Burns Love Life

 

Margaret Chambers

Burns love life is highly complex and complicated!  He wrote some of the most famous love songs ever written. He loved often. His first famous poem, written when Burns was sixteen was Westlin Winds for Peggy. 

As a teenager he fell in love often, after reading a book of French love letters given to him by mistake by his tutor John Murdoch! Burns’s first child, Elizabeth Burns was born to his mother’s servant Elizabeth Paton. 

There was the Mauchline Belles! Many years later when he was twenty two, Burns moved to Mossgiel farm near Mauchline in 1782, where he met his bonny Jean. She was a great singer and knew all the auld Scots ballads like his mother. 

At this time he also met his Highland Mary: after Jean suddenly left for Paisley. He pledged his love for her over a bible and later wrote the poems Highland Mary and To Mary in Heaven to her. Also – “Will ye go to the Indies, my Mary, And leave auld Scotia’s shore?” However Mary suddenly died in Greenock from Typhus, she had contracted from her uncle. Burns was devastated.  Machine was a crossroads town, with many travellers and walks fo life. 

Burns also greatly enjoyed educated, cultured women he met on his travels, who he felt a kinship with. First he met Margaret Chambers in Edina, a farmers daughter who was his equal in education and conversation. 

January 1787, Burns wrote to her, Dear Dr. Countrywoman. I know you will laugh at it, when I tell you that your playing and you together have played the deuce somehow, about my heart. I could sit down and cry like a child……’Personal attractions, Madam, you have much above par, Wit and understanding & worth, you possess in the first class. ‘   

 

Burns spent two more winters in Edina in 1787 and 88, and late in 1788 he met the elegant culture Agnes McLahose, his Nancy who was also well educated and a poet too.  He walked under Clarinda/ Nancy’s window. ‘tis the star that guards. My queen of poetesses empress of the poets soul. I gave her two wineglasses with the toast. ‘Long may we love, and long may we be happy.’ 

Clarinda needed the support of her uncle for her annuity. They wrote over 300 letters correspondence to each other from 1788 to 1791 – when he wrote his great song of parting for her Ae Fond Kiss. Clarinda was to leave and told Burns that he must go back to Jean, that there was not likely any future. Burns heart was broken. 

She left for the West indies.

After his Scotia travels (1786-1788) and his time in Edina having his poems published, Burns returned to Ayrshire and married Jean Armour in April 1788, when they moved to the Ellisland farm. They had three surviving sons. He wrote the poem I Love my Jean for her.  Also in 1791, Elizabeth Burns was born to Anna Park, a barmaid at the Globe Inn in 1791. Jean took her in and looked after her. 

Because of his education Burns straddled all walks of life, from the poor he met in Mauchline to the great and good of the Edina’s literati, the academics and the enlightenment writers.  

*In 1791 he was inspired to write one of the greatest love songs ever written, Red Red Rose.

O my Luve is like a red, red rose

That’s newly sprung in June;

O my Luve is like the melody

That’s sweetly played in tune.

 

So fair art thou, my bonnie lass,

So deep in luve am I;

And I will luve thee still, my dear,

Till a’ the seas gang dry.

 

Till a’ the seas gang dry, my dear,

And the rocks melt wi’ the sun;

I will love thee still, my dear,

While the sands o’ life shall run.

 

And fare thee weel, my only luve!

And fare thee weel awhile!

And I will come again, my luve,

Though it were ten thousand mile.

 His stay in the Edina resulted in lifelong friendships - with Lord Glencairn and Francis Dunlop (1730-1815) 

who became a mentor and sponsor and with whom he corresponded. 

*      *      *      *      

Farwell to Clarinda, the mistress of my soul,

The measured time is run

The wretch beneath the dreary pole

So marks his latest sun.

*      *      *      *      *

 

My Peggy’s face, my Peggy’s form,

The frost of hermitage might warm,

My Peggy’s worth, My Peggy’s mind,

Might charm the first of human kind,

I love my Peggy’s angel air,

Her face so truly heavenly fair,

Her nature grace so void of air,

And I do love my Peggy’s heart.   RB

 (Published 1802)

 

A Letter from Mrs Dunlop - She feared I might loose being this ‘rustic bard’ in Edina. She wrote such high praise, and told me, I was the best bard ever to have adorned my country. 

