DOCSLIB.ORG

ROBERT BURNS (1759-1796), “The Bard of Ayrshire” and the National

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ROBERT BURNS (1759-1796), “The Bard of Ayrshire” and the National ROBERT BURNS (1759-1796), “the Bard of Ayrshire” and Sweet Afton the National Poet of Scotland, was born in Alloway, Scotland. A poor farmer's son, he received little formal education and Flow gently, sweet Afton! amang thy green braes, hills published Poems, Chiefly in the Scottish dialect in 1786. The Flow gently, I'll sing thee a song in thy praise; success of this volume allowed him to join Edinburgh's literary My Mary's asleep by thy murmuring stream, elite and marry his mistress Jean Armour who bore his Flow gently, sweet Afton, disturb not her dream. legitimate children (he also fathered illegitimate children with various women). He also began to collect and write songs (over Thou stockdove whose echo resounds thro' the glen, 500 in number, many still sung today including “Auld Lang Ye wild whistling blackbirds in yon thorny den, Syne” and “Scots Wae Hae”) which he contributed to The Scots Thou green-crested lapwing thy screaming forbear, Musical Museum and The Melodies of Scotland. Burns lost I charge you, disturb not my slumbering Fair. many friends in the 1790s for his support of the French Revolution and political radicalism (prefiguring modern How lofty, sweet Afton, thy neighbouring hills, socialism). Always a drinker, he began to drink more heavily Far mark'd with the courses of clear, winding rills; and died at the premature age of 37. Burns is often considered There daily I wander as noon rises high, merely a “proto-Romantic” because his poetic style in some My flocks and my Mary's sweet cot in my eye. ways looks back to earlier 18th Century verse; but his iconoclastic vision and immersion in Scottish folk culture and How pleasant thy banks and green valleys below, language make him more authentically “romantic” than many Where, wild in the woodlands, the primroses blow; others so styled. There oft, as mild Ev'ning weeps over the lea, The sweet-scented birk shades my Mary and me. birch Song--Green Grow The Rashes Thy crystal stream, Afton, how lovely it glides, And winds by the cot where my Mary resides; Chor.--Green grow the rashes, O; rushes [pondweeds] How wanton thy waters her snowy feet lave, Green grow the rashes, O; As, gathering sweet flowerets, she stems thy clear wave. The sweetest hours that e'er I spend, Are spent amang the lasses, O. Flow gently, sweet Afton, amang thy green braes, Flow gently, sweet river, the theme of my lays; There's nought but care on ev'ry han', My Mary's asleep by thy murmuring stream, In ev'ry hour that passes, O: Flow gently, sweet Afton, disturb not her dream. What signifies the life o' man, An' 'twere na for the lasses, O. Green grow, &c. John Anderson, My Jo The war'ly race may riches chase, John Anderson, my jo, John, An' riches still may fly them, O; When we were first acquent; acquainted An' tho' at last they catch them fast, Your locks were like the raven, Their hearts can ne'er enjoy them, O. Your bonie brow was brent; handsome; steep Green grow, &c. But now your brow is beld, John, Your locks are like the snaw; But gie me a cannie hour at e'en, snug But blessings on your frosty pow, poll (head) My arms about my dearie, O; John Anderson, my jo. An' war'ly cares, an' war'ly men, May a' gae tapsalteerie, O! head over heels John Anderson, my jo, John, Green grow, &c. We clamb the hill thegither; And mony a cantie day, John, many a lively For you sae douce, ye sneer at this; sober We've had wi' ane anither: Ye're nought but senseless asses, O: Now we maun totter down, John, must The wisest man the warl' e'er saw, And hand in hand we'll go, He dearly lov'd the lasses, O. And sleep thegither at the foot, together Green grow, &c. John Anderson, my jo. Auld Nature swears, the lovely dears Her noblest work she classes, O: A Man's A Man For A' That Her prentice han' she try'd on man, apprentice hand An' then she made the lasses, O. Is there for honest Poverty Green grow, &c. That hings his head, an' a' that; The coward slave--we pass him by, We dare be poor for a' that! For a' that, an' a' that. 1 Our toils obscure an' a' that, Whaur horn nor bane ne'er daur unsettle The rank is but the guinea's