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1989 The digital conversion of this Burns Chronicle was sponsored by Alex J. Hood In memory of his father, James A. Hood (1920-1989), both of Balerno Burns Club, “Let it Blaw”
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www.DDSR.com BURNS CHRONICLE
BURNS CHRONICLE AND CLUB DIRECTORY Instituted 1891
WHOLE NUMBER 98
Price. Paper £4.99, Cloth i.7.50 (Members £2.99 and £4.50 respectively)
Publi>hed hy the Burns Federation, Dick ln;titute, Kilmarnock Contents
Enez Barne> Logan From the Editor Oh1tuan<:'> Book R..:v1ew., The Selkirk Grace. Fact and Fable Greetmg., from Greenock Mabel lrvmg Burm, the Mw,1cal 3..\ Dumfne' Burn' Howff Cluh Centenary 37 Poetry The Bra,h and Reid Edition'> of "Tam o' Shanter'' G Ro.,.,Roy 38 ..\5 No Ordmary Man ..\9 Wilham Corbet Jame' L Hcmp>tead Ryedale Cottage Irving Miller 57 Elli,land Bicentenary 59 Jmeph H1.,lop and th..: Song' of Roher! Burn., M. T R 13 Turnbull Robert Burn' and Prote.,.,or Stewart John Str.iwhorn 63 The "Pa1'1ey 500" Gn:etmg 'I G JI 72 73 Tho'>C Jolly Beggar' R Peel 76 Tempu., Edax Rcrum Roy Solomon 77 The World-wide memoriab to Rob.:rt Burn., 83 A Recollection ot Burn'> trom 1836 Candv Livengood X6 Schoob Competll1on Report - 1988 Jame., Gia" 8lJ Robbie·., Statue> JcffBrownngg 98 Statement of Account'> to..\ Office Bearer., of the Burn'> Federation 106 L1't of Prev1 I 13 Reporh of the 1987 Conference 123 Alphahet1cal Ll'>t of Clubs 126 Numerical L1't of Club'
2 j
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Pride Of Place At Your Bums Supper. This year your Burns Supper could be noticeably different. With the guests following the toasts and joining in the choruses- word perfect. Best of all. from a Scottish point of view, it won't cost you a penny extra For the place mats illustrated above are free from Drambuie. They're available in multiples of 20 assorted mats. just fill in your requirements on the attached coupon and we'll do the rest. Scot free! r Tu7he7ra~ieLlqu;: C~tW2 ~ fuce,Ninb:°gh I Please send me I \Burns Supper Place Mats l?li-MOliriJ.J.:.I Name ______Position ______I Club _____ I Address ______L------~ 3
Enez Barnes Logan
Enez has been such a well-known figure of the Burns movement for the pa~t two decades, that it comes as a surpnse to realise that she is 5till only 43 year5 old and, a5 such, i5 the youngest President in the entire history of the Burns Federation. It seems faintly unchivalrous to mention a lady's age, so by way of amends I hasten to add that Enez today looks younger, and more radiant than ever. Verily, the camera does not he; compare the photograph opposite with the portrait which appeared in the 1979 Chro111cle. Enez was born and brought up in Kilmarnock and although she and her husband Robert moved to Kilmaurs four years ago she remains true to auld Kil lie. She was educated at Kilmarnock Academy and currently worh in Paisley where she is the Sales Credit Controller m the accounts department of a large company. The Logans have two daughters - Helen (22) lives and worh in London, while Nancy (19) 1s a hairdres5er. Twenty years ago Enez and her mother paid a visit to the Tam o' Shanter Inn Museum at Ayr and then went on to the Cottage and Birthplace Museum at Alloway. This rekindled an interest in Burns which had been dormant ~mce schooldays. Soon afterwards she was taken along by her father and mother-in-law to the Kilmarnock Howff Burns Club to one of their special guest nights when ladies were admitted. The Howff was then a bastion of male chauvinism which, however, had the grace and good sense to move with the times. In 1971 ladies were admitted to full membership and Enez was the first of her sex to take the opportunity. One of her earliest memories of a club meeting was a talk given by the late Alex MacMillan in which he urged members to encourage young people to take up an interest in the Burns movement. This made such a lasting impression that Enez agreed when she was approached about taking on the job of Club Secretary. As a Club official, she was appointed a delegate to the Ayrshire Association of Burns Clubs, where her outstanding qualities were quickly recognised. In 1974 she became Vice-President of the Association, and three years later became President - the youngest in the Association's history. She has also served as President of the Howff Club and performed yeoman service as Secretary of the Ayrshire Association. She has taken a leading role in Burns actIVlties throughout Ayrshire in the past twenty years and was recently elected Vice-President of Kilmarnock Burns Club. For many years now she has adjudicated in the verse-speaking competitions for schoolchildren held in Kilmarnock and Loudoun Distnct. She has been closely involved in countless events organised by the Ayrshire Association over the past fifteen years. Keenly interested in all aspects of local history, she regards her greate5t achievement so far the location of the graves of the Tannock Brothers, now marked by a plaque erected by the Howff Burns Club. Enez organised the very successful Bicentenary Celebration in Kilmarnock, honouring the printing of Poems, Chiefly in the Scottish Dialect, held at the grave of John Wilson in July 1986. Enez has attended every Burns Conference since 1972 and joined the Federation Executive in 1979. She was involved in the planning committees for the Conferences at Irvine (1981) and Kilmarnock (1986). She wa5 elected Junior Vice-President of the Federation at London in 1985, and progressed to President in September 1987. A more than usually crowded presidential year culminated in the highly successful Conference in Hamilton, Ontario. Enez is particularly busy in January and February and reckons to take part m fourteen or fifteen Burns Suppers each year. Obviously Robert Burns plays a large part in her life, but she still finds time to keep up her interests in local history. Over a period of two years she wrote a history of the Old High Kirk in Kilmarnock, published in serial form in the Church magazine, and she has also contributed a number of articles to the Chronicle on aspects of Kilmarnock pertaining to the Bard. She is currently writing a book entitled Kilmarnock, a Modern Treatise.
5 From The Editor
In March 1988 I had the good fortune to Green, the Pa its of Clannochdyke, the visit Amtralia in connection with the Telfers of Nether Affleck and Grey Bicentennial Numismatic Convention in sauchs, the Weir; of Waterside, the Sydney, New South Wales where I gave Browns of Auchlochan and the Steel\ of one of the papers. Regrettably, the tnp Cumberhead. Robert Steel was slain at was arranged at rather short notice, ;o the battle of Bothwell Bng in 1679 and that it wa; impossible to plan an itinerary lies buned in Strathaven kirkyard. His which would have enabled me to meet nephew David Steel of Skellyhill was shot the clubs affiliated to the Burns Federa in cold blood before his wife and bairns t10n. Neverthele;s, I was very glad of the by Chrichton, a lieutenant of Dragoons. opportunity to meet member; of the on 20th December 1686. Of Robert's Scottish Society and Burn; Club ot son\, John was one of the leaders of the Australia during the cour;e of their very Covenanters 111 Lesmahagow pari'h dur lively monthly meeting. ing the Killing Times and survived the May Dickie, the Club secretary, left persecution to obtain a capta111 's commis details of the time and venue of the sion in the Cameronian regiment in 1689. my hotel, and ;hortly before meeting at The other son Wilham was my great I strolled along the appointed hour (nine times) grandfather, tenant 111 Street to St. Stephen's Macquarie Lochanbank. He was briefly impmoned early, and to kill Church Hall. I arrived after Bothwell Brig but released through around the glass show time I browsed the good offices of the Marquess of outer hall. St. Stephen's is cases 111 the Douglas, though for much of the 1680s he second oldest Presbyterian only the was a fugitive. Both John and Wilham Sydney, but it has an incompar church 111 used to return to their farm; from time to of relics and memorabilia able collection time, and on several occasions were with the hi;tory of Presbyte associated almost captured by the troopers of back to the time of John rianism nght Claverhouse. Once, John hid 111 the byre, the Lords of the Co11gregat1on. Knox and covered in straw, and was on the poi1it of particular caught my One exhibit 111 detection when his re'>ourceful wife an ancient Ha' Bible, its page; eye. It was Marion dropped a lighted torch into the with age; but it wa; the savage yellowing tub of unne (used to bleach cloth) and the thicknes5 of the cut right through .. created such a fearful stink as to dnve out board; of it; binding book to the very the \Oldiers. that stopped me in my tracks. Could this be . . . ? Sure enough, a copy of William himself was forced to hide in Woodrow's Faithful Contending.1· Dis the byre on one occasion. He lav there played wa; open at the page de;cribing with the family Bible on his che;t, while the incident which had led to the mutila hi; wife Grizzel covered him with straw. tion of the Bible. The Dragoon; prodded and slashed at I am three-quarters Highland, but the straw with their sabres. One such through my maternal grandmother I can sword-thrust cleaved the Bible asunder trace my ancestry back ten generations to but undoubtedly saved William from such families as the Watson; in Shield discovery and certain death.
6 I mu't conte,., that I had alway' upon a Bicentennial Era of our own. It regarded thi' tale with a gra111 of salt. If it began with the celebrations in Kilmar were true, where was the cloven Bible nock at the end of July 1986 marking the which would have lent 'ubstance to the Bicentenary of Poems. Chiefly in the legend? You may therefore imagine my Scotf/.\h Dialect. At the time of writing we excitement when I found thi' venerable have been celebrating the 200th a11111ver family heirloom pre,erved on the other sanes of the marriage of Robert and ~ide of the world. Tantalisingly, I did not Jean, and the entry of the poet 111to his have the opportunity to examine the tenancy of Elli,land. In October 1988 we Bible more clo,ely. although our Honor have the Bicentenary of Steam Naviga ary President Gordon Mackley 1' inve-,ti tion which all began one autumn day on gat111g the matter further on my behalf. Dalswinton Loch. when Burns left off In particular I am intngued to know what from his harvesting and walked acro~s the family detaib are given on the flyleaf, the fields with Sandy Crombie to watch the traditional repository of birth' and bap '>team-powered folly and plaything of h1' ti,mal records. Mv descent from Wilham landlord, Patnck Miller. Sadly Burns Steel i' through hi' great-granddaughter neither apostrophised the event nor even Helen and thereafter through 'ucce,sive mentioned 1t in the letter he penned to female l111e~; presumably the Bible was Jean that very day. Who could have transmitted through heirs male and came dreamed that the new technology of 1788 to Aw,tralia with them. Now I have the would one day bring immense prosperity ta-,k of tracing the provenance of the to Scotland, but also enormou-, social and Bible back from the donor 111 the hope of economic upheavals'? finding some long lo't k111 Down Under. And so 1t will continue for the next Research into all a'pecb of Burm is a 'even years. as we celebrate the Bicente bit like genealogy: 1t " never-ending, nanes of the move to Dumfnes. the 'ometimes frustrating and baffling, at publication of "Tam O' Shanter", the other time' excit111g when a piece of the Scots Musical Museum and the Select jigsaw falls 111to place. Con,idering the Collection of Scottish Airs, the two va~t literature on the Bard, there are 'till Galloway tour' and the Royal Dumfries many unsolved problems - and ju't a' Volunteers, and finally as we pay our many myth' which pers1't from genera tribute to the Immortal Memory of Burns t10n to generation. Whatever else 1t has 111 July 1996. We may be '>Ure that the achieved 111 the past n111ety-odd years, the celebrations that culminate 111 "The Chronicle has been the repo,1tory of the Spirit of Ninety-six" will out,h111e any sober, factual re'>earche' of countless thing that has gone before. and give the 'cholar'> and 1s con,cquently an 111valu Burns movement the momentum that able 'ourcc of information for the stu will carry us forward with confidence into dent, the critic, the biographer, the the twenty-ftrst century. historian and the ordinary Burn,ian. Jame' A. Mackay Ment10n of the Aw,trahan Bicenten 11 Newall Terrace mal reminds me that we have entered DUMFRIES, DGl ILN
7 John Walter Begg 1906-1988
John Walter Begg was a direct descen dant of John Begg and Isabella Burns. the youngest siste r of the Poet. He was born in Sydney. Australia. on IOth September. 1906 and lived there practi cally all his life. He graduated in law from the Univer sity of Sydney and became a solicitor. practising at Dorrigo. New South Wales. for a short while before returning to Sydney where he took over th e firm to which he had been articled in his earlier days. Later he took a partner and establi shed the firm of J. W. Begg. Blackmore & Co. He was always proud of the fact that o ne of his daughters. Merrie! , followed him in the legal profes sion . and a grand-daughter. Tiffany. is at present at the University also studying law. During the Second World War he jo in ed the Australian Air Force and served in various places in the islands north o f Australia. being seconded for some time to the American Air Force in the Solomon Islands. that occasion was when he unve iled the From his school days he had always Cairn at Clochnahill near Stonehaven. re tained an interest in cricket and rug by In recent years his activities have been and it was o ne of his happie~t memories dogged by ill health and he had been in that he achieved a place in his school\ and out of hospital on many occasions. first grade rugby team. He went o n to Neverthe less, he was of great assistance qualify and act as a re feree for many in solving some geographical and chro years. nologica l mysteries which had sur It was only after the death of his wife in rounded Burns fami ly descendants in 1962 that he visited Scotland and began Australia. True to his legal training, he to take an interest in hi s connection with was not content until his researches had the Burns family. He became a keen produced all the answers. member of the Sydney Scottish Society He passed away at Sydney on 6th and Burns Club of which he was Pre January, 1988 , and is survived by his two sident for several years. sisters and three daughte rs who. along Many will reme mber his visit to Scot with all those with whom he came in land in 1968 when he took part. together contact, look back with affection and with his sisters. Jean and A lli son, in the respect on the life of a very kind and Family Pilgrimage organised by William considerate man. Coull Anderson. One of the highlights of LAWRENCE R. BURNESS
8 was an accomplished musicictn and Henry N. Howieson played the bagpipes and guitar. He was a member of the Magic Circle for many 1928-1988 years. At the funeral service held at Needham Henry N. Howieson who was a Past Funeral Chapel on Monday. 27th June , President of London. Ontario. Burns 1988 there was a large number of Club No. 561 (1983/84) died at London Burnsians, fellow workers and those who Ontario on 24th June. 1988. Henry was knew this gentleman. The Service was born in Pumpherston . Scotland on April conducted by Mr Mark Richardson and a IOth, 1928 and emigrated to Canada in moving and sincere eulogy was given by July 1954. He was a life-long Burnsian Dr. Jim Connor, Immediate Past Pre with a real feeling for the works ot the sident of the Burns Federation. Bard and a deep appreciation of Scottish At Henry's request his ashes were history. He had been a member of interred in East Calder Cemetery. Scot London Burns Club since his arrival 1n land, and a stone to his memory was Canada. erected. Henry was a regular attender of the Henry Howieson will be sadly missed Federation Annual Conferences and by all those who knew him and our attended the Conference in Edinburgh in sympathy is extended to his wife Elma, 1987. his daughters Maia, Lynda and Anne and his grandchildren Adam, Jonas and He worked in the General Motors Andrew. Factory in London for over 25 years. He JACK MANN
9 Book Reviews Cauld Kail, bet again!
THE BURNS ENCYCLOPEDIA, comptled by Maurice Lmdsay. pp426+vii. (Robert Hale, London, £14.95).
