Oh! the sea, the terrible sea! How dreadful it looks with the land on the lee ; Ah no! they are doomed to a watery grave. See, she strikes on the shore with a shivering shock, THE AULD STOCKIN' FIT. Before ye settle doon in life you've mony things to learn, Each penny saved's a penny gained, when added to the stock, You'll aye hae plenty friends around, while a' gangs fair and richt, To flatter ye and daut ye, scarce let ye oot their sicht; That may a' be very weel, but the best friend I've seen yet Is Victoria's' winsome face in weel-filled stockin' fit. Sair trouble may o'ertak ye-it's been aye the doom o' man- Try aye to help a neighbor that's bowed doon wi' sair distress, Be carefu', but no niggardly, gi'e every man his due,— JOHN TAYLOR, ARTIST and poet, Glasgow, was born near Hun tingtower, Perth, in 1837. His father, James Taylor, who is referred to in page 174 of the present volume, was a prize-taker in several rhyming competitions; while his mother belonged to an old Perthshire stock, said by the family traditions to be connected with the Dalhousies. One relative was Provost of Perth about the beginning of the century, and another was a Royal chaplain and minister of St. Enoch's, Glasgow, for about forty years. In 1840 the family removed to Glasgow, where they have lived ever since. 66 The subject of this notice became a pupil teacher and Queen's scholar in the Free Normal Seminary, and on leaving it, in 1857, was engaged for a few years as a tutor in England. Previous to this, however, his inclination to both pen and pencil had become decided, and he had attempted portraits both in chalk and oil, as well as had a few short prose articles published. He spent a short time in France in 1860, and again in 1865. His first exhibited picture was a series of outline illustrations to Longfellow's "Excellsior" in the Glasgow Fine Art Institute, 1862. He continued to accept engagements as a visiting master, teaching drawing, &c., in several higher class schools, till 1867, when he finally gave up teaching. Though occasionally having pictures in other principal exhibitions, Mr Taylor has not had any in the Glasgow Institute since 1870. He has contributed to various periodicals, including the Art Journal, Chambers's Journal, Hedderwick's Miscellany, &c., and has had rhymes in Scotch, English, and Irish, as well as both eastern and western American newspapers; but he is perhaps best known by his poems and songs in the People's Friend, and verses contributed to the newspapers. In Quiz, a Glasgow comic paper, several of his poems and a considerable number of sketches have appeared. Mr Taylor has written numerous chastely-wrought lyrics, abounding in melodious cadences, and, generally speaking, his verses give evidence of skill and carefulness in the setting of poetic conceptions. He has not only the poetical faculty, but he possesses the artist's patience and taste. TODDLEBONNY. Wat ye wha I lo'e the best, Toddle but, an' toddle ben, Toddle, toddle, on aye; Through the house an through the worl', Roses in the garden grow, An' cherries sweet as honey; But rosy cheeks an' cherry mou' Are sweeter far than ony. Though the bairnie's wee she'll grow Big an' braw, an' mair than a', Little starries in the sky Twinkle bricht an' bonny; But twa wee lauchin' een Ï ken Are brichter far than ony. O the very sun itsel', Shinin' doun upon ye, Seems twice as bricht just wi' the sicht O' wee Toddlebonny. GOING TO A FUNERAL. I'm going to a funeral, But not, alas! to mourn; The rest may leave when all is o'er, I'm going to a funeral, And have been going long ; I know not when nor where 'twill be, But now or then, or here or there, There may be few or many there, And I'll be with them in the midst, Yet in that company I'll be The chief among them all. Though others there may weep and wail, shall not shed a tear; Their loudest cries of grief shall fail Though throbbing hearts convulsive leap, Mine shall give no responsive beat, Hopeful, or hopeless; loving, loved; Old, young; or grave or gay; We all go to a funeral, And none may bide away. The brightest eye must lose its light, The fairest form must feed the worm, All through the shadowy vale of Death We know there can no shadow be And life's all-pure eternal light SWEET WAS THE TIME. Sweet was the time when I roved on the mountain, Or strayed wi' my true love at e'en in the glen, He is my own love, my old love, my new love, Ochone a rie! he is gane frae the mountain. Nor in the green meadows, nor doun by the fountain, Fair was my love as the sunbeams o' mornin', The kind lovin' heart that beat true in his breast. My true love and I, in the days that are gane : Like the sunlicht o' life were we twa to each ither, Ochone a rie! he is gane frae the mountain- Nor in the green meadows, nor doun by the fountain; AYE TO THE FORE. When I was a laddie-that's lang, lang syne- And grown up to manhood it still was the same, Ye would see Donal' Morison aye to the fore. But manhood an' vigour maun baith wear awa', |