which accounted for Tannahill's defects in the treatment of the subject. Indeed, it was rather on account of Tannahill's superior talent in versification, and his inability to descend to so commonplace a poetical level. The popular Songs of Ireland are so local and baldly realistic that they are best suited for the swaggering blade twirling his shillelah on the streets of Donnybrook Fair

"Who goes to a tent, and spends half-a-crown,

He meets with a friend, and for love knocks him down
With his sprig of shillelah, and shamrock so green.

At evening retiring, as homeward he goes,

His heart soft with whisky, his head soft with blows
From a sprig of shillelah, and shamrock so green."

In fact, these songs are quite unworthy of the careful editing bestowed upon them by Croker. True, they may serve some purpose as human documents, but what a sordid picture of unpoetical commonplaces and the squalid depravity of human nature do they present. It would have been no great loss to the world had they been left to slumber in oblivion. In the poems and songs of Burns and Tannahill we have abundance of local colour, native scenery, and social customs introduced, but they seldom, if ever, lack that poetic touch that appeals to the whole world. In the popular Songs of Ireland the would-be rhymsters appear to keep their befuddled gaze too intently turned upon the rest of creation, and reserve their clearer vision for the mere glorification of their abandoned and rollicking ways. Judging from the characters of the heroes and heroines introduced, self-restraint always seems to be a burden too grievous to be borne, and their gyrations are akin to those of the uncultured barbarian. They know that they are naked and yet they are not ashamed, and, for lack of the broader outlook, it has been for generations 66 the winter of their discontent." There are a few exceptions, but they are very few.

The one specially deserving of notice is Callanan's "Gougaune Bazra," which in an inferior posthumous coìlec

tion of his poems is entitled the "Recluse of Inchidony." Even in that excellent song, however, the author could not lay down his pen without discharging a poisoned arrow at the cold-blooded Saxon.

Despite all that has been said in justification of Tannahill's Irish Collection, his reputation would not have suffered had he left the subject to be dealt with by other hands. It is as a lyrical poet on his own native heath, and in his own homely environment, that Tannahill must be judged. And we are not wide of the mark when we say that his achievements in this particular sphere have not been adequately recognised by a near posterity.

66

If The Soldier's Return" has failed to fulfil the higher canons of dramatic art, it has added to, rather than diminished, his reputation as a lyrical poet, and it is entitled to notice by virtue of the Interlude, which comprises such excellent lyrics as those beginning" Langsyne, beside the Woodland burn," We'll meet beside the dusky glen on yon burn side,' "Blyth was the time when he fee'd wi' my faither "-all of which are in keeping with the rustic setting of the pastoral drama, whatever other defects they may possess.

66

Had

his friend, Archibald Pollock, not passed away so suddenly, The Soldier's Return" would probably have been ultimately placed upon the stage and the ambition. of the author to that extent satisfied. There are reasons for believing.however that, even as a song-writer, Tannahill's reputation suffered from the circumstances attending his tragic end, which prevented his work from being judged on its merits. For a man to put an end to himself was then regarded as an unpardonable sin, precluding all hope beyond the grave for the unfortunate victim. Aberration of mind was not considered any palliation or excuse for such an act, though, from a psychological point of view, it is a direct negation of the normal state of the mental functions a fact not sufficiently recognised even at the present day.

Having thus briefly endeavoured to rescue the re

putation of Tannahill from the early bias which clouded his work and his memory, we proceed to notice one or two of his most famous songs. Among these there is the "Bonnie Wood o' Craigielea," which is far from being the least important of his lyrics. It has achieved a popularity greater than his very best, and has often been sung while the others have been neglected.

His description of Nature is realistic rather than romantic, and the introduction of the cushat, or woodpigeon, is neither original nor incongruous, though unfamilar perhaps to southern ears. Burns introduced it, and several poets before him; but making every allowance for poetical licence, it may be made a point of dispute whether Tannahill's simile is not the more appropriate of the two, and closer to Nature:

"Far ben thy dark plantin's shade,
The cushat croodles am'rously."

Burns's reference is as follows:

66

While through the braes the cushat croods
With waefu' cry."