The idea of writing this encyclopedia occurred to Maurice Lindsay 35 years ago, when he was engaged in writing his biographical work Robert Burns: The Man; his Work; the Legend. To very few authors has been given the happy knack of being able to utili'e what probably started out as the working notes for the biography and expanding them into a major work in its own right. The idea of compiling the encyclopedia lay dormant, however, until 1958 when Hutchinsons of London commissioned 1t with an eye on the Bicentenary market. It says a great deal for Mr Lindsay's energie' (as well as the organisational abilities of his publisher) that 5uch a sub,tantial volume could be rushed out in time. Inevitably the first edition had its shortcomings, but the opportunity to rectify them occurred in 1970 when a second edition wa' publi5hed. A third edition appeared in 1980, by which time Robert Hale had taken over publication. The third edition was essentially the 5ame as the second, with a few minor textual corrections. Rather than go to all the trouble and expense of resetting the entire text to accommodate entirely new material a twelve-page Addenda wa' included. Thi' provided the opportunity to introduce entirely new entries or expand the information given in pr~viously existing ones. It is this third edition which has now, eight years later, been reprinted. That a reprint was necessary is a measure of the ongoing demand for such a book. It 15 a matter for considerable regret, however, that the opportunity which thus presented itself was not taken for a thorough overhaul of the text. So far as I can see the text of 1988 is absolutely identical to that of 1980, with the significant exception of the list of books by Maunce Lindsay which appears opposite the title page. This ha5 been lovingly brought up to date; what a pity the same loving care was not lavished on the encyclopedia itself' Better late than never. so I shall begin by venturing to suggest a few entrie5 for inclusion in the fourth edition: Adam Armour, the Rev. Dr William Babington, Lord Balmerino, the 'minor bard' Barclay whom Burns discussed with James Johmon, Robert Burn, the architect of Fergusson'' tomb, John Clark of Locharwood, Crombie'' of Dumfries, Andrew Crosbie. General Dirom, Lady Mary Douglas, John Drummond, Agnes Eleanor Dunlop, Rachel Dunlop, the Edinburgh Evening Courant, Johnie Faa, Miss Farquhar, the Glendinning or Glendonwyn family of Parton, the Glovers, John and Walter, Robie Gordon, William Graham of Mossknowe, the actor F. J. Guion. William Hamilton, Elizabeth Inglis, Bailie John Kellock and his wife of Thornhill, Fanny Kemble, Captain Lascelles, John Lewars Junior, Betty McAdam. Andrew McCulloch, William McCraken, Simon McKenzie, David Newall, Janet Nievison. John Pinkerton. Elinor Riddell, Captain William Roddick of Corbieton (which. incidentally, most editors have misread as Corbiston), Leonard Smith, John Smith & Son, the Rev. Thoma' Smith, James Stewart, Sir James Stirling, Nanie (Agnes) Welsh. Thomas Whyter and Alexander Williamson. After this length of time, moreover, 1t would have been nice to see several of the dramatis personae given their full names. 'Mr Bacon' for the landlord of Brownhills just will not do, when a little research reveals that his name was John. Similarly with the case of Sheriff Welsh, whom Lindsay dismisses with the comment that, according to Sir James Fergusson, there was no Sheriff of Dumfriesshire by that name. Just so. but John Webh
10 was actually a Sheriff-Substitute - a matter which could so ea~ily have been verified in Dumfries without having to approach someone as eminent as Sir James Fergusson for the answer. Many of the dates and other personal details of existing biographees could be considerably amplified in light of more recent re~earch. Sadly, errors of fact have continued to appear in the reprint without change. Sir James Hunter Blair was born James Hunter, not John, as stated in thi~ book. The poet's papers were sent to Dr Currie by the grandmother of Sarah Hutchinson (i.e. Jean Armour) - not her grandfather. That is a patently obvious mistake, due to simple carelessness - as, indeed, is the reference to John Allen (whose mother married Robert Cleghorn): Cleghorn was therefore Allen's step-father - not his grandfather. Lady Winifred Maxwell Constable was not the only surviving child of the sixth Earl of Nithsdale, but the grandchild of the fifth Earl, which is not saying the ~ame thing. On page 111 Burns is given as the author of the verses on the destruction of Drumlanrig Woods, although on page 107 Henry Mackenzie is correctly named as the author. Alexander Fergusson of Craigdarroch was, indeed, a 'de~cendant' of Annie Laurie - he was, in fact, her eldest son. Alexander Findlater's father was not a minister, and his name was James, not Thoma~. Findlater was, in fact, named after his grandfather, the Rev. Alexander Findlater of Hamilton. The Geddes Burns is in the Huntington (not Huntingdon) Library and while it is correct to ~ay that that repository i~ in San Marino, to leave it thu~ 1~ m1~leading, for this San Marino is in Califorma, and not the mountain republic in northeast Italy as implied. The owner of this volume at one time was Dr Henry Goadby, not Goadly. It is not enough to say of Ja mes Gracie that he 'became manager of the bank at Dumfne~'. Then, as now. Dumfrie~ had several banks. Gracie was, in fact, the agent for the Bank of Scotland, but went on to found his own bank, the short-lived Dumfries Commercial Bank. William Ker was not Postmaster of Edinburgh; he wa~. in fact, the Secretary of the Post Office in Scotland (his modern counterpart would be the Chairman of the Scottish Postal Board). The Ayr Bank collapsed in 1773, not 1783. the letter from Deborah Duff Davies was written in 1793, not 1792 and there are many other discrepancies in dates. George Lawrie was ordained at Loudoun (not Loudon) and it is nearer Newmilns than Galston. Lawson the Dumfries wine-merchant was actually John Law~on ( 1769-1809). The first edition of the Merry Muses was published in 1799, not 1800, and there are two extant copies. Lindsay mentions the 1827 edition, seemingly oblivious to the fact that it was actually published in 1872, with the digits tran~posed in a deliberate attempt to conceal the true date of publication. Cally estate i~ in Kirkcudbrightshire, not 'Wigtonshire' (sic) as given in successive edition~ of this hook. Alexander Peterkin was born in 1768- not 1708. William Pitt became Chancellor of the Exchequer in 1783 (not 1784) at the age of twenty-five (not twenty-three). Lindsay then goe~ on to imply that Pitt was not known as Prime Minister, as the Government's first minister did not regularly assume the title until Walpole's day. Quite so - but Walpole was Prime Minister from 1721 till 1742 - half a century before Pitt! Lind~ay may be confusing this with Pitt's official position from 1784 onwards as First Lord of the Treasury - the official appointment of all Prime Ministers down to the present day. King Edward invaded Scotland in 1298. not 1290, and Sir William Wallace was betrayed in 1305, not 1325. Some of the errors are bizarre, to say the least. The statue of Allan Ramsay in Princes Street, Edinburgh, 1s ~aid to hou~e in it~ base the works of the rnckoo clock. I confess to only ~eeing Edinburgh through the eyes of the occasional day trip from Glasgow, but I had always heen under the impression that Edina's horological ma~terpiece was a floral clock, and nothing to do with cuckoos at all. There are several statements based on false premises. Thus the reference to seeing Maria Riddell once 'since I was at Woodley Park' is dismissed as 'puzzling' - but this is
11 not so; as the last time Burns had been there could have been >ome time before the Sabine Women incident at Friars' Carse. John Syme was the Distributor of Stamps, not the Collector (a term applied to a senior rank of Excise official). Finally there are numerous mis~pellings of proper names. To be sure Friar's Carse is a common error for Friars' Carse, but Knockshinnock for Knockshinnoch, Curruchan for Carruchan and Buchan Street, Glasgow for Buchanan Street are less forgivable. Hendry Dundas for Henry Dundas is obviously a printer's literal, but there is no excuse for letting this error remain in print. The actor manager in Dumfries was George Stephens (not Stephen) Sutherland, and Maria Riddell's second husband was Phillips. not Philips Lloyd Fletcher. The home of the Riddells was Halleaths, not Hallheaths. On reading over the foregoing, the list of errata seems formidable; but in truth these are for the most part fairly minor matters that do not seriously detract from the immense value of the Encyclopedia. I have found it absolutely invaluable to me over the past twenty years and it is only because it is in constant use that I am aware of its relatively few shortcomings. It has been my own experience that the perfect book, correct in every respect, has never yet seen the light of day. But what, I fear, is reprehensible, is to permit a reprint of this book without taking the opportunity to make even the most minor of cosmetic improvements in an otherwise estimable text.
New Slants on Old Subjects
STUDIES IN SCOTTISH LITERATURE. vol. XXII. Edited by Professor G. Ross Roy, Department of English, University of South Carolina, Columbia, SC. pp 261. . - The latest volume in this series contains some fourteen papers on a wide range of topics, ranging chronologically from Chaucer and the Middle Scots Poets, contributed by Walter Sheps, to a study by Alistair McCleery examining the genesis of Neil Gunn\ 1944 novel The Green Isle of the Great Deep. It never ceases to amaze me how disparate are the matters pertaining to Scottish literature which are currently in course of research. Sir Walter Scott had a lifelong interest in Old Norse literature, as demonstrated by his comprehensive library at Abbotsford. He drew on this rich ,ource for many of his poems, as well as such novels as Ivanhoe and The Pirate. Julian D'Arcy and Kirsten Wolf have contributed a fascinating article on Scott's translation and re-telling of Eyrbyggfa Saga. The mechanics whereby writers perfected their craft is always an absorbing subject. R. D. S. Jack analyses the development of Barrie and the transition from novelist to playwright. illustrated by the genesis of his first comedy, Walker London which was produced at Toole's Theatre, London in 1892. Incidentally, it is interesting to note that Oscar Wilde made his theatrical debut a few days earlier, with Lady Windermere's Fan, and before that momentous year was out another Irishman - George Bernard Shaw - took hi, first dramatic steps with Widowers' Houses at the Royalty Theatre. Barrie adopted a remarkably self-effacing role; the author had literally to take a back seat to the flamboyant producer Toole. By contrast, Oscar Wilde came on stage at the close of his first night, garishly dressed - and smoking! - to make an extravagantly self congratulatory speech. Shaw, presumably, occupied a moderate position between these two extremes. The gradual evolution of a literary masterpiece is also the theme of Elizabeth Huberman's article on Edwin Muir's "Day and Night". A great deal of painstaking work has been expended on plotting the growth of this poem, from Muir's manuscripts (now in
12 the National Library of Scotland). Professor Huberman philosoph1cally accepts that there is now no way to reconstruct the process of composition in Muir's mmd, but she has done a fine job, first m identifying the seed from which the poem grew, and then, from a meticulous examination of Muir's other writings, in tracing its subsequent development. Colin Nicholson has made adroit use of a series of conversations with Sorley MacLean himself m his examination of his "poetry of displacement". which arose out of the traumatic events of the late Thirties. Rodger L. Tarr has contributed an entertammg piece on Thomas Carlyle's own traumatic experience of displacement when he and his long-suffering wife Jane Welsh moved from the remoteness of Upper Nithsdale to the hustle and bustle of London. Moving house from London to Dumfriesshire even nowadays (I speak from personal experience) is a big enough upheaval, but for the Carlyles, makmg the journey in reverse a century and a half ago, the prospects must have been dauntmg to say the least. Jane summed it up as a time "to burn our ships ... and get on march". The Carlyles relied heavily on Sarah Austin to find a suitable house for them and Tarr\ article on Carlyle 's house-hunting in London by proxy is derived from the correspondence. A letter of 20th March 1834 is printed in its entirety for the first time. I imagine that the date in the heading - 1838 instead of 1834 - is one of those printer's literals that sorely try all editors; but it is the spelling of the name of the Carlyle abode which came as a surprise to me. Mr Tarr renders it "Craigenputtoch" no fewer than four times. One of these occurs in the heading of the letter and 1s presumably how Carlyle himself spelled it. I verified this from the solitary letter of Carlyle in my own modest collection. This letter (hitherto unpublished) was wntten from Ecclefechan to the Rev. William Corson. tenant of Craigenputtoch. in 1838 and as well as the guttural spelling in the address, it also occurs m the text of the letter itself. The Collected Letters which have been m the process of editing at Duke University this many a long year likewise follows Carlyle\ spelling. Why Carlyle should have been so thrawn in the matter is hard to discover. Apart from Blaeu (1654), who rendered 1t as Kroginputtoch. all subsequent cartographers have adopted the form Craigenputtock. This 1s the form used in Crawford's map of 1828, with which Carlyle qmst have been familiar. Cra1genputtock 1s the form used by all early biographers and writers on Carlyle, with the exception of the American Moncure D. Conway ( 1881) who adopts Craigenputtoch. The latter spellmg appears only to have been revived withm the past twenty years. I mention this at great length because the apparent mis-spelling in academic circles is a matter of comtant irritation to the good folks of Dumfriessh1re in general, and residents of Dunscore parish in particular. Thank God we have no such problems over Ellisland, though Burns was not above spelling it "Ellesland" on occasion. I almost forgot that we do, indeed, have a similar problem with Lochlea - or should it be Lochlie? Burns himself is the subject of two papers in this volume. Steven R. McKenna has contributed a thought-provokmg article entitled "Spontaneity and the Strategy of Transcendence in Burns's Kilmarnock Verse-Epistles". As the years roll by, I keep thinking that the last word on Burns must surely now have been said and written; yet there is always a new angle, as shown in this paper which analyses those verse-epistles which appeared in the first edition of the Poems. Oddly enough, the verse-epistles as a group have had scant attention from students and commentators until very recent years, and McKenna here offers a thematic and structural analysis of Burns's first published epistles "in the hope that it will shed additional light on his artistic purposes, achievements and shortcomings in this special and problematical poetic genre." Perhaps the greatest surprise of all in this excellent volume is the paper on Marshak's Russian translations of Burns's poems. The article was contributed by Yang De-you,
13 Professor at Shanxi University in the People's Republic of China. I must confess to a measure of disappointment when I first encountered the Marshak volume~ in the Mitchell Library. It seemed to me then that Burns's poems lost a great deal m the tran5lat1on: but I am indebted to Professor Yang for now explaining exactly why this is so. It i5 largely due to the fact that Russian words are multi-syllabic. Marshak's tran5lations are beautifully rhythmic to the ear, natural in truly Russian phrase5 and expressions and free from high-sounding cliches; but in preserving the rhythm he has taken some extraordinary liberties with the words. Professor Yang has analysed ~everal of Burn~\ be5t-known poems, printing the Scottish version with Marshak, re-translated mto English, alongside The first thing we find 1s that Marshak has quietly dropped one of the ~tanzas from "John Barleycorn" for no good reason, though Yang makes a valiant attempt to explain the omission. "Such a Parcel of Rogues in a Nation" becomes, in Ru5sian "The Scotti5h Glory". The line with which Burns end~ each stanza does not appear in the Russian version at all, though the punch-line comes in the final quatrain: But ten times at the last hour, I will say openly: Damnation for betraying us, [That] swindling parcel 1
Inevitably "'For a' that and a' that" come5 in for the most cntical exammation. Yang comments: "This poem is special for its folksy feature with the con~tant repetition of ·a' that', particularly with the four lines of the refrain in vanations followmg the fir5t four lines of e:ich stanza. In Marshak's translation, however, the refrain ha5 grown mto ~even, six, five, six and six lines respectively, 5ome m three 5yllables, others in eight, but mo5t between these numbers."
