The Project Gutenberg eBook ofAllan Ramsay

The Project Gutenberg eBook ofAllan RamsayThis ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online atwww.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.Title: Allan RamsayAuthor: William Henry Oliphant SmeatonRelease date: June 1, 2010 [eBook #32642]Language: EnglishCredits: E-text prepared by Susan Skinner and the Project Gutenberg Online Distributed Proofreading Team*** START OF THE PROJECT GUTENBERG EBOOK ALLAN RAMSAY ***

This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online atwww.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

Title: Allan RamsayAuthor: William Henry Oliphant SmeatonRelease date: June 1, 2010 [eBook #32642]Language: EnglishCredits: E-text prepared by Susan Skinner and the Project Gutenberg Online Distributed Proofreading Team

Title: Allan Ramsay

Author: William Henry Oliphant Smeaton

Release date: June 1, 2010 [eBook #32642]

Language: English

Credits: E-text prepared by Susan Skinner and the Project Gutenberg Online Distributed Proofreading Team

*** START OF THE PROJECT GUTENBERG EBOOK ALLAN RAMSAY ***

E-text prepared by Susan Skinnerand the Project Gutenberg Online Distributed Proofreading Team(http://www.pgdp.net)

Spine

ALLAN RAMSAY BY OLIPHANT SMEATON FAMOUS SCOTS SERIES PUBLISHED BY OLIPHANT ANDERSON & FERRIER EDINBURGH AND LONDON

ALLANRAMSAY

BYOLIPHANTSMEATON

FAMOUS·SCOTS··SERIES·

PUBLISHED BYOLIPHANT ANDERSON& FERRIER · EDINBURGHAND LONDON

The designs and ornaments of this volume are by Mr. Joseph Brown, and the printing from the press of Messrs. Morrison & Gibb, Edinburgh.

TODAVID MASSON, LL.D.EMERITUS-PROFESSOR OF RHETORIC AND ENGLISH LITERATUREIN EDINBURGH UNIVERSITYTHIS VOLUME IS DEDICATEDin grateful acknowledgment of kindly encouragement givenin years long gone by, and of intellectual stimulusreceived from him by his former studentTHE AUTHOR

Since this Volume was in type, I have received some additional information which I feel constrained to lay before my readers.

With reference to the Easy Club, I have been favoured, through the courtesy of the Rev. Dr. A. B. Grosart, with a sight of the complete Minutes of the Club. From them I observe that Ramsay was one of the earliest members admitted, and that his song 'Were I but a Prince or King' was formally presented to the Club after his admission not before, though its rough draft must have been shown to the members prior to that event.

Next, as regards the Editions ofThe Gentle Shepherd, a valued correspondent, Mr. J. W. Scott, Dowanhill, Glasgow, kindly calls my attention to two 'Translations into English' of the Poem which appear to have hitherto escaped notice. These are 'Allan Ramsay's Gentle Shepherd, translated into English by W. Ward, 8vo, 1785.' Ward, as Mr. Scott states, seems to have been a 'naturalised Englishman' residing at Musselburgh. Five years after Ward's production, appeared another, and in many respects a better Edition, to wit, 'The Gentle Shepherd, a Scotch Pastoral by Allan Ramsay, Attempted in English by Margaret Turner, London, 1790.' It was dedicated to the Prince of Wales, and its list of Subscribers contains the names of most of the nobility of Scotland. Is this not a reliable gauge of the popularity of the Poem?

Edinburgh, March 1896.

PAGECHAPTER IThe Family Tree9CHAPTER IIRamsay's Apprenticeship; a Burgess of the Town—1701-723CHAPTER IIIScotland in the Eighteenth Century; the Union; Ramsay's Marriage—1707-1228CHAPTER IVThe Easy Club; Early Poems; Edinburgh of Last Century—1712-1641CHAPTER VThe Favourite of the 'Four 'Oors'; from Wigmaker to Bookseller; the Quarto of 1721—1717-2156CHAPTER VIRamsay as an Editor:The Tea-Table MiscellanyandThe Evergreen—1721-2568CHAPTER VIIThe Gentle Shepherd; Scottish Idyllic Poetry; Ramsay's Pastorals—1725-3085CHAPTER VIIIResting on his Laurels; Builds his Theatre; his Book ofScots Proverbs—1730-4097CHAPTER IXClosing Years of Life; his House on Castlehill; his Family; his Portraits—1740-58112CHAPTER XRamsay as a Pastoral Poet and an Elegist122CHAPTER XIRamsay as a Satirist and a Song-Writer144CHAPTER XIIRamsay's Miscellaneous Poems; Conclusion154

'Ye'd better let me gang doon wi' the wig, Miss Kirsty,' said Peggy, the 'serving-lass' in the household of Mr. James Ross, writer, of the Castlehill.

