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Authors: Robert Burns

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The Cares o' Love

First printed by Henley and Henderson, 1897.

                     HE

The cares o' Love are sweeter far

    Than onie other pleasure;
any

And if sae dear its sorrows are
so

    Enjoyment, what a treasure!

                     SHE

I fear to try, I dare na try
not

    A passion sae ensnaring;
so

For light's her heart and blythe's her song

    That for nae man is caring.
no

This song fragment was sold in 1861 by Puttock and Simpson in London and purchased by the same Newcastle buyer who allowed the publication of the previous poem,
Sonnet upon Sonnets
.

Louis, What Reck I by Thee

First printed in
S.M.M
, December 1796.

Louis, what reck I by thee,

       Or Geordie on his ocean:

Dyvor, beggar louns to me,

       I reign in Jeanie's bosom.

Let her crown my love her law,

       And in her breast enthrone me:

Kings and nations, swith awa!

       Reif randies, I disown ye.

This is signed ‘R' in the
Scots Musical Museum
in 1796, to indicate the lyrics are by Burns. It appears to be a fragment of a song he never fully completed, dedicated to Jean Armour when she became Mrs Burns. Henley and Henderson display an astounding historical ignorance by remarking on the reference to King Louis of France, that the song must have been written ‘before the revolution of 1795' (Vol. III, p. 410). The revolution occurred in 1789 and in January 1793 the King and Queen of France were executed. It was probably written in early 1789 when Jean came to live at Ellisland farm, by Dumfries.

Sketch. New Year's Day:

To Mrs Dunlop.

First printed by Currie, 1800.

This day, Time winds th' exhausted chain,

To run the twelvemonth's length again: —

I see the old, bald-pated fellow,

With ardent eyes, complexion sallow,

5
Adjust the unimpair'd machine

To wheel the equal, dull routine.

The absent lover, minor heir,

In vain assail him with their prayer,

Deaf as my friend, he sees them press,

10
Nor makes the hour one moment less.

Will you (the Major 's with the hounds,

The happy tenants share his rounds;

Coila's fair Rachel's care to day,
1

And blooming Keith's engaged with
Gray
;)

15
From housewife cares a minute borrow —

— That grandchild's cap will do to-morrow —

And join with me a moralizing,

This day 's propitious to be wise in.

First, what did yesternight deliver?

20
‘Another year has gone for ever.'

And what is this day's strong suggestion?

‘The passing moment 's all we rest on!'

Rest on — for what? what do we here?

Or why regard the passing year?

25
Will Time, amus'd with proverb'd lore,

Add to our date one minute more?

A few days may — a few years must —

Repose us in the silent dust:

Then is it wise to damp our bliss?

30
Yes — all such reasonings are amiss!

The voice of Nature loudly cries,

And many a message from the skies,

That something in us never dies:

That on this frail, uncertain state,

35
Hang matters of eternal weight:

That future life in worlds unknown

Must take its hue from this alone;

Whether as heavenly glory bright,

Or dark as Misery's woeful night —

40
Since then, my honor'd, first of friends,

On this poor being all depends;

Let us th' important now employ,

And live as those who never die.

Tho' you, with days and honours crown'd,

45
Witness that filial circle round,

(A sight life's sorrows to repulse,

A sight pale Envy to convulse)

Others now claim your chief regard;

Yourself, you wait your bright reward. —

This tender, intimate little poem was composed on 1st January, 1789 and dedicated to Mrs Dunlop (Frances Anne Wallace by her own name, eldest daughter of Sir Thomas Wallace of Craigie, who claimed descent from Sir William). Propitious for New Year's Day, it dwells on time, death and immortality as it affected ‘my honor's first of friends' Mrs Dunlop and her family circle. The obvious intimacy of tone is a reflection of their relationship up until Burns's political sentiments became vividly apparent when Britain went to war with France and the poet continued to hold radical sentiments, specifically expressed to Mrs Dunlop in a letter of 12th January, 1795 when he dismissed the execution of the King (a ‘perjured Blockhead') and Queen of France (‘an unprincipled Prostitute') as an unimporant event on a historical scale, when the future of Europe was at stake (Letter 649). Mother-Confessor and avid fan of Burns from when she first read the Kilmarnock edition, Mrs Dunlop thought herself Burns's first literary critic and guardian, but the social division between them opened to a chasm with his political outburst, particularly given the fact her sons were engaged in war against the French.

Mrs Dunlop died in May 1815. Her portrait in the family home at Lochryan House, Cairnryan, shows her as a youthful beauty. L. 9 refers to her partial, but temporary deafness. The old Major (l. 11) is Andrew Dunlop. Rachel and Miss Keith (ll. 15–16) refer to Mrs Dunlop's daughters. The copy of Thomas Gray's poetry (l. 14) was a present from Burns. The Burns–Dunlop correspondence was printed in 1896 by William Wallace, her descendant.

1
This young lady was drawing a picture of Coila from
The Vision
. R.B. (See Letter 524).

Robin Shure in Hairst

Tune: Rob Shear'd in Hairst
First printed in S.M.M., 1803.

I gaed up to Dunse,
went

       To warp a wab o' plaiden;
weave, web, plaid

At his daddie's yett,
gate

       Wha met me but Robin.
who

Chorus

5
Robin shure in hairst,
sheared, harvest

       I shure wi' him;

Fient a heuk had I,
not a sickle

       Yet I stack by him.
stuck

Was na Robin bauld,
not, bold

10
       Tho' I was a cottar,

Play'd me sic a trick
such

       An' me the Eller's dochter!
Elder's daughter

              Robin shure &c.

