He is an exceptional genius. The people who care nothing for literature and poetry care for Burns. It was indifferent—they thought who saw him—whether he wrote verse or not: he could have done anything else as well. Yet how true a poet is he! And the poet, too, of poor men, of gray hodden and the guernsey coat and the blouse. He has given voice to all the experiences of common life; he has endeared the farmhouse and cottage, patches and poverty, beans and barley; ale, the poor man’s wine; hardship; the fear of debt; the dear society of weans and wife, of brothers and sisters, proud of each other, knowing so few and finding amends for want and obscurity in books and thoughts.[212] What a love of Nature, and, shall I say it? of middle-class Nature. Not like Goethe, in the stars, or like Byron, in the ocean, or Moore, in the luxurious East, but in the homely landscape which the poor see around them,—bleak leagues of pasture and stubble, ice and sleet and rain and snow-choked brooks; birds, hares, field-mice, thistles and heather, which he daily knew. How many “Bonny Doons” and “John Anderson my jo’s” and “Auld lang synes” all around the earth have his verses been applied to! And his love-songs still woo and melt the youths and maids; the farm-work, the country holiday, the fishing-cobble are still his debtors to-day. And as he was thus the poet of the poor, anxious, cheerful, working humanity, so had he the language of low life. He grew up in a rural district, speaking a _patois_ unintelligible to all but natives, and he has made the Lowland Scotch a Doric dialect of fame. It is the only example in history of a language made classic by the genius of a single man. But more than this. He had that secret of genius to draw from the bottom of society the strength of its speech, and astonish the ears of the polite with these artless words, better than art, and filtered of all offence through his beauty. It seemed odious to Luther that the devil should have all the best tunes; he would bring them into the churches; and Burns knew how to take from fairs and gypsies, blacksmiths and drovers, the speech of the market and street, and clothe it with melody. But I am detaining you too long. The memory of Burns,—I am afraid heaven and earth have taken too good care of it to leave us anything to say. The west winds are murmuring it. Open the windows behind you, and hearken for the incoming tide, what the waves say of it. The doves perching always on the eaves of the Stone Chapel opposite, may know something about it. Every name in broad Scotland keeps his fame bright. The memory of Burns,—every man’s, every boy’s and girl’s head carries snatches of his songs, and they say them by heart, and, what is strangest of all, never learned them from a book, but from mouth to mouth. The wind whispers them, the birds whistle them, the corn, barley, and bulrushes hoarsely rustle them, nay, the music-boxes at Geneva are framed and toothed to