Being introduced by the son of his employer to Sir Walter Scott, the Ettrick Shepherd assisted him in the collection of old ballads for the "Border Minstrelsy." He soon began to try his own hand in imitation of these traditionary poems, and published a volume of ballads, which attracted some attention, but never became very popular. Having embarked in sheep farming, and attempted one or two speculations in which he failed utterly, he resolved to repair to the city of Edinburgh, and support himself by his pen. "The Forest Minstrel," a collection of songs, was his first publication here; his second, "The Spy," a light periodical, which enjoyed a brief and precarious existence. It was not till the publication, in 1813, of his principal poetical production, "The Queen's Wake," that his reputation as a poet was firmly established. The plan was so simple and striking, and the execution so vigorous and delightful, that it "took" at once, and became universally popular. The old "Wake" or festival in Scotland was ordinarily celebrated with various kinds of diversions, among which music and song held the principal place. The "Queen's Wake" consists of a collection of tales and ballads supposed to be sung by different bards to the young Queen of Scotland,-- "When royal Mary, blithe of mood, Kept holyday at Holyrood." The various productions of the minstrels are strung together by a thread of light and graceful narrative. The "Wake" lasts three successive nights, and a richly ornamented harp is the victor's reward. Rizzio is among the number of the competitors; but Gardyne, a native bard, obtains the prize. The plan supplies the Ettrick Shepherd with an opportunity of displaying the extreme facility with which he could adapt himself to all kinds of style, a facility so great that he subsequently published, under the title of "The Mirror of the Poets," a collection of poems ascribed by him to Byron, Campbell, Scott, Southey, Crabbe, Wordsworth and others, in which the deception is so admirable, that multitudes actually supposed them genuine productions. Conscious of his strength, he breaks forth in the "Queen's Wake," in the following exulting strains. "The land was charmed to list his lays; It knew the harp of ancient days. The border chiefs that long had been In sepulchres unhearsed and green, Passed from their mouldy vaults away In armor red, and stern array, And by their moonlight halls were seen In visor, helm, and habergeon. Even fairies sought our land again, So powerful was the magic strain." Scott had advised him to abandon poetry, as "a bootless task," a circumstance to which he thus refers: