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Robert Burns, preeminent Scottish poet

Robert Burns (January 25, 1759 – July 21, 1796) was a Scottish poet and songwriter, who is widely regarded as the national poet of Scotland, and the best known poet to have ever written in the Scots language. Burns, however, was much more than just a hero to Scotsmen; he wrote frequently in English and in an English/Scots dialect, making his poems widely accessible to a wide audiences and ensuring his enduring fame. He was a vigorous social and political critic, becoming a champion for the causes of civil and economic equity for all people after witnessing his father's miserable struggles through poverty. Being himself of humble origins and meager education, Burns has become an icon of an impoverished member of the working class rising to intellectual grandeur. By way of his political attitudes and his championing of the working-classes, Burns was also an early pioneer of the Romantic movement that was to sweep Europe in the decades following his death, though he lived well before the term "Romantic" would carry such a connotation. His influence on English and Scottish literature is far-reaching, and, along with Wordsworth, Burns is perhaps one of the most enduringly popular and important poets of the late 18th and early 19th centuries.

Biography

Robert Burns, often abbreviated to simply Burns, and also known as Rabbie Burns, Robbie Burns, Scotland's favourite son, the Ploughman Poet, the Bard of Ayrshire, and in Scotland simply as The Bard, was born in Alloway, South Ayrshire, Scotland, the son of William Burns, a small farmer, and a man of considerable force of character. His youth was passed in poverty, hardship, and a degree of severe manual labour which left its traces in a premature stoop and weakened constitution. He had little regular schooling, and got much of what education he had from his father, who taught his children reading, writing, arithmetic, geography, and history, and also wrote for them A Manual of Christian Belief. He also received education from a tutor, John Murdock, who opened an "adventure school" in the Alloway parish in 1763 and taught both Robert and his brother Gilbert Latin, French, and mathematics. With all his ability and character, however, the elder Burns was consistently unfortunate, and migrated with his large family from farm to farm without ever being able to improve his circumstances.

In 1781 Burns went to Irvine to become a flax-dresser, but, as the result of a New Year carousal of the workmen, including himself, the shop was accidently set ablaze and burned to the ground. This venture accordingly came to an end. In 1783 he started composing poetry in a traditional style using the Ayrshire dialect of Lowland Scots. In 1784 his father died, and Burns with his brother Gilbert made an ineffectual struggle to keep on the farm; failing in which they removed to Mossgiel, where they maintained an uphill fight for 4 years.

Poems, Chiefly in the Scottish Dialect

For the next few years Burns' life was nothing but hardship. In 1786, Burns fell in love with a woman named Jean Armour, but was devastated when her father refused to marry the couple, even though she was by that time pregnant with Burns' child. Enraged, Burns sought the hand of another woman, Mary Campbell, who promptly died. Distraught by these failures, and hounded by creditors to pay off the debts of failing farm, Burns considered emigrating to Jamaica and abandoning the Scotland he had loved so long. Prior to making this decision, however, he decided to travel to the nearby town of Kilmarnock to publish a volume of the poems, under the plain title, Poems, Chiefly in the Scottish dialect. The edition contained much of his best work, including "The Twa Dogs", "Address to the Deil", "Hallowe'en", "The Cottar's Saturday Night", "To a Mouse", and "To a Mountain Daisy", many of which had been written at Mossgiel. The poems, as the title suggests, were written in a half-English/half-Scots dialect largely of Burns' own devising, and were selected specifically for the Edinburgh audience Burns hoped to impress through his rural voice and natural imagery. It would be an injustice to Burns not to quote at least one poem from his greatest volume, so here follows his beloved poem "The Mouse":

WEE, sleekit, cow’rin, tim’rous beastie,

O, what a panic’s in thy breastie!

Thou need na start awa sae hasty,

Wi’ bickering brattle!

I wad be laith to rin an’ chase thee,

Wi’ murd’ring pattle!

I’m truly sorry man’s dominion,

Has broken nature’s social union,

An’ justifies that ill opinion,

Which makes thee startle

At me, thy poor, earth-born companion,

An’ fellow-mortal!

I doubt na, whiles, but thou may thieve;

What then? poor beastie, thou maun live!

A daimen icker in a thrave

’S a sma’ request;

I’ll get a blessin wi’ the lave,

An’ never miss’t!

Thy wee bit housie, too, in ruin!

It’s silly wa’s the win’s are strewin!

An’ naething, now, to big a new ane,

O’ foggage green!

An’ bleak December’s winds ensuin,

Baith snell an’ keen!

Thou saw the fields laid bare an’ waste,

An’ weary winter comin fast,

An’ cozie here, beneath the blast,

Thou thought to dwell—

Till crash! the cruel coulter past

Out thro’ thy cell.

That wee bit heap o’ leaves an’ stibble,

Has cost thee mony a weary nibble!

Now thou’s turn’d out, for a’ thy trouble,

But house or hald,

To thole the winter’s sleety dribble,

An’ cranreuch cauld!

But, Mousie, thou art no thy lane,

In proving foresight may be vain;

The best-laid schemes o’ mice an’ men

Gang aft agley,

An’lea’e us nought but grief an’ pain,

For promis’d joy!

Still thou art blest, compar’d wi’ me

The present only toucheth thee:

But, Och! I backward cast my e’e.

On prospects drear!

An’ forward, tho’ I canna see,

I guess an’ fear!

The success of the work was immediate, the poet's name rang over all Scotland, and he was induced to go to Edinburgh to superintend the issue of a new edition. There he was received as an equal by the brilliant circle of men of letters which the city then boasted, and was a guest at aristocratic tables, where he bore himself with unaffected dignity. Here also Walter Scott, then a boy of 15, saw him and describes him as of "manners rustic, not clownish. His countenance ... more massive than it looks in any of the portraits ... a strong expression of shrewdness in his lineaments; the eye alone indicated the poetical character and temperament. It was large, and of a dark cast, and literally glowed when he spoke with feeling or interest." The results of this visit outside of its immediate and practical object, included some life-long friendships, and enough money for Burns to live relatively secure for the rest of his life.