'Oh no! I'd as leif take it doon mysel' to Allan Ramsay's, for the sake o' the walk and the bit crack wi' the canty callant,' replied the young lady, a blush crimsoning her fair, rounded cheek.

And Peggy would retire from these periodical but good-humoured passages-at-arms, with a knowing smile on her face, to confide the fact, mayhap,—of course as a profound secret,—to her cronies in the same stair, that Miss Kirsty Ross was 'unco ta'en up wi' that spruce genty wigmaker, Maister Allan Ramsay, doon ayont the Tron Kirk.'

Yea! verily, it was a love drama, but as yet only in the first scene of the first act. The 'Miss Kirsty' of the brief dialogue recorded above—for the authenticity of which there is abundant evidence—was Miss Christian Ross, eldest daughter of Mr. James Ross, a lawyer of some repute in his day, whose practice lay largely in theBailie's and Sheriff's Courts, and with minor cases in the Justiciary Court, but not with civil business before the Court of Session, an honour rigorously reserved for the members of that close Corporation—the Writers to His Majesty's Signet.

But though not belonging, in slang phrase, 'to the upper crust' of the legal fraternity, James Ross was a man of some social consideration. Though he appears to have had a strain of the fashionable Pharisee in him, and to have esteemed gentle birth as covering any multitude of sins and peccadilloes, he manifested, throughout his intercourse with Ramsay, certain countervailing virtues that render him dear to the lovers of the poet. He made distinct pretensions to the possession of culture and a love ofbelles-lettres. To the best Edinburgh society of the period he and his had theentrée, while his house in Blair's Close, on the southern slope of the Castlehill, was the rendezvous for most of theliteratiof the city, as well as for thebeaux espritsof the Easy Club, of which he was a member.

His acquaintance with the young wigmaker—whose sign of the 'Mercury,' situate in the High Street, or, as the poet himself writes, 'on Edinburgh's Street the sun-side,' was almost immediately opposite Niddry's Wynd, and at the head of Halkerston's Wynd, and within sixty yards of the Tron Church—had originated in the weekly visits paid by him to Allan's shop for the purpose of getting his wig dressed. While waiting until this important item in an eighteenth-century gentleman's toilet was accomplished, he had enjoyed many a 'crack' with the young craftsman, so shrewd, so witty, so genial, yet withal so industrious. The man of pleasand precepts discovered him of powder and perukes to be as deeply interested and, in good sooth, as deeply versed in the literature of his own land as the lawyer himself. Chance acquaintance gradually ripened, on both sides, into cordial esteem. James Ross invited Ramsay to visit him at his house, and there the youngperruquierbeheld his fate in Christian, or Kirsty, Ross.

If Allan were fascinated by Kirsty's rare beauty and piquantespièglerie, by her sweet imperiousness and the subtle charm of her refined femininity, exercised on a nature whose previous experience of the sex had been limited to the bare-legged Amazons of Leadhills or the rosy-cheeked ministering Hebes, whom the high wages of domestic service attracted to town; she, in turn, was no less captivated by the manly, self-possessed demeanour, and the ingratiating qualities, both social and intellectual, of her father's guest. If he had mingled too little with society for his manners to be tinged with the polish of thedébonnairgallant, his natural good-breeding and ready tact, united, it must be confessed, to a not inconsiderable spice of vanity, doubtless prevented any lapse into those nervousgaucherieswherewith a youth's first appearance in good society is often accompanied.

Allan has drawn with truth and graphic power his own portrait as he appeared at this time—

'Imprimis—then for tallness IAm five feet and four inches high;A black-a-vic'd, snod, dapper fellow,Nor lean, nor overlaid wi' tallow;With phiz of a Morocco cut,Resembling a late man of wit,Auld-gabbet Spec, who was so cunningTo be a dummie ten years running.Then for the fabric of my mind,'Tis more to mirth than grief inclined;I rather choose to laugh at follyThan show dislike by melancholy:Well judging a sour heavy faceIs not the truest mark of grace.'

