DOCSLIB.ORG

Robert Burns in Other Tongues; a Critical

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Robert Burns in Other Tongues; a Critical ^S *&>• >n BOUGHT WITH THE INCOME FROM THE SAGE ENDOWMENT FUND THE GIFT OF iii^nrg W. Bags 1S9X .fjr/j.rjf:.. ikp/.v.fj... 9963 Cornell University Library PR4336.J12 Robert Burns in other tongues; a critical 3 1924 013 447 937 M ^ Cornell University VM Library The original of tliis bool< is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924013447937 ROBERT BURNS IN OTHER TONGUES PUBLISHED BY JAMES MACLEHOSE AND SONS. GLASGOW, ^nbUshcrs to the Snibersitji). MACMILLAN AND CO., LONDON AND NEW YORK" Loitdon^ • Sijnpkin, Hamilton and Co. Cainbridge^t Macinillan and Bowes, Edinburgh^ Dotiglas and Foulis. MDCCCXCVI. " , ROBERT BURNS IN OTHER TONGUES A Critical Review of the Translations of the Songs & Poems of Robert Burns i'- ii /; WILLIAM JACKS AUTHOR OF A TRANSLATION OF "NATHAN THE WISE ETC. Glasgow James MacLehose and Sons ^nblisheis to tite Stnibtrsits 1896 Ail rights reserved cc ! Jungst pflUckt' ich einen Wiesenstrauss, Trug ihn gedankenvoll nach Haus ; Da hatten, von der warmen Hand, Die Kronen sich alle zur Erde gewandt, Ich setzte sie in frisches Glas, Und welch ein Wunder war rair das Die Kopfchen hoben sich empor, Die Blatterstengel im grunen Flor, Und allzusammen so gesund, Als stiinden sie noch auf Muttergrund. So war mir's, als ich wundersam Main Lied in fremder Sprache vernahm. Goethe PREFACE. I WAS led into the present, task by seeing now and again in newspapers, reviews of foreign translations of the works of Robert Burns, and by occasionally meeting with specimens of these translations in my wanderings on the Continent. From remarks in these reviews, the great bulk of the translations seemed to be unknown or unre- garded in this country, and I thought it might be useful to students of languages, and gratifying to admirers of the poet, were the various translations, so far as they are known, dealt with in one volume, and thus brought more directly into notice. I have taken generally the same songs and poems throughout, with a view to making a comparison of the power of the different languages in expressing those works. I found, however, that this would lead me far beyond the bounds which I had set myself, and therefore have left that interesting study for some other time, or for some other pen than mine. viii PREFACE It would be hypocritical pedantry to leave it to be assumed that I knew all the various languages which appear here, sufficiently well to enable me to criticize these translations as I have done ; indeed some of them I do not know at all. In such cases I had each retranslated literally into a language which I did understand, and the retranslation was « sent to a native of the particular country for con- firmation and comment, and in this way I was able to make my remarks. On one of my fishing expeditions I met a man who was anxious to do away with all pride of birth, " occasions of excess," and generally to " reform the world " as he termed it. He had a bee, or maybe two, in his bonnet, and I was rather taken with his odd ideas. One day this worthy came upon me as I was reading Angellier's work on our poet. " What's that ? " he asked. " The works of Burns in French, with a very fine " criticism," I replied. Hum ! what dae they ken aboot Burns, and what's the use of reading the works in a foreign langige when ye can read. them ? in yer ain " was the rejoinder. Precisely so ; I felt this was a criticism very likely to be used by more cultured minds than his. My task, however, is not very difficult to defend. It is interesting to show how widely the influence of Burns has spread, and surely it is gratifying to — ; PREFACE IX know that in so many tongues the prayer is said or sung : "Then let us pray that come it may, As come it will for a' that That sense and worth; o'er a' the earth, May bear the gree, and a' that. For a' that, and a' that, It's coming yet, for a' that. That man to man the warld o'er. Shall brothers be for a' that." Then it may be useful to students of foreign languages. In learning such myself I always com- mitted to memory a good deal of prose and poetry in order to impress the spirit and idiom of the language on my mind. A piece from Burns well translated will be a great aid to the student in this respect. Personally, the study has been to me, as I hope it will be to others, profitable as well as pleasant, for we are forced to acquire a clear insight into the thought and