east remarkable of its contents had been
two Pastoral Dialogues, the one between Richy (Sir Richard Steele) and
Sandy (Alexander Pope), and based on the death of Addison: the other
between Patie and Roger, and concerning itself solely with a
representation of rural life. Amongst the best pieces in the volume both
undoubtedly ranked. In 1723 appeared another metrical dialogue, _Jenny
and Meggy_, betraying obvious kinship with _Patie and Roger_. So
delighted were his friends, the Clerks and the Bennets, Professors
Drummond and Maclaurin, and many others, with the _vraisemblance_ to
Scottish rural life, and with the true rustic flavour present in the two
dialogues, that they entreated him to add some connecting links, and to
expand them into a pastoral drama. Doubtful of his ability to execute a
task demanding powers so varied, and so supreme, Ramsay for a time
hesitated. But at length, induced by their advice, he threw himself into
the undertaking with enthusiasm. In a letter to his kinsman William
Ramsay of Templehall, dated April 8, 1724, he writes: "I am this
vacation going through with a Dramatick Pastoral, whilk I design to
carry the length of five acts, in verse a' the gate, and, if I succeed
according to my plan, I hope to tope [rival] with the authors of _Pastor
Fido_ and _Aminta_."

On the scenes wherewith he had become acquainted during his manifold
rambles over the hills and the vales, the glens and glades, of fair
Midlothian, he now drew, as well as from the quaint and curious types of
character--the Symons, the Glauds, the Bauldies, the Rogers, the Madges,
and the Mauses--wherewith he had come into contact during such seasons.
That he stinted either time or trouble in making the drama as perfect as
possible is evident from the prolonged period over which its composition
was spread, and the number of drafts he made of it. Some of the songs,
he informed Sir David Forbes, had been written no fewer than six times.
At length, early in July 1725, prefaced by a dedication in prose from
himself to the Right Hon. Susannah, Countess of Eglinton, and by a
poetical address to the same beautiful patroness, from the pen of
William Hamilton of Bangour, the poet, _The Gentle Shepherd_ made its
appearance.

Its success from the very outset was unparalleled in Scottish literature
up to that date. It seemed literally to take the country by storm. By
all ranks and classes, by titled ladies in their boudoirs, as well as by
milk