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Burns to be tourist magnet
See also previous article: Robert Burns
Burns Night: 25th January
Burns Supper
THE FORMAT FOR A BURNS SUPPER
Selkirk Grace
Address to a ‘Haggis’
Tam O’Shanter
Address to the Unco Guid
To a Mouse
Holy Willie’s Prayer
Auld Lang Syne
Scotland in the Time of
Burns
Scotland aims to take positive action to ensure a long term future for
the Robert Burns legacy , the Public Petitions Committee of the
Parliament heard today. The National Bard's status as a cultural icon
will be enhanced by a package of initiatives designed to attract more
visitors in the lead up to the 250th anniversary of the Burns' birth in
2009.
Culture Minister Patricia
Ferguson told MSPs on the committee: "Scotland's tourism
industry benefits greatly from its cultural history, and Burns is one
of Scotland's best known figures.”His work is well known and loved
around the world and presents an excellent opportunity for the
promotion of Scotland as a top quality tourist destination. "I have
taken a close personal interest in the development of the 2009
celebrations. In particular, the Executive is working closely with the
National Trust for Scotland to safeguard the future of the Burns
National Heritage Park. "We also recently announced £100,000 over
the next five years to help the Robert Burns World Federation reach out
to its members throughout the world in advance of the 2009
celebrations. "And we have made available £150,000 funding for
the Scottish Arts Council to support Burns initiatives, including
Burnsong - a national competition aimed at inspiring a new era of
songwriting in Scotland. "We hope to announce in the near future the
appointment of a Project Director for 2009 Year of Homecoming, to
develop a comprehensive plan for marketing Burns legacy in the run up
to, and during 2009."
Burns Night: 25th January
Robert Burns: poet and
balladeer, Scotland's favourite son and champion of the common people.
Each year on January 25, the great man's presumed birthday, Scots
everywhere take time out to honour a national icon. Whether it's a
full-blown Burns Supper or a quiet night of reading poetry, Burns Night
is a night for all Scots.
Burns Suppers have been part of Scottish culture for about 200 years as
a means of commemorating our best loved bard. And when Burns
immortalised haggis in verse he created a central link that is
maintained to this day. The ritual was started by close friends of
Burns a few years after his death in 1796 as a tribute to his memory.
The basic format for the evening has remained unchanged since that time
and begins when the chairman invites the company to receive the haggis.
THE
FORMAT FOR A BURNS SUPPER
Chairperson's opening address
A few welcoming words start the evening and the meal commences with the
Selkirk Grace.
The company are asked to stand to receive the haggis. A piper then
leads the chef, carrying the haggis to the top table, while the guests
accompany them with a slow handclap. The chairman or invited guest then
recites Burns' famous poem To A Haggis,
with great enthusiasm. When he reaches the line 'an cut you up wi' ready
slight', he cuts open the haggis with a sharp knife.
It's customary for the company to applaud the speaker then stand and
toast the haggis with a glass of whisky.
The company will then dine. A
typical Bill o' Fare would be:
Cock-a-leekie soup
Haggis warm reeking, rich wi' Champit Tatties,
Bashed Neeps
Tyspy Laird (sherry trifle)
A Tassie o' coffee
The Immortal Memory
One of the central features of the evening. An invited guest is asked
to give a short speech on Burns. There are many different types of
Immortal Memory speeches, from light-hearted to literary, but the aim
is the same - to outline the greatness and relevance of the poet today.
Toast To The Lasses
The main speech is followed by a more light-hearted address to the
women in the audience. Originally this was a thank you to the ladies
for preparing the food and a time to toast the 'lasses' in Burns' life.
The tone should be witty, but never offensive, and should always end on
a conciliatory note.
Response
The turn of the lasses to detail men's foibles. Again, should be
humorous but not insulting.
Poem and Songs
Once the speeches are complete the evening continues with
songs and poems. These should be a good variety to fully show the
different moods of Burns muse. Favourites for recitations are Tam o' Shanter, Address to the Unco Guid, To A Mouse
and Holy Willie's Prayer.
The evening will culminate with the company standing, linking hands and
singing Auld Lang Syne to conclude the programme.
Some verses
Some
hae meat and cannot eat.
