M'Murdo united with Dr. Maxwell in persuading him, at the beginning of
the summer, to seek health at the Brow-well, a few miles east of
Dumfries, where there were pleasant walks on the Solway-side, and
salubrious breezes from the sea, which it was expected would bring the
health to the poet they had brought to many. For a while, his looks
brightened up, and health seemed inclined to return: his friend, the
witty and accomplished Mrs. Riddel, who was herself ailing, paid him a
visit. "I was struck," she said, "with his appearance on entering the
room: the stamp of death was impressed on his features. His first
words were, 'Well, Madam, have you any commands for the other world?'
I replied that it seemed a doubtful case which of us should be there
soonest; he looked in my face with an air of great kindness, and
expressed his concern at seeing me so ill, with his usual sensibility.
At table he ate little or nothing: we had a long conversation about
his present state, and the approaching termination of all his earthly
prospects. He showed great concern about his literary fame, and
particularly the publication of his posthumous works; he said he was
well aware that his death would occasion some noise, and that every
scrap of his writing would be revived against him, to the injury of
his future reputation; that letters and verses, written with unguarded
freedom, would be handed about by vanity or malevolence when no dread
of his resentment would restrain them, or prevent malice or envy from
pouring forth their venom on his name. I had seldom seen his mind
greater, or more collected. There was frequently a considerable degree
of vivacity in his sallies; but the concern and dejection I could not
disguise, damped the spirit of pleasantry he seemed willing to
indulge." This was on the evening of the 5th of July; another lady who
called to see him, found him seated at a window, gazing on the sun,
then setting brightly on the summits of the green hills of Nithsdale.
"Look how lovely the sun is," said the poet, "but he will soon have
done with shining for me."
He now longed for home: his wife, whom he ever tenderly loved, was
about to be confined in child-bed: his papers were in sad confusion,
and required arrangement; and he felt that desire to die, at least,
among familiar things and friendly faces, so common to our nature. He
had not long before, though much reduced in pocket, refused with scorn
an offer of fifty pounds, which a speculating bookseller made, for
leave to publish his looser compositions; he had refused an offer of
the like sum yearly, from Perry of the Morning Chronicle, for poetic
contributions to his paper, lest it might embroil him with the ruling
powers, and he had resented the remittance of five pounds from
Thomson, on account of his lyric contributions, and desired him to do
so no more, unless he wished to quarrel with him; but his necessities
now, and they had at no time been so great, induced him to solicit
five pounds from Thomson, and ten pounds from his cousin, James
Burness, of Montrose, and to beg his friend Alexander Cunningham to
intercede with the Commissioners of Excise, to depart from their usual
practice, and grant him his full salary; "for without that," he added,
"if I die not of disease, I must perish with hunger." Thomson sent the
five pounds, James Burness sent the ten, but the Commissioners of
Excise refused to be either merciful or generous. Stobie, a young
expectant in the customs, was both;--he performed the duties of the
dying poet, and refused to touch the salary. The mind of Burns was
haunted with the fears of want and the terrors of a jail; nor were
those fears without foundation; one Williamson, to whom he was
indebted for the cloth to make his volunteer regimentals, threatened
the one; and a feeling that he was without money for either his own
illness or the confinement of his wife, threatened the other.
Burns returned from the Brow-well, on the 18th of July: as he walked
from the little carriage which brought him up the Mill hole-brae to
his own door, he trembled much, and stooped with weakness and pain,
and kept his feet with difficulty: his looks were woe-worn and
ghastly, and no one who saw him, and there were several, expected to
see him again in life. It was soon circulated through Dumfries, that
Burns had returned worse from the Brow-well; that Maxwell thought ill
of him, and that, in truth, he was dying. The anxiety of all classes
was great; differences of opinion were forgotten, in sympathy for his
early fate: wherever two or three were met together their talk was of
Burns, of his rare wit, matchless humour, the vivacity of his
conversation, and the kindness of his heart. To the poet himself,
death, which he now knew was at hand, brought with it no fear; his
good-humour, which small matters alone ruffled, did not forsake him,
and his wit was ever ready. He was poor--he gave his pistols, which he
had used against the smugglers on the Solway, to his physician, adding
with a smile, that he had tried them and found them an honour to their
maker, which was more than he could say of the bulk of mankind! He was
proud--he remembered the indifferent practice of the corps to which he
belonged, and turning to Gibson, one of his fellow-soldiers, who stood
at his bedside with wet eyes, "John," said he, and a gleam of humour
passed over his face, "pray don't let the awkward-squad fire over me."
