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Electrical Engineering
JAIN
Principles of Synchronous
Principles of
OFC-based SDH systems.”
—S.K. Biswas, Chief Communication Engineer, Western Railway, Mumbai, India
If you want to “know” what synchronous digital hierarchy (SDH) is, any book
or tutorial on the Internet will give you a quick overview. However, if you want
Synchronous
to “understand” its importance, you need more. You need a deep knowledge
of the fundamentals of plesiochronous digital hierarchy (PDH), and any book
on SDH that does not include these fundamentals will leave you high and
dry. A comprehensive learning tool, Principles of Synchronous Digital
Hierarchy provides a complete guide for professionals in the field of
Digital
telecommunication transport technologies—the backbone communication.
Hierarchy
SDH principles to give you the background needed and presents them in a
logical chronology. He stresses the fundamentals, even at the cost of some
repetition, to develop a strong foundation and deep understanding of the
material. He builds on this with coverage of line coding, clock, PCM, TDM,
signal impairments, synchronization, and PDH principles and O&M, then
introduces analog multiplexing, media for SDH, carrying data over SDH,
and new generation SDH and OTN to impart a clear understanding of
digital multiplexing.
K15097
ISBN: 978-1-4665-1726-4
90000
9 781466 517264 R A J E S H K U M A R J A I N
R A J E S H K U M A R J A I N
This book contains information obtained from authentic and highly regarded sources. Reasonable efforts
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1. Introduction .....................................................................................................1
1.1 You and Me ............................................................................................1
1.2 “Mr. Watson, Come Here. I Want to See You.” .................................1
1.3 Technology of the Telephone ...............................................................2
1.3.1 Transmitter ...............................................................................3
1.3.2 Receiver .....................................................................................4
1.3.3 Metallic Wires ..........................................................................4
1.4 Telephone Exchanges............................................................................6
1.4.1 Manual Exchange ....................................................................6
1.4.2 Automatic Exchanges ..............................................................7
1.5 Long-Distance Communication ..........................................................8
1.6 Need for Multiplexing ..........................................................................9
1.7 Techniques of Multiplexing .................................................................9
1.8 Multiplexing Structure of FDM Schemes ........................................ 11
1.9 Capacities of Various Analog (FDM) Multiplexing Systems ........ 13
1.9.1 Copper Wire Pairs.................................................................. 13
1.9.2 Coaxial Cables ........................................................................ 13
1.9.3 Microwave Systems ............................................................... 13
1.10 Digital Multiplexing ........................................................................... 14
1.10.1 Plesiochronous Digital Hierarchy ....................................... 14
1.10.2 Synchronous Digital Hierarchy ........................................... 15
1.10.3 Coarse Wavelength Division Multiplexing ........................ 15
1.10.4 Dense Wavelength Division Multiplexing ......................... 16
1.10.5 Optical Transport Network .................................................. 16
Review Questions .......................................................................................... 16
Critical Thinking Questions......................................................................... 17
Bibliography.................................................................................................... 17
v
vi Contents
5. Clock.............................................................................................................. 101
5.1 What Is a Clock? ................................................................................ 101
5.2 Significance of the Clock .................................................................. 102
viii Contents
15. Transmission Media for PDH/SDH and OFC Technology ................ 453
15.1 Types of Media for PDH/SDH Transmission ............................... 453
15.1.1 Copper Wire Pair ................................................................. 453
15.1.2 Coaxial Cables ...................................................................... 455
15.1.3 Microwave Radios ............................................................... 456
15.1.4 Free Space Optics (Air Fiber) .............................................. 457
15.1.5 Optical Fiber Cable .............................................................. 458
15.2 Optical Fiber Communication Technology ................................... 459
15.2.1 Principles of OFC ................................................................. 459
15.2.2 Optical Frequency/Wavelength Used .............................. 461
15.2.3 Types of Optical Fibers........................................................463
15.2.3.1 Plastic Fiber ...........................................................463
15.2.3.2 Glass Fibers ...........................................................464
15.2.3.3 Multimode Fiber ...................................................464
15.2.3.4 Single Mode Fiber................................................. 465
15.2.3.5 Dispersion-Shifted Fibers.................................... 465
15.2.3.6 Step Index Fiber .................................................... 466
Contents xvii
Dear friends,
I am an engineer by qualification and a signaling and telecommunication
professional by occupation. I work in the Signaling and Telecommunication
Department of the Indian Railways. Our job is to install and maintain vari-
ous signaling and telecommunication equipment required for railway oper-
ations. We have a phenomenal variety of signaling equipment with us, from
the oldest semaphore signaling systems to the latest electronic interlocking
systems and a variety of traffic control, management, protection, and data
logging systems. On the telecommunication front, we are engaged in the
installation, operation, and maintenance of many types of equipment in
most of the segments of popular telecommunication technologies. We have
telephone exchanges, omnibus control circuits, microwave radio links, opti-
cal fiber cables carrying long-distance synchronous digital hierarchy (SDH)
links, data communication networks running critical applications, ISM band
wireless links including short-distance DSSS and long-distance OFDM links,
GSM/R (GSM/R is a variation of GSM technology especially suited to rail-
way applications) for mobile communication between the running train and
the ground administration, and so forth.
