by Robert Burns
“I assure you, my dear sir, that you truly hurt me with your pecuniary parcel. It degrades me in my own eyes. However, to return it would savour of affectation; but, as to any more traffic of that debtor and creditor kind, I swear, by that honour which crowns the upright statue of Robert Burns’s Integrity, on the least motion of it, I will indignantly spurn the by-pact transaction, and from that moment commence entire stranger to you. Burns’s character for generosity of sentiment and independence of mind, will, I trust long outlive any of his wants which the cold, unfeeling ore can supply; at least I will take care that such a character he shall deserve.”
This sentiment was no doubt inconsistent, and may be deemed Quixotic, when we remember that for his poems Burns was quite willing to accept all that Creech would offer. Yet one cannot but honour it. He felt that both Johnson and Thomson were enthusiasts, labouring to embalm in a permanent form their country’s minstrelsy, and that they were doing this without any hope of profit. He too would bear his part in the noble work; if he had not in other respects done full justice to his great gifts, in this way he would repay some of the debt he owed to his country, by throwing into her national melodies the whole wealth and glory of his genius. And this he would do, “all for love and nothing for reward.” And the continual effort to do this worthily was the chief relaxation and delight of those sad later years. When he died, he had contributed to Thomson’s work sixty songs, but of these only six had then appeared, as only one half-volume of Thomson’s work had then been published. Burns had given Thomson the copyright of all the sixty songs; but as soon as a posthumous edition of the poet’s works was proposed, Thomson returned all the songs to the poet’s family, to be included in the forthcoming edition, along with the interesting letters which had accompanied the songs. Thomson’s collection was not completed till 1841, when the sixth and last volume of it appeared. It is affecting to know that Thomson himself, who was older than Burns by two years, survived him for more than five-and-fifty, and died in February, 1851, at the ripe old age of ninety-four.
CHAPTER VII. LAST YEARS.
During those Dumfries years little is to be done by the biographer but to trace the several incidents in Burns’s quarrel with the world, his growing exasperation, and the evil effects of it on his conduct and his fortunes. It is a painful record, but since it must be given, it shall be with as much brevity as is consistent with truth.
In July, 1793, Burns made an excursion into Galloway, accompanied by a Mr. Syme, who belonging, like himself, to the Excise, admired the poet, and agreed with his politics. Syme has preserved a record of this journey, and the main impression left by the perusal of it is the strange access of ill-temper which had come over Burns, who kept venting his spleen in epigrams on all whom he disliked, high and low. They visited Kenmure, where lived Mr. Gordon, the representative of the old Lords Kenmure. They passed thence over the muirs to Gatehouse, in a wild storm, during which Burns was silent and crooning to himself what, Syme says, was the first thought of Scots wha hae. They were engaged to go to St. Mary’s Isle, the seat of the Earl of Selkirk, but Burns was in such a savage mood against all lords, that he was with difficulty persuaded to go thither, though Lord Selkirk was no Tory, but a Whig, like himself, and the father of his old friend, Lord Daer, by this time deceased, who had first convinced him that a lord might possibly be an honest and kind-hearted man. When they were once under the hospitable roof of St. Mary’s Isle, the kindness with which they were received appeased the poet’s bitterness. The Earl was benign, the young ladies were beautiful, and two of them sang Scottish songs charmingly. Urbani, an Italian musician who had edited Scotch music, was there, and sang many Scottish melodies, accompanying them with instrumental music. Burns recited some of his songs amid the deep silence that is most expressive of admiration. The evening passed very pleasantly, and the lion of the morning had, ere the evening was over, melted to a lamb.
Scots wha hae has been mentioned. Mr. Syme tells us that it was composed partly while Burns was riding in a storm between Gatehouse and Kenmure, and partly on the second morning after this when they were journeying from St. Mary’s Isle to Dumfries. And Mr. Syme adds that next day the poet presented him with one copy of the poem for himself, and a second for Mr. Dalzell. Mr. Carlyle says, “This Dithyrambic was composed on horseback; in riding in the middle of tempests over the wildest Galloway moor, in company with a Mr. Syme, who, observing the poet’s looks, forebore to speak — judiciously enough, — for a man composing Bruce’s address might be unsafe to trifle with. Doubtless this stern hymn was singing itself, as he formed it, through the soul of Burns, but to the external ear it should be sung with the throat of the whirlwind.”
