Robert Burns

Robert Burns (25 January 1759 – 21 July 1796) (also known as Rabbie Burns, Scotland's favourite son, the Ploughman Poet, Robden of Solway Firth, the Bard of Ayrshire and in Scotland as The Bard)[1][2] was a Scottish poet and lyricist. He is widely regarded as the national poet of Scotland and is celebrated worldwide. He is the best known of the poets who have written in the Scots language, although much of his writing is also in English and a light Scots dialect, accessible to an audience beyond Scotland. He also wrote in standard English, and in these his political or civil commentary is often at its bluntest.

He is regarded as a pioneer of the Romantic movement, and after his death he became a great source of inspiration to the founders of both liberalism and socialism, and a cultural icon in Scotland and among the Scottish Diaspora around the world. Celebration of his life and work became almost a national charismatic cult during the 19th and 20th centuries, and his influence has long been strong on Scottish literature. In 2009 he was chosen as the greatest Scot by the Scottish public in a vote run by Scottish television channel STV.

As well as making original compositions, Burns also collected folk songs from across Scotland, often revising or adapting them. His poem (and song) "Auld Lang Syne" is often sung at Hogmanay (the last day of the year), and "Scots Wha Hae" served for a long time as an unofficial national anthem of the country. Other poems and songs of Burns that remain well known across the world today include "A Red, Red Rose"; "A Man's A Man for A' That"; "To a Louse"; "To a Mouse"; "The Battle of Sherramuir"; "Tam o' Shanter"; and "Ae Fond Kiss".

Ayrshire

Burns Cottage Museum in Alloway   Alloway

Burns was born two miles (3 km) south of Ayr, in Alloway, South Ayrshire, Scotland, the eldest of the seven children of William Burnes (1721–1784) (Robert Burns spelled his surname Burnes until 1786), a self-educated tenant farmer from Dunnottar, The Mearns, and Agnes Broun (or Brown)[3][4] (1732–1820), the daughter of a tenant farmer from Kirkoswald, South Ayrshire.

He was born in a house built by his father (now the Burns Cottage Museum), where he lived until Easter 1766, when he was seven years old. William Burnes sold the house and took the tenancy of the 70-acre (280,000 m2) Mount Oliphant farm, southeast of Alloway. Here Burns grew up in poverty and hardship, and the severe manual labour of the farm left its traces in a premature stoop and a weakened constitution.

He had little regular schooling and got much of his education from his father, who taught his children reading, writing, arithmetic, geography, and history and also wrote for them A Manual Of Christian Belief. He was also taught by John Murdoch (1747–1824), who opened an "adventure school" in Alloway in 1763 and taught Latin, French, and mathematics to both Robert and his brother Gilbert (1760–1827) from 1765 to 1768 until Murdoch left the parish. After a few years of home education, Burns was sent to Dalrymple Parish School during the summer of 1772 before returning at harvest time to full-time farm labouring until 1773, when he was sent to lodge with Murdoch for three weeks to study grammar, French, and Latin.

By the age of 15, Burns was the principal labourer at Mount Oliphant. During the harvest of 1774, he was assisted by Nelly Kilpatrick (1759–1820), who inspired his first attempt at poetry, "O, Once I Lov'd A Bonnie Lass". In the summer of 1775, he was sent to finish his education with a tutor at Kirkoswald, where he met Peggy Thompson (b.1762), to whom he wrote two songs, "Now Westlin' Winds" and "I Dream'd I Lay".

Tarbolton

Despite his ability and character, William Burnes was consistently unfortunate, and migrated with his large family from farm to farm without ever being able to improve his circumstances. At Whitsun, 1777, he removed his large family from the unfavourable conditions of Mount Oliphant to the 130-acre (0.53 km2) farm at Lochlea, near Tarbolton, where they stayed until William Burnes' death in 1784. Subsequently, the family became integrated into the community of Tarbolton. To his father's disapproval, Robert joined a country dancing school in 1779 and, with Gilbert, formed the Tarbolton Bachelors' Club the following year. His earliest existing letters date from this time, when he began making romantic overtures to Alison Begbie (b. 1762). In spite of four songs written for her and a suggestion that he was willing to marry her, she rejected him.

