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ROBERT BURNS and PASTORAL This Page Intentionally Left Blank Robert Burns and Pastoral
ROBERT BURNS AND PASTORAL This page intentionally left blank Robert Burns and Pastoral Poetry and Improvement in Late Eighteenth-Century Scotland NIGEL LEASK 1 3 Great Clarendon Street, Oxford OX26DP Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York # Nigel Leask 2010 The moral rights of the author have been asserted Database right Oxford University Press (maker) First published 2010 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organization. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose the same condition on any acquirer British Library Cataloguing in Publication Data Data available Library of Congress Cataloging in Publication Data Data available Typeset by SPI Publisher Services, Pondicherry, India Printed in Great Britain on acid-free paper by MPG Books Group, Bodmin and King’s Lynn ISBN 978–0–19–957261–8 13579108642 In Memory of Joseph Macleod (1903–84), poet and broadcaster This page intentionally left blank Acknowledgements This book has been of long gestation. -
Robert Burns, His Medical Friends, Attendants and Biographer*
ROBERT BURNS, HIS MEDICAL FRIENDS, ATTENDANTS AND BIOGRAPHER* By H. B. ANDERSON, M.D. TORONTO NE hundred and twenty-seven untimely death was a mystery for which fl years have elapsed since Dr. James some explanation had to be proffered. I Currie, f .r .s ., of Liverpool, pub- Two incidents, however, discredit Syme Iished the first and greatest biog- as a dependable witness: the sword incident, raphy of Robert Burns. on the occasion of his reproving the poet Dr. Currie had met the poet but once and regarding his habits, of which there are then only for a few minutes in the streets several conflicting accounts, and his apoc- of Dumfries, so that he was entirely depend- ryphal version of the circumstances under ent on others for the information on which which “Scots Wha Hae” was produced he based his opinions of the character and during the Galloway tour. In regard to the habits of Burns. A few days after Burns’ latter incident, the letter Burns wrote death he wrote to John Syme, “Stamp-office Thomson in forwarding the poem effectually Johnnie,” an old college friend then living disposes of Syme’s fabrication. in Dumfries: “ By what I have heard, he was As Burns’ biographer, Dr. Currie is known not very correct in his conduct, and a report to have been actuated by admiration, goes about that he died of the effects of friendship, and the benevolent purpose of habitual drinking.” But doubting the truth- helping to provide for the widow and family; fulness of the current gossip, he asks Syme and it is quite evident that he was willing, pointedly “What did Burns die of?” It is if not anxious, to undertake the task. -
The Coulter Collection of Burns Manuscripts
Studies in Scottish Literature Volume 24 | Issue 1 Article 7 1989 The oultC er Collection of Burns Manuscripts lain G. Brown Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the English Language and Literature Commons Recommended Citation Brown, lain G. (1989) "The oultC er Collection of Burns Manuscripts," Studies in Scottish Literature: Vol. 24: Iss. 1. Available at: https://scholarcommons.sc.edu/ssl/vol24/iss1/7 This Article is brought to you by the Scottish Literature Collections at Scholar Commons. It has been accepted for inclusion in Studies in Scottish Literature by an authorized editor of Scholar Commons. For more information, please contact [email protected]. lain G. Brown The Coulter Collection of Burns Manuscripts In the Department of Manuscripts of the National Library of Scotland we are fairly used to members of the public bringing in for an opinion documents which they believe to be original manuscripts of Robert Burns. Some of these tum out to be common and well-known facsimiles, often framed behind dirty glass_"Robert Bruce's March to Bannockburn" is an outstanding example. Many are the owners who go away clutching their "Scots wha hae... " from great-granny's living-room wall, disappointed to be told that what they have is only a reproduction. Then there are the cele brated Alexander Howland ('Antique') Smith forgeries. These are more confusing as they are, unlike a facsimile, intended to deceive. They have to be examined patiently for tell-tale details such as the use of a steel pen, or the presence of letter-forms a little too laboured; or until one is sure that the strange, indefinable feeling of the thing being just wrong is indeed the proper judgement. -
Hume Supplement