Professor Yang concludes that Marshak has taken 5ome unpardonable liberties. In truth his translations are really adaptations, and he obviously felt free to omit whole verses and transpose lines to suit himself, regardless of the sense of the original. Finally, Yang points out that a much better job of translating Burns was made m 1963 by Victor Fedotov, whose work was published at Archangel "a remote city close to the Arctic Circle, far away from big cities where foreign author5 are studied and published." This must surely make Fedotov's translation of Burns the most northerly edition in the world! Yang pronounces Fedotov to be highly readable, far more faithful to the original in presentation and content, though perhaps not always 5ounding quite as Russian as Marshak.
The pitfalls of translating the vernacular poems of Burns are also illustrated m Dietnch Strauss's review of Hans Jurg Kupper's book Robert Burns im deutschen Sprachraum (Robert Burns in the German-speaking Area). Kupper has produced a study of the immense influence of Burns in the nineteenth century German-speaking countries in general, and examines the translations by August Corrod1 into the local Zurich dialect. Kupper has shown how Burns translates more readily into a Swis5 German dialect than into the standard High German, and sees a close affinity between Scots and Swiss - more than dialects of English and German respectively. H. Klos~ coined the term Halbsprache (literally '"half language") for these language~ which were more than mere dialects. Corrodi went a step further, by using the Zurich dialect, and this explams why his translations were more successful than those of other poets, although Egger made some excellent translations into Low German, and Legerlotz translated "A Man's a Man" into a mixture of High German and the southwestern dialect.
14 Maverick on the Boards THE MAN WHO PLAYED BURNS: AN AUTOBIOGRAPHICAL JOURNEY, by John Caimey. pp220. £9. 95. Mainstream Publishing. Serge Hovey. the composer. musicolog1't and most recent Honorary President of the Burns Federation. was introduced to Burns through the purcha'e of a tartan-bedecked 'ouvenir copy of the poems. edited hy James Barke. John Cairney came relatively late m life to Burn' too, through the medium of Hans Hecht's biography. a copy of which his father-in-law pressed on him m the poet'' Bicentenary year. Like many Scots, John had grown up with Burn,, but it had never occurred to him actually to read hi' works. In the 1960s Cairney. of Scoto-Irish background from the east end of Glasgow, was one of the promising actors in film,, television and the stage, principally with the Royal Shakespeare Company. His first essay in Burm was a spot on the Jimmy Logan show at Burns Night 1960 when he recited "'A Man's a Man". John was amazed at the response from viewers and th1' set him thmking that some form of drama based on the poet's life and work might be feasible. Out of this germ of an idea came the dramatic one-man show entitled "There Wa' a Man". It was John's dream-child, but Tom Wright actually wrote the script and Gerry Slevm eventually produced it. That show first saw the hght of day at the Traverse Theatre during the 1965 Edinburgh Festival. Originally booked for one week, 1t had to be extended by immem,e popular demand to six weeks. Subsequently Cairney took the show all over the country until November 1968. By that time Ca1rney felt in need of a change from Burns, but he was to find that there was no gettmg away from the Bard. In the 1960s Cairney was in considerable demand for film' and television series. To be sure, he was pipped at the post by Alan Bates for the leading role in "Far from the Maddmg Crowd", and by Michael Caine for the main part m "Kidnapped"; but he became a household celebrity as a re,ult of the two series of "This Man Craig". It was Ca1rney's decision which brought this immensely successful series to an end after only two seasons. Incredible a' it must now seem. he turned h1' back on the lucrative and steady work, based in the Home Counties, m favour of the uncertamt1es and nomadic ex1,tence of a strollmg player, with one-man shows such as "An Evening with John Cairney" and later his one-man presentations on Stevenson. McGonagall, Robert Service and lvor Novello. Incidentally. this intimate experience in one of the most difficult of all theatrical art-forms more recently inspired John to undertake re,earcb into the history of one-man theatre for the post-graduate degree of Master of Letters (M. Litt.) and, at the time of writing, the 100,000-word thesis is nearing completion. It is to be hoped that it is not only successful in winning John the coveted degree. but also that 1t will eventually be published in book form. as a valuable contribution to the history of the Theatre. But 1t is with Robert Burm, that John Cairney will always be inextricably linked. All the while he was dabbling in these one-man roles he never lost sight of Burns and experimented with solo performances, out of which developed his "Evening with Robert Burns". This dramatic compilation of the poems. songs and letters of the poet was eventually to play all over the world. John traversed the globe eight times with this show and gave performances everywhere from pubs and clubs to full-size theatre auditoria, cruise liners and festival venues. It has to be added that those of us fortunate to reside in Scotland have a tendency to take Burns - and everything pertaining to him - for granted. It has taken this reviewer several trips to North America, New Zealand and Australia to gain an appreciation of just how much John Cairney's performances as Burns have meant to ex-patriate Scots and second-or-third-generation Scots. Some have gone so
15 far as to claim that seeing and heanng John in the role of Burns had an electrifying effect on them akin to a religious conversion; but everyone I have ~poken to about these ~hows agreed in the warmest and most enthusiastic terms that John Cairney has done more than anyone else to give them a new-found pride in their Scotti~hness. Again, those of us who seldom stray outwith the frontiers of Scotland cannot comprehend the pre~sure of assimilation which face the Scottish communities in the multi-racial melting pots that are America and Australia today. It is against that background that Cairney's achievement must be assessed objectively. Cairney has paid a terrible price for this achievement. It would be no exaggeration to say that Burns completely took him over in the end. It killed his career in films and television - his most recent appearance, I ~eem to remember, was in an episode of "Taggart" where he gets bumped off in the opening minutes - but more importantly it seriously affected his health and destroyed his marriage of twenty-five years. Throughout all these vicissitudes John Cairney pursued his Burns role with a relentles~ness and singlemindedness bordering on obsession. He still nurtures ambitions for mounting a full-scale musical based on Burns and, indeed, "Robert Burns, the Musical" was staged in May 1988 at the Burrell during, but not quite part of. Glasgow's Mayfest. The Man Who Played Burns is an idiosyncratic book, quite unhke anything I have ever read. In the first place, it 1s not divided into chapters but hurtles along on the momentum of the author's exuberance. I might add that my review copy arrived about seven o'clock one morning. I started reading it over my early morning cuppa and found I could not put it down until I had got to the Epilogue, so perhaps such convenient breaking points hke chapters are redundant. My only criticism is that, without an index, it is not the ea~iest of books to come back to when looking for a specific point. John once confessed to me that, with his Scoto-Insh Catholic background he was not the ideal man to play Burns, but I disagree wholeheartedly. Apart from the uncanny likeness of Cairney to Burns, the actor's rugged individualism, his staunchly nonconformist outlook and - dare I use Burns's own words? - his manly independence are all all very much in the Burns mould. Along the way, John has trodden not only on the boards but on many toes, as he freely admits, and in his book he certainly pulls no punches. One valid point he makes, among many, is that there is something in the Scottish character that resents success in others. He has been castigated for somehow exploiting Burns, or at least doing very nicely out of him. That widely held viewpoint i~ utterly misplaced. In purely material and financial terms he would have been infinitely better off if he had not let Burns take over his career. In terms of health and per~onal happiness, too, Burns may also have exacted a particularly harsh bargain. And yet, I ~uspect that John would not have had it otherwise, were he given the opportunity to play his life over again. I cannot recommend this book too highly. Personally I enjoyed it immensely and had many a wry chuckle. Of course 1t goes over the top at times and is often highly opinionated, but these foibles are part of its charm. It is a very moving book as well as a most entertaining one. Cairney is an excellent raconteur and his narrative has pace and verve. In the aftermath of the Ibrox disaster he was asked to do a special show at the Mohawk Auditorium in Hamilton, Ontario for the Hamilton Rangers Supporters Club in aid of the disaster fund. An ardent fitba' fan himself. John had been shocked by the tragedy and composed a soliloquy: Speaking as a Celtic supporter, I would have reached out both my hands Across that green, dividing pitch
16 And held you hack. Held _vou up. Put my arms abollt you And embraced you But all the fears Of too many years Held back my helping hands From you, Blood-red, Death-white, True-blue Across the park that day ... At a party afterwards, John gave h1' three-page manu,cript of the poem to a couple ot Rangers supporter' who begged it from him. Some time later. when he wa' about to board the Prestwick plane at Toronto. the two men approached him and presented him with a beautifully printed copy of the 'oliloquy; it turned out that they were printers by profession. Sad to say, John inadvertently left it in the seat-pocket on the plane when he disembarked. If any of our Canadian reader-, remembers this incident and can lay their hands on a copy of this poem. I am sure John will be eternally grateful for it.
In His Own Write THE COMPLETE LETTERS OF ROBERT BURNS. Edited by James A. Mach.a\'. pp862+31 plates (including colour). The Burns Federatum and Alloll'ay Puhhsl1111g. Subscribers· edition (£25), Sou1·e111r edition (£15. 95 ). The prose wntmgs of Scotland's National Bard have tended to be overshadowed by the brilliance of his poetry; but they know not Burns who only Burn~\ poems and songs know. Some 700 letters written by Burn,, mainly in the last decade of his all too brief hfe. are presented in thi' volume. The writer of these letters emerges as a multi-layered personality: deeply religious one moment. highly irreverent the next; a male chauvinist given to sexual braggadocio in letters to Ainslie, and the author of high-flown sentiment in the remarkable Sylvander letters to Mrs McLehose; yet the self-same writer of love letters to his wife. moving in their tenderness and simplicity. Burns's correspondence reflects the times in which he hved. There are letters to fnends and relatives within the the narrow confines of rural Ayrshire in which he was brought up; but Burns moved easily among the personalities of the Age of Enlightenment and he corresponded with doctors, lawyer,, philmophers and savants on equal terms. The polished elegance of his letters contrast' dramatically with the artlessness of his vernacular poetry. Above all. however, the letters are a goldmine for the biographer and student of Burns, the man and his poetic works. It is a sad fact that, while mo't Scot' can recite a few lines of Burns\ poetry, and probably even have a copy of the Poem' at home (like the Bible and Shake,peare. an indispensable part of the furnishings but like them largely unread), the poet's letters have hitherto been the closed preserve of academics. David Daiches once set questions for a television quiz programme based on Burns, but had to abandon the questions derived from the poet's correspondence when it was discovered. at the rehearsal, that only one of the contestants had the faintest acquaintance with the Letters. And these were all self-professed "experts" on the Bard! The relative unfamilianty with the Letters is due in large measure to the fact that the only editions available until now were the two volumes edited by the late Professor J. De
17 Lancey Fergu,on, pubhshed by the Oxford Uni\'er,ity Pre'' in 1931 and out of print for many years. A 'et of the'e \'olume' in the antiquanan book market would have set you back three figure,. In 1985 the Clarendon Pres-; brought out a new edition in two volume,, edited bv Profes'or G. Ros' Rov, an Honorarv Pre,1dent of the Burn' Federation. Thi-.. edit10n, however, wa' priced. at £90 which p~t 1t beyond the reach of all but the wealthie't of bibliophile,. Re\'ie\\ er-.. of that edition unammou,ly clamoured for an edition of the Letter' which the ordmary Burm1an could afford. Thi.., cry was taken up at the Burn' Conference at Kiimarnock m l 986, and in the aftermath of the highly successful publication of the Co111p/ete Work.1 it was decided to follow thi' up with a compamon \'olume on the Letter' The Clarendon two-volume edition is a hard act to follow but it 1' to the credit of the Burns Federation that the re,ulting volume i' both comprehensive and conc1'e - and, what 1' more, at an affordable price. The letter' have been arranged in choronolog1cal order of rec1p1ents, all letters to the same addressee then followmg in date order. Each 'ect1on i' prefaced with excellent note' givmg b1ograph1cal details of the addre,see and the circumstances m which the letter or letters were penned. Thi-.. approach. never before attempted, ha' re,ulted m a fre'h appraisal of the corre-..pondence, givmg 1t a more personal dimension. Of Burn-.., "Caledoma 's Bard", the poems and ..,ong' are the irrefutable evidence on which his reputation re\b. But if we w1'h to learn <,omethmg of Burn'> him-..elf - as dutiful 'on, passionate lover, tender husband and father, compassionate brother, pain,takmg farmer, exemplary exc1seman, patient mender and re,torer of old ballads, warm fnend, ardent propagand1't and polemic1't - the whole man with all hi' faulb and failing,, his fme poinh and hi' strength-.. - then the Letters are by far the be't biographical material. No Bunrnan ought to be without a copy. J.M.G.