There is no doubt that it is beyond the capabilities of a normal human
being to keep track of the fine details of all the signaling and telecommunica-
tion technologies, current and upcoming, in the current scenario of superfast
technological developments.
A few years back in my career, destiny threw me to a posting in Railtel
Corporation of India Ltd. (RCIL), a public-sector company under the Ministry
of Railways of the Government of India. Although RCIL was engaged in many
types of telecommunication businesses, its main revenue stream was the tele-
communication bandwidth across the country. Their network was built on rail-
ways’ optical fiber cable by deploying SDH/WDM systems. It was a sudden
jolt to my ego of technical competence when I could not tackle the nuts and
bolts of the SDH technology. Until then, I had been engaged in the installation,
operations, and maintenance of many types of signaling and telecommunica-
tion systems, and the telecommunication systems included mainly electronic
exchanges, microwave radio links, and data communication networks, aside
from other minor variations. I had some exposure to the OFC systems and car-
rier technologies, but what was expected of me was a thorough knowledge of
the SDH technology and associated systems and the ability to manage the sys-
tems and services effectively. Despite striving hard to understand the subject,
I found myself nowhere near the competency level that I would generally like
to have had. I continued to discharge my duties and did it quite well, somehow
managing with a makeshift knowledge of the SDH systems, which I gathered
xix
xx Preface
Rajesh Kumar Jain is chief signal engineer in the Signaling and Tele
communication Department of Indian Railways. He did his engineering in
electronics and telecommunication from Government Engineering College
Jabalpur (India) in 1979. The institute is a pioneer in engineering education
in the field of electronics and telecommunication in India, being the first col
lege to offer this course since 1948. He worked in DRDO (Defense Research
and Development Organization) as a scientist, where he was involved in
the development of RADAR systems. He joined Indian Railways Services
of Signal Engineers (IRSSE) in 1984. Since then, he has worked in various
capacities as a maintenance and project engineer, leading a team of a few
hundred technical staff to ensure efficient and reliable operations and main
tenance of the signaling and telecommunication systems of Indian Railways.
Throughout his career he was posted on the most challenging positions. His
approach toward work has always been a problemsolving approach that led
to innovation and implementation of many improvements in the design and
maintenance practices of signal and telecommunication systems of Indian
Railways. Jain handled the toughest and heaviest traffic section of Indian
Railways, i.e., the Mumbai Suburban section for a period of eight years at
a stretch. He innovated, developed and implemented a number of modifi
cations of the signaling systems that ensured safe and efficient running of
more than 1500 trains in the Mumbai–Kalyan section every day. He has to
his credit a number of honors bestowed upon him by Indian Railways. Jain
won the most coveted Minister’s award in the year 2001 for his contribu
tions to the organization. He has presented many papers in various technical
forums on the subjects relating to signaling, telecommunication and light
ning protection systems, and all of them were highly applauded.
The author can be contacted through email at rajeshjain2001@indiatimes
.com.
xxiii
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1
Introduction
1
2 Principles of Synchronous Digital Hierarchy
Figure 1.1
Children’s communication through cotton thread.
Receivers
Transmitters
Figure 1.2
The basic telephone technology. (If you are wondering why there is only one pair of wires, and
why only transmitters are connected to each other and not the receivers, here is the answer.
