Shortly after his arrival he arranged with Creech, the chief bookseller in Edinburgh, to undertake a second edition of his poems. This was published in March, 1787, the subscribers numbering over 1,500. Out of money thus derived, he provided a tombstone for the neglected grave of Robert Fergusson, his "elder brother in the muses," in the Canongate churchyard. Then he decided to visit some of the classic scenes of Scottish history and romance. He had as yet seen but a small part of his own country, and this by no means among the most interesting, until, indeed, his own poetry made it equal, on that score, to any other. Various tours were, in fact, undertaken, the chief being, however, in the Border district and in the Highlands. Usually he returned to Edinburgh, partly to be near his jovial intimates, and partly because, after the excitement attending his first appearance in the capital, he found himself incapable of settling down contentedly in the humble circle at Mossgiel. _IV.--The Clarinda Romance_ During the winter of 1787--1788, he had a little romance with Mrs. McLehose, the beautiful widow to whom he addressed the song, "Clarinda, mistress of my soul," and a series of letters which present more instances of bad taste, bombastic language, and fulsome sentiment than could be produced from all his writings besides. It was the same lady who inspired the lines which furnished Byron with a motto, and Scott declared to be "worth a thousand romances ": Had we never loved so kindly Had we never loved sae blindly, Never met--or never parted, We had ne'er been broken-hearted. At this time the publication of Johnson's "Scots Musical Museum" was going on in Edinburgh; and Burns, being enlisted as a contributor, furnished many of his best songs to that work. From his youth upwards he had been an enthusiastic lover of the old minstrelsy and music of his country; but he now studied both subjects with better opportunities and appliances than he could have commanded previously; and it is from this time that we must date his ambition to transmit his own poetry to posterity, in eternal association with those exquisite airs which had hitherto, in far too many instances, been married to verses that did not deserve to be immortal. Later, beginning in 1792, he wrote about sixty songs for George Thomson's collection, many of which, like "Auld Lang Syne" and "Scots Wha Hae," are in the front rank of popularity. The letters he addressed to Thomson are full of interesting detail of various kinds. In one he writes: