish of Kirkconnel, in the neighbourhood of Sanquhar, near the source of the Nith, in July 1798. He was employed as a shepherd-boy in the vicinity of Airsmoss, where, at the gravestone of a party of slain covenanters, he composed the following striking poem. He afterwards became a teacher, and his poetical effusions having attracted the favourable notice of Lord Jeffrey, and other eminent literary characters, he was, through their influ ence, appointed schoolmaster, first on board the Doris, and subsequently the Tweed man-of-war. He died on the 4th December 1827 from fever caught by sleeping one night in the open air upon the island of St Jago. His compositions display an elegant rather than a vigorous imagination, much chasteness of thought, and a pure but ardent love of nature.] In a dream of the night I was wafted away, To the muirland of mist where the martyrs lay; Where Cameron's sword and his Bible are seen, Engraved on the stone where the heather grows green. 'Twas a dream of those ages of darkness and blood, When the minister's home was the mountain and wood; When in Wellwood's dark valley the standard of Zion, All bloody and torn 'mong the heather was lying. 'Twas morning; and summer's young sun from the east Lay in loving repose on the green mountain's breast; On Wardlaw and Cairntable the clear shining dew, Glistened there 'mong the heath bells and mountain flowers blue. And far up in heaven near the white sunny cloud, And in Glenmuir's wild solitude, lengthened and deep, And Wellwood's sweet valleys breathed music and gladness, The fresh meadow blooms hung in beauty and redness; morrow. 'Twas the few faithful ones who with Cameron were lying, Concealed 'mong the mist where the heathfowl was crying, For the horsemen of Earlshall around them were hovering, And their bridle reins rung through the thin misty covering. Their faces grew pale, and their swords were unsheathed, But the vengeance that darkened their brow was unbreathed; With eyes turned to heaven in calm resignation, Yet the souls of the righteous were calm and unclouded, Their dark eyes flashed lightning, as, firm and unbending, classes. The increased competition in business has also made our nation of shopkeepers' a busier and harder-working race than their forefathers; and the diffusion of cheap literature may have further tended tainment for the masses at home at a cheaper rate to thin the theatres, as furnishing intellectual enterthan dramatic performances. The London managers appear to have had considerable influence in this matter. They lavish enormous sums on scenic decoration and particular actors, and aim rather at filling their houses by some ephemeral and dazzling display, than by the liberal encouragement of native talent and genius. To improve, or rather re-establish the acted drama, a periodical writer suggests that there should be a classification of theatres in the metropolis, as in the drama, and performs it well. We believe,' he Paris, where each theatre has its distinct species of endeavour of managers to succeed by commixing says, 'that the evil is mainly occasioned by the vain tragedy, comedy, farce, melo-drama, and spectacle every species of entertainment-huddling together the dramatic public to their respective houses. Imand striving, by alternate exhibitions, to draw all perfect-very imperfect companies for each species are engaged; and as, in consequence of the general imperfection, they are forced to rely on individual excellence, individual performers become of inordinate importance,. and the most exorbitant salaries are given to procure them. These individuals are thus placed in a false position, and indulge themselves in all sorts of mannerisms and absurdities. The public is not unreasonably dissatisfied with imperfect companies and bad performances; the managers wonder at their ruin; and critics become elegiacal over the mournful decline of the drama! Not in this way can a theatre flourish; since, if one species of performance proves attractive, the others are at a discount, and their companies become useless burdens; if none of them prove attractive, then the loss ends in ruin.'