Then for the fabric of my mind,'Tis more to mirth than grief inclined;I rather choose to laugh at follyThan show dislike by melancholy:Well judging a sour heavy faceIs not the truest mark of grace.'

Existing portraits, including the one most valued for its fidelity to the original, that by his son, Allan Ramsay, the artist (Portrait-painter in Ordinary to King George III.), show him to have possessed features that were delicate and sharply chiselled, keen dark eyes, a mobile, sensitive mouth, a complexion dark almost to swarthiness, and a high rounded forehead. To these items may be added those others coming as side-lights, thrown on a man's character and individuality by the passing references of contemporaries. From such sources we learn that his face was one whereon were writ large, contentment with himself and with the world, as well as a certain pawky shrewdness and unaffectedbonhomie. This expression was largely induced by the twinkling of his beadlike eyes, and the lines of his mouth, which curved upwards at the corners; almost imperceptibly, it is true, yet sufficiently to flash into his countenance that subtle element of humorouscanninesswhich has been accepted by many as the prime attribute of his character. He may probably have had his own feelings in view when he makes his Patie say inThe Gentle Shepherd—

'The bees shall loath the flow'r, and quit the hive,The saughs on boggy ground shall cease to thrive,Ere scornfu' queans, or loss o' warldly gear,Shallspillmy rest, or ever force a tear.'

His figure was thickset, but had not as yet acquired the squatness of later days. If in the years to come hegrew to resemble George Eliot's portrait of Mr. Casson, when the inevitable penalty of sedentariness and good living has to be paid in increasing corpulence, he never lost his tripping gait which in early manhood earned for him thesobriquetof 'Denty Allan.' In deportment and dress he was 'easy, trig and neat,' leaning a little to vanity's side in his manners, yet nathless as honourable, sound-hearted, clean-souled a gentleman as any that lounged around Edinburgh Cross of a sunny Saturday afternoon. Such was the youth that presented himself to bonny Kirsty Ross at her father's tea-table.

The acquaintance soon expanded into friendship. Before long, as has been stated, the household observed, not without amusement, that whenever Saturday came round, on which day James Ross' wig was sent down to receive its week's dressing from young Ramsay, Kirsty found she needed a walk, which always seemed to take her past the sign of 'the flying Mercury,' so that she could hand in the wig and call for it as she returned. Ah, artful Miss Kirsty! As the idyll progressed, the interim walk was abandoned, and the fair one found it pleasanter, as she said, to pass the time in conversation with the youngcoiffeuras he combed the paternal wig. The intercourse thus commenced on both sides, more as a frolic than aught else, speedily led to warmer feelings than those of friendship being entertained, and in the spring of 1711 Allan Ramsay asked the daughter of the lawyer to share life's lot with him.

The lovers were, of course, too well aware of the dissimilarity in their social stations to hope for any ready acquiescence in their matrimonial projects by the ambitious Edinburgh lawyer. To win consent, the matter had tobe prudently gone about. The position Ramsay's family had held in the past reckoned for something, it is true, in the problem, but the real point at issue was, What was the social status of the swain at that moment? Ah, there was the rub! All very well was it for a literary-minded lawyer to patronise his wigmaker by inviting him to drink a dish of tea with his family, or to crack a bottle with him over Jacobite plots or the latest poems of Swift or Pope; but to give him his daughter in marriage, that was altogether another question. Mrs. Grundy was quite as awe-inspiring a dame then as now. James Ross and his spouse would require to make a careful investigation into the pedigree of the 'mercurial' artist in crinology—to import a trade term of the present into the staid transactions of the past—before such an alliance could be thought of. Many and long were the family councils held. Every item of his descent, his relatives, his character, his prospects, was discussed, and this is what they discovered.

Allan Ramsay was born on the 15th of October 1686, in the little town of Leadhills, situate in the parish of Crawfordmuir, in the upper ward of Lanarkshire, and in the very heart of the bleak, heathy Lowther hills. The house wherein he saw the light is now 'a broken-down byre,' according to Dr. John Brown inHoræ Subsecivæ. Standing, as it does, 1400 feet above the level of the sea, the village is chiefly notable as being the most elevated inhabited ground in Scotland. The industry of the district, then as now, was almost entirely devoted to lead-mining. The superior of the parish was the Earl of Hopetoun, and on his behoof the mines were wrought. The male population, with but few exceptions, were inhis lordship's service. A more desolate and dreary spot could scarcely be conceived. The rugged ranges, destitute of wood, were scarred by the traces of former workings, and intersected, moreover, by narrow rocky ravines, down which brawled foaming mountain burns. Perched like an eyrie on some steep cliff, the view from the vicinity of the town is magnificent, ranging over fair Clydesdale, and the lands formerly owned by the Earls of Crawford, 'the Lindsays, light and gay,' whose ancient castle stands on Clydeside.

