objects, these few are examined with great attention, and every variation of them is expressed by a new term. Thus, in Lapland, the rein-deer has about a dozen of names; a rein-deer of four years of age having a different name from one of five, and that again being distinguished from one of six or seven. The pastoral Scots had their attention divided by few objects, and hence no language is so copious in the names given to every variety of external scenery. Let us hope, then, that the British Theocritus will, like Shakespeare, Milton, and Spenser, mingle Scotish words with his writings, and that the Sicilian muses will warble in Scotish strains (ƒ). You'll fay my fancy paints o'er high, Wha ken's but Arthur's Seat might rise, An' fweet St Anton's Well be seen To match Beotias Hippocrene? Geddes. Some Scotish critics (principally, I believe, those who have been born in a part of the country where a ruder dialect is spoken, or who, by being educated in a town, have never been acquainted with the simple manners and sterling worth of the Scotish peasantry) fastidiously annex an idea of rudeness and vulgarity to every thing written in the native dialect of their country. But there is a naiveté, (says Burns) a pastoral simplicity, which is more in unison, in a slight intermixture of Scots words and phraseology, (at least to my taste, and, I will add, to every genuine Caledonian taste) with the simple pathos or rustic sprightliness of our native music, than any English verses whatever." An observation which, though it is applied particularly to songs, may be extended to several other branches of poetry. "One cannot but wonder (says an admirable writer) at the observation which is sometimes made, even by Scotsmen of good taste, that the language of the Gentle Shepherd disgusts from its vulgarity. It is true that, in the present day, the Scotish dialect is heard only in the mouths of the lowest of the populace, in whom it is generally associated with vulgarity of sentiment (g). But if the sentiments of the speakers be not reproachable with unnecessary vulgarity, we cannot with justice associate vulgarism with a dialect which in itself is proper, and in its application is characteristic *." The same excellent writer gives us reason to hope that this association which, in the minds of many, exists between the Scotish dialect and coarseness and vulgarity, will be only temporary. "As associated * See Remarks on the Writings of Ramsay, prefixed to the London edition 1800 of that Poet's works, in two volumes. This anonymous writer unites a truly claffical, with what Burns calls the genuine. Caledonian taste. ideas arise only when the connection is either in itself necessary, or the relation is so intimate that the two ideas are seldom found disunited, so, of late years, that disunion has taken place in a twofold manner, for the language even of the common people of Scotland is gradually refining and coming nearer the English standard; and it has fortunately happened that the Scotish dialect has lately been employed in compositions of transcendent merit, which have not only exhibited the finest strokes of the pathetic, but have obtained even a high pitch of the sublime. For the truth of this observation, we may appeal to the Cottar's Saturday Night and to the Vision of Burns." As the Scotish language (he goes on to observe in a note) has to an Englishman the air of an antiquated tongue, it will be relished as such in grave compositions, on the principle assigned by Quintilian: Propriis verbis dignitatem dat antiquitas, namque et sanctiorem, et magis admirabilem reddunt orationem, quibus non quilibet fuerit usurus; eoque ornamento acerrimi judicii Virgilius unice est usus Olli enim et Quianam, et mis et pone pellucent, et aspergunt illam quae etiam in picturis est gratissima, vetustatis inimitabilem arti auctoritatem. Lib. 7. c. 3. (b). That the Scotish language is relished by an English ear, on a kindred principle, is acknowledged by a very excellent critic: "I suspect (says Mr Aikin) that Ramsay gains a great advantage among us, by writing in the Scotish dialect; this not being familiar to us, and scarcely understood, softens the harsher parts, and gives a kind of foreign air that eludes the critics seve rity. A remark similar to that just mentioned is made by Dr Currie in his observations on the writings of Burns, in vol. i. p. 331, of the first edition of that Poet's works. "Great efforts have been made (says he) by the inhabitants of Scotland, of a superior rank, to ap¬ proximate in their speech to the pure English standard; and this has made it difficult to write in the Scotish dialect without exciting in them some feelings of disgust, which in England are scarcely felt. An Englishman, who understands the meaning of the Scotish words, is not offended; nay, on certain subjects, he is perhaps pleased with the rustic dialect, as he may with the Doric Greek of Theocritus. "But a Scotsman inhabiting his own country, if a man of education, and more especially if a literary character, has banished such words from his writings, and has attempted to banish them from his speech: And, being accustomed to hear them from the vulgar daily, does not easily admit of their use in poetry, which requires a style elevated and ornamental. A dislike of this kind is however accidental not natu ral." Then follows an excellent observation, which, the ingenious writer says, has been excited by some remarks of respectable correspondents of the description alluded to."" Burns (says he) wrote professedly for the peasantry of his native country, and by them their native dialect is universally relished. To a numerous class of the natives of Scotland, of another description, it may also be considered as attractive in another point of view. Estranged from their native soil, and spread over foreign lands, the idiom of their country unites with the sentiments, and the descriptions on which it is employed, to recal to their minds the interesting scenes of infancy and youth, to awaken many pleasing, many tender recollections. Literary men, residing in Edinburgh or Aberdeen, cannot judge on this point for one hundred and fifty thousand of their expatriated countrymen." With such sentiments relative to the Scotish dialect, it may be wondered at by some that the language of the following Pastoral approximates so nearly to the English. One reason for this was, that I had, for a considerable time, associated with people who spoke a different dialect: Besides I began and finished this Pastoral without having read any Scotish composition, except some songs, the Gentle Shepherd, and a few of the poems of Ramsay and of Burns *. Hence I have * Since I finished my Paftoral, I have read over the works of both thefe writers. Perhaps in the writings of few poets, who have gained fo much reputation as Ramfay, are there so many "verfus inopes rerum nugaeque canorae," if indeed they always deferve this laft epithet. But in his better productions (I speak not at present of his admirable pastoral) there is much ease, much good fenfe, and a certain auldfarrendness, if I may apply that Scotish word to a Scotish poet. Never was a finer piece of comic painting than his two cantos of Chrift's Kirk on the Green; nor could a higher teftimony be given to his powers of ludicrous description than the compliment paid him by Hogarth, who, though the language of Ramfay must have been fcarcely intelligible to him, and the humour such as none but a Scotsman can perfectly perceive and relish, dedicated his twelve plates of Hudibras to Allan Ramfay of Edinburgh, and William Wood of Great Houghton in Northamptonfire. Ramfay feems to have had a prodigious deal of vanity, and always speaks of bestowing immortality on whom he pleased. But he was a poet; he had raised himself to distinction by his talents; and it is a remark of Le Sage, "Les Barbiers ne font pas les gens du monde le moins |