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.
A man's a man for a' that. . . . . A prince can mak a belted knight, A marquis, duke, and a' that; But an honest man's aboon his might, Guid faith he mauna fa' that! . . . Then let us pray that come it may, As come it will for a' that, That sense and worth, o'er a' the earth, May bear the gree and a' that. For a' that, and a' that, It's comin' yet, for a' that, When man to man, the world o'er, Shall brithers be for a' that.
On Earth, Discord! A gloomy Heaven above, opening her jealous gates to the nineteen thousandth part of the tithe of mankind! And below, an inescapable & inexorable Hell, expanding its leviathan jaws for the vast residue of Mortals!
[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.
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.