It was almost the last act of his life to copy into his Common-place
Book, the letters which contained the charge against him of the
Commissioners of Excise, and his own eloquent refutation, leaving
judgment to be pronounced by the candour of posterity.
It has been injuriously said of Burns, by Coleridge, that the man
sunk, but the poet was bright to the last: he did not sink in the
sense that these words imply: the man was manly to the latest draught
of breath. That he was a poet to the last, can be proved by facts, as
well as by the word of the author of Christabel. As he lay silently
growing weaker and weaker, he observed Jessie Lewars, a modest and
beautiful young creature, and sister to one of his brethren of the
Excise, watching over him with moist eyes, and tending him with the
care of a daughter; he rewarded her with one of those songs which are
an insurance against forgetfulness. The lyrics of the north have
nothing finer than this exquisite stanza:--
"Altho' thou maun never be mine,
Altho' even hope is denied,
'Tis sweeter for thee despairing,
Than aught in the world beside."
His thoughts as he lay wandered to Charlotte Hamilton, and he
dedicated some beautiful stanzas to her beauty and her coldness,
beginning, "Fairest maid on Devon banks."
It was a sad sight to see the poet gradually sinking; his wife in
hourly expectation of her sixth confinement, and his four helpless
children--a daughter, a sweet child, had died the year before--with no
one of their lineage to soothe them with kind words or minister to
their wants. Jessie Lewars, with equal prudence and attention, watched
over them all: she could not help seeing that the thoughts of the
desolation which his death would bring, pressed sorely on him, for he
loved his children, and hoped much from his boys. He wrote to his
father-in-law, James Armour, at Mauchline, that he was dying, his wife
nigh her confinement, and begged that his mother-in-law would hasten
to them and speak comfort. He wrote to Mrs. Dunlop, saying, "I have
written to you so often without receiving any answer that I would not
trouble you again, but for the circumstances in which I am. An illness
which has long hung about me in all probability will speedily send me
beyond that bourne whence no traveller returns. Your friendship, with
which for many years you honoured me, was a friendship dearest to my
soul: your conversation and your correspondence were at once highly
entertaining and instructive--with what pleasure did I use to break up
the seal! The remembrance yet adds one pulse more to my poor
palpitating heart. Farewell!" A tremor pervaded his frame; his tongue
grew parched, and he was at times delirious: on the fourth day after
his return, when his attendant, James Maclure, held his medicine to
his lips, he swallowed it eagerly, rose almost wholly up, spread out
his hands, sprang forward nigh the whole length of the bed, fell on
his face, and expired. He died on the 21st of July, when nearly
thirty-seven years and seven months old.
The burial of Burns, on the 25th of July, was an impressive and
mournful scene: half the people of Nithsdale and the neighbouring
parts of Galloway had crowded into Dumfries, to see their poet
"mingled with the earth," and not a few had been permitted to look at
his body, laid out for interment. It was a calm and beautiful day, and
as the body was borne along the street towards the old kirk-yard, by
his brethren of the volunteers, not a sound was heard but the measured
step and the solemn music: there was no impatient crushing, no fierce
elbowing--the crowd which filled the street seemed conscious of what
they were now losing for ever. Even while this pageant was passing,
the widow of the poet was taken in labour; but the infant born in that
unhappy hour soon shared his father's grave. On reaching the northern
nook of the kirk-yard, where the grave was made, the mourners halted;
the coffin was divested of the mort-cloth, and silently lowered to its
resting-place, and as the first shovel-full of earth fell on the lid,
the volunteers, too agitated to be steady, justified the fears of the
poet, by three ragged volleys. He who now writes this very brief and
imperfect account, was present: he thought then, as he thinks now,
that all the military array of foot and horse did not harmonize with
either the genius or the fortunes of the poet, and that the tears
which he saw on many cheeks around, as the earth was replaced, were
worth all the splendour of a show which mocked with unintended mockery
the burial of the poor and neglected Burns. The body of the poet was,
on the 5th of June, 1815, removed to a more commodious spot in the
same burial-ground--his dark, and waving locks looked then fresh and
glossy--to afford room for a marble monument, which embodies, with
neither skill nor grace, that well-known passage in the dedication to
the gentlemen of the Caledonian Hunt:--"The poetic genius of my
country found me, as the prophetic bard, Elijah, did Elisha, at the
plough, and threw her inspiring mantle over me." The dust of the bard
was again disturbed, when the body of Mrs. Burns was laid, in April,
1834, beside the remains of her husband: his skull was dug up by the
district craniologists, to satisfy their minds by measurement that he
was equal to the composition of "Tam o' Shanter," or "Mary in Heaven."
