CHAPTER XXIV.
"This modest stone, what few vain marbles can,
May truly say, here lies an honest man:
A poet, blest beyond the poet's fate,
Whom heaven kept sacred from the proud and great."
While on a recent visit to Dumfries, I lodged in the same house with Robert Burns, the eldest son of the Scottish bard, who is now about sixty-five years old. I also visited the grave of the poet, which is in the church-yard at the lower end of the town. A few days afterwards I arrived at Ayr, and being within three miles of the birth-place of Burns, and having so lately stood over his grave, I felt no little interest in seeing the cottage in which he was born, and the monument erected to his memory; and therefore, after inquiring the road, I started on my pilgrimage. In going up the High Street, we passed the Wallace Tower, a Gothic building, with a statue of the renowned chief, cut by Thorn, the famed sculptor of "Tam O'Shanter and Souter Johnny," occupying the highest niche. The Scottish hero is represented not in warlike attitude, but in a thoughtful mood, as if musing over the wrongs of his country. We were soon out of the town, and on the high road to the "Land of Burns." On the west side of the road, and about two miles from Ayr. stands the cottage in which the poet was born; it is now used as an ale-house or inn. This cottage was no doubt the fancied scene of that splendid poem, "The Cottar's Saturday Night." A little further on, and we were near the old kirk, in the yard of which is the grave of Burns' father, marked by a plain tombstone, on which is engraved the following epitaph, from the pen of the poet:
"O ye whose cheek the tear of pity stains,
Draw near with pious reverence and attend;
Here lie the loving husband's dear remains,
The tender father, and the generous friend.
The pitying heart that felt for human woe,
The dauntless heart that feared no human pride,
The friend of man—to vice alone a foe;
'For e'en his failings leant to Virtue's side.'"
A short distance beyond the church, we caught a sight of the "Auld Brig" crossing the Doon's classic stream, along which Tam O'Shanter was pursued by the witches, his "Gray Mare Meg" losing her tail in the struggle on the keystone. On the banks of the Doon stands the beautiful monument, surrounded by a little plat of ground very tastefully laid out. The edifice is of the composite order, blending the finest models of Grecian and Roman architecture. It is about sixty feet high; on the ground floor there is a circular room lighted by a cupola of stained glass, in the centre of which stands a table with relics, and editions of Burns' writings. Amongst these relics is the Bible given by the poet to his Highland Mary. It is bound in two volumes, which are enclosed in a neat oaken box with a glass lid. In both volumes is written "Robert Burns, Mossgiel," in the bard's own hand-writing. In the same room are the original far-famed figures of "Tam O'Shanter and Souter Johnny," chiselled out of solid blocks of free-stone, by the self-taught sculptor, Thorn. No one can look at these statues without feeling that the poet has not more graphically described than the sculptor has delineated the jolly couple. Immediately on the banks of the river stands the Shell Palace. This most beautiful of little edifices is scarcely less to be admired than the monument itself.
