The Atlantic Monthly, Volume 06, No. 36, October, 1860. Various

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СКАЧАТЬ 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 over-scribbled 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 never (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 Shakspeare'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 the 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 way-side ale-house. The old woman of the house led us through an entry, and showed a vaulted hall, of no vast dimensions, to be sure, but marvellously 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 of his 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 road-side, 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 pretension; 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 pretence 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 to feel that these good people, whoever they may be, had no business to thrust their prosaic bones into a spot that belongs to the world, and where their presence jars with the emotions, be they sad or gay, which the pilgrim brings thither. They shut us out from our own precincts, too,—from that inalienable possession which Burns bestowed in free gift upon mankind, by taking it from the actual earth and annexing it to the domain of imagination. And here these wretched squatters have lain down to their long sleep, after barring each of the two doorways of the kirk with an iron grate! May their rest be troubled, till they rise and let us in!

      Kirk Alloway is inconceivably small, considering how large a space it fills in our imagination before we see it. I paced its length, outside of the wall, and found it only seventeen of my paces, and not more than ten of them in breadth. There seem to have been but very few windows, all of which, if I rightly remember, are now blocked up with mason-work of stone. One mullioned window, tall and narrow, in the eastern gable, might have been seen by Tam O'Shanter, blazing with devilish light, as he approached along the road from Ayr; and there is a small and square one, on the side nearest the road, into which he might have peered, as he sat on horseback. Indeed, I could easily have looked through it, standing on the ground, had not the opening been walled up. There is an odd kind of belfry at the peak of one of the gables, with the small bell still hanging in it. And this is all that I remember of Kirk Alloway, except that the stones of its material are gray and irregular.

      The road from Ayr passes Alloway Kirk, and crosses the Doon by a modern bridge, without swerving much from a straight line. To reach the old bridge, it appears to have made a bend, shortly after passing the kirk, and then to have turned СКАЧАТЬ