[Scottish songs] are, I own, frequently wild, & unreduceable to the more modern rules; but on that very eccentricity, perhaps, depends a great part of their effect.
Apropos, is not the Scotch phrase 'Auld Lang Syne' exceedingly expressive? I shall give you the verses on the other sheet. The words of 'Auld Lang Syne' are good, but the music is an old air, the rudiments of the modern tune of that name. ... Dare to be honest and fear no labor. ... Opera is where a man gets stabbed in the back, and instead of dying, he sings. ... Chords that vibrate sweetest pleasure thrill the deepest notes of woe. ... Critics! Those cut-throat bandits in the paths of fame.
O, Life! how pleasant is thy morning,
Young Fancy's rays the hills adorning!
Cold pausing Caution's lesson scorning,
We frisk away,
Like schoolboys, at the expected warning,
To joy and play.
But Mousie, thou art no thy lane In proving foresight may be vain The best-laid schemes o' mice an' men Gang aft agley An' lea'e us nought but grief an' pain For promis'd joy!
But to see her was to love her, Love but her, and love forever. Had we never lou'd sae kindly, Had we never lou'd sae blindly, Never met - or never parted - We had ne'er been broken hearted