The Scots Musical Museum

In the winter of 1786 in Edinburgh Burns met James Johnson, a struggling music engraver / music seller, with a love of old Scots songs and a determination to preserve them. Burns shared this interest and became an enthusiastic contributor to The Scots Musical Museum, a periodical collection of Scots songs. The first volume of this was published in 1787 and included three songs by Burns. He contributed 40 songs to volume 2, and would end up responsible for about a third of the 600 songs in the whole collection as well as making a considerable editorial contribution. The final volume was published in 1803. This publication would mark the beginning of the second phase of Burns' career, as a musicologist and writer of songs, an occupation which take up most of the remainder of his life.

On his return to Ayrshire Burns renewed his relations with Jean Armour, whom he ultimately married, and took the farm of Ellisland near Dumfries, having meanwhile taken lessons in the duties of an exciseman, as a line to fall back upon should farming again prove unsuccessful. At Ellisland his society was cultivated by the local gentry, and this, together with literature and his duties in the Customs and Excise, proved too much of a distraction to continue living as a lowly farmer, a profession which in 1791 Burns gave up for good.

Meanwhile, he was writing at his best, and in 1790 had produced Tam O' Shanter, one of his most beloved long poems. About this time he was offered and declined an appointment in London on the staff of the Star newspaper. He soon after also refused to become a candidate for a newly-created Chair of Agriculture in the University of Edinburgh, although influential friends offered to support his claims.

It was at this time that, being requested to furnish words for The Melodies of Scotland, another songbook with Scots lyrics, he responded by contributing over 100 songs. He also made major contributions to George Thomson's A Select Collection of Original Scottish Airs for the Voice. Arguably his claim to immortality chiefly rests on these volumes which placed him in the front rank of lyric poets, and were widely performed and published throughout the British Isles. Burns took a uniquely musical approach to composing his poems and songs of this period, insisting that he would begin with a tune and only when he had found a melody which pleased would he begin to find words to fit the line. His description of this process rings resoundingly true with the Romantic poets, particularly Wordsworth, who would succeed in Burns' style:

"My way is: I consider the poetic Sentiment, correspondent to my idea of the musical expression; then chuse my theme; begin one Stanza; when that is composed, which is generally the most difficult part of the business, I walk out, sit down now and then, look out for objects in Nature around me that are in unison or harmony with the cogitations of my fancy and workings of my bosom; humming every now and then the air with the verses I have framed. when I feel my Muse beginning to jade, I retire to the solitary fireside of my study, and there commit my effusions to paper; swinging, at intervals, on the hind-legs of my elbow chair, by way of calling forth my own critical strictures, as my, pen goes."

Following the publication of these numerous songs, Burns' worldly prospects were now perhaps better than they had ever been; but he was entering upon the last and darkest period of his career. He had become soured, and moreover had alienated many of his best friends by too freely expressing sympathy with the French Revolution, and the then unpopular advocates of reform at home. His health began to give way; he became prematurely old, and fell into fits of despondency. He died on July 21 1796, depressed at his inability to bring the revolutionary and democratic spirit home to his native Scotland. Within a short time of his death, money started pouring in from all over Scotland to support his widow and children.

His memory is celebrated by Burns clubs across the world; his birthday is an unofficial national day for Scots and those with Scottish ancestry, and his legacy persists as perhaps the single most important author in all of Scotland's storied history.

Burns' works and influence

Burns' direct influences in the use of Scots in poetry were Allan Ramsay and Robert Fergusson. Burns' poetry also drew upon a substantial familiarity and knowledge of the Classics, the Bible, and English literature, as well as the Scottish tradition which he so dearly loved. Burns was skilled in writing not only in the Scots language but also in the Scottish English dialect of the English language. Some of his works, such as Love and Liberty (also known as The Jolly Beggars), are written in both Scots and English for various effects.

Burns' themes included republicanism, Scottish patriotism, and class inequity. Burns and his works were a source of inspiration to the pioneers of liberalism, socialism and the campaign for Scottish self-government, and he is still widely respected by political activists today, ironically even by authoritarian figures because after his death Burns became drawn into the very fabric of Scotland's national identity. It is this, perhaps unique, ability to appeal to all strands of political opinion in the country that have led him to be widely acclaimed as the national poet of Scotland.

Burns' revolutionary views and occasionally radical ideas have led some to draw parallels between Burns and William Blake, but it is believed that, although contemporaries, they were unaware of each other, and were similar in temperament, attitude, and style simply because they emerged out of the same difficult circumstances during the same revolutionary times.

Burns is generally classified as a proto-Romantic poet, and he influenced William Wordsworth, Samuel Taylor Coleridge, and Percy Bysshe Shelley greatly. The Edinburgh literati worked to sentimentalise Burns during his life and after his death, dismissing his education by calling him a "heaven-taught ploughman." This insistence on Burns' lack of education is misleading, however; Burns himself played up his own ignorance and humble background to win over the wealthy readers of Edinburgh, but he was clearly not simply a dull-brained farmer who wrote verses on the back of his plough. His father, though poor, had driven the young Burns to read voraciously, and to underestimate his intellectual depth is to do Burns a great disservice. Later Scottish writers, especially Hugh MacDiarmid fought to dismantle the sentimental Burns cult that had dominated Scottish literature, and thus eventually did away with the idolizing of Burns that Burns himself would have detested.