Some cannot eat that want it:
But we hae meat and we can eat,
Sae let the Lord be thankit.
The
closing stanza said to have been composed extempore during a dinner
at the home of John Morrison, a Mauchline cabinet-maker. The complete
poem was written soon after Burns arrived in Edinburgh and appeared in
the Caledonian Mercury - the first of Burns's poems to be published in
any periodical. Oddly enough, the earliest recipe appeared in the same
year, in Cookery and Pastry by Susanna Maciver.
|
| Address to a
‘Haggis’ |
Fair fa' your honest, sonsie face,
Great chieftain o the
puddin'-race!
Aboon them a' ye tak your
place,
Painch, tripe, or thairm:
Weel are ye wordy of a
grace
As lang's my arm.
The groaning trencher
there ye fill,
Your hurdies like a
distant hill,
Your pin wad help to mend
a mill
In time o need,
While thro your pores the
dews distil
Like amber bead.
His knife see rustic
Labour dight,
An cut you up wi ready
slight,
Trenching your gushing
entrails bright,
Like onie ditch;
And then, O what a
glorious sight,
Warm-reekin, rich!
Then, horn for horn, they
stretch an strive:
Deil tak the hindmost, on
they drive,
Till a' their
weel-swall'd kytes belyve
Are bent like drums;
The auld Guidman, maist
like to rive,
'Bethankit' hums.
|
Is there that owre his French ragout,
Or olio that wad staw a
sow,
Or fricassee wad mak her
spew
Wi perfect sconner,
Looks down wi sneering,
scornfu view
On sic a dinner?
Poor devil! see him owre
his trash,
As feckless as a wither'd
rash,
His spindle shank a guid
whip-lash,
His nieve a nit:
Thro bloody flood or
field to dash,
O how unfit!
But mark the Rustic,
haggis-fed,
The trembling earth
resounds his tread,
Clap in his walie nieve a
blade,
He'll make it whissle;
An legs an arms, an heads
will sned,
Like taps o thrissle.
Ye Pow'rs, wha mak
mankind your care,
And dish them out their
bill o fare,
Auld Scotland wants nae
skinking ware
That jaups in luggies:
But, if ye wish her
gratefu prayer,
Gie her a Haggis! |
Composed
for Francis Grose to accompany an engraving of Alloway Kirk,
and published in the second volume of Antiquities of Scotland in April
1791. It was written in fulfilment of a promise to Grose in 1789 but
not carried out before the winter of 1790. In November that year Burns
sent the first fragment to Mrs Dunlop. Grose received the complete poem
at the beginning of December.
Like 'Halloween' it draws heavily on the lore of witchcraft which Burns
imbibed from Betty Davidson. The story is losely based on Douglas
Graham of Shanter (1739-1811), whose wife Helen was a superstitious
shrew. He was prone to drunkeness on market-day and on one such
occasion the wags of Ayr clipped his horse's tail - a fact he explained
away by this story of witches which mollified his credulous wife.
|
| Tam
O’Shanter |
|
WHEN chapman billies leave the street,
And drouthy neebors,
neebors meet;
As market-days are
wearing late,
An folk begin to tak the
gate;
While we sit bousing at
the nappy,
An getting fou and unco
happy,
We think na on the lang
Scots miles,
The mosses, waters,
slaps, and styles,
That lie between us and
our hame,
Whare sits our sulky,
sullen dame,
Gathering her brows like
gathering storm,
Nursing her wrath to keep
it warm.
This truth fand honest
Tam o Shanter,
As he frae Ayr ae night
did canter:
(Auld Ayr, wham ne'er a
town surpasses,
For honest men and bonie
lasses).
O Tam had'st thou but
been sae wise,
As taen thy ain wife
Kate's advice!
She tauld thee weel thou
was a skellum,
A blethering, blustering,
drunken blellum;
That frae November till
October,
Ae market-day thou was
nae sober;
That ilka melder wi the
miller,
Thou sat as lang as thou
had siller;
That ev'ry naig was ca'd
a shoe on,
The smith and thee gat
roarin fou on;
That at the Lord's house,
even on Sundav,
Thou drank wi Kirkton
Jean till Monday.
