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powers of forgetfulness and oblivion. He remembers himself what he has done, and that remembrance tells him that other people must likewise remember it. Amidst all the gaudy pomp of the most ostentatious greatness, amidst the venal and vile adulation of the great and of the learned, amidst the more innocent though more foolish acclamations of the common people, amidst all the pride of conquest and the triumph of successful war, he is still secretly pursued by the avenging furies of shame and remorse; and while glory seems to surround him on all sides, he himself, in his own imagination, sees black and foul infamy fast pursuing him, and every moment ready to overtake him from behind. Even the great Cæsar, though he had the magnanimity to dismiss his guards, could not dismiss his suspicions. The remembrance of Pharsalia still haunted and pursued him. When, at the request of the senate, he had the generosity to pardon Marcellus, he told that assembly that he was not unaware of the designs which were carrying on against his life; but that, as he had lived long enough both for nature and for glory, he was contented to die, and therefore despised all conspiracies. He had, perhaps, lived long enough for nature; but the man who felt himself the object of such deadly resentment, from those whose favour he wished to gain, and whom he still wished to consider as his friends, had certainly lived too long for real glory, or for all the happiness which he could ever hope to enjoy in the love and esteem of his equals.
DR REID's Inquiry into the Human Mind, published in 1764, was an attack on the ideal theory, and on the sceptical conclusions which Hume deduced from it. The author had the candour to submit it to Hume before publication, and the latter, with his usual complacency and good nature, acknowledged the merit of the treatise. In 1785 Reid published his Essays on the Intellectual Powers of Man, and in 1788 those on the Active Powers. The merit of Reid as a correct reasoner and original thinker on moral science, free from the jargon of the schools, and basing his speculations on inductive reasoning, has been generally admitted. The ideal theory which he combated, taught that nothing is perceived but what is in the mind which perceives it; that we really do not perceive things that are external, but only certain images and pictures of them imprinted upon the mind, which are called impressions and ideas.' This doctrine Reid had himself believed, till, finding it led to important consequences, he asked himself the question, What evidence have I for this doctrine, that all the objects of my knowledge are ideas in my own mind? He set about an inquiry, but could find no evidence for the principle, he says, excepting the authority of philosophers. Dugald Stewart says of Reid, that it is by the logical rigour of his method of investigating metaphysical subjects (imperfectly understood even by the disciples of Locke), still more than by the importance of his particular conclusions, that he stands 80 conspicuously distinguished among those who have hitherto prosecuted analytically the study of man. In the dedication of his Inquiry,' Reid incidentally makes a definition which strikes us as very happy:-The productions of imagination,' he says, 'require a genius which soars above the common rank; but the treasures of knowledge are commonly buried deep, and may be reached by those drudges who can dig with labour and patience, though they have not wings to fly.' Dr Reid was a native of Strachan, in Kincardineshire, where he was born on the 26th of April 1710. He was bred
House of Lord Kames, Canongate, Edinburgh. and philosophical society assembled in Edinburgh during the latter part of the eighteenth century. During the earlier part of his life he devoted the whole powers of an acute and reflective mind, and with an industry calling for the greatest praise, to his profession, and compilations and treatises connected with it. But the natural bent of his faculties towards philosophical disquisition-the glory if not the vice of his age and country-at length took the mastery, and, after reaching the bench in 1752, he gave his leisure almost exclusively to metaphysical and ethical subjects. His first work of this kind, Essays on the Principles of Morality and Natural Religion, combats those theories of human nature which deduce all actions from some single principle, and attempts to establish several principles of action. He here maintained philosophical necessity, but in a connection with the duties of morality and religion, which he hoped might save him from the obloquy bestowed on other defenders of that doctrine; an expectation in which he was partially disappointed, as he narrowly escaped a citation before the General Assembly of his native church, on account of this book.
