Works.
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
