and praise-worthy tastes, dispositions, and pursuits, which wear a friendly aspect to the peace, the happiness, and the welfare of mankind-in this case perhaps, no good man would regret the interference; but even then, the virtuous lover of liberty, from an experience of the past, would still have his doubts; and he would not be unreasonable if he wished for some better security than the mere ipse dixit of a government, that such interference would not be used for the purposes of despotism and destruction.

It is the pride and honour of Scotland, that few or none of the Songs which are peculiarly her own are objectionable in respect of their tendency to foster a pernicious spirit of hostility among men, whatever they may be in other respects. Social and domestic happiness, the beauties of rural scenery, and rural love and courtship, are almost the exclusive themes of Scottish Song. It is on this account, that one complete volume out of the two now offered to the public, has been devoted to the Muse of Scotland; for it was the determined resolution of the Editor to exclude, as far as possible, all those pieces which had a tendency to foster feelings inimical to the peace, and consequently, to the happiness of mankind. His reasons for this resolution have been developed above; and if it shall be thought that he has, in any measure, succeeded in his object, and that that object was laudable, he shall consider himself as amply rewarded.

On the general character of the Scottish Songs, Dr. CURRIE, in his life of BURNS, has the following remarks:

"The Scottish songs are of very unequal poetical merit, and this inequality often extends to the different parts of the same song. Those that are humorous, or characteristic of manners, have in general the merit of copying nature; those that are serious, are tender, and often sweetly interesting, but seldom exhibit high powers of imagination, which indeed do not easily find a place in this species of composition. The alliance of the words of the Scottish Songs with the music, has in some instances given to the former a popularity, which otherwise they would not have obtained.

"The association of the words and the music of these songs, with the more beautiful parts of the scenery of Scotland, contributes to the same effect. It has given them not merely popularity, but permanence; it has imparted to the works of man some portion of the durability of the works of nature. If, from our imperfect experience of the past, we may judge with any confidence respecting the future, songs of this description are of all others least likely to die. In the changes of language they may no doubt suffer change; but the associated strain of sentiment and of music will perhaps survive, while the clear stream sweeps down the vale of Yarrow, or the Yellow broom waves on Cowden-Knowes."

In these paragraphs there is a compliment paid to the songs and the music of Scotland, of which every Scotchman may be proud. The inequality noticed by the Doctor, is undoubtedly observable, to a certain extent, in the older pieces; but from the songs of BURNS, which form the most considerable part of the first volume of this work, it, in a great measure disappears. To him the lovers of song owe greater obligations than to any of his predecessors. This is deeply felt and widely acknowledged. In his incomparable lyrics, are beheld the bright beaming rays of a glory that has set. They exhibit a fair transcript of his great and mighty mind; and while the country that claims him for her own existswhile his countrymen have feeling enough to drop a tear over his defects, and judgment enough to appreciate his many excellences, that transcript will afford a rich source of intellectual pleasure to all who are capable of perusing it.

It would afford the Editor much pleasure could he, with justice, think as favourably of the English, as of the Scottish Songs. This, however, he finds to be impossible. In making this remark he disclaims every thing like invidiousness. He is not one of those narrow-minded mortals whose national pride, partiality, and prejudice, would lead them to limit merit of every description to the productions of their own country alone. On the contrary, he is disposed to appreciate merit wherever he finds it. He readily admits that there are several English songs which possess excellence of the rarest kind;

and he trusts that a number of those which compose the English department of this work, will be found deserving of the highest praise. At the same time, however, justice compels him to declare that, in all English collections which he has seen, such pieces are comparatively few, the far greater part usually consisting of that objectionable class already noticed, the tendency of which is to inflame the worst passions of men, and prepare them for becoming the dupes of those whose delight it is to " cry havoc, and let slip the dogs of war."

There is yet another point that is worthy of observation. The songs and the music of England are comparatively of very recent date. In this respect Scotland must certainly be allowed a decided pre-eminence. She can point to her re- . liques of ancient music and song, which have been handed down by the living voice through a long and unbroken series of ages; while England can exhibit nothing of the kind that can be deemed national. This certainly justifies the following effusion of Mr. CROMEK, in his Remains of Nithsdale and Galloway Song:

"That the peasantry of Scotland possess a greater portion of natural taste and information than the vulgar class of any other nation is considered paradoxical by their unbelieving brethren on this side the Tweed. Were evidence required to establish this fact, a Scottish peasant would exclaim

Where are your Ballads and Songs, the beauteous fugitives of neglected or unknown rustic bards? Where are your sacred reliques of poetic devotion with which every Scotchman's heart is filled?-the plaint of despair, the uplifting raptures of love, or the heart-warming lament of domestic misfortune? With us they live; with you they have never existed, or have perished!'

In turning to the songs of Ireland, the same justice and impartiality require that the language of approbation should be sparingly dealt in. Ireland, indeed, like Scotland, has her music of the "olden time;" her harp has, from time immemorial, shed the delicious "concord of sweet sounds" over her "laughing green vales," and her soft and simple airs have long been the delight and admiration of every one. But if these beautiful effusions were ever united to poetry every way worthy of them, it is now either lost or in a great measure unknown. With the exception of a very few pieces, the songs of Ireland, at the present day, are of a character bordering on the contemptible. They are either coarse, vulgar, and indelicate, or filled with the most affected and disgusting attempts to invert language, and produce a transient risibility by absurd and ridiculous blunders. The fine strain of sentiment which seems to be the natural associate of the music, is either wholly forgotten or studiously neglected; and thus, these delightful airs are condemned to be the vehicles of conveying nothing but what is calculated to barbarize the