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.

 

Walter Scott’s fake nationalism and false myths of Scotland

“pervasive, second-rate sentimentalist, associated with tartan nostalgia.”

 For Walter Scott - “the past is gone, beyond recall.” ….it evokes a national past never to revive it.”

.... no part of political or social mobilization of present by a mythical emphasis on

 

Walter Scott’s novels were read across the world, and his contribution to the rising tide of national romanticism, was a great one.  – “however it was great everywhere but in his own nation of Scotland.” Scott wrote of a  “romantic national culture and the rise of a kitsch Scotland.”

 

Tom Nairn, leading political theorist, denounces Scots novelist Walter Scott- ..”the destruction of Celtic Scotland was to haunt Lowlanders or the Scotland of Sir Walter Scott. He showed us “how not to be nationalist during an ascendant political nationalism. Its the language of Tory unionism and of progress”/ 

 

“From Ossian to Walter Scott played a large part in generating and defining romantic consciousness for the rest of Europe while degrading his own nation. Which led to rootlessness, a void, which cultural and literary historians deplore.  The continuity between (heroic) past and present.”…....  The heart may regret but never the head.”

 

Nairn writes of the failures of Scottish Nationalism, during the 1800s under the false romantic myths such as the writing of Walter Scott and of a bereft Scottish literature at this time.  Two examples – cultural emigration and the Kailyard school of vulgar tartanry.”,,, 

 

Scotland reverted to being a province 1800s, while prosperous and imperial. Why? Scotland became void and rootless. 1. Absence of political nationalism 2. Absence of a mature cultural romanticism. The poor Highland's world and comparatively prosperous Lowland world, and the total repression of Highland culture and social structure. The highland were once half of the population of Scotland.

Scott monument Edinburgh

By contrast the real purpose of romantic history was different – cultural nationalism was the mythical resuscitation of the past, to serve the present and the future. 

 

Scott caused disintegration of a great national culture. Elsewhere in Europe, “the middle classes felt the development for people was impossible without rapid mobilization of their own resources and rejection of alien rule.”

 

Nairn claims Scotland is unique in Europe, where nationalism struggled with its national identity and along with the rise of nationalism 1800s and the rise of nation states across Europe, as the "result of the uneven development of capitalism."

 

That the Scottish Enlightenment was very much a Tory project. While Scotland prospered during the 1800s with manufacturing, its literary voice became bereft. He sees Walter Scott’s work of a mythical Scotland and Scots heroes, as very much glorifying a past that was gone and to be forgotten. Scotland became north Britain. While Scott’s romantic and mythical novels were highly successful across the world. 

 

The real interests of Scotland diverge from the auld sang

Walter Scott, wizard of the north

Walter Scott, (1771 – 1832), was a Scottish historical novelist, poet, playwright and historian. Many of his books are classics of European and Scottish literature. Walter Scott is greatly misrepresented today though and sometimes thought of as the planner of a tartan Edinburgh for George IV's visit to Leith, the first British monarch to visit Scotland for 200 years! Waverly station is named after Scott's hero. In his day late 1700s, Scott was widely read and one of the most famous authors. This year is the 250th anniversary his Scott’s birth. The Scott monument rises tall over Princes street gardens and Scott clearly had a huge influence on Scots culture and heritage. Yet how many of us today read his works? 

At the age of 14, he met Robert Burns at an Edinburgh gathering and wrote about and was in awe of the genius poet: when he wrote, “[Burns’] 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….There was a strong expression of sense and shrewdness in all his lineaments; the eye alone, I think, indicated the poetical temperament. It was large and of a dark cast, and glowed (I say 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 in my time…His conversation expressed perfect self-confidence without the slightest presumption. Among those who were the most learned of their time and country he expressed himself with perfect firmness, but without the least intrusive forwardness; and when he differed in opinion, he did not hesitate to express it firmly, yet at the same time with modesty.”

Scott met poet Robert Burns

Scott had the good fortune to study moral philosophy and history, the former taught by Dugald Stewart and the latter by Alexander Fraser Tytler. Both these major figures of the Scottish Enlightenment had a huge influence on Scott, the former with his belief that moral philosophy should be the study of man in society while the latter preached an empirical approach to history.

Scott was internationally famous in his day

There are a great many views of the controversial novelist- He believed in the benefits of union, but he also believed in Scotland’s right to be a nation and fought for Scotland to keep its bank notes. 

 

Scott is remembered today for his friendship with George III and for draping his visit by boat to Leith, in tartan 1822. Scott tried to straddle both camps – unionist and patriot and romantic Jacobite

– and in so doing alienated some Scots. But in his day he was much celebrated. He was fascinated by history. He recovered the Scottish crown jewels, now exhibited at the Edinburgh castle, which were discovered deep in the castle and had been hidden since the union. 

 

The Scotland Scott represents in his work is very different to the one Burns wrote about. Burns walked in all parts of society. It seems to me it is Scott that has a Romanised view of what the union with England meant for Scotland, with only 3% of Landowning men having a vote.

