BIOGRAPHICAL SKETCHES. 237
works of the day, but it was not till 1794 that Mr. Sommers, impelled by the
political excitement of the times, committed himself to the public, by the production
of a pamphlet on the “Meaning and Extent of the Burgess Oath.”‘
This essay, inscribed to Provost Elder, is written in a clear and forcible style.
The aim of the author was to exhibit to his fellow-burgesses the nature and
duties by which they were bound, and the evil effects consequent on disunion,
disaffection, and civil war. As the pamphlet is now scarce, we may quote the
following passage as a specimen :-“ How valuable, how important then, the
blessings of internal peace-national peace ! Consequently, how criminal the
conduct of those who would endeavour to deprive us of them ! Peace, at her
leisure, plans and leads out industry to execute all those noble improvements
in agriculture, commerce, architecture, and science, which we behold on every
side. Peace sets the mark of property on our possessions, and bids justice
guarantee them to our enjoyment. Peace spreads over us the banner of the
laws, while, free from outrage, and secure from injury, we taste the milk and
honey of our honest toil.“
The author was prompted to
this performance by a desire to vindicate the character of the poet, and rescue
his memory from the misrepresentations of ‘‘ those biographers who knew him
not, and who have taken their materials from others little better informed than
themselves.” The story of the poet’s accidental meeting with the Rev. John
Brown, in the churchyard of Haddington, and the extraordinary effect resulting
from the conversation, is strongly doubted by Mr. Sommers. “This rural
excursion, and singular dialogue,” says he, “ with all its supposed direful effects,
has even found its way into the first volume of the Supplement to the Eneyelop@
dia Britanniea, and is held forth in that part of their biographical history as
a sterling circumstance in the life of the unfortunate Robert Fergusson! I
know, however, that account to be ill-founded in most particulars, although the
visit alluded to was in the year 1772. The day before Robert Fergusson set
out upon it, I saw and conversed with him; and the evening on which he
returned to town was in his company ; and not one word dropped from him of
any such thing having happened, though he was thn in every respect possessed
of all his mental faculties.
With regard to the accusation preferred against the poet, “that he was an
utter stranger to temperance and sobriety, and that his dissipated manner of
life had in a great measure eradicated all sense of delicacy and propriety,” Mr.
Sommers observes, that ‘‘ those who were personally acquainted with him, will
His Life of Fergusson appeared in 1803.’
“Observations on the Meaning and Extent of the Burgess Oath, taken at the admission of every
Burgess in the City of Edinburgh, as comprehending the duties of Religion, Allegiance to the King,
Respect and Submission to the authority of the Civil Magistrate, and the relative duties which the Bur
gesses owe to each other. By Thomas Sommera, Burgess and Freeman Glazier of Edinburgh.” 8vo.
* “Life of Robert Fergusson, the Scottish Poet, by Thomas Sommers, Burgess and Freeman of
Edinburgh, and his Majesty’s Glazier for Scotland.” This biographical sketch
was intended to accompany an edition of Fergusson’s Poems, printed in 12mo, by Chapman and Lang,
1500, and which Sommers characterises “as the best yet published.”
Edin. 1803, 12mo.
238 BIOGRAPHICAL SKETCHES.
not subscribe to that opinion ; for even when in his more devoted hours at the
shrine of Bacchus, he preserved a modesty and gentleness of manners, exhibited
by few of his age, sprightly humour, and unpatronised situation."
Of the intimacy betwixt the poet and his biographer, the following anecdote
affords a characteristic instance. Mr. Sommers, alluding to his shop in the
Parliament Square, states that he was frequently visited by the poet, when
passing to or from the Comniissary Office :-" In one of those visits I happened
to be absent ; he found, however, my shopboy Robert Aikman (a great favourite
of Fergusson), then engaged in copying from a collection of manuscript hymns
one on the Creation, given to him by a friend of the author, in order to improve
his hand in writing. Fergusson looked at the hymn, and supposing that I had
given it to the boy, not merely to transcribe, but to learn its serious contents,
took the pen out of his hand, and upon a small slip of paper wrote the following
lines : -
' Tom Sommers is a gloomy man,
His mind is dark within ;
0 holy - ! glaze his soul,
That light may enter in.'
He then desired the boy to give his compliments to me, delivered to him the
slip of paper, and retired."
Another circumstance relative to the only portrait known to have been taken
of the poet, is too interesting to be omitted. Speaking of Ruiaciman, the painter,
Sommers says-" That artist was at this time painting, in his own house in the
Pleasance, a picture on a half-length cloth of the Prodigal Son, in which his
fancy and pencil had introduced every necessary object and circumstance suggested
by the sacred passage. I was
much pleased with the composition, colouring, and admirable effect of the piece,
at least what was done of it; but expressed my surprise at observing a large
space in the centre, exhibiting nothing but chalk outlines of a human figure.
He informed me that he had reserved that space for the Prodigal, but could
not find a young man whose personal form and expressive features were such
as he could approve of, and commit to the canvas. Robert Fergusson's face
and figure instantly occurred to me ; not from an idea that Fergusson's real
character was that of the Prodigal; by no means-but on account of his
sprightly humour, personal appearance, and striking features. I asked Mr.
Runciman if he knew the poet? He answered in the negative, but that he
had often read and admired the poems. That evening at five I appointed to
meet with him and the poet in a tavern, Parliament Close. We did so, and
I introduced him. The painter was much pleased, both with his figure and
conversation. I intimated to Ferpsson the nature of the business on which
we met. He agreed to sit next forenoon.. I accompanied him for that purpose;
and in a few days the picture strikingly exhibited the bard in the character of a
prodigal, sitting on a grassy bank, surrounded by swine, some of which were
sleeping, and others feeding ; his right leg over his left knee ; eyes uplifted ;
At his own desire I called to see it.