The genius of Burns is marked by spontaneity, directness, and sincerity, and his variety is marvellous, ranging from the tender intensity of some of his lyrics through the rollicking humour and blazing wit of Tam o' Shanter to the blistering satire of Holy Willie's Prayer and The Holy Fair. Burns fought at tremendous odds, and as Thomas Carlyle in his great essay says, "Granted the ship comes into harbour with shrouds and tackle damaged, the pilot is blameworthy ... but to know how blameworthy, tell us first whether his voyage has been round the Globe or only to Ramsgate and the Isle of Dogs." Burns, ramshackle though he may be, was a writer whose mind voyaged the world and extended far beyond even the grandest expectations.

References
ISBN links support NWE through referral fees

Robert Burns, The Canongate Burns: The Complete Poems and Songs of Robert Burns, ed. Andrew Noble and Patrick Scott Hogg (2001; Edinburgh: Canongate, 2003). ISBN 1-84195-380-6

External links

Jack McConnell, First Minister of Scotland, reveals his love of the bard
Robert Burns Club based in Alexandria, Scotland
Robert Burns Resource: the Poetry and Letters of Robert Burns
Robert Burns Country: the 'official' Robert Burns site
From Project Gutenberg:
- Works by Robert Burns. Project Gutenberg
- Poems and Songs of Robert Burns
- The Letters of Robert Burns
- Robert Burns - Maybole Notable
World Burns Club
British poets and the French Revolution: Robert Burns, an article about the politics of Robert Burns.
Poetry Archive: 128 poems of Robert Burns

