The Cecil Whig. [volume] (Elkton, Md.) 1841-current, 1851-04-19
GFrom Sariain's Magaeine for May.l
The Birthplace of Burns.

have an enthusiastic feeling for Burns; and as
set Out from the town Of Ayr, TO walk two miles
to the cottage in which he was born, my head
was full OF recollcciions Of his life and of his
poetry. Favourite lines, that had delighted me
thousand times in America, came fresh to mind;
and coul not help repeating them over and
over as walked on. A rapid pace soon brought
me to the humble roof 1t is low, one story
cottage II atched with straw; but i, is neatly kept
and has pleasing, rustic look. a little sign by
the door gives notice that ..In this cottage was
born Robert Burns, the Ayrshire Poet, January
%, 1853" | went in, and was received by Il
neat Scotchwoman, who showed me a small re-
cess in the wall of the kitchen. in which stood
the bed in which the poet was born. small
window by the bed remains as it was eighty
years ago; and the same stone floor is there, on
which the poet played when he was child.
Alloway Kirk is very near the cottage. 1t is
an old stone church now rooilcsS. In the grave
yard stan Is monument to William Burns, the
father OF the poet, the patriarch of the Coter's
Saturday Night. This was the scene of Tam
O'Shaner's encounter with the witches, and the
Bridge of Doom is close by, over which he effect
ed his escape. Here has been erected, within
few years, a chastc aud beautiful monument to
the memory Of Burns. An untaught sculptor
has executed two statues, which are placed here,
of Tam O'Shanter and Suutcr Johnny ever their
cups. They are done to the life. Never was
the happy, drunken look oftopers, more exactly
| depicted. \ good story is told Of an Irish tar,
who went in TO see them while they were cNhi-
biting in Dublin. He thought he had paid his
money to see thratricals, and after gazing
while, he spoke out to Tam, who, he thought,
was laughing at him, put yer grog in yer mouth
my boy, and get on with yer play, and don't sill
there laughing, and keeping the company wait
ing.''
In the monument is preserved with religious
care, the Bible which Burns presented to his
Highland Mary. and over which they pledged
their love. On the tiy-caf is written, "And We
shall not swear by my name falsely, am the
Lord.-Robert Burns
/ The most touching passage in the life of Burns
and the inspiration of some Of his most beautiful
! pieces, was his affection for Mary Campbell,
| The scene of THEN parting was several miles
above, on the banks of the Ayr. There they
met on Sunday in May, and having their hands
in the stream, vowed over Mary's Bible, love,
'whle the woods of Montgomery grew, and its
waters ram 1t is TO this scene Burns alludes
in the lines:
/ ''Ye banks and braes and stream. around
The Castle of Montgomcry:''--
::lNith many a vow, and locked embrace,
Our parting was full tender;
! And pledged oft to meet again,
We tore ourselves aSundcr;
Blu, oh fell deaths untmcly frost,
That npt my flower so early!
Now green's the sod, and colds the clay
That wraps my Highland Mary"
Burns seems never 10 have got over the blow
inflicted by her death, and il was with feelings
of incXtne uishable affection and the keenest dis
tress, that he composed years afterwards, on the
anniversary of her loss, his most beautiful lines
! to MARY in Heaven
After lingering some time on the Bridge,
walked down to the banks of the Doom, and, sit
! ting down by the current, took out little copy
of Burns's Songs which | had brought with
me, and read those lines, so full of Sadness
aye banks and bracs Of bonny Doom,
How can yc bloom so fresh and fair?
How can ye chant, We little birds,
And so weary, full of care!'
/ This was a strain which he often touched.
/ The loss of the object of his affection, and the
hopeless perjury which crushed him TO the earth,
gave pcnsive tone TO his mind His feelings
of grief and woe are constantly breaking out in
his poetry. The peace Of nature, contrasting
with the agiiaton'of his spirit awoke his most
plaintve strains. He says of HIMSELF after
describing '.rcjocing nalurc,'' and The singing
birds,-
ssBut life TO mes weary dream,
The dream of one that never wakes:
! And when the lark, tween light and dark,
Blythe walkers by the daisy's side,
! And mounts and sings on huttering wings,
| A woe-worn ghost homeward gide.''
From the Doom | returned to the cottage.
His fathers roof and family were in the poets
mind when he wrote the 'sCotter's Saturday
Night" ! sat down in the room in which he
was born, and read over again that description of
the household pie,y of Scotland, description
which is almost worthy to be classed with the
/ e, Al
''blazing bonnily." around which the old man
gathered his children to worship God, and the
stones on which he knet TO pray.
| came away with my heart full. 'Why is
it," thought, ssthat Burns is read and loved in
all lands? Simply because he is the poet of Ma
turc, and describes those simple affections which
are felt by human hearts everywhere" He had
an exquisite sensibility 10 the beauties ofnature
as well as TO the charms of love. The sight of
groves and streams touched his heart like plain
tive music. No poet has depicted Nature by
winter, all had beauty in his eye. glory
like the sunset gilded the opening and the dying
year.
'sE'en winter bleak has charms TO me,
| When winds rave through the naked tree,
Are hoary gray;
Or binding drifts wild furious flee,
DarkcninG the day"
Burns exces all other poets in describing the
passion of love, and in his picture of domestic
life. His own heart was capable Of strong at
tachments, and he described what he felt. Was
there ever employed so beautiful an image to
illustrate the first opening feeling of love, when
the heart trembles al what it finds in ITSELF as
this p
"As in the bosom of the stream
The moonbeam dwels at dewy cen,
So trembling, pure, was tender love
Within the breast o. bonnie JEAN"
cannot but think it happy circumstance
that Burns never had classical education. If
his poems had been strewn with classical allu-
sions, he might have gained the name ofa sch olar,
and lost the Immortality ola poet. But he Paints