Alas! this was not the only ill circumstance in his future. He had been idle for some eighteen months, superintending his new edition, hanging on to settle with the publisher, travelling in the Highlands with Willie Nichol, or philandering with Mrs. M'Lehose; and in this period the radical part of the man had suffered irremediable hurt. He had lost his habits of industry, and formed the habit of pleasure. Apologetical biographers assure us of the contrary; but from the first, he saw and recognised the danger for himself; his mind, he writes, is "enervated to an alarming degree" by idleness and dissipation; and again, "my mind has been vitiated with idleness." It never fairly recovered. To business he could bring the required diligence and attention without difficulty; but he was thenceforward incapable, except in rare instances, of that superior effort of concentration which is required for serious literary work. He may be said, indeed, to have worked no more, and only amused himself with letters. The man who had written a volume of masterpieces in six months, during the remainder of his life rarely found courage for any more sustained effort than a song. And the nature of the songs is itself characteristic of these idle later years; for they are often as polished and elaborate as his earlier works were frank, and headlong, and colloquial; and this sort of verbal elaboration in short flights is, for a man of literary turn, simply the most agreeable of pastimes. The change in manner coincides exactly with the Edinburgh visit. In 1786 he had written the ADDRESS TO A LOUSE, which may be taken as an extreme instance of the first manner; and already, in 1787, we come upon the rosebud pieces to Miss Cruikshank, which are extreme examples of the second. The change was, therefore, the direct and very natural consequence of his great change in life; but it is not the less typical of his loss of moral courage that he should have given up all larger ventures, nor the less melancholy that a man who first attacked literature with a hand that seemed capable of moving mountains, should have spent his later years in whittling cherry-stones.

Meanwhile, the farm did not prosper; he had to join to it the salary of an exciseman; at last he had to give it up, and rely altogether on the latter resource. He was an active officer; and, though he sometimes tempered severity with mercy, we have local testimony oddly representing the public feeling of the period, that, while "in everything else he was a perfect gentleman, when he met with anything seizable he was no better than any other gauger."

There is but one manifestation of the man in these last years which need delay us: and that was the sudden interest in politics which arose from his sympathy with the great French Revolution. His only political feeling had been hitherto a sentimental Jacobitism, not more or less respectable than that of Scott, Aytoun, and the rest of what George Borrow has nicknamed the "Charlie over the water" Scotchmen. It was a sentiment almost entirely literary and picturesque in its origin, built on ballads and the adventures of the Young Chevalier; and in Burns it is the more excusable, because he lay out of the way of active politics in his youth. With the great French Revolution, something living, practical, and feasible appeared to him for the first time in this realm of human action. The young ploughman who had desired so earnestly to rise, now reached out his sympathies to a whole nation animated with the same desire. Already in 1788 we find the old Jacobitism hand in hand with the new popular doctrine, when, in a letter of indignation against the zeal of a Whig clergyman, he writes: "I daresay the American Congress in 1776 will be allowed to be as able and as enlightened as the English Convention was in 1688; and that their posterity will celebrate the centenary of their deliverance from us, as duly and sincerely as we do ours from the oppressive measures of the wrong-headed house of Stuart." As time wore on, his sentiments grew more pronounced and even violent; but there was a basis of sense and generous feeling to his hottest excess. What he asked was a fair chance for the individual in life; an open road to success and distinction for all classes of men. It was in the same spirit that he had helped to found a public library in the parish where his farm was situated, and that he sang his fervent snatches against tyranny and tyrants. Witness, were it alone, this verse:-

"Here's freedom to him that wad read, Here's freedom to him that wad write; There's nane ever feared that the truth should be heard But them wham the truth wad indite."

Yet his enthusiasm for the cause was scarce guided by wisdom. Many stories are preserved of the bitter and unwise words he used in country coteries; how he proposed Washington's health as an amendment to Pitt's, gave as a toast "the last verse of the last chapter of Kings," and celebrated Dumouriez in a doggrel impromptu full of ridicule and hate. Now his sympathies would inspire him with SCOTS, WHA HAE; now involve him in a drunken broil with a loyal officer, and consequent apologies and explanations, hard to offer for a man of Burns's stomach. Nor was this the front of his offending. On February 27, 1792, he took part in the capture of an armed smuggler, bought at the subsequent sale four carronades, and despatched them with a letter to the French Assembly. Letter and guns were stopped at Dover by the English officials; there was trouble for Burns with his superiors; he was reminded firmly, however delicately, that, as a paid official, it was his duty to obey and to be silent; and all the blood of this poor, proud, and falling man must have rushed to his head at the humiliation. His letter to Mr. Erskine, subsequently Earl of Mar, testifies, in its turgid, turbulent phrases, to a perfect passion of alarmed self- respect and vanity. He had been muzzled, and muzzled, when all was said, by his paltry salary as an exciseman; alas! had he not a family to keep? Already, he wrote, he looked forward to some such judgment from a hackney scribbler as this: "Burns, notwithstanding the FANFARONNADE of independence to be found in his works, and after having been held forth to view and to public estimation as a man of some genius, yet, quite destitute of resources within himself to support his borrowed dignity, he dwindled into a paltry exciseman, and shrunk out the rest of his insignificant existence in the meanest of pursuits, and among the vilest of mankind." And then on he goes, in a style of rhodomontade, but filled with living indignation, to declare his right to a political opinion, and his willingness to shed his blood for the political birthright of his sons. Poor, perturbed spirit! he was indeed exercised in vain; those who share and those who differ from his sentiments about the Revolution, alike understand and sympathise with him in this painful strait; for poetry and human manhood are lasting like the race, and politics, which are but a wrongful striving after right, pass and change from year to year and age to age. The TWA DOGS has already outlasted the constitution of Sieyes and the policy of the Whigs; and Burns is better known among English-speaking races than either Pitt or Fox.