Credits

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 [[Image:robert_burns.JPG|frame|right|Robert Burns, preeminent Scottish poet]]
-'''Robert Burns''' ([[January 25]], [[1759]] &ndash; [[July 21]], [[1796]]) was a poet and songwriter. He is widely regarded as the [[national poet]] of [[Scotland]], and is the best known of the poets who have written in the [[Scots language]], although much of his writing is also in English and in a "light" Scots dialect which would have been accessible to a wider audience than simply Scottish people. At various times in his career, he wrote in English, and in these pieces, his political or civil commentary is often at its most blunt.
+'''Robert Burns''' (January 25, 1759 &ndash; July 21, 1796) was a Scottish poet and songwriter, who is widely regarded as the national poet of [[Scotland]], and the best known poet to have ever written in the [[Scots language]]. Burns, however, was much more than just a hero to Scotsmen; he wrote frequently in English and in an English/Scots dialect, making his poems widely accessible to a wide audiences and ensuring his enduring fame. He was a vigorous social and political critic, becoming a champion for the causes of civil and economic equity for all people after witnessing his father's miserable struggles through poverty. Being himself of humble origins and meager education, Burns has become an icon of an impoverished member of the working class rising to intellectual grandeur. By way of his political attitudes and his championing of the working-classes, Burns was also an early pioneer of the [[Romanticism|Romantic movement]] that was to sweep Europe in the decades following his death, though he lived well before the term "Romantic" would carry such a connotation. His influence on English and Scottish literature is far-reaching, and, along with [[William Wordsworth|Wordsworth]], Burns is perhaps one of the most enduringly popular and important poets of the late 18th and early 19th centuries.
-He is regarded as a pioneer of the [[Romantic movement]] and after his death became an important source of inspiration to the founders of both [[liberalism]] and [[socialism]]. A [[cultural icon]] in Scotland and among Scots who have relocated to other parts of the world (the [[Scottish diaspora]]), his celebration became almost a national [[charismatic cult]] during periods of the 19th and 20th centuries, and his influence has long been strong on [[Scottish literature]].
-Burns also collected [[Folk music|folk songs]] from across Scotland, often [[Revision|revising]] or [[Adaptation (disambiguation)|adapting]] them.  His poem (and song) ''[[Auld Lang Syne]]'' is often sung at [[Hogmanay]] ([[New Year]]), and ''[[Scots Wha Hae]]'' served for a long time as an unofficial [[national anthem]] of the country.  Other poems and songs of Burns that remain well known today across the world include ''[[A Red, Red Rose]]'', ''[[A Man's A Man for A' That]]'', ''[[To a Louse]]'', and ''[[To a Mouse]]''.
-[[Burns' Night]], effectively a second [[national day]], is celebrated on [[25 January]] with [[Burns' Suppers]] around the [[world]], and is still more widely observed than the official national day, [[Saint Andrew's Day]], or the new North American celebration [[Tartan Day]].
 == Biography ==
-[[Image:RobertBurnsStatueEmbankmentLondon.JPG|thumb|right|Statue of Burns in London]]
+Robert Burns, often abbreviated to simply Burns, and also known as Rabbie Burns, Robbie Burns, Scotland's favourite son, the Ploughman Poet, the Bard of Ayrshire, and in [[Scotland]] simply as ''The Bard'',  was born in Alloway, South Ayrshire, Scotland, the son of William Burns, a small farmer, and a man of considerable force of character. His youth was passed in poverty, hardship, and a degree of severe manual labour which left its traces in a premature stoop and weakened constitution. He had little regular schooling, and got much of what education he had from his father, who taught his children reading, writing, arithmetic, geography, and history, and also wrote for them ''A Manual of Christian Belief''. He also received education from a tutor, John Murdock, who opened an "adventure school" in the Alloway parish in 1763 and taught both Robert and his brother Gilbert [[Latin]], [[French language|French]], and [[mathematics]]. With all his ability and character, however, the elder Burns was consistently unfortunate, and migrated with his large family from farm to farm without ever being able to improve his circumstances.
-Robert Burns, often abbreviated to simply '''Burns''', and also known as '''Rabbie Burns''', '''Robbie Burns''', '''Scotland's favourite son''', the '''Ploughman Poet''', the '''Bard of Ayrshire''', and in [[Scotland]] simply as '''The Bard''' (see [[Bard (disambiguation)]]),  was born in [[Alloway]], [[South Ayrshire]], [[Scotland]], the son of William Burnes or Burns, a small farmer, and a man of considerable force of character and self-culture. His youth was passed in poverty, hardship, and a degree of severe [[manual labour]] which left its traces in a premature stoop and weakened constitution. He had little regular schooling, and got much of what education he had from his father, who taught his children reading, writing, arithmetic, geography, and history, and also wrote for them ''A Manual of Christian Belief''. He also received education from a tutor, John Murdock, who opened an [[Education in Scotland#Golden age|"adventure school"]] in the Alloway parish in 1763 and taught both Robert and his brother Gilbert [[Latin]], [[French language|French]], and [[mathematics]]. With all his ability and character, however, the elder Burns was consistently unfortunate, and migrated with his large family from farm to farm without ever being able to improve his circumstances.
-In 1781 Burns went to [[Irvine, Ayrshire|Irvine]] to become a [[flax]]-dresser, but, as the result of a [[New Year]] carousal of the workmen, including himself, the shop took fire and was burned to the ground. This venture accordingly came to an end. In 1783 he started composing poetry in a traditional style using the [[Ayrshire]] [[dialect]] of Lowland [[Scots language|Scots]].  In 1784 his father died, and Burns with his brother Gilbert made an ineffectual struggle to keep on the farm; failing in which they removed to Mossgiel, where they maintained an uphill fight for 4 years.
+In 1781 Burns went to Irvine to become a flax-dresser, but, as the result of a [[New Year]] carousal of the workmen, including himself, the shop was accidently set ablaze and burned to the ground. This venture accordingly came to an end. In 1783 he started composing poetry in a traditional style using the Ayrshire dialect of Lowland Scots.  In 1784 his father died, and Burns with his brother Gilbert made an ineffectual struggle to keep on the farm; failing in which they removed to Mossgiel, where they maintained an uphill fight for 4 years.
-===Burns the Mason===
+===''Poems, Chiefly in the Scottish Dialect''===
