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Royal Edinburgh: Her Saints, Kings, Prophets and Poets
Such was royal Edinburgh still, when the shopkeeper-poet, with his jokes and his quips, and his good-humoured self-esteem, and certainty of his own power, settled down in Ramsay Lodge. It would be well if all poets had as prosperous and as fair a retirement for their old age. He lived for some time in his quaint self-contained (according to the equally quaint Scotch phraseology) birdcage upon the top of the hill, and enjoyed his celebrity and his ease and the pleasant conviction that "I the best and fairest please." His only son, the second Allan Ramsay, was a painter of some reputation, and he had daughters to care for him and keep his home cheerful as long as he lived. A man more satisfied with his lot could not be. His chirrup of self-satisfaction, the flattery, yet familiarity, of his address to all the noble lords and lairds, the judges and advocates, his laugh of jovial optimism and personal content, belong perfectly to the character of the comfortable citizen, "in fair round belly with good capon lined," and the shopkeeper's rather than the poet's desire to please. One can better fancy him at the door of his shop looking down the High Street jocose and beaming, with a joke for the Lord President and for the Cadie alike, hand in glove with all the Town Council, with a compliment for every fair lady or smiling lass that tripped by under her tartan screen, delighted with himself and all around him—than retired in his garden on the Castle Hill, though with all the variations of the heavens and magnificence of the landscape before his eyes. He had no doubt the admiration of that landscape which is never wanting to an Edinburgh citizen, a part of the creed to which he is born; but the homely limits of the green glens and knowes, the wimpling burn, the washing-green, the laird's hospitable house behind, were more in Allan's way when he wanted any relaxation from the even more attractive town. The High Street and Habbie's Howe are the true centres of his soul.
It would be wrong not to note the collections of songs which made his name dear to all the pleasant singers both of drawing-room and cottage. It is a strange peculiarity in a nation possessing a characteristic and melodious popular music of its own like Scotland, to find how little place music as a science, or even in its more serious developments, has ever had in the country. Nothing can be more sweet, more touching, more tender, than the native growth of Scottish song—nothing more full of fun and spirit than the brilliant dance music which, like the song, seems to have sprung spontaneous from the soil. And no country has ever more loved both songs and strathspeys, or clung to them with greater devotion. It would be perhaps impossible for the most learned to decide between the rival claims of Scotland and Ireland in respect to the airs which seem native to both; but Ireland has always laboured under the disadvantage of being far less homogeneous than Scotland, and certainly, before the time of Moore at least, her native songs did not belong to all classes as in the sister country. And Scotland has always through all ages (previous to the present age) preferred her own songs to every other. During the eighteenth century, when Edinburgh was almost more completely the centre of society than ever before, the old tunes were sung by ladies as much as by maid-servants, and the delicate old spinets performed a soft accompaniment to ballads of the "Ewebuchting" and of the "Corn Rigs," and prolonged the pathetic notes of "Waly, waly" and the trembling wail of the "Flowers of the Forest" in the finest houses as in the humblest. Music, more properly so called, the art which has gradually made its way from being a modest handmaiden of poetry to full rivalship, if not a half-implied superiority, was already a scientific pursuit in England; and though the Italian opera aroused a violent opposition, and Tweedledum and Tweedledee called forth the gibes of the wits, there existed a vigorous English school of learned musicians, and Handel and Haydn found an audience not incapable of appreciating their best works. But while this development went on in London, Scotland still sang her ancient simple melodies, and contemned everything else with that audacious superiority which is born of ignorance. One might almost imagine that this was the penalty of a national inheritance so ample and so sweet, and that the comparative absence of traditionary music in England opened the heart of the country to strains more ambitious and classical. However it came about, there is no denying that so it was. If there was any Scottish composer at all, his productions were only imitations or modifications of the old airs. Music continued to be represented by the songs of immemorial attraction, the woodnotes wild of nameless minstrels, pure utterance of the soil. Perhaps the absence of music, except in the kindred shape of psalm tunes, which was but another form of popular song, in the Church, was one great prevailing cause of the national insensibility to all more lavish and elaborate strains. But this peculiarity and