She prophesied that, late
or soon,
Thou would be found, deep
drown'd in Doon,
Or catch'd wi warlocks in
the mirk,
By Alloway's auld,haunted
kirk.
Ah, gentle dames, it gars
me greet,
To think how monie
counsels sweet,
How monie lengthen'd,
sage advices
The husband frae the wife
despises!
But to our tale:- Ae
market-night,
Tam had got planted unco
right,
Fast by an ingle,
bleezing finely,
Wi reaming swats, that
drank divinely;
And at his elbow, Souter
Johnie,
His ancient, trusty,
drouthy cronie:
Tam lo'ed him like a very
brither;
They had been fou for
weeks thegither.
The night drave on wi
sangs and clatter;
And ay the ale was
growing better:
The landlady and Tam grew
gracious,
Wi favours secret, sweet,
and precious:
The Souter tauld his
queerest stories;
The landlord's laugh was
ready chorus:
The storm without might
rair and rustle,
Tam did na mind the storm
a whistle.
Care, mad to see a man
sae happy,
E'en drown'd himsel amang
the nappy.
As bees flee hame wi
lades o treasure,
The minutes wing'd their
way wi pleasure:
Kings may be blest but
Tam was glorious,
O'er a' the ills o life
victorious!
But pleasures are like
poppies spread:
You seize the flow'r, its
bloom is shed;
Or like the snow falls in
the river,
A moment white then melts
for ever;
Or like the borealis
race,
That flit ere you can
point their place;
Or like the rainbow's
lovely form
Evanishing amid the
storm.
Nae man can tether time
or tide,
The hour approaches Tam
maun ride:
That hour o night's black
arch the key-stane,
That dreary hour Tam
mounts his beast in:
And sic a night he taks
the road in,
As ne'er poor sinner was
abroad in.
The wind blew as `twad
blawn its last;
The rattling showers rose
on the blast;
The speedy gleams the
darkness swallow'd;
Loud, deep, and lang the
thunder bellow'd;
That night, a child might
understand,
The Deil had business on
his hand.
Weel mounted on his gray
mare Meg,
A better never lifted
leg,
Tam skelpit on thro dub
and mire,
Despising wind, and rain,
and fire;
Whiles holding fast his
guid blue bonnet,
Whiles crooning o'er an
auld Scots sonnet,
Whiles glow'ring round wi
prudent cares,
Lest bogles catch him
unawares:
Kirk-Alloway was drawing
nigh,
Whare ghaists and houlets
nightly cry.
By this time he was cross the ford,
Whare in the snaw the
chapman smoor'd;
And past the birks and
meikle stane,
Whare drunken Charlie
brak's neck-bane;
And thro the whins, and
by the cairn,
Whare hunters fand the
murder'd bairn;
And near the thorn, aboon
the well,
Whare Mungo's mither
hang'd hersel.
Before him Doon pours all
his floods;
The doubling storm roars
thro the woods;
The lightnings flash from
pole to pole,
Near and more near the
thunders roll:
When, glimmering thro the
groaning trees,
Kirk-Alloway seem'd in a
bleeze,
Thro ilka bore the beams
were glancing,
And loud resounded mirth
and dancing.
Inspiring bold John
Barleycorn,
What dangers thou canst
make us scorn!
Wi tippenny, we fear nae
evil;
Wi usquabae, we'll face
the Devil!
The swats sae ream'd in
Tammie's noddle,
Fair play, he car'd na
deils a boddle.
But Maggie stood, right
sair astonish'd,
Till, by the heel and
hand admonish'd,
She ventur'd forward on
the light;
And, vow! Tam saw an unco
sight!
|
Warlocks
and witches in a dance:
Nae cotillion, brent new
frae France,
But hornpipes, jigs,
strathspeys, and reels,
Put life and mettle in
their heels.
A winnock-bunker in the
east.
There sat Auld Nick, in
shape o beast;
A touzie tyke, black,
grim and large,
To gie them music was his
charge:
He screw'd the pipes and
gart them skirl,
Till roof and rafters a'
did dirl.