Although there is only one pair of wires connecting the two telephones, the transmitted voice
is separated from the received voice by means of a circuit called “Hybrid.” When the voice is
received by the telephone, Hybrid directs it to the receiver (or earpiece), and when the person
speaks, the voice is guided to the transmitter by the Hybrid circuit.)
Introduction 3
1.3.1 Transmitter
The principle of operation of the transmitter is illustrated in Figure 1.3.
Fine carbon granules are filled between two carbon electrodes. One of the
carbon electrodes is fixed, while the other is movable. An aluminum dia-
phragm is attached with the help of a soft rubber to the movable electrode.
The movable electrode is suspended on thin mica flanges with the transmit-
ter body. DC voltage is applied between the electrodes, which results in the
flow of a DC current.
When a person speaks in front of the diaphragm, the sound waves gener-
ated by the pressure of the voice move the diaphragm to and fro. The dis-
placement of the diaphragm is proportionate to the pressure of the sound
waves. The diaphragm in turn moves the movable electrode. The movement
of the electrode causes the pressure on the carbon granules to increase or
decrease in accordance with the sound pressure. This causes the resistance
between the two electrodes to vary, which in turn causes the current flow-
ing through the circuit to vary in accordance with the incident sound pres-
sure. Thus, the speech of the person is converted into electrical current
variations. When this current is applied to a receiver (depicted in the figure
as resistance R), which can convert the electrical variations back into voice,
the conversation is achieved. Since these electrical variations could be car-
ried on metallic wires to long distances (a few miles), the telephone became
feasible.
The present-day transmitter is very different from that described above in
the construction details and the materials used, but the basic principles of
operation remain the same.
Movable carbon
electrode
Fixed carbon
Aluminum diaphragm electrode
Carbon granules
V R (receiver)
(Battery)
Figure 1.3
The principles of functioning of a transmitter (or microphone).
4 Principles of Synchronous Digital Hierarchy
Diaphragm
Permanent
magnet Coils on magnetic poles
Figure 1.4
The principle of operation of a telephone receiver.
1.3.2 receiver
The principle of operation of the receiver is just the opposite of the transmit-
ter. Figure 1.4 illustrates this.
A permanent magnet is fixed with two poles that carry copper wire coils
with a high number of turns. A diaphragm is attached to the assembly by
means of soft rubber. The current received from the transmitter is fed to the
coil.
The magnet normally exerts a pull on the diaphragm. When current
received from the transmitter is fed to the coils, this current produces elec-
tromagnetic flux. This flux also causes a pull on the diaphragm. Since the
flux created by electromagnetic coils varies in accordance with the variations
in the incoming current, the pull on the diaphragm also varies in accordance
with the current received from the transmitter. This variation in the pull on
the diaphragm produces sound waves, which reproduce the speech of the
person speaking into the transmitter.
Again, the modern receiver has undergone substantial changes in the con-
struction details and the material used; but the basic principles of operation
remain the same.
Copper wires
Transmitter Receiver
(Battery)
“A” “B”
Figure 1.5
Person “A” is transmitting (speaking) while person “B” is receiving (listening).
Transmitter Tx Rx
Receiver Rx Tx
“A” “B”
Figure 1.6
Person “A” and “B” both are transmitting (speaking) and receiving (listening).
Copper wire is the most expensive of the three components. Long dis-
tances were involved, and it was expensive to bury the wires: they had to
be bunched in a strong cable, trenches dug, and roads cut. Thus, it was felt
necessary to reduce this cost as much as possible. One way to achieve this
was to use only a single pair of copper wires instead of two. By means of a
circuit called “Hybrid,” a single pair of copper wires carries the voice signals
from both directions. The Hybrid directs the received signal to the receiver
and sends the transmitted signals on the single pair. Figure 1.7 illustrates
Single pair
copper wire
Tx Tx
Hybrid Hybrid
Rx Battery Rx
“A” “B”
Figure 1.7
Use of a single pair for telephonic communication between two persons, with the help of the
“Hybrid” circuit.
6 Principles of Synchronous Digital Hierarchy
the concept. (The description of the device called Hybrid is quite interesting
but is out of the scope of this text. The readers who are interested in reading
further about it may refer to any basic text on telephony.)