I wrote to her, ‘I have long studied myself and I think I know pretty exactly what ground I occupy, both as a man and a poet….Poets are such outré beings, so much the children of wayward Fancy and capricious Whim, that I believe the word generally allows them a larger latitude in the rules of Propriety, than the sober sons of Judgement and Prudence. ‘ 

 

I Love My Jean

Of a' the airts the wind can blaw,

I dearly like the West;

For there the bony Lassie lives,

The Lassie I lo'e best:

There's wild-woods grow,

and rivers row,

And mony a hill between;

But day and night my fancy's flight

Is ever wi' my Jean.

 

I see her in the dewy flowers,

I see her sweet and fair;

I hear her in the tunefu' birds,

I hear her charm the air:

There's not a bony flower that springs

By fountain, shaw, or green;

There's not a bony bird that sings

But minds me o' my Jean.

RB

 

 

Robert Burns Art influences

 

Robert Burns and other poets wrote with Scots Voices. In the 1700s many worked to write down and collect the old Scots songs.  

At a time when mainly Tory unionist voices were being heard - no other writer has done more to keep Scots voices and language alive than Burns. 

I was taken aback at the new Scottish Art galleries Edinburgh on my visit in October 2023, that there was only one mention of Robert Burns – with regard to his “Hunt” poem in an Edinburgh tearoom painting. I felt Burns legacy was a deliberate forgetting. Did his writing influence Scottish art? The main focus in the galleries was on the works of Walter Scott. 

 

Burns was influenced himself when he met many of the major enlightenment figures in Edinburgh in 1786, particularly James Hutton - whose theory was of the whole earth as a living organism. Burns explored the symbolism and spiritualism connections between the natural world, the creative fires and the established church teachings from his father – where dance was frowned upon.  

 

Burns thought of how he might fuse all these new ideas together in his poetry. Later in 1794, he wrote My luv is like a Red Red Rose - ‘ I will love you still my dear till all the seas gang try and the rocks melt with the sun.”  Burns collected and rewrote many of the auld Scots ballads.

 

Burns most famous narrative poem Tam O’ Shanter, was about warlocks, witches, faeries, demons – of the struggles between Old Spunkie’s creative fires and the church teaching - Tam O Shanter. He wrote this poem after a dream, on his walk along the River Nith at Ellisland farm. The Scottish painter Lachlan Goudie and his father were inspired to illustrate a book of the scary ghosts and witches in Tam O’Shanter. 

It was wonderful to see the new Scottish galleries in 2023. 

I realise Scott lived in Edinburgh but Burns was there for quite a few months in 1786 ad 1787. And was greatly influenced by his time there. He visited the men’s social clubs – Fencible Chronicles down Anchor Close. He visited William Creech’s bookshop and publishing house at the Tollbooth near St Giles cathedral and the Mercat Cross, where each day the great and the good met. 

 

He met the great love of his life here, late 1787, Agnes McLahose (or his Clarinda) – who he wrote many letters to, and his great parting song Ae Fond Kiss.

 

**Scott may have been read widely worldwide in the 1800s, but to my mind (and most Scots) Burns is our national hero and bard. He was painted by his good friend Alexander Nasmyth on their walks to Rosslyn. I realise Scott did write memorable books and poems – but his books seems one-sided and narrow of a mythical Scotland that is lost and gone forever. Of a Tory unionist Scotland, that is only part of Scotland.

 

As I walked around the Scottish art galleries – I thought ‘which’ Scotland are we emboldening and remembering here? After the first section covering the romantic period, I entered the brighter more modern period, with the windows open to the east Princes street gardens views and which display some of Scotland’s great impressionist artists – The Glasgow Boys, James Guthrie, John Lavery, William Macgregor: The Scottish Colourists, John Peploe, John Fergusson, Francis Cadell, Leslie Hunter. A memorable display.  

 

Burns was influenced by the Ossian poems of James MacPherson, as the first Scots bard – and also by the other great Scots poets. Burns was writing and collecting Scots poems before Scott, in fact he met a young sixteen year old Walter Scott at an Edinburgh literary party, after which Scott wore about Burns. 

*     *     *     *

 

 

Burns words, images and narratives are all pervasive, whether its his emotive love poems, his love of nature, his voice for all the people with his Socts a Hae and Mans a Man. His poetry has a big impact worldwide on authors in America and on Russian Burns clubs. Steinbeck’s 'Of Mice and Men' and J.D Salinger’s ‘Catcher in the Rye’.

Burns is the most significant Scotch image, heritage, word and song. We should be very proud of his legacies!

