Delphi Complete Works of Robert Burns (Illustrated) (Delphi Poets Series) (202 page)

Burns, while he was writing the poems, the chief of which we have named, was a labouring husbandman on the little farm of Mossgiel, a pursuit which affords but few leisure hours for either reading or pondering; but to him the stubble-field was musing-ground, and the walk behind the plough, a twilight saunter on Parnassus. As, with a careful hand and a steady eye, he guided his horses, and saw an evenly furrow turned up by the share, his thoughts were on other themes; he was straying in haunted glens, when spirits have power — looking in fancy on the lasses “skelping barefoot,” in silks and in scarlets, to a field-preaching — walking in imagination with the rosy widow, who on Halloween ventured to dip her left sleeve in the burn, where three lairds’ lands met — making the “bottle clunk,” with joyous smugglers, on a lucky run of gin or brandy — or if his thoughts at all approached his acts — he was moralizing on the daisy oppressed by the furrow which his own ploughshare had turned. That his thoughts were thus wandering we have his own testimony, with that of his brother Gilbert; and were both wanting, the certainty that he composed the greater part of his immortal poems in two years, from the summer of 1784 to the summer of 1786, would be evidence sufficient. The muse must have been strong within him, when, in spite of the rains and sleets of the “ever-dropping west” — when in defiance of the hot and sweaty brows occasioned by reaping and thrashing — declining markets, and showery harvests — the clamour of his laird for his rent, and the tradesman for his account, he persevered in song, and sought solace in verse, when all other solace was denied him.

The circumstances under which his principal poems were composed, have been related: the “Lament of Mailie” found its origin in the catastrophe of a pet ewe; the “Epistle to Sillar” was confided by the poet to his brother while they were engaged in weeding the kale-yard; the “Address to the Deil” was suggested by the many strange portraits which belief or fear had drawn of Satan, and was repeated by the one brother to the other, on the way with their carts to the kiln, for lime; the “Cotter’s Saturday Night” originated in the reverence with which the worship of God was conducted in the family of the poet’s father, and in the solemn tone with which he desired his children to compose themselves for praise and prayer; “the Mouse,” and its moral companion “the Daisy,” were the offspring of the incidents which they relate; and “Death and Doctor Hornbook” was conceived at a freemason-meeting, where the hero of the piece had shown too much of the pedant, and composed on his way home, after midnight, by the poet, while his head was somewhat dizzy with drink. One of the most remarkable of his compositions, the “Jolly Beggars,” a drama, to which nothing in the language of either the North or South can be compared, and which was unknown till after the death of the author, was suggested by a scene which he saw in a low ale-house, into which, on a Saturday night, most of the sturdy beggars of the district had met to sell their meal, pledge their superfluous rags, and drink their gains. It may be added, that he loved to walk in solitary spots; that his chief musing-ground was the banks of the Ayr; the season most congenial to his fancy that of winter, when the winds were heard in the leafless woods, and the voice of the swollen streams came from vale and hill; and that he seldom composed a whole poem at once, but satisfied with a few fervent verses, laid the subject aside, till the muse summoned him to another exertion of fancy. In a little back closet, still existing in the farm-house of Mossgiel, he committed most of his poems to paper.

But while the poet rose, the farmer sank. It was not the cold clayey bottom of his ground, nor the purchase of unsound seed-corn, not the fluctuation in the markets alone, which injured him; neither was it the taste for freemason socialities, nor a desire to join the mirth of comrades, either of the sea or the shore: neither could it be wholly imputed to his passionate following of the softer sex — indulgence in the “illicit rove,” or giving way to his eloquence at the feet of one whom he loved and honoured; other farmers indulged in the one, or suffered from the other, yet were prosperous. His want of success arose from other causes; his heart was not with his task, save by fits and starts: he felt he was designed for higher purposes than ploughing, and harrowing, and sowing, and reaping: when the sun called on him, after a shower, to come to the plough, or when the ripe corn invited the sickle, or the ready market called for the measured grain, the poet was under other spells, and was slow to avail himself of those golden moments which come but once in the season. To this may be added, a too superficial knowledge of the art of farming, and a want of intimacy with the nature of the soil he was called to cultivate. He could speak fluently of leas, and faughs, and fallows, of change of seed and rotation of crops, but practical knowledge and application were required, and in these Burns was deficient. The moderate gain which those dark days of agriculture brought to the economical farmer, was not obtained: the close, the all but niggardly care by which he could win and keep his crown-piece, — gold was seldom in the farmer’s hand, — was either above or below the mind of the poet, and Mossgiel, which, in the hands of an assiduous farmer, might have made a reasonable return for labour, was unproductive, under one who had little skill, less economy, and no taste for the task.