Robert Burns was initiated into masonic Lodge St David Tarbolton on 4 July 1781, when he was 22.

In December 1781, Burns moved temporarily to Irvine, North Ayrshire to learn to become a flax-dresser, but during the workers' celebrations for New Year 1781/1782 (which included Burns as a participant) the flax shop caught fire and was burnt to the ground. This venture accordingly came to an end, and Burns went home to Lochlea farm. During this time he met and befriended Captain Richard Brown who encouraged him to become a poet.

He continued to write poems and songs and began a commonplace book in 1783, while his father fought a legal dispute with his landlord. The case went to the Court of Session, and Burnes was upheld in January 1784, a fortnight before he died.

Mauchline 

Robert and Gilbert made an ineffectual struggle to keep on the farm, but after its failure they moved to the farm at Mossgiel, near Mauchline in March, which they maintained with an uphill fight for the next four years. During the summer of 1784, Burns came to know a group of girls known collectively as The Belles of Mauchline, one of whom was Jean Armour, the daughter of a stonemason from Mauchline.

Love affairs

His first child, Elizabeth Paton Burns (1785–1817), was born to his mother's servant, Elizabeth Paton (1760–circa 1799) while he was embarking on a relationship with Jean Armour, who became pregnant with twins in March 1786. Burns signed a paper attesting his marriage to Jean, but her father "was in the greatest distress, and fainted away". To avoid disgrace, her parents sent her to live with her uncle in Paisley. Although Armour's father initially forbade it, they were eventually married in 1788.[5] Armour bore him nine children only three of whom survived infancy.

Burns was in financial difficulties due to his want of success in farming, and to make enough money to support a family he took up a friend's offer of work in Jamaica,[6] at a salary of £30 per annum.[7][8] The position that Burns accepted was as a bookkeeper on a slave plantation. Burns's egalitarian views were typified by "The Slave's Lament" six years later, but in 1786 there was little public awareness of the abolitionist movement that began about that time.[9][10]

At about the same time, Burns fell in love with Mary Campbell (1763–1786), whom he had seen in church while he was still living in Tarbolton. She was born near Dunoon and had lived in Campbeltown before moving to work in Ayrshire. He dedicated the poems "The Highland Lassie O", "Highland Mary" and "To Mary in Heaven" to her. His song "Will ye go to the Indies, my Mary, And leave auld Scotia's shore?" suggests that they planned to emigrate to Jamaica together. Their relationship has been the subject of much conjecture, and it has been suggested that on 14 May 1786 they exchanged Bibles and plighted their troth over the Water of Fail in a traditional form of marriage. Soon afterwards Mary Campbell left her work in Ayrshire, went to the seaport of Greenock, and sailed home to her parents in Campbeltown.[7][8]

In October 1786, Mary and her father sailed from Campbeltown to visit her brother in Greenock. Her brother fell ill with typhus, which she also caught while nursing him. She died of typhus on 20 or 21 October 1786 and was buried there.[8]

Kilmarnock Edition 

As Burns lacked the funds to pay for his passage to the West Indies, Gavin Hamilton suggested that he should "publish his poems in the mean time by subscription, as a likely way of getting a little money to provide him more liberally in necessaries for Jamaica." On 3 April Burns sent proposals for publishing his Scotch Poems to John Wilson, a local printer in Kilmarnock, who published these proposals on 14 April 1786, on the same day that Jean Armour's father tore up the paper in which Burns attested his marriage to Jean. To obtain a certificate that he was a free bachelor, Burns agreed on 25 June to stand for rebuke in Mauchline kirk for three Sundays. He transferred his share in Mossgiel farm to his brother Gilbert on 22 July, and on 30 July wrote to tell his friend John Richmond that, "Armour has got a warrant to throw me in jail until I can find a warrant for an enormous sum ... I am wandering from one friend's house to another."[11]

On 31 July 1786 John Wilson published the volume of works by Robert Burns, Poems, Chiefly in the Scottish dialect.[12] Known as the Kilmarnock volume, it sold for 3 shillings and contained much of his best writing, including "The Twa Dogs"; "Address to the Deil"; "Halloween"; "The Cotter's Saturday Night"; "To a Mouse"; "Epitaph for James Smith" and "To a Mountain Daisy", many of which had been written at Mossgiel farm. The success of the work was immediate, and soon he was known across the country.

