Poetry Shapes Us

 

While Burns loved the lassies, his legacy is much deeper and more wide-ranging poetically than his love life. Some of his songs are so familiar, perhaps we can overlook his literary significance – both of his time and of ours.  The musicality of his song writing and poems, is unmatched and many famous poets and songsmiths name Burns as a favourite writer– from Bob Dylan to Wordsworth. 

In his short life he touched hearts, wrote of the worth of man (and woman), respect for the natural world, of freedom fighters, and he was a man o independent mind. 

 

“Poetry hold s mirror to a nations heart and soul. “ Jackie Key

“Its the language of being human” 

 

 *Famous Scots Poems 20^th century 

 

Memo for Spring - Liz Lochead

Drunk man looks at a Thistle – Hugh MacDiarmid

In my Country – Jackie Kay

A Man in Assynt – Norman McCaig

 

Gaelic Song

A rare beauty, or the big sky of Lewis. 

Gaelic poems were songs, tunes and words intertwined. The connections to place.

  

Norman McCaig

“Who owns this landscape – has it anything to do with love? Even the dead are part of it. Land is a character…Landscape is my religion, I feel at home. My substitute for religion and politics.“

 

Drunk man looks at a thistle – Hugh MacDiarmid – Where extremes meet

His poem, revolutionized Scots poetry ’to be yoursell” 

“He showed us that small nations are better than large ones, and the possibility of a new Scotland.” Alan Riach. “A revolutionary vision of what society can be. To rethink the Burns cult for a multi-faceted identity. Language matters.”

 

Was Robert Burns a Reformer, a Jacobin or a Supporter of King George

 

There has been a debates over Burns political views. Its particularly difficult because Burns had to play all sides in order to earn a living and to gain subscribers for his poetry. Burns grew up the oldest of seven children with a poor tenant farmer, who was told his land would be improved, but wasn’t. In July 1786 Buns published his first book of poetry, Poems Chiefly in the Scotch dialect” and to do so required many subscribers. 

 

Burns was an active freemason which was a great way to network, gain influence and meet men from all walks of life. He also belonged to gentlemen clubs in Edinburgh. For instance during his time in the crossroads town of Mauchline (1784-1786) he met all kinds of people from all walks of life at Poozie Nansies ale house -  titled landowning men, dukes, earls, lawyers, academics, clergy, farmers, peasants, shopkeepers, artists, doctors, scholars. 

 

His first book of poems received great acclaim and sold worldwide. He was given enough support to enable him to travel to Edinburgh for a second edition and later to travel across Scotland collecting both subscribers and traditional tunes and songs. As a man of genius he might have been better supported and after two years (1786-1788) he felt compelled to join the Excise to support his young family. He married Jean Armour in April 1788 and they moved to Ellisland farm north of Dumfries. He continued to write his poetry, collect songs, travel long distances for the Excise and keep detailed records. Jean looked after the farm. 

 

The Burns museum displays many of the myths that surround Burns – from one of the first Romantic poets, to the farmers son in enlightened Edinburgh. His image was appropriated in Victorian times to promote Scotland worldwide. Often Burns significant and interesting political views and the turbulent revolutionary times he lived in are glossed over. At the times 1780s there was the American wars of independence and the French revolution.

 

But this was not how Burns viewed his poetry and songs. He wrote in Scots and English, after reading Robert Fergusson Scots poems and Allan Ramsey. He collected and wrote to save and preserve the Scots language and songs. At a time when Scots voices were being crushed after Culloden (1746), when the highland way of life was destroyed by Cumberland and wearing the kilt was banned. 

 

Burns wore a plaid shawl around his shoulders and his hair in a pony tail as a sign of rebellion. His grandfather had worked for the Earl of Marischal south of Aberdeen - the most powerful Jacobite who fled after the 1715 uprising. His father then travelled south.

