nced in song
the utmost pastoral simplicity; Motherwell was a master of the
plaintive; Robert Nicoll rejoiced in rural loves. Among living
song-writers, Charles Mackay holds the first place in general
estimation--his songs glow with patriotic sentiment, and are redolent in
beauties; in pastoral scenes, Henry Scott Riddell is without a
competitor; James Ballantine and Francis Bennoch have wedded to
heart-stirring strains those maxims which conduce to virtue. The
Scottish Harp vibrates to sentiments of chivalric nationality in the
hands of Alexander Maclagan, Andrew Park, Robert White, and William
Sinclair. Eminent lyrical simplicity is depicted in the strains of
Alexander Laing, James Home, Archibald Mackay, John Crawford, and Thomas
C. Latto. The best ballad writers introduced in the present work are
Robert Chambers, John S. Blackie, William Stirling, M.P., Mrs Ogilvy,
and James Dodds.[2] Amply sustained is the national reputation in female
lyric poets, by the compositions of Mrs Simpson, Marion Paul Aird,
Isabella Craig, and Margaret Crawford. The national sports are
celebrated with stirring effect by Thomas T. Stoddart, William A.
Foster, and John Finlay. Sacred poetry is admirably represented by such
lyrical writers as Horatius Bonar, D.D., and James D. Burns. Many
thrilling verses, suitable for music, though not strictly claiming the
character of lyrics, have been produced by Thomas Aird, so distinguished
in the higher walks of Poetry, Henry Glassford Bell, James Hedderwick,
Andrew J. Symington, and James Macfarlan.

Of the collections of the elder Scottish Minstrelsy, the best catalogue
is supplied by Mr David Laing in the latest edition of Johnson's Musical
Museum. Of the modern collections we would honourably mention, "The Harp
of Caledonia," edited by John Struthers (3 vols. 12mo); "The Songs of
Scotland, Ancient and Modern" (4 vols. 8vo), edited by Allan Cunningham;
"The Scottish Songs" (2 vols. 12mo), edited by Robert Chambers; and,
"The Book of Scottish Song," edited by Alexander Whitelaw. Most of these
works contain original songs, but the amplest collections of these are
M'Leod's "Original National Melodies," and the several small volumes of
"Whistle Binkie."[3] The more esteemed modern collections with music are
"The Scottish Minstrel," edited by R. A. Smith[4] (6 vols. 8vo); "The
Songs of Scotland, adapted to their appropriate Melodies arranged with
Pianoforte Accompaniments," edited by G. F. Graham, Edin