A B
Subscribers
Manual
F exchange C
Wire pairs
E D
Figure 1.8
General layout of a manual exchange.
Subsequently however, the ACSR wire with its limited capacity gave way
to copper coaxial cables and microwave radios, etc. (This will be amplified
in subsequent sections.)
Multiplexer
4 kHz signal
generation Modulator
Ch-1 (0.3 to 3.4 kHz)
8 kHz signal
generation 4 to 20 kHz signal
Modulator
Combiner
Ch-2 (0.3 to 3.4 kHz)
12 kHz signal
generation Modulator
Ch-3 (0.3 to 3.4 kHz)
16 kHz signal
generation Modulator
Ch-4 (0.3 to 3.4 kHz)
Figure 1.9
Multiplexing of four channels with the support of carrier frequencies.
De-multiplexer
Figure 1.10
De-multiplexing of channels at the receiver.
Frequency
in kHz
(a) Basic group of 12 channels
Freq in
Super 1 2 3 4 5
group no.
Freq in
kHz 812 1052 1060 1300 1308 1548 1556 1796 1804 2044
(With a gap called a guard band of 8 kHz in between each super group)
Figure 1.11
Multiplexing structure of FDM schemes.
Introduction 13
With the advent of digital technology, all these problems of analog systems
were thrown into sharp focus. It became apparent that the analog systems
had no future, and by now they have been completely replaced by digital
systems.
Although there are several other advantages of the digital systems, these
two advantages far outweigh all others. They have led to the possibilities
of adding large numbers of repeaters through noiseless regeneration, and
accommodating a very large number of channels in a single transmission
link through the method of time division multiplexing. These subjects are
dealt with in detail in subsequent chapters, and only a brief description of
the prevailing technologies follows here.
The digital multiplexing technologies are plesiochronous digital hierarchy
(PDH), synchronous digital hierarchy (SDH), coarse wavelength division
multiplexing (CWDM), dense wavelength division multiplexing (DWDM),
and optical transport network (OTN).
No. of
speech
Sr. No. SDH Module No. of E1s channels
1 STM-1 63 1890
2 STM-4 252 7560
3 STM-16 1008 30,240
4 STM-64 4024 120,960
Figure 1.12
Channel capacities of various levels of SDH.
Review Questions
9. Why is the frequency band of 0.3 to 3.4 kHz chosen for voice
channels?
10. What are the main components of analog multiplexing and de-
multiplexing systems?
11. How is grouping of channels done in FDM and why? What is the
need of a guard band?
12. Up to how many channels could be multiplexed in an FDM system?
13. Make a table comparing the number of channels and repeater spac-
ing in various analog systems.
14. Compare the advantages and disadvantages of copper wire, coaxial
cable, and microwave systems.
15. What are the developments in digital multiplexing technologies and
how do they score over analog multiplexing technologies?
Bibliography
1. L.E. Frenzel, Principles of Electronic Communication Systems, Tata McGraw-Hill,
India, 2008.
2. S. Ramo, J.R. Whinnery, and T. Van Duzer, Fields and Waves in Communication
Electronics, John Wiley and Sons, 1994.
3. J.D. Ryder, Network Lines and Fields, Prentice-Hall, 1975.
4. J.C. Bellamy, Digital Telephony, John Wiley and Sons, Singapore, 2003.
18 Principles of Synchronous Digital Hierarchy
19
20 Principles of Synchronous Digital Hierarchy
the cable), and interference. The shortcomings of the equipment, the amplifi-
ers, filters, transducers, etc., and the transmission media, were the main con-
tributing factors. A number of techniques were developed to overcome the
adverse effects of these factors on the quality of speech. However, apart from
quality issues, the capacity of analog communication systems were starting
to show signs of saturation.
Transmission line
copper pair
Microphone
Amplifier Receiver
Loudspeaker
or
earphone
Figure 2.1
Basic analog communication model using base-band (audio frequency) transmission on a cop-
per wire pair.
Advent of Digital Technology 21
2.2.1 Attenuation
As the voice signal traverses the channel (transmission line), it loses strength
due to ohmic loss in the channel caused by the resistance of the copper wire.
