Delphi Complete Works of Robert Burns (Illustrated) (Delphi Poets Series) (179 page)
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Authors: Robert Burns
Three thousand copies of his poems were published in April in Edinburgh, netting him over five hundred pounds. He made two triumphal tours — the Border Tour and the Highland Tour. As Mary Campbell was dead, his love was kindled by Clarinda, Mrs M’Lehose, with whom he conducted an intensive love correspondence, and to whom he wrote several beautiful love-songs. As she was a married woman who was separated from her husband, Burns could not marry her. In this year he wrote the ‘Inscription for the Headstone of Fergusson,’ ‘Epistle to Mrs Scott,’ ‘The Bonnie Moor Hen,’ ‘On the Death of John M’Leod,’ ‘Elegy on the Death of James Hunter Blair,’ ‘The Humble Petition of Bruar Water,’ ‘Lines on the Fall of Fyers,’ ‘Castle Gordon,’ ‘On Scaring Some Waterfowl,’ ‘A Rosebud by My Early Walk,’ ‘The Banks of Devon,’ ‘The Young Highland Rover,’ ‘Birthday Ode,’ and many short pieces and love-songs, among them ‘The Birks of Aberfeldy.’
29 Years Old.
Rented Ellisland farm, on the Nith, near Dumfries. Married Jean Armour (second marriage to her) in April, and left her in Mauchline till he could build a home for her on Ellisland, which was ready in December. Building his new home, stocking and managing the farm, and riding fifty miles occasionally to his Jean, made his year so busy that he wrote little poetry, but exquisite love-songs. The estate of Glenriddell, owned in the time of Burns by Robert Riddell, bordered on Ellisland farm. Robert Riddell was a fine type of Scottish gentleman, and Burns and he became warm friends. Among the best poems of this year, not love-songs, are ‘Verses written in Friar’s Carse Hermitage,’ ‘Epistle to Robert Graham of Fintry,’ ‘The Day Returns,’ ‘A Mother’s Lament,’ ‘The Fall of the Leaf,’ ‘Auld Lang Syne,’ ‘The Poet’s Progress,’ ‘Elegy on the Year
30 Years Old.
Wrote many love-songs for Johnson’s Scots Musical Museum, though busily engaged in farming, and, in addition, a new Psalm for the Chapel of Kilmarnock; a sketch in verse to Right Hon. C. J. Fox, ‘The Wounded Hare,’ ‘The Banks of Nith,’ ‘John Anderson my Joe,’ ‘The Kirk of Scotland’s Alarm,’ ‘Caledonia,’ ‘The Battle of Sherramuir,’ ‘The Braes
o’ Killiecrankie,’ ‘Farewell to the Highlands,’ ‘To Mary in Heaven,’ ‘Epistle to Dr Blacklock,’ and ‘New Year’s Day,
31 Years Old.
Found his farm ‘a ruinous affair.’ Accepted a position as an exciseman at fifty pounds a year. Had to ride two hundred miles each week. Continued writing love-songs for Johnson’s Museum (without pay), and wrote in addition, ‘Tam o’ Shanter,’ ‘Lament of Mary Queen of Scots,’ and ‘The Banks of Doon.’
32 Years Old.
Continued to write love-songs, among the most beautiful being ‘Sweet Afton’ and ‘Parting Song to Clarinda.’ In addition, wrote ‘Lament for James, Earl of Glencairn,’ ‘On Glenriddell’s Fox Breaking his Chain,’ ‘Poem on Pastoral Poetry,’ ‘Verses on the Destruction of the Woods near Drumlanrig,’ ‘Second Epistle to Robert Graham of Fintry,’ ‘The Song of Death,’ and ‘Poem on Sensibility.’
33 Years Old.
Wrote many love-songs, among them ‘The Lea Rig’ and ‘Highland Mary.’ His other poems were mainly election ballads. His love-songs were now written mainly for Thomson’s
National Songs and Melodies
. He still refused pay for his songs.
34 Years Old.
Still, notwithstanding his very busy life, he sent a continuous stream of songs to Edinburgh. Other poems of the year were ‘Sonnet Written on the Author’s Birthday,’ ‘Lord Gregory,’ and ‘Scots, wha hae wi’ Wallace bled.’ In this year he moved to the house in which he died, and in which Jean died thirty-eight years afterwards.
35 Years Old.
In this year Burns, to supplement ‘Scots, wha hae’ (the greatest bugle-song of freedom), wrote two grand poems on Liberty: ‘The Ode to Liberty’ and ‘The Tree of Liberty;’ and ‘Contented Wi’ Little and Cantie Wi’ Mair.’ In this year he declined an offer from the London
Morning Chronicle
to become a regular contributor to that paper.
36 Years Old.
Love-songs, and election ballads in favour of his friend Mr Heron, were his most numerous poems this year. In addition to other minor pieces he wrote a fine poem to his friend, Alexander Cunningham, ‘Does Haughty Gaul Invasion Threat,’ and the most triumphant combined interpretation of democracy and brotherhood ever written, ‘A Man’s a Man for a’ That.’
37 Years Old.
Early in the year his health gave way, and he died, 21st July 1796. Though apparently a strong man, it is reasonable to believe that he had a constitutional tendency towards consumption. His father died from this dread disease, and his grandmother (his mother’s mother) died at thirty-five from the same cause. Burns inherited his physical and intellectual powers mainly from his mother. Both by heredity and contagion, therefore, he was made susceptible to influences that develop consumption. He continued to write poetry, chiefly love-songs, during his illness. His last poem was written, nine days before his death, to Miss Margaret Chalmers, for whom he had a reverent affection.
No reference has been made in this sketch of his development to the prose written each year. Five hundred and thirty-four of his letters have been published. They are written in a stately style, and most of them contain philosophic discussions of religion, ethics, or democracy.
A shy, sensitive, retiring boy; a deep-thinking, persistently studying, eloquent, still shy youth; a brilliant reasoner, a thinker ranking with leaders in his neighbourhood, meeting each on equal terms, and easily proving his superiority by his remarkable knowledge of each man’s special subject of study, and by his still more remarkable powers of independent thinking and clear revelation of his thought in his young manhood, but still at twenty-two too shy to propose to the first lover of his maturity; always a reverent lover of Nature, whose mind saw God in beauty, in dawn-gleam and eve-glow, in tree and flower, in river and mountain; he studied, thought, and expressed his thoughts in exquisite poetry, and, according to those who knew him best, in still richer and more captivating conversation, until at twenty-seven he stood in the midst of the most learned professors of Scotland and outclassed them all. No single professor of the galaxy of culture in which he stood, modest and dignified, could have spoken so wisely, so profoundly, so easily, and with such graceful manner and charming eloquence on
so many subjects
as did Burns.
It is a marvel that grows greater the more we try to understand it, that a boy who left school when he was nine years old, and, except for a few weeks, did not go to school again; and who, from nine years of age to his thirty-second year, was a steady farm-worker, with the exception of a brief interval during which he was engaged publishing his poems; and was a gauger from thirty-two to thirty-six, should have been able to write so much immortal poetry and so much instructive prose in such a short time.
One of the most interesting of all the pictures of the lives of the world’s literary leaders is the picture of Robert Burns, after a day of toil on the farm, walking from Mossgiel farm, when his evening meal was over, two miles to his favourite seat in the woods on Ballochmyle estate, and sitting there on the high bank of the Ayr in the long Scottish gloaming, and often on in the moonlight, ‘shut in with God,’ revealing in sublime form the visions that thrilled his soul. During the last few years of his life he walked from his home to Lincluden Abbey ruins on his favourite path beside the winding Nith to spend his gloaming hours alone, and composed there some of his masterpieces.
Short was his life, but he lives on in the hearts of succeeding generations. He lives on, too, in his permanent influence on religion, freedom, and brotherhood.
THE END
CONTENTS
CHAPTER II. FIRST WINTER IN EDINBURGH
CHAPTER III. BORDER AND HIGHLAND TOURS.
CHAPTER IV. SECOND WINTER IN EDINBURGH.
CHAPTER VI. MIGRATION TO DUMFRIES.
CHAPTER VIII. CHARACTER, POEMS, SONGS.
Great men, great events, great epochs, it has been said, grow as we recede from them; and the rate at which they grow in the estimation of men is in some sort a measure of their greatness. Tried by this standard, Burns must be great indeed, for during the eighty years that have passed since his death, men’s interest in the man himself and their estimate of his genius have been steadily increasing. Each decade since he died has produced at least two biographies of him. When Mr. Carlyle wrote his well-known essay on Burns in 1828, he could already number six biographies of the Poet, which had been given to the world during the previous thirty years; and the interval between 1828 and the present day has added, in at least the same proportion, to their number. What it was in the man and in his circumstances that has attracted so much of the world’s interest to Burns, I must make one more attempt to describe.
If success were that which most secures men’s sympathy, Burns would have won but little regard; for in all but his
poetry his was a defeated life — sad and heart-depressing to contemplate beyond the lives even of most poets.
Perhaps it may be the very fact that in him so much failure and shipwreck were combined with such splendid gifts, that has attracted to him so deep and compassionate interest. Let us review once more the facts of that life, and tell again its oft-told story.
It was on the 25th of January, 1759, about two miles from the town of Ayr, in a clay-built cottage, reared by his father’s own hands, that Robert Burns was born. The “auld clay bigging” which saw his birth still stands by the side of the road that leads from Ayr to the river and the bridge of Doon. Between the banks of that romantic stream and the cottage is seen the roofless ruin of “Alloway’s auld haunted kirk,” which Tam o’ Shanter has made famous. His first welcome to the world was a rough one. As he himself says, —
A blast o’ Janwar’ win’
Blew hansel in on Robin.
A few days after his birth, a storm blew down the gable of the cottage, and the poet and his mother were carried in the dark morning to the shelter of a neighbour’s roof, under which they remained till their own home was repaired. In after-years he would often say, “No wonder that one ushered into the world amid such a tempest should be the victim of stormy passions.” “It is hard to be born in Scotland,” says the brilliant Parisian. Burns had many hardships to endure, but he never reckoned this to be one of them.
His father, William Burness or Burnes, for so he spelt his name, was a native not of Ayrshire, but of Kincardineshire, where he had been reared on a farm belonging
to the forfeited estate of the noble but attainted house of Keith-Marischal. Forced to migrate thence at the age of nineteen, he had travelled to Edinburgh, and finally settled in Ayrshire, and at the time when Robert, his eldest child, was born, he rented seven acres of land, near the Brig o’ Doon, which he cultivated as a nursery-garden. He was a man of strict, even stubborn integrity, and of strong temper — a combination which, as his son remarks, does not usually lead to worldly success. But his chief characteristic was his deep-seated and thoughtful piety. A peasant-saint of the old Scottish stamp, he yet tempered the stern Calvinism of the West with the milder Arminianism more common in his northern birthplace. Robert, who, amid all his after-errors, never ceased to revere his father’s memory, has left an immortal portrait of him in
The Cotter’s Saturday Night
, when he describes how
The saint, the father, and the husband prays.
William Burness was advanced in years before he married, and his wife, Agnes Brown, was much younger than himself. She is described as an Ayrshire lass, of humble birth, very sagacious, with bright eyes and intelligent looks, but not beautiful, of good manners and easy address. Like her husband, she was sincerely religious, but of a more equable temper, quick to perceive character, and with a memory stored with old traditions, songs, and ballads, which she told or sang to amuse her children. In his outer man the poet resembled his mother, but his great mental gifts, if inherited at all, must be traced to his father.
Three places in Ayrshire, besides his birthplace, will always be remembered as the successive homes of Burns. These
were Mount Oliphant, Lochlea (pronounced Lochly), and Mossgiel.
Mount Oliphant. — This was a small upland farm, about two miles from the Brig o’ Doon, of a poor and hungry soil, belonging to Mr. Ferguson, of Doon-holm, who was also the landlord of William Burness’ previous holding. Robert was in his seventh year when his father entered on this farm at Whitsuntide, 1766, and he had reached his eighteenth when the lease came to a close in 1777. All the years between these two dates were to the family of Burness one long sore battle with untoward circumstances, ending in defeat. If the hardest toil and severe self-denial could have procured success, they would not have failed. It was this period of his life which Robert afterwards described, as combining “the cheerless gloom of a hermit with the unceasing moil of galley-slave.” The family did their best, but a niggard soil and bad seasons were too much for them. At length, on the death of his landlord, who had always dealt generously by him, William Burness fell into the grip of a factor, whose tender mercies were hard. This man wrote letters which set the whole family in tears. The poet has not given his name, but he has preserved his portrait in colours which are indelible: —
I’ve noticed, on our Laird’s court-day,
An’ mony a time my heart’s been wae,
Poor tenant bodies, scant o’ cash,
How they maun thole a factor’s snash;
He’ll stamp an’ threaten, curse and swear,
He’ll apprehend them, poind their gear,
While they maun stan’, wi aspect humble,
And hear it a’, an’ fear an’ tremble.
