rable
names that perished in their cause--though he cursed "the butcher,
Cumberland," and the bloody spirit which commanded the heads of the
good and the heroic to be stuck where they would affright the
passer-by, and pollute the air--he had no desire to see the splendid
fabric of constitutional freedom, which the united genius of all
parties had raised, thrown wantonly down. His Jacobitism influenced,
not his head, but his heart, and gave a mournful hue to many of his
lyric compositions.

Meanwhile his poems were passing through the press. Burns made a few
emendations of those published in the Kilmarnock edition, and he added
others which, as he expressed it, he had carded and spun, since he
passed Glenbuck. Some rather coarse lines were softened or omitted in
the "Twa Dogs;" others, from a change of his personal feelings, were
made in the "Vision:" "Death and Doctor Hornbook," excluded before,
was admitted now: the "Dream" was retained, in spite of the
remonstrances of Mrs. Stewart, of Stair, and Mrs. Dunlop; and the
"Brigs of Ayr," in compliment to his patrons in his native district,
and the "Address to Edinburgh," in honour of his titled and
distinguished friends in that metropolis, were printed for the first
time. He was unwilling to alter what he had once printed: his friends,
classic, titled, and rustic, found him stubborn and unpliable, in
matters of criticism; yet he was generally of a complimental mood: he
loaded the robe of Coila in the "Vision," with more scenes than it
could well contain, that he might include in the landscape, all the
country-seats of his friends, and he gave more than their share of
commendation to the Wallaces, out of respect to his friend Mrs.
Dunlop. Of the critics of Edinburgh he said, they spun the thread of
their criticisms so fine that it was unfit for either warp or weft;
and of its scholars, he said, they were never satisfied with any
Scottish poet, unless they could trace him in Horace. One morning at
Dr. Blair's breakfast-table, when the "Holy Fair" was the subject of
conversation, the reverend critic said, "Why should

'--Moody speel the holy door
With tidings of _salvation_?'

if you had said, with tidings of _damnation_, the satire would have
been the better and the bitterer." "Excellent!" exclaimed the poet,
"the alteration is capital, and I hope you will honour me by allowing
me to say in a note at whose suggestion it was made." Professor
Walker, who tells