To Tannahill's lyrical gift may be added a fertile imagination, which is as necessary to the poet as it is to the novelist, and even the historian. In his songs he introduced many imaginary fair ones, and associated them with scenes and localities which he had never seen or visited. For instance, the locus of the Lass o' Arranteenie" was unknown to him, yet there is nothing incongruous in the description of the scenery with which she is associated.

66

Again, there is "Jessie, the Flower o' Dunblane," one of his finest songs, which has had a popularity quite in keeping with its merits. Several of his commentators have endeavoured to associate it with Jenny Tennant, his lost love, but it may fairly be assumed that Jessie was quite an imaginary personage. Were there no other

66

evidence to rest upon, its sentiment is quite inconsistent with the tone and spirit of "The Farewell" quoted above. The song, Gloomy Winter's noo awa'," was written for R. A. Smith, who adapted the words to the melody, and on its publication it immediately became a general favourite. In May, 1874, it was included in the programme of the Crathie Choir a few days before the celebration of the Tannahill Centenary, when that choir sang at Balmoral Castle in presence of Queen Victoria in honour of Her Majesty's birthday. "The Braes o' Balquhidder" was also a popular favourite in the Highlands, especially among the fair sex; and D. T. Holmes, in his Literary Tour in the Highlands and Islands of Scotland, found that the people of Ross-shire placed Tannahill on a level with Shakespeare. This recalls the incident of the Scotsman who paid a visit to the Metropolis while John Home's tragedy of " Douglas was staged in one of the London theatres. The countryman of the author was so carried away on witnessing the play that when the applause began to subside he was heard to exclaim at the top of his voice, "Whar's yer Wullie Shakespeare noo ?"

Loudoun's Bonnie Woods and Braes" is also deserving of special mention. It was written in honour of the Marquis of Hastings on the occasion of his going abroad on military service soon after his marriage to the Countess of Loudoun. He was appointed Commander-in-Chief of the Forces in Scotland in view of the threatened invasion of Great Britain by Napoleon Bonaparte, then Consul of the French Republic. The Poet's native Paisley was among the first places which raised two regiments of volunteers. This song was one of the author's first favourites, though critical opinion scarcely endorses that view.

66

The once popular song, "O are ye sleeping, Maggie,' first appeared in the Glasgow Nightingale in 1806, and if not the best, it was one of the most spontaneous effusions of the poet's muse, being composed while plying his rod and line in the river. The heroine of this song was not an imaginary fair one, as was the case in others of his songs,

66

but Margaret Pollock, the author's own cousin on the mother's side. If he was ever actually in love with her he evidently did not earnestly urge his suit, for she died with her maiden name unchanged. The Braes o' Gleniffer" also first appeared in the Glasgow Nightingale in 1806, and was set to music by John Ross, of Aberdeen. It was regarded by the inner circle of his literary associates as the best of all his poetical productions, and really the descriptive power and imagery throughout will rank among the finest flowers of Scottish poetry.

The songs here referred to are but a few samples of the author's productions, but they are among the choicest of his lyrics. In addition to his songs of love and sentiment, he could sing on other keys with no faltering voice. He has written several amusing Bacchanalian songs, amongst which may be mentioned the Five Frien's, which is perhaps the most famous and amusing, and "The Coggie." The former was originally intended for private circulation only, and to enhance the humour the author represents himself as being "As blin' as an owl," which was not the case in reality, and must be put down as a poetical exaggeration, for he lived an exceptionally temperate life, and despised excess in others. The following lines from his rhymed Epistle to his friend Alexander Borland, will best express his true sentiments on the subject :

Where strong-lung'd ignorance does highest soar,

Where silly ridicule is passed for wit,

And shallow laughter takes her gaping fit;

Where selfish sophistry out-brother's sense,

And lords it high at modesty's expense."

Again, there are in this connection the author's two Bacchanalian poems, "Scotch Drink"" and the "Bacchanalians," which may be mentioned in passing.

His Bacchanalian songs, as well as many other of his songs and poems, manifest a strong sense of humour, which makes it all the more puzzling to understand why this sense did not save him from the tragic end which