In his autobiographical sketch the poet tells us that, “The farm proved a ruinous bargain. I was the eldest of seven
children, and my father, worn out by early hardship, was unfit for labour. His spirit was soon irritated, but not easily broken. There was a freedom in the lease in two years more; and to weather these two years we retrenched expenses, and toiled on.” Robert and Gilbert, the two eldest, though still boys, had to do each a grown man’s full work. Yet for all their hardships these Mount Oliphant days were not without alleviations. If poverty was at the door, there was warm family affection by the fireside. If the two sons had, long before manhood, to bear toil beyond their years, still they were living under their parents’ roof, and those parents two of the wisest and best of Scotland’s peasantry. Work was no doubt incessant, but education was not neglected — rather it was held one of the most sacred duties. When Robert was five years old, he had been sent to a school at Alloway Mill, and when the family removed to Mount Oliphant, his father combined with four of his neighbours to hire a young teacher, who boarded among them, and taught their children for a small salary. This young teacher, whose name was Murdoch, has left an interesting description of his two young pupils, their parents, and the household life while he sojourned at Mount Oliphant. At that time Murdoch thought that Gilbert possessed a livelier imagination, and was more of a wit than Robert. “All the mirth and liveliness,” he says, “were with Gilbert. Robert’s countenance at that time wore generally a grave and thoughtful look.” Had their teacher been then told that one of his two pupils would become a great poet, he would have fixed on Gilbert. When he tried to teach them church music along with other rustic lads, they two lagged far behind the rest. Robert’s voice especially was untuneable, and his ear so dull, that it was with difficulty he could
distinguish one tune from another. Yet this was he who was to become the greatest song-writer that Scotland — perhaps the world — has known. In other respects the mental training of the lads was of the most thorough kind. Murdoch taught them not only to read, but to parse, and to give the exact meaning of the words, to turn verse into the prose order, to supply ellipses, and to substitute plain for poetic words and phrases. How many of our modern village schools even attempt as much? When Murdoch gave up, the father himself undertook the education of his children, and carried it on at night after work-hours were over. Of that father Murdoch speaks as by far the best man he ever knew. Tender and affectionate towards his children he describes him, seeking not to drive, but to lead them to the right, by appealing to their conscience and their better feelings, rather than to their fears. To his wife he was gentle and considerate in an unusual degree, always thinking of her ease and comfort; and she repaid it with the utmost reverence. She was a careful and thrifty housewife, but, whenever her domestic tasks allowed, she would return to hang with devout attention on the discourse that fell from her wise husband. Under that father’s guidance knowledge was sought for as hid treasure, and this search was based on the old and reverential faith that increase of knowledge is increase of wisdom and goodness. The readings of the household were wide, varied, and unceasing. Some one entering the house at meal-time found the whole family seated, each with a spoon in one hand and a book in the other. The books which Burns mentions as forming part of their reading at Mount Oliphant surprise us even now. Not only the ordinary school-books and geographies, not only the traditional life of Wallace and other popular books
of that sort, but The Spectator, odd plays of Shakespeare, Pope (his Homer included), Locke on the Human Understanding, Boyle’s Lectures, Taylor’s Scripture Doctrine of Original Sin, Allan Ramsay’s works, formed the staple of their reading. Above all there was a collection of songs, of which Burns says, “This was my
vade mecum
. I pored over them driving my cart, or walking to labour, song by song, verse by verse; carefully noting the true tender or sublime, from affectation and fustian, I am convinced I owe to this practice much of my critic-craft, such as it is!” And he could not have learnt it in a better way.