 

In Dumfries Burns drank with reformers at the Globe Inn. In fact there’s a story of Burns rudely keeping his hat on during the singing of the British national anthem at the new Dumfries theatre. He wrote to Mrs Dunlop about the “idiot French King Louis, who deserved to have his head chopped off”. His reformer friends at Dumfries Globe Inn, sent weapons to France to help the new republic. Tom Paine wrote the Rights of Man’ pamphlet which helped start the American wars of independence. Burns wrote his famous poem A Mans a Man For A That 1795 – “shall equals be for all that”

Burns certainly was a man of many sides – a Lad O Pairts, He adored lively debates, had renowned conversations, and looked widely for ideas. His favourite book A Man of Feeling by Henry McKenzie. He read all the great English poets and enlightenment figures. He lived in crossroads, turbulent times – just as Mozart (1756-1791) and Bob Dylan. Any study of Burns needs to dig deep into the many images and myths portrayed of Burns.  

 

In his book “Robert Burns and Political Culture” Dr Paul Malgrati advocates that Burns was politically ambiguous - he was so to protect himself and his family, from being investigated by the Hanoverian London authorities. He was nearly investigated but managed to contact supporters to protect him. At the time reformers such as the lawyer Thomas Muir were being put on trial and then sent to Australia. Malgrati suggests that our great Scottish bard is not the right role model or image for Scotland’s independence. (Sunday National, 22 Dec 2024. Book suggests independence movement should cut ties with Robert Burns).  

 

Reformers for liberty in turbulent times! - “I was the independent-minded man whose sympathies were with my own folk – even while I had to work for the crown and government. Democracy’ was a dangerous word. Reform! My god! What a reform I would make among the sons and even the daughters of men!”  RB

My impression of Burns is he had great humanity and understanding. Burns was a man of independent mind. His many letters show a man interested in politics and also a great reader. Reading his letters, poems, songs and biographies’ its hard not to believe Burns supported reform. 

He lived in turbulent times of reform. Burns wrote his famous ‘Scots wa Hae’ about all freedom fighters – from Wallace, Bruce to Thomas Muir. Burns questioned, he looked for truth, he studied enlightened thought. He’s Scotland’s best known and loved poet. In my view Burns views on egalite, freedom of thought, respect for nature, his wish to preserve Scots voices – make Burns exactly the role model for Scotland’s independent future.

A NEW “Robert Burns and Political Culture” book raises the question of whether Burns is the best cultural icon for the Yes movement. Book suggests independence movement should cut ties with Robert Burns - 

Sunday National 22 Dec 2024 - 

https://www.thenational.scot/news/24812289.book-suggests-independence-movement-cut-ties-robert-burns/

Romanticism in Scotland

 

Nigel Leask rites Burns has been tragically over-looked in academic studies and the need to consider Burns in a de-centralized four nation approach to British culture and of the marginalisation of Burns as a major Romantic poet.

 

The book is entitled 'Scottish Pastoral: Robert Burn and British Romanticism' Leask

sets out to recover a major Romantic poet in a Scottish, British, and colonial context. Burns's fame as Scotland's national bard, and his influence on Scottish writers like Hogg, Scott, Elizabeth Hamilton, Lockhart, Wilson and Carlyle, has achieved local recognition. The goal of this book is to reassess the global significance of Scottish and British Romanticism in the light of Burns's achievement and influence. ' And a more historically contextualised notion of the Scottish Enlightenment. And to situate Burns and 18th century Scottish poetry in relation to Enlightenment theories.

 

But much light remains to be cast on his literary and intellectual context in the Scottish Enlightenment, as well as his far-reaching influence on English and Irish Romantic writers like Wordsworth, Coleridge, Lamb, Roscoe, Byron, Shelley, Keats, Clare, Hazlitt, De Quincey Tom Moore and J.C.Mangan. 

 

MUSIC  - Burns is best known as a songwriter and song collector

Burns's poetry is now largely excluded from a revised canon of Romantic literature as it is taught in UK and US English departments, despite the fact that the canon has broadened to include women and minority writers. In fact the decline of his reputation as a major Romantic poet has continued measurably even since 1945. Astonishingly, there is to date no dedicated study of Burns's influence on British Romanticism.

 

Contemporary Burns scholarship is still largely concerned with studying the poet in a national literary framework, despite important recent work by Carol McGuirk, Liam McIllvanney, Robert Crawford and Gerry Carruthers, opening up Burns to broader contexts. 

 

Robert Burns was part of an attempt to produce a canon of Scottish song, which resulted in a cross fertilisation of Scottish and continental classical music, with romantic music becoming dominant in Scotland into the 20^th century. 