+For the next few years Burns' life was nothing but hardship. In 1786, Burns fell in love with a woman named Jean Armour, but was devastated when her father refused to marry the couple, even though she was by that time pregnant with Burns' child. Enraged, Burns sought the hand of another woman, Mary Campbell, who promptly died. Distraught by these failures, and hounded by creditors to pay off the debts of failing farm, Burns considered emigrating to Jamaica and abandoning the Scotland he had loved so long. Prior to making this decision, however, he decided to travel to the nearby town of Kilmarnock to publish a volume of the poems, under the plain title, ''Poems, Chiefly in the Scottish dialect''.  The edition contained much of his best work, including "The Twa Dogs", "Address to the Deil", "Hallowe'en", "The Cottar's Saturday Night", "To a Mouse", and "To a Mountain Daisy", many of which had been written at Mossgiel. The poems, as the title suggests, were written in a half-English/half-Scots dialect largely of Burns' own devising, and were selected specifically for the [[Edinburgh]] audience Burns hoped to impress through his rural voice and natural imagery. It would be an injustice to Burns not to quote at least one poem from his greatest volume, so here follows his beloved poem "The Mouse":
-Robert Burns was initiated into Lodge St David Tarbolton on [[4 July]] [[1781]], when he was 22. His initiation fee was 12s 6d. He was passed and raised on [[1 October]] [[1781]].  Later his lodge became dormant and Burns joined Lodge St James Tarbolton Kilwinning number 135.
+:WEE, sleekit, cow’rin, tim’rous beastie,
+:O, what a panic’s in thy breastie!
+:Thou need na start awa sae hasty,
+:Wi’ bickering brattle!
+:I wad be laith to rin an’ chase thee,
+:Wi’ murd’ring pattle!
+:I’m truly sorry man’s dominion,
+:Has broken nature’s social union,
+:An’ justifies that ill opinion,
+:Which makes thee startle
+:At me, thy poor, earth-born companion,
+:An’ fellow-mortal!
+:I doubt na, whiles, but thou may thieve;
+:What then? poor beastie, thou maun live!
+:A daimen icker in a thrave
+:’S a sma’ request;
+:I’ll get a blessin wi’ the lave,
+:An’ never miss’t!
+:Thy wee bit housie, too, in ruin!
+:It’s silly wa’s the win’s are strewin!
+:An’ naething, now, to big a new ane,
+:O’ foggage green!
+:An’ bleak December’s winds ensuin,
+:Baith snell an’ keen!
+:Thou saw the fields laid bare an’ waste,
+:An’ weary winter comin fast,
+:An’ cozie here, beneath the blast,
+:Thou thought to dwell—
+:Till crash! the cruel coulter past
+:Out thro’ thy cell.
+:That wee bit heap o’ leaves an’ stibble,
+:Has cost thee mony a weary nibble!
+:Now thou’s turn’d out, for a’ thy trouble,
+:But house or hald,
+:To thole the winter’s sleety dribble,
+:An’ cranreuch cauld!
+:But, Mousie, thou art no thy lane,
+:In proving foresight may be vain;
+:The best-laid schemes o’ mice an’ men
+:Gang aft agley,
+:An’lea’e us nought but grief an’ pain,
+:For promis’d joy!
+:Still thou art blest, compar’d wi’ me
+:The present only toucheth thee:
+:But, Och! I backward cast my e’e.
+:On prospects drear!
+:An’ forward, tho’ I canna see,
+:I guess an’ fear!
-We do not know the location of the Temple where Burns was made a [[Freemasonry|Freemason]] but we do know that on [[30 June]] [[1784]] the meeting place of the lodge became the “Manson Inn” in Tarbolton and one month later, [[27 July]] [[1784]] Burns became Depute Master which he held until 1788, often honoured with supreme command. Although regularly meeting in Tarbolton, the “Burns Lodge” also removed itself en masse to Mauchline, 4 miles away, to hold meetings in this town.  Mauchline was only 1 mile away from his own farm at Mossgiel!
+The success of the work was immediate, the poet's name rang over all Scotland, and he was induced to go to [[Edinburgh]] to superintend the issue of a new edition. There he was received as an equal by the brilliant circle of men of letters which the city then boasted, and was a guest at aristocratic tables, where he bore himself with unaffected dignity. Here also [[Walter Scott]], then a boy of 15, saw him and describes him as of "manners rustic, not clownish. His countenance ... more massive than it looks in any of the portraits ... a strong expression of shrewdness in his lineaments; the eye alone indicated the poetical character and temperament. It was large, and of a dark cast, and literally glowed when he spoke with feeling or interest." The results of this visit outside of its immediate and practical object, included some life-long friendships, and enough money for Burns to live relatively secure for the rest of his life.
-In those days the Master of the Lodge was a mere figurehead, and it was the Depute Master who carried out the working of the Lodge.  During the Masonic season of 1784 he never missed a meeting and was heavily involved in Lodge business, attending nine meetings, passing and raising brethren and generally running the Lodge.
-Similarly in 1785 he was equally involved as Depute Master where he again attended all nine lodge meetings amongst other duties of the Lodge.  During 1785 he initiated, and passed his brother Gilbert being raised on [[1 March]] [[1788]].  Burns' period in the lodge was a hectic one.  He had a real zest for freemasonry and he appreciated that true Masonic friendship is intimately bound up with the company of one’s brethren and cannot be disassociated from the lodge room, hence the number of meetings under his direction.  The minutes show that there were more lodge meetings well attended during the Burns period than at any other time.  He must have been a very popular and well respected Depute Master.
-The date of his publication by a Freemason of his first Kilmarnock Edition of poems on [[16 April]] [[1786]] was five years after his initiation into Freemasonry.
-Burns' popularity aided his rise in Freemasonry. At a meeting of Lodge St. Andrew in Edinburgh in 1787, in the presence of the Grand Master and Grand Lodge of Scotland, Burns was toasted by the Worshipful Grand Master, Most Worshipful Brother Francis Chateris. When he was received into Edinburgh Lodges his occupation was recorded as a “poet”.  In early 1787, he was feted by the Edinburgh Masonic fraternity.  The Edinburgh period of Burns life was fateful as further editions of Burns poetic output were sponsored by the Edinburgh Freemasons, ensuring that his name spread around Scotland and subsequently to England and abroad.
-After having spent 5 months in Edinburgh he set out on a tour in the South of Scotland, visiting lodges throughout Ayrshire, becoming an honorary member of a number of them.
-On [[18 May]] [[1787]] he arrived at Eyemouth, Berwickshire and a meeting was convened of Royal Arch and Burns became a Royal Arch Mason. He was never a Scottish companion because at that time although Eyemouth is in Scotland, it operated under the English Royal Arch constitution.  The name was “Land of Cakes” 52 on the English roll.
-The Chapter is now Scottish, number 15.
-On his return journey home to Ayrshire as he passed through Dumfries, where he later lived and is the site of the Burns Mausoleum, he was given the freedom of the town.