The Introduction to the Art of Thinking, published in 1761, was a small and subordinate work, consisting mainly of a series of detached maxims and general observations on human conduct, illustrated by anecdotes drawn from the stores of history and biography. In the ensuing year appeared a larger work, perhaps the best of all his compositions-The Elements of Criticism, three volumes, a bold and
original performance, which, discarding all arbitrary rules of literary criticism derived from authority, seeks for a proper set of rules in the fundamental principles of human nature itself. Dugald Stewart admits this to be the first systematic attempt to investigate the metaphysical principles of the fine
ing, touching, and smelling; for the latter feelings, seeming to exist externally at the organ of sense, are conceived to be merely corporeal.
The pleasures of the eye and the ear being thus elevated above those of the other external senses, acquire so much dignity, as to become a laudable entertainment. They are not, however, set on a level with the purely intellectual, being no less inferior in dignity to intellectual pleasures, than superior to the organic or corporeal: they indeed resemble the latter, being, like them, produced by external objects; but they also resemble the former, being, like them, produced without any sensible organic impression. Their mixed nature and middle place between organic and intellectual pleasures qualify them to associate with both; beauty heightens all the organic feelings, as well as the intellectual; harmony, though it aspires to inflame devotion, disdains not to improve the relish of a banquet.
The pleasures of the eye and the ear have other valuable properties beside those of dignity and elevation; being sweet and moderately exhilarating, they are in their tone equally distant from the turbulence of passion and the languor of indolence; and by that tone are perfectly well qualified not only to revive the spirits when sunk by sensual gratification, but also to relax them when overstrained in any violent pursuit. Here is a remedy provided for many distresses; and to be convinced of its salutary effects, it will be sufficient to run over the following particulars. Organic pleasures have naturally a short duration; when prolonged, they lose their relish; when indulged to excess, they beget satiety and disgust; and to restore contrived than the exhilarating pleasures of the eye a proper tone of mind, nothing can be more happily
intellectual powers becomes painful by overstraining On the other hand, any intense exercise of the mind; cessation from such exercise gives nou instant relief; it is necessary that the void be filled with re-pleasure, which hath no relish but while we are in some amusement, gently relaxing the spirits: organic vigour, is ill qualified for that office; but the finer pleasures of sense, which occupy, without exhausting, the mind, are finely qualified to restore its usual tone after severe application to study or business, as well as after satiety from sensual gratification.
Lord Kames had, for many years, kept a commonplace book, into which he transcribed all anecdotes of man, in his various nations and degrees of civilisation, which occurred in the course of his reading, or appeared in the fugitive publications of the day. When advanced to near eighty years of age, he threw these together in a work entitled Sketches of the History of Man (two vols., 4to., 1773), which shows his usual ingenuity and acuteness, and presents many curious disquisitions on society, but is materially reduced in value by the absence of a proper authentication to many of the statements presented in it as illustrations. A volume, entitled Loose Hints on Education, published in 1781, and in which he anticipates some of the doctrines on that subject which have since been in vogue, completes the list of his philosophical works.
Lord Kames was also distinguished as an amateur agriculturist and improver of land, and some operations, devised by him for clearing away a superincumbent moss from his estate by means of water raised from a neighbouring river, help to mark the originality and boldness of his conceptions. This taste led to his producing, in 1777, a volume entitled The Gentleman Farmer, which he has himself sufficiently described as 'an attempt to improve agriculture by subjecting it to the test of rational principles.'
Lord Kames was a man of commanding aspect and figure, but easy and familiar manners. He was the life and soul of every private company, and it
was remarked of him that no subject seemed too great or too frivolous to derive lustre from his marks upon it. The taste and thought of his philosophical works have now placed them out of fashion, but they contain many views and reflections from which modern inquirers might derive advantage.
[Pleasures of the Eye and the Ear.]
That nothing external is perceived till first it make an impression upon the organ of sense, is an observation that holds equally in every one of the external senses. But there is a difference as to our knowledge of that impression; in touching, tasting, and smelling, we are sensible of the impression; that, for example, which is made upon the hand by a stone, upon the palate by an apricot, and upon the nostrils by a rose. It is otherwise in seeing and hearing; for I am not sensible of the impression made upon my eye when I behold a tree, nor of the impression made upon my ear when I listen to a song. That difference in the manner of perceiving external objects, distinguisheth remarkably hearing and seeing from the other senses; and I am ready to show that it distinguisheth still more remarkably the feelings of the former from that of the latter; every feeling, pleasant or painful, must be in the mind; and yet, because in tasting, touching, and smelling, we are sensible of the impression made upon the organ, we are led to place there also the pleasant or painful feeling caused by that impression; but, with respect to seeing and hearing, being insensible of the organic impression, we are not misled to assign a wrong place to the pleasant or painful feelings caused by that impression; and therefore we naturally place them in the mind, where they really are; upon that account they are conceived to be more refined and spiritual than what are derived from tast
Our first perceptions are of external objects, and our first attachments are to them. Organic pleasures take the lead; but the mind gradually ripening, relisheth more and more the pleasures of the eye and ear, which approach the purely mental without exhausting the spirits, and exceed the purely sensual without danger of satiety. The pleasures of the eye and ear have accordingly a natural aptitude to draw us from the immoderate gratification of sensual appetite; and the mind, once accustomed to enjoy a variety of external objects without being sensible of the organic impression, is prepared for enjoying internal objects where there cannot be an organic impression. Thus the Author of nature, by qualifying the human mind for a succession of enjoyments from low to high, leads it by gentle steps from the most grovelling corporeal pleasures, for which only it is fitted in the beginning of life, to those refined and sublime pleasures that are suited to its maturity.
But we are not bound down to this succession by any law of necessity: the God of nature offers it to us in order to advance our happiness; and it is sufficient that he hath enabled us to carry it on in a natural course. Nor has he made our task either disagreeable or difficult: on the contrary, the transition is sweet and easy from corporeal pleasures to the more refined pleasures of sense; and no less so from these to the exalted pleasures of morality and religion. We stand therefore engaged in honour as well as interest, to second the purposes of nature by culti
vating the pleasures of the eye and ear, those espe- Essays on Poetry, Music, &c. He also published a cially that require extraordinary culture, such as digest of his college lectures, under the title of Elearise from poetry, painting, sculpture, music, garden-ments of Moral Science. In these works, though not ing, and architecture. This especially is the duty of profoundly philosophical, the author's 'lively relish the opulent, who have leisure to improve their minds for the sublime and beautiful, his clear and elegant and their feelings. The fine arts are contrived to give style,' and his happy quotations and critical exampleasure to the eye and the ear, disregarding the in- ples, must strike every reader. ferior senses. A taste for these arts is a plant that grows naturally in many soils; but without culture, scarce to perfection in any soil: it is susceptible of much refinement, and is by proper care greatly improved. In this respect a taste in the fine arts goes hand in hand with the moral sense, to which indeed it is nearly allied: both of them discover what is right and what is wrong: fashion, temper, and education, have an influence to vitiate both, or to preserve them pure and untainted: neither of them are arbitrary nor local, being rooted in human nature, and governed by principles common to all men. The design of the present undertaking, which aspires not to morality, is to examine the sensitive branch of human nature, to trace the objects that are naturally agreeable, as well as those that are naturally disagreeable; and by these means to discover, if we can, what are the genuine principles of the fine arts. The man who aspires to be a critic in these arts must pierce still deeper; he must acquire a clear perception of what objects are lofty, what low, what proper or improper, what manly, and what mean or trivial; hence a foundation for reasoning upon the taste of any individual, and for passing a sentence upon it: where it is conformable to principles, we can pronounce with certainty that it is correct; otherwise, that it is incorrect and perhaps whimsical. Thus the fine arts, like morals, become a rational science; and, like morals, may be cultivated to a high degree of refinement.
