The information and the religious education of the peasantry of Scotland, promote sedateness of conduct, and habits of thought and reflection.These good qualities are not counteracted by the establishment of poor-laws, which, while they reflect credit on the benevolence, detract from the wisdom of the English legislature. To make a legal provision for the inevitable distresses of the poor, who by age or disease are rendered incapable of labour, may indeed seem an indispensable duty of society; and if, in the execution of a plan for this purpose, a distinction could be introduced, so as to exclude from its benefits those whose sufferings are produced by idleness or profligacy, such an institution would perhaps be as rational as humane. But to lay a general tax on property for the support of poverty, from whatever cause proceeding, is a measure full of danger. It must operate in a considerable degree as a bounty on idleness, and a duty on industry. It takes away from vice and indolence the prospect of their most dreaded consequences, and from virtue and industry their peculiar sanctions. In many cases it must render the rise in the price of labour, not a blessing, but a curse to the labourer; who, if there be an excess in what he earns, beyond his immediate necessities, may be expected to devote this excess to his present gratification; trusting to the provision made by law for his own and his family's

mily's support, should disease suspend, or death terminate his labours. Happily, in Scotland, the same legislature which established a system of instruction for the poor, resisted the introduction of a legal provision for the support of poverty; what they granted on the one hand, and what they refused on the other, was equally favourable to industry and good morals; and hence it will not appear surprising, if the Scottish peasantry have a more than usual share of prudence and reflection, if they approach nearer than persons of their order usually do, to the definition of a man, that of, "a "being that looks before and after." These observations must indeed be taken with many exceptions-the favourable operation of the causes just mentioned, is counteracted by others of an opposite tendency, and the subject, if fully examined, would lead to discussions of great extent.

When the reformation was established in Scotland, instrumental music was banished from the churches, as savouring too much of "prophane minstrelsy." Instead of being regulated by an instrument, the voices of the congregation are led and directed by a person under the name of a precentor, and the people are all expected to join in the tune which he chuses for the psalm which is to be sung. Church-music is therefore a part of the education of the peasantry of Scotland, in

which they are usually instructed in the long winter nights by the parish school-master, who is generally the precentor, or by itinerant teachers more celebrated for their powers of voice. This branch of education had, in the last reign, fallen into some neglect, but was revived about thirty or forty years ago, when the music itself was reformed and improved. The Scottish system of psalmody is however radically bad. Destitute of taste or harmony, it forms a striking contrast with the delicacy and pathos of the prophane airs. Our poet, it will be found, was taught church-music, in which however he made little proficiency.

That dancing should also be very generally a part of the education of the Scottish peasantry, will surprize those who have only seen this description of men; and still more those who reflect on the rigid spirit of Calvinism with which the nation is so deeply affected, and to which this recreation is strongly abhorrent. The winter is also the season when they acquire dancing, and indeed almost all their other instruction. They are taught to dance by persons, generally of their own number, many of whom work at daily labour during the summer months. The school is usually a barn, and the arena for the performers is generally a clay floor. The dome is lighted by candles stuck in one end of a cloven stick, the

other

other end of which is thrust into the wall. Reels, strathspeys, country-dances, and hornpipes, are here practised. The jig, so much in favour among the English peasantry, has no place among them. The attachment of the people of Scotland of every rank, and particularly of the peasantry, to this amusement, is very great. After the labours of the day are over, young men and women walk many miles in the cold and dreary night of winter, to these country dancing-schools; and the instant that the violin sounds a Scottish air, fatigue seems to vanish, the toil-bent rustic becomes erect, his features brighten with sympathy; every nerve seems to thrill with sensation, and every artery to vibrate with life. These rustic performers are indeed less to be admired for grace, than for agility and animation, and their accurate observance of time. Their modes of dancing, as well as their tunes, are common to every rank in Scotland, and are now generally known. In our own day they have penetrated into England, and have established themselves even in the circle of roy alty. In another generation they will be naturalized in every part of the island.*

The

*At the fete given by her Royal Highness the Dutchess of York, at Oatlands, on the 30th of May, the dances were as follows: 1. Ramab Droog. 2. Miss Murray of Auchtertyre. 3. The Tartan Plaidie. 4. Lady

The prevalence of this taste, or rather passion for dancing, among a people so deeply tinctured with the spirit and doctrines of Calvin, is one of those contradictions which the philosophic observer so often finds in national character and manners. It is probably to be ascribed to the Scottish music, which throughout all its varieties, is so full of sensibility, and which in its livelier strains, awakes those vivid emotions, that find in dancing their natural solace and relief.

This triumph of the music of Scotland over the spirit of the established religion, has not however been obtained without long-continued and obstinate struggles. The numerous sectaries who dissent from the establishment on account of the relaxation which they perceive, or think they perceive, in the church, from her original doctrines

and

Harriet Hope's Reel. And lastly, the inchanting tune of Mrs. Gordon of Troupe's Strathspey was called for by the Princess Augusta, and danced twice over by all the set. Between the second and third dance, Their Majesjesties desiring to see the Highland Reel in all its purity, it was danced by the Marquis of Huntley and Lady Georgina Gordon, Colonel Erskine and Lady Charlotte Durham, with all the elastic motion, hereditary character, and boundless variety of the Scottish dance."

Extracted from the London Paper the Star, 1st June, 1799.