Coffins stood round, like
open presses,
That shaw'd the dead in
their last dresses;
And, by some devilish
cantraip sleight,
Each in its cauld hand
held a light:
By which heroic Tam was
able
To note upon the haly
table,
A murderer's banes, in
gibbet-airns;
Twa span-lang, wee,
unchristen'd bairns;
A thief new-cutted frae a
rape -
Wi his last gasp his gab
did gape;
Five tomahawks, wi bluid
red-rusted.
Five scymitars, wi murder
crusted;
A garter which a babe had
strangled;
A knife a father's throat
had mangled -
Whom his ain son o life
bereft -
The grey-hairs yet stack
to the heft;
Wi mair of horrible and
awefu,
Which even to name wad be
unlawfu.
As Tammie glowr'd, amaz'd
and curious,
The mirth and fun grew
fast and furious;
The piper loud and louder
blew,
The dancers quick and
quicker flew,
They reel'd, they set,
they cross'd, they cleekit,
Till ilka carlin swat and
reekit,
And coost her duddies to
the wark,
And linket at it in her
sark!
Now Tam, O Tam! had thae
been queans. .
A' plump and strapping in
their teens!
Their sarks, instead o
creeshie flannen,
Been snaw-white seventeen
hunder linen!-
Thir breeks o mine, my
only pair,
That ance were plush, o
guid blue hair,
I wad hae gien them off
my hurdies,
For ae blink o the bonie
burdies!
But wither'd beldams,
auld and droll,
Rigwoodie hags wad spean
a foal,
Louping and flinging on a
crummock,
I wonder did na turn thy
stomach!
But Tam kend what was
what fu brawlie:
There was ae winsome
wench and wawlie,
That night enlisted in
the core,
Lang after kend on
Carrick shore
(For monie a beast to
dead she shot,
An perish'd monie a bonie
boat,
And shook baith meikle
corn and bear,
And kept the country-side
in fear).
Her cutty sark, o Paisley
harn,
That while a lassie she
had worn,
In longitude tho sorely
scanty,
It was her best, and she
was vauntie...
Ah! little kend thy
reverend grannie,
That sark she coft for
her wee Nannie,
Wi twa pund Scots ('twas
a' her riches),
Wad ever grac'd a dance
of witches!
But here my Muse her wing
maun cour,
Sic flights are far
beyond her power:
To sing how Nannie lap
and flang
(A souple jade she was
and strang),
And how Tam stood like
ane bewitch'd,
And thought his very een
enrich'd;
Even Satan glowr'd, and
fidg'd fu fain,
And hotch'd and blew wi
might and main:
Till first ae caper, syne
anither,
Tam tint his reason a'
thegither,
And roars out, 'Weel
done, Cutty-sark!'
And in an instant all was
dark:
And scarcely had he
Maggie rallied,
When out the hellish
legion sallied.
As bees bizz out wi angry
fyke,
When plundering herds
assail their byke;
As open pussie's mortal
foes,
When, pop! she starts
before their nose;
As eager runs the
market-crowd,
When 'Catch the thief!'
resounds aloud:
So Maggie runs. the
witches follow,
Wi monie an eldritch
skriech and hollow.
Ah, Tam! Ah, Tam! thou'll
get thy fairin!
In hell they'll roast
thee like a herrin!
In vain thy Kate awaits
thy comin!
Kate soon will be a woefu
woman!
Now, do thy speedy
utmost, Meg,
And win the key-stane of
the brig;
There, at them thou thy
tail may toss,
A running stream they
dare na cross!
But ere the key-stane she
could make,
The fient a tail she had
to shake;
For Nannie, far before
the rest,
Hard upon noble Maggie
prest,
And flew at Tam wi
furious ettle;
But little wist she
Maggie's mettle!
Ae spring brought off her
master hale,
But left behind her ain
grey tail:
The carlin claught her by
the rump,
An left poor Maggie
scarce a stump.
Now, wha this tale o
truth shall read,
Ilk man, and mother's
son, take heed:
Whene'er to drink you are
inclin'd,
Or cutty sarks rin in
your mind,
Think! ye may buy the
joys o'er dear:
Remember Tam o Shanter's
mare. |
Burns's
first Commonplace Book (March 1784) contains two observations:
'That every man even the worst, have something good about them' (sic)
and 'I have yet found among [Blackguards] some of the noblest Virtues.
