I think one subsidiary cause for permanency in the popularity still belonging to particular Scottish songs has proceeded from their association with Scottish music.  The melodies of Scotland can never die.  In the best of these compositions there is a pathos and a feeling which must preserve them, however simple in their construction, from being vulgar or commonplace.  Mendelssohn did not disdain taking Scottish airs as themes for the exercise of his profound science and his exquisite taste.  It must, I think, be admitted that singing of Scottish songs in the perfection of their style—­at once pathetic, graceful, and characteristic—­is not so often met with as to remove all apprehension that ere long they may become matters only of reminiscence.  Many accomplished musicians often neglect entirely the cultivation of their native melodies, under the idea of their being inconsistent with the elegance and science of high-class music.  They commit a mistake.  When judiciously and tastefully performed, it is a charming style of music, and will always give pleasure to the intelligent hearer.  I have heard two young friends, who have attained great skill in scientific and elaborate compositions, execute the simple song of “Low down in the Broom,” with an effect I shall not easily forget.  Who that has heard the Countess of Essex, when Miss Stephens, sing “Auld Robin Gray,” can ever lose the impression of her heart-touching notes?  In the case of “Auld Robin Gray,” the song composed by Lady Anne Lindsay, although very beautiful in itself, has been, I think, a good deal indebted to the air for its great and continued popularity.  The history of that tender and appropriate melody is somewhat curious, and not generally known.  The author was not a Scotsman.  It was composed by the Rev. Mr. Leves, rector of Wrington in Somersetshire, either early in this century or just at the close of the last.  Mr. Leves was fond of music, and composed several songs, but none ever gained any notice except his “Auld Robin Gray,” the popularity of which has been marvellous.  I knew the family when I lived in Somersetshire, and had met them in Bath.  Mr. Leves composed the air for his daughter, Miss Bessy Leves, who was a pretty girl and a pretty singer.

I cannot but deeply regret to think that I should in these pages have any ground for classing Scottish poetry and Scottish airs amongst “Reminiscences.”  It is a department of literature where, of course, there must be selection, but I am convinced it will repay a careful cultivation.  I would recommend, as a copious and judicious selection of Scottish tunes, “The Scottish Minstrel,” by R.A.  Smith (Purdie, Edinburgh).  There are the words, also, of a vast number of Scottish songs, but the account of their authorship is very defective.  Then, again, for the fine Scottish ballads of an older period, we have two admirable collections—­one by Mr. R. Chambers, and one by the late Professor Aytoun.  For Scottish dialect songs of the more modern type, a copious collection will be found (exclusive of Burns and Allan Earn say) in small volumes published by David Robertson, Glasgow, at intervals from 1832 to 1853, under the title of Whistlebinkie.