This done, they placed the skull in a leaden box, "carefully lined
with the softest materials," and returned it, we hope for ever, to the
hallowed ground.
Thus lived and died Robert Burns, the chief of Scottish poets: in his
person he was tall and sinewy, and of such strength and activity, that
Scott alone, of all the poets I have seen, seemed his equal: his
forehead was broad, his hair black, with an inclination to curl, his
visage uncommonly swarthy, his eyes large, dark and lustrous, and his
voice deep and manly. His sensibility was strong, his passions full to
overflowing, and he loved, nay, adored, whatever was gentle and
beautiful. He had, when a lad at the plough, an eloquent word and an
inspired song for every fair face that smiled on him, and a sharp
sarcasm or a fierce lampoon for every rustic who thwarted or
contradicted him. As his first inspiration came from love, he
continued through life to love on, and was as ready with the lasting
incense of the muse for the ladies of Nithsdale as for the lasses of
Kyle: his earliest song was in praise of a young girl who reaped by
his side, when he was seventeen--his latest in honour of a lady by
whose side he had wandered and dreamed on the banks of the Devon. He
was of a nature proud and suspicious, and towards the close of his
life seemed disposed to regard all above him in rank as men who
unworthily possessed the patrimony of genius: he desired to see the
order of nature restored, and worth and talent in precedence of the
base or the dull. He had no medium in his hatred or his love; he never
spared the stupid, as if they were not to be endured because he was
bright; and on the heads of the innocent possessors of titles or
wealth he was ever ready to shower his lampoons. He loved to start
doubts in religion which he knew inspiration only could solve, and he
spoke of Calvinism with a latitude of language that grieved pious
listeners. He was warm-hearted and generous to a degree, above all
men, and scorned all that was selfish and mean with a scorn quite
romantic. He was a steadfast friend and a good neighbour: while he
lived at Ellisland few passed his door without being entertained at
his table; and even when in poverty, on the Millhole-brae, the poor
seldom left his door but with blessings on their lips.
Of his modes of study he has himself informed us, as well as of the
seasons and the places in which he loved to muse. He composed while he
strolled along the secluded banks of the Doon, the Ayr, or the Nith:
as the images crowded on his fancy his pace became quickened, and in
his highest moods he was excited even to tears. He loved the winter
for its leafless trees, its swelling floods, and its winds which swept
along the gloomy sky, with frost and snow on their wings: but he loved
the autumn more--he has neglected to say why--the muse was then more
liberal of her favours, and he composed with a happy alacrity unfelt
in all other seasons. He filled his mind and heart with the materials
of song--and retired from gazing on woman's beauty, and from the
excitement of her charms, to record his impressions in verse, as a
painter delineates oil his canvas the looks of those who sit to his
pencil. His chief place of study at Ellisland is still remembered: it
extends along the river-bank towards the Isle: there the neighbouring
gentry love to walk and peasants to gather, and hold it sacred, as the
place where he composed Tam O' Shanter. His favourite place of study
when residing in Dumfries, was the ruins of Lincluden College, made
classic by that sublime ode, "The Vision," and that level and clovery
sward contiguous to the College, on the northern side of the Nith: the
latter place was his favourite resort; it is known now by the name of
Burns's musing ground, and there he conceived many of his latter
lyrics. In case of interruption he completed the verses at the
fireside, where he swung to and fro in his arm-chair till the task was
done: he then submitted the song to the ordeal of his wife's voice,
which was both sweet and clear, and while she sung he listened
attentively, and altered or amended till the whole was in harmony,
music and words.
