Whose odours fled,
And all but I departed.'

But it avails not either sighing or moralising; to have known the
good and the great, the wise and the witty, is still, on the
whole, a pleasing reflection, though saddened by the thought that
their voices are silent and their halls empty."

Yes, indeed, Scott possessed deep feelings, though he did not exhibit
them to the public.

Now Burns does exhibit his deep feelings, as I demonstrated by
quotations. And I suggested that it is just his strength of emotion,
his command of pathos and readiness to employ it, by which Burns
appeals to the mass of his countrymen. On this point "J.B." expressly
agrees with me; but--he will have nothing to do with my quotations!
"However excellent in their way" these quotations may be, they "are
not those that any Scotsman would trust to in support of the above
proposition"; the above proposition being that "Burns appeals to the
hearts and feelings of the masses in a way that Scott never does."

You see, I have concluded rightly; but on wrong evidence. Let us see,
then, what evidence a Scotsman will call to prove that Burns is a
writer of deep feeling. "A Scotsman," says "J.B." "would at once
appeal to "Scots wha hae," "Auld Lang Syne," and "A man's a man for a'
that." ... Think of the soul-inspiring, 'fire-eyed fury' of 'Scots wha
hae'; the glad, kind, ever fresh greeting of 'Auld Lang Syne'; the
manly, sturdy independence of 'A man's a man for a' that,' and who can
wonder at the ever-increasing enthusiasm for Burns' name?... I would
rather," says "J.B.," "be the author of the above three lyrics than I