An Octogenarian's Octocentenary Tribute POEMS AND SONGS. by lallles Urquhart. pp25./+.ni. Pu/J/i1hed by the author at 35 Rosemount Street. Dumfries. L11111ted ed111011 of 150 copies, t32. James Urquhart needs no introduction to the Burn' mo\'ement - 1t owes him eternal gratitude for smgle-handedly rescumg the fir't Dumfnes Burn' Hou'e m Bank Street from almo't certain de,truction. A historian of note and a lifelong admirer of Burn,, he 1s a poet and mmician him,elf. In 1986 he orgamsed a Sangspiel a~ his contnbution to the Octocentenary of the Royal Burgh of Dumfries and sub,equently published this handsome volume a' his per,onal tribute to the town m which he has spent h1' long life. Some 120 poems and songs written and composed by Jame' Urquhart over many decades have been brought together. Lavishly illustrated and interspersed with notes, with a number of append1ce' delving mto the heraldry of Dumfnes (a matter in which Mr Urquhart played a major role himself), this book cover' a very wide range of subjects. Not only has Mr Urquhart shown his mettle as a makar, he exhibits a surprising proficiency as a composer, and his own music accompanying his 'ongs is pnnted alongside where appropnate. There are poems of love, occa,1onal poems (in the strict sense of dealing with specific events), ballads, children's songs, poems extolling the beautie' of Dumfries and Nithsdale which inspired another bard two centuries ago, and Imes on matters of the moment in the passing world. The photographs and line drawmgs that illustrate the book have been contnbuted by various artists, including the author's grand-daughter Fiona Jane. Incidentally not a few have come from the facile brush of John Mackay, well-known as an illustrator of the Scots Magazine and the Federation's poster and calendar; a great
18 pity. therefore. that h1' name ha'> been misspelled "McKay" or "MacKav" m th1' otherwise estimable volume. Many of the poems are. 1f not frankly autobiographICal. very reveal mg of the poet himself. There 1' a poignant lament for Tim Jetf,, one of the mo't accompli!'.hed all-round craft,men to come out of the Stewartry. tragically drowned 111 a boating accident on Loch Ken in 1975. Thi,, in fact. follow' a much longer work entitled "The Yellow Door" by which Jeff'' 'tudio in Dumfne-, (and later 111 Kirkcudbnght) wa'> known. It is mce to see that one of the South of Scotland's mo't talented though utterly 'elf-effacing men 'hould have h1' memory perpetuated in thi' way. Some of the piece' have an oddly dated feeling which Urquhart ha' deliberately retained. Thu-, the caption "The Two Truth'" 1' employed a' a heading to two poerm. the one. written 111 1942. on the her01c defence of Stalingrad which capture' the fervent pro-Russian sentimenb of the period. the other written a decade later and -,atiri,111g with devastat111g effect Stalin·, Slave Camp,. A' a -,cholar and h1,torian. Jame' Urquhart ha' a lively - nay. uncanny - 'en'e of the h1,tonc 111 relat10n to the here and now. and th1' 1' demonstrated most vividly 111 the ver) mov111g poem written on the battlefield of Solma-Ri in Korea, which he vi,ited 111 April 1983. There are two 'tanza' in memory ot John F. Kennedy. composed at the time of hi' a'"1'sination a quarter a century ago. The influence of Burn' is all-perva,rve. There I'> a Prologue for the opening ot the Musical and Operatic Society·., new Bngend Theatre in 1973. which echoe' the sentiment!-. of thme Prologue'> \Vhrch Burn' hi1melf composed for the Theatre m Dumfrie-;. Burn' 's Twa Brig' i'> obv1ou,ly the II1'>p1ration for the two lengthy poem' entitled "The Auld Brig Reflect'.. ( 1959) and "The Su,pen!'.ron Bridge Breaks a Century'' Silence" (1975). "Confe,-;rom of a Ju5.tified Sinner", on the other hand i' clearly im.pired by Hogg. Burns himself form' the '>Ubject of 'everal poerm. "We Were There" deab with the poet's funeral on 25th July 1796. But it 1' on the occa,ron of the poet'' Bicentenary that James Urquhart pulled out all the 'tops. "A Fhght of Fancy" is an eprc of Shanterlike proportions (almo't 300 line' 111 octo,yllab1c coupleh) which 1mag111e' Burn' re\i,iting Dumfrie' in January 1959. This become' a vehicle for bnng111g in references to everyone of note in the Burgh. It i' the sort of 'aga on which some po,tgraduate student two centuries hence wrll base a doctoral thesi,, explorrng the allu,rons and 1dent1fy111g the persons mentioned. One thmg, at lea't. ha-. changed for the better in Dumfne-, -,mce 1959: Like your renowned Theatre Royal. Now just a closed-down ctncma. bare And tenantless ... Burns would be pleased to 'ee 1t now re,tored to its pri,tine function and floun'>hing a!'. never before.
Words and Meanings
TWO GLOSSARIES BY ROBERT BURNS, edited bv Donald Low. Universit_v of Stirling Bibltographical Society, Occasional Publication 6. pp48. The University of Stirling Bibliographical Society wa' founded 111 1974 and is based on the University Library, although about half it' member,, including the Honorary Pre,ident, W. R. Aitken, are drawn from outwith the University. Member,hip. in theory by invitation, is in practice open to any interested person. The annual subscription of £1 ($4)
19 gives member~ the opportunity to attend three meetmgs and to purchase publications at a reduced price. The Society'' Occasional Publicatio11s owe much to the collections in the University Library and in the Leighton Library. Dunblane. which dates from 1687. As one of the ob1ectives of the Society is to foster mterest in the practice of printing by hand. it also makes a feature of hand-pnnted, limited edition' from the Umversity Library\ Press Room. The first two limited editiom were of poems by Jame~ Hogg. edited from the author's manuscript by Dougla' Mack. Number 7 in the seriou' wa' published in March 1988 and con,1sted of The Petition of Mr Kincaid, Inventor, 1701, which was edited by Gordon W. Willi,, the Society's Secretary and Trea,urer. from a manuscnpt discovered a few years ago in the Leighton Library. His petition to secure the profit' from his inventions 'eem' never to have been pre,ented to the Scots Parliament. It i' unexpectedly entertaining. because of the enthu,ia,tic de,criptions of the variou' 'mashein,·. Only 60 copied were produced of thi' Petition, of which 50 were offered for sale at £12 (£10 to member:;,). Number 8 wa' Rob Stene's Dream, a lively political 'atire in Scot' ver,e. dating from 1591 or 1592. The manuscript (again, from the Leighton Library). wa' published in only one previous edition, in 1836. Thi' anonymous poem. of which the begmning is lo,t, con\ists of 722 lines and satirized James VI\ Chancellor. Maitland. A completely new ed1t1on of th1\ poem was prepared by David Reid of the Engli'h Department of Stirling University. with an approachable text. lengthy mtroduction. commentary and glo"ary. Reid 'ugge5.ts that the author may have been Robert Semphill of Beltrees. Further details of this and other Society publications may be obtained from Gordon Willi,, Stirling University Library. Stirling FK9 4LA. Of particular interest to Burns scholar,, however. is Number 6. edited by Donald Low. It comprises the glo,saries to the Kilmarnock and Edinburgh Poems. reproduced in facsimile. There are two excellent reasons for reprintmg Burn' 's word-li'b 200 years after the event. In the first place. there is the intrinsic fa,cination of any Scot' glossary datmg from the eighteenth century - particularly m view of the fact that glossaries of this sort are by no means common. Secondly. exceptional interest attaches to Burns's authorship. We, who have countless modern editiom of the works of Burns with glos,aries of varying qualities and degrees of thoroughness. not to mention such mammoth compilations as the recent Concise Scottish Dictionary, tend to take word-lists for granted. No such compilations existed in Burns's day - certainly none that was readily available to him. Burns therefore had to compile the glossary for the Kilmarnock Edition from first principles. One of the mo't fascinating exhibits in the display of Burn' material at the National Library of Scotland in 1987-88 was a fragment of the manuscript for one of these glo,,aries. in the poet's holograph, showmg deletions and late insertions and conveying some idea of how Burn' put the list together. Unfortunately. because modern editions include their editors' ideas on glossaries, it is seldom possible for the reader to gain any idea of the poet\ p1oneermg achievement in this field. In this publication, however. we have the original word-lish with the meanings and definitions which Burn' himself devised. Unless you consult the original editions (or one of the many facsimiles) you cannot begin to appreciate the expertise of Burns in glossing the Scots words in his poetry. Apart from anthing else. it is quite illummating to discover the words and expres,ions which had so far declined in everyday currency by the 1780s as to require an explanation. It is a tribute to Burns that many of these words and phrases are now in everyday use in Scotland. and not a few have even passed into the currency of the English language - due entirely to the familiarity bestowed upon them by the poems of Burns.
20 It may be postulated that the glossary of 1786 wa' regarded a' a neces,ity: but the very much fuller and more detailed glo,sary appended to the first Edinburgh Edition a year later was more in the nature of a labour of love. Moreover. the compariwn shows how Burns's expectations had expanded proportionately. In 1786 he was content to reach an audience predominantly m the southwest of Scotland. The Edinburgh Edition aimed not only at Scotland a' a whole but a perceptive reader,h1p furth of Scotland. Dr Low points out that many of the poet'' readers would have been quite familiar with words m everyday use, but that Burn> considered it tactful not to assume too familiar an acquaintance with the vernacular. The fir,t glo"ary may have had a more mundane motive; it added five pages to the text. and, along with the songs and epigrams which appear to have been an afterthought. helped to bulk out the Kilmarnock Edition into a more sub,tantial volume than originally envisaged. The genesis of the much larger glo"ary of 1787 may be 'een m a letter to Burns from Mrs Dunlop dated 9th January, complaining that the glossary of 1786 was defective. Burns took the criticism to heart and included explanation' of many words which were merely variants of standard English words. Donald Low has carefully compared and analysed the two glossaries. It i' evident that Burns compiled the 1787 glossary independently of the 1786 version to which he gave no more than a pa"ing glance in the process. A few definitions are unchanged. but the great majority were reworded. often for no good reason, which seems to lend weight to this theory. In many other cases, however, Burns keep' the original definition and adds to it. The net re,ult was a glossary of 23 pages in the 1787 edition and the number of word' glossed was increased four-fold. Donald Low justly draws attention to Burn>'> skill a' a lexicographer and dialectologist. In the 1786 edition he included a brief but informative note on language, mainly dealing with the use of the participle in Scots. The 1787 edition included an illuminating note on pronunciation. Significantly. Burns twice makes comparisons with French and once with Latin pronunciation. Surely this gave the lie to the myth of the 'heav'n-taught ploughman', if anyone had taken the trouble to read it. J.A.M. Scotsoun' s Latest LUGTON LAUGH INN. Cassette SSC 078. Scotsoun, 13 Ashton Road. Glasgow, G/2 8SP. £4.50 post-free (UK). Add 50p (surface) or £/.60 (airmail) for overseas orders. Scotsoun have established a high reputation for their recording' of the Scotfoh languages. available to the public in a sene' of cassette tapes. I use the plural advi>edly. for there are tape> in Gaelic as well as Lallans and Standard English, and within the Lowland Scots vernacular there are numerous dialect and period variants. Among the earlier cassettes, >till available at the price quoted above. are the set of three (SSC 035-7) dealing with Burns. an assessment and selection being made by Thomas Crawford. lately Reader in English at Aberdeen Univer,ity, in the prestigious Makars Serie,. There is also a cassette (SSC 008) consi~ting of readings of poem' from the Kilmarnock Edition by members of Irvine Burns Club; and then there i> the Burns Cottage Selection (SSC 067) of popular songs and poems selected by the Curator of Burns Cottage. Alloway. Currie Flavour (SSC 003) comprises readings by the late Rev. James Currie of Dunlop. from the works of Burns and other Scottish poets, both traditional and contemporary. The Rev. James is here presented in lighter mood, with some of his cronies in excerpts from Burns nichts at Lugton Inn (1974-81) and Manor Farm Hotel (1986). Side 1 begins with the piping-in of the haggi' by Angus MacDonald and the variou' excerpts are separated by snatches of accordion music played by Eddie John5tone (recorded at Lugton in 1978 and 1979 respectively).
21 The Immortal Memory Section includes humorou; contnbutions from Alistair Mclachlan, the Rev. John M. Stewart. the Rev. Waldon Moffat and the Rev. Robert Paterson (the Happy Padre). The Rev. Jame' hi1melf dominates the section headed To the Las,1es' and he also contnbutes half the item' 111 the 'Reply to the Lassies'. Come to think of it. the most brilliant Toast to the La\,ie' I have ever heard was given by another man of the cloth. the Rev. John Weir Cook. I accept that the mo't accomplished public speakers nowaday; are either in Parliament or the pulpit, but what, I wonder, would Burns have made of his dog-collared devotees in th1' day and age. The secular contribution to this tape " provided by Andrew Charters. Malcolm Wilson, William Cowan, Col. Lachlan Robertson. Grant Carwn and Tom Reid. The joke' fly thick and fast; lady lawyer' and women dnvers, burn111g bras, sex before marriage and a mcht wi a man are only a fraction of thi' selection. Indeed, it occurred to me as I cast my eye down the list of joke; (printed in italic\ on the 111,ert) that they looked like nothing ;o much as a modern poem in blank ver,e: Can't keep my hands of her A suppository beh111d the ear Rangers emergency meeting Important deci.1·1011s Wonder woman Can't you JU't hear one of those modern poeh declaiming these line''? You will have to buy th1' tape to find out for yourself what the'e 1okes arc. Thi' 1s a happy ca"ette and it captures the full vitality of James at hi' convivial best. It wa' not intended as a memorial ca;sette, but as it turns out it convey' his warm 'em,e of companion,hip to the full. It is also intriguing to listen to the lilt and cadence' 111 the voice' of the various ;peaker' and marvel at the range of regional accent,, from the Highlands and Island' (Skye and Lewis, I should guess) to Ayrshire and Glesca at their broadest. It i~ a lingui,tic gem, though that is secondary to the sheer fun of the thing. Incidentally, part of the proceeds from the sale of this tape (in consultation with the Lugton Burns Club) will be >ent to the Rev. James Currie Memorial Tru't - a mo't worthy cause. J.A.M.
Burns and the Mormons The Mormon' - or Church of Je'u' Chri't of Latter Day Sa111h. to givt: them their full title have ju5t celebrated the 150th anmver,ary of their Church in Bntain by publ"h111g Truth Will Prel'llil, a 462 page h1,tory of Mormon endeavour 111 the'e 1,land,. Burn5 make' 'everal appearance5 in thi' fascinating book. Matthew Rowan. who joined the Church in the 184lb and 'erved a' missionary in Scotland and England. wa' adept at compo,ing rou5ing hymns. He took 'Duncan Gray' and tran,tormed 1t into a light-hearted celebration of the Mormon faith. capturing the enthu,ia'm of the early converh. A few year' later he reworked Burn,·, vcr,ion ot The Campbells Are Com111g' a' a propaganda 5ong for the great migration' of the converted to Salt Lake City. In 1847 Brigham Young. the Mormon leader. v1,1ted Scotland and wa' pre,ented with a Highland plaid and an elegantly bound copy of the poem' and song' of Burn' - 'although there is no evidence that President Young ever quoted the Bard·, add~ the author.
