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makes upon our credulity in the absence of the slightest attempt at proof. Gilfillan had but scant knowledge of the subject, and his laboured effort to substitute the Cleghorn letters for the manuscript volume is a typical example of the purblind and unscrupulous methods he adopted when dealing with the character of the National Poet. Regarding this manuscript, the characteristic candour of Burns's own testimony leaves little for others to say. In a letter to John M'Murdo, of date December, 1793, occurs the following passage:—
"I think I once mentioned something of a collection of Scots songs I have for some years been making; I send you a perusal of what I have got together. I could not conveniently spare them above five or six days, and five or six glances of them will probably more than suffice you. A very few of them are my own. When you are tired of them please leave them with Mr. Clint of the King's Arms. There is not another copy of the collection in the world, and I should be sorry that any unfortunate negligence should deprive me of what has cost me a good deal of pains."
This speaks for itself, and that right eloquently. The postscript to Thomson's letter of January 20th, 1793, by the Hon. Andrew Erskine, throws such a strong sidelight on the environment of Burns and one phase of the social life of his period, as to confer upon it a special title to quotation:—
"You kindly promised me, about a year ago, a collection of your unpublished productions, religious and amorous. I know from experiment how irksome it is to copy. If you will get any trusty person in Dumfries to write them over fair, I will give Peter Hill whatever he asks for his trouble, and I certainly shall not betray your confidence."
To this the obliging Poet replied, almost by return of post:—
"My most respectful compliments to the honourable gentleman who favoured me with a postscript in your last. He shall hear from me and receive his MSS soon."