Burns postponed his planned emigration to Jamaica on 1 September, and was at Mossgiel two days later when he learnt that Jean Armour had given birth to twins. On 4 September Thomas Blacklock wrote a letter expressing admiration for the poetry in the Kilmarnock volume, and suggesting an enlarged second edition.[12] A copy of it was passed to Burns, who later recalled, "I had taken the last farewell of my few friends, my chest was on the road to Greenock; I had composed the last song I should ever measure in Scotland – 'The Gloomy night is gathering fast' – when a letter from Dr Blacklock to a friend of mine overthrew all my schemes, by opening new prospects to my poetic ambition. The Doctor belonged to a set of critics for whose applause I had not dared to hope. His opinion that I would meet with encouragement in Edinburgh for a second edition, fired me so much, that away I posted for that city, without a single acquaintance, or a single letter of introduction."[13]

Edinburgh

On 27 November 1786, Burns borrowed a pony and set out for Edinburgh. On 14 December William Creech issued subscription bills for the first Edinburgh edition of Poems, Chiefly in the Scottish dialect, which was published on 17 April 1787. Within a week of this event, Burns had sold his copyright to Creech for 100 guineas.[12] For the edition, Creech commissioned Alexander Nasmyth to paint the oval bust-length portrait now in the Scottish National Portrait Gallery, which was engraved to provide a frontispiece for the book. Nasmyth had got to know Burns and his fresh and appealing image has become the basis for almost all subsequent representations of the poet.[14] In Edinburgh, he was received as an equal by the city's men of letters—including Dugald Stewart, Robertson, Blair and others—and was a guest at aristocratic gatherings, where he bore himself with unaffected dignity. Here he encountered, and made a lasting impression on, the 16-year-old Walter Scott, who described him later with great admiration:

His person was strong and robust; his manners rustic, not clownish, a sort of dignified plainness and simplicity which received part of its effect perhaps from knowledge of his extraordinary talents. His features are presented in Mr Nasmyth's picture but to me it conveys the idea that they are diminished, as if seen in perspective. I think his countenance was more massive than it looks in any of the portraits ... there was a strong expression of shrewdness in all his lineaments; the eye alone, I think, indicated the poetical character and temperament. It was large, and of a dark cast, and literally glowed when he spoke with feeling or interest. I never saw such another eye in a human head, though I have seen the most distinguished men of my time. 

The new edition of his poems brought Burns £400. His stay in the city also resulted in some lifelong friendships, among which were those with Lord Glencairn, and Frances Anna Dunlop (1730–1815), who became his occasional sponsor and with whom he corresponded for many years until a rift developed. He embarked on a relationship with the separated Agnes "Nancy" McLehose (1758–1841), with whom he exchanged passionate letters under pseudonyms (Burns called himself "Sylvander" and Nancy "Clarinda"'). When it became clear that Nancy would not be easily seduced into a physical relationship, Burns moved on to Jenny Clow (1766–1792), Nancy's domestic servant, who bore him a son, Robert Burns Clow, in 1788. He also had an affair with a servant girl, Margaret "May" Cameron. His relationship with Nancy concluded in 1791 with a final meeting in Edinburgh before she sailed to Jamaica for what turned out to be a short-lived reconciliation with her estranged husband. Before she left, he sent her the manuscript of "Ae Fond Kiss" as a farewell.

In Edinburgh, in early 1787, he met James Johnson, a struggling music engraver and music seller with a love of old Scots songs and a determination to preserve them. Burns shared this interest and became an enthusiastic contributor to The Scots Musical Museum. The first volume was published in 1787 and included three songs by Burns. He contributed 40 songs to volume two, and he ended up responsible for about a third of the 600 songs in the whole collection, as well as making a considerable editorial contribution. The final volume was published in 1803.