Voices of Hope Edinburgh Book festival 2025

Edinburgh International Book Festival at the Futures Institute

I travel on warm sunny days and with heightened senses and high anticipation for new insights and inspirations. The Edinburgh festivals offer HOPE in a present world often torn apart. A place for shared, diverse voices from across the world. The theme of this years Edinburgh International book festival was ‘How do we Repair’- looking for positives and connections, “to repair and reconcile in culture, politics and environment, through improving balance, resilience and hope”.   

 

The book festival is now hosted behind and on the ground floor of the impressive newly renovated Edinburgh Futures Institute near the Meadows walkway and Edinburgh university. The book festival aims to offer a safe place to challenge and to question – with over 600 writers from 35 countries offered differing perspectives on personal, social and global significance.100+ talks were live streamed. 

EIBF hosted workshops, school events, music and poetry, young adult and children’s talks. The children’s events included over 100 talks and included renowned authors Michael Rosen, Jacqueline Wilson and Cressida Cowell.

Nicola Sturgeon with Kirsty Wark

Jenny Nelson & Mark Kermode

Resilience: Renowned author Hanif Kureishi gave a talk about his recovery from a devastating accident which left him paralysed. Shattered But Unbroken. There were several book talks on books on the war in Gaza, which has turned into such destruction. Israeli writer Ilan Pappe and Israeli historian Avi Shlaim discussed the conflict in the Middle East and whether peace can exist.

Ivo Graham

Alexander McCall Smith

Brian Cox

Kate Dickie

Paula Hawkins

**TALKS

Foreign correspondent Lindsey Hilsum came with her book of war poetry, I Brought the War with me’

And spoke of how we remember poetry more than journalists stories of war. She always carries a book of poems with her to help make sense of the destruction. It’s the spaces between, the forgotten.

 

I enjoyed a talk by larger than life and popular film critic Mark Kermode, along with Radio producer Jenny Niven on their book on film music Surround Sound. This has interviews with film music composers – Johnny Greenwood and many more.  

The festival included prominent Front list talks at McEwan hall -

Former Scotland first minister Nicola Sturgeon held a positive chat with Kirsty Wark, about her new book Frankly. Mark Kermode talked all things film and acting with well kent Scots actors – Brian Cox, Kate Dickie and Michelle Gomez.

There were protests during a The Front List chat with: Yulia Navalnaya, about her husband the late

Alexei Navalnaya, over Russia’s aggression against Ukraine.

 

There were Podcasts, live cabaret, and exclusive talks. Young adult program, Children’s program. Something for everyone. Edinburgh book festival is supported by Creative Scotland, Edinburgh city council, Lottery funds. 

The festival promotes vision, resilience and a safe place IN PERSON to debate! To encourage liberal thought – To remind the world of the role of freedom, truth, culture and the arts. We should find out what unites us, and what we have in common rather than what divides us. 

Sam Heughan

Naga Munchetty

Michael Pedersen

Maggie O'Farrell

What can Scots do!

Some talks feel like English voices with a few Scots asking questions. The narrative here is Scotland needs to change – to what can Scots do! And NOT, we have business brought to us! We must do for ourselves. We’ve had 3 big figures of the devolution government. Now the baton needs to pass to a new generation. 

 *An academic from Dublin suggests that “America should never have united," under its centralised control. Trump attempts to take control. The Maga movement for instance, appears to be culture wars between the extreme left and the extreme right. And the toxic online culture, which can’t differentiate between healthy debate and saying I dislike you, because of your views. Many in today politics seem shallow and thin, with no moral backbone or hinterland - the opposite of a an informed debate. We need Citizens Assemblies. Use your time wisely and don’t get sucked into ignorant, sensationalistic echo chambers. Look wider and broader for ideas – for innovation, diverse views and creative freedoms. 

I met a young German book researcher at the talk on film music, who was there at the book festival for the week. She had studied at Edinburgh university (before the Brexit  Scotland did not vote for). We chatted and I asked her whether there must be plenty of excellent book festivals in Germany. To which she replied, oh no, not like the Edinburgh book festival!  I was surprised certainly. 

We should find out what unites us, what we have in common rather than what divides us. Hopefully Edinburgh festivals can continue to be a place for hope, voices form many places, to celebrate all the arts and that cross over. To celebrate the endurance of the human spirit.

 

**QUOTES from the festival:

Brian Cox, We need good people. 