Manifold are the advantages of criticism when thus studied as a rational science. In the first place, a thorough acquaintance with the principles of the fine arts redoubles the pleasure we derive from them. To the man who resigns himself to feeling, without interposing any judgment, poetry, music, painting, are mere pastime. In the prime of life, indeed, they are delightful, being supported by the force of novelty and the heat of imagination; but in time they lose their relish, and are generally neglected in the maturity of life, which disposes to more serious and more important occupations. To those who deal in criticism as a regular science governed by just principles, and giving scope to judgment as well as to fancy, the fine arts are a favourite entertainment, and in old age maintain that relish which they produce in the morning of life.
[On the Love of Nature.]
[From 'Beattie's Essays."]
Homer's beautiful description of the heavens and earth, as they appear in a calm evening by the light of the moon and stars, concludes with this circumstance
And the heart of the shepherd is glad.' Madame Dacier, from the turn she gives to the passage in her version, seems to think, and Pope, in order perhaps to make out his couplet, insinuates, that the gladness of the shepherd is owing to his sense of the utility of those luminaries. And this may in part be the case; but this is not in Homer; nor is it a necessary consi deration. It is true that, in contemplating the material universe, they who discern the causes and effects of things must be more rapturously entertained than those who perceive nothing but shape and size, colour and motion. Yet, in the mere outside of nature's works (if I may so express myself), there is a splendour and a magnificence to which even untutored minds cannot attend without great delight.
Not that all peasants or all philosophers are equally susceptible of these charming impressions. It is strange to observe the callousness of some men, before whom all the glories of heaven and earth pass in daily suc cession, without touching their hearts, elevating their fancy, or leaving any durable remembrance. Even of those who pretend to sensibility, how many are there to whom the lustre of the rising or setting sun, the sparkling concave of the midnight sky, the mountain forest tossing and roaring to the storm, or warbling with all the melodies of a summer evening; the sweet interchange of hill and dale, shade and sunshine, grove, lawn, and water, which an extensive landscape offers to the view; the scenery of the ocean, so lovely, so majestic, and so tremendous, and the many pleasing varieties of the animal and vegetable kingdom, could never afford so much real satisfaction as the steams and noise of a ball-room, the insipid fiddling and squeaking of an opera, or the vexations and wranglings of a card-table!
But some minds there are of a different make, who, even in the early part of life, receive from the contemplation of nature a species of delight which they would hardly exchange for any other; and who, as avarice and ambition are not the infirmities of that period, would, with equal sincerity and rapture, exclaim
Among the answerers of Hume was DR BEATTIE the poet, who, in 1770, published his Essay on the Nature and Immutability of Truth, in opposition to Sophistry and Scepticism. Inferior to most of the metaphysicians in logical precision, equanimity of temper, or patient research, Beattie brought great zeal and fervour to his task, a respectable share of philosophical knowledge, and a better command of popular language and imaginative illustration than most of his fellow-labourers in that dry and dusty field. These qualities, joined to the pious and beneficial tendency of his work, enabled him to produce a highly popular treatise. No work of the kind was ever so successful. It has fallen into equal neglect with other metaphysical treatises of the age, and is now considered unworthy the talents of its author. It has neither the dignity nor the acumen of the original philosopher, and is unsuited to the ordinary To a mind thus disposed, no part of creation is inreligious reader. The best of Beattie's prose works different. In the crowded city and howling wilder are his Dissertations, Moral and Critical, and hisness, in the cultivated province and solitary isle, in
Such minds have always in them the seeds of true taste, and frequently of imitative genius. At least, though their enthusiastic or visionary turn of mind, as the man of the world would call it, should not always incline them to practise poetry or painting, we need not scruple to affirm that, without some portion of this enthusiasm, no person ever became a true poet or painter. For he who would imitate the works of nature, must first accurately observe them, and accurate observation is to be expected from those only who take great pleasure in it.