Burns, however, in a letter to Mr. Thomson dated September, 1793, gives an account of the composition of his war-ode, which is difficult to reconcile with Mr. Syme’s statement. “There is a tradition which I have met with in many places in Scotland,” he writes, “that the old air, Hey, tuttie taitie was Robert Bruce’s march at the battle of Bannockburn. This thought, in my yesternight’s evening walk, warmed me to a pitch of enthusiasm on the theme of liberty and independence, which I threw into a kind of Scottish ode, fitted to the air, that one might suppose to be the gallant royal Scot’s address to his heroic followers on that eventful morning.” He adds, that “the accidental recollection of that glorious struggle for freedom, associated with the glowing ideas of some struggles of the same nature, not quite so ancient, roused my rhyming mania.” So Bruce’s Address owes its inspiration as much to Burns’s sympathy with the French Republicans as to his Scottish patriotism. As to the intrinsic merit of the ode itself, Mr. Carlyle says, “So long as there is warm blood in the heart of Scotchmen or man, it will move in fierce thrills under this war-ode, the best, we believe, that was ever written by any pen.” To this verdict every son of Scottish soil is, I suppose, bound to say, Amen. It ought not, however, to be concealed that there has been a very different estimate formed of it by judges sufficiently competent. I remember to have read somewhere of a conversation between Wordsworth and Mrs. Hemans, in which they both agreed that the famous ode was not much more than a commonplace piece of school-boy rhodomontade about liberty. Probably it does owe not a little of its power to the music to which it is sung, and to the associations which have gathered round it. The enthusiasm for French Revolution sentiments, which may have been in Burns’s mind when composing it, has had nothing to do with the delight with which thousands since have sung and listened to it. The Poet, however, when he first conceived it was no doubt raging inwardly, like a lion, not only caged, but muzzled with the gag of his servitude to Government. But for this, what diatribes in favour of the Revolution might we not have had, and what pain must it have been to Burns to suppress these under the coercion of external authority. Partly to this feeling, as well as to other causes, may be ascribed such outbursts as the following, written to a female correspondent, immediately after his return from the Galloway tour:
“There is not among all the martyrologies that ever were penned, so rueful a narrative as the lives of the poets. In the comparative view of wretches, the criterion is not what they are doomed to suffer, but how they are formed to bear. Take a being of our kind, give him a stronger imagination, and a more delicate sensibility, which between them will ever engender a more ungovernable set of passions than are the usual lot of man; implant in him an irresistible impulse to some idle vagary, ... in short, send him adrift after some pursuit which shall eternally mislead him from the paths of lucre, and yet curse him with a keener relish than any man living for the pleasures that lucre can purchase; lastly, fill up the measure of his woes by bestowing on him a spurning sense of his own dignity — and you have created a wight nearly as miserable as a poet.” This passage will recall to many the catalogue of sore evils to which poets are by their temperament exposed, which Wordsworth in his Leech-gatherer enumerates.
The fear that kills,
And hope that is unwilling to be fed;
&nbs
p; Cold, pain, and labour, and all fleshly ills;
And mighty poets in their misery dead.
In writing that poem Wordsworth had Burns among others prominently in his eye. What a commentary is the life of the more impulsive poet on the lines of his younger and more self-controlling brother! During those years of political unrest and of growing mental disquiet, his chief solace was, as I have said, to compose songs for Thomson’s Collection, into which he poured a continual supply. Indeed it is wonderful how often he was able to escape from his own vexations into that serener atmosphere, and there to suit melodies and moods most alien to his own with fitting words.
Here in one of his letters to Thomson is the way he describes himself in the act of composition. “My way is — I consider the poetic sentiment correspondent to my idea of the musical expression; then choose 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 and 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 on.” To this may be added what Allan Cunningham tells us. “While he lived in Dumfries he had three favourite walks; on the Dock-green by the river-side; among the ruins of Lincluden College; and towards the Martingdon-ford, on the north side of the Nith. This latter place was secluded, commanded a view of the distant hills, and the romantic towers of Lincluden, and afforded soft greensward banks to rest upon, within sight and sound of the stream. As soon as he was heard to hum to himself, his wife saw that he had something in his mind, and was prepared to see him snatch up his hat, and set silently off for his musing-ground. When by himself, and in the open air, his ideas arranged themselves in their natural order — words came at will, and he seldom returned without having finished a song.... When the verses were finished, he passed them through the ordeal of Mrs. Burns’s voice, listened attentively when she sang; asked her if any of the words were difficult; and when one happened to be too rough, he readily found a smoother; but he never, save at the resolute entreaty of a scientific musician, sacrificed sense to sound. The autumn was his favourite season, and the twilight his favourite hour of study.”
Regret has often been expressed that Burns spent so much time and thought on writing his songs, and, in this way, diverted his energies from higher aims. Sir Walter has said, “Notwithstanding the spirit of many of his lyrics, and the exquisite sweetness and simplicity of others, we cannot but deeply regret that so much of his time and talents was frittered away in compiling and composing for musical collections. There is sufficient evidence that even the genius of Burns could not support him in the monotonous task of writing love-verses, on heaving bosoms and sparkling eyes, and twisting them into such rhythmical forms as might suit the capricious evolutions of Scotch reels and strathspeys.” Even if Burns, instead of continual song-writing during the last eight years of his life, had concentrated his strength on “his grand plan of a dramatic composition” on the subject of Bruce’s adventures, it may be doubted whether he would have done so much to enrich his country’s literature as he has done by the songs he composed. But considering how desultory his habits became, if Johnson and Thomson had not, as it were, set him a congenial task, he might not have produced anything at all during those years. There is, however, another aspect in which the continual composition of love-ditties must be regretted. The few genuine love-songs, straight from the heart, which he composed, such as Of a’ the Airts, To Mary in Heaven, Ye Banks and Braes, can hardly be too highly prized. But there are many others, which arose from a lower and fictitious source of inspiration. He himself tells Thomson that when he wished to compose a love-song, his recipe was to put himself on a “regimen of admiring a beautiful woman.” This was a dangerous regimen, and when it came to be often repeated, as it was, it cannot have tended to his peace of heart, or to the purity of his life.