This is the reason for deployment of an amplifier at the transmitting end,
to boost the signal sufficiently, such that the received signal, after suffering
losses due to attenuation, is still within the threshold limit of the receiver.
The amplifier solves one problem but adds many more, such as distortion
and noise, which is the cost to be paid for the gain. Nevertheless the use of
the amplifier is a must (we will see about the problems added by the ampli-
fier later in this chapter). Figure 2.2 illustrates the attenuation phenomenon.
The signal shown in Figure 2.2 is a sinusoidal signal. In reality the speech
signal, or any other natural signal for that matter, is never a perfect sinusoid.
However, the sinusoidal representation of signals facilitates an easy under-
standing, and modeling using it is perfectly applicable on actual natural sig-
nals of speech/video and others. The voice signal may look something close
to what is shown in Figure 2.3.
The attenuation is measured in decibels per kilometer. (A decibel is a mea-
surement unit universally adopted for attenuation. For a detailed discussion
Medium/transmission
line
Transmitted signal Received signal
Figure 2.2
Signal attenuation due to losses in the channel.
Amplitude
Time
Figure 2.3
Actual speech signal representation.
22 Principles of Synchronous Digital Hierarchy
of decibel, see Section 6.9.) With the use of an amplifier, the attenuation per-
mitted depends upon the signal-to-noise ratio required by the receiver along
with the sensitivity threshold of the receiver. Without the use of an ampli-
fier, a loss of up to nearly 8 db is permissible between the talker and the
listener in the speech signal in the medium, while retaining a good quality
of audibility.
Attenuation would have been less of a problem if the amplifier did not
“add” problems such as distortion and noise, which is multiplied many times
by a large number of repeaters (each repeater has an amplifier) in a long
communication link. We will examine this aspect in detail in subsequent
sections.
Figure 2.4
Corruption of an analog signal caused by the noise generated in a device.
Advent of Digital Technology 23
Output signal
Output signal after “n”
after amplifier repeaters
Receiver
Amplifier and Receiver
Input signal transmitter
(clean)
Repeater “n”
Repeater “1”
Figure 2.5
The noise multiplication effect in a long communication link with “n” repeaters.
equipment come into play. Moreover, all the amplifiers keep on amplifying
the noise along with the signal amplification. Figure 2.5 depicts the situation.
Figure 2.5 depicts a long communication link, having a large number of
repeaters. (The signal strength goes down with distance due to attenuation
and is boosted by amplification at the repeater.) Finally the noise becomes
so much that the link cannot be extended any further, depending upon the
acceptable quality of the audio. Thus, a practical limit is reached in the length
of the communication link.
All noise reduction measures extend the limit, but a “limit” as such remains.
discharges and thunderstorms. Solar and cosmic radiation also create noise.
However, the second biggest source of noise is industrial activity, which
may include the ignition of automobile engines, aircraft, switching surges of
motors and power transmission grids, and leakages from high voltage lines.
2.2.3 Distortion
As the meaning of the word goes, the shape of the signal changes with respect
to the original signal during transmission, and since this change is not a
welcome change, it is called distortion. It is caused by the amplifier as well
as by the channel and by the receiver equipment. If equipment or a channel
introduces a change in amplitude and a constant delay, there is no distortion
because the shape of the transmitted signal is preserved. Distortion occurs
when, with or without the amplitude change, the shape of the signal changes,
and moreover, the delay is not constant for all frequencies. The distortion
Advent of Digital Technology 25
falls into two categories, “amplitude distortion” and “phase or delay distor-
tion.” Let us look at them in a little more detail.
Frequency “A”
Frequency
x x – ∆x
(a)
Output signal
(c)
Figure 2.6
Amplitude distortion in an amplifier. (a) Amplifier’s frequency response characteristic; (b)
typical audio signal with varying frequency contents; and (c) distorted output signal when the
audio signal of (a) is applied at the input of the amplifier.
Another Random Document on
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The Project Gutenberg eBook of The Gentle
Shepherd: A Pastoral Comedy
This ebook is for the use of anyone anywhere in the United
States and most other parts of the world at no cost and with
almost no restrictions whatsoever. You may copy it, give it away
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are not located in the United States, you will have to check the
laws of the country where you are located before using this
eBook.
