Mr. Coleridge, alluding to this circumstance of the promotion of the Scottish Bard to be a gauger of ale-firkins," in a poetical epistle to his friend Charles Lamb, calls upon him in a burst of heartfelt indignation, to gather a wreath of henbane, nettles, and nightshade,

If, indeed, Mr. Lamb had undertaken to write a letter in defence of Burns, how different would it have been from this of Mr. Wordsworth's! How much better than I can even imagine it to have been done!

It is hardly reasonable to look for a hearty or genuine defence of Burns from the pen of Mr. Wordsworth; for there is no common link of sympathy between them. Nothing can be more different or hostile than the spirit of their poetry. Mr. Wordsworth's poetry is the poetry of mere sentiment and pensive contemplation: Burns's is a very highly sublimated essence of animal existence. With Burns," self-love and social are the

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same."

"And we'll tak a cup of kindness yet,
For auld lang syne."

Mr. Wordsworth is "himself alone," a recluse philosopher, or a reluctant spectator of the scenes of many-coloured life; moralising on them, not describing, not entering into them. Robert Burns has exerted all the vigour of his mind, all the happiness of his nature, in exalting the pleasures of wine, of love, and good fellowship: but in Mr. Wordsworth there is a total disunion and divorce of the faculties of the mind from those of the body; the banns are forbid, or a separation is austerely pronounced from bed and board-a menså et thoro. From the Lyrical Ballads, it does not appear that men eat or drink, marry, or are given in marriage. If we lived by every sentiment that proceeded out of mouths, and not by bread or wine, or if the species were continued like trees (to borrow an expression from the great Sir Thomas Brown), Mr. Wordsworth's poetry would be just as good as ever. It is not so with Burns: he is "famous for the keeping of it up," and in his verse is ever fresh and gay. For this, it seems, he has fallen under the displeasure of the Edinburgh Reviewers, and the still more formidable patronage of Mr. Wordsworth's pen.

"This, this was the unkindest cut of all."

I was going to give some extracts out of this composition in support of what I have said, but I

find them too tedious. Indeed (if I may be allowed to speak my whole mind, under correction) Mr. Wordsworth could not be in any way expected to tolerate or give a favourable interpretation to Burns's constitutional foibles-even his best virtues are not good enough for him. He is repelled and driven back into himself, not less by the worth than by the faults of others. His taste is as exclusive and repugnant as his genius. It is because so few things gave him pleasure, that he gives pleasure to so few people. It is not every one who can perceive the sublimity of a daisy, or the pathos to be extracted from a withered thorn!

To proceed from Burns's patrons to his poetry, than which no two things can be more different. His "Twa Dogs" is a very spirited piece of description, both as it respects the animal and human creation, and gives a very vivid idea of the manners both of high and low life. The burlesque panegyric of the first dog,

"His locked, lettered, braw brass collar
Shew'd him the gentleman and scholar :

reminds one of Launce's account of his dog Crabbe, where he is said, as an instance of his being in the

way

of promotion, "to have got among three or four gentleman-like dogs under the Duke's table." The "Halloween" is the most striking and picturesque description of local customs and scenery. The Brigs of Ayr, the Address to a Haggis, Scotch Drink, and innumerable others are, however, full of the same kind of characteristic and comic painting. But his master-piece in this way is his Tam o' Shanter. I shall give the beginning of it, but I am afraid I shall hardly know when to leave off.

"When chapman billies leave the street,
And drouthy neebors, neebors meet,
As market-days are wearing late,
And folk begin to tak the gate;
While we sit bousing at the nappy,
And getting fou and unco happy,
We think na on the lang Scots miles,
The mosses, waters, slaps, and stiles,
That lie between us and our hame,
Whare sits our sulky, sullen dame,
Gathering her brows like gathering storm,
Nursing her wrath to keep it warm.

This truth fand honest Tam o' Shanter,
As he frae Ayr ae night did canter;
(Auld Ayr, wham ne'er a town surpasses,
For honest men and bonny lasses.)

O Tam! hadst thou but been sae wise,
As ta'en thy ain wife Kate's advice!

She tauld thee weel thou was a skellum,

A blethering, blustering, drunken blellum;
That frae November till October

Ae market-day thou was na sober;
That ilka melder, wi' the miller,
Thou sat as lang as thou had siller;

That ev'ry naig was ca'd a shoe on,
The smith and thee gat roaring fou on;
That at the Lord's house, ev'n on Sunday,
Thou drank wi' Kirton Jean till Monday-
She prophesy'd, that late or soon,
Thou wad be found deep drown'd in Doon;
Or catch't wi' warlocks in the mirk,
By Alloway's auld haunted kirk.

Ah, gentle dames! it gars me greet, To think how mony counsels sweet, How mony lengthen'd, sage advices, The husband frae the wife despises !

But to our tale: Ae market night,
Tam had got planted unco right,
Fast by an ingle, bleezing finely,
Wi' reaming swats, that drank divinely;
And at his elbow, Souter Johnny,
His ancient, trusty, drouthy crony ;
Tam lo'ed him like a vera brither;
They had been fou for weeks thegither.
The night drave on wi' sangs an clatter,
And aye the ale was growing better:
The landlady and Tam grew gracious
Wi' favours secret, sweet, and precious :
The Souter tauld his queerest stories;
The landlord's laugh was ready chorus: