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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 Supper
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


Selkirk Grace

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!



See Hogmany article for ‘Auld Lang Syne



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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