Robert Burns (1759–96) and Walter Scott (1771–1832) were highly influenced by the Ossian poems. Burns, an Ayrshire poet and lyricist, is widely regarded as the national poet of Scotland and a major influence on the Romantic movement. 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. Burns A Mans a Man as sung by Sheena Wellington at the opening of the Scottish parliament.

 

Novelist Walter Scott popularised Scottish cultural identity 19th century.  He played a major part in defining Scottish and British politics, helping to create a romanticised view of Scotland and the Highlands that changed Scottish national identity. Tom Nairn argues to a false mythical Scotland gone forever. Scott has a highly successful career, with other historical novels - Rob Roy (1817), The Heart of Midlothian (1818) and Ivanhoe (1820) 

 

Burns was greatly influenced by Scots poets Allan Ramsay, James Macpherson, and Robert Fergusson – who wrote poems in scots about Edinburgh. And English poets such as Alexander Pope. Allan Ramsay(1686–1758) laid the foundations of a reawakening of interest in older Scottish literature, as well as leading the trend for pastoral poetry, developed the Habbie stanza as a poetic form. 

 

James Macpherson(1736–96) was the first Scottish poet to gain an international reputation. Claiming to have found poetry written by the ancient bard Ossian, he published translations that were internationally popular, being proclaimed as a Celtic equivalent of the Classical epics. Fingal, written in 1762, was translated into European languages, and its appreciation of natural beauty and treatment of the ancient legend has been credited more than any single work with bringing about the Romantic movement in European, and in German literature (Johann Herder and Johann Goethe). Also popular in France –read by Napoleon^.

 

Other major Scottish literary figures connected with Romanticism include the poets James Hogg (1770–1835), Allan Cunningham (1784–1842) and John Galt (1779–1839). One of the most significant figures of the Romantic movement, Lord Bryon, was brought up in Scotland until he acquired his English title. 

 

**Romanticism in Scotland  II

was an artistic, literary and intellectual movement late 1700s and early 1800s. 

Part of the wider European romantic movement, which was partly a reaction against the Age of Enlightenment, emphasizing individual, national and emotional responses, moving beyond Renaissance and Classical models. In the arts, Romanticism manifested itself in literature with the mythical bard Ossian, the exploration of national poetry in the work of Robert Burns and in the historical novels of Walter Scott. Scott also had a major impact on the development of a national Scottish drama. Art was heavily influenced by Ossian and of the Highlands as the location of a wild and dramatic landscape. 

In music, 

 

In art there was a stress on imagination, landscape and a spiritual correspondence with nature. It has been described by Margaret Drabble as "an unending revolt against classical form, conservative morality, authoritarian government, personal insincerity, and human moderation" Although after union 1707 Scotland increasingly adopted English language and cultural norms, its literature developed a distinct national identity and began to enjoy an international reputation.

 

The editors of the recent essay collection Scotland and the Borders of Romanticism argue, from the 19th century Scottish literature came to stand for an 'inauthentic Romanticism, defined by a mystified commitment to history and folklore', in marginal relationship to an 'organic' English Romanticism. 

 

Scotland was also the location of two of the most important literary magazines of the era, The Edinburgh Review, (1802) and Blackwood Magazine(1817)which significantly influenced the development of British literature and drama in the era of Romanticism. 

 

Romanticism declined in the 1830s, but it continued to affect music and art. It had a lasting impact on the nature of Scottish identity and outside perceptions of Scotland. It is often thought to incorporate an emotional assertion of the self and of individual experience along with a sense of the infinite, transcendental and sublime. 

 

James MacPherson

Robert Burns and Pastoral is a full-scale reassessment of the writings of Robert Burns (1759-1796), arguably the most original poet writing in the British Isles between Pope and Blake, and the creator of the first modern vernacular style in British poetry. Although still celebrated as Scotland's national poet, Burns has long been marginalised in English literary studies worldwide, due to a mistaken view that his poetry is linguistically incomprehensible and of interest to Scottish readers only. 