22 Actually. the tale isn't so much lost as Tij~ ~Q~l; misplaced. Because Ti\L~
everyone thinks Cutty ··· OF.CUTTY SARK.
Sark is the ship moored on the Thames at spyi ng on her. And she pursued him and his Greenwich. grey mare with such spirit that they came But before that, it was the name of the within a hair of death.
rather wooden-faced young lad y shown here. Their one salvation Ja y in crossing a Her career as a witch was described by running st ream- something no witch can do. Robert Burns in his epic poem "Tam Yet Cutty Sark still managed to pull off the horse's tail at the last instant. The famous tea dipper launched on the Clyde in 1869 was named after the witch, in hopes of emulating her awesome
~ And also from the legend came / the ritual of placing a mare's tail of rope
~ on one ~ in the figurehead's outstretched hand, I particular night, she after an especially fast passage. was dancing for the You may wonder why we chose to / delectation of Old Nick I illustrate the ship on our label. rather than himself. in Alloway the scantily-dad young Church. witch.
When Tam saw the lights But that way we can blazing within the hallowed sure our customers want
walls, he came forward, he saw, us for one thing only. and he was conquered by love. (Or was it lust? Clue: he dubbed her Cutty Sark, the old Scots phrase fo r the short CUTTY SARK shirt she was almost wearing .) THE REAL Mccoy Cutty Sark discovered Tam o'Shanter The Selkirk Grace: Fact and Fable J.A.M. I do not think anything I have written in the pa't thirty years ha' excited 'o much comment and correspondence a' the ver,ion of the Grace at Kirkcudbright. commonly known as the Selkirk Grace, which appeared 111 the Complete Works (published 1986). The letter' I have received range from pained enquirie' a' to why I should Anglicise this grace, to outright condemnation for so dorng. I have patiently replied to all of tho'e correspondents. giving them the rea"rns for the appearance of this grace in the Engli5h form. Fundamentally I have followed the text collated by the late Profe,sor James Kin,ley. whose monumental three-volume edition of 1968 mu't surely be regarded as the definitive version for the foreseeable future. To one outraged complainant I happened to mention that I wa' tollowing the text of Kmsley's Oxford edition. and thi' drew forth the amazing rejoinder: "Aye weeL ye wad expeck tae find the grace translated into English 111 an Oxford publication!" implying. of course. that I had no such excuse. An a'tonishing number of correspondents. in confronting me with my lamentable shortcoming. were at paim to tell me that the Selkirk Grace had appeared in guid braid Scots 111 the Kilmarnock Edition - which 1' patently absurd and only goes to ~how how little some devotees of the Bard really know about hi-, worh It occurred to me. therefore. that I could kill two birds with one 'tone. setting the record 'traight and. at the same time. tracing the history of thi., quatram. First of all. it is important to note that many editions of the poems and song' of Robert Burm do not include the Selkirk Grace 111 any form at all. It i' conspicuous by its ab,ence. for example, from the James Barke edition (published by Collin' in 1955 and since reprinted many time,). Nor i' it to he found in the pages of the Alloway Bicentennial edition of 1959. The celebrated Henley and Hender,on edition of 1896 is likewi'e 'ilent on the matter At the other end of the chronological spectrum the Selkirk Grace is not to be found within the page' of any of the edit10n' publi,hed in the poet\ lifetime. nor doe' it feature in the four-volume Life and Works compiled hy Dr Jame' Currie in 1800. and 'ubsequently reprinted and revised on many occasions. The vast majority of the edition., of Burn' published in the course of the nineteenth century make no mention of the Selkirk Grace. The Chambers edition of 1851 omit' it. as doe' the Scott Dougla' edition of 1877 (and later revised many times). It does not appear in the very thorough ed1t1on by Professor Wilson (1870) and there is no mention of it in Alexander Smith's Globe edition which MacMillan published in many editions from 1868 till 1904. In its vernacular form. however. it makes its debut in 1834 in The Works of Robert Burns with his Life by Allan Cunningham. "Honest Allan" printed the grace a' number XLIX on page 311 of the third volume: Some ha'e meat that canna' eat And some would eat that want it. But we ha'e meat, and we can eat, And sae the Lord be thanket. This version was repeated 111 the undated ( 1839) edition published by Virtue of London, where it appears a' number LI! on page 126. In both editions the head-note reads: "On a visit to St Mary's Isle, Burns was requested by the noble owner to 'ay grace to dmner; he obeyed in the'e Imes. now known in Galloway by the name of The Selkirk Grace'."
24 Sign 011 the 0 111.1·/.; irn of Kirkrndhright.
In te restin gly. the Selkirk G race was omitted fr om lat er editions o f Cunningham's compilati on. a nd it is intriguin g to spec ulate o n th e reasons fo r this. For half a ce ntury th e grace was in limbo . alth ough th e first three lin es we re quoted by J . B. Reid in his Complete Co 11 co rda11 ce ( 1889). Then. in 1896 . amid th e s pate o f new editions which appeared in th e ce nt enary year of th e poe t's death . Scott Dougla s included th e g ra ce in th e revi se d editio n of hi s work. but he a dded a cauti ous head-note: " Allan Cunningham records that this very characte ri stic G race before Meat was utte red !by Burns I at th e tabl e o f th e E arl of Se lkirk while o n hi s tour of Ga ll oway with Syme in Jul y 1793 . If so. it is strange th at Sy me who. in hi s account of that journey. gives sundry epigrams produced b y Burns in th e course of it. has omitted this." The e ditio n of Chambe rs. rev ise d b y William Wa ll ace and published l ater the s am e yea r. lik ewise restored the grace to th e ca non but with out an y comm ent (vol. IV. p. 3 17) . It also mi racul ousl y turned up in 811ms'.1· Poems (p. 306). edited by John and Angus Macpherson and published at London and Edinburgh in 1896. where it appeared under th e title ·G race before Meat. Commonl y Call ed th e Selkirk Grace·. Sin ce 1896 th e g race has appeared in approximately 30 per ce nt of n ew editions. with a tend ency to appear rath er oft ener in the selections or abridged works than in th e full editions. These sel ections are a im ed primarily at th e touri st and th e Burns Ni cht mark et, wh ere acc uracy an d sc holarship are not as important as in the more avowedl y academi c compilations. I mi ght add th at m y own earliest r ecoll ection of th e Selkirk G race was on an un derglaze blue rack-plate which stood on my grannie's dresse r: a nd I h ave since observe d it on many occasions. with minor variations in th e spellin g and phraseology. on
25 napkin-rings, mugs, place-cards. tea-towels and serviettes. It is mainly through these media that this 'traditional' grace has become so very widely known in the past ninety years. While rejecting much that was bogus and spurious. as well as urging extreme caution in regard to other pieces which were dubious. Professor Kinsley had no hesitation in accepting the four lines which he entitled 'Burns Grace at Kirkcuc!bright'. The 'English' version. for those who have not seen the Oxford edition or the Complete Works, is as follows: Some have meat and cannot eat. Some cannot eat that want it: But we have meat and we can eat. Sae lei 1/ze Lord be 1/zanki1. Kinsley transcribed the verse faithfully from the oldest 11 •riue11 version - that preserved among the papers of James Grierson of Dalgoner. Grierson, a descendant of the infamous Sir Robert Grierson of Lag, the persecutor of the Covcnanters, was a near neighbour of Burns in his Ellisland period. and from that time became an earnest and indefatigable collector of anecdotes and fragments concerning the poet. Grierson does not appear himself to have been present when Burns declaimed these lines. but from internal evidence there is no reason to suppose that he die! not acquire an accurate and literal version of it shortly thereafter. The Grierson version is clearly very much older than the oldest publication of the traditional vernacular version in 1834 , but it die! not see 'guid black prent' itself until 1943 when it appeared in transcriptions from the Grierson Papers. in Rohen Burns: His !\ssoci([{es and Col/{emporaries, edited by Professor Robert T. Fitzhugh (page 49). It has since appeared in the Grierson version in Poems and Songs of Roher! Burns. edited by Gordon Wright ( 1978).
The Selkirk Ar111s Ho1el. Kirkrndhrig/11.
26 In the head-note to the grace. on page 408 of the Complete Works I deliberately fudged the is,ue. 'ta ting that it wa' "alternatively known a' the Selkirk Grace. from the Earl ot Selkirk in whose pre,ence Burn' 1' 'aid to have delivered it extempore ... Not only is there controver'y over the me of English or Scottish word' in th1-, grace. hut opinion i' 'harply divided as to when and where the word' were uttered. Visitors to K1rkcudhright at the present day will find a hlue enamelled plaque on the wall of the Selkirk Arms Hotel. Alongside the Skirving portrait of Burn' is a statement to the effect that Burn' 'tayed at the hotel in 1794 and wrote the Selkirk Grace there The implication is quite clear: the grace take' ib name from the hotel. In 'upport of this contention the dining-room of the hotel hoash a magnificent wooden panel carved hy the late and much-lamented J. G Tim' Jem. The panel reproduces the Nasmyth hu't of Burn,, and bear-, the words of the grace according to the vernacular ver-,ion. For good measure the plaque also bring' 111 John Paul Jones. who is actually the '>UbJect of a separate panel on the adjoining wall. The'e plaques were erected in 1950. Despite this. it is extremely douhtful whether any of the facts stated on the wooden panel or the enamelled plaque are correct. In the f1r't place the poet's visit to Kirkcudbright took place 111 1793, not 1794. The latter date wa' prohahly derived from Franklyn Bli" Snyder\ biography of Burm ( 1932). Snyder (pp369-70) di,cmse-, the Galloway Tour which he dated to 1794 on the 'trength of a letter from Burn' to David McCulloch of Ardwall written in June 1794 (Complete Letters. p712). where111 he d1,cusses hi' projected vi.,it to Gatehou'e of Fleet - but Snyder was unaware that Burn' and Syme had. in fact. made two tours 111 succe,sive year,. From other source' it i' now known that the first Galloway Tour took place hetween 27th July and 2nd Augu'>t 1793. On ht Augu't 1793 Burn' and Syme arrived in Ktrkcudbright about one o'clock. In a letter written only ihirteen days later to Alexander Cunningham. Syme states: "I had engaged us to dine with one of the fir,t men in our Country L Dalzell - But Burn,· obstreperous independence would not dine but where he 'hould a' he 'aid. cat hke a Turk. drink like a fish and swear like the Devil - Since he would not dine with Dalzell 111 hi' own home he had noth111g tor it hut [Dalzell] to dme with us 111 the Inn - we had a very agreeable party. In the even111g we went to the Isle - Roher! had not ah,olutely rega111ed the mtlk111e's of good temper. and it occurred once or twice to him that the Isle was the 'eat of a Lord, yet that Lord wa-, not an Aristocrate He knew the family a little - At length we got there ahout 8. as they were at tea and coffee ..... After describing the agree a hie atmosphere at the country home of the Earl of Selkirk. whose 'econd son. Lord Daer had met Burn' at Dugald Stewart'' in 1786, Syme mentiom that Pietro Urbani was a hou,e-guest there. Burn' was asked to recite 'Lord Gregory· which he did so effectively that a dead 'ilence en,ucd. "Twa' 'uch a silence a'> a mind of a feeling mu't necessarily. preserve when it i' touched. a' I think ")met1mes and will happen. with that "1cred enthu,1a'm which hamshes every other thought than the contemplation and 111dulgence of the sympathy produced. We en.ioyed a very happy evening - we had really a treat of mental and sen,ual dehghh - the latter consisting 111 abundance and variety of dehciou' fruits etc. - the former you may conceive from our 'onety - a company of 15 or 16 very agreeahlc young people " Several points ari'>e from thi'> de,cription. In the fin,t place it is clear that on that fateful day Burns and Syme did not dine at St Mary\ I,le. but at the Inn in Kirkcudhright. Kirkcudbright'' oldest ho,telry, originally known 'omewhat prosaically a'> the Heid Inn. ha' stood in the old High Street 'ince the middle of the eighteenth century. though it did not become fully licensed till 1777. Burns is known to have stayed here on several occasions while travelling on Exc1'e duty. Dunng renovat10n' of this old butld111g layer' of wallpaper were removed in the room to the right and rear of the hotel and revealed a beautiful 'ketch of a church. To the left of the sketch were four line' of poetry with the I
~m»~r•T»"'<~«on:d
~~~[ID
no1•1
Enamel plaque 011 1vall of 1he Selkirk Ar111s.
signature 'R. Burns' in bold, clear lettering. A few words. however, were obliterated by the workman's wet brush but the verse reads: When January winds were blawin cau/' . Kirkcudbright I took my way, But mirksome night did me enfauld . .. till earlyest day . These lines are evidently a draft for the beginning of 'The Lass that Made the Bed to Me' (C.W. p.583) , Burns's reworking of the Restoration ballad 'The Cumberland Lass'. Whether Burns gave the grace before dining with Syme and Dalzell is also open to conjecture. In view of the poet's avowed intention of really letting his hair clown in such congenial company, grace may have been the last thing on his mind. That Burns and Syme arrived at the earl's home just as dinner was concluding. seems, on the face of it, to rule out St. Mary's as the venue of the grace either. On the other hand , according to the upper-class custom of the period , the meal did not end with the serving of coffee, but was followed by dessert. If. as we suppose. Burns and Syme were invited to draw up their chairs to the table and partake of the " variety of delicious fruits etc.", it is not impossible that the poet would be asked to say a grace. He was apparently as famous for his graces as for his epigrams - both being uttered extempore. There is certainly a down-to-earth informality about the Selkirk Grace which would have been in keeping with the scenario I have outlined. It is a great pity that Syme did not give the details; and in view of the detail given in his otherwise very full account of the Galloway tour, it would be prudent to treat the episode with caution. That Burns said grace at the gathering in the home of the Earl of Selkirk is
28 quite possible. If we accept that premise. it follows that he would have rendered hi s ex tempore grace in Standard English rather than the vernacular - although it would also be quite in keeping for the poet to have reverted to the Scottish dialect for the punch-line. James Grierson of Dalgo ner is such a meti culous recorder of all manner of trivia concerning Burns th at th ere is no reason to doubt th e accuracy of hi s transcript. Finally. if th e date and ve nu e o f th e grace arc in doubt. th e stateme nt that Burns 1vro1e it at the Selkirk Arms Hotel is also hi ghl y suspect. Ea rl y parochial hi stori es of Kirkcudbright either ignore Burns altogether. or mention him solely in co nn ection with St Mary's Isle; in th e latter case th e Se lkirk Grace is invariably quoted. The earliest reference to the grace and its o ri gins appears in Kirkrndbrig/11 , 1/re S1ory of 1111 A 11cien1 Burgh by the Rev. George Ogilvy Eld er (published 1898) . Page :rn gives a brief account of St Mary's Isle a nd th e raid by John Paul Jones in 1778. " In this mansion Burns first uttered hi s famous Selkirk Grace - Some ha 'e meal 1ha1 ca1111a · ea/ A nd some would ea! 1ha1 wa111 ii. Bui we ha 'e m eal, and we ca n ea t. And sae th e Lord be 1ha11ki1."