The Tattler Supplement The Jack Hume Heather & Thistle Poetry Competition June 2020 A s indicated in the main edition of O n the pages following are the sec- the Tattler, the wining entry in the 2020 ond place entry, also written by Jim Jack Hume Heather & Thistle Poetry McLaughlin, the equal third place en- competition was written by Jim tries, both written by previous winner McLaughlin of the Calgary Burns Club. Jim Fletcher of Halifax, and fifth place The epic entry of over 3,000 words is entry written by new RBANA President printed inside Henry Cairney 1 Scotland’s Bard, the Poet Robert Burns A Biography in Verse The date of January 25th in seventeen-fifty-nine, At first a shy retiring youth, and slow to court a lass, Is honoured all around the globe, this day for auld lang syne. Our lad would learn the art of love, and other friends surpass; Wi’ right guid cheer we celebrate and toast his name in turns, ‘Fair Enslavers’ could captivate, and oft times would infuse Scotland’s own Immortal Bard, the poet Robert Burns. His passionate, creative mind, that gave flight to his muse. His father William Burnes met his mother Agnes Broun A brash elan would soon emerge as youth was left behind, At a country fair in Maybole, more a village than a town. With age came self-assurance and an independent mind. Agnes kept another suitor waiting for seven years, He formed Tarbolton’s Bachelors’ Club, a forum for debate, Till she found he’d been unfaithful, confirming her worst fears. -
Robert Burns's Satiric Poetry. Jane Bowling Kennerly Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1976 Robert Burns's Satiric Poetry. Jane Bowling Kennerly Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Kennerly, Jane Bowling, "Robert Burns's Satiric Poetry." (1976). LSU Historical Dissertations and Theses. 3026. https://digitalcommons.lsu.edu/gradschool_disstheses/3026 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. -
Robert Burns Taught by Steve Newman
Steve Newman Robert Burns at the Rosenbach: Song, Satire, and Scotland Feb-March 2017 Course Description: On the evening of January 25th, people from Edinburgh to Shanghai to Philadelphia gather to toast “the immortal memory” of Robert Burns. For he is not only Scotland’s national poet; his work has been translated into Hebrew, Russian, Chinese, Esperanto, and a host of other languages. To discover the range and depth of the work that has established Burns as a poet of global significance, we will dive into a great deal of his poetry and a bit of his prose, drawing significantly on one of the world’s finest collection of his works--the Rosenbach’s. We will begin with Burns’ spectacular burst on to the scene in 1786, investigating the literary and political matrices that made it possible for this son of a short-lease farmer to become so celebrated so quickly, though not entirely on his own terms. We will then focus on his love and bawdy songs, considering how Burns draws on and transforms tradition in lyrics on affection and lust, and the codes of gender and sexuality that inform them. Next come his interventions in the politics of the nation, as he presents himself as a “Bardie” licensed to comment on a range of state and religious matters and navigates the electrified disputes of his time. We will conclude with some of his masterpieces— including Tam O’Shanter and Love and Liberty—and the ways his work gets circulated and Burns is enshrined by a series of critics and collectors, not least Dr. -
A Burns Companion a Burns Companion
A BURNS COMPANION A BURNS COMPANION ALAN BOLD Palgrave Macmillan ISBN 978-1-349-21167-8 ISBN 978-1-349-21165-4 (eBook) DOI 10.1007/978-1-349-21165-4 ©Alan Bold 1991 Softcover reprint of the hardcover 1st edition 1991 978-0-333-42270-0 All rights reserved. For information, write: Scholarly and Reference Division, St. Martin's Press, lnc., 175 Fifth Avenue, New York, N.Y. 10010 First published in the United States of America in 1991 ISBN 978-0-312-04500-5 library of Congress Cataloging-in-Publication Data Bold, Alan Norman, 1943- A Bums companion I Alan Bold. p. em. Includes bibliographical references. ISBN 978-0-312-04500-5 1. Burns, Robert, 1759-1796.2. Poets, Scottish -18th century- Biography. I. Title. PR4331.B64 1991 821'.6 -dc20 89-70109 [B] CIP Contents List of Plates ix Preface xi Abbreviations xiii PART I: BURNS IN CONTEXT 1 A Burns Chronology 3 The Burns Circle 21 A Burns Topography 62 PART II: ASPECTS OF BURNS 77 Dialect and Diction in Burns 79 Bums and Religion 89 Bums and Politics 100 Bums and Philosophy 109 Bums and Booze 116 Bums and the Theatre 123 The Bawdy Bums 133 A Technical Note 143 PART III: AN APPROACH TO BURNS 149 PART IV: THE ART OF BURNS 175 POEMS The Death and Dying Words of Poor Mailie, the Author's only Pet Yowe 177 v vi Contents Holy Willie's Prayer 180 Death and Doctor Hornbook 185 The Holy Fair 189 The Vision 193 Halloween 199 The Twa Dogs 203 The Jolly Beggars 208 The Cotter's Saturday Night 217 To a Mouse 223 To a Louse 226 The Auld Farmer's New-Year Morning Salutation to his Auld Mare, Maggie 229 Address to the Deil 232 The Author's Earnest Cry and Prayer 236 The Ordination 240 Address of Beelzebub 242 A Dream 246 Address to the Unco Guid 249 The Calf 253 The Brigs of Ayr 254 A Winter Night 259 The Kirk's Alarm 262 Elegy on Captain Matthew Henderson 267 Tam o Shanter 272 The Tree of Liberty 281 VERSE EPISTLES 286 Epistle to John Rankine 287 Epistles to Davie 288 Epistles to J. -
Auld Lang Syne!’