In the days of the Stuarts gold used to be found in considerable quantities in the locality, from which was struck the gold issue bearing the head of James V., wearing a bonnet; hence the old term for it—a 'bonnet-piece.'

The inhabitants of the town and district of Leadhills had imbibed in Ramsay's days something of the stern, forbidding character of the scenery. The ruggedness of their surroundings had evidently sunk deep into their temperament,—and ofttimes the teaching of nature in situations like this is of the most lasting kind. So it was with them. They were a community apart: gloomily, almost fanatically, religious; believing in miracles, visions, and in the direct interposition of Providence,—in a word, carrying to the extreme of bigotry all the grand attributes of Scottish Presbyterianism and Covenanting sublimity of motive. They married and gave in marriage among themselves, looking the while rather askance at strangers as 'orra bodies' from the big world without, who, because theywerestrangers, ran a strong chance of being no better than they should be!

To this 'out-of-the-way' corner of the planet there was sent, towards the close of the year 1684, asmanager of Lord Hopetoun's mines, a gay, happy-hearted, resourceful young Scotsman, by name Robert Ramsay. The poet, when detailing his pedigree to the father of hisinamorata, had boasted that he was descended, on the paternal side, from the Ramsays of Dalhousie (afterwards Earls of that Ilk). Such was literally the case. Ramsay of Dalhousie had a younger brother, who, from the estate he held—a small parcel of the ancestral acres—bore a name, or rather anagnomen, yet to be historic in song, 'The Laird of Cockpen.' Whether in this case, like his descendant of ballad fame, the said laird was 'proud and great'; whether his mind was 'ta'en up wi' things o' the State,' history doth not record. Only on one point is it explicit, that, like his successor, he married a wife, from which union resulted Captain John Ramsay, whose only claim to remembrance is that he in turn married Janet Douglas, daughter of Douglas of Muthil, and thus brought the poet into kinship with yet another distinguished Scottish family. To the captain and his spouse a son was born, who devoted himself to legal pursuits, was a writer in Edinburgh, and acted as legal agent for the Earl of Hopetoun. Through his interest with the earl, Robert Ramsay, his eldest son, was appointed manager of the lead mines in the Lowther hills, and set out to assume his new duties towards the close of the year 1684.

From this pedigree, therefore, the fact is clear of the poet's right to address William Ramsay, Earl of Dalhousie, in terms imitated from Horace's famous Ode to Maecenas—

'Dalhousie, of an auld descent,My chief, my stoup, my ornament.'

But to our narrative. Apparently the young mine-manager found the lines of his life by no means cast in pleasant places amid the rough semi-savage community of Leadhills in those days. He felt himself a stranger in a strange land. To better his lot, though he was still very young, he determined to marry. The only family with which he could hold intercourse on terms of equality, was that of William Bower, an English mineralogist who had been brought from Derbyshire, to instruct the Scottish miners more fully in the best methods then known for extracting the metal from the refractory matrix. But to Robert Ramsay the chief attraction in the family was the eldest daughter of his colleague, Alice Bower, a vivacious, high-spirited girl, with a sufficient modicum, we are told, of the Derbyshire breeziness of nature to render her invincibly fascinating to the youth. Alone of all those around she reminded him of the fair dames and damsels of Edinburgh. Therefore he wooed and won her. Their marriage took place early in January 1686. In the October of the same year the future poet was born.

But, alas! happiness was not long to be the portion of the wedded pair. At the early age of twenty-four Robert Ramsay died, leaving his widow, as regards this world's gear, but indifferently provided for, and, moreover, burdened with an infant scarce twelve months old.

Probably the outlook for the future was so dark that the young widow shrank from facing it. Be this as it may, we learn that three months after Robert Ramsay was laid in his grave she married David Crichton, finding a home for herself and a stepfather for the youthful Allan at one and the same time. Crichton was a smallpeasant-proprietor, or bonnet-laird, of the district. Though not endowed with much wealth, he seems to have been in fairly comfortable circumstances, realising his stepson's ideal in after-life, which he put into the mouth of his Patie—

'He that hath just enough can soundly sleep;The o'ercome only fashes fouk to keep.'