Meanwhile, whether as a man, a husband, or a poet, his steps led downward. He knew, knew bitterly, that the best was out of him; he refused to make another volume, for he felt that it would be a disappointment; he grew petulantly alive to criticism, unless he was sure it reached him from a friend. For his songs, he would take nothing; they were all that he could do; the proposed Scotch play, the proposed series of Scotch tales in verse, all had gone to water; and in a fling of pain and disappointment, which is surely noble with the nobility of a viking, he would rather stoop to borrow than to accept money for these last and inadequate efforts of his muse. And this desperate abnegation rises at times near to the height of madness; as when he pretended that he had not written, but only found and published, his immortal AULD LANG SYNE. In the same spirit he became more scrupulous as an artist; he was doing so little, he would fain do that little well; and about two months before his death, he asked Thomson to send back all his manuscripts for revisal, saying that he would rather write five songs to his taste than twice that number otherwise. The battle of his life was lost; in forlorn efforts to do well, in desperate submissions to evil, the last years flew by. His temper is dark and explosive, launching epigrams, quarrelling with his friends, jealous of young puppy officers. He tries to be a good father; he boasts himself a libertine. Sick, sad, and jaded, he can refuse no occasion of temporary pleasure, no opportunity to shine; and he who had once refused the invitations of lords and ladies is now whistled to the inn by any curious stranger. His death (July 21, 1796), in his thirty-seventh year, was indeed a kindly dispensation. It is the fashion to say he died of drink; many a man has drunk more and yet lived with reputation, and reached a good age. That drink and debauchery helped to destroy his constitution, and were the means of his unconscious suicide, is doubtless true; but he had failed in life, had lost his power of work, and was already married to the poor, unworthy, patient Jean, before he had shown his inclination to convivial nights, or at least before that inclination had become dangerous either to his health or his self-respect. He had trifled with life, and must pay the penalty. He had chosen to be Don Juan, he had grasped at temporary pleasures, and substantial happiness and solid industry had passed him by. He died of being Robert Burns, and there is no levity in such a statement of the case; for shall we not, one and all, deserve a similar epitaph?

The somewhat cruel necessity which has lain upon me throughout this paper only to touch upon those points in the life of Burns where correction or amplification seemed desirable, leaves me little opportunity to speak of the works which have made his name so famous. Yet, even here, a few observations seem necessary.

At the time when the poet made his appearance and great first success, his work was remarkable in two ways. For, first, in an age when poetry had become abstract and conventional, instead of continuing to deal with shepherds, thunderstorms, and personifications, he dealt with the actual circumstances of his life, however matter-of-fact and sordid these might be. And, second, in a time when English versification was particularly stiff, lame, and feeble, and words were used with ultra-academical timidity, he wrote verses that were easy, racy, graphic, and forcible, and used language with absolute tact and courage as it seemed most fit to give a clear impression. If you take even those English authors whom we know Burns to have most admired and studied, you will see at once that he owed them nothing but a warning. Take Shenstone, for instance, and watch that elegant author as he tries to grapple with the facts of life. He has a description, I remember, of a gentleman engaged in sliding or walking on thin ice, which is a little miracle of incompetence. You see my memory fails me, and I positively cannot recollect whether his hero was sliding or walking; as though a writer should describe a skirmish, and the reader, at the end, be still uncertain whether it were a charge of cavalry or a slow and stubborn advance of foot. There could be no such ambiguity in Burns; his work is at the opposite pole from such indefinite and stammering performances; and a whole lifetime passed in the study of Shenstone would only lead a man further and further from writing the ADDRESS TO A LOUSE. Yet Burns, like most great artists, proceeded from a school and continued a tradition; only the school and tradition were Scotch, and not English. While the English language was becoming daily more pedantic and inflexible, and English letters more colourless and slack, there was another dialect in the sister country, and a different school of poetry tracing its descent, through King James I., from Chaucer. The dialect alone accounts for much; for it was then written colloquially, which kept it fresh and supple; and, although not shaped for heroic flights, it was a direct and vivid medium for all that had to do with social life. Hence, whenever Scotch poets left their laborious imitations of bad English verses, and fell back on their own dialect, their style would kindle, and they would write of their convivial and somewhat gross existences with pith and point. In Ramsay, and far more in the poor lad Fergusson, there was mettle, humour, literary courage, and a power of saying what they wished to say definitely and brightly, which in the latter case should have justified great anticipations. Had Burns died at the same age as Fergusson, he would have left us literally nothing worth remark. To Ramsay and to Fergusson, then, he was indebted in a very uncommon degree, not only following their tradition and using their measures, but directly and avowedly imitating their pieces. The same tendency to borrow a hint, to work on some one else's foundation, is notable in Burns from first to last, in the period of song-writing as well as in that of the early poems; and strikes one oddly in a man of such deep originality, who left so strong a print on all he touched, and whose work is so greatly distinguished by that character of "inevitability" which Wordsworth denied to Goethe.

(Editor：problem)