-On [[25 July]] [[1787]], after being re-elected Depute Master he presided at a meeting where several well-known Masons were given honorary membership.  A Highland tour followed with many other lodges being visited.  During the period from his election as Depute Master in 1784 Lodge St James had been convened 70 times.  Burns was present 33 times and was 25 times the presiding officer.  On 11 November  1788 was his last meeting at his mother lodge St James Kilwinning.
-He joined Lodge Dumfries St Andrew Number 179 on [[27 December]] [[1788]].  This was an unfortunate choice, made perhaps because of the Excise connection. Out of the six Lodges in Dumfries he joined the one which was the weakest of them.  The records of this lodge are scant and we hear no more of him until on [[30 November]] [[1792]] when Burns was elected Senior Warden.  From this date until his final meeting in the Lodge on [[14 April]] [[1796]] it appears that the Lodge met only 5 times.  There are no records of Burns visiting any other lodges either.
-From a purely Masonic point of view it cannot be said that he was either a great or prominent Freemason.  The Masonic events were certainly very important to his life and conspicuous and important influences on his life. His association with Masonry was a means of enabling him to get his works published, to meet persons of a higher social status, and to help to raise himself from obscurity to the place he now holds as the national poet of Scotland.
-===Poems, chiefly in the Scottish dialect===
-Meanwhile, his love affair with Jean Armour had passed through its first stage, and the troubles in connection therewith, combined with the want of success in farming, led him to think of going to [[Jamaica]] as bookkeeper on a plantation. From this he was dissuaded by a letter from [[Thomas Blacklock]], and at the suggestion of his brother published his poems in the volume, ''Poems, Chiefly in the Scottish dialect'' in June 1786. This edition was brought out by a local printer in [[Kilmarnock, Scotland|Kilmarnock]] and contained much of his best work, including "The Twa Dogs", "[[Address to the Deil]]", "[[Hallowe'en]]", "The Cottar's Saturday Night", "[[To a Mouse]]", and "[[To a Mountain Daisy]]", many of which had been written at Mossgiel.
-The success of the work was immediate, the poet's name rang over all Scotland, and he was induced to go to [[Edinburgh]] to superintend the issue of a new edition. There he was received as an equal by the brilliant circle of men of letters which the city then boasted &ndash; [[Dugald Stewart]], [[Robertson]], [[Blair]], etc., and was a guest at [[aristocratic]] tables, where he bore himself with unaffected dignity. Here also [[Walter Scott|Scott]], then a boy of 15, saw him and describes him as of "manners rustic, not clownish. His countenance ... more massive than it looks in any of the portraits ... a strong expression of shrewdness in his lineaments; the eye alone indicated the poetical character and temperament. It was large, and of a dark cast, and literally glowed when he spoke with feeling or interest." The results of this visit outside of its immediate and practical object, included some life-long friendships, among which were those with [[James Cunningham, 13th Earl of Glencairn|Lord Glencairn]] and Mrs Dunlop. The new ed. brought him £400. About this time the episode of Highland Mary occurred.
 ===The Scots Musical Museum===
-In the winter of [[1786]] in Edinburgh he met [[James Johnson (musicologist)|James Johnson]], a struggling music engraver / music seller, with a love of old Scots songs and a determination to preserve them. Burns shared this interest and became an enthusiastic contributor to ''[[The Scots Musical Museum]]''. The first volume of this was published in 1787 and included three songs by Burns. He contributed 40 songs to volume 2, and would end up responsible for about a third of the 600 songs in the whole collection as well as making a considerable editorial contribution. The final volume was published in 1803.
+In the winter of 1786 in Edinburgh Burns met [[James Johnson (musicologist)|James Johnson]], a struggling music engraver / music seller, with a love of old Scots songs and a determination to preserve them. Burns shared this interest and became an enthusiastic contributor to ''The Scots Musical Museum'', a periodical collection of Scots songs. The first volume of this was published in 1787 and included three songs by Burns. He contributed 40 songs to volume 2, and would end up responsible for about a third of the 600 songs in the whole collection as well as making a considerable editorial contribution. The final volume was published in 1803. This publication would mark the beginning of the second phase of Burns' career, as a musicologist and writer of songs, an occupation which take up most of the remainder of his life.
-On his return to Ayrshire he renewed his relations with Jean Armour, whom he ultimately married, took the farm of [[Ellisland]] near [[Dumfries]], having meanwhile taken lessons in the duties of an [[excise]]man, as a line to fall back upon should farming again prove unsuccessful. At Ellisland his society was cultivated by the local [[gentry]]. And this, together with literature and his duties in the [[Her Majesty's Customs and Excise|Customs and Excise]], to which he had been appointed in 1789, proved too much of a distraction to admit of success on the farm, which in 1791 he gave up.
+On his return to Ayrshire Burns renewed his relations with Jean Armour, whom he ultimately married, and took the farm of Ellisland near Dumfries, having meanwhile taken lessons in the duties of an exciseman, as a line to fall back upon should farming again prove unsuccessful. At Ellisland his society was cultivated by the local gentry, and this, together with literature and his duties in the Customs and Excise, proved too much of a distraction to continue living as a lowly farmer, a profession which in 1791 Burns gave up for good.
-Meanwhile he was writing at his best, and in 1790 had produced ''[[Tam o' Shanter (Burns poem)|Tam O' Shanter]]''. About this time he was offered and declined an appointment in [[London]] on the staff of the ''[[Star]]'' newspaper, and refused to become a candidate for a newly-created Chair of [[Agriculture]] in the [[University of Edinburgh]], although influential friends offered to support his claims. After giving up his farm he removed to Dumfries.
+Meanwhile, he was writing at his best, and in 1790 had produced ''Tam O' Shanter'', one of his most beloved long poems. About this time he was offered and declined an appointment in [[London]] on the staff of the ''Star'' newspaper. He soon after also refused to become a candidate for a newly-created Chair of [[Agriculture]] in the University of Edinburgh, although influential friends offered to support his claims.
-It was at this time that, being requested to furnish words for ''[[The Melodies of Scotland]]'', he responded by contributing over 100 songs. He made major contributions to [[George Thomson]]'s ''[[A Select Collection of Original Scottish Airs for the Voice]]'' as well as to James Johnson's ''The Scots Musical Museum''. Arguably his claim to immortality chiefly rests on these volumes which placed him in the front rank of [[Lyric poetry|lyric poets]]. Burns described how he had to master singing the tune, then would compose the words: ''"My way is: I consider the poetic Sentiment, correspondent to my idea of the musical expression; then chuse my theme; begin one Stanza; when that is composed, which is generally the most difficult part of the business, I walk out, sit down now and then, look out for objects in Nature around me that are in unison or harmony with the cogitations of my fancy and workings of my bosom; humming every now and then the air with the verses I have framed. when I feel my Muse beginning to jade, 1 retire to the solitary fireside of my study, and there commit my effusions to paper; swinging, at intervals, on the hind-legs of my elbow chair, by way of calling forth my own critical strictures, as my, pen goes."''
+It was at this time that, being requested to furnish words for ''The Melodies of Scotland'', another songbook with Scots lyrics, he responded by contributing over 100 songs. He also made major contributions to George Thomson's ''A Select Collection of Original Scottish Airs for the Voice''. Arguably his claim to immortality chiefly rests on these volumes which placed him in the front rank of lyric poets, and were widely performed and published throughout the British Isles. Burns took a uniquely musical approach to composing his poems and songs of this period, insisting that he would begin with a tune and only when he had found a melody which pleased would he begin to find words to fit the line. His description of this process rings resoundingly true with the Romantic poets, particularly [[William Wordsworth|Wordsworth]], who would succeed in Burns' style:
-His worldly prospects were now perhaps better than they had ever been; but he was entering upon the last and darkest period of his career. He had become soured, and moreover had alienated many of his best friends by too freely expressing sympathy with the [[French Revolution]], and the then unpopular advocates of reform at home. His health began to give way; he became prematurely old, and fell into fits of despondency; and the habits of intemperance, to which he had always been more or less addicted, grew upon him. He died on [[July 21]] [[1796]]. Within a short time of his death, money started pouring in from all over Scotland to support his widow and children.
+:"My way is: I consider the poetic Sentiment, correspondent to my idea of the musical expression; then chuse my theme; begin one Stanza; when that is composed, which is generally the most difficult part of the business, I walk out, sit down now and then, look out for objects in Nature around me that are in unison or harmony with the cogitations of my fancy and workings of my bosom; humming every now and then the air with the verses I have framed. when I feel my Muse beginning to jade, I retire to the solitary fireside of my study, and there commit my effusions to paper; swinging, at intervals, on the hind-legs of my elbow chair, by way of calling forth my own critical strictures, as my, pen goes."
-His memory is celebrated by [[Burns club]]s across the world; his birthday is an unofficial [[national day]] for Scots and those with [[Scottish ancestry]], celebrated with [[Burns supper]]s.
+Following the publication of these numerous songs, Burns' worldly prospects were now perhaps better than they had ever been; but he was entering upon the last and darkest period of his career. He had become soured, and moreover had alienated many of his best friends by too freely expressing sympathy with the [[French Revolution]], and the then unpopular advocates of reform at home. His health began to give way; he became prematurely old, and fell into fits of despondency. He died on July 21 1796, depressed at his inability to bring the revolutionary and democratic spirit home to his native Scotland. Within a short time of his death, money started pouring in from all over Scotland to support his widow and children.
-Burns' 1787 [[epistle]] to Mrs Scott, Gudewife of Wanchope House, [[Roxburgh]], is a rare example of the rhyming of the word ''[[purple]]'' &ndash; it is a common myth that there is no rhyme.
+His memory is celebrated by Burns clubs across the world; his birthday is an unofficial national day for Scots and those with Scottish ancestry, and his legacy persists as perhaps the single most important author in all of Scotland's storied history.
-:I'd be mair vauntie o' my hap,
-:Douce hingin' owre my curple,
-:Than ony ermine ever lap,
-:Or proud imperial purple.
 ==Burns' works and influence==
-[[Image:Robertburnssydney.jpg|thumb|right|250px|A statue of Burns, complete with [[plough]], outside the [[Art Gallery of New South Wales]] in [[Sydney]], [[Australia]]]]
+Burns' direct influences in the use of Scots in poetry were [[Allan Ramsay]] and [[Robert Fergusson]]. Burns' poetry also drew upon a substantial familiarity and knowledge of the Classics, the Bible, and English literature, as well as the Scottish tradition which he so dearly loved. Burns was skilled in writing not only in the Scots language but also in the Scottish English dialect of the English language.  Some of his works, such as ''Love and Liberty'' (also known as ''The Jolly Beggars''), are written in both Scots and English for various effects.
-Burns' direct influences in the use of Scots in poetry were [[Allan Ramsay (1686-1758)]] and [[Robert Fergusson]]. Burns' poetry also drew upon a substantial familiarity and knowledge of [[Classics|Classical]], [[Bible|Biblical]], and [[English literature]], as well as the Scottish [[Makar]] tradition.  Burns was skilled in writing not only in the [[Scots language]] but also in the [[Scottish English]] [[dialect]] of the [[English language]].  Some of his works, such as ''[[Love and Liberty]]'' (also known as ''[[The Jolly Beggars]]''), are written in both Scots and English for various effects.
-Burns' themes included [[republicanism]] (he lived during the [[French Revolution|French Revolutionary period]]) and [[Radicalism (historical)|Radical]]ism which he expressed covertly in ''[[Scots Wha Hae]]'', [[Scottish patriotism]], [[Anti-clericalism|anticlericalism]], [[social class|class]] inequalities, [[gender roles]], commentary on the [[Scottish Kirk]] of his time, [[Scottish cultural identity]], [[poverty]], [[Human sexuality|sexuality]], and the beneficial aspects of popular [[socialising]] (carousing, [[Scotch whisky]], folk songs, and so forth). Burns and his works were a source of inspiration to the pioneers of [[liberalism]], [[socialism]] and the campaign for [[Scottish self-government]], and he is still widely respected by political activists today, ironically even by [[Conservatism|conservatives]] and [[establishment]] figures because after his death Burns became drawn into the very fabric of [[Scotland]]'s [[national identity]]. It is this, perhaps unique, ability to appeal to all strands of political opinion in the country that have led him to be widely acclaimed as the [[national poet]].
-Burns' views on these themes in many ways parallel those of [[William Blake]], but it is believed that, although contemporaries, they were unaware of each other.  Burns' works are less overtly [[mysticism|mystical]].