Carved wooden panel i11 th e di11i11g roo111 portraying Bums and quoting the 1•er11a c11/ar version.
Significantly, th e various nin eteenth and early twentieth century guid ebooks to Kirkcudbright frequently carry advertisements in the end-papers. Prominent among these are th e advertisements for th e Selkirk Arms Hotel - not one of which mentions the Selkirk Grace. although the fact th at Burns stayed there was fr equentl y menti oned. Kirkcudbrigh1 and Round About ( 1900) . Memories of Old Kirkcudbright ( 19 15) and Kirkcudbrigh! ( 1927) make no mention of Burns at all. Guidebooks published in the
29 1930~ and the early postwar period cling to the view that Burn' wa' occasionally a gue~t at St Mary's Isle and it wa' there that he compo,ed the famous Selkirk Grace. St Mary·, ble, incidentally was burned down in the early 1940s and 11' contents, which included a magnificent library. were utterly destroyed. All About Galloway and Dwnfnesslure (undated but publi,hed m the 1960s) repeats the story about Burns being an occasional guest at the home of the Earl of Selkirk and connects the grace with this. Kirkrndhnght and District (1976) came' the laconic statement on page 14: "It wa' while he wa' 'taying at St Mary'' ble that Burn' composed the famou' Selkirk Grace." This wa' expanded in the Kirkrndhright Holulay Guide published as recently a' July 1986: "St Mary\ Isle, incidentally, had another distinguished vi,1tor in those far-off day' - Scotland's na!Ional poet. ROBERT BURNS. He was friendly with Lord Daer, a son of one of the Earls of Selkirk and a dedicated supporter of the French Revolution, and it wa' while 'taymg at St Mary·, ble that Burns composed h1\ famous Selkirk Grace." This statement. on page 9. flatly contradicts the display advertisement of the Selkirk Arms Hotel on page 2. wherein it is boldly ch11med "Where Robert Burn' wrote the famou' Selkirk Grace." The notion that Burns actually compmed the Selkirk Grace in the Selkirk Arms Hotel. whether declaimed extempore or written down. has only gained ground m comparatively recent years. One suspect' that the Scotti'h Touri't Board may have had a hand in this; certainly the erection of the blue plaque ha' emphasised this viewpoint. real or imagined. In 1973 a booklet entitled A Stroll Around Kirkcudhnght was prepared by the History Department of Kirkcudbright Academy. Page 29 is devoted to the Selkirk Arm' Hotel and includes the statement: "It is said that Robert Burns stayed in the Selkirk Arms in 1794 when he visited the Earl of Selkirk, and th1' i' where he wa' inspired to write the Selkirk Grace". Admittedly the compiler' of this booklet have struck a cautiou' note with "it is said", rather than being dogmatic about it. A large hoarding on the approach road to the town also advertise' the hotel and highlights Burns's composition of the Selkirk Grace there. In such a manner are myths created. A few miles along the road i' Gatehouse of Fleet and the Murray Arms Hotel wherein, according to the blue enamelled plaque above the door. Burn' compo,ed 'Scot' Wha Hae'. But that, as they ~ay, 1s another story ... Fraternal Greetings from Greenock Burns Club A Guid New Year tae ev'ry fiere But Scotia's sons have never kent May seas be calm an' skies be clear, A life o · ease and 5weet content. Be aye on coorse the barque you 'teer Wi' calloused haun \ an' shoot her' bent. Ower life'' fell deep, An' 'air bent broo, An' may nae rocks o' want or wae Tho · whiles they glanced at life asklent, E'er gar ye weep!! They wauchled through!
So, raise your glesse' an· your heart An' drink tae Rab, the better part! There's dule upon the banks o' Clyde. Wha scrieved wi' wit an' hope an' art Whaur 'keely man wad bigg wi' pride Through want an' pain, Tall ships that breested ev'ry tide, Ma brithers a'. du le will depart. The warld o'er. We'll rise again! Noo honest labour is denied. They bigg - no more! MABEL A. IRVING, M.A.
30 Robert iBurns ~cottish (Elarly IDircctcd by .Music 1·@13 OlGITAl
THE SCOTS MUSICAL MUSEUM
HAYD N BEETHOVEN WEBER HUMMEL KO/ELUCH
NIH GOV\
Scots songs collected and fashioned by Bums, and associated instrumental music, in settings by Oswald, Niel Gow, Stephen Clarke, Haydn, Kozeluch, Beethoven, Hummel and Weber.
CHANDOS RECORDS LTD. , CHANDOS HOUSE, COMMERCE WAY, COLCHESTER, ESSEX C02 BHQ, ENGLAND
31 Burns the Musical
It has been a life-long ambition of John number entitled ·vide Mare Portobello' Cairney to ~tage a full-blown musical - a hilarious ~end-up of all those Italian based on the life and works of Burn~. In tenors. The part of Urbani was taken by May he came pretty close to reahsmg this John Robertson, magnificent m his prin goal. cipal role of that slimy old humbug Willie Fisher. The Reverend Auld was sym During Glasgow's Mayfest John gave pathetically played by Tom McMillan as 'Burns - The Musical' an airing at the a foil to Ronald Morrison's role as James Burrell Collection. Before a distin Armour. These three were at their best in guished audience of the literati and the trio 'Rhyme~ and Jingles' - a lyrical glitterati of Glasgow, Cairney and his critique of 1the Kilmarnock Poems. company of players and musicians put on 'a contemporary look at the Robert The leading role~ were taken by Tom Burns story in ~ong'. John devised the McVeigh and Debbie Stuart, for whom performance and wrote the lyrics for the Cairney and Davidson had created some 15 songs whose music was composed and beautifully haunting songs. 'The Begin ably directed from the piano by Geoff ning of Forever', a duet for the lovers, Davidson. was followed by Touched You' and 'I Once Believed in Love' ~ung by Burn~ The action centres on the poet's annm alone. The closing number, sung by mirabilis - 1786 - and begins with Bonnie Jean, was 'Who Will Love Me in Burns in conflict with himself, the Kirk the Morning?' struck a poignant note. By and the Armour family. The story line contrast there was the pawky humour of follow~ the turbulent events of the spring the 'The Edinburgh Minuet' which satir and summer of that memorable year and ised polite society of The Enlightenment, culminates in the poet being lionised by and the uproarious 'Cutty Sfool Rag'. Edinburgh society. The musical, origi nally planned for two hours, was As I listened to 'Cutty Stool Rag' I crammed into 90 minutes, so inevitably could not help thinking of Scott Joplin, cuts had to be made in the script. Just the father of ragtime who made a fortune where the cuts occurred, of course, was out of his lively dance music - only to difficult to perceive, although Highland squander it in trying to get his ragtime Mary was conspicuous by her absence opera 'Treemonisha' on to the stage. Not and Clarinda was only touched on very until 60 years after his death was this lightly. On the other hand, Racer Jess ambition realised. I fervently hope that was given greater prominence than per John Cairney will not suffer the same haps that young lady ever deserved, with fate. 'Burns - The Musical' has had its more than a hint of amorous dalliance premiere, and it was rapturously received with Rab into the bargain. by a highly appreciative audience; but The only really outrageous tinkering unless the financial backing is forthcom with the tale brought in Pietro Urbani, ing it may never get beyond its present whom Burns never met until 1793 (and embryonic stage. It is sad to think that then at the Earl of Selkirk's house in St such a galaxy of talent, both the ~ingers Mary's Isle). In the muscial, however, he and the orchestra, not to mention all the bobs up in Edinburgh in the winter of hard work put in by John, who directed 1786. But this poetic licence is surely it, and his charming wife Alannah who forgivable, if only for the penultimate produced it, should go for nothing. When
32 one considers what succe~s Andrew Lloyd Webber has had with 'Cats'. Epilogue 'Chess' and 'Phantom of the Opera' among many others. it is ironic that a Since the foregoing was written, we are subiect as meaty and worthwhile as pleased to report that, thanks to generous Burn~ should have such a struggle for subsidies from Strathclyde Regional acceptance. Council and Kilmarnock and Loudoun It is all the more tragic on account of District Council. as well as sponsorship the melodic gems fashioned for this from The Glasgow Herald, John Cairney occa~1on by Geoff Davidson. It 1s to be was able to mount a full-scale production hoped that the performance is on tape at of his musical. now retitled "Scot Free," least. though it fully deserve~ publication which had a season in Kilmarnock, and promotion. And. it might be added. Glasgow and Irvine from 6th September John Cairney showed us yet another side to lst October 1988. of his talents that evening: he is no mean ver~1fier himself. It i~ nice to think that Reaction to this promising venture, something of Burns's genius for matching however. was very mixed. At one end of melody to lyrics has rubbed off on the the spectrum the general public probably man who played Burns on and off-stage hoped for a mu,1cal borrowing heavily on for so long. Thanh are due to Strath the songs of Burns him~elf - and were clyde Regional Council for their help, consequently disappointed that Geoff financial and otherwise, in making this Davidson had struck out along entirely 'one night stand' possible. It is now up to original lines. Some of the critics. on the the re~t of us to see that the musical other hand, savaged it. Joyce McMillan in becomes a practical proposition. The The Guardum grudgingly admitted that Scottish Arts Council are very generous the score "at best resembled a decent bit in supporting Scottish opera and ballet; it of Rodgers and Hammerstein," but then would be nice if they would be equally went on "elsewhere it ha' a na~ty Lloyd open-handed towards a production which Webberish ring to it." A shame that 'uch a would be genuinely appreciated by the brave attempt should ment ~uch a hy,ter people of Scotland a' a whole. ical outburst.
A rather pointed grace The Rev. Dr James Muirhead ( 1742-1805). minister of Urr, whom Burn' satiri,ed in the second and third Heron Election Ballads, could give as good a' he got, and is remembered for a very vicious lampoon of Burn,, inspired by Martial\ epigram on Vacerra. On one occa,ion Muirhead, having been invited to dine with the minister of Dalbeattie. was asked to 'ay grace. He delivered the following extemporaneous stanza: "Bies,, 0 Lord. these three small dishes, As Thou didst the loaves and fishe,. For if they do our bellies fill, Twill be a wondrou' miracle!"
33 Dumfries Burns Howff Club Centenary
" ... the Globe Tm·ern here, wluch for these manr vcars has been Ill\' HOW FF and ll'here our friend Clar/..e and I hm·c had many a merr.i· ~1·q11eezc. ·· · . - Burn' to George Thom:,on. April 1796
The Dumfrie' Burn' Howff Club is Continue on up the 'teep narrow absolutely unique in that it actually meet' staircase and you come to the top floor in a building which has strong personal and the 'uite of room~ occupied by the ties with the Bard - not iust based on Burns Howff Club. The'e consist of an vague tradition. but irrefutably atte5ted ante-room hou,ing the Club library. and by letters wntten from the~e. ver,es a large inner room which ha' been composed there and actually m'cribed on tastefully panelled. Down,tair,, to the the window-panes and, above all. several' right of the main entrance. i' the public reference' in the poet's corre,pondence. bar where the Club regularly hold' its of which the best-known i' that quoted Burns Supper and other function,. No above. What better te,timonial could the visiting speaker can fail to be moved at Globe Tavern ever have. than that Burm the thought of propo:,mg the Immortal should describe it m such warm term'? Memory in the very buildmg where Miraculously. the Globe retam' its old Burns relaxed in congenial 'urrounding,. world character to thi' day. and the A century ago. Dumfries boasted half snuggery on the left hand '1de a' you a dozen Burn' clubs. The number of enter the front door is still much as 1t was clubs has remained remarkably con,tant. when Burns frequented it almo't 200 although their names and c~)mposition year' ago. have changed with the passage of time. There i' the Dumfne' Burn' Club. of The 'moke-blackened panelling is course. formally con,tituted m 1820. original. and may date back to 1610 when although 1t could trace ib origm' further the Globe was establi,hed. The poet's back, to the informal dinner' of the favourite elbow-chair is 'till beside the Mausoleum Committee from 1815 open fireplace. Once cannot help exper onward,. The premier club in the burgh. iencing a frisson, sitting in tlie very chalf however, had alway' been rather 'elect. which Burns habitually occupied as he not to say elitist. ib membership drawn quaffed a convivial gla'' and tossed off predominantly from the profe,sional the odd epigram or two for the delecta classes. At the other end of the social tion of boon companion' like John Syme spectrum were the Queen of the South and Samuel Clark. Upstair' is the bed and Tam o' Shanter Burn' Club,. More room which Burn' often occupied when down-to-earth, perhaps. these club' were detained in town overnight by the late largely responsible for the erection of the ness of his Excise duties which prevented statue of Burns by Amelia Hill in 1882. him riding the 'ix mile' back to Ellisland, Then there were the Mechanics. the Oak and it wa' here that hi' a/faire, with and the Wale of Good Fellows Burm Helen Anne Park was consummated. On Clubs. the window-pane' he scratched hi' poem in praise of Polly Stewart of Closeburn These clubs flourished for a few year' and one version of the old 'ong "Comin around the turn of the century but are Thro' the Rye" which he had mended .. sadly no longer in exi,tence. In January
34 1889, however. a club wa' formed with Dumfries itself and throughout the reg the express purpo'e of holding an ion. The club often hosts partie' visiting anniversary dinner in the Globe, thu' the town. Many Burns clubs have taken paying tribute to the fact that it had been away happy memories of a visit to the - of all the many pub' in Dumfrie' - Globe and other Burns sites in and the one preferred by the poet. The around Dumfries where the Burns Howff guiding light was J. I. Beck. a dentist at Club extended their generous hospitality. 11 Irish Street, and he it was who The Club provides copies of the presided over the inaugural dinner on Chronicle for each of the secondarv Burns Night, 1889. The rather laconic schools in the di,trict. When the Co11; record of the club states that William plete Work.1 was publi,hed. it was the Kerr (a moulder in the High Street) and Burns Howff Club that generously paid Peter Robertson (draper) were the crou for the copies of the Sub,cribers' Ed1t10n piers. An excellent dinner wa; provided that were pre,ented to the libraries of the for the company of forty gentlemen by Technical College and each 'econdary Mrs Smith, the genial hoste,s, who was school in Dumfries. and the munificent for many years known as the "Mother of act was repeated last year in respect of the the Howff Club". Complete Letters. Would other clubs have Froms its inception the Burns Howff done half as much by way of emulation? Club drew it' members from every walk of life, sociali,ing in a completely relaxed The hundredth Burns Supper of the Club atmosphere, true to the prophecy of took place in January 1988. when Burns: the principal guest speaker was the noted Burns scholar "That man to man the world o'er, Shall James L. Hempstead of bnthers be for a· that." Dumbarton. Over the past century the club has secured the ~ervices Over the pa't century the Burn' Howff of ;ome very eminent men, and at the Club has played a role in the Burns moment Bill Sutherland. the Club's archivist. movement disproportionate to it' 'ize. is busy transcribing and editing Three of its members - M. Henry their pro posals of the Immortal Memory. McKerrow, H. George McKerrow and Provo~t Ernest Robertson - went on to The centenary celebrations got under become Presidents of the Burns Federa way after the AGM in April 1988 when a tion. Two others - David C. Smith and new presidential medal and chain of Donald Urquhart - have held high office wa' inaugurated. Commemorative office in the Southern Scotfoh Counties neck-tie,, with the centenary logo taste Burns Association ·and are currently fully woven in gold, have been produced members of the Executive of the Federa for sale to club members. along with tton. Past-president Jim Irving is cur centenary badges and tie-pins. A hi,tory rently curator of Ellisland. Few affiliated of the club wa' compiled by Bill Suther clubs did more to raise monev for the land and was published recently by Burns Window in St Giles Cathedral, Dinwiddie Grieve Limited. In addition, and it has been entirely due to the Burns a handsome eight-page brochure about Howff Club that the money has been the club f.sponsored by JCI pie) and a found to finance the matriculation of the centenary bookmark were presented to poet's arms. delegates attending the Burns Confer When the statue of Burns at Portpat ence in Hamilton, Ontario. rick was engulfed and damaged as a A Centenary floral display was result of a landslide, it was the Burns arranged through the local authority and Howff Club which came to the rescue and this eye-catching floral tribute may be had it restored. The Club play' a leading ssen on the verdant bank on the south part in the promotion of Burns. both in bound platform at Dumfries railway
35 station. The centre-piece of this garden A memorial plaque was placed in shows the Miers si lh ouette of Burns in Burns House. and memorial stained glas; purple-brown against a white surround. windows portraying Burns and Bonnie The Burns Howff Centenary inscription Jean were installed in St Michael\ is picked out in bright yellow on a vivid Church . In conjunction with TSB Scot blue ground. and the entire ensemble land. the club presented outdoor seats to became one of the leading tourist attrac Moorheads Hospital and the Robert tions during the summer of 1988. It was Burns Centre. An interesting display of hoped to have a similar floral tribute on club memorabilia is being staged in the the bank in front of Greyfriars Church . Centre itself. including badges. insignia. menus. toast lists and other ephemera. To mark its Centenary Year. the Club At the encl of May 1988 the club hosted sponsored a series of three open-air the Scottish Schools Burns Competition. Sunday afternoon concerts on the Mill Every other year the club hosts a Scottish Green. adjacent to the Robert Burns Night at the request of the Dumfries and Centre. On l 9th June the British Legion Galloway T echnical College. On this Band commenced the series, fo ll owed on evening the club entertains about forty consecutive Sundays by the Dumfries German students who are visiting the area Town Band and the Riverside Jazz Band. through a twinning arrangement. The The Centenary Year culminates with a close ties with Germany go back many grand banquet and Ball on 25th March years, and it is perhaps worth noting that 1989. when the Earl of Dalkeith and Sir a past-president of the club is Richard Hector Munro. MP will be the principal Wismach . a German who settled in guest speakers. Dumfries.