'I care not, Fortune, what you me deny ;
the flowery lawn and craggy mountain, in the murmur of the rivulet and in the uproar of the ocean, in the radiance of summer and gloom of winter, in the thunder of heaven and in the whisper of the breeze, he still finds something to rouse or to soothe his imagination, to draw forth his affections, or to employ his understanding. And from every mental energy that is not attended with pain, and even from some of those that are, as moderate terror and pity, a sound mind derives satisfaction; exercise being equally necessary to the body and the soul, and to both equally productive of health and pleasure.
But not to insist longer on those ardent emotions that are peculiar to the enthusiastic disciple of nature, may it not be affirmed of all men without exception, or at least of all the enlightened part of mankind, that they are gratified by the contemplation of things natural as opposed to unnatural? Monstrous sights please but for a moment, if they please at all; for they derive their charm from the beholder's amazement, which is quickly over. I have read, indeed, of a man of rank in Sicily who chooses to adorn his villa with pictures and statues of most unnatural deformity; but it is a singular instance; and one would not be much more surprised to hear of a person living without food, or growing fat by the use of poison. To say of anything that it is contrary to nature, denotes censure and disgust on the part of the speaker; as the epithet natural intimates an agreeable quality, and seems for the most part to imply that a thing is as it ought to be, suitable to our own taste, and congenial with our own constitution. Think with what sentiments we should peruse a poem in which nature was totally misrepresented, and principles of thought and of operation supposed to take place repugnant to everything we had seen or heard of; in which, for example, avarice and coldness were ascribed to youth, and prodigality and passionate attachment to the old; in which men were made to act at random, sometimes according to character, and sometimes contrary to it; in which cruelty and envy were productive of love, and beneficence and kind affection of hatred; in which beauty was invariably the object of dislike, and ugliness of desire; in which society was rendered happy by atheism and the promiscuous perpetration of crimes, and justice and fortitude were held in universal contempt. Or think how we should relish a painting where no regard was had to the proportions, colours, or any of the physical laws of nature; where the ears and eyes of animals were placed in their shoulders; where the sky was green, and the grass crimson; where trees grew with their branches in the earth, and their roots in the air; where men were seen fighting after their heads were cut off, ships sailing on the land, lions enangled in cobwebs, sheep preying on dead carcases,
fishes sporting in the woods, and elephants walking on the sea. Could such figures and combinations give pleasure, or merit the appellation of sublime or beautiful? Should we hesitate to pronounce their author mad? And are the absurdities of madmen proper subjects either of amusement or of imitation to reasonable beings?
[On Scottish Music.]
There is a certain style of melody peculiar to each This happy sensibility to the beauties of nature musical country, which the people of that country are should be cherished in young persons. It engages apt to prefer to every other style. That they should them to contemplate the Creator in his wonderful prefer their own, is not surprising; and that the meworks; it purifies and harmonises the soul, and pre-lody of one people should differ from that of another, pares it for moral and intellectual discipline; it sup- is not more surprising, perhaps, than that the language plies a never-failing source of amusement; it contri- of one people should differ from that of another. But butes even to bodily health; and, as a strict analogy there is something not unworthy of notice in the parsubsists between material and moral beauty, it leads ticular expression and style that characterise the music the heart by an easy transition from the one to the of one nation or province, and distinguish it from every other, and thus recommends virtue for its transcen- other sort of music. Of this diversity Scotland supdent loveliness, and makes vice appear the object of plies a striking example. The native melody of the contempt and abomination. An intimate acquaint-Highlands and Western Isles is as different from that ance with the best descriptive poets-Spenser, Milton, of the southern part of the kingdom as the Irish or and Thomson, but above all with the divine Georgic- Erse language is different from the English or Scotch. joined to some practice in the art of drawing, will In the conclusion of a discourse on music, as it relates promote this amiable sensibility in early years; for to the mind, it will not perhaps be impertinent to then the face of nature has novelty superadded to its offer a conjecture on the cause of these peculiarities; other charms, the passions are not pre-engaged, the which, though it should not-and indeed I am satisheart is free from care, and the imagination warm and fied that it will not-fully account for any one of romantic. them, may, however, incline the reader to think that they are not unaccountable, and may also throw some faint light on this part of philosophy.