Magnanimity. Generousity, disinterested friendship and even modesty, in
the highest perfection.' In this poem he illustrates the idea of
natural sympathy as root of the moral consciousness.
|
Address to the Unco Guid
|
My Son, these maxims make a rule,
An lump them ay thegither:
The Rigid Righteous is a
fool,
The Rigid Wise anither;
The cleanest corn that
e'er was dight
May hae some pyles o caff
in;
So ne'er a
fellow-creature slight
For random fits o daffin.
O ye, wha are sae guid
yoursel,
Sae pious and sae holy,
Ye've nought to do but
mark and tell
Your neebours' fauts and
folly!
Whase life is like a
weel-gaun mill,
Supplied wi store o water;
The heapet happer's
ebbing still,
An still the clap plays
clatter!
Hear me, ye venerable
core,
As counsel for poor
mortals
That frequent pass douce
Wisdom's door
For glaikit Folly's
portals:
I for their thoughtless,
careless sakes,
Would here propone
defences -
Their donsie tricks,
their black mistakes,
Their failings and
mischances.
Ye see your state wi
theirs compared,
And shudder at the niffer;
But cast a moment's fair
regard,
What makes the mighty
differ?
Discount what scant
occasion gave;
That purity ye pride in;
And (what's aft mair than
a' the lave)
Your better art o hidin.
Think, when your
castigated pulse
Gies now and then a
wallop,
What ragings must his
veins convulse,
That still eternal gallop!
Wi wind and tide fair i
your tail,
Right on ye scud your
sea-way;
But in the teeth o baith
to sail,
It makes an unco lee-way |
See Social Life and Glee sit down,
All joyous and unthinking,
Till, quite
transmugrify'd, they're grown
Debauchery and Drinking:
O, would they stay to
calculate
Th' eternal consequences,
Or your more dreaded hell
to state -
Damnation of expenses!
Ye high, exalted,
virtuous dames,
Tied up in godly laces,
Before ye gie poor
Frailty names,
Suppose a change o cases:
A dear-lov'd lad,
convenience snug,
A treach'rous inclination
-
But, let me whisper in
your lug,
Ye're aiblins nae
temptation.
Then gently scan your
brother man,
Still gentler sister
woman;
Tho they may gang a
kennin wrang,
To step aside is human:
One point must still be
greatly dark,
The moving Why they do it;
And just as lamely can ye
mark,
How far perhaps they rue
it.
Who made the heart, 'tis
He alone
Decidedly can try us:
He knows each chord, its
various tone,
Each spring, its various
bias:
Then at the balance let's
be mute,
We never can adjust it;
What's done we partly may
compute,
But know not what's
resisted. |
|
|
To a Mouse
|
Wee sleekit, cow'rin, tim'rous beastie,
O, what a panic's in thy
breastie!
Thou need na start awa
sae hasty,
Wi bickering brattle!
I wad be laith to rin an
chase thee,
Wi murdering pattle!
I'm truly sorry man's
dominion
Has broken Nature's
social union,
An justifies that ill
opinion,
Which makes thee startle
At me, thy poor,
earth-born companion.
An fellow mortal!
I doubt na, whyles, but
thou may thieve:
What then? poor beastie,
thou maun live!
A daimen icker in a thrave
'S a sma request;
I'll get a blessin wi the
lave,
An never miss't!
Thy wee-bit housie, too,
in ruin!
Its silly wa's the win's
are strewin!
An naething, now, to big
a new ane,
O foggage green!
An bleak December's win's
ensuin.
Baith snell an keen! |
Thou saw the fields laid bare an waste,
An weary winter comin
fast.
An cozie here, beneath
the blast,
Thou thought to dwell,
Till crash! the cruel
coulter past
Out thro thy cell.
That wee bit heap o
leaves an stibble,
Has cost thee monie a
weary nibble!
Now thou's turn'd out,
for a' thy trouble.
But house or hald,
To thole the winter's
sleety dribble,
An cranreuch cauld!
But Mousie, thou art no
thy lane,
In proving foresight may
be vain:
The best-laid schemes o
mice an men
Gang aft agley,
An lea'e us nought but
grief an pain,
For promis'd joy!
