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kirk, yet as it is a well-known fact that to turn back on these occasions is running by far the greatest risk of mischief, he prudently advanced on his road. When he had reached the gate of the kirkyard he was surprised and entertained through the ribs and arches of an old Gothic window which still faces the highway, to see a dance of witches, merrily footing it round their old sooty blackguard master, who was keeping them all alive with the power of his bagpipe. The farmer, stopping his horse to observe them a little, could plainly descry the faces of many old women of his acquaintance and neighbourhood. How the gentleman was dressed tradition does not say, but that the ladies were all in their smocks; and one of them, happening unluckily to have a smock which was considerably too short to answer all the purposes of that piece of dress, our farmer was so tickled that he involuntarily burst out with a loud laugh: 'Weel luppen, Maggy wi' the short sark!' and recollecting himself, instantly spurred his horse to the top of his speed. I need not mention the universally known fact, that no diabolical power can pursue you beyond the middle of a running stream. Lucky it was for the poor farmer that the river Doon was so near, for, notwithstanding the speed of his horse, which was a good one, against he reached the middle of the arch of the bridge, and consequently the middle of the stream, the pursuing vengeful hags were so close at his heels, that one of them actually sprang to seize him; but it was too late, nothing was on her side of the stream but the horse's tail, which immediately gave way at her infernal grip, as if blasted by a stroke of lightning; but the farmer was beyond her reach. However, the unsightly tailless condition of the vigorous steed was, to the last hour of the noble creature's life, an awful warning to the Carrick farmer not to stay too late in Ayr markets.

The last relation I shall give you, though equally true, is not so well identified as the two former, with regard to the scene; but as the best authorities give it for Alloway, I shall relate it.

On a summer's evening, about the time that nature puts on her sables to mourn the expiry of the cheerful day, a shepherd boy, belonging to a farmer in the immediate neighbourhood of Alloway Kirk, had just folded his charge and was returning home. As he passed the kirk, in the adjoining field, he fell in with a crew of men and women, who were busy pulling stems of the plant ragwort. He observed that as each person pulled a ragwort, he or she got astride of it, and called out, 'Up, horsie', on which the ragwort flew off, like Pegasus, through the air, with its rider. The foolish boy likewise pulled his ragwort and cried with the rest, 'Up, horsie', and, strange to tell, away he flew with the company. The first stage at which the cavalcade stopped was a merchant's wine-cellar in Bordeaux, where, without saying by your leave, they quaffed away at the best the cellar could afford, until the morning, foe to the imps and works of darkness, threatened to throw light on the matter, and frightened them from their carousals.

The poor shepherd lad, being equally a stranger to the scene and the liquor, heedlessly got himself drunk; and when the rest took horse he fell asleep, and was found so next day by some of the people belonging to the merchant. Somebody that understood Scotch, asking him what he was, he said he was such-a-one's herd in Alloway, and by some means or other getting home again, he lived long to tell the world the wondrous tale.

WILLIAM WORDSWORTH

1770-1850

TO SIR GEORGE BEAUMONT

A brother's character

Grasmere, 20 Feb. 1805.

Having spoken of worldly affairs, let me again mention my beloved brother. It is now just five years since, after a separation of fourteen years (I may call it a separation, for we only saw him four or five times, and by glimpses), he came to visit his sister and me in this cottage, and passed eight blessed months with us. He was then waiting for the command of the ship to which he was appointed when he quitted us. As you will have seen, we had little to live upon, and he as little (Lord Lonsdale being then alive). But he encouraged me to persist, and to keep my eye steady on its object. He would work for me (that was his language), for me and his sister; and I was to endeavour to do something for the world. He went to sea, as commander, with this hope; his voyage was very unsuccessful, he having lost by it considerably. When he came home, we chanced to be in London, and saw him. 'Oh!' said he, 'I have thought of you, and nothing but you; if ever of myself, and my bad success, it was only on your account.' He went again to sea a second time, and also was unsuccessful; still with the same hopes on our account, though then not so necessary, Lord Lowther having paid the money. Lastly came the lamentable voyage, which he entered upon, full of expectation, and love to his sister and myself, and my wife, whom, indeed, he loved with all a brother's tenderness. This is the end of his part of the agreement—of his efforts for my welfare! God grant me life and strength to fulfil mine! I shall never forget him—never lose sight of him: there is a bond between us yet, the same as if he were living, nay, far more sacred, calling upon me to do my utmost, as he to the last did his utmost to live in honour and worthiness. Some of the newspapers carelessly asserted that he did not wish to survive his ship. This is false. He was heard by one of the surviving officers giving orders, with all possible calmness, a very little before the ship went down; and when he could remain at his post no longer, then, and not till then, he attempted to save himself. I knew this would be so, but it was satisfactory for me to have it confirmed by external evidence. Do not think our grief unreasonable. Of all human beings whom I ever knew, he was the man of the most rational desires, the most sedate habits, and the most perfect self-command. He was modest and gentle, and shy even to disease; but this was wearing off. In everything his judgements were sound and original; his taste in all the arts, music and poetry in particular (for these he, of course, had had the best opportunities of being familiar with), was exquisite; and his eye for the beauties of nature was as fine and delicate as ever poet or painter was gifted with, in some discriminations, owing to his education and way of life, far superior to any person's I ever knew. But, alas! what avails it? It was the will of God that he should be taken away….