 

Nigel Leask challenges this view by interpreting Burns's poetry as an innovative and critical engagement with the experience of rural modernity, namely to the revolutionary transformation of Scottish agriculture and society in the decades between 1760 and 1800, thereby resituating it within the mainstream of the Scottish and European enlightenments. Detailed study of the literary, social, and historical contexts of Burns's poetry explodes the myth of the 'Heaven-taught ploughman', revealing his poetic artfulness and critical acumen as a social observer, as well as his significance as a Romantic precursor. Leask discusses Burns's radical decision to write 'Scots pastoral' (rather than English georgic) poetry in the tradition of Allan Ramsay and Robert Fergusson, focusing on themes of Scottish and British identity, agricultural improvement, poetic self-fashioning, language, politics, religion, patronage, poverty, antiquarianism, and the animal world. The book offers fresh interpretations of all Burns's major poems and some of the songs, the first to do so since Thomas Crawford's landmark study of 1960. It concludes with a new assessment of his importance for British Romanticism and to a 'Four Nations' understanding of Scottish literature and culture.

 

Elizabeth Barrett Browning (EBB)

 “After the first Anglo-Sikh war in India, one of these days our great Indian empire, will stand up on its own legs and make use of our own rope to scourge us. … what right has England to an Indian empire?

No more than the Duke of Sutherland to his broad estate, wait  a little, we shall see it all arranged, according to a better justice, on the small scale and the large”  

 

Her family made its money on the sugar planation of Jamaica

 

Elizabeth Barrett Browning     (1806 –  1861) 

was an English poet of the Victorian era popular in Britain and the United States during her lifetime. Born in Count Durham, the eldest of 11 children, Elizabeth Barrett wrote poetry from the age of eleven.  At 15 she became ill, suffering intense head and spinal pain for the rest of her life. 

In the 1840s Elizabeth was introduced to literary society through her cousin, John Kenyon. Her first adult collection of poems was published in 1838 and she wrote prolifically between 1841 and 1844, producing poetry, translation and prose. She campaigned for the abolition of slavery and her work helped influence reform in the child labour legislation. Her prolific output made her a rival to Tennyson as a candidate for poet laureate on the death of Wordsworth. 

She was married to Robert Browning. Elizabeth's work had a major influence on prominent writers of the day, including the American poets Edgar Allan Poe and Emily Dickinson. She is remembered for such poems as “How Do I Love Thee” (Sonnet 43, 1845) and "Aurora Leigh" (1858). 

Scots Makar Jackie Kay

 

Excellent chat with Jackie Kay with Janice Forsyth about her 5 years as the Scots Makar on BBC Scotland’s afternoon show -  https://www.bbc.co.uk/programmes/jackiekay

POEMS

Poem for new babies - Lullaby welcome wee one

Poem for the Queensbury crossing - The long view

Poem for the Homeless, 

Scottish Parliament 2020 – Farewell for Hogmanay

plus the baton from poem to song.

  

Jackie chose singers – Celeste Lean on Me, Nina Simone, Peggy Seeger, 

 

BOOK - Elif Shakaf, How to Stay Sane in a world of Divisions 

 

“Its been a joyous , interesting ride to have been to every major city and to have been to so much of the highlands an disbands, rural part of Scotland. And incredible journey..

 

Nicola Sturgeon, “Jackie Kay made an enduring and positive impact –and has widened the  appeal of poetry.”

 

The Highest Apple

The Highest Apple

An Abhal as Airde

"The best apple will be on the higher bough."

 An Anthology of Scottish Gaelic literature, 7^th century  to present of 

 Saints, Scribes and Sea lords 600 - 1600

Professor Alan Raich of Glasgow University, highly recommends this book in the National newspaper. He writes this is the most important book of recent times. 

 “For the health of our nation and enrichment of all our people” 

The book explores connections to Ireland; Bards schools; the Ceilidh house; Narrative prose. 

And the adventures of warriors – such as Fionn mac Cumhaill, Alasdair mae Mhaighstir

And the Greatest Gaelic poems of the 1700s

Gaelic proverbs – “An end will l come to the world, but love and music will endure.”

Thig crioch air an t-saoghal, ach n airidh goal is ceol.”

The Songs of Carolina Oliphant, Lady Nairne

*The Flower of Strathearn*

Carolina loved to sing and dance, and studied music from the great fiddler Niel Gow – she composed and improved on Scots folk ballads. She expressed the feelings of people of highlands about Charles Edward Stuart.