Dumfries

On his return to Ayrshire on 18 February 1788 he resumed his relationship with Jean Armour and took a lease on the farm of Ellisland near Dumfries on 18 March (settling there on 11 June) but trained as a Gauger or exciseman, in case farming continued to prove unsuccessful. He was appointed to duties in Customs and Excise in 1789 and eventually gave up the farm in 1791. Meanwhile, in November 1790, he had written "Tam O' Shanter". About this time he was offered and declined an appointment in London on the staff of The Star newspaper,[15] and refused to become a candidate for a newly created Chair of Agriculture in the University of Edinburgh,[15] although influential friends offered to support his claims.

Lyricist

After giving up his farm he removed to Dumfries. It was at this time that, being requested to write lyrics for The Melodies of Scotland, he responded by contributing over 100 songs. He made major contributions to George Thomson's A Select Collection of Original Scottish Airs for the Voice as well as to James Johnson's The Scots Musical Museum. Arguably his claim to immortality chiefly rests on these volumes, which placed him in the front rank of lyric poets. Burns described how he had to master singing the tune before he composed the words:

My way is: I consider the poetic sentiment, correspondent to my idea of the musical expression, then chuse my theme, begin one stanza, when that is composed—which is generally the most difficult part of the business—I walk out, sit down now and then, look out for objects in nature around me that are in unison or harmony with the cogitations of my fancy and workings of my bosom, humming every now and then the air with the verses I have framed. when I feel my Muse beginning to jade, I retire to the solitary fireside of my study, and there commit my effusions to paper, swinging, at intervals, on the hind-legs of my elbow chair, by way of calling forth my own critical strictures, as my, pen goes. —Robert Burns

Burns also worked to collect and preserve Scottish folk songs, sometimes revising, expanding, and adapting them. One of the better known of these collections is The Merry Muses of Caledonia (the title is not Burns's), a collection of bawdy lyrics that were popular in the music halls of Scotland as late as the 20th century. Many of Burns's most famous poems are songs with the music based upon older traditional songs. For example, "Auld Lang Syne" is set to the traditional tune "Can Ye Labour Lea", "A Red, Red Rose" is set to the tune of "Major Graham" and "The Battle of Sherramuir" is set to the "Cameronian Rant".

Failing health and death  

Burns's worldly prospects were perhaps better than they had ever been; but he had become soured, and moreover he had alienated many of his best friends by too freely expressing sympathy with the French Revolution and the then unpopular advocates of reform at home. As his health began to give way, he began to age prematurely and fell into fits of despondency. The habits of intemperance (alleged mainly by temperance activist James Currie[16]) are said to have aggravated his long-standing possible rheumatic heart condition.[17] His death followed a dental extraction in winter 1795.

On the morning of 21 July 1796 Burns died in Dumfries, at the age of 37. The funeral took place on Monday 25 July 1796, the day that his son Maxwell was born. He was at first buried in the far corner of St. Michael's Churchyard in Dumfries; a simple "slab of freestone" was erected as his gravestone by Jean Armour, which some felt insulting to his memory.[18] His body was eventually moved to its final location in the same cemetery, the Burns Mausoleum, in September 1815. The body of his widow Jean Armour was buried with his in 1834.[17]

Armour had taken steps to secure his personal property, partly by liquidating two promissory notes amounting to fifteen pounds sterling (about 1,100 pounds at 2009 prices).[19] The family went to the Court of Session in 1798 with a plan to support his surviving children by publishing a four-volume edition of his complete works and a biography written by Dr. James Currie. Subscriptions were raised to meet the initial cost of publication, which was in the hands of Thomas Cadell and William Davies in London and William Creech, bookseller in Edinburgh.[20] Hogg records that fund-raising for Burns's family was embarrassingly slow, and it took several years to accumulate significant funds through the efforts of John Syme and Alexander Cunningham.[17]

Burns was posthumously given the freedom of the town of Dumfries.[16] Hogg records that Burns was given the freedom of the Burgh of Dumfries on 4 June 1787, 9 years before his death, and was also made an Honorary Burgess of Dumfries.[21]

Through his twelve children, Burns has over 600 living descendents as of 2012.[22]

Burns's style is marked by spontaneity, directness and sincerity, and ranges from the tender intensity of some of his lyrics through the humour of "Tam o' Shanter" and the satire of "Holy Willie's Prayer" and "The Holy Fair".