Robin promis'd me

       A' my winter vittle;
food

15Fient haet he had but three
not a thing

       Goos feathers and a whittle.
Quills, knife

               Robin shure &c.

This is a traditional song reworked by Burns. Commonly, he employs a woman's viewpoint. Ironically, however, it is the imagined voice of the lower-class woman (Letter 252) impregnated and betrayed by his then lawyer friend, Robert Ainslie. Even more ironically, Burns was simultaneously using Ainslie as a go-between to the similarly pregnant May Cameron: ‘Please call at the Jas Hogg mentioned, and send for the wench and giver her ten or twelve shillings, but don't for Heaven's sake meddle with her as a
Piece
. – I insist on this, on your honor; and advise her out to some country friends. – You may not like the business, but I tax your friendship thus far. Call immediately, [for God (deleted)] or at least as soon as it is dark, for God's sake, lest the poor soul be starving.' (Letter 246) He sent the song to Robert Ainslie, stating ‘I have brushed up the following favourite old Song a little, with a view to your worship. – I have only altered a word here and there; but if you like … we shall think of a Stanza or two to add to it' (Letter 295). Ainslie was born at Berrywell, near Duns (l. 1). The mention of ‘goos feathers', meaning quills, and a ‘whittle', meaning a knife, refers to the implements used by a lawyer. Ainslie was a law student when Burns met him.

Caledonia

Tune: Caledonian Hunt's Delight.
First printed in Currie, 1800.

There was on a time, but old Time was then young,

        That brave Caledonia, the chief of her line,

From some of your northern deities sprung,

        (Who knows not that brave Caledonia's divine)

5
From Tweed to the Orcades was her domain,
Orkney

        To hunt, or to pasture, or do what she would;

Her heav'nly relations there fixè d her reign,

        And pledged her their godheads to warrant it good. —

A lambkin in peace, but a lion in war,

10
        The pride of her kindred the Heroine grew;

Her grandsire, old Odin, triumphantly swore,

        ‘Whoe'er shall provoke thee, th' encounter shall rue!'

With tillage or pasture at times she would sport,

        To feed her fair flocks by her green-rustling corn;

15
But chiefly the woods were her fav'rite resort,

        Her darling amusement the hounds and the horn. —

Long quiet she reign'd, till thitherward steers

        A flight of bold eagles from Adria's strand;

Repeated, successive, for many long years,

20
        They darken'd the air and they plunder'd the land.

Their pounces were murder, and horror their cry,

        They'd ravag'd and ruin'd a world beside;

She took to her hills and her arrows let fly,

        The daring invaders they fled or they di'd. —

25
The Cameleon Savage disturb'd her repose

        With tumult, disquiet, rebellion, and strife;

Provok'd beyond bearing, at last she arose,

        And robbed him at once of his hopes and his life.

The Anglian Lion, the terror of France,

30
        Oft prowling ensanguin'd the Tweed's silver flood;

But taught by the bright Caledonian lance,

        He learned to fear in his own native wood. —

The fell Harpy-Raven took wing from the North,

        The scourge of the seas and the dread of the shore;

35
The wild Scandinavian boar issued forth,

        To wanton in carnage and wallow in gore:

O'er countries and kingdoms their fury prevail'd,

        No arts could appease them, no arms could repel;

But brave Caledonia in vain they assail'd,

40
        As Largs well can witness, and Loncartie tell. —

Thus bold, independent, unconquer'd and free,

        Her bright course of glory for ever shall run;

For brave Caledonia immortal must be,

        I'll prove it from Euclid as clear as the sun:

45
Rectangle-triangle, the figure we'll chuse,

        The upright is Chance, and old Time is the Base;

But brave Caledonia's the Hypothenuse,

        Then, Ergo, she'll match them, and match them always. —

This was sent to Johnson for the S.M.M. but was first printed by Currie in 1800. It is a patriotic song which, set in a semi-mythical past, conceives of Caledonia as descended from Pictish Odin. Caledonia retains its integrity by repulsing a series of invaders. The ‘eagles from Adria's strand' (l. 18) refer to the Romans. The ‘Camelon Savage' (l. 25) alludes to the area of Falkirk, the ‘ancient Metropolis of the Picts' as remarked by Burns in his tour of the Highlands (
Journal of a Tour in the Highlands
, l. 12). The battle of 685 AD (ll. 30–2) refers to the Picts' victory over the Normans of Northumbria. The ‘Harpy-Raven' (l. 33) refers to the Danish and the ‘Scandinavian Boar' (l. 35), the Norwegians. The Scots victories over Haakon's fleet at Largs (1263) and the defeat of Norsemen at Loncartie (990) are mentioned (l. 40). Hence, the ‘spirit' of Caledonia, first manifest as the martial warfaring strength of the Picts, is eventually inherited by the Scots. This historical vision is uncharacteristic of Burns's customary pessimistic view of the degeneration of Scottish nationhood by virtue of its relationship with the ‘Anglian Lion' (ll. 29–32). See, in particular,
Ode on General Washington's
Birthday
.

At Whigham's Inn, Sanquhar

First printed in
The Burns Chronicle
, 1896.

Envy, if thy jaundiced eye,

Through this window chance to spy,

To thy sorrow thou shalt find,

All that's generous, all that's kind,

Friendship, virtue, every grace,

Dwelling in this happy place.

These lines were written by Burns on a window-pane at the Queensberry Arms, Sanquhar. They were also found in a copy of the Kilmarnock edition, gifted to Edward Whigham (1750–1823), the innkeeper, who later became Provost of the Burgh. Burns probably visited the inn while travelling between Mauchline and Ellisland.

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