The "essence of a thousand love tales" is in that one little song. Because he embodies the new spirit of romanticism, critics give him a high place in the history of our literature; and because his songs go straight to the heart, he is the poet of common men. Of Burns's many songs for music little need be said. They have found their way into the hearts of a whole people, and there they speak for themselves. They range from the exquisite "O wert thou in the cauld blast," to the tremendous appeal to Scottish patriotism in "Scots wha hae wi' Wallace bled," which, Carlyle said, should be sung with the throat of the whirlwind. Many of these songs were composed in his best days, when following the plow or resting after his work, while the music of some old Scotch song was ringing in his head. It is largely because he thought of music while he composed that so many of his poems have the singing quality, suggesting a melody as we read them. Among his poems of nature, "To a Mouse" and "To a Mountain Daisy" are unquestionably the best, suggesting the poetical possibilities that daily pass unnoticed under our feet. These two poems are as near as Burns ever comes to appreciating nature for its own sake. The majority of his poems, like "Winter" and "Ye banks and braes o' bonie Doon," regard nature in the same way that Gray regarded it, as a background for the play of human emotions. Of his poems of emotion there is an immense number. It is a curious fact that the world is always laughing and crying at the same moment; and we can hardly read a page of Burns without finding this natural juxtaposition of smiles and tears. It is noteworthy also that all strong emotions, when expressed naturally, lend themselves to poetry; and Burns, more than any other writer, has an astonishing faculty of describing his own emotions with vividness and simplicity, so that they appeal instantly to our own. One cannot read, "I love my Jean," for instance, without being in love with some idealized woman; or "To Mary in Heaven," without sharing the personal grief of one who has loved and lost. Besides the songs of nature and of human emotion, Burns has given us a large number of poems for which no general title can be given. Noteworthy among these are "A man's a man for a' that," which voices the new romantic estimate of humanity; "The Vision," from which we get a strong impression of Burns's early ideals; the "Epistle to a Young Friend," from which, rather than from his satires, we learn Burns's personal views of religion and honor; the "Address to the Unco Guid," which is the poet's plea for mercy in judgment; and "A Bard's Epitaph," which, as a summary of his own life, might well be written at the end of his poems. "Halloween," a picture of rustic merrymaking, and "The Twa Dogs" a contrast between the rich and poor, are generally classed among the poet's best works; but one unfamiliar with the Scotch dialect will find them rather difficult.