The first half of the year 1794 was a more than usually unhappy time with Burns. It was almost entirely songless. Instead of poetry, we hear of political dissatisfaction, excessive drinking-bouts, quarrels, and self-reproach. This was the time when our country was at war with the French Republic — a war which Burns bitterly disliked, but his employment under Government forced him to set “a seal on his lips as to those unlucky politics.” A regiment of soldiers was quartered in the town of Dumfries, and to Burns’s eye the sight of their red coats was so offensive, that he would not go down the plain-stones lest he should meet “the epauletted puppies,” who thronged the street. One of these epauletted puppies, whom he so disliked, found occasion to pull Burns up rather smartly. The poet, when in his cups, had in the hearing of a certain captain proposed as a toast, “May our success in the present war be equal to the justice of our cause.” The soldier called him to account — a duel seemed imminent, and Burns had next day to write an apologetic letter, in order to avoid the risk of ruin. About the same time he was involved, through intemperance, in another and more painful quarrel. It has been already noticed that at Woodley Park he was a continual guest. With Mrs. Riddel, who was both beautiful and witty, he carried on a kind of poetic flirtation. Mr. Walter Riddel, the host, was wont to press his guests to deeper potations than were usual even in those hard-drinking days. One evening, when the guests had sat till they were inflamed with wine, they entered the drawing-room, and Burns in some way grossly insulted the fair hostess. Next day he wrote a letter of the most abject and extravagant penitence. This, however, Mr. and Mrs. Riddel did not think fit to accept. Stung by this rebuff, Burns recoiled at once to the opposite extreme of feeling, and penned a grossly scurrilous monody on “a lady famed for her caprice.” This he followed up by other lampoons, full of “coarse rancour against a lady, who had showed him many kindnesses.” The Laird of Friars Carse and his lady naturally sided with their relatives, and grew cold to their old friend of Ellisland. While this coldness lasted, Mr. Riddel, of Friars Carse, died in the spring-time, and the poet, remembering his friend’s worth and former kindness, wrote a sonnet over him — not one of his best or most natural performances, yet showing the return of his better heart. During the same spring we hear of Burns going to the house of one of the neighbouring gentry, and dining there, not with the rest of the party, but, by his own choice, it would seem, with the housekeeper in her room, and joining the gentlemen in the dining-room, after the ladies had retired. He was now, it seems, more disliked by ladies than by men, — a change since those Edinburgh days, when the highest dames of the land had spoken so rapturously of the charm of his conversation.
Amid the gloom of this unhappy time (1791), Burns turned to his old Edinburgh friend, Alexander Cunningham, and poured forth this passionate and well-known complaint:— “Canst thou minister to a mind diseased? Canst thou speak peace and rest to a soul tossed on a sea of troubles, without one friendly star to guide her course, and dreading that the next surge may overwhelm her? Of late, a number of domestic vexations, and some pecuniary share in the ruin of these cursed times, — losses which, though trifling, were what I could ill bear, — have so irritated me, that my feelings at times could only be envied by a reprobate spirit listening to the sentence that dooms it to perdition. — Are you deep in the language of consolation? I have exhausted in reflection every topic of comfort. A heart at ease would have been charmed with my sentiments and reasonings; but as to myself, I was like Judas Iscariot preaching the Gospel.... Still there are two great pillars that bear us up amid the wreck of misfortune and misery. The one is composed of a certain noble, stubborn something in man, known by the names of Courage, Fortitude, Magnanimity. The other is made up of those feelings and sentiments which, however the sceptic may deny them, or the enthusiast may disfigure them, are yet, I am convinc
ed, original and component parts of the human soul, those senses of the mind — if I may be allowed the expression — which connect us with, and link us to those awful obscure realities — an all-powerful and equally beneficent God, and a world to come, beyond death and the grave. The first gives the nerve of combat, while a ray of hope beams on the field: the last pours the balm of comfort into the wounds which time can never cure.”
This remarkable, or, as Lockhart calls it, noble letter was written on February 25, 1794. It was probably a few months later, perhaps in May of the same year, while Burns was still under this depression, that there occurred an affecting incident, which has been preserved by Lockhart. Mr. David McCulloch, of Ardwell, told Lockhart, “that he was seldom more grieved, than when, riding into Dumfries one fine summer’s evening, to attend a country ball, he saw Burns walking alone, on the shady side of the principal street of the town, while the opposite part was gay with successive groups of gentlemen and ladies, all drawn together for the festivities of the night, not one of whom seemed willing to recognize the poet. The horseman dismounted, and joined Burns, who, on his proposing to him to cross the street, said, ‘Nay, nay, my young friend, that’s all over now,’ and quoted, after a pause, some verses of Lady Grizzell Baillie’s pathetic ballad: —