* Too many instances of this have occurred within the last twenty years. Whenever a play of real excellence has been brought forward, the public has shown no insensibility to its merits; but so many circumstances are requisite to its successful repre They stood like the rock which the thunder is rending. The muskets were flashing, the blue swords were gleaming, The helmets were cleft, and the red blood was stream-sentation-so expensive are the companies, and so ing, The heavens grew dark, and the thunder was rolling, When in Wellwood's dark muirlands the mighty were falling. When the righteous had fallen, and the combat was ended, A chariot of fire through the dark cloud descended; A seraph unfolded its doors bright and shining, Glide swiftly, bright spirits! the prize is before ye, DRAMATISTS. Dramatic literature no longer occupies the prominent place it held in former periods of our history. Various causes have been assigned for this declineas, the great size of the theatres, the monopoly of the two large London houses, the love of spectacle or scenic display which has usurped the place of the legitimate drama, and the late dinner hours now prevalent among the higher and even the middle capricious the favourite actors that men of talent matic talent is also a rare gift. Some of the most are averse to hazard a competition. The true draeminent poets have failed in attempting to portray actual life and passion in interesting situations on the stage; and as Fielding and Smollett proved unsuccessful in comedy (though the former wrote a number of pieces), so Byron and Scott were found wanting in the qualities requisite for the tragic drama. It is evident,' says Campbell, that Melpomene demands on the stage something, and a good deal more, than even poetical talent, rare as that is. She requires a potent and peculiar faculty for the invention of incident adapted to theatric effect; a faculty which may often exist in those who have been bred to the stage, but which, generally speaking, has seldom been shown by any poets who were not professional players. There are exceptions to the remark, but there are not many. If Shakspeare had not been a player, he would not have been the dramatist that he is.' Dryden, Addison, and Congreve, are conspicuous exceptions to this rule; also Goldsmith in comedy, and, in our own day, Sir Edward Lytton Bulwer in the romantic drama. The Colmans, Sheridan, Morton, and Reynolds, never, we believe, wore the sock or buskin; but they were either managers, or closely connected with the theatre. * Edinburgh Review for 1843. In the first year of this period, ROBERT JEPHSON associates! partners of my toil, my feelings, and (1736-1803) produced his tragedy of The Count of my fame! Can Rolla's words add vigour to the Narbonne, copied from Walpole's Castle of Otranto, virtuous energies which inspire your hearts? No! and it was highly attractive on the stage. In 1785 you have judged, as I have, the foulness of the Jephson brought out another tragedy, The Duke of crafty plea by which these bold invaders would deBraganza, which was equally successful. He wrote lude you. Your generous spirit has compared, as three other tragedies, some farces, and operas; but mine has, the motives which, in a war like this, can the whole are now utterly neglected. Jephson was animate their minds and ours. They, by a strange no great dramatic writer; but a poetical critic has frenzy driven, fight for power, for plunder, and exrecorded to his honour, that, at a time when the tended rule. We, for our country, our altars, and native genius of tragedy seemed to be extinct, he our homes. They follow an adventurer whom they came boldly forward as a tragic poet, and certainly fear, and a power which they hate. We serve a with a spark of talent; for if he has not the full monarch whom we love-a God whom we adore! flame of genius, he has at least its scintillating light.' | Where'er they move in anger, desolation tracks their The dramatist was an Irishman by birth, a captain progress; where'er they pause in amity, affliction in the army, and afterwards a member of the Irish mourns their friendship. They boast they come House of Commons. but to improve our state, enlarge our thoughts, and free us from the yoke of error. Yes, they will give enlightened freedom to our minds, who are themselves the slaves of passion, avarice, and pride. They offer us their protection; yes, such protection as vultures give to lambs-covering and devouring them! They call on us to barter all of good we have inherited and proved, for the desperate chance of something better which they promise. Be our plain answer this: the throne we honour is the people's choice; the laws we reverence are our brave fathers' legacy; the faith we follow teaches us to live in bonds of charity with all mankind, and die with hopes of bliss beyond the grave. Tell your invaders this, and tell them, too, we seek no change, and least of all such change as they would bring us.' The stage was aroused from a state of insipidity or degeneracy by the introduction of plays from the German, which, amidst much false and exaggerated sentiment, appealed to the stronger sympathies of our nature, and drew crowded audiences to the theatres. One of the first of these was The Stranger, said to be translated by Benjamin Thompson; but