Robert Burns (25 January 1759 – 21 July 1796) (also known as Rabbie Burns, Scotland's favourite son, the Ploughman Poet, Robden of Solway Firth, the Bard of Ayrshire and in Scotland as simply The Bard) was a Scottish poet and a lyricist. He is widely regarded as the national poet of Scotland, and is celebrated worldwide. He is the best known of the poets who have written in the Scots language, although much of his writing is also in English and a "light" Scots dialect, accessible to an audience beyond Scotland. He also wrote in standard English, and in these his political or civil commentary is often at its most blunt.
He is regarded as a pioneer of the Romantic movement, and after his death he became a great source of inspiration to the founders of both liberalism and socialism, and a cultural icon in Scotland and among the Scottish Diaspora around the world. Celebration of his life and work became almost a national charismatic cult during the 19th and 20th centuries, and his influence has long been strong on Scottish literature. In 2009 he was chosen as the 'Greatest Scot' by the Scottish public in a vote run by Scottish television channel STV.
As well as making original compositions, Burns also collected folk songs from across Scotland, often revising or adapting them. His poem (and song) Auld Lang Syne is often sung at Hogmanay (the last day of the year), and Scots Wha Hae served for a long time as an unofficial national anthem of the country. Other poems and songs of Burns that remain well-known across the world today include A Red, Red Rose; A Man's A Man for A' That; To a Louse; To a Mouse; The Battle of Sherramuir; Tam o' Shanter, and Ae Fond Kiss.
Burns was born two miles (3 km) south of Ayr, in Alloway, South Ayrshire, Scotland, the eldest of the seven children of William Burnes (1721–1784) (Robert Burns spelled his surname Burnes until 1786), a self-educated tenant farmer from Dunnottar, The Mearns, and Agnes Broun (or Brown) (1732–1820), the daughter of a tenant farmer from Kirkoswald, South Ayrshire.
He was born in a house built by his father (now the Burns Cottage Museum), where he lived until Easter 1766, when he was seven years old. William Burnes sold the house and took the tenancy of the 70-acre (280, m2) Mount Oliphant farm, southeast of Alloway. Here Burns grew up in poverty and hardship, and the severe manual labour of the farm left its traces in a premature stoop and a weakened constitution.
He had little regular schooling and got much of his education from his father, who taught his children reading, writing, arithmetic, geography, and history and also wrote for them A Manual Of Christian Belief. He was also taught by John Murdoch (1747–1824), who opened an 'adventure school' in Alloway in 1763 and taught Latin, French, and mathematics to both Robert and his brother Gilbert (1760–1827) from 1765 to 1768 until Murdoch left the parish. After a few years of home education, Burns was sent to Dalrymple Parish School during the summer of 1772 before returning at harvest time to full-time farm labouring until 1773, when he was sent to lodge with Murdoch for three weeks to study grammar, French, and Latin.
By the age of 15, Burns was the principal labourer at Mount Oliphant. During the harvest of 1774, he was assisted by Nelly Kilpatrick (1759–1820), who inspired his first attempt at poetry, O, Once I Lov'd A Bonnie Lass. In the summer of 1775, he was sent to finish his education with a tutor at Kirkoswald, where he met Peggy Thompson (b.), to whom he wrote two songs, Now Westlin' Winds and I Dream'd I Lay.
Despite his ability and character, William Burnes was consistently unfortunate, and migrated with his large family from farm to farm without ever being able to improve his circumstances. At Whitsun, 1777, he removed his large family from the unfavourable conditions of Mount Oliphant to the 130-acre (0. km2) farm at Lochlea, near Tarbolton, where they stayed until William Burnes' death in 1784. Subsequently, the family became integrated into the community of Tarbolton. To his father's disapproval, Robert joined a country dancing school in 1779 and, with Gilbert, formed the Tarbolton Bachelors' Club the following year. His earliest existing letters date from this time, when he began making romantic overtures to Alison Begbie (b. 1762). In spite of four songs written for her and a suggestion that he was willing to marry her, she rejected him.
Robert Burns was initiated into masonic Lodge St David Tarbolton on 4 July 1781, when he was 22.
In December 1781, Burns moved temporarily to Irvine, North Ayrshire to learn to become a flax-dresser, but during the workers' celebrations for New Year 1781/1782 (which included Burns as a participant) the flax shop caught fire and was burnt to the ground. This venture accordingly came to an end, and Burns went home to Lochlea farm. During this time he met and befriended Captain Richard Brown who encouraged him to become a poet.
He continued to write poems and songs and began a commonplace book in 1783, while his father fought a legal dispute with his landlord. The case went to the Court of Session, and Burnes was upheld in January 1784, a fortnight before he died.
Robert and Gilbert made an ineffectual struggle to keep on the farm, but after its failure they moved to the farm at Mossgiel, near Mauchline in March, which they maintained with an uphill fight for the next four years. During the summer of 1784, Robbie came to know a group of girls known collectively as The Belles of Mauchline, one of whom was Jean Armour, the daughter of a stonemason from Mauchline.
His casual love affairs did not endear him to the elders of the local kirk and created for him a reputation amongst his neighbours for dissoluteness. His first child, Elizabeth Paton Burns (1785–1817), was born to his mother's servant, Elizabeth Paton (1760-circa 1799) while he was embarking on a relationship with Jean Armour, who became pregnant with twins in March 1786. Burns signed a paper attesting his marriage to Jean, but her father "was in the greatest distress, and fainted away." To avoid disgrace, her parents sent her to live with her uncle in Paisley. Although Armour's father initially forbade it, they were eventually married in 1788. Armour bore him nine children only three of whom survived infancy.
Burns was in financial difficulties due to his want of success in farming, and to make enough money to support a family he took up a friend's offer of work in Jamaica, at a salary of £30 per annum. The position that Burns accepted was as a bookkeeper on a slave plantation. This seems inconsistent with Burns' egalitarian views as typified by The Slave's Lament six years later, but in 1786 there was little public awareness of the abolitionist movement that began about that time.
At about the same time, Burns fell in love with Mary Campbell (1763–1786), whom he had seen in church while he was still living in Tarbolton. She was born near Dunoon and had lived in Campbeltown before moving to work in Ayrshire. He dedicated the poems The Highland Lassie O, Highland Mary and To Mary in Heaven to her. His song "Will ye go to the Indies, my Mary, And leave auld Scotia's shore?" suggests that they planned to emigrate to Jamaica together. Their relationship has been the subject of much conjecture, and it has been suggested that on 14 May 1786 they exchanged Bibles and plighted their troth over the Water of Fail in a traditional form of marriage. Soon afterwards Mary Campbell left her work in Ayrshire, went to the seaport of Greenock, and sailed home to her parents in Campbeltown.
As Burns lacked the funds to pay for his passage to the West Indies, Gavin Hamilton suggested that he should "publish his poems in the mean time by subscription, as a likely way of getting a little money to provide him more liberally in necessaries for Jamaica." On 3 April Burns sent proposals for publishing his Scotch Poems to John Wilson, a local printer in Kilmarnock, who published these proposals on 14 April 1786, on the same day that Jean Armour's father tore up the paper in which Burns attested his marriage to Jean. To obtain a certificate that he was a free bachelor, Burns agreed on 25 June to stand for rebuke in Mauchline kirk for three Sundays. He transferred his share in Mossgiel farm to his brother Gilbert on 22 July, and on 30 July wrote to tell his friend John Richmond that, "Armour has got a warrant to throw me in jail until I can find a warrant for an enormous sum ... I am wandering from one friend's house to another."
On 31 July 1786 John Wilson published the volume of works by Robert Burns, Poems, Chiefly in the Scottish dialect. Known as the Kilmarnock volume, it sold for 3 shillings and contained much of his best writing, including The Twa Dogs; Address to the Deil; Halloween; The Cotter's Saturday Night; To a Mouse; Epitaph for James Smith and To a Mountain Daisy, many of which had been written at Mossgiel farm. The success of the work was immediate, and soon he was known across the country.
Burns postponed his proposed emigration to Jamaica on 1 September, and was at Mossgiel two days later when he learnt that Jean Armour had given birth to twins. On 4 September Thomas Blacklock wrote a letter expressing admiration for the poetry in the Kilmarnock volume, and suggesting an enlarged second edition. A copy of it was passed to Burns, who later recalled, "I had taken the last farewell of my few friends, my chest was on the road to Greenock; I had composed the last song I should ever measure in Scotland – 'The Gloomy night is gathering fast' – when a letter from Dr Blacklock to a friend of mine overthrew all my schemes, by opening new prospects to my poetic ambition. The Doctor belonged to a set of critics for whose applause I had not dared to hope. His opinion that I would meet with encouragement in Edinburgh for a second edition, fired me so much, that away I posted for that city, without a single acquaintance, or a single letter of introduction."
In October, Mary Campbell (Highland Mary) and her father sailed from Campbeltown to visit her brother in Greenock. Her brother fell ill with typhus, which she also caught while nursing him. She died of typhus on 20 or 21 October 1786, and was buried there.
On 27 November 1786, Burns borrowed a pony and set out for Edinburgh. On 14 December William Creech issued subscription bills for the first Edinburgh edition of Poems, Chiefly in the Scottish dialect, which was published on 17 April 1787. Within a week of this event, Burns had sold his copyright to Creech for 100 guineas. For the edition, Creech commissioned Alexander Nasmyth to paint the oval bust-length portrait now in the Scottish National Portrait Gallery, which was engraved to provide a frontispiece for the book. Nasmyth had got to know Burns and his fresh and appealing image has become the basis for almost all subsequent representations of the poet. In Edinburgh, he was received as an equal by the city's brilliant men of letters—including Dugald Stewart, Robertson, Blair and others—and was a guest at aristocratic gatherings, where he bore himself with unaffected dignity. Here he encountered, and made a lasting impression on, the 16-year-old Walter Scott, who described him later with great admiration:
His person was strong and robust; his manners rustic, not clownish, a sort of dignified plainness and simplicity which received part of its effect perhaps from knowledge of his extraordinary talents. His features are presented in Mr Nasmyth's picture but to me it conveys the idea that they are diminished, as if seen in perspective. I think his countenance was more massive than it looks in any of the portraits ... there was a strong expression of shrewdness in all his lineaments; the eye alone, I think, indicated the poetical character and temperament. It was large, and of a dark cast, and literally glowed when he spoke with feeling or interest. I never saw such another eye in a human head, though I have seen the most distinguished men of my time.
The new edition of his poems brought Burns £400. His stay in the city also resulted in some lifelong friendships, among which were those with Lord Glencairn, and Frances Anna Dunlop (1730–1815), who became his occasional sponsor and with whom he corresponded for many years until a rift developed. He embarked on a relationship with the separated Agnes 'Nancy' McLehose (1758–1841), with whom he exchanged passionate letters under pseudonyms (Burns called himself 'Sylvander' and Nancy 'Clarinda'). When it became clear that Nancy would not be easily seduced into a physical relationship, Burns moved on to Jenny Clow (1766–1792), Nancy's domestic servant, who bore him a son, Robert Burns Clow, in 1788. He also had an affair with a servant girl. Margaret 'May' Cameron. His relationship with Nancy concluded in 1791 with a final meeting in Edinburgh before she sailed to Jamaica for what transpired to be a short-lived reconciliation with her estranged husband. Before she left, he sent her the manuscript of Ae Fond Kiss as a farewell.
In Edinburgh, in early 1787, he met James Johnson, a struggling music engraver and music seller with a love of old Scots songs and a determination to preserve them. Burns shared this interest and became an enthusiastic contributor to The Scots Musical Museum. The first volume was published in 1787 and included three songs by Burns. He contributed 40 songs to volume 2, and would end up responsible for about a third of the 600 songs in the whole collection, as well as making a considerable editorial contribution. The final volume was published in 1803.
