CHAPTER II - SOME ASPECTS OF ROBERT BURNS

To write with authority about another man, we must have fellow-feeling and some common ground of experience with our subject. We may praise or blame according as we find him related to us by the best or worst in ourselves; but it is only in virtue of some relationship that we can be his judges, even to condemn. Feelings which we share and understand enter for us into the tissue of the man's character; those to which we are strangers in our own experience we are inclined to regard as blots, exceptions, inconsistencies, and excursions of the diabolic; we conceive them with repugnance, explain them with difficulty, and raise our hands to heaven in wonder when we find them in conjunction with talents that we respect or virtues that we admire. David, king of Israel, would pass a sounder judgment on a man than either Nathaniel or David Hume. Now, Principal Shairp's recent volume, although I believe no one will read it without respect and interest, has this one capital defect - that there is imperfect sympathy between the author and the subject, between the critic and the personality under criticism. Hence an inorganic, if not an incoherent, presentation of both the poems and the man. Of HOLY WILLIE'S PRAYER, Principal Shairp remarks that "those who have loved most what was best in Burns's poetry must have regretted that it was ever written." To the JOLLY BEGGARS, so far as my memory serves me, he refers but once; and then only to remark on the "strange, not to say painful," circumstance that the same hand which wrote the COTTER'S SATURDAY NIGHT should have stooped to write the JOLLY BEGGARS. The SATURDAY NIGHT may or may not be an admirable poem; but its significance is trebled, and the power and range of the poet first appears, when it is set beside the JOLLY BEGGARS. To take a man's work piecemeal, except with the design of elegan