Carolina Oliphant’s BEST KNOWN SONGS -
Will ye no come back again

We a hundred pipers an ‘a, an ‘a, 

Charlie is my Darling

The hand O the Leal

Carolina Oliphant is second only to Robert Burns in importance in our Scots culture. Born in 1766, in an ancient Jacobite noble family. Their lands were confiscated after the 45, they stayed at the royal court france for 19 years and later returned to Cask house.

At 39 she married and moved to Edina, where she wrote 87 songs for the Scots Minstrel Collection by RA Smith – she signed herself BB. No one knew of her writing. She moved ot Kingston Ireland and then travelled with her son on the continent. She died in 1845 and after her sister published her songs – in the book Lay of Strathearn .

  

The White Rose of Cask: the Life and Songs of Carolina Oliphant by Freeland Barbour. Barbour is a key figure in Scots Trad music – musician, radio and record producer and composer. 
https://www.amazon.com/White-Rose-Gask-Carolina-Oliphant/

Carolina wrote more on a romantic past –

Wheras Burns was more forward looking, with optimism for a better future. 

 PS

Our Bard Robert Burns. Did Burns die of exhaustion? (as Hamish Macpherson and others claim). 

Certainly reading his biography I wonder at his exertions – particularly with supporting his young family at Ellisland and Dumfries, by travelling long distance on horseback for the Excise work, the farm work, and his passion of collecting reworking and composing Scots song.

Centenary Hamish Henderson at Edinburgh book festival 2019

Hamish Henderson

Like Burns before him, he looked to the traditions of the Gaelic and Scots ballads, and he gave expression to a nations heart. 

Spring quickens. 
In the Shee Water I'm fishing. 
High on Whaup's mountain time heaps stone on stone. 
The speech and silence of Christ's world is Gaelic, 
And youth on age, the tree climbs from the bone. 

A piper played in Henderson’s well kent and loved song Freedom Come All Ye,and we all sang along, The event was part of Edinburgh International book festival 2019,

Tonight was a tribute concert for Scotland’s great poet and song collector Hamish Henderson. 

On the centenary of his birth, poets have come together to celebrate his rebellious spirit and influence with a unique poem anthology. – THE DARG

Poet, translator, Highland folklorist, Henderson was part of the Scottish folk revival and a co-founder of the Edinburgh university’s Scottish studies. He was a campaigner for the Scottish parliament and guiding light behind the Edinburgh fringe festival.

I first saw photos of Hamish at the Old Fruitmarket venue Glasgow. I heard of his song, Freedom Come all Ye. That he had been a frequent visitor at Sandy Bells bar, Forrest road; a collector of Scots song and a co-founder of Scottish studies at Edinburgh university. I was also a frequent visitor at Sandy Bells back in the 80s, before I moved abroad.  

He became a folklorist and collector of Scots Bothy ballads and Gaelic song, to keep Scots voices alive. He spent years tracking down storytellers and folk singers with the American folklorist Alan Lomax. Together they recorded hours of traditional ballads, Gaelic work songs, children’s songs and contemporary folk songs from all over Scotland. His ambition was to record a people’s history before it has disappeared. To preserve the tales told around the campfires, tinker storytellers and songs of the singer Jeanie Robertson. .

Tribute concert for cemetery for Hamish Henderson

Our Oral Histories. Author, critic and broadcaster Stuart Cosgrove, (writing in the Sunday National 15.09.19 ) wondered, who will record the significant oral history of our vital Scots independence movement today?Who is there to collat our energetic indy movement – of all those who gave up so much of their time and energy to work tirelessly. All those how “gave up their jobs, rode Yes bikes, stuffed envelopes, designed flyers and pounded the streets.” 

He writes of the importance of such histories - “Oral histories require many volunteers, researchers and recorders willing to travel extensively… “Oral history is a collection of historical information using interviews with ordinary people who have unique perspectives on important events, first hand evidence of the past which captures people’s experiences and opinions often in ways that contrast with or contradict official history.”  It is “history from the bottom up, told by onlookers, joiners, unemployed – not through the eyes of the powerful. “

**Scotland present desire for our self-determination and independence has deep, creative and authentic roots because of visionaries such as Hamish Henderson. 