Other reasons for his failure have been assigned. It is to the credit of the moral sentiments of the husbandmen of Scotland, that when one of their class forgets what virtue requires, and dishonours, without reparation, even the humblest of the maidens, he is not allowed to go unpunished. No proceedings take place, perhaps one hard word is not spoken; but he is regarded with loathing by the old and the devout; he is looked on by all with cold and reproachful eyes — sorrow is foretold as his lot, sure disaster as his fortune; and is these chance to arrive, the only sympathy expressed is, “What better could he expect?” Something of this sort befel Burns: he had already satisfied the kirk in the matter of “Sonsie, smirking, dear-bought Bess,” his daughter, by one of his mother’s maids; and now, to use his own words, he was brought within point-blank of the heaviest metal of the kirk by a similar folly. The fair transgressor, both for her fathers and her own youth, had a large share of public sympathy. Jean Armour, for it is of her I speak, was in her eighteenth year; with dark eyes, a handsome foot, and a melodious tongue, she made her way to the poet’s heart — and, as their stations in life were equal, it seemed that they had only to be satisfied themselves to render their union easy. But her father, in addition to being a very devout man, was a zealot of the Old Light; and Jean, dreading his resentment, was willing, while she loved its unforgiven satirist, to love him in secret, in the hope that the time would come when she might safely avow it: she admitted the poet, therefore, to her company in lonesome places, and walks beneath the moon, where they both forgot themselves, and were at last obliged to own a private marriage as a protection from kirk censure. The professors of the Old Light rejoiced, since it brought a scoffing rhymer within reach of their hand; but her father felt a twofold sorrow, because of the shame of a favourite daughter, and for having committed the folly with one both loose in conduct and profane of speech. He had cause to be angry, but his anger, through his zeal, became tyrannous: in the exercise of what he called a father’s power, he compelled his child to renounce the poet as her husband and burn the marriage-lines; for he regarded her marriage, without the kirk’s permission, with a man so utterly cast away, as a worse crime than her folly. So blind is anger! She could renounce neither her husband nor his offspring in a lawful way, and in spite of the destruction of the marriage lines, and renouncing the name of wife, she was as much Mrs. Burns as marriage could make her. No one concerned seemed to think so. Burns, who loved her tenderly, went all but mad when she renounced him: he gave up his share of Mossgiel to his brother, and roamed, moody and idle, about the land, with no better aim in life than a situation in one of our western sugar-isles, and a vague hope of distinction as a poet.

How the distinction which he desired as a poet was to be obtained, was, to a poor bard in a provincial place, a sore puzzle: there were no enterprising booksellers in the western land, and it was not to be expected that the printers of either Kilmarnock or Paisley had money to expend on a speculation in rhyme: it is much to the honour of his native county that the publication which he wished for was at last made easy. The best of his poems, in his own handwriting, had found their way into the hands of the Ballantynes, Hamiltons, Parkers, and Mackenzies, and were much admired. Mrs. Stewart, of Stair and Afton, a lady of distinction and taste, had made, accidentally, the acquaintance both of Burns and some of his songs, and was ready to befriend him; and so favourable was the impression on all hands, that a subscription, sufficient to defray the outlay of paper and print, was soon filled up — one hundred copies being subscribed for by the Parkers alone. He soon arranged materials for a volume, and put them into the hands of a printer in Kilmarnock, the Wee Johnnie of one of his biting epigrams. Johnnie was startled at the unceremonious freedom of most of the pieces, and asked the poet to compose one of modest language and moral aim, to stand at the beginning, and excuse some of those free ones which followed: Burns, whose “Twa Dogs” was then incomplete, finished the poem at a sitting, and put it in the van, much to his printer’s satisfaction. If the “Jolly Beggars” was omitted for any other cause than its freedom of sentiment and language, or “Death and Doctor Hornbook” from any other feeling than that of being too personal, the causes of their exclusion have remained a secret. It is less easy to account for the emission of many songs of high merit which he had among his papers: perhaps he thought those which he selected were sufficient to test the taste of the public. Before he printed the whole, he, with the consent of his brother, altered his name from Burness to Burns, a change which, I am told, he in after years regretted.