-Burns is generally classified as a proto-[[Romantic Poetry|Romantic poet]], and he influenced [[William Wordsworth]], [[Samuel Taylor Coleridge]], and [[Percy Bysshe Shelley]] greatly.  The Edinburgh [[Intellectual|literati]] worked to sentimentalise Burns during his life and after his death, dismissing his education by calling him a ''"[[heaven]]-taught [[ploughman]]."''  Burns would influence later Scottish writers, especially [[Hugh MacDiarmid]] who fought to dismantle the sentimental [[Burns cult]] that had dominated [[Scottish literature]] in MacDiarmid's opinion.
-Burns also worked to collect and preserve Scottish folk songs, sometimes revising, expanding, and adapting them.  One of the better known of these collections is ''[[The Merry Muses of Caledonia]]'' (the title is not Burns'), a collection of bawdy lyrics that were popular in the [[music hall]]s of Scotland as late as the [[20th century]].  Many of Burns' most famous poems are songs with the music based upon older traditional songs.  For example, ''[[Auld Lang Syne]]'' is set to the traditional tune ''[[Can Ye Labour Lea]]'' while ''[[A Red, Red Rose]]'' is set to the tune of ''[[Major Graham]]''.
-The [[genius]] of Burns is marked by spontaneity, directness, and sincerity, and his variety is marvellous, ranging from the tender intensity of some of his lyrics through the rollicking humour and blazing wit of ''[[Tam o' Shanter (Burns poem)|Tam o' Shanter]]'' to the blistering satire of ''[[Holy Willie's Prayer]]'' and ''[[The Holy Fair]]''. His life is a [[tragedy]], and his character full of flaws. But he fought at tremendous odds, and as [[Thomas Carlyle]] in his great Essay says, ''"Granted the ship comes into harbour with shrouds and tackle damaged, the pilot is blameworthy ... but to know how blameworthy, tell us first whether his voyage has been round the Globe or only to Ramsgate and the Isle of Dogs."''
+Burns' themes included republicanism, Scottish patriotism, and class inequity. Burns and his works were a source of inspiration to the pioneers of [[liberalism]], [[socialism]] and the campaign for Scottish self-government, and he is still widely respected by political activists today, ironically even by authoritarian figures because after his death Burns became drawn into the very fabric of Scotland's national identity. It is this, perhaps unique, ability to appeal to all strands of political opinion in the country that have led him to be widely acclaimed as the national poet of Scotland.
-See [[Cutty-sark]] for the popularity of the phrase "Weel done, Cutty-sark", a line from "Tam O' Shanter".
+Burns' revolutionary views and occasionally radical ideas have led some to draw parallels between Burns and [[William Blake]], but it is believed that, although contemporaries, they were unaware of each other, and were similar in temperament, attitude, and style simply because they emerged out of the same difficult circumstances during the same revolutionary times.
+Burns is generally classified as a proto-Romantic poet, and he influenced [[William Wordsworth]], [[Samuel Taylor Coleridge]], and [[Percy Bysshe Shelley]] greatly.  The Edinburgh literati worked to sentimentalise Burns during his life and after his death, dismissing his education by calling him a "heaven-taught ploughman." This insistence on Burns' lack of education is misleading, however; Burns himself played up his own ignorance and humble background to win over the wealthy readers of Edinburgh, but he was clearly not simply a dull-brained farmer who wrote verses on the back of his plough. His father, though poor, had driven the young Burns to read voraciously, and to underestimate his intellectual depth is to do Burns a great disservice. Later Scottish writers, especially [[Hugh MacDiarmid]] fought to dismantle the sentimental Burns cult that had dominated Scottish literature, and thus eventually did away with the idolizing of Burns that Burns himself would have detested.
-[[Image:AU_Burns_Canberra.jpg|thumb|350px|right|Robert Burns memorial, [[Canberra]], [[Australian Capital Territory]] (1935) ]]
+The genius of Burns is marked by spontaneity, directness, and sincerity, and his variety is marvellous, ranging from the tender intensity of some of his lyrics through the rollicking humour and blazing wit of ''Tam o' Shanter'' to the blistering satire of ''Holy Willie's Prayer'' and ''The Holy Fair''. Burns fought at tremendous odds, and as [[Thomas Carlyle]] in his great essay says, "Granted the ship comes into harbour with shrouds and tackle damaged, the pilot is blameworthy ... but to know how blameworthy, tell us first whether his voyage has been round the Globe or only to Ramsgate and the Isle of Dogs." Burns, ramshackle though he may be, was a writer whose mind voyaged the world and extended far beyond even the grandest expectations.
-==Honours==
-There are many organisations around the world named after Burns, and a number of [[statue]]s and [[memorials]]. For example:
-* statue located in Meadowside, [[Dundee]]
-* [[Robert Burns Fellowship]], [[University of Otago]], [[Dunedin]], [[New Zealand]]
-* statue in the [[The Octagon, Dunedin|Octagon]], Dunedin, New Zealand
-* [[Burns Club Atlanta]]
-* Burns national memorial on [[Calton Hill]], [[Edinburgh]]
-* statue in [[George Square]], [[Glasgow]], [[1877]] by [[George Edwin Ewing]], reliefs by [[J A Ewing]], cast by [[Cox and Son]]
-* statue in Central Park, [[New York City]]
-* [[bronze]] statue near [[Union Terrace Gardens]], [[Aberdeen]]
-* statue in [[London]]
-* statue of Burns, complete with [[plough]], outside the [[Art Gallery of New South Wales]] in [[Sydney]], [[Australia]]
-* statue in Dominion Square in [[Montreal]]
-* statue on Irvine Moor, [[Irvine, Ayrshire|Irvine]], [[Ayrshire]], [[Scotland]]
-* statue in [[Canberra]], [[Australia]] (1935)
-* statue in [[Golden Gate Park]], San Francisco, California, USA
-* statue in Burns Statue Square, [[Ayr]], [[South Ayrshire]]
-* [[Burns, New York]]
-* A [[BR standard class 7]] steam locomotive was named after him, along with a later [[British Rail Class 87|electric locomotive]]
-* statue at [[Phipps Conservatory & Botanical Gardens]], Pittsburgh, Pennsylvania, USA
-* statue in Victoria Park, [[Halifax]], [[Nova Scotia]]
-==See also==
-* ''[[The Catcher in the Rye]]'', novel inspired in part by Burns' poem "Comin' Thro' the Rye."
 ==References==
-* {{A Short Biographical Dictionary of English Literature}}
+* '''Robert Burns''', ''The Canongate Burns:  The Complete Poems and Songs of Robert Burns'', ed. Andrew Noble and Patrick Scott Hogg (2001; Edinburgh:  Canongate, 2003).  ISBN 1-84195-380-6
-* '''Robert Burns''', ''The Canongate Burns:  The Complete Poems and Songs of Robert Burns'', ed. Andrew Noble and Patrick Scott Hogg ([[2001]]; Edinburgh:  Canongate, 2003).  ISBN 1-84195-380-6
 ==External links==
-{{Wikisource author}}
-{{wikiquote}}
 * [http://www.sundayherald.com/53695 [[Jack McConnell]], [[First Minister of Scotland]], reveals his love of the bard]
 * [http://www.robertburns.org.uk/ Robert Burns Club based in Alexandria, Scotland]
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