Book Notes: Reading in the Time of Coronavirus By Jefferson Scholar-in-Residence Dr. Andrew Roth ‘Should Auld Acquaintance Be Forgot, And Auld Lang Syne!’ Admit it, at least once, but probably more often, on New Year’s Eve, with a glass of bubbly or some other strong libation in one hand, your other arm ’round your spouse, your best squeeze, or whomever might be at hand, you have raised that glass and sung (or at least hummed) the tune, “Should auld acquaintance be forgot/And auld lang syne!” And admit it, you may have done so without the faintest idea what you were saying. OK, maybe the faintest, since “auld” sounds like “old,” you know what “acquaintance” means, and you kind of intuit it has something to do with remembering old friends and the days long ago. But what does the rest of it mean? And why are you singing it? And where did it come from? It came from Scotland in 1788 when Robert Burns “sent the poem, ‘Auld Lang Syne’ to the Scots Musical Museum, indicating that it was an ancient song but that he’d been the first to record it on paper.” [1] Almost immediately, it became a Scottish tradition to sing on Hogmanay, the Scots’ word for the last day of the year – New Year’s Eve. The Scots, however, did not invent New Year’s Eve. New Year’s Eve and New Year’s Day, obviously, are global celebrations that begin and end on different sides of the International Date Line. For Jeopardy! aficionados and patrons of Trivia Night at the Plymouth Tavern on State Street in Erie, Pennsylvania, where do New Year’s celebrations begin and end? Located in the central Pacific on the eastern side of the dateline, the Line Islands and Tonga are among the first places to celebrate the New Year and American Samoa, on its western side, among the last. -
The Metaphors of Identity
1 Sacred Lambencies and Thin Crusts: The Metaphors of Identity ...They went to the window. The fronting heavens were a black purple. The thunder, which had been growling in the distance, swept forward and roared above the town. The crash no longer roared afar, but cracked close to the ear, hard, crepitant. Quick lightning stabbed the world in vicious and repeated hate. A blue-black moistness lay heavy on the cowering earth. George Douglas Brown, The House with the Green Shutters, 1901¹ If a city hasn’t been used by an artist not even the inhabitants live there imaginatively. Alasdair Gray, Lanark, 1982² INATURAMALIGNA The Atlantic coast was appreciated for the qualities of light and landscape—the soft days of the Irish west, the clarity of Cornwall, the Welsh picturesque at Betws- y-Coed—but Victorian fictionalists encountered a Scotland which seemed irredeem- ably dour: bleakness of moorland, withered grasses, stunted trees, flailed by a merciless wind; towns and villages slattern and sullen; great cities truly hellish chasms of filthy streets and pandemonian crowds. ‘Land of the mountain and the flood’ char- acterizes some of this. The ‘Bonnie Briar Bush’ of the Kailyarder Ian MacLaren waves outside the window of a talented boy dying of tuberculosis. The same malady kills Cunninghame Graham’s returning migrant at ‘Beattock for Moffat’. George Douglas Brown in The House with the Green Shutters granted himself a couple of sentences of exhilaration, but soon let fly with natura maligna. Ibsen’sNorwayisnomorefriendly,butitwaslike that —the drenched fjord towns, the terrific mountains, the seas pounding on Rosmersholm’s beach. -
Robert Burns: Scots Wha Hae Contributor
Semester 4: ENGH: Paper HCC-T-9: Robert Burns: Scots Wha Hae Contributor: Partha Pratim Bandyopadhyay, Department of English Background: In the later decades of the 18th century, the strict literary models of English neoclassicism waned and interest grew in non-rational modes of perception and artistic construction. This happened principally under the influence of philosophers like John Locke, Adam Smith, David Hartley and David Hume, historians like Edward Gibbon and William Robertson who published in 1759 a history of Scotland, and poets like James Thomson, William Macpherson, William Collins, William Cowper, Thomas Percy and Thomas Chatterton who, driven by their attraction for medieval and mystical modes of experience, sought to capture hitherto uncharted areas of the nation’s consciousness in their lyrical verses. Their work was