CHARLES DOYNE SILLERY.

Though a native of Ireland, Charles Doyne Sillery has some claim to enrolment among the minstrels of Caledonia. His mother was a Scotchwoman, and he was himself brought up and educated in Edinburgh. He was born at Athlone, in Ireland, on the 2d of March 1807. His father, who bore the same Christian and middle names, was a captain of the Royal Artillery.[24] He distinguished himself in the engagements of Talavera on the 27th and 28th of July 1809; but from his fatigues died soon after. His mother, Catherine Fyfe, was the youngest daughter of Mr Barclay Fyfe, merchant in Leith. She subsequently became the wife of James Watson, Esq., now of Tontley Hall, Berkshire.

Of lively and playful dispositions, Sillery did not derive much advantage from scholastic training. His favourite themes were poetry and music, and these he assiduously cultivated, much to the prejudice of other important studies. At a subsequent period he devoted himself with ardour to his improvement in general knowledge. He read extensively, and became conversant with the ancient and some of the modern languages. Disappointed in obtaining a commission in the Royal Artillery, on which he had calculated, he proceeded to India as midshipman in a merchant vessel. Conceiving a dislike to a seafaring life, after a single voyage, he entered on the study of medicine in the University of Edinburgh. From early youth he composed verses. In 1829, while only in his twenty-second year, he published, by subscription, a poem, in nine cantos, entitled "Vallery; or, the Citadel of the Lake." This production, which refers to the times of Chivalry, was well received; and, in the following year, the author ventured on the publication of a second poem, in two books, entitled "Eldred of Erin." In the latter composition, which is pervaded by devotional sentiment, the poet details some of his personal experiences. In 1834 he published, in a small duodecimo volume, "The Exiles of Chamouni; a Drama," a production which received only a limited circulation. About the same period, he became a contributor of verses to the Edinburgh Literary Journal. He ultimately undertook the editorial superintendence of a religious periodical.

Delicate in constitution, and of a highly nervous temperament, Sillery found the study of medicine somewhat uncongenial, and had formed the intention of qualifying himself for the Church. He calculated on early ecclesiastical preferment through the favour of Her Majesty Queen Adelaide, to whom he had been presented, and who had evinced some interest on his behalf. But his prospects were soon clouded by the slow but certain progress of an insidious malady. He was seized with pulmonary consumption, and died at Edinburgh on the 16th May 1836, in his twenty-ninth year.

Of sprightly and winning manners, Sillery was much cherished in the literary circles of the capital. He was of the ordinary height, and of an extremely slender figure; and his eye, remarkably keen and piercing, was singularly indicative of power. Poetry, in its every department, he cherished with the devotion of an enthusiast; and though sufficiently modest on the subject of his own poetical merits, he took delight in singing his own songs. Interested in the history of the Middle Ages, he had designed to publish an "Account of Ancient Chivalry." Latterly, his views were more concentrated on the subject of religion. Shortly before his death, he composed a "Discourse on the Sufferings of Christ," the proof-sheets of which he corrected on his deathbed. As a poet, with more advanced years, he would have obtained a distinguished place. With occasional defects, the poem of "Vallery" is possessed of much boldness of imagery, and force and elegance of expression.

SHE DIED IN BEAUTY.

THE SCOTTISH BLUE BELLS.

ROBERT MILLER.

WHERE ARE THEY?

LAY OF THE HOPELESS.

ALEXANDER HUME.

About this period (1822 or 1823), when irritated by those who had authority over him, he suddenly disappeared from home, and allied himself to a company of strolling players, with whom he associated for several months. He had an exquisite natural voice, and sung the melting melodies of Scotland in a manner seldom equalled. With the itinerant manager he was a favourite, because he was fit for anything—tragedy, comedy, farce, a hornpipe, and, if need be, a comic song, in which making faces at the audience was an indispensable accomplishment. His greatest hit, we are told, was in the absurdly extravagant song, "I am such a Beautiful Boy;" when he used to say that in singing one verse, he opened his mouth so wide that he had difficulty in closing it; but it appears he had neither difficulty nor reluctance in closing his engagement. Getting tired of his new profession, and disgusted with his associates, poorly clad and badly fed, he slipped away when his companions were fast asleep, and returned to London. Here, weary and footsore, he presented himself to a relative, who received him kindly, and placed him in a position where by industry he might provide for his necessities.