There are few countries in the world which could at that time have produced in humble life such a teacher as Murdoch and such a father as William Burness. It seems fitting, then, that a country which could rear such men among its peasantry should give birth to such a poet as Robert Burns to represent them. The books which fed his young intellect were devoured only during intervals snatched from hard toil. That toil was no doubt excessive. And this early over-strain showed itself soon in the stoop of his shoulders, in nervous disorder about the heart, and in frequent fits of despondency. Yet perhaps too much has sometimes been made of these bodily hardships, as though Burns’s boyhood had been one long misery. But the youth which grew up in so kindly an atmosphere of wisdom and home affection, under the eye of such a father and mother, cannot be called unblest.
Under the pressure of toil and the entire want of society, Burns might have grown up the rude and clownish and unpopular lad that he has been pictured in his early teens. But in his fifteenth summer there came to him a new influence,
which at one touch unlocked the springs of new emotions. This incident must be given in his own words:— “You know,” he says, “our country custom of coupling a man and woman together as partners in the labours of the harvest. In my fifteenth summer my partner was a bewitching creature, a year younger than myself. My scarcity of English denies me the power of doing her justice in that language, but you know the Scottish idiom. She was a bonnie, sweet, sonsie lass. In short, she, altogether unwittingly to herself, initiated me in that delicious passion, which, in spite of acid disappointment, gin-horse prudence, and book-worm philosophy, I hold to be the first of human joys here below! How she caught the contagion I cannot tell.... Indeed I did not know myself why I liked so much to loiter behind with her, when returning in the evening from our labours; why the tones of her voice made my heartstrings thrill like an Æolian harp; and especially why my pulse beat such a furious ratan when I looked and fingered over her little hand, to pick out the cruel nettle-stings and thistles. Among her love-inspiring qualities, she sung sweetly; and it was her favourite reel to which I attempted giving an embodied vehicle in rhyme. I was not so presumptuous as to imagine that I could make verses like printed ones, composed by men who read Greek and Latin; but my girl sung a song which was said to be composed by a country laird’s son, on one of his father’s maids with whom he was in love; and I saw no reason why I might not rhyme as well as he; for, excepting that he could shear sheep, and cast peats, his father living in the moorlands, he had no more scholar-craft than myself. Thus with me began love and poetry.”
The
song he then composed is entitled “Handsome Nell,” and is the first he ever wrote. He himself speaks of it as very puerile and silly — a verdict which Chambers endorses, but in which I cannot agree. Simple and artless it no doubt is, but with a touch of that grace which bespeaks the true poet. Here is one verse which, for directness of feeling and felicity of language, he hardly ever surpassed: —
She dresses aye sae clean and neat,
Baith decent and genteel,
And then there’s something in her gait
Gars ony dress look weel.
“I composed it,” says Burns, “in a wild enthusiasm of passion, and to this hour I never recollect it but my heart melts, my blood sallies at the remembrance.”
Lochlea. — Escaped from the fangs of the factor, with some remnant of means, William Burness removed from Mount Oliphant to Lochlea in the parish of Tarbolton (1777), an upland undulating farm, on the north bank of the River Ayr, with a wide outlook, southward over the hills of Carrick, westward toward the Isle of Arran, Ailsa Craig, and down the Firth of Clyde, toward the Western Sea. This was the home of Burns and his family from his eighteenth till his twenty-fifth year. For a time the family life here was more comfortable than before, probably because several of the children were now able to assist their parents in farm labour. “These seven years,” says Gilbert Burns, “brought small literary improvement to Robert,” but I can hardly believe this when we remember that Lochlea saw the composition of
The Death and Dying Words of Poor Mailie
, and of
My Nannie, O
, and one or two more of his most popular songs. It was during those days
that Robert, then growing into manhood, first ventured to step beyond the range of his father’s control, and to trust the promptings of his own social instincts and headlong passions. The first step in this direction was to go to a dancing school, in a neighbouring village, that he might there meet companions of either sex, and give his rustic manners “a brush,” as he phrases it. The next step was taken when Burns resolved to spend his nineteenth summer in Kirkoswald, to learn mensuration and surveying from the schoolmaster there, who was famous as a teacher of these things. Griswold, on the Carrick coast, was a village full of smugglers and adventurers, in whose society Burns was introduced to scenes of what he calls “swaggering riot and roaring dissipation.” It may readily be believed that with his strong love of sociality and excitement he was an apt pupil in that school. Still the mensuration went on till one day, when in the kail-yard behind the teachers house, Burns met a young lass, who set his heart on fire, and put an end to mensuration. This incident is celebrated in the song beginning —