 

Scott wrote on movements within culture and society at times of transition and seismic change.

Scott was intrigued by the way different stages of societal development can exist side by side in one country. In a discussion of his novels the poet Coleridge observed they derived 'long-sustained interest ' from 'the contest between the two great moving Principles of social Humanity—religious adherence to the Past and the Ancient, the Desire & the admiration of Permanence, on the one hand; and the Passion for increase of Knowledge, for Truth as the offspring of Reason, in short, the mighty Instincts of Progression and Free-agency, on the other'.

 

**His best known Poems by Scott’s include – 

Bonny Dundee, Lochinvar, Lady of the Lake, 

Scott’s Novels – 

Waverly, Ivanhoe, Rob Roy, The Heart of Midlothian, Kenilworth, Redgauntlet, Bride of Lammermoor, Marmion,

 

The American song for the President, “Hail to the Chief” was taken from Scott’s narrative poem Lady of the Lake.

 

As well a historical novels, he wrote reviews, the Life of Napoleon Bonaparte, Tales of a Grandfather. He was a member of the Society of Antiquaries, Fellowship of Royal Society Edina, Edinburgh Speculative Society.

Historical context: Scotland joined the incorporating union in 1707, Jacobites defeated 1745, Highland repression and clearances and calls of reform, when only 3% of landowning men had a vote. Battle of Waterloo, economic collapse. Radical war 1820, radical road Edinburgh.

Abbotsford

George IV arriving at Leith 1822

In his later years he built Abbotsford near Melrose. Abbotsford is a House of history, with 1400 acres, 4k trees, He was also a lawyer and evolutionist and was part of the Tory establishment. Advocate 1792, then sheriff deputy of Selkirkshire and later clerk of the court sessions. His face continues to be on Scottish banknotes today.

In 1826, Scott’s wife died, Britain suffered financial collapse, publishers were bankrupt. Scott worked on his Magnus opus to pay off debt.

 

Scott wrote “When we had a king and a chancellor and parliament – men o our ain, we could aye peeble them wi stanes when they wean gude bairns, but naebody’s nails can reach the length o Lunnon.”

 

Scott was by far the most popular poet and novelist of his time.

 

' Bonnie Dundee is the title of a poem and a song written by Walter Scott in 1825 in honour of John Graham, 7t Laird of Claverhouse, who was created 1st Viscount Dundee in November 1688, then in 1689 led a Jacobite rising in which he died, becoming a Jacobite hero. The older tune Bonny Dundee adapted by Scott had already been used for several songs appearing under variations of that title and referring to the bonnie town of Dundee rather than to Claverhouse. Scott's song has been used as a regimental march by several Scottish regiments in the British army. 

 

For the love of the bonnet of Bonny Dundee."

Come fill up my cup, etc. 

The Gordon demands of him which way he goes?

"Where'er shall direct me the shade of Montrose!

Your Grace in short space shall hear tidings of me,

Or that low lies the bonnet of Bonny Dundee.

Come fill up my cup, etc.

"There are hills beyond Pentland and lands beyond Forth,

If there's lords in the Lowlands, there's chiefs in the North;

There are wild Duniewassals three thousand times three,

Will cry hoigh! for the bonnet of Bonny Dundee.

Come fill up my cup, etc. 

"There's brass on the target of barkened bull-hide;

There's steel in the scabbard that dangles beside;

The brass shall be burnished, the steel shall flash free,

At the toss of the bonnet of Bonny Dundee.

Come fill up my cup, etc.

"Away to the hills, to the caves, to the rocks

Ere I own an usurper, I'll couch with the fox;

And tremble, false Whigs, in the midst of your glee,

You have not seen the last of my bonnet and me!"

Come fill up my cup, etc.

He waved his proud hand, the trumpets were blown,

The kettle-drums clashed and the horsemen rode on,

Till on Ravelston's cliffs and on Clemiston 's lee

Died away the wild war-notes of Bonny Dundee.

Come fill up my cup, come fill up my can,

Come saddle the horses, and call up the men,

Come open your gates, and let me gae free,

For it's up with the bonnets of Bonny Dundee! 

 

Crucial to Scott's historical thinking is the concept that very different societies can be observed moving through the same stages as they develop, and also that humanity is basically unchanging, or as he puts it in the first chapter of Waverley that there are 'passions common to men in all stages of society, and which have alike agitated the human heart, whether it throbbed under the steel corslet of the fifteenth century, the brocaded coat of the eighteenth, or the blue frock and white dimity waistcoat of the present day'. It was one of Scott's main achievements to give lively and detailed pictures of different stages of Scottish, British, and European society while making it clear that for all the differences in the forms they took the human passions were the same as those of his own age. His readers could therefore appreciate the depiction of an unfamiliar society while having no difficulty in relating to the characters.