Language: English
ALLAN RAMSAY.
THE
GENTLE SHEPHERD.
A Pastoral Comedy.
BY
A L L A N R A M S A Y.
TO WHICH IS ADDED,
A N D A C ATA L O G U E O F T H E S C OTT I S H P O E T S .
NEW YORK:
WILLIAM GOWANS.
1852.
THE LIFE
OF
A L L A N R A M S A Y.
Allan Ramsay, the restorer of Scottish Poetry, was born on the 15th
day of October, 1686, at Leadhills, in the parish of Crawfordmoor, in
Lanarkshire. His father, John Ramsay, superintended Lord
Hopetoun's lead mines at that place; and his grandfather, Robert
Ramsay, a writer or attorney in Edinburgh, had possessed the same
appointment: his great-grandfather, Captain John Ramsay, was the
son of Ramsay of Cockpen in Mid-Lothian, who was brother of
Ramsay of Dalhousie. His mother, Alice Bower, was daughter of Allan
Bower, a gentleman of Derbyshire, whom Lord Hopetoun had
brought to Scotland to instruct and superintend his miners. His
grandmother, Janet Douglas, was daughter of Douglas of Muthil. In
his lineage, therefore, our Poet had something to boast of, and,
though born to nae lairdship, he fails not to congratulate himself on
being sprung from the loins of a Douglas. He did not long enjoy the
blessing of paternal care and instruction; for, shortly after his birth,
his father died, leaving the widow and family in a condition rather
destitute. His mother soon after married a Mr. Crichton, a petty
landholder of the same county, by whom she had several children.
Under these unfortunate circumstances, young Allan entered upon
the career of life; and, for fourteen years he remained in the house
of his stepfather, with no other education than was supplied by the
school of the parish. Here, surrounded by wild and mountainous
scenery, and amid an artless and secluded people, whose manners
and language were of patriarchal simplicity, his childhood received
those pastoral and Arcadian impressions, which were too lively to be
effaced by future habits, however uncongenial, and of which he in
his manhood, amid all the artificial life of the city, made so lively and
fascinating a transcription.
Of his progress and attainments at school, we have no record. It
does not appear that he read much poetry prior to his twentieth
year; and his emulation, and ambitious thoughts, of which he says
he had some, seem to have slumbered in inactivity, till they were
awakened to unceasing exercise by the society and the excitements
of Edinburgh.
To Edinburgh he was sent in his fifteenth year, when the felicity of
his boyhood had been broken by the death of his mother. We have
the assurance of undoubted testimony, that at that early age, when
his mind was beginning to search about for the choice of a
profession, his wishes were to be a painter; a circumstance too little
known, and too little noticed by his biographers, but strongly
indicative, in our opinion, of the aspirations of his youthful
disposition. While yet in the country, he had been in the practice of
amusing himself with copying such prints as he found in the books
of his mother's house. This early predilection for an art kindred to
that wherein he afterwards excelled, very likely followed bins
through life, and led him to devote his son to that favourite study,
from which he himself was so harshly precluded. For his stepfather,
little consulting the inclination of young Allan, and wishing as soon
as possible, and at any rate, to disencumber himself of the charge of
his support, bound this nursling of the Muses apprentice to a wig-
maker. Lowly as this profession is, it has been vindicated by one of
Ramsay's biographers into comparative dignity, by separating it from
the kindred business of barber, with which it is vulgarly, and too
frequently confounded. Ramsay was never, it seems, a barber; his
enemies never blotted him with that ignominy; his calling of "scull-
thacker," as he himself ludicrously terms it, was too dignified to be
let down into an equality with the men of the razor.
Thus from the beginning his business was with the heads of men.
We know not on what authority it is asserted by some of his
biographers, that he abandoned this profession on finishing his
apprenticeship: he is called wig-maker in the parish record down to
the year 1716; and we suspect he continued so till the year 1718, or
1719, for in one of Hamilton's letters to him, dated 24th of July,
1719, mention is made of his "new profession."