meaning of the poet in order to judge of the fidelity of the translation, and we gain much in this way. Let me give a single example. Take the line, "Courts for cowards were erected." Four out of every five readers of Burns to whom I put the question, " Does this mean Royal Courts or " Courts of Law ? replied " Royal Courts, of course." An eminent German translator uses the word — X PREFACE " Gericht," not " Hof." This suggested the ques- tion to me; and I discovered he was right, as the context shows. " A fig for those by Law protected ! Courts for cowards were erected, . When I pointed this out, my friends admitted that they had not thought of it so closely. There are other instances which appear in this work, but this one will show my meaning. With the substitution of the word Dichter for Doctor, I may faithfully use the -words of Wagner to Faust and say " Mit Euch, Herr Dichter, zu spazieren 1st EhrenvoU, und ist Gewinn." * I thought it would be interesting to add photo- graphs of the chief translators, and this I have done, so far as I was able to obtain them. Two indices—one, of the translators, the other, of the poems and songs, are added at the end of the volume. WILLIAM JACKS. Glasgow, January, 1896. ' Goethe's Faust, Act I., Scene 11. CONTENTS. German, PORTRAITS. Robert Burns, ; INTRODUCTION. In estimating the power and excellencies, and, it is to be feared in many instances, the weaknesses and defects in the various translations of the works of our national Scottish poet, it is well to state the point of view from which they have been considered. In this consideration full weight is given to the warning words of Dante, that " No work bound together by the muse can be transferred from its own language to another without losing its sweet- ness and euphony."^ This is undoubtedly true to a large extent, but, like many of the sayings of great thinkers, it is not true absolutely. There are, of course, works which are the glory of their native language, and which it is impossible to convey through the imagery of another tongue without losing the charm which makes them what they are "You seize the flower, its bloom is shed." But, on the other hand, there are some brilliant examples of an opposite result, such as Schlegel's Shakespeare, King John of Saxony's Dante, the Spanish translation of Gil Bias, Sir Theodore Martin's version of Horace, and a few others whilst Sotheby's translation of Wieland's Oberon 'II Couvito, I. 7. XV xvi INTRODUCTION has the reputation of even surpassing the original itself. Great minds are the common property of all nations, and it would bring an eclipse on literature did translations cease. The world of thought would lose its grandeur, and man become poorer in all his being. Emerson almost exhausts this part of the sub- ject in a few well-chosen lines in his Essay on Books : "I do not hesitate to read . all good books in translations. What is really best in any book is translatable—any real insight or broad humane sentiment. Nay, I observe that in our Bible and other books of lofty moral tone it seems easy and inevitable to render the rhyme and music of the original into phrases of equal melody. The Italians have a fling at translators, ' I traditori, traduttori,' but I thank them—I rarely read any Latin, Greek, German, Italian—sometimes not a French book—in the original, which I can procure in a good version. I like to be beholden to the great metropolitan English speech, the sea which receives tributaries from every region under heaven. I should as soon think of swimming across Charles River when I wish to go to Boston as of reading all my books in originals when I have them rendered for me in my mother tongue." These eloquent words form a strong plea in favour of such works as those of Burns being rendered into the languages of other nations, so that every one may enjoy in his own tongue the privilege which Emerson describes. It has struck me during this study that there are two classes of translation — the strictly accurate and the artistic. It is like travelling in a new —: INTRODUCTION xvii country and giving descriptions. The accurate delineator will present things correctly in their natural character and vividness, but the true artist will clothe them with a grace and loveliness which only the eye trained to look into " the heart of things " can appreciate and portray. So with translators ; the accurate one is honest and reliable.
Load more

Recommended publications
  • 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.