Much has been written regarding the supposed unhappiness of Ramsay's boyhood in the household of his step-parent. For such a conclusion there is not a tittle of evidence. Every recorded fact of their mutual relations points the other way. David Crichton was evidently a man of high moral principle and strength of character. Not by a hairbreadth did he vary the treatment meted out to Allan from that accorded to his own children by the widow of Robert Ramsay. To the future poet he gave, as the latter more than once testified, as good an education as the parish school afforded. That it embraced something more than the 'three R's,' we have Ramsay's own testimony, direct and indirect—direct in the admission that he had learned there to read Horace 'faintly in the original'; indirect in the number and propriety of the classical allusions in his works. He lived before the era of quotation books and dictionaries of phrase and fable,—the hourly godsend of the penny-a-liner; but the felicity of his references is unquestionable, and shows an acquaintance with Latin and English literature both wide and intimate. At anyrate, his scholastic training was sufficiently catholic to imbue his mind with a reverence for the masterpieces in both languages, and to enable him to consort in after years, on terms of perfect literary equality, with the lawyersand thebeaux espritsof witty Edinburgh, such as Dr. Pitcairn, Dr. Webster, and Lord Elibank.

Until his migration to the Scottish capital, at the age of fifteen, Ramsay was employed, during his spare hours, in assisting his stepfather in the work of the farm. The intimate acquaintance he displays in his pastoral with the life and lot of the peasant-farmer, was the result of his early years of rural labour among the Lowther hills. That they were years of hardship, and a struggle at hand-grips with poverty, goes without the saying. The land around the Lowthers was not of such a quality as to render the bonnet-laird's exchequer a full one. As a shepherd, therefore, young Ramsay had to earn hardly the bread he ate at his stepfather's table. The references to his vocation are numerous in his poems. In his Epistle to his friend William Starrat, teacher of mathematics at Straban in Ireland, he adverts to his early life—

'When speeling up the hill, the dog-days' heatGars a young thirsty shepherd pant and sweat;I own 'tis cauld encouragement to sing,When round ane's lugs the blattran hailstanes ring;But feckfu' fouk can front the bauldest wind,And slunk through muirs, an' never fash their mind.Aft hae I wade through glens wi' chorking feet,When neither plaid nor kilt could fend the weet;Yet blythly wad I bang out o'er the brae,And stend o'er burns as light as ony rae,Hoping the morn might prove a better day.'

The boy, meantime, must have been photographing on the retentive negatives of his mind the varied scenes of rural life, the labours incidental to the alternating seasons, which he was to employ with effect so rare in his inimitable pastoral. During the winter months, whenthe snow lay deep on hill and glen, over scaur and cleugh among the lonely Lowthers, when the flocks were 'faulded' and the 'kye' housed in the warm byres, when the furious blasts, storming at window and door, and the deadly nipping frost, rendered labour outside impracticable, doubtless in David Crichton's household, as elsewhere over broad Scotland, the custom prevailed of sitting within thelum-cheekof the cavernous fireplaces, or around theingle-neuk, and reciting those ancient ballads of the land's elder life, that had been handed down from True Thomas and the border minstrels; or narrating those tales of moving accidents by flood or field, of grim gramarye, and of the mysterious sights and sounds of other days, whose memory floated down the stream of popular tradition from age to age. In days when books were so costly as to be little more than the luxury of the rich, the art of the fireside rhapsodist was held in a repute scarcely less high, than in that epoch which may justly be styled the period of Grecian romance—the days of 'the blind old man of Scio's rocky isle.' At that spring there is abundant evidence that young Allan Ramsay had drunk deep.