Like its great prototype, the Shell Palace, to be judged of, must be seen. It is not easy to describe even this miniature. Lying in the heart of the Monument scenery, it forms a fitting spot for something dazzlingly beautiful; and it realizes the aspiration. It is a palace of which rare and beautiful shells, gathered in many climes, form the entire surface, internal and external. The erection is twenty feet long, by fourteen and a half feet broad, and fourteen feet high in the roof. It is in form an irregular or oblong octagon—the two sides long, and the three sections at each end, of course, narrow, thus giving, by the cross reflections of no fewer than nineteen mirrors, an infinite multiplicity of its internal treasures. Of these the shells are the leading feature, and many thousands of the rarest sorts go to make up this conchological wonder. The floor is covered with a very rich carpet, and rugs to match front two unique dwarf grates. The seats, set on imitation granite props, are covered with rich crimson velvet. Opposite the stained-glass entrance-door, in a recess, is a beautiful fountain, surrounded by large ornamental shells, playing from a delightful spring, the jet rising from a rich green vase, in tasteful contrast with the "winking gold-fish," now sporting and now lazily floating round its base. The side walls are inlaid in the most regular and artistic manner with shells, which vary in size, the roof being studded with large ornamental shells, the upward unseen points of which, being bored, act as ventilators, while in the centre of the roof some of the very choicest middle-sized shells are grouped together in the form of flowers, with a very rich and beautiful effect, seldom attained in the choicest bouquets. With so much of the beautiful so very attractively arranged, the mirrors work wonders. The large mirrors at either end show a line of table as far as the eye can carry, and multiply the visitors accordingly—green vases and golden fish presenting themselves anew at every turn. The Doon ran silently past as we entered; but here it meanders round us on every side, and our fairy palace seems the centre of some enchanted island. It is, indeed, a beautiful grotto, and all who have not seen it will, we dare say, on visiting it, not begrudge it the title of the "Shell Palace." We next visited Newark Castle, about a mile from the monument. It is remarkable for its antiquity, and for the splendid view obtained from the balcony on its summit. While standing on this celebrated spot, we saw at one glance the Frith of Clyde and Bay of Ayr; in the immediate foreground the cradle-land of Burns, and the winding Doon and in the distance the eye wanders over a vast tract of richly-wooded country, embracing a panoramic view of portions of at least seven counties, and the much-admired and celebrated rock, Ailsacraig. While in the neighborhood, we could not forego the temptation which presented itself of visiting the scene of Burns' tender parting with Mary Campbell. It is near the junction of the water of Fail with the river Ayr, where the poet met his Mary on a Sunday in the month of May, and, laying their hands in the stream, vowed, over Mary's Bible, love while the woods of Montgomery grew and its waters ran. The death of the girl before the appointed time of marriage caused the composition of the following poem, one of Burns' sweetest pieces.
HIGHLAND MARY.
"Ye banks, and braes, and streams around
The castle o' Montgomery,
Green be your-woods, and fair your flowers,
Your waters never drumlie!
There Simmer first unfaulds her robes,
And there they langest tarry;
For there I took the last fareweel
)'O my sweet Highland Mary.
'How sweetly bloomed the fray green birk,
How rich the hawthorn's blossom,
As underneath their fragrant shade
I clasped her to my bosom!
The golden hours, on angel wings,
Flew o'er me and my dearie:
For dear to me as light and life
Was my sweet Highland Mary.
"Wi'mony a vow, and looked embrace,
Our parting was fu' tender;
And, pledging aft to meet again,
We tore oursels asunder;
But, O! fell Death's untimely frost,
That nipt my flower sae early!
Now green's the sod, and cauld's the clay,
That wraps my Highland Mary!
"O pale, pale now, those rosy lips,
I aft hae kissed sae fondly!
And closed for aye the sparkling glance
That dwalt on me sae kindly!
And mouldering now in silent dust
That heart that lo'ed me dearly!
But still within my bosom's core
Shall live my Highland Mary."
It was indeed pleasant to walk over the ground once pressed by the feet of the Scottish bard, and to look upon the scenes that inspired his youthful breast, and gave animation to that blaze of genius that burst upon the world. The classic Doon, the ruins of the old kirk Alloway, the cottage in which the poet first drew breath, and other places made celebrated by his pen, all filled us with a degree of enthusiasm we have seldom experienced. In every region where the English language is known the songs of Burns give rapture; and from every land, and from climes the most remote, comes the praise of Burns as a poet. In song-writing he, surpassed Sir Walter Scott and Lord Byron; for in that department he was above "all Greek, above all Roman fame;" a more than Simonides in pathos, as in his "Highland Mary;" a more than Tyrtasus in fire, as in his "Scots wha ha'e wi' Wallace bled" and a softer than Sappho in love, as in his—
"Had we never loved so kindly,
Had we never loved so blindly,
Never met or never parted,
We had ne'er been broken-hearted."