    [Show full text]
  • 1. August Angellier in Robert Burns, La Vie, Les Oeuvres, 2 Vols (Paris
    Notes CHAPTER 1 THE EARLY PERIOD: BURNS' INTUITIVE USE OF SCOTTISH TRADITION 1. August Angellier in Robert Burns, La Vie, Les Oeuvres, 2 vols (Paris, 1983) pointed to this when he said: 'But underneath this scholarly poetry there existed a popular poetry which was very abundant, very vigorous, very racy and very original'. See especially p. 14 of Jane Burgoyne's selected translation from Angellier in the Burns Chronicle and Club Directory, 1969. Other portions of the translation appeared in 1970, 1971, 1972, 1973. 2. J. De Lancey Ferguson (ed.) The Letters of Robert Burns, 2 vols (Oxford: Clarendon Press, 1931), 1: 106, no. 125. Burns adopted a superior tone here in keeping with the accepted pose of the eighteenth-century man of letters. All references to Burns' letters are to Ferguson's edition. Only letter numbers will be given when the citation appears in the text proper. 3. Most critics and students of Burns take some stance towards his relationship with previous work. Hans Hecht, Robert Burns: The Man and His Work, 2nd rev. ed. (London: William Hodge & Company, 1950), p. 29, suggests that Burns was the culmination of a tradition, but he speaks of a literary rather than a cultural inheritance. 4. See T. S. Eliot, The Sacred Wood (London: Methuen, 1950), pp. 47-59. 5. Angellier earlier suggested this division and I agree with him that Burns' work prior to Edinburgh was dominated by depiction of the world around him. After Edinburgh, Angellier indicates that Burns relied less on the specific incidents and more on general sentiments.
    [Show full text]
  • Tobacco Labelling -.:: GEOCITIES.Ws
    Council Directive 89/622/EC concerning the labelling of tobacco products, as amended TAR AND NICOTINE CONTENTS OF THE CIGARETTES SOLD ON THE EUROPEAN MARKET AUSTRIA Brand Tar Yield Nicotine Yield Mg. Mg. List 1 A3 14.0 0.8 A3 Filter 11.0 0.6 Belvedere 11.0 0.8 Camel Filters 14.0 1.1 Camel Filters 100 13.0 1.1 Camel Lights 8.0 0.7 Casablanca 6.0 0.6 Casablanca Ultra 2.0 0.2 Corso 4.0 0.4 Da Capo 9.0 0.4 Dames 9.0 0.6 Dames Filter Box 9.0 0.6 Ernte 23 13.0 0.8 Falk 5.0 0.4 Flirt 14.0 0.9 Flirt Filter 11.0 0.6 Golden Smart 12.0 0.8 HB 13.0 0.9 HB 100 14.0 1.0 Hobby 11.0 0.8 Hobby Box 11.0 0.8 Hobby Extra 11.0 0.8 Johnny Filter 11.0 0.9 Jonny 14.0 1.0 Kent 10.0 0.8 Kim 8.0 0.6 Kim Superlights 4.0 0.4 Lord Extra 8.0 0.6 Lucky Strike 13.0 1.0 Lucky Strike Lights 9.0 0.7 Marlboro 13.0 0.9 Marlboro 100 14.0 1.0 Marlboro Lights 7.0 0.6 Malboro Medium 9.0 0.7 Maverick 11.0 0.8 Memphis Classic 11.0 0.8 Memphis Blue 12.0 0.8 Memphis International 13.0 1.0 Memphis International 100 14.0 1.0 Memphis Lights 7.0 0.6 Memphis Lights 100 9.0 0.7 Memphis Medium 9.0 0.6 Memphis Menthol 7.0 0.5 Men 11.0 0.9 Men Light 5.0 0.5 Milde Sorte 8.0 0.5 Milde Sorte 1 1.0 0.1 Milde Sorte 100 9.0 0.5 Milde Sorte Super 6.0 0.3 Milde Sorte Ultra 4.0 0.4 Parisienne Mild 8.0 0.7 Parisienne Super 11.0 0.9 Peter Stuyvesant 12.0 0.8 Philip Morris Super Lights 4.0 0.4 Ronson 13.0 1.1 Smart Export 10.0 0.8 Treff 14.0 0.9 Trend 5.0 0.2 Trussardi Light 100 6.0 0.5 United E 12.0 0.9 Winston 13.0 0.9 York 9.0 0.7 List 2 Auslese de luxe 1.0 0.1 Benson & Hedges 12.0 1.0 Camel 15.0 1.0
