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.

Scottish Women Poets & Writers

 Over the centuries it is the women of Scotland who passed down the oral stories and folk ballads. Most histories were told in poem form.  There were Oral Folk Poets; Ballad singing and Song composition.  Here are a few Scottish Women Poets, we never hear of – strangely. I am certain there must be many more! 

When students study literature – it is the literature of men that is studied.  Many wonder – where are the women writers? 18^th century Scottish culture was transitional and interactive with regard to both oral and written literature.

**Poet Jenny Little

Little was born in 1759, the same year as Burns. She was also a servant to Mrs Dunlop, Burn’s patron. She was the daughter of a farm worker and as a servant to a local clergyman, she had received a good education. She developed a love of reading and became a local poet.  She wrote in both Scots and English as Burns did too. She even wrote an ‘Epistle to Mr Burns. ‘

Because of their class both Burns and Little struggled to be taken seriously. Burns was the ‘Heaven taught ploughman’ and Little was the ‘Scotch Milkmaid’ poet.  She came out with a Poetry Collection in 1792. She is studied in North American universities as significant in the study of 18^th century studies, while she is mostly untaught in Scotland.  She wrote of gender, class and nation.

**Lady Anne Bernard

She was from a noble family of Fife Scotland, born 1750 and wrote the well known ballad ‘Auld Robin Gray’. She lived in Georgian society during the Scottish enlightenment. To reward the nobility of Edinburgh a grand new town was built.

The Scottish aristocracy sold out. Her family were the Lindsay’s of Balcarres and these families carried the Union flag around the globe and helped to shape Britain’s empire. Her father said, “You were born after the Union, Scotland is no more and never likely to revive.”

Was it so great though? Of her 8 brothers, 4 entered the army and 2 went to sea and one joined the East India co. Three died in different corners of the world and a fourth spent years in a Mysore dungeon. Eventually Bernard moved to London, married at 42 and went to live in the Cape of Good Hope.

**Willa Ewina Muir

Willa was a writer and poet, born 1890 – 1970. She and her husband Edwin Muir were part of the Montrose Scottish Renaissance between the great Wars. The Muirs were part of the “restless intellectual group of writers and thinkers” in 1920-30s active during the Renaissance of Montrose along with the poet Hugh MacDiarmid.

Born Wilhemina Anderson in Montrose of Shetlandic parents (unlike her husband Edwin who did not attend secondary or higher education) Willa earned a 1st class degree in Classics from University of St Andrews in 1910. She taught languages before marrying Edwin 1919. For 40 years the couple travelled and worked in Europe before their five years at Newbattle, and went from there to Edwin’s post as Norton Professor of Literature at Harvard University in the United States.

Much of her work explores feminism, gender & the position of women of 1920-30s and is said to contain “perceptive comments of the patriarchal world she existed in”. There has been a recent re-evaluation of her published and unpublished work, including Aileen Christianson’s 2007 Moving in Circles: Willa Muir’s Writings. 1996 Imagined Selves: Willa Muir and many translations with her husband and under the pseudonym ‘Agnes Neill Scott’

Her publications include: Women: An Inquiry, Imagined Corners, Mrs Ritchie, Mrs Grundy in Scotland, Living with Ballads, Belonging