In 1827, he obtained a situation with Forbes & Co. of Mark Lane, the highly respectable agents for Berwick & Co. of Edinburgh, the celebrated brewers of Scotch ale. His position being one of considerable responsibility, he was obliged to find security in the sum of £500, which he obtained from the relative who had always stood his friend. But such was his probity and general good conduct, that his employers cancelled the security, and returned the bond as a mark of their appreciation of his integrity and worth.

About this period it was that he first gave utterance to his feelings in verse. Impulsive and impassioned naturally, his first strong attachment roused the deepest feelings of the man, and awoke the dormant passion of the poet. The non-success of his first wooing only made his song the more vehement for a while, but as no flame can burn intensely for ever, his love became more subdued, and his song gradually assumed that touching pathos which has ever characterised the best lyrics of Scotland.

Some time between the years 1830 and 1833, he became a member of the Literary and Scientific Institution, Aldersgate Street, where he made the acquaintance of many kindred spirits, young men of the same standing as himself, chiefly occupied in the banks, offices, and warehouses of the city of London. There they had classes established for the study of history, for the discussion of philosophical and literary subjects, and for the practice of elocution. The recitations of the several members awoke the embers that smouldered in his heart from the time he had left the stage. His early experience had made him acquainted with the manner in which the voice ought to be modulated to make the utterance effective; and although he seldom ventured to recite, he was always a fair critic and a deeply interested auditor. The young ambition of a few had led them to aspire to authorship, and they established a monthly magazine. Although the several articles were not of the highest order, they were, nevertheless, quite equal to the average periodical writings of the day. In this magazine it is believed that Hume published his first song. It had been sent in the ordinary way, signed Daft Wattie, and the editor, not appreciating the northern dialect in which it was written, had tossed it aside. Shortly afterwards, one of the managers on turning over the rejected papers was attracted by the verses, read them, and was charmed. He placed them back in the editor's box, certifying them as fit for publication by writing across them,

to which he signed his name, William Raine. This circumstance soon led to an intimate acquaintance with Mr Raine, who was a man of considerable original power, excellent education, and of a social and right manly nature. This new acquaintance coloured the whole of Hume's future life. They became fast friends, and were inseparable. The imagination of Hume was restrained by the acute judgment and critical ability of Mr Raine. When Hume published his first volume of "Songs," it would perhaps be difficult to determine whether their great success and general popularity resulted from the poet whose name they bore, or from the friend who weighed and suggested corrections in almost every song, until they finally came before the public in a collected form. The volume was dedicated to Allan Cunningham, and in the preface he says: "I composed them by no rules excepting those which my own observation and feelings formed; I knew no other. As I thought and felt, so have I written. Of all poetical compositions, songs, especially those of the affections, should be natural, warm gushes of feeling—brief, simple, and condensed. As soon as they have left the singer's lips, they should be fast around the hearer's heart."

In 1837, Hume married Miss Scott, a lady well calculated to attract the eye and win the heart of a poet. He remained connected with the house of Berwick & Co. until 1840, when, to recover his health, which had been failing for some time, he was advised to visit America, where he travelled for several months. On his return to England, he entered into an engagement with the Messrs Lane of Cork, then the most eminent brewers in the south of Ireland. To this work he devoted himself with great energy, and was duly rewarded for his labour by almost immediate success. The article he sold became exceedingly popular in the metropolis; nor was he disappointed in the hope of realising considerable pecuniary advantages.

For several years he had written very little. The necessity to make provision for a rapidly increasing family, and the ambition to take a high position in the business he had chosen, occupied his every hour, and became with him a passion as strong as had ever moved him in works of the imagination.