insensibility had at least one advantage—they kept in constant cultivation a distinct branch of national literature, and one that is always attractive and delightful. I do not think it is too strong an utterance of national partiality to say that the songwriters of Scotland are beyond comparison with those of either of the other united kingdoms. The simplest of the old ditties brought out of the ancient poets contain a grace of genuine poetry and real feeling far above the unmeaning jingle of verse which is the most common utterance of popular song; and the cultivation of this delightful gift has called forth the most tender and artless poems from gentle writers whom nothing but that inspiration could have made to produce what was in them. The pathetic wail of the poor lady who found to her cost that
"Love is bonnie, a little time when it is new,"
but that
"When love's auld it waxeth cauld,
And fades away like morning dew";
and that touching lullaby in which the mother hushes the babe whose
"Father wrought her great annoy,"
with its tender and simple refrain—
"It grieves me sore to hear thee weep,"
breathe out of the ancient depths of human trouble with a reserve and simplicity of feeling that seem almost personal. But the kindred inspiration which called forth the two versions of the "Flowers of the Forest" and the ballad of "Auld Robin Gray," along with many more, shows how warm was the impulse to this expression of feelings, which were at once intensified and drawn out of the sphere of revelations too individual by the breath of the melody which carried them forth.
Allan Ramsay has the merit of being the first collector of Scottish song. He was remorseless, like his century, and made the wildest havoc with some of his originals, cutting and slashing as suited his fancy, and adding of his own whenever it pleased him so to do. But with the exception of a number of Strephons and Chloes, not always ungraceful, in the newer fashion, and a sprinkling of ruder verses in which there is more indecency than immorality, the first two volumes of the Tea-table Miscellany are full of merit, and include many delightful simple lyrics, songs which compare most advantageously with the insipid "words" which at this present advanced age are used as a sort of necessary evil to serve the purpose of the music. "Say that our way is only an harmonious speaking of many witty or soft thoughts after the poet has dressed them in four or five stanzas," says Ramsay, with the apology which is a veiled assertion of higher aims, "yet undoubtedly these must relish best with people who have not bestowed much of their time in acquiring a taste for that downright perfect music which requires none or very little of the poet's assistance." And he tells us in the same preface of a letter he has had from America informing him that there too his manual of song has gone, and that his
"Soft verse made to a Scottish air
Is often sung by our Virginian fair."
The book is dedicated to the ladies—the Donne qui hanno intelletto d'amore, long supposed to be the final critics and judges of such productions: and is confidently recommended to these "fair singers" for whose "modest eyes and ears," according to the poet (but with notable exceptions, as has been said), they were prepared. The third volume consisted almost exclusively of English songs, among which are many classic verses. If it were but as a stepping-stone to those perfect lyrics, so full of natural truth and feeling, with which Burns afterwards brought to a climax the songs of his country, the Tea-table Miscellany would have a merit of its own.
Ramsay died in 1758, when the troubles of the country were over, the last seeds of insurrection stamped out, and the powerful revolution begun which made the clans loyal to Government and Scotch politicians faithful to the Union. He was buried in the Greyfriars Churchyard, where so many of the most notable of the citizens of Edinburgh were laid. A hundred years or so after, the enlightened community placed his statue in the gardens that lie between the old town and the new. And thus the poet's career was run; it was a prosperous one, full of the success that was most sweet to him; comfort and competence and reputation, at once that of a warm and well-to-do citizen and that of a poet. Few poets have lived to see their productions so popular. The Gentle Shepherd may be said to have been in every cottage in Scotland in its author's lifetime, and his songs were sung by everybody. Nor did this fame interfere with the citizen's well-earned and more substantial reward. The shop in which he began his prosperous career, and which was crowded so continually by eager messengers with their pennies in search of Allan Ramsay's last new piece—the most immediate and one of the most pleasant evidences of success—still exists, with its high steps and broad low windows, in the heart of the old town with which his name is so completely associated; and the quaint square house in which his later days of ease and retirement were spent still keeps its place on the east of the Castle Hill, surveying from its windows the enriched and amplified yet unalterable panorama so dear and beautiful to all Scottish eyes.
