The Luggie, the principal poem of Gray, is a kind of reverie in which the scenes and events of his childhood and his early aspirations are mingled with the music of the stream which he celebrates. The series of sonnets In the Shadows, composed during the latter part of his illness, possess, without the smallest taint of morbidness, a touching and solemn beauty in keeping with the circumstances in which they were written. Most of his poems necessarily bear traces of immaturity, and lines may frequently be found in them which are mere echoes from Thomson, Wordsworth, or Tennyson, but they possess, nevertheless, the distinct individuality of true genius. They nearly all have a direct or indirect reference to phases of outward nature, and they give evidence of an underlying wealth of imagination and sentiment, of a true and vigorous power of conception, and of a gift of clear and strong, yet subtle and tender, musical utterance, which apparently only required to have been mellowed by time and experience in order to have fashioned a poetry which would have given him an enduring name in English literature.
The Luggie and other Poems, with an introduction by R. Monckton Milnes, and a brief memoir by James Hedderwick, was published in 1862, and a new and enlarged edition of Gray's Poetical Works, edited by the late Sheriff Glassford Bell, appeared in 1874. See also the "Essay on David Gray," published originally in Cornhill Magazine, and reprinted in David Gray and other Essays, by Robert Buchanan, 1868, and the poem on David Gray, reprinted therefrom Idyls and Legends of Inverburn.