Still thou art blest,
compar'd wi me!
The present only toucheth
thee:
But och! I backward cast
my e'e,
On prospects drear!
An forward, tho I canna
see,
I guess an fear! |
|
|
The
prototype of this burlesque prayer was William Fisher
(1737-1809) of Montgarswood, an elder of Mauchline parish at whose
instigation the Kirk Session took action against Gavin Hamilton for
failure to observe the Sabbath in the proper manner. Burns descrived
Fisher as 'a rather oldish bachelor, much and justly famed for that
polemical chattering which ends in tippling orthodoxy, and for that
spiritualised bawdry which refines to liquorish devotion.'
|
Holy
Willie’s Prayer
|
O Thou that in the Heavens does dwell,
Wha, as it pleases best
Thysel,
Sends ane to Heaven, an
ten to Hell,
A' for Thy glory,
And no for onie guid or
ill
They've done before Thee!
I bless and praise Thy
matchless might,
When thousands Thou has
left in night,
That I am here before Thy
sight,
For gifts an grace
A burning and a shining
light
To a' this place.
What was I, or my
generation,
That I should get sic
exaltation?
I, wha deserv'd most just
damnation
For broken laws,
Sax thousand years ere my
creation,
Thro Adam's cause!
When from my mither's
womb I fell,
Thou might hae plung'd me
deep in Hell,
To gnash my gooms, and
weep and wail,
In burning lakes,
Whare damned devils roar
and yell,
Chain'd to their stakes.
Yet I am here a chosen
sample,
To show Thy grace is
great and ample:
I'm here a pillar o Thy
temple,
Strong as a rock,
A guide, a buckler, and
example,
To a' Thy flock!
But yet, O Lord! confess
I must,
At times I'm fash'd wi
fleshy lust;
An sometimes, too, in
warldly trust,
Vile self gets in;
But Thou remembers we are
dust,
Defil'd wi sin.
O Lord! yestreen, Thou
kens, wi Meg -
Thy pardon I sincerely
beg -
O, may't ne'er be a livin
plague
To my dishonour!
An I'll ne'er lift a
lawless leg
Again upon her.
Besides, I farther maun
avow,
Wi Leezie's lass, three
times I trow -
But, Lord, that Friday I
was fou,
When I cam near her,
Or else, Thou kens, Thy
servant true
Wad never steer her.
Maybe Thou lets this
fleshly thorn
Buffet Thy servant e'en
and morn,
Lest he owre proud and
high should turn,
That he's sae gifted:
If sae, Thy han' maun
e'en be borne,
Until Thou lift it.
Lord, bless Thy chosen in
this place,
For here Thou has a
chosen race!
But God confound their
stubborn face,
An blast their name,
Wha bring Thy elders to
disgrace
An open shame.
|
Lord, mind Gau'n Hamilton's deserts:
He drinks, an swears, an
plays at cartes,
Yet has sae monie takin
arts,
Wi great and sma',
Frae God's ain Priest the
people's hearts
He steals awa.
And when we chasten'd him therefore,
Thou kens how he bred sic
a splore,
And set the warld in a
roar
O laughin at us;
Curse Thou his basket and
his store,
Kail an potatoes!
Lord, hear my earnest cry
and pray'r,
Against that Presbyt'ry o
Ayr!
Thy strong right hand,
Lord, mak it bare
Upo' their heads!
Lord, visit them, an
dinna spare,
For their misdeeds!
O Lord, my God! that
glib-tongu'd Aiken,
My vera heart and flesh
are quakin,
To think how we stood
sweatin, shakin,
An pish'd wi dread,
While he, wi hingin lip,
an snakin,
Held up his head.
Lord, in Thy day o
vengeance try him!
Lord, visit them wha did
employ him!
And pass not in Thy mercy
by them,
Nor hear their pray'r,
But for Thy people's sake
destroy them,
An dinna spare.
But, Lord, remember me
and mine
Wi mercies temporal and
divine,
That I for grace an gear
may shine,
Excell'd by nane,
And a' the glory shall be
Thine -
Amen, Amen!