stamp, 21 shilling coin Your thick plantations. The Man's the gowd for a' that. gold Now haud you there, ye're out o' sight, Below the fatt'rels, snug and tight; What though on hamely fare we dine, Na, faith ye yet! ye'll no be right, Wear hoddin grey, an' a that; homespun Till ye've got on it- Gie fools their silks, and knaves their wine; The verra tapmost, tow'rin height A Man's a Man for a' that: O' Miss' bonnet. For a' that, and a' that, Their tinsel show, an' a' that; My sooth! right bauld ye set your nose out, The honest man, tho' e'er sae poor, As plump an' grey as ony groset: Is king o' men for a' that. O for some rank, mercurial rozet, Or fell, red smeddum, Ye see yon birkie, ca'd a lord, gallant fellow I'd gie you sic a hearty dose o't, Wha struts, an' stares, an' a' that; Wad dress your droddum. Tho' hundreds worship at his word, He's but a coof for a' that: dolt I wad na been surpris'd to spy For a' that, an' a' that, You on an auld wife's flainen toy; His ribband, star, an' a' that: Or aiblins some bit dubbie boy, The man o' independent mind On's wyliecoat; He looks an' laughs at a' that. But Miss' fine Lunardi! fye! A prince can mak a belted knight, How daur ye do't? A marquis, duke, an' a' that; But an honest man's abon his might, O Jeany, dinna toss your head, Gude faith, he maunna fa' that! must not fail [to have] An' set your beauties a' abread! For a' that, an' a' that, Ye little ken what cursed speed Their dignities an' a' that; The blastie's makin: The pith o' sense, an' pride o' worth, importance Thae winks an' finger-ends, I dread, Are higher rank than a' that. Are notice takin. Then let us pray that come it may, O wad some Power the giftie gie us (As come it will for a' that,) To see oursels as ithers see us! That Sense and Worth, o'er a' the earth, It wad frae mony a blunder free us, Shall bear the gree, an' a' that. attain degree An' foolish notion: For a' that, an' a' that, What airs in dress an' gait wad lea'e us, It's coming yet for a' that, An' ev'n devotion! That Man to Man, the world o'er, Shall brothers be for a' that. To A Mouse, On Turning Her Up In Her Nest With The Plough, November, 1785 To A Louse On Seeing One On A Lady's Bonnet, At Church Wee, sleekit, cow'rin, tim'rous beastie, sleek O, what a panic's in thy breastie! Ha! whaur ye gaun, ye crowlin ferlie? Thou need na start awa sae hasty, Your impudence protects you sairly; Wi' bickering brattle! scampering I canna say but ye strunt rarely, I wad be laith to rin an' chase thee, unwilling to run Owre gauze and lace; Wi' murd'ring pattle! spade Tho', faith! I fear ye dine but sparely On sic a place. I'm truly sorry man's dominion, Has broken nature's social union, Ye ugly, creepin, blastit wonner, An' justifies that ill opinion, Detested, shunn'd by saunt an' sinner, Which makes thee startle How daur ye set your fit upon her- At me, thy poor, earth-born companion, Sae fine a lady? An' fellow-mortal! Gae somewhere else and seek your dinner On some poor body. I doubt na, whiles, but thou may thieve; What then? poor beastie, thou maun live! must Swith! in some beggar's haffet squattle; A daimen icker in a thrave odd stalk in a shock of wheat There ye may creep, and sprawl, and sprattle, 'S a sma' request; Wi' ither kindred, jumping cattle, I'll get a blessin wi' the lave, rest In shoals and nations; An' never miss't! 2 That frequent pass douce Wisdom's door kind Thy wee bit housie, too, in ruin! For glaikit Folly's portals: stupid It's silly wa's the win's are strewin! poor walls I, for their thoughtless, careless sakes, An' naething, now, to big a new ane, build; one Would here propone defences-- O' foggage green! grass left standing after mowing Their donsie tricks, their black mistakes, mean An' bleak December's winds ensuin, Their failings and mischances. Baith snell an' keen! Both harsh Ye see your state wi' theirs compared, Thou saw the fields laid bare an' waste, And shudder at the niffer; An' weary winter comin fast, But cast a moment's fair regard, An' cozie here, beneath the blast, What maks the mighty differ; Thou thought to dwell-- Discount what scant occasion gave, Till crash! the cruel coulter past plowblade That purity ye pride in; Out thro' thy cell. And (what's aft mair than a' the lave), oft more; all the rest Your better art o' hidin.