Kate Dickie, “I love England as a neighbour, but if you’re roof is leaking, you don’t ask your neighbour to fix it.”   Tariq Ali, Fighting the empire

Edinburgh festival cultural icon Richard Demarco - “Reform is a danger to the Edinburgh Festivals”, 

He calls for “a Festival of Thought” to help save liberal democracy - with no politicians.

Some celebrity faces attend EIBF - 

 

**BOOKS & TALKS

Surround Sound – Mark Kermode and Jenny Niven

I Brought the War with me – Lindsey Hilsum

After Gaza – Pankaj Mishra

Frankly – Nicola Sturgeon 

Shattered but Unbroken – Hanif Kureishi 

A Truce that is not Peace – Miriam Toews

 

I would prefer not to see “History” books in the EIBF Bookshop by the archaeologist Neil Oliver or by the Canadian historical fiction writer John Prebble – of the Scotland lost and gone forever. Please stock more of Tom Devine’s well informed and articulate books. Also the excellent critiques of polticla theoristsTom Nairn. 

**Two competing Narratives 

Pakistani author Pankaj Mishra was writing about the two totally opposing narratives in the middle east – one of the Israelis (from the river to the sea) and the other of Palestinians (our Homelands) in his book After Gaza. It all made me think in Scotland we also have two opposing, irreconcilable narratives. In 2025 Scotland is stuck, so how can we move forward in love, in peace and in liberal thought?

 

Indy for Scotland’s self determination and improving democracy. Scots need a say over our own energy resources, immigration, climate, and infrastructure. We can still unite for good trade and security together. Unionism is for strength by being run by London, and being ‘together’ with the high centralization in London. Westminster refuses Scotland another vote.  

 

“Nationalism is both good and bad” wrote politician historian Tom Nairn. All Nationalisms are different. He claims Scotland’s nationalism is unique as Scotland jumped ahead to a modern state 1700s. By contrast European states moved to modern states 1800s, due to the uneven nature of capitalism. Scots nationalism is about our self determination. 

All I hear is depressive negatives and an SNP Bad message by the dominant mainstream unionist media. But indy isn’t all about the SNP. Its about democracy, accountability and how our democracy works or doesn’t work. Is devolution simply a trap? Someone at Westminster said recently – “Oh I forgot you’ve got that pretend government in Scotland.” After decades – the SNP Party was begun in 1934 - I’ve heard many reasons for Scottish indy, but so far I’m still searching for a positive reasons for the union.

STRANDS: Brilliant Fiction. Fascinating Non-Fiction will explore everything from moving memoirs to scientific excavations, family odysseys to travelogues. Good Information brings together a host of trustworthy experts well versed in sifting out hard fact and cutting through murky algorithms to give you an honest account of a diverse range of topics. New World Orders gathers the most authoritative voices across international and domestic politics, conflict, economics, and law to engage with and dissect current affairs, and Brainwaves holds up a magnifying glass to all things cranial, including mental health, neuroscience, and psychology. How to Live a Meaningful Life, guiding audiences new and deeper ways of creating connection, resilience and hope, amongst the chaos, and an expanded Table Talks series, with top chefs and food writers taking to the stage – or rather around the table – in intimate gatherings with audiences to enjoy delicious food and make memories together. Music, Poetry and Performance

 

Lindsey Hilsum Poetry in Times of War EIBF 2025

It’s the Poetry we’ll remember

Channel four foreign news correspondent gave a talk at Edinburgh international book festival 2025, on her book I Brought the War with me, about her poetry in times of war. She always carries a book of poetry with her. After her horrific experiences of fighting in Rwanda, she felt she needed philosophical more than psychological help.

 

She says that people remember the great poets of the world wars, and not the journalists reports. 

When in Ukraine in 2022, at a town called Izium, she stood beside an apartment block split apart by a missile. Fifty four people had been killed in the Russian attack six months before. 

 

"Purple and yellow wild flowers were growing in the rubble that filled the chasm between the two parts of the block. It is not the houses. It is the space between the houses,” I thought. “It is not the streets that exist. It is the streets that no longer exist.” 

She then thought of James Fenton 1981 poem A German Requiem, about selective memory in the second world war. 

 It is not your memories which haunt you.
It is not what you have written down.
It is what you have forgotten, what you must forget.
What you must go on forgetting all your life.

“The idea that the spaces between the houses symbolised gaps in memory, and that forgetting might be essential if people were to live together in peace, 

Poetry helps us see parallels with the past, and puts up a mirror to our fears.