ALLAN RAMSAY'S MONUMENT
DOORWAY, LADY STAIR'S CLOSE
CHAPTER II
THE GUEST OF EDINBURGH
Royal Edinburgh, the city of the Scots kings and Parliament, the capital of the ancient kingdom, would seem to have become weary somewhere in the eighteenth century of dwelling alone upon her rock. There were, to be sure, reasons more prosaic for the construction of the New Town, the partner and companion of the old historical city. The population had increased, the desire for comfort and space, and many luxuries unknown to the early citizens of Edinburgh, had developed among the new. It was no longer agreeable to the lawyers and philosophers to be crowded up with the other inhabitants of a common stair, to have the din of street cries and commotion ever in their ears, and the lowest of the population always about their feet, as was inevitable when gentle and simple were piled together in the High Street and Canongate. The old houses might be noble houses when they were finally got at, through many drawbacks and abominations—though in those days there was little appreciation even of the stately beauty of old masonry and ornament—but their surroundings became daily more and more intolerable. And it was an anachronism to coop up a learned, elegant, and refined class, living under the Hanoverian Georges in peace and loyalty, within the circle of walls now broken down and useless, which had been adapted to protect the subjects of the old Scottish Jameses from continual attacks.
Happily the nature of the situation prevented any amalgamation or loss of the old boundaries and picturesque features of the ancient city, in the new. There was no question of continuation or enlargement. Another Edinburgh rose at the feet of the first, a sober, respectable, modern, and square-toed town, with wide streets and buildings solid and strong, not without pretensions to a certain stateliness of size and design, but in strong contrast with the architecture and fashion native to the soil—the high gables and turreted stairs of the past. The old town had to throw a drawbridge, permanent and massive, over the hollow at her feet before she could even reach the terraced valley on which the first lines of habitation were drawn, and which, rounding over its steep slope, descended towards another and yet another terrace before it stood complete, a new-born partner and companion in life of the former capital, lavish in space as the other was confined, leisurely and serious as the other was animated—a new town of great houses, of big churches—dull, as only the eighteenth century was capable of making them—of comfort and sober wealth and intellectual progress. The architects who adorned the Modern Athens with Roman domes and Greek temples, and placid fictitious ruins on the breezy hill which possessed a fatal likeness to the Acropolis, would have scoffed at the idea of finding models in the erections of the fourteenth century—that so-called dark age—or recognising a superior harmony and fitness in native principles of construction.
Yet though the public taste has now returned more or less intelligently to the earlier canons, it would be foolish not to recognise that there is a certain advantage even in the difference of the new town from the old. It is not the historical Edinburgh, the fierce, tumultuous, mediæval city, the stern but not more quiet capital of the Reformers, the noisy, dirty, whimsical, mirth-loving town, full of broad jest and witty epigram, of the eighteenth century. The new town has a character of its own. It is the modern, not supplanting or effacing, but standing by the old. Those who built it considered it an extraordinary improvement upon all that Gothic antiquity had framed. They were far more proud of these broad streets and massive houses than of anything their fathers had left to them, and flung down without remorse a great deal of the antiquated building after which it is now the fashion to inquire with so much regret. Notwithstanding the change of taste since that time, the New Town of Edinburgh still regards the old with a little condescension and patronage; but there is no opposition between the two. They stand by each other in a curious peacefulness of union, each with a certain independence yet mutual reliance. London and Paris have rubbed off all their old angles and made themselves, notwithstanding the existence of Gothic corners here and there, all modern, to the extinction of most of the characteristic features of their former living. But happy peculiarities of situation have saved our northern capital from any such self-obliteration. Edinburgh has been fortunate enough to preserve both sides—the ancient picturesque grace, the modern comfort and ease. And though Mr. Ruskin has spoken very severely of the new town, we will not throw a stone at a place so well adapted to the necessities of modern life. Those bland fronts of polished stone would have been more kindly and more congenial to the soil had they cut the air with high-stepped gables and encased their stairs in the rounded turrets which give a simple distinctive character to so many Scottish houses; and a little colour, whether of the brick which Scotch builders despise or the delightful washes6 which their forefathers loved, would be a godsend even now. But still, for a sober domestic partner, the new town is no ill companion to the ancient city on the hill.