In 1847 there were slight indications of a return of the complaint from which he had suffered in 1840, and he again crossed the Atlantic. Although he returned considerably improved in health, he was by no means well. Fortunately he had secured the services of a Mr Macdonald as an assistant in his business, whose exertions in his interest were unremitting. Mr Hume's health gradually declined, and ultimately incapacitated him for the performance of any commercial duty. In May 1851 he died at Northampton, leaving a widow and six children.

As a song writer, Hume is entitled to an honourable place among those authors whose writings have been technically called "the Untutored Muse of Scotland." His style is eminently graceful, and a deep and genuine pathos pervades his compositions. We confidently predict that some of his lyrics are destined to obtain a lasting popularity. In 1845, a complete edition of his "Songs and Poems" was published at London in a thin octavo volume.

MY WEE, WEE WIFE.

O POVERTY!

NANNY.

MY BESSIE.

MENIE HAY.

I 'VE WANDER'D ON THE SUNNY HILL.

OH! YEARS HAE COME.

MY MOUNTAIN HAME.

THOMAS SMIBERT.

A poet and indefatigable prose-writer, Thomas Smibert was born in Peebles on the 8th February 1810. Of his native town his father held for a period the office of chief magistrate. With a view of qualifying himself for the medical profession, he became apprentice to an apothecary, and afterwards attended the literary and medical classes in the University of Edinburgh. Obtaining licence as a surgeon, he commenced practice in the village of Inverleithen, situated within six miles of his native town. He was induced to adopt this sphere of professional labour from an affection which he had formed for a young lady in the vicinity, who, however, did not recompense his devotedness, but accepted the hand of a more prosperous rival. Disappointed in love, and with a practice scarcely yielding emolument sufficient to pay the annual rent of his apothecary's store, he left Inverleithen after the lapse of a year, and returned to Peebles. He now began to turn his attention to literature, and was fortunate in procuring congenial employment from the Messrs Chambers, as a contributor to their popular Journal. Of this periodical he soon attained the position of sub-editor; and in evidence of the indefatigable nature of his services in this literary connexion, it is worthy of record that, during the period intervening between 1837 and 1842, he contributed to the Journal no fewer than five hundred essays, one hundred tales, and about fifty biographical sketches. Within the same period he edited a new edition of Paley's "Natural Theology," with scientific notes, and wrote extensively for a work of the Messrs Chambers, entitled "Information for the People." In 1842, he was appointed to the sub-editorship of the Scotsman newspaper. The bequest of a relative afterwards enabled him to relinquish stated literary occupation, but he continued to exhibit to the world pleasing evidences of his learning and industry. He became a frequent contributor to Hogg's Instructor, an Edinburgh weekly periodical; produced a work on "Greek History;" and collated a "Rhyming Dictionary." A large, magnificently illustrated volume, the "Clans of the Highlands of Scotland," was his most ambitious and successful effort as a prose-writer. His poetical compositions, which were scattered among a number of the periodicals, he was induced to collect and publish in a volume, with the title, "Io Anche! Poems chiefly Lyrical;" Edinburgh, 1851, 12mo. An historical play from his pen, entitled "Condé's Wife," founded on the love of Henri Quatre for Marguerite de Montmorency, whom the young Prince of Condé had wedded, was produced in 1842 by Mr Murray in the Theatre Royal, Edinburgh, and during a run of nine nights was received with applause.

Smibert died at Edinburgh on the 16th January 1854, in his forty-fourth year. With pleasing manners, he was possessed of kindly dispositions, and was much cherished for his intelligent and interesting conversation. In person he was strong built, and his complexion was fair and ruddy. He was not undesirous of reputation both as a poet and prose-writer, and has recorded his regret that he had devoted so much time to evanescent periodical literature. His poetry is replete with patriotic sentiment, and his strain is forcible and occasionally brilliant. His songs indicate a fine fancy and deep pathos.

THE SCOTTISH WIDOW'S LAMENT.

THE HERO OF ST JOHN D'ACRE.[25]

OH! BONNIE ARE THE HOWES.