 

 

Is there A NEW Scottish Writers Museum

I saunter through the energy of the Fringe performers on the High Street. I walk along George street, on up the Mound and on down the high street.  I eat at  Bilbos on the corner of Chambers St.

I stopped in at the very small Scottish writers museum up a small winding stair in a hidden close at the top of the High street. There are exhibits to Robert Burns, Robert Louis Stevenson, and Walter Scott. Apart from a few Burns paintings and a display of the  Kilmarnock first Edition of his Poems - there is not a lot here.

I asked the lady there about a possible new museum. I said I had visited the Irish Writers museum which is housed in an impressive Georgian mansion and is 50 times bigger

There was talk of putting a decent size Scottish Writers museum beside the National library.

There are no modern authors or women writers or any of Scotland’s great philosophers of the enlightenment; Where is Robert Fergusson who wrote of Edinburgh and inspired Burns to write in Scots? Where is Adam Smith, David Hume, Allan Ramsay, Arthur Conan Doyle, Hugh MacDiarmid, James MacPherson or JM Barrie?

At an Irish concert at Celtic Connections I mentioned to an Irish lady beside me about the interesting Irish Writers Museum – she said perhaps there weren’t enough good Scottish writers!  I hope one day she might be proved wrong and we might have as Scottish Writers Museum that truly reflects not only this great city of Literature and  also the MANY great Scottish writers and artists.

In 1786 Scotland’s greatest poet – and one of the world’s greatest poets – made his way on a borrowed pony across the lowlands from Ayr and on into Edinburgh. At the time they were building the Georgian new town. He came in order to try to get the second edition of his poems published. He went to find the grave of the poet Robert Fergusson, who also wrote in both Scots and English. He stayed in a close near the castle and met many of the great and good of the capital – it was all a New World for him.

And where is any Edinburgh statue to Burns?

There is no a statue to Robert Burns, one of the greatest poets and songssmiths who ever lived in the centre of Edinburgh. I learnt recently there is a statue to Burns at the bottom of Leith walk, I used to pass every day only way to secondary school in Newhaven, near the Forth river. It really is a shocking state of affairs which makes me think Burns (while he tried) wasn’t considered unionist enough by the powers that be – not compared to the tall Gothic spire to Walter Scott in Princes street anyway. And A Mans a Man for A That as too egalitarian and feared by upper classes….. (votes for all was not until after WW1).

Our Statues of Hanoverian Kings in Scotland

Along Edinburgh's George street are the statues – King George IV, William Pitt the Younger and Prince Albert astride his horse in Charlotte Square. At the far end of George street there is a new (2008) statue to the forgotten and now remembered scientist James Clerk Maxwell. In Edinburgh’s new town the streets are named after the German Hanoverian Kings – streets Frederick, Anne, Hanover, George. I noticed on my walk there last summer for my visit to its major festival.

While on Princes street there is a tall black Gothic monument to the writer Walter Scott - some believe was a unionist but was actually, as are most of Scotland's writers and poets - a nationalist. 

I discovered recently there is a statue to our national bard, Robert Burns, at the bottom of Leith walk that I used to pass every day on my bus to secondary school at Granton. 

David Hume

Does all this matter? In some respects yes. All these labels are significantly unionist and royalist .How would it be if the streets were named after the Stewart kings and a statue of Robert the Bruce, a statue of hero William Wallace or John Knox dominated James or Stewart street instead!

Over in Glasgow's George Square there is a more relevant, if slightly strange, mixture of statues of the Victorian era and the time when Glasgow’s Tobacco Lords did well out of the Empire and union – statues of Walter Scott, James Watt, Robert Burns, chemist Thomas Graham, Prince Albert, Robert Peel, Gladstone, Queen Victoria, Jimmy Oswald, Lord Clyde, Tam Campbell, John Moore, some soldiers and those lions.  

There are also no statues to women (as if all great women are air brushed out).  There has been a campaign recently for a statue to the great female reformer Mary Barbour in Glasgow.

 

Prince Albert

And surely to have the statue to our great Robert Burns hidden down Leith is truly shocking. So my first thought is a statue to Burns at the Mound! I might wish. Or a statue to the great democracy reformer Thomas Muir.

 

George IV

In Edinburgh there are two statues of dogs and two of Queen Victoria and 200 statues of men. Up near St Giles on the Royal Mile are more statues to great men – David Hume (philosopher and economist), Duke of Buccleuch, Adam Smith, James Braidwood, Charles II.  

Burns in George Square Glasgow

Yes I know we have mostly lived in a patriarchal society, where women’s roles have been swept aside – as mothers, supporters, carers. The more I read though, the more I discover that women have been essential to many great men and also for society in general – and sadly their input has mostly been forgotten and air brushed out.

Of course its not long ago that women were given the vote (and non-land owning men) and given entry to university education - so I guess it takes time for change to happen!  I just read that there will be a statue to singer Cilla Black in Liverpool.

BLOG to follow on Great Scottish Women