The genius of Burns is of a high order: in brightness of expression
and unsolicited ease and natural vehemence of language, he stands in
the first rank of poets: in choice of subjects, in happiness of
conception, and loftiness of imagination, he recedes into the second.
He owes little of his fame to his objects, for, saving the beauty of a
few ladies, they were all of an ordinary kind: he sought neither in
romance nor in history for themes to the muse; he took up topics from
life around which were familiar to all, and endowed them with
character, with passion, with tenderness, with humour--elevating all
that he touched into the regions of poetry and morals. He went to no
far lands for the purpose of surprising us with wonders, neither did
he go to crowns or coronets to attract the stare of the peasantry
around him, by things which to them were as a book shut and sealed:
"The Daisy" grew on the lands which he ploughed; "The Mouse" built her
frail nest on his own stubble-field; "The Haggis" reeked on his own
table; "The Scotch Drink" of which he sang was the produce of a
neighbouring still; "The Twa Dogs," which conversed so wisely and
wittily, were, one of them at least, his own collies; "The Vision" is
but a picture, and a brilliant one, of his own hopes and fears; "Tam
Samson" was a friend whom he loved; "Doctor Hornbook" a neighbouring
pedant; "Matthew Henderson" a social captain on half-pay; "The Scotch
Bard" who had gone to the West Indies was Burns himself; the heroine
of "The Lament" was Jean Armour; and "Tam O' Shanter" a facetious
farmer of Kyle, who rode late and loved pleasant company, nay, even
"The Deil" himself, whom he had the hardihood to address, was a being
whose eldrich croon bad alarmed the devout matrons of Kyle, and had
wandered, not unseen by the bard himself, among the lonely glens of
the Doon. Burns was one of the first to teach the world that high
moral poetry resided in the humblest subjects: whatever he touched
became elevated; his spirit possessed and inspired the commonest
topics, and endowed them with life and beauty.
His songs have all the beauties and but few of them the faults of his
poems: they flow to the music as readily as if both air and words came
into the world together. The sentiments are from nature, they are
rarely strained or forced, and the words dance in their places and
echo the music in its pastoral sweetness, social glee, or in the
tender and the moving. He seems always to write with woman's eye upon
him: he is gentle, persuasive and impassioned: he appears to watch her
looks, and pours out his praise or his complaint according to the
changeful moods of her mind. He looks on her, too, with a sculptor's
as well as a poet's eye: to him who works in marble, the diamonds,
emeralds, pearls, and elaborate ornaments of gold, but load and injure
the harmony of proportion, the grace of form, and divinity of
sentiment of his nymph or his goddess--so with Burns the fashion of a
lady's boddice, the lustre of her satins, or the sparkle of her
diamonds, or other finery with which wealth or taste has loaded her,
are neglected us idle frippery; while her beauty, her form, or her
mind, matters which are of nature and not of fashion, are remembered
and praised. He is none of the millinery bards, who deal in scented
silks, spider-net laces, rare gems, set in rarer workmanship, and who
shower diamonds and pearls by the bushel on a lady's locks: he makes
bright eyes, flushing cheeks, the magic of the tongue, and the
"pulses' maddening play" perform all. His songs are, in general,
pastoral pictures: he seldom finishes a portrait of female beauty
without enclosing it in a natural frame-work of waving woods, running
streams, the melody of birds, and the lights of heaven. Those who
desire to feel Burns in all his force, must seek some summer glen,
when a country girl searches among his many songs for one which
sympathizes with her own heart, and gives it full utterance, till wood
and vale is filled with the melody. It is remarkable that the most
naturally elegant and truly impassioned songs in our literature were
written by a ploughman in honour of the rustic lasses around him.
