Scott amused himself with these peculiarities. “I make no doubt,” said he, “when Maida is alone with these young dogs, he throw’s gravity aside, and plays the boy as much as any of them; but he is ashamed to do so in our company, and seems to say, ‘Ha’ done with your nonsense, youngsters: what will the laird and that other gentleman think of me if I give way to such foolery?’ ”
Maida reminded him, he said, of a scene on board an armed yacht in which he made an excursion with his friend Adam Ferguson. They had taken much notice of the boatswain, who was a fine sturdy seaman, and evidently felt flattered by their attention. On one occasion the crew were “piped to fun,” and the sailors were dancing and cutting all kinds of capers to the music of the ship’s band. The boatswain looked on with a wistful eye, as if he would like to join in; but a glance at Scott and Ferguson showed that there was a struggle with his dignity, fearing to lessen himself in their eyes. At length one at his messmates came up, and seizing him by the arm, challenged him to a jig. The boatswain, continued Scott, after a little hesitation complied, made an awkward gambol or two, like our friend Maida, but soon gave it up. “It’s of no use,” said he, jerking up his waistband and giving a side glance at us, “one can’t dance always nouther.”
Scott amused himself with the peculiarities of another of his dogs, a little shamefaced terrier, with large glassy eyes, one of the most sensitive little bodies to insult and indignity in the world. If ever he whipped him, he said, the little fellow would sneak off and hide himself from the light of day, in a lumber garret, whence there was no drawing him forth but by the sound of the chopping-knife, as if chopping up his victuals, when he would steal forth with humble and downcast look, but would skulk away again if any one regarded him.
While we were discussing the humors and peculiarities of our canine companions, some object provoked their spleen, and produced a sharp and petulant barking from the smaller fry, but it was some time before Maida was sufficiently aroused to ramp forward two or three bounds and join in the chorus, with a deep-mouthed bow-wow!
It was but a transient outbreak, and he returned instantly, wagging his tail, and looking up dubiously in his master’s face; uncertain whether he would censure or applaud.
“Aye, aye, old boy!” cried Scott, “you have done wonders. You have shaken the Eildon hills with your roaring; you may now lay by your artillery for the rest of the day. Maida is like the great gun at Constantinople,” continued he; “it takes so long to get it ready, that the small guns can fire off a dozen times first, but when it does go off it plays the very d——l.”
These simple anecdotes may serve to show the delightful play of Scott’s humors and feelings in private life. His domestic animals were his friends; everything about him seemed to rejoice in the light of his countenance; the face of the humblest dependent brightened at his approach, as if he anticipated a cordial and cheering word. I had occasion to observe this particularly in a visit which we paid to a quarry, whence several men were cutting stone for the new edifice; who all paused from their labor to have a pleasant “crack wi’ the laird.” One of them was a burgess of Selkirk, with whom Scott had some joke about-the old song:
“Up with the Souters o’ Selkirk,
And down with the Earl of Horne.”
Another was precentor at the Kirk, and, besides leading the psalmody on Sunday, taught the lads and lasses of the neighborhood dancing on week days, in the winter time, when out-of-door labor was scarce.
Among the rest was a tall, straight old fellow, with a healthful complexion and silver hair, and a small round-crowned white hat. He had been about to shoulder a nod, but paused, and stood looking at Scott, with a slight sparkling of his blue eye, as if waiting his turn; for the old fellow knew himself to be a favorite.
Scott accosted him in an affable tone, and asked for a pinch of snuff. The old man drew forth a horn snuff-box. “Hoot, man,” said Scott, “not that old mull: where’s the bonnie French one that I brought you from Paris?” “Troth, your honor,” replied the old fellow, “sic a mull as that is nae for week-days.”
On leaving the quarry, Scott informed me that when absent at Paris, he had purchased several trifling articles as presents for his dependents, and among others the gay snuff-box in question, which was so carefully reserved for Sundays, by the veteran. “It was not so much the value of the gifts,” said he, “that pleased them, as the idea that the laird should think of them when so far away.”
The old man in question, I found, was a great favorite with Scott. If I recollect right, he had been a soldier in early life, and his straight, erect person, his ruddy yet rugged countenance, his gray hair, and an arch gleam in his blue eye, reminded me of the description of Edie Ochiltree. I find that the old fellow has since been introduced by Wilkie, in his picture of the Scott family.
We rambled on among scenes which had been familiar in Scottish song, and rendered classic by pastoral muse, long before Scott had thrown the rich mantle of his poetry over them. What a thrill of pleasure did I feel when first I saw the broom-covered tops of the Cowden Knowes, peeping above the gray hills of the Tweed: and what touching associations were called up by the sight of Ettrick Vale, Galla Water, and the Braes of Yarrow! Every turn brought to mind some household air—some almost forgotten song of the nursery, by which I had been lulled to sleep in my childhood; and with them the looks and voices of those who had sung them, and who were now no more. It is these melodies, chanted in our ears in the days of infancy, and connected with the memory of those we have loved, and who have passed away, that clothe Scottish landscape with such tender associations. The Scottish songs, in general, have something intrinsically melancholy in them; owing, in all probability, to the pastoral and lonely life of those who composed them: who were often mere shepherds, tending their flocks in the solitary glens, or folding them among the naked hills. Many of these rustic bards have passed away, without leaving a name behind them; nothing remains of them but their sweet and touching songs, which live, like echoes, about the places they once inhabited. Most of these simple effusions of pastoral poets are linked with some favorite haunt of the poet; and in this way, not a mountain or valley, a town or tower, green shaw or running stream, in Scotland, but has some popular air connected with it, that makes its very name a key-note to a whole train of delicious fancies and feelings.
Let me step forward in time, and mention how sensible I was to the power of these simple airs, in a visit which I made to Ayr, the birthplace of Robert Burns. I passed a whole morning about “the banks and braes of bonnie Doon,” with his tender little love verses running in my head. I found a poor Scotch carpenter at work among the ruins of Kirk Alloway, which was to be converted into a school-house. Finding the purpose of my visit, he left his work, sat down with me on a grassy grave, close by where Burns’ father was buried, and talked of the poet, whom he had known personally. He said his songs were familiar to the poorest and most illiterate of the country folk, “and it seemed to him as if the country had grown more beautiful, since Burns had written his bonnie little songs about it.”
I found Scott was quite an enthusiast on the subject of the popular songs of his country, and he seemed gratified to find me so alive to them. Their effect in calling up in my mind the recollections of early times and scenes in which I had first heard them, reminded him, he said, of the lines of his poor Mend, Leyden, to the Scottish muse:
“In