Burns's poetry drew upon a substantial familiarity with and knowledge of Classical, Biblical, and English literature, as well as the Scottish Makar tradition.[23] Burns was skilled in writing not only in the Scots language but also in the Scottish English dialect of the English language. Some of his works, such as "Love and Liberty" (also known as "The Jolly Beggars"), are written in both Scots and English for various effects.[24]

His themes included republicanism (he lived during the French Revolutionary period) and Radicalism, which he expressed covertly in "Scots Wha Hae", Scottish patriotism, anticlericalism, class inequalities, gender roles, commentary on the Scottish Kirk of his time, Scottish cultural identity, poverty, sexuality, and the beneficial aspects of popular socialising (carousing, Scotch whisky, folk songs, and so forth).[25]

The strong emotional highs and lows associated with many of Burns's poems have led some, such as Burns biographer Robert Crawford,[26] to suggest that he suffered from manic depression—a hypothesis that has been supported by analysis of various samples of his handwriting. Burns himself referred to suffering from episodes of what he called "blue devilism". However, the National Trust for Scotland has downplayed the suggestion on the grounds that evidence is insufficient to support the claim.[27]

Notes

^ O'Hagan, A: "The People's Poet", The Guardian, 19 January 2008. ^ "Scotland's National Bard". Robert Burns 2008. Scottish Executive. 25 January 2008. Retrieved 10 June 2009. ^ "Burnes, William". The Burns Encyclopedia. Retrieved 25 April 2011. ^ "Robert Burns 1759 – 1796". The Robert Burns World Federation. Retrieved 25 April 2011. ^ "Mauchline kirk session records, National Archives of Scotland". 'The Legacy of Robert Burns's feature on the National Archives of Scotland website. National Archives of Scotland. 1 July 2009. Retrieved 21 July 2009. ^ Burns was to be the book-keeper for Charles Douglas who ran the Springbank estate for his brother, the Earl (?) of MURE. The estate was about 1.5 miles SSW of Port Antonio, Portland parish, Jamaica on the NE coast of that island. It may have been Springbank but it is now Spring Bank Rd that leads to the ruins of the great house. It has been suggested that that was a position for a single man, and that he would live in rustic conditions, not likely to be living in the great house. ^ a b Burns 1993, p. 19 ^ a b c "Highland Mary (Mary Campbell)". Famous Sons and Daughters of Greenock. Nostalgic Greenock. Retrieved 17 January 2010.[dead link] ^ "Feature on The Poet Robert Burns". Robert Burns History. Scotland.org. 13 January 2004. Retrieved 10 June 2009.[dead link] ^ "Folkin' For Jamaica: Sly, Robbie and Robert Burns". The Play Ethic. 1 January 2009. Retrieved 10 June 2009. ^ Burns 1993, pp. 19–20 ^ a b c Burns 1993, p. 20 ^ Chambers, R, ed. (1856). "Significant Scots – Thomas Blacklock". Biographical Dictionary of Eminent Scotsmen. Blackie and Son. Retrieved 17 January 2010. ^ National Galleries Scotland ^ a b Robert Burns: "Poetry – Poems – Poets." Retrieved on 24 September 2010 ^ a b Robert Burns: "The R.B. Gallery." Retrieved on 24 September 2010 ^ a b c Hogg, PS (2008). Robert Burns. The Patriot Bard. Edinburgh : Mainstream Publishing. ISBN. 978-1-84596-412-2. p. 321. ^ https://sites.google.com/site/joerocksresearchpages/thomas-hamilton-architect ^ "Testament Dative and Inventory of Robert Burns, 1796, Dumfries Commissary Court (National Archives of Scotland CC5/6/18, pp. 74–75)". ScotlandsPeople website. National Archives of Scotland. Retrieved 21 July 2009. ^ "Appointment of judicial factor for Robert Burns's children, Court of Session records (National Archives of Scotland CS97/101/15), 1798–1801". 'The Legacy of Robert Burns' feature on the National Archives of Scotland website. National Archives of Scotland. 