This adjunct to the elder Edinburgh had come into being between the time when Allan Ramsay's career ended in the octagon house on the Castle Hill, and another poet, very different from Ramsay, appeared in the Scotch capital. In the meantime many persons of note had left the old town and migrated towards the new. The old gentry of whom so many stories have been told, especially those old ladies who held a little court, like Mrs. Bethune Balliol, or made their bold criticism of all things both new and old, like those who flourish in Lord Cockburn's lively pages—continued to live in the ancestral houses which still kept their old-fashioned perfection within, though they had to be approached through all the squalor and misery which had already found refuge outside in the desecrated Canongate; but society in the Scotch metropolis was now rapidly tending across the lately erected bridge towards the new great houses which contemplated old Edinburgh across the little valley, where the Nor' Loch glimmered no longer and where fields lay green where marsh and water had been. The North Bridge was a noble structure, and the newly-built Register House at the other end one of the finest buildings of modern times to the admiring chroniclers of Edinburgh. And the historians and philosophers, the great doctors, the great lawyers, the elegant critics, for whom it was more and more necessary that the ways of access between the old town and the new might be made more easy, presided over and criticised all those wonderful new buildings of classic style and unbroken regularity, and watched the progress of the Earthen Mound, a bold and picturesque expedient which filled up the hollow and made a winding walk between, with interest as warm as that which they took in the lectures and students, the books and researches, which were making their city one of the intellectual centres of the world.
This is a position to which Scotland has always aspired, and the pride of the ambitious city and country was never more fully satisfied than in the end of last and the beginning of the present century. Edinburgh had never been so rich in the literary element, and the band of young men full of genius and high spirit who were to advance her still one step farther to the climax of fame in that particular, were growing up to take the places of their fathers. A place in which Walter Scott was just emerging from his delightful childhood, in which Jeffrey was a mischievous boy and Henry Brougham a child, could not but be overflowing with hope, especially when we remember all the good company there already—Dugald Stewart, bringing so many fine young gentlemen from England to wonder at the little Scotch capital, and a crowd of Erskines, Hunters, Gregories, Monroes, and Dr. Blair and Dr. Blacklock, and the Man of Feeling—not to speak of those wild and witty old ladies in the Canongate, and the duchesses who still recognised the claims of Edinburgh in its season. To all this excellent company, whose fame and whose talk hung about both the old Edinburgh and the new like the smoke over their roofs, there arrived one spring day a wonderful visitor, in appearance like nothing so much as an honest hill farmer, travelling on foot, his robust shoulders a little bowed with the habit of the plough, his eyes shining, as no other eyes in Scotland shone, with youth and genius and hope. He knew nobody in Edinburgh save an Ayrshire lad like himself, like what everybody up to this time had supposed Robert Burns to be. The difference was that the stranger a little while before had put forth by the aid of a country printer at Kilmarnock a little volume of rustic poetry upon the most unambitious subjects, in Westland Scotch, the record of a ploughman's loves and frolics and thoughts. It is something to know that these credentials were enough to rouse the whole of that witty, learned, clever, and all-discerning community, and that this visitor from the hills and fields in a moment found every door opened to him, and Modern Athens, never unconscious of its own superiority and at this moment more deeply aware than usual that it was one of the lights of the earth, at his feet.