marked by a frank, open love for nature and the natural man, and marked a seminal move away from the formulaic, didactic poetry of the Johnsonian school. Parallel to these ran a Methodist Movement led by John Wesley within the Church of England that broke apart from its lifeless formalism. Added to these new and explorative lines of thought, there arose a political literature that contested the common view of a Scotsman as the “undesirable alien”. Numerous collections of songs and ballads of Scotland, carried within an oral tradition for several centuries, were published and read and loved in a bid to build a glorious, freedom-loving and rebellious Scottish identity. Such anthologies, from Allan Ramsay to Walter Scott, became a body of literature romantically engaged with Scottish nationhood – defined by its spontaneous plunges into sensual pleasure. -
Robert Burns and the Tradition of the Makars Robert L
Studies in Scottish Literature Volume 30 | Issue 1 Article 11 1998 Robert Burns and the Tradition of the Makars Robert L. Kindrick Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the English Language and Literature Commons Recommended Citation Kindrick, Robert L. (1998) "Robert Burns and the Tradition of the Makars," Studies in Scottish Literature: Vol. 30: Iss. 1. Available at: https://scholarcommons.sc.edu/ssl/vol30/iss1/11 This Article is brought to you by the Scottish Literature Collections at Scholar Commons. It has been accepted for inclusion in Studies in Scottish Literature by an authorized editor of Scholar Commons. For more information, please contact [email protected]. Robert L. Kindrick Robert Bums and the Tradition of the Makars One of the major questions involving the poetry of Robert Bums is the poet's awareness of earlier literary tradition. On the one hand is Henry Macken zie's notion that Bums is a "natural" poet, replete with all of the gifts of nature that Rousseau ever envisioned. His use of folk meters and folk tales as his sources, and his love for the traditions and common folk culture of Scotland seem to some to embody all the elements of "untutored genius" which reaches its zenith in the Romantic period of British verse. I A genius, Bums surely was. But whether he was "untutored" has constantly been called in doubt. The case is hardly a simple one, for even though Mackenzie's interpretation has been largely rejected, it remains in general circulation. It is sometimes difficult to believe that a number of poets who draw their inspiration from folk verse and exhibit a sym pathy towards the common man are deeply learned. -
12. Jane Austen and Burns
JANE AUSTEN NORA BARTLETT EDITED BY JANE STABLER B Reflections of a Reader ARTLETT NORA BARTLETT EDITED BY JANE STABLER All lovers of Jane Austen, the most knowledgeable as well as those who have just discovered her, will have much to learn from these modest, searching, and wonderfully perceptive essays. Prof. Richard Cronin, University of Glasgow This volume presents an exhilarating and insightful collection of essays on Jane JANE AUSTEN Austen – distilling the author’s deep understanding and appreciation of Austen’s works across a lifetime. The volume is both intra- and inter-textual in focus, ranging from perceptive analysis of individual scenes to the exploration of motifs across Austen’s fiction. Full of astute connections, these lively discussions hinge on the study of human behaviour – from family relationships to sickness and hypochondria – highlighting Austen’s artful literary techniques and her powers of human observation. Jane Austen: Reflections of a Reader by (the late) Nora Bartlett is a brilliant contribution to the field of Jane Austen studies, both in its accessible style (which preserves the oral register of the original lectures), and in its foregrounding of the reader in a warm, compelling and incisive conversation about Austen’s works. As such, it will appeal widely to all lovers of Jane Austen, whether first-time readers, students or scholars. As with all Open Book publications, this entire book is available to read for free on the publisher’s website. Printed and digital editions, together with supplementary digital material, can also be found at www.openbookpublishers.com Cover image: Woman Reading, Portrait of Sofia Kramskaya by Ivan Kramskoi (1837–1887).