To another well, also, of genuine inspiration he must by this time have repaired—that of our native Scottish literature. Though some years had yet to elapse before he could read Hamilton of Gilbertfield's poem, the 'Dying Words of Bonnie Heck,' which he afterwards praised as stimulating him into emulation, there is little doubt he had already caught some faint echoes of that glorious period in Scottish literature, which may be said to have lasted from the return of the poet-king (James I.) in 1424, from his captivity in England, to the death ofDrummond of Hawthornden in 1649. Without taking account of Barbour'sBruceand Blind Harry'sWallace, which partake more of the character of rhyming chronicles than poems,—though relieved here and there by passages of genuine poetic fire, such as the familiar one in the former, beginning—

'Ah! fredome is a nobill thynge,Fredome maks men to haiff liking,'

—the literary firmament that is starred at the period in question with such names as King James I., Robert Henryson, William Dunbar, Walter Kennedy, Gavin Douglas, Sir David Lyndsay, Alexander Montgomery, William Alexander (Earl of Stirling), Sir Robert Ayton, Robert Sempill, and Drummond of Hawthornden, need not fear comparison with the contemporary poetry of the sister land. The greatest name in the list, that of William Dunbar, was undoubtedly the leading singer of his age in the British Isles, but inacquaintance with his works has prevented his genius obtaining that recognition it deserves. Sir Walter Scott considered Dunbar in most qualities the peer, in some the superior, of Chaucer, and his opinion will be endorsed by all those who are able to read Dunbar with enjoyment. Though Spenser's genius may have had a richer efflorescence than Dunbar's, if the mass of their work be critically weighed, quality by quality, the balance, when struck, would rest remarkably evenly between them. Drummond of Hawthornden is perhaps the most richly-gifted writer in early Scottish literature, as an all-round man of letters. But as a poet the palm must ever remain with Dunbar.

The study of the breaks which occur in the poetic succession of any literature is always interesting. InEnglish literature such gaps recur, though not with any definite regularity—for example, after the death of Chaucer and Gower, when the prosaic numbers of Occleve and Lydgate were the sole representatives of England's imaginative pre-eminence; and the penultimate and ultimate decades of last century, when Hayley was regarded as their acknowledged master by the younger school of poets. In Scotland, it is to be noted, as Sir George Douglas points out in his standard work,Minor Scottish Poets, that from 1617, the date of the publication of Drummond'sForth Feasting, until 1721, when Ramsay's first volume saw the light, no singer even of mediocre power appeared in Scotland.

There were editions of many of the poems of James I., Dunbar, Stirling, Drummond, and Sempill, which Ramsay may have seen. But he was more likely to have gained the knowledge we know he possessed of the early literature of his country from the recitals by firesideraconteurs, and from the printed sheets, orbroadsides, hawked about the rural districts of Scotland during the closing decades of the seventeenth and the initial ones of the eighteenth centuries. From specimens of these which I have seen, it is evident that Henryson'sRobene and Makyn, Dunbar'sMerle and the Nightingaleand theThistle and the Rose, with several of Drummond's and Stirling's poems, were circulated in this way, thus becoming familiarly known in rural districts where the volumes of these authors never could have penetrated. On thesebroadsides, then, it must have been that the dormant poetical gifts of the youthful Ramsay were fed, and in after years he showed his liking for this form of publication by issuing his own earlier poems in the same way.

As much, perhaps, to obtain release from employment so laborious as that on the farm, as from a desire to be independent, young Ramsay consented to his stepfather's proposal that he should be apprenticed to a wigmaker in Edinburgh.

It has been urged, in proof of Crichton's harshness to his stepson, that Ramsay, after he left Leadhills in 1700, never seems to have had any further intercourse with them. Not so much as a chance reference in a letter reveals that he ever had any future dealings with the Crichton family. But this is not to be wondered at. The fact of the death of his mother in 1700 does not wholly explain the matter, I admit. But we need only recall the exclusive character previously attributed to the people of Leadhills, their antipathy to any intrusion upon them by strangers of any kind, to understand the case. They were a type of Scottish Essenes, a close community, akin to the fisher-communities of Newhaven and Fisherrow, with their distinctive customs, traditions, and prejudices. For a gay young Edinburgh spark such as Ramsay, fond of fine clothes, with a strong spice of vanity and egotism in his nature, to sojournamongst thedour, stolid, phlegmatic miners, would have been to foster the development of asperities on both sides, calculated to break off all further intercourse. Met they may have, and parted on the terms we surmise, but of such meeting no hint was ever dropped, and a veil of separation drops between the household at Crawfordmuir and the young Jacob who thus was sent forth, from the shadow of what was to him the paternal roof, to war with the world at his own charges. That David Crichton had done his duty nobly by the lad was evident; but other children were shooting up to youth's estate, and when the elder bird was full fledged, it must e'en take its flight from the parent nest to make room for others.