In the summer of the year 1786, the little volume, big with the hopes and fortunes of the bard made its appearance: it was entitled simply, “Poems, chiefly in the Scottish Dialect; by Robert Burns;” and accompanied by a modest preface, saying, that he submitted his book to his country with fear and with trembling, since it contained little of the art of poesie, and at the best was but a voice given, rude, he feared, and uncouth, to the loves, the hopes, and the fears of his own bosom. Had a summer sun risen on a winter morning, it could not have surprised the Lowlands of Scotland more than this Kilmarnock volume surprised and delighted the people, one and all. The milkmaid sang his songs, the ploughman repeated his poems; the old quoted both, and ever the devout rejoiced that idle verse had at last mixed a tone of morality with its mirth. The volume penetrated even into Nithsdale. “Keep it out of the way of your children,” said a Cameronian divine, when he lent it to my father, “lest ye find them, as I found mine, reading it on the Sabbath.” No wonder that such a volume made its way to the hearts of a peasantry whose taste in poetry had been the marvel of many writers: the poems were mostly on topics with which they were familiar: the language was that of the fireside, raised above the vulgarities of common life, by a purifying spirit of expression and the exalting fervour of inspiration: and there was such a brilliant and graceful mixture of the elegant and the homely, the lofty and the low, the familiar and the elevated — such a rapid succession of scenes which moved to tenderness or tears; or to subdued mirth or open laughter — unlooked for allusions to scripture, or touches of sarcasm and scandal — of superstitions to scare, and of humour to delight — while through the whole was diffused, as the scent of flowers through summer air, a moral meaning — a sentimental beauty, which sweetened and sanctified all. The poet’s expectations from this little venture were humble: he hoped as much money from it as would pay for his passage to the West Indies, where he proposed to enter into the service of some of the Scottish settlers, and help to manage the double mystery of sugar-making and slavery.

The hearty applause which I have recorded came chiefly from the husbandman, the shepherd, and the mechanic: the approbation of the magnates of the west, though not less-warm, was longer in coming. Mrs. Stewart of Stair, indeed, commended the poems and cheered their author: Dugald Stewart received his visits with pleasure, and wondered at his vigour of conversation as much as at his muse: the door of the house of Hamilton was open to him, where the table was ever spread, and the hand ever ready to help: while the purses of the Ballantynes and the Parkers were always as open to him as were the doors of their houses. Those persons must be regarded as the real patrons of the poet: the high names of the district are not to be found among those who helped him with purse and patronage in 1786, that year of deep distress and high distinction. The Montgomerys came with their praise when his fame was up; the Kennedys and the Boswells were silent: and though the Cunninghams gave effectual aid, it was when the muse was crying with a loud voice before him, “Come all and see the man whom I delight to honour.” It would be unjust as well as ungenerous not to mention the name of Mrs. Dunlop among the poet’s best and early patrons: the distance at which she lived from Mossgiel had kept his name from her till his poems appeared: but his works induced her to desire his acquaintance, and she became his warmest and surest friend.

To say the truth, Burns endeavoured in every honourable way to obtain the notice of those who had influence in the land: he copied out the best of his unpublished poems in a fair hand, and inserting them in his printed volume, presented it to those who seemed slow to buy: he rewarded the notice of this one with a song — the attentions of that one with a sally of encomiastic verse: he left psalms of his own composing in the manse when he feasted with a divine: he enclosed “Holy Willie’s Prayer,” with an injunction to be grave, to one who loved mirth: he sent the “Holy Fair” to one whom he invited to drink a gill out of a mutchkin stoup, at Mauchline market; and on accidentally meeting with Lord Daer, he immediately commemorated the event in a sally of verse, of a strain more free and yet as flattering as ever flowed from the lips of a court bard. While musing over the names of those on whom fortune had smiled, yet who had neglected to smile on him, he remembered that he had met Miss Alexander, a young beauty of the west, in the walks of Ballochmyle; and he recorded the impression which this fair vision made on him in a song of unequalled elegance and melody. He had met her in the woods in July, on the 18th of November he sent her the song, and reminded her of the circumstance from which it arose, in a letter which it is evident he had laboured to render polished and complimentary. The young lady took no notice of either the song or the poet, though willing, it is said, to hear of both now: — this seems to have been the last attempt he made on the taste or the sympathies of the gentry of his native district: for on the very day following we find him busy in making arrangements for his departure to Jamaica.