BANKS OF AYR. — BRIDGE OF BOON. 181 



The " banks of the Ayr" are every where consecrated by some rich effusions 

 of the poet. In a natural point of view, they are characterized by scenes, softly 

 picturesque and even romantic ; deeply hung with luxuriant woods, or pro- 

 jecting into bold cliffs, whose rocky precipices start up in striking contrast 

 through the dense foliage, under which the stream is only discovered by its 

 murmurs. " Ballochmyle" is that portion of the river landscape on which, in 

 a special manner, the poet has conferred immortality, and for which every 

 stranger inquires on his arrival in the land of Burns. The origin of that 

 beautiful IjtIc, " The Lass of- Ballochmyle," and the evening scene on the 

 Ayr, are thus recorded in the poet's own words : " I had roved out," he says, 

 " as chance directed, in the favourite haunts of my muse, on the banks of 

 Ayr, to view nature in all the gaiety of the vernal year. The evening sun 

 was flaming over the distant western hills ; not a breath stirred the crimson 

 opening blossom, or the verdant spreading leaf. It was a golden moment for 

 a poetic heart. I listened to the feathered warblers, pouring their harmony 

 on every hand, with a congenial kindred regard ; and frequently turned out 

 of my way, lest I should disturb their little songs, or frighten them to another 

 station. Such was the scene and such the hour, when, in a corner of my 

 prospect, I espied one of the fairest pieces of nature's workmanship that ever 

 crowned a poetic landscape, or met a poet's eye — those visionary bards excepted 



who hold converse with aerial beings What an hour of inspiration for a 



poet! It would have raised plain historic prose into metaphor and measure. 

 The enclosed song," he adds, " was the work of my return home, and perhaps 

 it but poorly answers what might have been expected from such a scene." — The 

 inspiring vision here alluded to, was Miss Alexander of Ballochmyle. 



Within a short distance of the scene above noticed is the Bi-ig o' Doon, 

 where Tam o' Shanter's mare — pursued by the witches whose orgies the hero 

 had so rashly interrupted in AUoway kirk, — 



" Brought off his master liaill, 

 But left behind her ain grey tail." 



Tills inimitable story, which contains more wondrous variety of genius within 

 small compass than any other poem in the language, was struck off at the 



point of architectural beauty, it stands unrivalled by any other edifice of this Kind in the kingdom ; while 

 the surrounding country — rendered classical by the genius of the poet — may, upon its own merits, be styled 

 the garden of Ayrshire. Here, as it were, all nature harmonizes with those feelings of mingled admiration 

 and regret which the remembrance of the poet inspires; and here the effusions of his muse, which every 

 Scotchman reads with increased delight in the closet, are dwelt upon amid the associations of this 

 bewitching ground with indescribable zest and admiration. — See " Brown's Scottish Scenes." 

 VOL. I. 3 A 