LADY STAIR'S CLOSE
Burns was but a visitor, the lion of a season, and therefore we are not called upon to associate with Edinburgh the whole tragic story of his life. And yet his appearance was one of the most remarkable that has distinguished the ancient town. He arrived among all the professors, the men of letters, the cultured classes who held an almost ideal pre-eminence, more like what a young author hopes than is generally to be met with among men—his heart beating with a sense of the great venture on which he was bound, and a proud determination to quit himself like a man whatever were the magnitudes among which he should have to stand. Mere Society so called, with all its bustle of gaiety and endless occupation about nothing, might have exercised upon him something of the fascination which fine names and fine houses and the sweep and whirl of hurried life certainly possess; but he who expresses almost with bitterness his disgust to see a blockhead of rank received by one of his noble patrons with as much, nay more, consideration than is given to himself, would probably have had very little toleration for the butterflies of fashion: whereas Edinburgh society impressed him greatly, as of that ideal kind of which the young and inexperienced dream, where the best and brightest are at the head of everything, where poetry is a passport to the innermost sanctuary and conversation is like the talk of the gods. They were all distinguished for one literary gift or grace or another, philosophers golden-mouthed, poets of the most polished sort: their knowledge, their culture, their intellectual powers, were the foundation upon which their little world was built. The great people who were to be found among them were proud to know these scholars and sages—it was they, and not an occasional family of rank, or still more rare man of wealth, who gave character and meaning to Edinburgh. To be received in such society was the highest privilege which a young poet could desire; and it was worthy to receive and foster and encourage that new light that came from heaven.
On their side the heads of society in Edinburgh were much interested in this young man. There had been an article in the Lounger, fondly deemed a Scotch Spectator, an elegant literary paper widely read not only in Scotland but even beyond the Border, upon him and his works. "The Ayrshire Ploughman" was the title of the article, and it set forth all the imperfections of his breeding, his want of education, his ignorance both of books and of the world, and yet the amazing verses he had produced, which, though disguised in a dialect supposed to be unknown to the elegant reader, and for which Henry Mackenzie, the Man of Feeling, supplied a glossary—living, he himself, in an old-fashioned house in the South Back of the Canongate and within the easiest reach of those wonderful old ladies who spoke broad Scotch, and left no one in any doubt as to the strong opinions expressed therein—were certified to be worthy the perusal of the most fastidious critic. Lord Monboddo, who was the author of speculations which forestalled Darwin and who considered a tail to be an appendage of which men had not long got rid, on the one side, and the metaphysicians and philosophers on the other, would no doubt prick up their ears to hear of this absolutely new being in whom there might be seen some traces of primeval man. We forget which of the early Jameses it was who is said to have shut up two infants with a dumb nurse in one of the islands of the Firth to ascertain what kind of language they would speak when thus left to the teaching of nature. The experiment was triumphantly successful, for the heaven-taught babies babbled, the chroniclers tell us, a kind of Hebrew, thus proving beyond doubt that the language of the Old Testament was the original tongue of man. The Edinburgh savants must have received Burns with something of the same feeling: for here was a new soul which had been shut up amid the primeval elements, and the language it spoke was Poetry! yet poetry disguised in imperfect dialect which might yet be trained and educated into elegance. They asked him to dinner as a first step, and gathered round him to hear what he would have to say; to observe the effect produced by the sight of learning, criticism, knowledge; to enjoy his awe, and note the improvement that could not but ensue. This curiosity was full of kindness; their hearts were a little touched by the ploughman, by his glowing eyes, and by the strange sight of him there among them in the midst of their high civilisation, a rustic clown who knew nothing better than a thatched cottage and a clay floor. No doubt they had the sincerest desire that he should be made to understand how much he was deficient, what a great deal he had to learn, and be taught to use fine language, and turn his attention to higher subjects, and be altogether elevated and brought on in the world. The situation is very curious and full of human interest, even had the stranger been less in importance than he was. It is wonderfully enlightening in any circumstances to see such an encounter from both sides, to perceive the light in which it appears to them, and the very different light in which it is seen by him. There was the usual great divergence between the views of the visitor and the highly-cultured community to which he came. For he indeed did not come there at all to be enlightened and trained and put in the way he should go. He came full of delightful hope that he was coming among his own kind, that he was for the first time to meet his own species, and recognise in other human faces the light that shone about his own path, but in none of the other muddy ways of the country-side; to make friends with his natural brethren, and be understood of them as no one yet had been found to understand him. In his high anticipations, in his warm enthusiasm of hope, he himself figured dimly as a sort of noble exile coming back to his father's house. So does every child of fancy regard the world of which he knows nothing, the world of the great and famous, where to dazzled fancy all the beautiful things, words, and thoughts for which he has been sighing all his life are to be found.