Every thought that partakes of the nature of passion has a correspondent expression in the look and gesture; and so strict is the union between the passion and its outward sign, that, where the former is not in some degree felt, the latter can never be perfectly natural, but if assumed, becomes awkward mimicry, instead of that genuine imitation of nature which draws forth the sympathy of the beholder. If therefore there be, in the circumstances of particular nations or persons, anything that gives a peculiarity to their passions and thoughts, it seems reasonable to expect that they will also have something peculiar in the expression of their countenance and even in the form of their features. Caius Marius, Jugurtha, Tamerlane, and some other great warriors, are celebrated for a peculiar ferocity of aspect, which they had no doubt contracted from a perpetual and unrestrained exertion of fortitude, contempt, and other violent emotions. These produced in the face their correspondent expressions, which, being often repeated, became at last as habitual to the features as the sentiments they arose from were to the heart. Savages, whose thoughts are little inured to control, have more of this significancy of look than those men who, being born and bred in civilised nations, are accustomed from their childhood to suppress every emotion that tends to interrupt the peace of society. And while the bloom of youth lasts, and the smoothness of feature peculiar to that period, the human face is less marked with any strong character than in old age. A peevish or surly stripling may elude the eye of the physiognomist; but a wicked old man, whose visage does not betray the evil temperature of his heart, must have more cunning than it would be prudent for him to acknowledge. Even by the trade or profession the human countenance may be characterised. They who employ themselves in the nicer mechanic arts, that require the earnest attention of the artist, do generally contract a fixedness of feature suited to that one uniform sentiment which engrosses them while at work. Whereas other artists, whose work requires less attention, and who may ply their trade and
amuse themselves with conversation at the same time, have, for the most part, smoother and more unmeaning faces: their thoughts are more miscellaneous, and therefore their features are less fixed in one uniform configuration. A keen penetrating look indicates thoughtfulness and spirit: a dull torpid countenance is not often accompanied with great sagacity.
ally peevish, or passionate, or querulous, or imperious, may be known by the sound of his voice, as well as by his physiognomy. May we not go a step farther, and say that if a man, under the influence of any passion, were to compose a discourse, or a poem, or a tune, his work would in some measure exhibit an image of his mind? I could not easily be persuaded that Swift and Juvenal were men of sweet tempers; or that Thomson, Arbuthnot, and Prior, were illnatured. The airs of Felton are so uniformly mournful, that I cannot suppose him to have been a merry or even a cheerful man. If a musician, in deep affliction, were to attempt to compose a lively air, I believe he would not succeed: though I confess I do not well understand the nature of the connection that may take place between a mournful mind and a melancholy tune. It is easy to conceive how a poet or an orator should transfuse his passions into his work; for every passion suggests ideas congenial to its own nature; and the composition of the poet or of the orator must necessarily consist of those ideas that occur at the time he is composing. But musical sounds are not the signs of ideas; rarely are they even the imitations of natural sounds; so that I am at a loss to conceive how it should happen that a musician, overwhelmed with sorrow, for example, should put together a series of notes whose expression is contrary to that of another series which he had put together when elevated with joy. But of the fact I am not doubtful; though I have not sagacity or knowledge of music enough to be able to explain it. And my opinion in this matter is warranted by that of a more competent judge, who says, speaking of church voluntaries, that if the organist do not feel in himself the divine energy of devotion, he will labour in vain to raise it in others. Nor can he hope to throw out those happy instantaneous thoughts which sometimes far exceed the best concerted compositions, and which the enraptured performer would gladly secure to his future use and pleasure, did they not as fleetly escape as they rise. A man who has made music the study of his life, and is well acquainted with all the best examples of style and expression that are to be found in the works of former masters, may, by memory and much practice, attain a sort of mechanical dexterity in contriving music suitable to any given passion; but such music would, I presume, be vulgar and spiritless compared to what an artist of genius throws out when under the power of any ardent emotion. It is recorded of Lulli, that once when his imagination was all on fire with some verses descriptive of terrible ideas, which he had been reading in a French tragedy, he ran to his harpsichord, and struck off such a combination of sounds, that the company felt their hair stand on end with horror.
