I read on with increasing interest. It was evident, from the tone of the introduction, that some new luminary had arisen in the literary horizon, and I felt somewhat like a schoolboy when, at his first play, he waits for the drawing up of the curtain. And the curtain at length rose. "The person," continues the essayist, "to whom I allude"--and he alludes to him as a genius of no ordinary class--"is Robert Burns, an Ayrshire ploughman." The effect on my nerves seemed electrical; I clapped my hands, and sprung from my seat: "Was I not certain of it! Did I not foresee it!" I exclaimed. "My noble-minded friend, Robert Burns!" I ran hastily over the warm-hearted and generous critique, so unlike the cold, timid, equivocal notices with which the professional critic has greeted, on their first appearance, so many works destined to immortality. It was Mackenzie, the discriminating, the classical, the elegant, who assured me that the productions of this "heaven-taught ploughman were fraught with the high-toned feeling and the power and energy of expression characteristic of the mind and voice of the poet"--with the solemn, the tender, the sublime; that they contained images of pastoral beauty which no other writer had ever surpassed, and strains of wild humour which only the higher masters of the lyre had ever equalled; and that the genius displayed in them seemed not less admirable in tracing the manners than in painting the passions, or in drawing the scenery of nature. I flung down the essay, ascended to the deck in three huge strides, leaped ashore, and reached my bookseller's as he was shutting up for the night. "Can you furnish me with a copy of Burns' Poems," I said, "either for love or money?" "I have but one copy left," replied the man, "and here it is." I flung down a guinea. "The change," I said, "I shall get when I am less in a hurry."