Abbotsford and Newstead Abbey

life. His domestic animals were his friends; everything about him seemed to rejoice in the light of his countenance; the face of the humblest dependent brightened at his approach, as if he anticipated a cordial and cheering word. I had occasion to observe this particularly in a visit which we paid to a quarry, whence several men were cutting stone for the new edifice; who all paused from their labor to have a pleasant “crack wi’ the laird.” One of them was a burgess of Selkirk, with whom Scott had some joke about-the old song:
    “Up with the Souters o’ Selkirk,
And down with the Earl of Horne.”
    Another was precentor at the Kirk, and, besides leading the psalmody on Sunday, taught the lads and lasses of the neighborhood dancing on week days, in the winter time, when out-of-door labor was scarce.
    Among the rest was a tall, straight old fellow, with a healthful complexion and silver hair, and a small round-crowned white hat. He had been about to shoulder a nod, but paused, and stood looking at Scott, with a slight sparkling of his blue eye, as if waiting his turn; for the old fellow knew himself to be a favorite.
    Scott accosted him in an affable tone, and asked for a pinch of snuff. The old man drew forth a horn snuff-box. “Hoot, man,” said Scott, “not that old mull: where’s the bonnie French one that I brought you from Paris?” “Troth, your honor,” replied the old fellow, “sic a mull as that is nae for week-days.”
    On leaving the quarry, Scott informed me that when absent at Paris, he had purchased several trifling articles as presents for his dependents, and among others the gay snuff-box in question, which was so carefully reserved for Sundays, by the veteran. “It was not so much the value of the gifts,” said he, “that pleased them, as the idea that the laird should think of them when so far away.”
    The old man in question, I found, was a great favorite with Scott. If I recollect right, he had been a soldier in early life, and his straight, erect person, his ruddy yet rugged countenance, his gray hair, and an arch gleam in his blue eye, reminded me of the description of Edie Ochiltree. I find that the old fellow has since been introduced by Wilkie, in his picture of the Scott family.
    * * * * *
    We rambled on among scenes which had been familiar in Scottish song, and rendered classic by pastoral muse, long before Scott had thrown the rich mantle of his poetry over them. What a thrill of pleasure did I feel when first I saw the broom-covered tops of the Cowden Knowes, peeping above the gray hills of the Tweed: and what touching associations were called up by the sight of Ettrick Vale, Galla Water, and the Braes of Yarrow! Every turn brought to mind some household air —some almost forgotten song of the nursery, by which I had been lulled to sleep in my childhood; and with them the looks and voices of those who had sung them, and who were now no more. It is these melodies, chanted in our ears in the days of infancy, and connected with the memory of those we have loved, and who have passed away, that clothe Scottish landscape with such tender associations. The Scottish songs, in general, have something intrinsically melancholy in them; owing, in all probability, to the pastoral and lonely life of those who composed them: who were often mere shepherds, tending their flocks in the solitary glens, or folding them among the naked hills. Many of these rustic bards have passed away, without leaving a name behind them; nothing remains of them but their sweet and touching songs, which live, like echoes, about the places they once inhabited. Most of these simple effusions of pastoral poets are linked with some favorite haunt of the poet; and in this way, not a mountain or valley, a town or tower, green shaw or running stream, in Scotland, but has some popular air connected with it, that makes its very name a key-note to a whole train of delicious fancies and feelings.
    Let me step forward in time, and mention how sensible I was to the power of these simple airs, in a visit which I made to Ayr, the birthplace of Robert Burns. I passed a whole morning about “the banks and braes of bonnie Doon,” with his tender little love verses running in my head. I found a poor Scotch carpenter at work among the ruins of Kirk Alloway, which was to be converted into a school-house. Finding the purpose of my visit, he left his work, sat down with me on a grassy grave, close by where Burns’ father was