"We lived very poorly," says the poet. "I was a dexterous ploughman for my age; and the next eldest to me was a brother [Gilbert], who could drive the plough very well, and help me to thrash the corn. A novel-writer might perhaps have viewed these scenes with some satisfaction, but so did not I." Burns's person, inured to daily toil, and continually exposed to every variety of weather, presented, before the usual time, every characteristic of robust and vigorous manhood. He says himself that he never feared a competitor in any species of rural exertion; and Gilbert, a man of uncommon bodily strength, adds that neither he, nor any labourer he ever saw at work, was equal to him, either in the cornfield or on the thrashing-floor. Before his sixteenth year Burns had read a large amount of literature. But a collection of songs, he says significantly, "was my _vade mecum_. I pored over them, driving my cart, or walking to labour, song by song, verse by verse; carefully noticing the true, tender, or sublime from affectation or fustian." It was about this date that he "first committed the sin of rhyme." The subject was a "bewitching creature," a partner in the harvest field, and the song was that beginning "Once I loved a bonnie lass." After this, though much occupied with labour and love, he found leisure occasionally to clothe the various moods of his mind in verse. It was as early as seventeen that he wrote the stanzas which open beautifully, "I dream'd I lay where flowers were springing," and also the ballad, "My father was a farmer upon the Carrick border," which, years afterwards, he used to con over with delight, because of the faithfulness with which it recalled to him the circumstances and feelings of his opening manhood. These are the only two of his very early productions in which there is nothing expressly about love. The rest were composed to celebrate the charms of those rustic beauties who followed each other in the domain of his fancy, or shared the capacious throne between them. The excursions of the rural lover form the theme of almost all the songs which Burns is known to have produced about this period; and such of these juvenile performances as have been preserved are beautiful. They show how powerfully his boyish fancy had been affected by the old rural minstrelsy of his own country, and how easily his native taste caught the secret of its charm. In 1781, despairing of farming, he went to Irvine to learn flax-dressing with a relative. He was diligent at first, but misfortune soon overtook him. The shop where he was engaged caught fire, and he "was left, like a true poet, not worth a sixpence." Gilbert Burns dates a serious change in his character and conduct from this six months' residence in the seaport town. "He contracted," he says, "some acquaintance of a freer manner of thinking than he had been accustomed to, whose society prepared him for overleaping the bounds of rigid virtue which had hitherto restrained him."