On his return to Ayrshire on 18 February 1788 he resumed his relationship with Jean Armour and took a lease on the farm of Ellisland near Dumfries on 18 March (settling there on 11 June) but trained as a Gauger or exciseman, in case farming continued to prove unsuccessful. He was appointed to duties in Customs and Excise in 1789 and eventually gave up the farm in 1791. Meanwhile, he was writing at his best, and in November 1790 had produced Tam O' Shanter. About this time he was offered and declined an appointment in London on the staff of 'The Star' newspaper, and refused to become a candidate for a newly-created Chair of Agriculture in the University of Edinburgh, although influential friends offered to support his claims.
After giving up his farm he removed to Dumfries. Burns described the Globe Inn (still running today) on the High Street as his "favourite howff" (or "inn”).
It was at this time that, being requested to write lyrics for The Melodies of Scotland, he responded by contributing over 100 songs. He made major contributions to George Thomson's A Select Collection of Original Scottish Airs for the Voice as well as to James Johnson's The Scots Musical Museum. Arguably his claim to immortality chiefly rests on these volumes, which placed him in the front rank of lyric poets. Burns described how he had to master singing the tune before he composed the words:
My way is: I consider the poetic sentiment, correspondent to my idea of the musical expression, then chuse my theme, begin one stanza, when that is composed—which is generally the most difficult part of the business—I walk out, sit down now and then, look out for objects in nature around me that are in unison or harmony with the cogitations of my fancy and workings of my bosom, humming every now and then the air with the verses I have framed. when I feel my Muse beginning to jade, I retire to the solitary fireside of my study, and there commit my effusions to paper, swinging, at intervals, on the hind-legs of my elbow chair, by way of calling forth my own critical strictures, as my, pen goes.
Burns also worked to collect and preserve Scottish folk songs, sometimes revising, expanding, and adapting them. One of the better known of these collections is The Merry Muses of Caledonia (the title is not Burns'), a collection of bawdy lyrics that were popular in the music halls of Scotland as late as the 20th century. Many of Burns' most famous poems are songs with the music based upon older traditional songs. For example, Auld Lang Syne is set to the traditional tune Can Ye Labour Lea, A Red, Red Rose is set to the tune of Major Graham and The Battle of Sherramuir is set to the Cameronian Rant.
Failing health and death
Burns's worldly prospects were now perhaps better than they had ever been; but he had become soured, and moreover had alienated many of his best friends by too freely expressing sympathy with the French Revolution and the then unpopular advocates of reform at home. As his health began to give way, he began to age prematurely and fell into fits of despondency. The habits of intemperance (alleged mainly by temperance activist James Currie) are said to have aggravated his long-standing possible rheumatic heart condition. His death followed a dental extraction in winter 1795.
On the morning of 21 July 1796 Robert Burns died in Dumfries, at the age of 37. The funeral took place on Monday 25 July 1796, the day that his son Maxwell was born. He was at first buried in the far corner of St. Michael's Churchyard in Dumfries; his body was eventually moved to its final resting place in the same cemetery, the Burns Mausoleum, in September 1815. The body of Jean Armour was laid to rest with his in 1834.
His widow, Jean, had taken steps to secure his movable estate, partly by liquidating two promissory notes amounting to fifteen pounds sterling (about 1, pounds at 2009 prices). The family went to the Court of Session in 1798 with a scheme to support his surviving children by publishing a four-volume edition of his complete works and a biography written by Dr. James Currie. Subscriptions were raised to meet the initial cost of publication, which was in the hands of Thomas Cadell and William Davies in London and William Creech, bookseller in Edinburgh. Hogg records that fund-raising for Burns' family was embarrassingly slow, and it took several years to accumulate significant funds through the efforts of John Syme and Alexander Cunningham.
Burns was posthumously given the freedom of the town of Dumfries. Hogg records that Burns was given the freedom of the Burgh of Dumfries on 4 June 1787, 9 years before his death, and was also made an Honorary Burgess of Dumfries.