I trust in God that I shall not want fortitude; but my loss is great and irreparable….

TO WALTER SCOTT

Dryden

Patterdale, 7 Nov. 1805.

MY DEAR SCOTT,

I was much pleased to hear of your engagement with Dryden: not that he is, as a poet, any great favourite of mine: I admire his talents and genius highly, but his is not a poetical genius. The only qualities I can find in Dryden that are essentially poetical, are a certain ardour and impetuosity of mind, with an excellent ear. It may seem strange that I do not add to this, great command of language: that he certainly has, and of such language too, as it is most desirable that a poet should possess, or rather that he should not be without. But it is not language that is, in the highest sense of the word, poetical, being neither of the imagination nor of the passions; I mean the amiable, the ennobling, or the intense passions. I do not mean to say that there is nothing of this in Dryden, but as little, I think, as is possible, considering how much he has written. You will easily understand my meaning, when I refer to his versification of Palamon and Arcite, as contrasted with the language of Chaucer. Dryden had neither a tender heart nor a lofty sense of moral dignity. Whenever his language is poetically impassioned, it is mostly upon unpleasing subjects, such as the follies, vices, and crimes of classes of men or of individuals, That his cannot be the language of imagination, must have necessarily followed from this,—that there is not a single image from nature in the whole body of his works; and in his translation from Virgil, wherever Virgil can be fairly said to have had his eye upon his object, Dryden always spoils the passage.

But too much of this; I am glad that you are to be his editor. His political and satirical pieces may be greatly benefited by illustration, and even absolutely require it. A correct text is the first object of an editor, then such notes as explain difficult or obscure passages; and lastly, which is much less important, notes pointing out authors to whom the poet has been indebted, not in the fiddling way of phrase here and phrase there, (which is detestable as a general practice), but where he has had essential obligations either as to matter or manner.

If I can be of any use to you, do not fail to apply to me. One thing I may take the liberty to suggest, which is, when you come to the fables, might it not be advisable to print the whole of the Tales of Boccace in a smaller type in the original language? If this should look too much like swelling a book, I should certainly make such extracts as would show where Dryden has most strikingly improved upon, or fallen below, his original. I think his translations from Boccace are the best, at least the most poetical, of his poems. It is many years since I saw Boccace, but I remember that Sigismunda is not married by him to Guiscard (the names are different in Boccace in both tales, I believe—certainly in Theodore, &c.). I think Dryden has much injured the story by the marriage, and degraded Sigismunda's character by it. He has also, to the best of my remembrance, degraded her still more, by making her love absolute sensuality and appetite; Dryden had no other notion of the passion. With all these defects, and they are very gross ones, it is a noble poem. Guiscard's answer, when first reproached by Tancred, is noble in Boccace—nothing but this: Amor può molto più che ne voi ne io possiamo. This, Dryden has spoiled. He says first very well, 'the faults of love by love are justified,' and then come four lines of miserable rant, quite à la Maximin.

TO LADY BEAUMONT

The destiny of his poems

Coleorton, 21 May, 1807.

MY DEAR LADY BEAUMONT,

Though I am to see you so soon, I cannot but write a word or two, to thank you for the interest you take in my poems, as evinced by your solicitude about their immediate reception. I write partly to thank you for this, and to express the pleasure it has given me, and partly to remove any uneasiness from your mind which the disappointments you sometimes meet with, in this labour of love, may occasion. I see that you have many battles to fight for me—more than, in the ardour and confidence of your pure and elevated mind, you had ever thought of being summoned to; but be assured that this opposition is nothing more than what I distinctly foresaw that you and my other friends would have to encounter. I say this, not to give myself credit for an eye of prophecy, but to allay any vexatious thoughts on my account which this opposition may have produced in you.

It is impossible that any expectations can be lower than mine concerning the immediate effect of this little work upon what is called the public. I do not here take into consideration the envy and malevolence, and all the bad passions which always stand in the way of a work of any merit from a living poet; but merely think of the pure, absolute, honest ignorance in which all worldlings of every rank and situation must be enveloped, with respect to the thoughts, feelings and images on which the life of my poems depends. The things which I have taken, whether