the greater part of it, as it was acted, was the production of Sheridan. It is a drama of domestic life, not very moral or beneficial in its tendencies (for it is calculated to palliate our detestation of adultery), yet abounding in scenes of tenderness and surprise, well adapted to produce effect on the stage. The principal characters were acted by Kemble and Mrs Siddons, and when it was brought out in the season of 1797-8, it was received with immense applause. In Animated apostrophes like these, rolled from 1799 Sheridan adapted another of Kotzebue's plays, the lips of Kemble, and applied, in those days Pizarro, which experienced still greater success. In of war, to British valour and patriotism arrayed the former drama the German author had violated against France, could hardly fail of an enthusiastic the proprieties of our moral code, by making an in- reception. A third drama by Kotzebue was some jured husband take back his guilty though penitent years afterwards adapted for the English stage by wife; and in Pizarro he has invested a fallen female Mrs Inchbald, and performed under the title of with tenderness, compassion, and heroism. The obtru- Lovers' Vows. 'The grand moral of the play is sion of such a character as a prominent figure in the to set forth the miserable consequences which arise scene was at least indelicate; but, in the hands of Mrs from the neglect, and to enforce the watchful care Siddons, the taint was scarcely perceived, and Sheri- of illegitimate offspring; and surely as the pulpit dan had softened down the most objectionable parts. has not had eloquence to eradicate the crime of The play was produced with all the aids of splendid seduction, the stage may be allowed a humble enscenery, music, and fine acting, and these, together deavour to prevent its most fatal effects.' Lovers' with its displays of generous and heroic feeling on Vows also became a popular acting play, for stage the part of Rolla, and of parental affection in Alonzo effect was carefully studied, and the scenes and and Cora, were calculated to lead captive a general situations skilfully arranged. While filling the audience, Its subject was also new, and peculiarly theatres, Kotzebue's plays were generally condemned fortunate. It brought the adventures of the most by the critics. They cannot be said to have proromantic kingdom of Christendom (Spain) into pic- duced any permanent bad effect on our national turesque combination with the simplicity and super- morals, but they presented many false and pernicious stitions of the transatlantic world; and gave the pictures to the mind. There is an affectation,' as imagination a new and fresh empire of paganism, Scott remarks, of attributing noble and virtuous with its temples, and rites, and altars, without the sentiments to the persons least qualified by habit or stale associations of pedantry.' Some of the senti- education to entertain them; and of describing the ments and descriptions in Pizarro are said to have higher and better educated classes as uniformly deoriginally formed part of Sheridan's famous speech ficient in those feelings of liberality, generosity, and on the impeachment of Warren Hastings! They are honour, which may be considered as proper to their often inflated and bombastic, and full of rhetorical situation in life. This contrast may be true in parglitter. Thus Rollo soliloquises in Alonzo's dungeon: ticular instances, and being used sparingly, might O holy Nature! thou dost never plead in vain. afford a good moral lesson; but in spite of truth and There is not of our earth a creature, bearing form probability, it has been assumed, upon all occasions, and life, human or savage, native of the forest wild by those authors as the groundwork of a sort of inor giddy air, around whose parent bosom thou hast tellectual Jacobinism.' Scott himself, it will be renot a cord entwined of power to tie them to their collected, was fascinated by the German drama, and offspring's claims, and at thy will to draw them back translated a play of Goëthe. The excesses of Kotzeto thee. On iron pinions borne the blood-stained bue were happily ridiculed by Canning and Ellis in vulture cleaves the storm, yet is the plumage closest their amusing satire, The Rovers. At length, after to her heart soft as the cygnet's down; and o'er her a run of unexampled success, these plays ceased unshelled brood the murmuring ring-dove sits not to attract attention, though one or two are still more gently.' occasionally performed. With all their absurdities, we cannot but believe that they exercised an inspiring influence on the rising genius of that age. Or the speech of Rolla to the Peruvian army at the consecration of the banners:- My brave |