His poetry is all life and energy, and bears the impress of a warm
heart and a clear understanding: it abounds with passions and
opinions--vivid pictures of rural happiness and the raptures of
successful love, all fresh from nature and observation, and not as
they are seen through the spectacles of books. The wit of the clouted
shoe is there without its coarseness: there is a prodigality of humour
without licentiousness, a pathos ever natural and manly, a social joy
akin sometimes to sadness, a melancholy not unallied to mirth, and a
sublime morality which seeks to elevate and soothe. To a love of man
he added an affection for the flowers of the valley, the fowls of the
air, and the beasts of the field: he perceived the tie of social
sympathy which united animated with unanimated nature, and in many of
his finest poems most beautifully he has enforced it. His thoughts are
original and his style new and unborrowed: all that he has written is
distinguished by a happy carelessness, a bounding elasticity of
spirit, and a singular felicity of expression, simple yet inimitable;
he is familiar yet dignified, careless, yet correct, and concise, yet
clear and full. All this and much more is embodied in the language of
humble life--a dialect reckoned barbarous by scholars, but which,
coming from the lips of inspiration, becomes classic and elevated.
The prose of this great poet has much of the original merit of his
verse, but it is seldom so natural and so sustained: it abounds with
fine outflashings and with a genial warmth and vigour, but it is
defaced by false ornament and by a constant anxiety to say fine and
forcible things. He seems not to know that simplicity was as rare and
as needful a beauty in prose as in verse; he covets the pauses of
Sterne and the point and antithesis of Junius, like one who believes
that to write prose well he must be ever lively, ever pointed, and
ever smart. Yet the account which he wrote of himself to Dr. Moore is
one of the most spirited and natural narratives in the language, and
composed in a style remote from the strained and groped-for witticisms
and put-on sensibilities of many of his letters:--"Simple," as John
Wilson says, "we may well call it; rich in fancy, overflowing in
feeling, and dashed off in every other paragraph with the easy
boldness of a great master."
PREFACE.
[The first edition, printed at Kilmarnock, July, 1786, by John Wilson,
bore on the title-page these simple words:--"Poems, chiefly in the
Scottish Dialect, by Robert Burns;" the following motto, marked
"Anonymous," but evidently the poet's own composition, was more
ambitious:--
"The simple Bard, unbroke by rules of art,
He pours the wild effusions of the heart:
And if inspired, 'tis nature's pow'rs inspire--
Hers all the melting thrill, and hers the kindling fire."]
The following trifles are not the production of the Poet, who, with
all the advantages of learned art, and perhaps amid the elegancies and
idlenesses of upper life, looks down for a rural theme with an eye to
Theocritus or Virgil. To the author of this, these, and other
celebrated names their countrymen, are, at least in their original
language, _a fountain shut up, and a book sealed._ Unacquainted with
the necessary requisites for commencing poet by rule, he sings the
sentiments and manners he felt and saw in himself and his rustic
compeers around him in his and their native language. Though a rhymer
from his earliest years, at least from the earliest impulse of the
softer passions, it was not till very lately that the applause,
perhaps the partiality, of friendship awakened his vanity so for as to
make him think anything of his worth showing: and none of the
following works were composed with a view to the press. To amuse
himself with the little creations of his own fancy, amid the toil and
fatigue of a laborious life; to transcribe the various feelings--the
loves, the griefs, the hopes, the fears--in his own breast; to find
some kind of counterpoise to the struggles of a world, always an alien
scene, a task uncouth to the poetical mind--these were his motives for
courting the Muses, and in these he found poetry to be its own reward.
Now that he appears in the public character of an author, he does it
with fear and trembling. So dear is fame to the rhyming tribe, that
even he, an obscure, nameless Bard, shrinks aghast at the thought of
being branded as--an impertinent blockhead, obtruding his nonsense on
the world; and, because he can make a shift to jingle a few doggerel
Scotch rhymes together, looking upon himself as a poet of no small
consequence, forsooth!
It is an observation of that celebrated poet, Shenstone, whose divine
elegies do honour to our language, our nation, and our species, that
"_Humility_ has depressed many a genius to a hermit, but never raised
one to fame!" If any critic catches at the word _genius_ the author
tells him, once for all, that he certainly looks upon himself as
possessed of some poetic abilities, otherwise his publishing in the
manner he has done would be a manoeuvre below the worst character,
which, he hopes, his worst enemy will ever give him. But to the genius
of a Ramsay, or the glorious dawnings of the poor, unfortunate
Fergusson, he, with equal unaffected sincerity, declares, that even in
his highest pulse of vanity, he has not the most distant pretensions.
These two justly admired Scotch poets he has often had in his eye in
the following pieces, but rather with a view to kindle at their flame,
than for servile imitation.