1 July 2009. Retrieved 21 July 2009. ^ Hogg, PS (2008). Robert Burns. The Patriot Bard. Edinburgh : Mainstream Publishing. ISBN. 978-1-84596-412-2. p. 154. ^ George Burns descendents family tree, living descendents, etc. ^ Robert Burns: "Literary Style." Retrieved on 24 September 2010 ^ Robert Burns: "hae meat." Retrieved on 24 September 2010 ^ Red Star Cafe: "to the Kibble." Retrieved on 24 September 2010 ^ Rumens, C (16 January 2009). "The Bard, By Robert Crawford". Books (London: The Independent). Retrieved 10 June 2009. ^ Watson, J (7 June 2009). "Bard in the hand: Trust accused of hiding Burns's mental illness". Scotland on Sunday. Retrieved 10 June 2009. ^ Crawford, Robert. "The Abraham Lincoln Papers at the Library of Congress." Robert Crawford to Abraham Lincoln, Saturday, January 23, 1864 (Invitation to attend Robert Burns celebration). January 23, 1864. http://memory.loc.gov/ammem/malquery.html (accessed January 20, 2013). Lincoln’s toast: see Collected Works, VIII, 237. ^ See, e.g., Paul Stevenson, "Stanton—the Writer with a Heart" in Atlanta Constitution, 1925 January 18, p. 1; republished by Perry, LL; Wightman, MF (1938), Frank Lebby Stanton: Georgia's First Post Laureate, Atlanta: Georgia State Department of Education, pp. 8–14 ^ Simpson, R (5 October 2008). "Bob Dylan names Scottish poet Robert Burns as his biggest inspiration". London: Daily Mail. Retrieved 13 July 2009. "Bob Dylan has named his own greatest inspiration as the Scottish poet Robert Burns. The American singer-songwriter was asked to say which lyric or verse has had the biggest effect on his life. He selected the 1794 song "A Red, Red Rose", which is often published as a poem, penned by the man regarded as Scotland's national poet." ^ Michaels, S (6 October 2008). "Bob Dylan: Robert Burns is my biggest inspiration". London: The Guardian. Retrieved 11 June 2009. "Dylan has revealed his greatest inspiration is Scotland's favourite son, the Bard of Ayrshire, the 18th-century poet known to most as Rabbie Burns. Dylan selected A Red, Red Rose, written by Burns in 1794." ^ "J. D. Salinger's Catcher in the Rye". Sparknotes. Retrieved 14 July 2010. "When [Holden] tries to explain why he hates school, she accuses him of not liking anything. He tells her his fantasy of being "the catcher in the rye," a person who catches little children as they are about to fall off of a cliff. Phoebe tells him that he has misremembered the poem that he took the image from: Robert Burns's poem says "if a body meet a body, coming through the rye," not "catch a body."" ^ "Burns Biography". Standrews.com. 27 January 1990. Retrieved 10 June 2009.[dead link] ^ Trew, J (10 April 2005). "From Rabbie with love". Scotsman.com Heritage & Culture. Retrieved 10 June 2009. ^ a b "Congratulation Greenock Burns Club". The Robert Burns World Federation Limited. Retrieved 18 January 2010. ^ "Posthumous recognition of Burns, the land surveyor". RICS. 19 November 2012. Retrieved 21 November 2012. ^ Robert Burns World Federation Limited Burns chronicle, Volume 4, Issue 3 p.27. Burns Federation, 1995 ^ "Current Banknotes : Clydesdale Bank". The Committee of Scottish Clearing Bankers. Retrieved 15 October 2008. ^ a b "Clydesdale launches Homecoming bank notes". The Herald. 14 January 2009. ^ "Current Banknotes : Bank of Scotland". The Committee of Scottish Clearing Bankers. Retrieved 17 October 2008. ^ Pobjoy Mint Retrieved : 27 November 2011 ^ £5 Coin Retrieved : 27 November 2011 ^ "The 2009 Robert Burns £2 Coin Pack". Retrieved 5 January 2009.[dead link] ^ "Clarinda – The Musical – No woman shunned Robert Burns' advances, until he met Clarinda!". Clarindathemusical.com. Retrieved 10 June 2009. ^ "Clarinda – The Musical – United States Premiere!". abettheatre.com. Retrieved 15 December 2012. ^ Burns voted Greatest Scot STV. Retrieved 10 December 2010.