They met, and they were, if not mutually disappointed, yet strangely astonished and perplexed. Burns would seem to have been always on his guard, too much on his guard we should be disposed to say, suspicious of the intention to guide, to chasten, to educate and refine, which was indeed in the kindest way at the bottom of everybody's thoughts. He was determined to be astonished by nothing, to keep his head so that no one should ever be able to say that it was turned by his new experiences—an attitude which altogether bewildered the good people, who were willing to give him every kind of education, to excuse any rudeness or roughness or imperfection, but not to see a man at his ease, appearing among them as if he were of them, requiring no allowance to be made for him, holding his head high as any man he met. All the accounts we have of his appearance in Edinburgh agree in this. He was neither abashed nor embarrassed; no rustic presumption or vulgarity, but quite as little any timidity or awkwardness, was in the Ayrshire ploughman. His shoulders a little bent with the work to which he had been accustomed, his dress like a countryman, a rougher cloth perhaps, a pair of good woollen stockings rig and fur, his mother's knitting, instead of the silk which covered limbs probably not half so robust—but so far as manners went, nothing to apologise for or smile at. The accounts all agree in this. If he never put himself forward too much, he never withdrew with any unworthy shyness from his modest share in the conversation. Sometimes he would be roused to eloquent speech, and then the admiring ladies said he carried them "off their feet" in the contagion of his enthusiasm and emotion. But this was a very strange phenomenon for the Edinburgh professors and men of letters to deal with: a novice who had not come humbly to be taught, but one who had come to take up his share of the inheritance, to sit down among the great, as in his natural place. He was not perhaps altogether unmoved by their insane advices to him, one of the greatest of lyrical poets, a singer above all—to write a tragedy, to give up the language he knew and write his poetry in the high English which, alas! he uses in his letters. Not unmoved, and seriously inclining to a more lofty measure, he compounded addresses to Edinburgh:
"Edina, Scotia's darling seat!"
and other such intolerable effusions. One can imagine him roaming through the fields between the old town and the new, and looking up to the "rude rough fortress," and on the other side to the brand-new regular lines of building, where
"Architecture's noble pride
Bids elegance and splendour rise,"
and musing in his mind how to celebrate them in polished verse so that even the critics may be satisfied—
"Thy sons, Edina! social, kind,
With open arms the stranger hail;
Their views enlarged, their liberal mind,
Above the narrow, rural vale;
Attentive still to sorrow's wail,
Or modest merit's silent claim;
And never may their sources fail!
And never envy blot their name!"
One wonders what the gentlemen said to this in the old town and the new—whether it did not confuse them still further, as well intended perhaps, but not after all like the "Epistle to Davie," though they had all advised him to amend that rustic style. A very confusing business altogether—difficult for the kind advisers as well as for the poet, and with no outlet that any one could see.
DUGALD STEWART'S MONUMENT
We have, however, a more agreeable picture of the visitor on another occasion when he walked out into the country with Dugald Stewart in a spring morning to the hills of Braid and talked that gentle philosopher's heart away, not now about Edina's palaces and towers. "He told me … that the sight of so many smoking cottages gave a pleasure to his mind which none could understand who had not witnessed like himself the happiness and worth which they contained." It is more pleasant to think of the poet's dark eyes lighting up as he said this than to watch him proud and self-possessed in the drawing-rooms holding his own, taking such good care that nobody should divine how his heart was beating and his nerves athrill.