    [Show full text]
  • Download PDF 8.01 MB
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 Imagining Scotland in Music: Place, Audience, and Attraction Paul F. Moulton Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC IMAGINING SCOTLAND IN MUSIC: PLACE, AUDIENCE, AND ATTRACTION By Paul F. Moulton A Dissertation submitted to the College of Music in partial fulfillment of the requirements of the degree of Doctor of Philosophy Degree Awarded: Fall Semester, 2008 The members of the Committee approve the Dissertation of Paul F. Moulton defended on 15 September, 2008. _____________________________ Douglass Seaton Professor Directing Dissertation _____________________________ Eric C. Walker Outside Committee Member _____________________________ Denise Von Glahn Committee Member _____________________________ Michael B. Bakan Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii To Alison iii ACKNOWLEDGMENTS In working on this project I have greatly benefitted from the valuable criticisms, suggestions, and encouragement of my dissertation committee. Douglass Seaton has served as an amazing advisor, spending many hours thoroughly reading and editing in a way that has shown his genuine desire to improve my skills as a scholar and to improve the final document. Denise Von Glahn, Michael Bakan, and Eric Walker have also asked pointed questions and made comments that have helped shape my thoughts and writing. Less visible in this document has been the constant support of my wife Alison. She has patiently supported me in my work that has taken us across the country. She has also been my best motivator, encouraging me to finish this work in a timely manner, and has been my devoted editor, whose sound judgement I have come to rely on.
    [Show full text]
  • TOBACCO WORLD RETAIL PRICES (Ovor 5,000 Retail PI-ICM)
    THE CIGAR AND THE TOBACCO WORLD THE POPULAR JOURNAL TOBACCO OVER 40 YEARS OF TRADE USEFULNESS WORLD The Subscription includes : TOBACCO WORLD RETAIL PRICES (Ovor 5,000 Retail PI-ICM). RETAIL PRICES THE TOBACCO WORLD ANNUAL (Containing a word of Trad* Brand*—with Nam* and Addrau In each cms*). Membership of: TOBACCO WORLD SERVICE JUNE 1935 (With Pott Fnta raplUa In all Trad* difficult!**). The Cigar & Tobacco World HIYWOOO A COMPANY LTD. Dmrr How*, Kin—U 3tr*M, Ontry Una, London, W.C1 trantfc OACM f Baadmur. •trmlnfhtn, Uteanar. ToWfTHM i OffUlfrunt, Phono, LonAon. •Phono I TomaU far M1J Published by THE CIGAR & TOBACCO WORLD HEYWOOD & CO., LTD. DRURY HOUSE, RUSSELL STREET, DRURY LANE, LONDON, W.C.2 Branch Offices: MANCHESTER, BIRMINGHAM, LEICESTER Talagrarm : "Organigram. Phono, London." Phono : Tampla Bar MZJ '' Inar) "TOBACCO WORLD" RETAIL PRICES 1935 Authorised retail prices of Tobaccos, Cigarettes, Fancy Goods, and Tobacconists' Sundries. ABDULLA & Co., Ltd. (\BDULD^ 173 New Bond Street, W.l. Telephone; Bishopsgnte 4815, Authorised Current Retail Prices. Turkish Cigarettes. Price per Box of 100 50 25 20 10 No. 5 14/6 7/4 3/8 — 1/6 No. 5 .. .. Rose Tipped .. 28/9 14/6 7/3 — 3/- No. 11 11/8 5/11 3/- - 1/3 No. II .. .. Gold Tipped .. 13/S 6/9 3/5 - No. 21 10/8 5/5 2/9 — 1/1 Turkish Coronet No. 1 7/6 3/9 1/10J 1/6 9d. No. "X" — 3/- 1/6 — — '.i^Sr*** •* "~)" "Salisbury" — 2/6 — 1/- 6d. Egyptian Cigarettes. No. 14 Special 12/5 6/3 3/2 — — No.