 

Hilsum spoke of her often traumatic experiences covering many foreign wars over her 40 years of experience…” Many journalists are resilient, and – at least for now – I would count myself as fortunate in this regard. Witnessing the suffering of others, surviving danger and experiencing grief are all profound experiences, to which nightmares, anger, tears and bouts of despondency are all normal, human responses. They are not necessarily signs of a clinical condition.”

She explained that Poets don’t have the answers. But they may help us understand our own actions and reactions and find a way through the darkness.  

She got into reporting via aid work in Central America in the 70s. ‘I didn’t really know that war was brewing across the region – my concern was social justice, and, at 20 years old, I just wanted to have an adventure and change the world. (I succeeded in the former but not – needless to say – in the latter.) In 1982, I moved to Kenya to work for the UN International Children’s Emergency Fund, Unicef.

She realised her main skill was to pivot to journalism. “Reality overcame the illusions I harboured. Nearly every country neighbouring Kenya – Uganda, Sudan, Somalia, Ethiopia – was going through civil war… I found that while reporting on people in war zones was at times upsetting and occasionally terrifying, it was also rewarding and exciting. I felt that I was living through history as it happened. Later, I was lucky enough to get a job with Channel 4 News, based in London, and while I have never been exclusively a war correspondent, I have spent a lot of my career reporting conflict”

She spoke of the great war poets, and said that many war poems are written by women. “I am drawn to what Wilfred Owen described as: “The pity of war, the pity war distilled.” 

Hilsum, was handed a rose in Velyka Novosilka, eastern Ukraine, by Oleksiy, who was cycling across town to see his friend, at the start of the Ukrainian counter-offensive in June 2023.” 

“ journalism is ephemeral. We rarely read the stories written by reporters who covered the first and second world wars. We do, of course, read the poetry. They focus on what is critical now – this village taken, that truce broken, a new atrocity by occupying forces. But poets through the ages have turned the horror of war into transcendent works of beauty and meaning.

The late Irish musician Frank Harte said: “Those in power write the history; those who suffer write the songs.”

 This is an extract from I Brought the War with Me by Lindsey Hilsum, which is published by Chatto & Windus on 19 September (£16.99). 

II  Extract from her memoir, she explains why her own words were not always enough    

My TV news report reflected some of this, but it did not have the allusive power of the poem.

“In my nearly four decades as a foreign correspondent, I have always carried a book of poetry with me. While the images we show have great impact, I feel that journalistic language sometimes fails to convey the intensity of the experience. Maybe Fenton’s poetry resonates with me because he was a war correspondent as well as a poet – he sees what I see but has found a more compelling way of expressing it, as if he is working in three dimensions while I am stuck in two. We journalists pride ourselves on the clarity of our prose and on making complex stories simple. That’s our job – to explain why terrible things are happening and to challenge the euphemisms used by politicians and military spokespeople. We also try to convey the thoughts and feelings of the people we meet, and a sense of what it feels like to be on the ground. Yet we may lose the deeper meaning, the universal import of what we have witnessed or the contradictory emotions that war engenders.”

She got into reporting via aid work in Central America in the 70s. "I didn’t really know that war was brewing across the region – my concern was social justice, and, at 20 years old, I just wanted to have an adventure and change the world. (I succeeded in the former but not – needless to say – in the latter.) In 1982, I moved to Kenya to work for the UN International Children’s Emergency Fund, Unicef."

”She realised her main skill was to pivot to journalism. “Reality overcame the illusions I harboured. Nearly every country neighbouring Kenya – Uganda, Sudan, Somalia, Ethiopia – was going through civil war… I found that while reporting on people in war zones was at times upsetting and occasionally terrifying, it was also rewarding and exciting. I felt that I was living through history as it happened. Later, I was lucky enough to get a job with Channel 4 News, based in London, and while I have never been exclusively a war correspondent, I have spent a lot of my career reporting conflict”

War gives your life purpose and meaning… the colours are brighter and the mountains clearer

She spoke of her personal reporting of war zones – “The lives of those who have had war visited upon them, the children, conscripts and civilians, are desperate and miserable. But those who visit war – aid workers, journalists, military volunteers – share a secret. War gives your life purpose and meaning."

 Suddenly you believe you know what matters and what can be dismissed as unimportant. The colours are brighter and the mountains clearer. You live in the moment.” 

This is an extract from I Brought the War with Me by Lindsey Hilsum, which is published by Chatto & Windus on 19 September (£16.99).