Load more

Recommended publications
  • Robert Burns in American Cultural Memory, C. 1840-1866
    University of Plymouth PEARL https://pearl.plymouth.ac.uk Faculty of Arts and Humanities School of Society and Culture 2018-04 The Burnsian Palimpsest: Robert Burns in American Cultural Memory, c. 1840-1866 Sood, A http://hdl.handle.net/10026.1/11284 Symbiosis: a journal of anglo-american literary relations All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. The Burnsian Palimpsest: Robert Burns in American Cultural Memory, c. 1840- 1866 The memory of Burns…The west winds are murmuring it… Ralph Waldo Emerson (Ballantine 1959: 37) ~ Cultural memory reaches back into the past only so far as the past can be reclaimed as ‘ours’… Jan Assmann (Assmann 2008: 111) Introduction Arguably more so than any other eighteenth-century literary figure, the political and popular legacy of Robert Burns has been continually contested, revised and appropriated to various ends. As recently as the 2015 UK General Election, the Scottish branch of the right-wing populist United Kingdom Independence Party (UKIP) attempted to win the hearts (if not the minds) of Scottish voters by producing posters emblazoned with lines from Burns’s ‘The Dumfries Volunteers’;1 while, previously, the opposing Scottish Nationalist Party strategically launched an electoral campaign on the poet’s birthday (Tempest 2005). Contests were also waged over Burns’s presumed political leanings during the 2014 Scottish Referendum, as he was variably cast as a Unionist or Nationalist across several media outlets (Maddox 2012).
    [Show full text]
  • 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]
  • The Silver Tassie
    The Silver Tassie MY BONIE MARY An old Jacobite ballad rewritten by the Bard. A silver tassie is a silver goblet and the Ferry which is mentioned in the poem is Queensferry, now the site of the two bridges which span the Forth, a short distance from Edinburgh. Go fetch to me a pint 0' wine, And fill it in a silver tassie; That I may drink before I go, A service to my bonie lassie: The boat rocks at the Pier 0' Leith, Fu' loud the wind blaws frae the Ferry, The ship rides by the Berwick-Law, And I maun leave my bonie Mary. maun = must The trumpets sound, the banners fly The glittering spears are ranked ready, The shouts 0' war are heard afar, The battle closes deep and bloody. It's not the roar 0' sea or shore, Wad mak me longer wish to tarry; Nor shouts 0' war that's heard afar- It's leaving thee, my bonie Mary! Afion Water This is a particularly lovely piece which is always a great favourite when sung at any Bums gathering. It refers to the River Afion, a small river, whose beauty obviously greatly enchanted the Bard. Flow gently, sweet Afcon, among thy green braes! braes = banks Flow gently, I'll sing thee a song in thy praise! My Mary's asleep by thy murmuring stream - Flow gently, sweet Afton, disturb not her dream! Thou stock-dove whose echo resounds thro' the glen, stuck dm =a wood pipn Ye wild whistling blackbirds in yon thorny den, yon = yonder Thou green-crested lapwing, thy screaming forbear, I charge you, disturb not my slumbering Fair! How lofey, sweet Afion, thy neighbouring hills, Far markd with the courses of clear, winding
    [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]
  • An Afternoon at the Proms 24 March 2018
    AN AFTERNOON AT THE PROMS 24 MARCH 2018 CONCERT PROGRAM MELBOURNE SIR ANDREW DAVIS TASMIN SYMPHONY LITTLE ORCHESTRA Courtesy B Ealovega Established in 1906, the Chief Conductor of the Tasmin Little has performed Melbourne Symphony Orchestra Melbourne Symphony Melbourne Symphony in prestigious venues Sir Andrew Davis conductor Orchestra (MSO) is an Orchestra, Sir Andrew such as Carnegie Hall, the arts leader and Australia’s Davis is also Music Director Concertgebouw, Barbican Tasmin Little violin longest-running professional and Principal Conductor of Centre and Suntory Hall. orchestra. Chief Conductor the Lyric Opera of Chicago. Her career encompasses Sir Andrew Davis has been He is Conductor Laureate performances, masterclasses, Elgar In London Town at the helm of MSO since of both the BBC Symphony workshops and community 2013. Engaging more than Orchestra and the Toronto outreach work. Vaughan Williams The Lark Ascending 3 million people each year, Symphony, where he has Already this year she has the MSO reaches a variety also been named interim Vaughan Williams English Folksong Suite appeared as soloist and of audiences through live Artistic Director until 2020. in recital around the UK. performances, recordings, Britten Young Person’s Guide to the Orchestra In a career spanning more Recordings include Elgar’s TV and radio broadcasts than 40 years he has Violin Concerto with Sir Wood Fantasia on British Sea Songs and live streaming. conducted virtually all the Andrew Davis and the Royal Elgar Pomp and Circumstance March No.1 Sir Andrew Davis gave his world’s major orchestras National Scottish Orchestra inaugural concerts as the and opera companies, and (Critic’s Choice Award in MSO’s Chief Conductor in at the major festivals.
    [Show full text]
  • 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.