    [Show full text]
  • Six Canonical Projects by Rem Koolhaas
    5 Six Canonical Projects by Rem Koolhaas has been part of the international avant-garde since the nineteen-seventies and has been named the Pritzker Rem Koolhaas Architecture Prize for the year 2000. This book, which builds on six canonical projects, traces the discursive practice analyse behind the design methods used by Koolhaas and his office + OMA. It uncovers recurring key themes—such as wall, void, tur montage, trajectory, infrastructure, and shape—that have tek structured this design discourse over the span of Koolhaas’s Essays on the History of Ideas oeuvre. The book moves beyond the six core pieces, as well: It explores how these identified thematic design principles archi manifest in other works by Koolhaas as both practical re- Ingrid Böck applications and further elaborations. In addition to Koolhaas’s individual genius, these textual and material layers are accounted for shaping the very context of his work’s relevance. By comparing the design principles with relevant concepts from the architectural Zeitgeist in which OMA has operated, the study moves beyond its specific subject—Rem Koolhaas—and provides novel insight into the broader history of architectural ideas. Ingrid Böck is a researcher at the Institute of Architectural Theory, Art History and Cultural Studies at the Graz Ingrid Böck University of Technology, Austria. “Despite the prominence and notoriety of Rem Koolhaas … there is not a single piece of scholarly writing coming close to the … length, to the intensity, or to the methodological rigor found in the manuscript
    [Show full text]
  • Spring 2010 the Bell
    SPRING 2010 THE BELL Eric Harding Thiman was born at Ashford, Kent on 12th September 1900, the son of a Congregational minister. He was educated at Caterham School, and after early lessons in the piano, organ and violin, and some coaching for degree work from Harold Darke, he attained the Mus. D. at London when only twenty- seven. He became organist at Park Chapel, Crouch End, North London in 1927, and in 1957 moved to the City Temple (often referred to as the Cathedral of the Free Churches), where he remained until his death on 13th February 1975. From 1931, he was Professor of Harmony and Composition at the Royal Academy of Music, and from 1956 for several years, Dean of the Faculty of Music at London University. He became well known as an adjudicator at musical festivals and as an examiner for the Royal College of Organists, the Royal Military School of Music and the Royal Schools of Music. A tireless conductor of choral societies, he worked latterly with the Elysian Choir. Thiman was a prolific composer of anthems, services, part-songs, church and secular cantatas and pieces for the piano, organ, strings and orchestra. He was Musical Editor of the hymn book Congregational Praise and the author of a number of text books. Appearing in a golden age of English music, in which songwriters like Quilter, Ireland, Bax, Warlock, C. W. Orr, Moeran and Finzi flourished, Thiman’s songs were easily overlooked. This selection shows that their neglect is unjustified; some deserve to survive in the permanent repertory of English song.