There is another view of the case not so creditable to the future poet, but still within the range of possibility—that the scion of the house of Ramsay, whose anxiety to let the world know he was of gentle lineage was so chronic, may have felt himself a cut above the children of the bonnet-lairdie. Ramsay's nature was not one wherein the finer sympathies and delicate regard for the feelings of others were mortised into a sturdy independence and a desire to carve his fortunes out of the block of favouring opportunity. From start to finish of his career a subtle egoism, born of his lonely situation in life and fostered by his inordinate vanity, was his distinguishing trait. Generous acts he did, benevolent and kindly on numerous occasions he undoubtedly was, but his charity was not altruism. He was not the man to deny himself for the good of others.

Henceforth Edinburgh was to be Ramsay's life's home. He was enrolled as an apprentice early inJanuary 1701. Although, as an apprentice, he was obliged to undertake duties distinctly domestic and menial,—for, in those days of strict social and ecclesiastical discipline, a master was expected to discharge towards those indentured to him much that appertains solely to the province of the parent,—still, there would be many spare hours wherein he would be free to devote himself to such pursuits as his taste led him.

What induced him to select wig-making as his life'smétieris unknown. Perhaps his stepfather may have had some friend in that line of business who for 'auld lang syne' was willing to take the boy and teach him his trade. There is, of course, the other side of the question to be taken into account, that the work did not demand much bodily strength for its successful prosecution, and that it was cleanly, neat, and artistic. The recent development of the art of thecoiffeurin France, in consequence of the attempts of Louis XIV. to conceal his natural defects of diminutive stature and a phenomenally small head,—defects impairing the effect of that majestic mien which the pupil of Mazarin so persistently cultivated,—had spread into England, and thence into Scotland. The enormous periwigs rendered fashionable byLe Grand Monarqueadmitted of a variety of artistic treatment. The heyday of wig-making may therefore be said to have extended over at least the greater part of Ramsay's career in this branch of trade, and in his day the poet was reckoned the most ingenious of Edinburghperruquiers.

Another consideration probably influenced him in his choice to proceed to Edinburgh. The change to lighter labour would enable him to filch from hours allocatedto sleep precious moments for private reading, which the arduous nature of his employment at Crawfordmuir had prevented. Besides, he was in a 'city of books'—books only waiting to be utilised. That he did take advantage of his opportunities during his apprenticeship, and that it was at this period that the poetic instinct in him took fire, on coming in contact with the electric genius of Shakespeare, Spenser, Milton, and other master-minds of English literature, is a fact to which he refers more than once in his poems.

From 1701-7,—in other words, from his fifteenth to his twenty-first year,—while he was serving his apprenticeship, there is a gap in the continuity of the records we have of the poet; alacunaall the more regrettable as these were the true germing years of his genius. Of the name of his trade-master, of the spot where the shop of the latter was situated, of his friends at that time, of his pursuits, his amusements, his studies, we know little, save what can be gathered from chance references in after-life. That they were busy years as regards his trade is certain from the success he achieved in it; and that Ramsay was neither a lazy, thriftless, shiftless, or vicious apprentice his after career effectually proves. That they were happy years, if busy, may, I think, be accepted as tolerably certain, for the native gaiety and hilarity of his temperament underwent no abatement. Whether or not his fashionable Edinburgh relatives took any notice of him, whether he was a guest at his grandfather, the lawyer's house, or whether the latter and his family, hidebound by Edinburgh social restrictions, found it necessary to ignore a Ramsay who soiled his fingers with trade, is unknown. Probably not,for it is matter of tradition that it was the fact of his family connections which weighed with Writer Ross in consenting to the union of his daughter with a tradesman.

In the spring of 1707 Allan Ramsay received back his indentures, signed and sealed, with the intimation from the ancient and honourable 'Incorporation of Wigmakers' that he was free of the craft. He appears almost immediately thereafter to have commenced business on his own account in the Grassmarket, being admitted at the same time, in virtue of being a craftsman of the town, a burgess of the City of Edinburgh. Though no trace can be found that the wigmakers ranked amongst the forty-two incorporated Societies or Guilds of the city (for their name does not appear), that they must have enjoyed the same privileges as the other trades, is evident from the fact of Ramsay being enrolled as a burgess, the moment he had completed his apprenticeship.