    [Show full text]
  • How Robert Burns Captured America James M
    Studies in Scottish Literature Volume 30 | Issue 1 Article 25 1998 How Robert Burns Captured America James M. Montgomery Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the English Language and Literature Commons Recommended Citation Montgomery, James M. (1998) "How Robert Burns Captured America," Studies in Scottish Literature: Vol. 30: Iss. 1. Available at: https://scholarcommons.sc.edu/ssl/vol30/iss1/25 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]. James M. Montgomery How Robert Burns Captured America Before America discovered Robert Bums, Robert Bums had discovered America. This self-described ploughman poet knew well the surge of freedom which dominated much of Europe and North America in the waning days of the eight­ eenth century. Bums understood the spirit and the politics of the fledgling United States. He studied the battles of both ideas and infantry. Check your knowledge of American history against Bums's. These few lines from his "Ballad on the American War" trace the Revolution from the Boston Tea Party, through the Colonists' invasion of Canada, the siege of Boston, the stalemated occupation of Philadelphia and New York, the battle of Saratoga, the southern campaign and Clinton's failure to support Cornwallis at Yorktown. Guilford, as in Guilford Court House, was the family name of Prime Minister Lord North. When Guilford good our Pilot stood, An' did our hellim thraw, man, Ae night, at tea, began a plea, Within America, man: Then up they gat to the maskin-pat, And in the sea did jaw, man; An' did nae less, in full Congress, Than quite refuse our law, man.
    [Show full text]
  • ROBERT BURNS and FRIENDS Essays by W. Ormiston Roy Fellows Presented to G
    University of South Carolina Scholar Commons Robert Burns and Friends Robert Burns Collections 1-1-2012 ROBERT BURNS AND FRIENDS essays by W. Ormiston Roy Fellows presented to G. Ross Roy Patrick G. Scott University of South Carolina - Columbia, [email protected] Kenneth Simpson See next page for additional authors Publication Info 2012, pages 1-192. © The onC tributors, 2012 All rights reserved Printed and distributed by CreateSpace https://www.createspace.com/900002089 Editorial contact address: Patrick Scott, c/o Irvin Department of Rare Books & Special Collections, University of South Carolina Libraries, 1322 Greene Street, Columbia, SC 29208, U.S.A. ISBN 978-1-4392-7097-4 Scott, P., Simpson, K., eds. (2012). Robert Burns & Friends essays by W. Ormiston Roy Fellows presented to G. Ross Roy. P. Scott & K. Simpson (Eds.). Columbia, SC: Scottish Literature Series, 2012. This Book - Full Text is brought to you by the Robert Burns Collections at Scholar Commons. It has been accepted for inclusion in Robert Burns and Friends by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Author(s) Patrick G. Scott, Kenneth Simpson, Carol Mcguirk, Corey E. Andrews, R. D. S. Jack, Gerard Carruthers, Kirsteen McCue, Fred Freeman, Valentina Bold, David Robb, Douglas S. Mack, Edward J. Cowan, Marco Fazzini, Thomas Keith, and Justin Mellette This book - full text is available at Scholar Commons: https://scholarcommons.sc.edu/burns_friends/1 ROBERT BURNS AND FRIENDS essays by W. Ormiston Roy Fellows presented to G. Ross Roy G. Ross Roy as Doctor of Letters, honoris causa June 17, 2009 “The rank is but the guinea’s stamp, The Man’s the gowd for a’ that._” ROBERT BURNS AND FRIENDS essays by W.
    [Show full text]
  • The Tradition of Theriophily in Cowper, Crabbe, and Burns
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1971 The rT adition of Theriophily in Cowper, Crabbe, and Burns. Rosemary Moody Canfield Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Canfield, Rosemary Moody, "The rT adition of Theriophily in Cowper, Crabbe, and Burns." (1971). LSU Historical Dissertations and Theses. 2034. https://digitalcommons.lsu.edu/gradschool_disstheses/2034 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]. 72-3470 CANFIELD, Rosemary Moody, 1927- THE TRADITION OF THERIOPHILY IN COWPER, CRABBE, AND BURNS. The Louisiana State University and Agricultural and Mechanical College, Ph.D., 1971 Language and Literature, general University Microfilms, A \ERQX Company , Ann Arbor, Michigan THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED The Tradition of Theriophily in Cowper, Crabbe, and Burns A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English by Rosemary Moody Canfield B.A., University of Minnesota, 1949 M.A., University of Minnesota, 1952 August, 1971 PLEASE NOTE: Some Pages have indistinct print. Filmed as received. UNIVERSITY MICROFILMS TABLE OF CONTENTS PAGE TITLE P A G E .............................................. i ACKNOWLEDGEMENT........................................ ii ABSTRACT ............................................... iv I. INTRODUCTION....................................... 1 II. THERIOPHILY IN THE WORK OFWILLIAM COWPER .
    [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]