    [Show full text]
  • Location Indicators by Indicator
    ECCAIRS 4.2.6 Data Definition Standard Location Indicators by indicator The ECCAIRS 4 location indicators are based on ICAO's ADREP 2000 taxonomy. They have been organised at two hierarchical levels. 12 January 2006 Page 1 of 251 ECCAIRS 4 Location Indicators by Indicator Data Definition Standard OAAD OAAD : Amdar 1001 Afghanistan OAAK OAAK : Andkhoi 1002 Afghanistan OAAS OAAS : Asmar 1003 Afghanistan OABG OABG : Baghlan 1004 Afghanistan OABR OABR : Bamar 1005 Afghanistan OABN OABN : Bamyan 1006 Afghanistan OABK OABK : Bandkamalkhan 1007 Afghanistan OABD OABD : Behsood 1008 Afghanistan OABT OABT : Bost 1009 Afghanistan OACC OACC : Chakhcharan 1010 Afghanistan OACB OACB : Charburjak 1011 Afghanistan OADF OADF : Darra-I-Soof 1012 Afghanistan OADZ OADZ : Darwaz 1013 Afghanistan OADD OADD : Dawlatabad 1014 Afghanistan OAOO OAOO : Deshoo 1015 Afghanistan OADV OADV : Devar 1016 Afghanistan OARM OARM : Dilaram 1017 Afghanistan OAEM OAEM : Eshkashem 1018 Afghanistan OAFZ OAFZ : Faizabad 1019 Afghanistan OAFR OAFR : Farah 1020 Afghanistan OAGD OAGD : Gader 1021 Afghanistan OAGZ OAGZ : Gardez 1022 Afghanistan OAGS OAGS : Gasar 1023 Afghanistan OAGA OAGA : Ghaziabad 1024 Afghanistan OAGN OAGN : Ghazni 1025 Afghanistan OAGM OAGM : Ghelmeen 1026 Afghanistan OAGL OAGL : Gulistan 1027 Afghanistan OAHJ OAHJ : Hajigak 1028 Afghanistan OAHE OAHE : Hazrat eman 1029 Afghanistan OAHR OAHR : Herat 1030 Afghanistan OAEQ OAEQ : Islam qala 1031 Afghanistan OAJS OAJS : Jabul saraj 1032 Afghanistan OAJL OAJL : Jalalabad 1033 Afghanistan OAJW OAJW : Jawand 1034
    [Show full text]
  • Bridge for Dummies‰
    01_924261 ffirs.qxp 8/17/06 2:49 PM Page i Bridge FOR DUMmIES‰ 2ND EDITION by Eddie Kantar 01_924261 ffirs.qxp 8/17/06 2:49 PM Page iv 01_924261 ffirs.qxp 8/17/06 2:49 PM Page i Bridge FOR DUMmIES‰ 2ND EDITION by Eddie Kantar 01_924261 ffirs.qxp 8/17/06 2:49 PM Page ii Bridge For Dummies®, 2nd Edition Published by Wiley Publishing, Inc. 111 River St. Hoboken, NJ 07030-5774 www.wiley.com Copyright © 2006 by Wiley Publishing, Inc., Indianapolis, Indiana Published simultaneously in Canada No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Sections 107 or 108 of the 1976 United States Copyright Act, without either the prior written permis- sion of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, 978-750-8400, fax 978-646-8600. Requests to the Publisher for permission should be addressed to the Legal Department, Wiley Publishing, Inc., 10475 Crosspoint Blvd., Indianapolis, IN 46256, 317-572-3447, fax 317-572-4355, or online at http://www. wiley.com/go/permissions. Trademarks: Wiley, the Wiley Publishing logo, For Dummies, the Dummies Man logo, A Reference for the Rest of Us!, The Dummies Way, Dummies Daily, The Fun and Easy Way, Dummies.com and related trade dress are trademarks or registered trademarks of John Wiley & Sons, Inc. and/or its affiliates in the United States and other countries, and may not be used without written permission.
    [Show full text]
  • Robert Burns and a Red Red Rose Xiaozhen Liu North China Electric Power University (Baoding), Hebei 071000, China
    Advances in Social Science, Education and Humanities Research, volume 311 1st International Symposium on Education, Culture and Social Sciences (ECSS 2019) Robert Burns and A Red Red Rose Xiaozhen Liu North China Electric Power University (Baoding), Hebei 071000, China. [email protected] Abstract. Robert Burns is a well-known Scottish poet and his poem A Red Red Rose prevails all over the world. This essay will first make a brief introduction of Robert Burns and make an analysis of A Red Red Rose in the aspects of language, imagery and rhetoric. Keywords: Robert Burns; A Red Red Rose; language; imagery; rhetoric. 1. Robert Burns’ Life Experience Robert Burns (25 January 1759 – 21 July 1796) is a Scottish poet and lyricist. He is one of the most famous poets of Scotland and is widely regarded as a Scottish national poet. Being considered as a pioneer of the Romantic Movement, Robert Burns became a great source of inspiration to the founders of both liberalism and socialism after his death. Most of his world-renowned works are written in a Scots dialect. And in the meantime, he produced a lot of poems in English. He was born in a peasant’s clay-built cottage, south of Ayr, in Alloway, South Ayrshire, Scotland in 1759 His father, William Burnes (1721–1784), is a self-educated tenant farmer from Dunnottar in the Mearns, and his mother, Agnes Broun (1732–1820), is the daughter of a Kirkoswald tenant farmer. Despite the poor soil and a heavy rent, his father still devoted his whole life to plough the land to support the whole family’s livelihood.