Epitaph
on Holy Willie
Here Holy Willie's sair
worn clay
Taks up its last abode;
His soul has ta'en some
other way -
I fear, the left-hand
road.
Stop! there he is as
sure's a gun!
Poor, silly body, see him!
Nae wonder he's as
black's the grun -
Observe wha's standing wi
him!
Your brunstane Devilship,
I see
Has got him there before
ye!
But haud your nine-tail
cat a wee,
Till ance you've heard my
story.
Your pity I will not
implore,
For pity ye have nane,
Justice, alas! has gi'en
him o'er,
And mercy's day is gane.
But hear me, Sir, Deil as
ye are,
Look something to your
credit:
A cuif like him wad stain
your name,
If it were kent ye did it! |
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Scotland in the Time of Burns
For
a' that and a' that,
It's coming yet for a'that.
That man to man, the world o're
Shall brithers be for a' that
When a new parliament opened in Scotland in 1999, the spirit of one of
its most famous sons was evoked. At the ceremony for the opening of the
country's first governing body in almost 300 years, the folk singer
Sheena Wellington led the parliament in a rendition of Burns's "A Man's
a Man for A'that". This gesture brought Burns's song of brotherhood and
equality to a new generation.
Reason and Revolt
The message of international fraternity in "A Man's A Man", with its
prophecy of "It's coming yet for a' that", echoes the song of the
French Revolution, "Ca ira" ("It will come"). Indeed, Burns's song was
written during in 1793, at the height of French Revolutionary fervour.
It remains a political and democratic masterpiece, championing the
rights of the common man.
However, a rendition of such a revolutionary song in Burns's time would
have led to charges of dissent and quite possibly forced emigration to
the penal colony in Botany Bay, Australia. Such was the fate of Thomas
Muir, the advocate, "radical martyr", and contemporary of Burns.
Burns lived through an age of revolution. The late 18th century
witnessed two of the most important international events in modern
history - the first "liberal" revolutions in America (1775) and France
(1789). Burns would also have seen the beginnings of the Industrial
Revolution: a seismic happening which would completely alter the fate
of western civilisation.
The new era of mechanised capitalism was being ushered in, consigning
feudal, agrarian Scotland to the dustbin of history. As society changed
drastically, Burns tuned his political and satirical pen into these new
currents of thought.
Into the Modern Age
In 1750 Scotland remained a rural economy. However, the advances in
intellectual thought ignited by the Scottish Enlightenment, twinned
with revolutionary leaps in science and industry, led to the industrial
transformation of society over the period of a generation.
The myth of the well-educated Burns as the rustic "ploughman poet"
indicates how much Burns was a product of his environment, and how his
work and his image reacted to it. Hence many of Burns's poems
celebrated the small-town and the rural idyll: from "The Cotter's
Saturday Night," to the tinkers and itinerant fiddlers in "The Jolly
Beggars," to the "The Twa Dugs," where Burns exercised his vitriol on
behalf of the tenant farmer, whose ranks he considered himself amongst.
Mass migration to the city's factories to feed the sweeping tide of
industry did not occur during Burns's lifetime, but it was imminent,
and the Romantic notion of idealising rural communities can be seen as
a reaction to this trend.
Enlightened Times
Fuelling the fire of social change were certain radical tracts, which
had some considerable influence on Burns. For example, "A Man's a Man"
can be seen as the poetic counterpart to Thomas
Paine's "The Rights of
Man" (1791). Paine's passionate plea for human rights was written
in
reaction to Edmund Burke's "Reflections on the Revolution in France"
(1790), a rambling tract criticising the sweeping tide of popular
democracy.
An active radical, Thomas Paine was involved in the fighting in the
American Revolution, and his republican tendencies led to him being
charged with treason in Britain. Paine's books spoke of liberty in
simple English, and pointed out the absurdity of the ruling classes.
Freedom, Freemasonry and France
Burns's radicalism wasn't as fierce as that of many of his
contemporaries. His compatriot, Thomas Muir of Huntershill, for
example, was a professional advocate and fervent champion of the common
man, and, in 1793, he was charged with sedition and was found guilty of
distributing Paine's "The Rights of Man," which had been banned the
previous year. Muir was deported and sentenced to 14 years in Botany
Bay, leaving Scotland, and most especially its more radically-minded
citizens, in shock.