**Hamish Scott Henderson (1919 – 2002)grew up in a cottage in the Spittal of Glenshee. And like Burns his mother was s singer of Gaelic songs. He was also a soldier in the Second world war: He studied Modern Languages at Cambridge. In the years leading up to the war, as a visiting student in Germany, he ran messages for a Quaker organization aiding the Germans resistance and helping to rescue Jews. Later he moved to Edinburgh and frequented the folk bar Sandy bells.

**Biographer Timothy Neat  wrote in the Guardian March 2002, “Like Burns, Henderson was, first and last, a poet, and poetry was for them both language rising into song, responsible to moment, people, place and joy.” 

“The tryst of Hamish Henderson, who has died aged 82, was with Scotland. It was a meeting of high consequence - across the 20th century, in darkness and in sun, Scotland informed all that Henderson was as a man and a poet. “

“Not for Henderson Auden's conceit that poetry never made anything happen; he believed that "poetry becomes people" and changes nations, that poetry elevates and gives expression to the deepest and best being of mankind, that poetry is a measure that extends far beyond the written word, that poetry is pleasure and a call to arms.” Timothy Neat

As he states in his prologue to the Elegies: 

Let my words knit what now we lack 

The demon and the heritage 

And fancy strapped to logic's rock. 

A chastened wantonness, a bit 

That sets on song a discipline, 

A sensuous austerity. 

Freedom Come All Ye

Roch the wind in the clear day’s dawin
Blaws the cloods heelster-gowdie ow’r the bay,
But there’s mair nor a roch wind blawin
Through the great glen o’ the warld the day.
It’s a thocht that will gar oor rottans
– A’ they rogues that gang gallus, fresh and gay –
Tak the road, and seek ither loanins
For their ill ploys, tae sport and play

Nae mair will the bonnie callants
Mairch tae war when oor braggarts crousely craw,
Nor wee weans frae pit-heid and clachan
Mourn the ships sailin’ doon the Broomielaw.
Broken faimlies in lands we’ve herriet,
Will curse Scotland the Brave nae mair, nae mair;
Black and white, ane til ither mairriet,
Mak the vile barracks o’ their maisters bare.

So come all ye at hame wi’ Freedom,
Never heed whit the hoodies croak for doom.
In your hoose a’ the bairns o’ Adam
Can find breid, barley-bree and painted room.
When MacLean meets wi’s freens in Springburn
A’ the roses and geans will turn tae bloom,
And a black boy frae yont Nyanga
Dings the fell gallows o’ the burghers doon.

*Poetry changes Lives - W B Yeats

POETRY – is the window to our souls, the hidden beauty, the longed for memory, the secret truths, the way nature sings…. Poetry is connected to music, rhythm images and changing seasons…

William B Yeats is widely considered to be one of the greatest poets of the 20th century. He belonged to the Protestant, Anglo-Irish minority that had controlled the economic, political, social, and cultural life of Ireland since at least the end of the 17th century. Most members of this minority considered themselves English people who happened to have been born in Ireland, but Yeats was staunch in affirming his Irish nationality.

Although he lived in London for 14 years of his childhood (and kept a permanent home there during the first half of his adult life), Yeats maintained his cultural roots, featuring Irish legends and heroes in many of his poems and plays.

 

The poet was staying in England at the time of the Rising, and learnt of developments in sketchy news reports, and in letters from his friends and family. Yeats and his family were horrified.

It was left to the poet to conjure up the phrases that summed up the events, and the mixed feelings felt by the public towards the rebels, who had seized the GPO. As he put it himself, all had "changed, changed utterly".  Revolutionaries, who were initially heaped with opprobrium by a significant section of the populace, were turned into heroes.

Yeats wrote his poem 'Easter 1916' in the months after the rebellion, but he waited for four years to publish it in the magazine The New Statesman. He predicted that the rebels would take their place in history:

I write it out in a verse -

MacDonagh and MacBride

And Connolly and Pearse

Now and in time to be,

Wherever green is worn,

Are changed, changed utterly: (YB Yeats)

*And I write of Robbie Burns

Who wrote of our being at one with nature, and of being created equal..

                                                                         

Then let us pray that come it may, 

(As come it will for a' that,) 
That Sense and Worth, o'er a' the earth, 
Shall bear the gree, an' a' that. 
For a' that, an' a' that,
It's comin yet for a' that 
That man to man, the world o'er, 
Shall brithers be for a' that.