The Dumfries Burns Howjf Club 's Centenary Floral Tribute.
36 On 25th January 1989. the actual made much easier by virtue of the fact Centenary of the club will be celebrated that Burns is very much a living presence in the Globe Tavern. The event is being in Dumfries - and never more so than in marked by a souvenir envelope and the Globe where I like to thmk he pictorial handstamp. spom,ored by Gate~ enjoyed some of the happier moments in Rubber Company Limited. God willing. his declining years. I myself will be proposing the Immortal J.A.M. Memory that evening - an invitation which. I might add. I regard as a very Rabbie Burns great honour and privilege. Certainly. I (/) have the suspicion that my ta~k will he 0 ! Rabbie Burns, I love ye well, An' here's my hand upon it-- I shouldn' write so trivial, Burns - Alloway For you deserve a sonnet! Oh, ken ye whaur the bonnie Doan, I should write with more reverence I Ga.:s wimp/in to the sea, should be far more civil- Whaur saumon luk in waters broun, But if I tried By wooded Alloway? I know that I'd just end up writing drivel! Oh, sic a lovely scene was there, Twa hunner-odd year syne, (2) Auld Mither Nature vowed that here, You touch the heart strings:; 'er and She'd big her best-loved shrine. o'er, You bring the tears that flow . .. Close by a sturdy auld aik tree, Yoz. let our souls in rapture soar, She sawed an acorn smaa, Then drop us down below! And in the lawn earth, day by day, Has ever man so sad a song She watched the seed/in blaw. Poured forth? and thee so young! The years passed by, the sap/in grew, Such delicate, sweet dainties throng Till, whef1 the auld aik dee'd, Your deepest woes among . .. The young yin stood sae braw to view, Sweet bird, sweet bird, that you Owre aa the countryside. should fall So early to thy rest! - And mang it leafs the mavis sang, 0 ! would a Hand so merciful Wi monie a thirlin note; Had stayed thee in thy nest! And aa the hills o Ayrshire rang, 0 ! would thee aged grown, my lad. Through that braw mavis' throat. Like old John Anderson - Then milder thoughts And aye the tree ye might have grew bigger still, had, And spread it brainches fuar, An milder passions sung; Year eftir wondrous year until, Yet like thy rivers and thy It covered Scotland owre. streams That rushed so hastily, They said the win wad blaw it doun, Thee and thy quaint and glorious They said auld age wad sneck it; dreams, But still this grand auld tree growes on, Too, sought tempestuous seas . .. And deil the storm can wreck it. Brief life, dear life, and genius No mortal tongue can measure . .. And still on ilka leafy bough, Our Rabbie Burns has gie' er. us- The mavis spreads its wings; For aye a lasting treasure. And aa the warld is listenin now, M. B. Whitcomb, Til the sweet sang it sings. Somerset, Ca/ifornia.
37 The Brash and Reid Editions of "Tam o' Shanter" By G. Ross Roy
Our most recent information about the partnership ot James Bra~h and Wiiliam Reid comes from a paper which was publi~hed in Vol. 12 of Rffords of the Gla.1gow Bibliographical Society written by Jame~ Cameron Ewing. member of the staff of the Mitchell Library. Glasgow. and long-time Editor of the Burm Chro111clc. The title of the article is "Brash and Reid Booksellers in Gla~gow and their Collection of Poctrr Original and Selected". According to Ewing the partner~hip "appear, .. to have been founded in 1790 and was dissolved in 1817. In 1800 the firm pubh,hed A Catalogue of a Valuable Collect10n of Books, Collststtng of Upward of Ten Thou.1wul Volume.1 Oil the most Useful Branches of Literature, which are Oil Sale at the Shop 111 Trongate. By any standard of the day this would have made them one of the most important book-.hops in Scotland.
ODE TO LE!'LVWATER. ALO\V.'\ Y KIRX:;
OR ON Lt""en's bJnks, v.ii1!e free to rD\.T, Al\J tttfl('. the ri11al 1-•1;::e tu l•J1e, j_.J;',f O' S !L-1.\TTl.R.. I etn)'d riot the h~q11-*tl [v.J1n ThJt eHr trudc t\1' ..-\1 ..... ,ulio.11 pl..1n. Pur1.. Jl1lan1 1 1n 1\hulc tranlpircnt WJ\C A T.\.L!.":. ~fy )t.Lt'.fLl lin,t:::. I 11u1t tob1c; No turr1..1:t~ 1L1111 1hv iimptd lhng Lnu1:·t·,
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rfhc= fa}mon, 1\\0ll,tll\i of !hL tall_, THC .\\ilSlllRE rOET. Tht: nithkr::. p1k.L, 1ntt1't un w..ii; The til-1..r ed ,111d 111uukJ par Dt:\0lvt.1g tro1n th) p ireut l..i!..e, A_ d1.irrn111e; ma1.1.. t!1y vr,1kr::. m.tk~. By bow't::. ufh11,h, .111d ~ruV(::, uf pine,
\\1d1 l.,_:l,11illnL. 1 A•Hl ltnl~e~, flliw'r"! " \\· ,1r'(r I Ii·~ t ..i 't 1.' t r11th tliall rL ;d, 1 Stil! Ull tl.y ba 1k , ~o g.11ly ~r1..u1, " Ill 111 .. IL .. 11J .l«>li•c-r'· roll I d.. )i, «
f\by num'ro.:s l1u,L .. 1 • .i :1 ){_b be rl.t:.: \~'lidlH. 'tr (u l!r Hlk ~ .. 11 Ht 11 t I 11' "\1id \.t!E.~, Lh.t11ttng l,'t'r t\1L ;i.1il, Ur Cutiy '-- .. r~' r•n •u \ "ilr 11111,d, •• ] !.111\...~1t 111_.\ [,.,y tl1c- J ')• u\r dt ir, ! ],.._ j 1\ 11d Jht pl1t Id~, pt 1'111)'. 111 d,1!t' '"~::_~l·•~ .• ~Lf JJ.:..t"'_,,,,.,1.._,',(\t~,. ~-\:ul ;i :t.( nt f..11tb, t!i .. t 1.. •HJ\\::. 1.. > guile, .,. /\nd 111tlul~1y 1mhrn\\11't! l.4.1Lh t<>d; ...... , .... Aud hto11t::. rd\.h/J, ,wd !1.u1d~ p1l.p;a'~, ... PJ'li<. L\dl~ug::. th1..y i:11JuY lu ;;uo1.11I 1
l' IS I>.
State A
38 James Brash ( 1758-1831) was apprenticed or employed by the Foulises, Robert Macnair and James Duncan, until the partnership with Reid wa5 formed. There 1s conflicting evidence about Brash's interests - one source (at one time an apprentice in the firm) claiming him to be '"a matter-of-fact business man and altogether devoid of poetical sympathy", while David Laing claims that Brash '"contributed ~everal poems to periodicals issued at Glasgow between 1782 and 1827 ... and that po5sibly the collect10n of Poetry Original and Selected contains two or three pieces of his writing. 1 Another authority cited by Ewing claims that the poetry "contains many pieces of merit from the pens of both these gentlemen" referring to Brash and Reid (Ewing, p.3). William Reid ( 1764-1831) served in the Andrew Wilson type-founding firm and was later apprenticed to the booksellers Dunlop and Wilson of Glasgow. There is no dispute about Reid's rhyming abilities, although there does not appear to have been any collection of his poetry issued. Like most of the poems to be found in the Poetry, those by Reid are unattributed. In the first number of Vol. 2 of this collection we find his '"Monody on the death ot Robert Burns" which begms: Melpomene, thou mournfu' muse, Dinna to aid me now refuse, My paper mony a tear bedews, My heart's like lead, Now while I write the waefu' news, That Robin's dead. and so on for twenty stanzas. Reid also liked to make additions to current songs. "The Lea-Rig", by Robert Ferguson, originally contained two eight-line stanzas, but as published by Reid in Poetry the song contains an additional three stanzas. Reid also worked over Robert Burns: in Vol. 1, No. 13 of the Poetry we find "John Anderson, my Joe /sic/. Improved" expanded from Burns's two stanzas to eight. Apart from a few, not very important textual changes to Burn's stanzas, Reid's '"improvements" consist of stanzas 1-5 and 7, leaving Burns\ contribution pretty well lost in stanzas 6 and 8. The Revd. P. Hately Waddell, in writing about the friendship between Reid and Burns, says, "Burns afterwards honoured Mr Reid not only with his correspondence, but with permission to make additional verses to some of his own songs- 'John Anderson, my io', for example 2 ... ", but, a5 Ewing suggests (p.5), "it is as inconceivable that Reid should have the hardiesse to ask, as that Burns should have given, any such permission." Accordmg to Waddell, Reid's correspondence with Burns perished in 1831. What cast doubt on this story is the fact that not only do no letters from Burns to Reid survive, but he is never mentioned in any of Burns's letters, nor does his name appear in James Currie's list of letters to Burns, over 300 of them. It was probably Reid who thought of issuing poetry in eight-page numbers, sold at a penny, the first number appeanng in late 1795 or early 1796. When twenty-four numbers had been issued, an engraved title-page and another eight-page number - containing the title and the publisher's 1mpnnt, a note to readers, and table of the contents of the various numbers - were printed. For the first time the engraved and printed title-pages bore the general title Poetry Original & Selected. Claiming that the numbers were originally issued "without any view of forming a Collection" the editors promised further numbers. They were true to their word and three more volumes, each containing twenty-four numbers, appeared. The fourth volume was announced in the Glasgow Courier on 15 December 1798, by which time 265 poems had been published. The Preface to the fourth volume said the same thing as had appeared in the fir5t three Prefaces, and more poems were promised. In fact, only three more of these chapbooks were pubbhed, probably in 1799. A new volume of twenty-four numbers was issued, however, containing these three chapbooks
39 and reprints of twenty-one other~. There were other re-1,~ues too. but these need not concern us here. During all of this time, Brash and Reid continued to advertise m each of the separate volumes that individual numbers were to be had for a penny. Complete seb of all 99 chapbooh are now extremely rare. and were described as "'carce" in a tribute to William Reid in the Scots Times (Glasgow) on 29 November 1831 (Ewing. pA). I have not heard of a complete set offered for sale in the past thirty and more years. Naturally the more popular numbers of Bra~h and Reid\ collection had to be reprinted sooner and more frequently than the others. One of the'e (the third number in Vol. I) was Burns's "Tam o' Shanter''. Ewing speaks of "at lea,f' three is~ues (p.8). but I have identified six. The variants fall into two groups: one in which the fir,t word of the title is spelled "Aloway," whereas in the other it is "Alloway." It i' tempting to speculate that the misspelling 1s the fir't 'tate, which was repnnted before the mistake wa' noted and corrected, but as no collection of the'e pamphlet~ which I have examined can with certainty be identified a' continuing the true first state of all these chapbook,, no ~uch claim can be made. 'Tam o' Shanter," it will be recalled, was fmt published m The Edinburgh Herald on 18 March 1791, and later that year m the work for which it was wntten, Francis Grose·~ The Antiquities of Scotland. When William Creech brought out an expanded edition of Poems, Chiefly in the Scottish Dialect in 1793 the poem wa' added to the Burns canon. From the beg.nning 1t ha~ been one of the poet'' most popular work,, vying with 'The Cotter's Saturday Nighf' as the poem mo't frequently pubh,hed in separate form.