An important stage in Allan Ramsay's life's journey had now been reached. He was of age, he was a burgess of the town, he was a member, or free, of one of the most influential of the Crafts, or Guilds, in the capital, but, greatest step of all, he had started in business for himself, and had flung himself, with a sort of fierce determination to succeed, into that hand-to-hand fight with fortune for the sustenance of life, from which each of us emerges either made or marred.

At a time when all the youthful Ramsay's faculties were beginning to be strung to their utmost tension of achievement, strange would it have been if that of observation were not as eagerly exercised.

Scotland in general, and Edinburgh in particular, were at this period in the throes of a new political birth. The epoch of transition commenced in 1707, and ended only when the dangers of the repeated rebellions of 1715 and 1745 showed the supercilious statesmen by the Thames—the Harleys, the Walpoles, the Pelhams—that conciliation, not intimidation, was the card to play in binding Scotland to her greater neighbour. A patriotism that had burned clear and unwavering from the days ofWallace and Bruce to those of the exiled and discredited Stuarts, was not to be crushed out by a band of political wirepullers, by whom State peculation was reduced to an art and parliamentary corruption to a science.

Although the ultimate effects of the Union between England and Scotland were in the highest degree beneficial upon the arts, the commerce, and the literature of the latter, the proximate results were disastrous in the extreme; yet the step was imperative. So strained had become the relations between the two countries, consequent on the jealousy of English merchants and English politicians, that only two alternatives were possible—war, or the corporate union of the whole island. Yet in Scotland the very mention of Union was sufficient to drive the people into a paroxysm of rage. The religious animosity between the two countries was as important a factor in producing this feeling as any other.

English churchmen boasted that with any such Union would come the restoration of Episcopacy north of the Tweed, and the abolition of the Church of Scotland. The latter retaliated by pushing an Act of Security through the Scottish Legislature, which demanded an oath to support the Presbyterian Church in its integrity from every sovereign on his accession. The Scottish Whigs and the Scottish Jacobites, despite political differences wide as the poles, joined hands in resistance to what they considered the funeral obsequies of Scottish nationality. For a time the horizon looked so lowering that preparations actually were begun in Scotland to accumulate munitions of war.

But the genius, the patience, and withal the firmness, of Lord Somers, the great Whig Richelieu of his time,gradually overcame all difficulties, though he was reduced to wholesale bribery of the Scottish peers to effect his end. As Green puts it: 'The Scotch proposals of a federative rather than a legislative Union were set aside by his firmness: the commercial jealousies of the English traders were put by; and the Act of Union, as finally passed in 1707, provided that the two Kingdoms should be united into one under the name of Great Britain, and that the succession to the crown of this United Kingdom should be ruled by the provisions of the English Act of Settlement. The Scotch Church and the Scotch Law were left untouched, but all rights of trade were thrown open, and a uniform system of coinage adopted.'

Of all the negotiations for the consummation of the Union, Ramsay, doubtless, was an interested spectator. Patriotic to his heart's core, and sympathising as a Jacobite with the chivalrous feeling of his nation for the dynasty they had given to England, and which, after only eighty-six years of alternate loyalty and revolt, the Southrons had driven into exile, the keenly observant lad would follow every detail in the closing chapter of Scotland's history as an independent nation, with a pathetic and sorrowful interest. Undoubtedly, while yet an apprentice, with a few months of his time unexpired, he must have watched the last observance of that ancient and picturesque spectacle, annually recurring, but now to be abolished for ever—the 'Riding of the Parliament,' or the procession of members to the opening of the sittings in the old Parliament House. Perhaps he may even have secretly gained admission to overhear the fiery debates on the Union in that ultimate session of the Scottish legislature. Certainly he must have been oneof the thousands of spectators who day by day thronged the purlieus of the hall where the national assembly met. Of the rage, brooding and deep, or loud and outspoken, according to temperament, which prevailed amongst the Edinburgh people at the mere idea of Union with the hated 'Southrons,' he must have been a witness. Nay, he may have been an onlooker, if not a participant, in that riot which occurred after all was over,—after Lord-Chancellor Seafield had uttered his brutalmot, 'There is the end o' an auld sang,' which gathered up for him the gall of a nation's execration for a century to come; and after the Commissioners of both nations had retired to sign the Treaty of Union. Not, however, to any of the halls of Court did they retire, but to a dingy cellar (still existing) of a house, 177 High Street, opposite the Tron Church—being nearly torn limb from limb in getting there. Then the mob, suddenly realising that now or never they must

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