He was in 1712 induced, as one of his biographers observes, by the
example of other citizens, to enter into the state of marriage. His
wife's name was Christian Ross, daughter of a writer in Edinburgh,
who brought him, year after year, a numerous family of three sons
and five daughters. Of this family, Allan, the eldest, and the only son
who survived him, inherited the genius of his father, and, having
received a liberal education, became afterwards conspicuous as a
scholar, and a painter.[3]
About the year 1711 or 1712 our Poet seems first to have ventured
into the regions of rhyme. The clubs and societies of Edinburgh had
provoked in him this new passion, and his earliest effort, so far as is
known, is an Address, supplicatory of admission, "To the most happy
members of the Easy Club," a production bearing every mark of
unskilfulness and juvenility. Of this club he was afterwards appointed
poet-laureate, in which capacity he was wont to recite to that jolly
fraternity his successive productions, for their criticisms and their
applause.
Many of these poems were published in a detached form at a penny
a-piece, and his name became by this means celebrated in the city.
About the year 1716, and ere he relinquished his avocation of wig-
maker, he published an edition of the excellent old poem of "Christ's
Kirk on the Green," with a second canto by himself. Having thus
associated himself in the walks of humour with the King of Scotland,
he was induced, by the approbation which he gained, and the rapid
sale of the book, to "keep a little more company with these comical
characters," and to complete the story, by adding afterwards a third
canto. This attempt was crowned with all the success he anticipated,
and numerous editions of the work afforded him satisfactory proof,
that, in the public opinion, he had not unworthily put himself into
partnership with the royal humourist.[4]
Elevated by the distinction his productions had now procured him,
and losing at last all liking to a business which was at utter variance
with his ambition and darling amusements; he commenced
bookseller, most probably in the year 1718, when he was in the
thirty-second year of his age. This was a trade at once more
congenial to his habits, and more likely to be lucrative, on account of
his being already recommended by his authorship to the buyers of
books. His first shop as a bookseller was in the High-street opposite
to Niddry's-wynd, with the figure of Mercury for his sign. From this
shop proceeded, in 1721, a collection of his various poems in one
quarto volume, published by subscription, which contained every
eminent name in Scotland. It was thus advertised in the Edinburgh
Evening Courant: "The poems of Allan Ramsay, in a large quarto
volume, fairly printed, with notes, and a complete glossary (as
promised to the subscribers), being now finished; all who have
generously contributed to carrying on of the design, may call for
their copies as soon as they please, from the author, at the Mercury,
opposite to Niddry's-wynd, Edinburgh."
From the sale of this volume he realized 400 guineas, which was in
those days a very considerable profit on a book of Scottish poetry. In
1722 he gave to the world his Fables and Tales; in the same year his
tale of The Three Bonnets; and in 1724 his poem on Health. In
January, 1724, he published the first volume of the Tea-table
Miscellany, being a collection of Scottish and English songs; this
volume was speedily followed by a second; [in 1727] by a third;
[and some years afterwards by a fourth; all] under the same title.
Hamilton of Bangour, and Mallet, assisted him by their lyrical
contributions. Encouraged by the popularity of these books, he
published, in October, 1724, the Evergreen, "a collection of Scots
poems written by the ingenious before 1600." For the duties of an
editor of such a work, it is generally agreed that Ramsay was not
well fitted. For, neither had he a complete knowledge of the ancient
Scottish language, nor was his literary conscience sufficiently tender
and scrupulous to that fidelity, which is required by the office of
editor. He abridged, he varied, modernized, and superadded. In that
collection first appeared under a feigned signature his Vision, a
poem, full of genius, and rich with Jacobitism, but disguising the
author and his principles under the thin concealment of antique
orthography.
At length appeared in 1725 his master-work, the Gentle Shepherd,
of which two scenes had been previously printed, [the first] in 1721,
under the title of Patie and Roger, and [the second] in 1723, under
that of Jenny and Meggy. [In the quarto of 1721, there is likewise to
be found (Sang XI.) the dialogue song between Patie and Peggy,
afterwards introduced into the second act.] The reputation he had
obtained by these detached scenes, and the admonitions of his
friends, who perceived how easily and how happily they could be
connected, induced him to re-model and embody them into a regular
pastoral drama. Its success corresponded to his own hopes, and to
his friends' anticipations. [In the following letter, (published for the
first time by R. Chambers in his Scottish Biographical Dictionary,
1835,) it will be seen that he was engaged on this task in spring,
1724.
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