Through his twelve children, Burns has over 600 living descendents as of 2012.
Burns' style is marked by spontaneity, directness and sincerity, and ranges from the tender intensity of some of his lyrics through the rollicking humour and blazing wit of Tam o' Shanter and the blistering satire of Holy Willie's Prayer and The Holy Fair.
Burns' poetry drew upon a substantial familiarity with and knowledge of Classical, Biblical, and English literature, as well as the Scottish Makar tradition. Burns was skilled in writing not only in the Scots language but also in the Scottish English dialect of the English language. Some of his works, such as Love and Liberty (also known as The Jolly Beggars), are written in both Scots and English for various effects.
His themes included republicanism (he lived during the French Revolutionary period) and Radicalism, which he expressed covertly in Scots Wha Hae, Scottish patriotism, anticlericalism, class inequalities, gender roles, commentary on the Scottish Kirk of his time, Scottish cultural identity, poverty, sexuality, and the beneficial aspects of popular socialising (carousing, Scotch whisky, folk songs, and so forth).
The strong emotional highs and lows associated with many of Burns' poems have led some, such as Burns biographer Robert Crawford, to suggest that he suffered from manic depression— a hypothesis that has been supported by analysis of various samples of his handwriting. Burns himself referred to suffering from episodes of what he called "blue devilism". However, the National Trust for Scotland has downplayed the suggestion on the grounds that evidence is insufficient to support the claim. While Burns's life was troubled and his character was flawed in many ways, he fought at tremendous odds. As Thomas Carlyle puts it in his Essay:
Granted the ship comes into harbour with shrouds and tackle damaged, the pilot is blameworthy... but to know how blameworthy, tell us first whether his voyage has been round the Globe or only to Ramsgate and the Isle of Dogs.
Scotland and the rest of Britain
Burns is generally classified as a proto-Romantic poet, and he influenced William Wordsworth, Samuel Taylor Coleridge, and Percy Bysshe Shelley greatly. His direct literary influences in the use of Scots in poetry were Allan Ramsay (1686-1758) and Robert Fergusson. The Edinburgh literati worked to sentimentalise Burns during his life and after his death, dismissing his education by calling him a "heaven-taught ploughman". Burns would influence later Scottish writers, especially Hugh MacDiarmid, who fought to dismantle what he felt had become a sentimental cult that dominated Scottish literature.
An example of Burns' literary influence in the U.S. is seen in the choice by novelist John Steinbeck of the title of his 1937 novel, Of Mice and Men, taken from a line in the second-to-last stanza of To a Mouse: "The best laid schemes o' mice an' men /Gang aft agley." Burns' influence on American vernacular poets such as James Whitcomb Riley and Frank Lebby Stanton has been acknowledged by their biographers. When asked for the source of his greatest creative inspiration, singer songwriter Bob Dylan selected Burns's 1794 song A Red, Red Rose, as the lyric that had the biggest effect on his life. The author J. D. Salinger used protagonist Holden Caulfield's misinterpretation of Burns' poem Comin' Through the Rye as his title and a main interpretation of Holden's grasping to his childhood in his 1951 novel The Catcher in the Rye. The poem, actually about a rendezvous, is thought by Holden to be about saving people from falling out of childhood.
Burns became the "people's poet" of Russia. In Imperial Russia Burns was translated into Russian and became a source of inspiration for the ordinary, oppressed Russian people. In Soviet Russia, he was elevated as the archetypal poet of the people. As a great admirer of the egalitarian ethos behind the American and French Revolutions who expressed his own egalitarianism in poems such as his Birthday Ode for George Washington or his Is There for Honest Poverty (A Man's a Man for a' that), Burns was well placed for endorsement by the Communist regime as a "progressive" artist. A new translation of Burns begun in 1924 by Samuil Marshak proved enormously popular, selling over 600, copies. The USSR honoured Burns with a commemorative stamp in 1956. He remains popular in Russia after the fall of the Soviet Union.
Wikipedia - http://en.wikipedia.org/wiki/Robert_Burns