Our ride to Ayr presented nothing very remarkable; and, indeed, a cloudy and rainy day takes the varnish off the scenery, and causes a woful diminution in the beauty and impressiveness of everything we see. Much of our way lay along a flat, sandy level, in a southerly direction. We reached Ayr in the midst of hopeless rain, and drove to the King's Arms Hotel. In the intervals of showers I took peeps at the town, which appeared to have many modern or modern-fronted edifices; although there are likewise tall, gray, gabled, and quaint-looking houses in the by-streets, here and there, betokening an ancient place. The town lies on both sides of the Ayr, which is here broad and stately, and bordered with dwellings that look from their windows directly down into the passing tide.
I crossed the river by a modern and handsome stone bridge, and recrossed it, at no great distance, by a venerable structure of four gray arches, which must have bestridden the stream ever since the early days of Scottish history. These are the "Two Briggs of Ayr," whose midnight conversation was overheard by Burns, while other auditors were aware only of the rush and rumble of the wintry stream among the arches. The ancient bridge is steep and narrow, and paved like a street, and defended by a parapet of red freestone, except at the two ends, where some mean old shops allow scanty room for the pathway to creep between. Nothing else impressed me hereabouts, unless I mention that, during the rain, the women and girls went about the streets of Ayr barefooted to save their shoes.
The next morning wore a lowering aspect as if it felt itself destined to be one of many consecutive days of storm. After a good Scotch breakfast, however, of fresh herrings and eggs, we took a fly, and started at a little past ten for the banks of the Doon. On our way, at about two miles from Ayr, we drew up at a roadside cottage, on which was an inscription to the effect that Robert Burns was born within its walls. It is now a public house; and, of course, we alighted and entered its little sitting-room, which, as we at present see it, is a neat apartment with the modern improvement of a ceiling. The walls are much overscribbled with names of visitors, and the wooden door of a cupboard in the wainscot, as well as all the other wood-work of the room, is cut and carved with initial letters. So, likewise, are two tables, which, having received a coat of varnish over the inscriptions, form really curious and interesting articles of furniture. I have seldom (though I do not personally adopt this mode of illustrating my humble name) felt inclined to ridicule the natural impulse of most people thus to record themselves at the shrines of poets and heroes.
On a panel, let into the wall in a corner of the room, is a portrait of Burns, copied from the original picture by Nasmyth. The floor of this apartment is of boards, which are probably a recent substitute for the ordinary flag-stones of a peasant's cottage. There is but one other room pertaining to the genuine birthplace of Robert Burns: it is the kitchen, into which we now went. It has a floor of flag-stones, even ruder than those of Shakespeare's house, – though, perhaps, not so strangely cracked and broken as the latter, over which the hoof of Satan himself might seem to have been trampling. A new window has been opened through the wall, towards the road; but on the opposite side is the little original window, of only four small panes, through which came the first daylight that shone upon the Scottish poet. At the side of the room, opposite the fireplace, is a recess, containing a bed, which can be hidden by curtains. In that humble nook, of all places in the world, Providence was pleased to deposit the germ of richest human life which mankind then had within its circumference.
These two rooms, as I have said, make up the whole sum and substance of Burns's birthplace: for there were no chambers, nor even attics; and the thatched roof formed the only ceiling of kitchen and sitting-room, the height of which was that of the whole house. The cottage, however, is attached to another edifice of the same size and description, as these little habitations often are; and, moreover, a splendid addition has been made to it, since the poet's renown began to draw visitors to the wayside alehouse. The old woman of the house led us through an entry, and showed a vaulted hall, of no vast dimensions, to be sure, but marvelously large and splendid as compared with what might be anticipated from the outward aspect of the cottage. It contained a bust of Burns, and was hung round with pictures and engravings, principally illustrative of his life and poems. In this part of the house, too, there is a parlor, fragrant with tobacco-smoke; and, no doubt, many a noggin of whiskey is here quaffed to the memory of the bard, who professed to draw so much inspiration from that potent liquor.
We bought some engravings of Kirk Alloway, the Bridge of Doon, and the monument, and gave the old woman a fee besides, and took our leave. A very short drive farther brought us within sight of the monument, and to the hotel, situated close by the entrance of the ornamental grounds within which the former is inclosed. We rang the bell at the gate of the inclosure, but were forced to wait a considerable time; because the old man, the regular superintendent of the spot, had gone to assist at the laying of the corner-stone of a new kirk. He appeared anon, and admitted us, but immediately hurried away to be present at the concluding ceremonies, leaving us locked up with Burns.
The inclosure around the monument is beautifully laid out as an ornamental garden, and abundantly provided with rare flowers and shrubbery, all tended with loving care. The monument stands on an elevated site, and consists of a massive basement story, three-sided, above which rises a light and elegant Grecian temple, – a mere dome, supported on Corinthian pillars, and open to all the winds. The edifice is beautiful in itself; though I know not what peculiar appropriateness it may have, as the memorial of a Scottish rural poet.
The door of the basement story stood open; and, entering, we saw a bust of Burns in a niche, looking keener, more refined, but not so warm and whole-souled as his pictures usually do. I think the likeness cannot be good. In the centre of the room stood a glass case, in which were reposited the two volumes of the little Pocket Bible that Burns gave to Highland Mary, when they pledged their troth to one another. It is poorly printed on coarse paper. A verse of Scripture referring to the solemnity and awfulness of vows is written within the cover of each volume, in the poet's own hand; and fastened to one of the covers is a lock of Highland Mary's golden hair. This Bible had been carried to America by one of her relatives, but was sent back to be fitly treasured here.
There is a staircase within the monument, by which we ascended to the top, and had a view of both Briggs of Doon: the scene of Tam O'Shanter's misadventure being close at hand. Descending, we wandered through the inclosed garden, and came to a little building in a corner, on entering which, we found the two statues of Tam and Sutor Wat, – ponderous stone-work enough, yet permeated in a remarkable degree with living warmth and jovial hilarity. From this part of the garden, too, we again beheld the old Brigg of Doon, over which Tam galloped in such imminent and awful peril. It is a beautiful object in the landscape, with one high, graceful arch, ivy-grown, and shadowed all over and around with foliage.
When we had waited a good while, the old gardener came, telling us that he had heard an excellent prayer at laying the corner-stone of the new kirk. He now gave us some roses and sweetbrier, and let us out from his pleasant garden. We immediately hastened to Kirk Alloway, which is within two or three minutes' walk of the monument. A few steps ascend from the roadside, through a gate, into the old graveyard, in the midst of which stands the kirk. The edifice is wholly roofless, but the side-walls and gable-ends are quite entire, though portions of them are evidently modern restorations. Never was there a plainer little church, or one with smaller architectural pretensions; no New England meeting-house has more simplicity in its very self, though poetry and fun have clambered and clustered so wildly over Kirk Alloway that it is difficult to see it as it actually exists. By the by, I do not understand why Satan and an assembly of witches should hold their revels within a consecrated precinct; but the weird scene has so established itself in the world's imaginative faith that it must be accepted as an authentic incident, in spite of rule and reason to the contrary. Possibly, some carnal minister, some priest of pious aspect and hidden infidelity, had dispelled the consecration of the holy edifice by his pretense of prayer, and thus made it the resort of unhappy ghosts and sorcerers and devils.
The interior of the kirk, even now, is applied to quite as impertinent a purpose as when Satan and the witches used it as a dancing-hall; for it is divided in the midst by a wall of stone-masonry, and each compartment has been converted into a family burial-place. The name on one of the monuments is Crawfurd; the other bore no inscription. It is impossible not