Shairp recent volume, although I believe no one will read it without respect and interest, has this one capital defect—that there is imperfect sympathy between the author and the subject, between the critic and the personality under criticism. Hence an inorganic, if not an incoherent, presentation of both the poems and the man. Of Holy Willie's Prayer, Principal Shairp remarks that "those who have loved most what was best in Burns's poetry must have regretted that it was ever written." To the Jolly Beggars, so far as my memory serves me, he refers but once; and then only to remark on the "strange, not to say painful," circumstance that the same hand which wrote the Cotter's Saturday Night should have stooped to write the Jolly Beggars. The Saturday Night may or may not be an admirable poem; but its significance is trebled, and the power and range of the poet first appears, when it is set beside the Jolly Beggars. To take a man's work piecemeal, except with the design of elegant extracts, is the way to avoid, and not to perform, the critic's duty. The same defect is displayed in the treatment of Burns as a man, which is broken, apologetical, and confused. The man here presented to us is not that Burns, teres atque rotundus—a burly figure in literature, as, from our present vantage of time, we have begun to see him. This, on the other hand,