ing with the fall of torrents; a soil so rugged, and a climate so dreary, as in many parts to admit neither the amusements of pasturage nor the labours of agriculture; the mournful dashing of waves along the firths and lakes that intersect the country; the portentous noises which every change of the wind and every increase and diminution of the waters is apt to This, though there may be many an exception, is raise in a lonely region, full of echoes, and rocks, and in general true of the visible signs of our passions; caverns; the grotesque and ghastly appearance of and it is no less true of the audible. A man habitu-such a landscape by the light of the moon. Objects like these diffuse a gloom over the fancy, which may be compatible enough with occasional and social merriment, but cannot fail to tincture the thoughts of a native in the hour of silence and solitude. If these people, notwithstanding their reformation in religion, and more frequent intercourse with strangers, do still retain many of their old superstitions, we need not doubt but in former times they must have been more enslaved to the horrors of imagination, when beset with the bugbears of popery and the darkness of paganism. Most of their superstitions are of a me lancholy cast. That second sight wherewith some of them are still supposed to be haunted, is considered by themselves as a misfortune, on account of the many dreadful images it is said to obtrude upon the fancy. I have been told that the inhabitants of some of the Alpine regions do likewise lay claim to a sort of second sight. Nor is it wonderful that persons of lively imagination, immured in deep solitude, and surrounded with the stupendous scenery of clouds, precipices, and torrents, should dream, even when they think themselves awake, of those few striking ideas with which their lonely lives are diversified; of corpses, funeral processions, and other objects of terror; or of marriages and the arrival of strangers, and such like matters of more agreeable curiosity. Let it be observed, also, that the ancient Highlanders of Scotland had hardly any other way of supporting themselves than by hunting, fishing, or war, professions that are continually exposed to fatal accidents. And hence, no doubt, additional horrors would often haunt their solitude, and a deeper gloom overshadow the imagination even of the hardiest native.
Let us therefore suppose it proved, or, if you please, take it for granted, that different sentiments in the mind of the musician will give different and peculiar expressions to his music; and upon this principle it will not perhaps be impossible to account for some of the phenomena of a national ear.
The Highlands of Scotland are a picturesque, but in general a melancholy country. Long tracts of mountainous desert, covered with dark heath, and often obscured by misty weather; narrow valleys, thinly inhabited, and bounded by precipices resound
What then would it be reasonable to expect from the fanciful tribe, from the musicians and poets, of such a region? Strains expressive of joy, tranquillity, or the softer passions? No: their style must have been better suited to their circumstances. And so we find in fact that their music is. The wildest irregularity appears in its composition: the expression is warlike and melancholy, and approaches even to the terrible. And that their poetry is almost uniformly mournful, and their views of nature dark and dreary, will be allowed by all who admit of the authenticity of Ossian; and not doubted by any who believe those fragments of Highland poetry to be genuine, which many old people, now alive, of that country, remember to have heard in their youth, and were then taught to refer to a pretty high antiquity.
Some of the southern provinces of Scotland present a very different prospect. Smooth and lofty hills covered with verdure; clear streams winding through long and beautiful valleys; trees produced without culture, here straggling or single, and there crowding into little groves and bowers, with other circumstances peculiar to the districts I allude to, render them fit for pasturage, and favourable to romantic leisure and tender passions. Several of the old Scotch songs take their names from the rivulets, villages, and hills adjoining to the Tweed near Melrose; a region distinguished by many charming varieties of rural scenery, and which, whether we consider the face of the country or the genius of the people, may properly enough be termed the Arcadia of Scotland. And all these songs are sweetly and powerfully expressive of love and tenderness, and other emotions suited to the