Burns chose the pen to exercise his misgivings about society, honing
his savage style of satire. To his advantage, during the years of
British paranoia and state repression that followed the French
Revolution, he was not involved in any secret organisation that the
authorities feared greatly at that time. However, he was a member of
the Freemasons from 1781, who at that time were under close scrutiny by
the British government due to some sympathies with French revolutionary
thinking. Masonic lodges had to declare their loyalties to church and
state to avoid charges of sedition.
To the men of the Enlightenment, the tenets of Freemasonry heralded a
world founded on brotherhood and equality. Scholars, philosophers,
gentlemen, farmers and tradesmen comprised the Masons in Scotland, and
Burns's Masonic connections enabled him to penetrate important
intellectual circles in Edinburgh.
Despite his celebration of the Radical cause, the violent shift in the
French Revolution after 1793 led to Burns recanting aspects of his
politics. As the optimistic revolutionary zeal deteriorated into the
bloody Reign of Terror of the Jacobins in the France of the 1790s, the
fall into anarchy was regarded by the ruling classes as a valid reason
for banning popular democracy. In Scotland, a new air of political
secrecy followed the bloody turn of events in France.
Romancing the Jacobites
The Scots of Burns's time were acutely aware of the passing of an
older, simpler age; and this was visible for all to see in the tragedy
that had passed in the Highlands. Burns and other writers tried to keep
Jacobite and Highland traditions alive in the national consciousness
via poetry and song. All round Europe, people were fascinated with the
tales of adventure and the characters involved in the 1745 Jacobite
Rebellion. But Jacobitism was effectively crushed before the wave of
late 18th century sentimentalism took hold, once the government had
ensured there was no chance of the rebels returning. The myth of
Jacobitism, with its themes of love, loyalty, exile and loss was seen
as synonymous with the Highlands, and Burns was a powerful messenger of
this legend, as can be seen in Jacobite-flavoured songs such as
"Charlie, He's My Darling" (about the Young Pretender, Bonny Prince
Charlie) and "Strathallen's Lament".
Clerical Pleasures
The Kirk, as ever, was a strong moral force in Scottish society, which
interfered in every aspect of people's lives. Burns's Ayrshire had
record rates of illegitimacy, and the Church's attempts to control and
reprimand these earthly urges were largely unsuccessful. Burns's verse
was often at its most humorous when engaging with the Kirk and its
ministers, particularly those practised in the more extreme forms of
Calvinism. Burns himself was often the object of criticism from these
hell-fire preachers, and such criticisms inspired the poet to respond
with some of his most savagely satirical verses. "Holly Willie's
Prayer" is perhaps the most famous example, but Burns's allegiance to
the common man (warts and all) gave him a love for the bawdy and often
sexually explicit folklore of Scotland, and so even folk tales such as
"Tam o' Shanter" can show how the poet's tempers and philosophies
differ so markedly from dour Calvinist asceticism.
An Enduring Tradition of
Egalitarianism
Burns's egalitarianism and glorification of the common man led to him
being championed by radicals and thinkers from many countries from the
18th century until to the present day. For many, this poet of the
people will be forever linked to the socialist ethos. Keir Hardie, one
of the founders of the Independent labour Party, acknowledged Burns as
his spiritual forefather in 1893, and claimed they shared a common
belief in the dignity of labour.
To this day, "Auld Lang Syne" is a hymn to brotherhood, bringing a
universal dimension to a 17th Century expression. The song is embraced
not only at New Year, but at the hundreds of Burns Suppers which take
place worldwide from Kirriemuir to Kiev. These international
celebrations of Burns aren't just held by Scotland's many ex-pat
communities, the states of the former USSR and Eastern Bloc countries
have long held the tradition of hosting Burns Nights.
Finally, legend has it that when the Sparticist revolutionary Karl
Liebknecht faced a German firing squad in 1919, his last words were
from "A Man's a Man". That the words of an over-romanticised farmer
poet and philanderer from Ayrshire should be embraced so far a field,
leaving such a lasting legacy, demonstrates the potency and endurance
of his verse.
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