    [Show full text]
  • A Poem Ne Ly Sprung in Fairvie
    A Poem Ne ly Sprung in Fairvie by CLARK AYCOCK ave you ever sung “Auld Lang therefore able to write in the local Ayrshire Syne” on New Year’s Eve? dialect, as well as in “Standard” English. He Or have you ever uttered the wrote many romantic poems that are still phrase, when frustrated, “the recited and sung today, and some of us may best-laid schemes of mice and men…”? remember his songs more easily than we do Did you know that John Steinbeck’s classic his poetry. in a human book Of Mice and Men was based on a line Robert Burns infl uenced many other head, though I in a poem written “To a Mouse”... or that poets including Wordsworth, Coleridge have seen the most a Tam O’ Shanter cap was named aft er a distinguished men of my time.” and Shelley. Walter Scott was also a great A commemorative plate showing character in a poem by that name? And admirer and wrote this wonderful descrip- In the late 1700s, many Scots migrated did you know that singer and songwriter tion of Burns that provides us with a clear from the Piedmont into the mountains of Robert Burns in the center Bob Dylan said his biggest creative impression of the man. “His person was WNC, bringing with them their country's surrounded by characters from inspiration was the poem and song “A strong and robust; his manners rustic, not culture and craft and inherent connection his poems Red, Red Rose”? Yes, we are talking about clownish, a sort of dignifi ed plainness and with Burns.
    [Show full text]
  • Bürgerbote Februar 2019
    Bruckmühler Bürger Bote Unabhängig · überparteiliches Marktgemeindeblatt · Jahrgang 27 · Ausgabe Februar 2019 Fotos: Ahrens, Baumann, Grafik: A. Kästner Unsere Öff nungszeiten: Montag – Freitag 6.00 Uhr – 19.30 Uhr Samstag 8.00 Uhr – 18.00 Uhr • Sonntag 9.00 Uhr – 12.30 Uhr Außerhalb der Öff nungszeiten „Tankautomat Betrieb“! NEU NEU NEU NEU NEU NEU Lotto und Zeitschriften gekühlte Getränke – auch Kistenware Morgens frische Brezen und Kaff ee Süßwaren und Chips Honig und Speck aus der Region Tabak/gekühlter Kautabak Autozubehör und Tankgutscheine Hochleistungs-Diesel jetzt bis -30 °C DAUERHAFT GÜNSTIGE SPRITPREISE! Tel. 0 81 04 / 89 81 11 Ayinger Straße 3 • 85649 Faistenhaar Februar 2019 Inhaltsverzeichnis ALLGEMEINE INFORMATIONEN Bauernhofkindergarten ������������������������������������������������������������� 50 Salonmusik mit »Dolce Vita« ��������������������������������������������������� 51 Vorwort �����������������������������������������������������������������������������������������������2 Schnuppertag im Waldkindergarten ����������������������������������� 51 Notrufe������������������������������������������������������������������������������������������������3 Spende aus Mittenkirchen ������������������������������������������������������� 52 Redaktionsschluss BBB Februar ������������������������������������������������3 Spende aus Waith������������������������������������������������������������������������ 52 Impressum �����������������������������������������������������������������������������������������3 Tafel-Team
    [Show full text]