ALLO'\VAY KIRK; ALOWAY KIRK; i l OR 0 R, ' 'T,/.1[ O' SIL·!NTER. TAM O' S HLl.NTER. I ·'··· - ,\ TALE. A ,TALE. I I
' ~ ) I I J DT I •- D y i R 0 B [RT BUR l\" S, R 0 B E R T B U R N c;, THE '11Url1RE rUET. THI> J.JRSrllRI> rorT.
·• \\ h \c'~r ihtJ c:i:;: o' 1r.:·l1 1'11 111 r d, " Ilk,'\, n 111.! 111uthcr', (011 t d. h,,J 1 " \Vhae'i:r this t::.lc o' tr~:h t1nll reJJ, " \\ ' :11~ '<"r t.i Dr nlic )''~r Jc:u-: "Remember T.\~I o' S11ANT&1t'• ;\I.\Rlt.
+ ... + ......
State B Stale D
40 We know comparatively little about the printing and publishing of chapbooks in Scotland m this period. Many of the chapbooks in the Brash and Reid series were printed by Robert Chapman or his successors Chapman and Lang. Ewing points out (p.2) that Brash and Reid have been described as printers, but this is an error; in their earliest known advertisement (in the Glasgow Merrnry of 8-15 June 1790) they describe themselves as "booksellers and stationers" and when the firm was dissolved in 1817 they still referred to "the bookselling and stationery business" which they carried on. We cannot from this evidence be certain that Chapman and Lang did all the printing of the chapbooks in Poetry Original and Selected, but theirs is the only printer's name which appears on any of the numbers. The two variants with the title-page A/away Kirk have a similar layout ot the title-page, but it will be noted that the type size varies slightly and the length of the second diamond rule in state A 1s 47mm long, whereas it is 3lmm in state B. No priority of publication can be assigned. I am tempted to assign the next printing to the copies with four lines of asterisks at the bottom of the title-page. This variant also exists in two states. The first (state C) has a title-page which is slightly more compact, the height between the bottom asterisk and the tops of the letters m the first line being about 120mm, whereas in the other state (D) the distance is about 125mm. The ea~iest measurement to use in determining which of these
t 8 ALLOWAY KIRK; '. ODE TO LEVEN WATER.
OR Q N Lcvcn'1 bmks, w1ule free to rovC", And tune the run.I pipe to lave, I cnvy'.i not the h:ipp1dl fwai.n T..dAf O' SHANTE!?.. Th.l.t ever trode th' Arcaai:rn pb1n.
Pu.re ftrr.iml in whofc tnnfparcnt 'l't·ln A TALL My youthTul hmbs I went to bvc; No tornm~ lh.cn thy limp.d fourcc, :-:o rod.• impede thy dimpling c:oorii., Thu fy, cctly warbles o'er its bed, DY '\\'1:h ~btt:, round, pold'h.'d pebble\ fprcJ.J; W!nlc lightly pon'J the fc.1.ly hrood In niyn uls de ave thy cryfh.1 flood. R 0 n E RT nu RN s, The fpringmg trout, in fp..:ckl'J pnJ~; THE A\RSHIRE p0[T. 1. he fa!mon, monarch of th..c Ude; The nnhlds pUc.c, intent oo w;;u-, • The filvcr eel and mottled par Dcvolvmg from thr parent bkc, 4 , ,. charm mg m.uc thy wucn make, • \\"h~c'cr rho t"I.. u' 1ru1h fh.:11 r\.:l...!, By bo...,'rs of birch, :i.rd grOTes of p1r:: .. I!';. :u.in and n•o•hn't fon t.ik l1l.1l And bed.get f!.o\\ 'r'd with eglanunc. .. \\.h:111\.'\.1 to Unnk )DU :!.re Wllln'J, ·• Or Cutty !) .. rk~ nu 111 your mu;d, Sr1h c:i thy b.mks, fo g:uly green, •• '1 h1nk-yc m•y buy the J0!5 o'u dc:ir; :\1.iY nu!T'.'rou" herds .nd floclu be f.:c::, ., Rcm~n:blr TAM o' S11ANTr:11.'i ~.!.\1.r:, .t~.c.: bfi'cs,-cA...iclcg Q'a ~c p.w.I, An..d ~~n...Td&, piping JD. u.c- da!c; And aM1ei:n: bith, that knows i:o ,l'I~...... AnJ 1'..;!uflr,11m.r"O'Wn'd with (011; And hcin~ rcfolv'd, and h.ands prcp.ar'.L ! The bl:'!ir.g\ they CO JOY to gu.u-C I FINIL
l-~-- State C
41 .., ~., ¥ AL L 0 WAY K I R K; • QR ' TAM O' SH.ANTER·
R 0 B E R T E V R :.l S,
THE AYkSHIR.E PO[T.
« \Vhac'cr th s tlk o' t'1Jth fh.o.ll read, "Ilk m:m :rml mother'~ fo'I t:ik l1eed· u \Yh;ine'cr to Dnnk }OU :ire indm'd, u Or Cutty Sarks nn m rour mind, "Th1nk.-\e m;;n· buy the JOl"~ o:cr clL.v," •• RrmcmbcrTAM o'StU"iTER s Md.!l;E.
...... ______.._...._....._....,.. ' -- State E
states a copy belongs to is the distance between the two diamond rules: in C it is about 29mm, whereas in D it is about 35mm. Internally these states are very similar, and it is possible that an adjustment was made to the title-page while the type was still in the forme, although why a printer would have done this is certainly not clear, given that the two title-pages are virtually indistmguishable. The title-page variant with the flower basket (state E) was probably not issued before the printing of Volume 4 [ 1798?]. We find the flower basket on the title-page of No. 17 of that volume, The Pillaged Linnets, but not, apparently, before that number. There is also a flower basket at the bottom of p.5 of No.8 in the unnumbered volume which contains the three new chapbooks. This number is a reprinting of Rab and Ringen, which first appeared as No.6 in Volume 1, but without the basket. What would appear to be the final state (F) of the six title-pages noted here is the only one which contains the name of the printer as well as that of Brash and Reid. This state appeared as No.3 in the supplementary volume - oddly it was also No.3 in Volume 1. What points strongly to this being the final state of what was obviously a very popular chapbook is the quotation from "Tam o' Shanter'' on the title-page which consists of the six final lines of the poem. In states A through E the first quoted line reads "Whae'er this tale o' truth shall read" where as the reading in state Fis "Now, wha thi~ tale o' truth
42 shall read". Internally all copie' read "Now, wha ... "I can fmd no textual authority for the variant "Whae 'er," either in manuscripts or early printings of the poem, and one can only ~urmise that, like the mistake in the ~pelhng of "Alloway", typesetters copied the mistake from one ~tate of the title-page to the next until it was finally corrected in state F. There i~ another way in which state F differs from states A and E. In all ~ix states the final six lines of the poem (the moral, so to speak) 1' set off a' a new section - there 1,, of course, textual authority for thi~. However. in A-E the Imes are set in italics, whereas they are not in F. Given all of the'e difference,, I thmk that the strongest case which can be made for the order in which the'e six variants appeared is that F wa' the final one in the series.
8 ) A L L 0 W A Y K I R K; Triumphant virtue all around her dart!, And more than volumn ~ery look imparts; Lonk11 t-roft, yet. wful, melting, yec fe'vc:re, o~ Wht"re both the mother and the faint appur. Bui ah 1 th:it night-that tort'ring: night rem1ma,;.~ T AAf O' SHA NT ER. May darknefs dye ll wilh 1u deepdl fi..lms, f~ Mav JOV on it forfake her rnfy bow'n, _, A 'rALE. And ll:reamin~ farrow bb.fi ns Lia.!dul hours! \\~hen on the ~argin of thl:' hrmy flood, Ch11l' Dt'vour'd ::.t nnC'c by the relc:nt1efs wave, An01csof death! I ru~ h·r tlJrO. lht" bldl apartments rove, And now {h..- ffif't''S her du1.r c:xpdl:m~ loft'. Ht'art t"~fin~ fi~ht 1 if not in p;:i,rt o't'1fprt;.d, By tl1t: d.urp t-:1,~o';"l cf t:rid'~ un{ hc:ar[ul fhJ.dc:, Eut i:ound me:, Lg!lt • Lt this rc:fldbon po.Jr, ~\' ~\ jFHOVt.Hjb1r/1rbtr11tfwJy,.;fuJ~, ti ~i: \Yho knm the: m;;ht ('()mmanch the: 1h1111Jlg day, GLASGOW: l,. :' ~~:·. :·.:~ ;;; ·~: ...... '~. P~IP'TED BY CHAPMAN & LANC, For Bra!h & Reid.
State F
Two other chapbook~ exist which were printed at about the same time as the above. Because I do not believe that they were part of Brash and Reid's Poetry Original and Selected I have labelled them X and Y. The first of these has a drop-head title, but does not have any indication of what firm printed or published it. Brash and Reid did on a few occasions issue long poems with drop-titles (Lenora, translated from Gottfried August Burger, and Allan Ramsay's The Monk and the Miller's Wife to name the two best known examples) but they always included the name of their firm either on the title-page or as a colophon.
43 ALOWAY KIRK; .. - , · , ' - ';. · i : ~, ~ r ·, ·, · .,... ~ · ALOWA:Y .KIRK;'-·. "':. 0 R, ..... ~-< ' '. > ' ' ' '. •', TAM 0' SHANTER. , ... ·,;. ' . ~ - ' 'IAMO' SllAN'TER; A TA LE.
.A-1T ALE. .. ., ' .. - BY ROBERT BUR'.'IS, __ THE ATRSHIRE roET. ,;,, DY_.ROB~RT BURNS,~·: .
i • TlfE .J.YR.SHIR.E POU~. - HAN chapman billies lc1Ye the fl:rec:t, W And drouthy neebors, neebors meet, •I ' - • • .'.,. '~' J As market~d..ays a!e wearing btc, And folk begUl to tak. the g:ite; "AH TAM; ah TAM!'tho;1'll C3ti:iliif;min&!· While we fit bowfing ot th~ nappy, '• In hell they'll roafi thee J1ke a hcrrms ! - '. ' • And getting fou, ond unco happy, " In Yam thy K,\ TE 3Wl1U thy lOm:ni: ~ : •: ' • ! We think na on the lang Scots miles, '.' !-:.\TE foon wlil Iii: :i. w:cfo' "om~n ! l ! The molfes, \":aters, fl::ips and fule!I, 'Th::it he between ~s an-> )t >--•·r•l•..,..,'._ Gathering her brows like g;ithenng O:orm, Nurfing her wnth to keep it w;i.nn.-
State X State Y
Copy Y is also excluded as a Brash and Reid publication (although the title-page was perhaps set from a Brash and Reid original, hence the incorrect spelhng of the word "Alloway") because the layout is so totally different from any Brash and Reid chapbook. Furthermore, if we allow that the incorrect spelling on the title-page was founded on early states of the Brash and Reid chapbook, it seem~ highly improbable that the ~ame firm would alter the epigraph on the title-page in one issue and then return to the six Imes to be found on all other states. There remams the possibility that Y pre-dates A, but if so no set has ever been found with this issue bound in as a part of a volume of Brash and Reid imprints. Finally, the \\ant of a publisher's name would appear to rule this edition out as coming from Brash and Reid. There may have been other variants of Tam o' Shanter m the Brash and Reid series. Certainly this title must have been the most popular, but several others were republished at least once. A detailed study of all the numbers of this popular collection is in order; so, too, is a comprehensive checklist of Scottish chapbooks. Either would show us that there was a great appetite for poetry and prose among the humble people of Scotland in the eighteenth and nineteenth centuries. The information I have presented on these variants of 'Tam o' Shanter'' is based on copies in the Mitchell Library (Glasgow), the National Library of Scotland. Glasgow University Library, the Library of Congress, and my own collection. I am grateful to the institutions named for furnishing photocopies of their holdings.
'Quoted from James Cameron Ewmg. "Brash and Reid Book,ellcr' m Glasgow and their Collecllon of Poetry Original and Selected," (Glasgow, 1934). pp 2-3. Th" work 1s reprinted from the article a' 1t appeared m the Records of the Glasgow B1b/10graph1ca/ Soetety. Suh,equcnt reference' will appear m the text 2P. Hately Waddell Life and Works of Robert Burns (Gla.1gow, 1867). Appendix, p uxvm
44 No ordinary man
Dr Jim Currie (leji), Dr Gram MacE1va11 (ce111re) and John Doble (British Consul-General) at the Calgary Burns Night, January 1988.
Burnsians who attended the Conference in London ( 1979) or Burns functions in Calgary, Alberta could not fail to notice Grant MacEwan. For one thing, he towers head and shoulders over most people; for another he has a commanding presence and an alert manner which belies his 86 years. Within the Burns movement he has been a renowned speaker, much in demand at Burns Suppers, for upwards of half a century. The Patron of the Calgary Burns Club, he is also an Honorary President of the Burns Federation, an honour conferred on him in 1979 when the Conference was first held in Canada. At that Conference Dr MacEwan charmed everyone with his opening speech. In January 1988 I delivered the 'Immortal Memory' in Edmonton, the capital city of Alberta, to the Edmonton Scottish Society at their Centre, entitled Grant MacEwan Park. A fine oil-painting on the wall portrayed the man himself, in the gold-braided Windsor uniform of Her Majesty's Lieutenant Governor. Two days later I had the privilege of meeting Grant MacEwan in the flesh , at the Dinner of Calgary Burns Club. He spoke for ten minutes, without notes, and extensively quoted from the Bard . I doubt if there are many speakers who could do that, and keep their audience enthralled. This extempore performance got a well-deserved standing ovation.
45 John Walter Grant MacEwan, as his name suggests, has pure Scottish blood in his veins, but the Grants and the MacEwans from whom he has sprung were settled in Canada for several generations. The Grants came from the Maritimes, where the Scottish heritage is very strong to this day, while the MacEwan~ hailed originally from Guelph, Ontario. Grant MacEwan's grandfather George MacEwan was born in Buchlyvie, Stirlingshire. In 1868 he married Agnes Cowan whose family claimed relationship with Sir Walter Scott in their lineage. Thus Grant can claim kinship with at least one of Scotland's great literary figures. His life-long love of Burn~ was inculcated by his father Alex and some of his earliest memories are of Alex reciting the poems of Scotland's Bard. Alex MacEwan married Bertha Grant and they ~ettled in Manitoba