'But what d'ye think, my trusty fier,I'm turned a gauger—Peace be here!Parnassian queans, I fear, I fear,Ye'll now disdain me!And then my fifty pounds a yearWill little gain me.I hae a wife and twa wee laddies,They maun hae brose and brats o' duddies;Ye ken yoursel's my heart right proud is—I needna vaunt,But I'll sned besoms—thraw saugh woodies,Before they want.But to conclude my silly rhyme(I'm scant o' verse, and scant o' time),To make a happy fireside climeTo weans and wife,That's the true pathos and sublimeOf human life.'
'But what d'ye think, my trusty fier,I'm turned a gauger—Peace be here!Parnassian queans, I fear, I fear,Ye'll now disdain me!And then my fifty pounds a yearWill little gain me.
I hae a wife and twa wee laddies,They maun hae brose and brats o' duddies;Ye ken yoursel's my heart right proud is—I needna vaunt,But I'll sned besoms—thraw saugh woodies,Before they want.
But to conclude my silly rhyme(I'm scant o' verse, and scant o' time),To make a happy fireside climeTo weans and wife,That's the true pathos and sublimeOf human life.'
This was nobly said; and the poet spoke from the heart.
Not content with being gauger, farmer, and poet, Burns took a lively interest in everything affecting the welfare of the parish and the well-being of its inhabitants. For this was no poet of the study, holding himself aloof from the affairs of the world, and fearing the contamination of his kind. Burns was alive all-round, and always acted his part in the world as a husband and father; as a citizen and a man. He made himself the poet of humanity, because he himself was so intensely human, and joyed and sorrowed with his fellows. At this timehe established a library in Dunscore, and himself undertook the whole management,—drawing out rules, purchasing books, acting for a time as secretary, treasurer, and committee all in one. Among the volumes he ordered were several of his old favourites,The Spectator,The Man of Feeling, andThe Lounger; and we know that there was on the shelves even a folio Hebrew Concordance.
A favourite walk of the poet's while he stayed here was along Nithside, where he often wandered to take a 'gloamin' shot at the Muses.' Here, after a fall of rain, Cunningham records, the poet loved to walk, listening to the roar of the river, or watching it bursting impetuously from the groves of Friar's Carse. 'Thither he walked in his sterner moods, when the world and its ways touched his spirit; and the elder peasants of the vale still show the point at which he used to pause and look on the red and agitated stream.'
In spite of his multifarious duties, he was now more than ever determined to make his name as a poet. To Dr. Moore he wrote (4th January 1789): 'The character and employment of a poet were formerly my pleasure, but now my pride.... Poesy I am determined to prosecute with all my vigour. Nature has given very few, if any, of the profession the talents of shining in every species of composition. I shall try (for until trial it is impossible to know) whether she has qualified me to shine in any one.'
It was inevitable that one whose district as an exciseman reached far and wide could not regularly attend to ploughing, sowing, and reaping, and the farm was very often left to the care of servants. Dr. Currie appearsto count it as a reproach that his farm no longer occupied the principal part of his care or his thoughts. Yet it could not have been otherwise. Burns after having undertaken a duty would attend to it religiously, and we know that he pursued his work throughout his ten parishes diligently, faithfully, and with unvarying punctuality. Others have bemoaned that those frequent Excise excursions led the poet into temptation, that he was being continually assailed by the sin that so easily beset him. Let it be admitted frankly that the temptations to social excess were great; is it not all the more creditable to Burns that he did not sink under those temptations and become the besotted wreck conventional biography has attempted to make him? If those who raise this plaint mean to insinuate that Burns became a confirmed toper, then they are assuredly wrong; if they be only drawing attention to the fact that drinking was too common in Scotland at that time, then they are attacking not the poet but the social customs of his day. It would be easy if we were to accept 'the general impression of the place,' and go by the tale of gossip, to show that Burns was demoralised by his duties as a gauger, and sank into a state of maudlin intemperance. But ascertained fact and the testimony of unimpeachable authority are at variance with the voice of gossip. 'So much the worse for fact,' biography would seem to have said, and gaily sped on the work of defamation. We only require to forget Allan Cunningham'sPersonal Sketch of the Poet, the letters from Mr. Findlater and Mr. Gray, and to close our eyes to the excellence of the poetry of this period, in order to see Burns on the downgrade, and to preach grand moral lessons from the text of a wasted life.
But, after all, 'facts are chiels that winna ding,' and we must take them into account, however they may baulk us of grand opportunities of plashing in watery sentiment. Speaking of the poet's biographers, Mr. Findlater remarks that they have tried to outdo one another in heaping obloquy on his name; they have made his convivial habits, habitual drunkenness; his wit and humour, impiety; his social talents, neglect of duty; and have accused him of every vice. Then he gives his testimony: 'My connection with Robert Burns commenced immediately after his admission into the Excise, and continued to the hour of his death. In all that time the superintendence of his behaviour as an officer of the revenue was a branch of my especial province; and it may be supposed I would not be an inattentive observer of the general conduct of a man and a poet so celebrated by his countrymen. In the former capacity, so far from its being impossible for him to discharge the duties of his office with that regularity which is almost indispensable, as is palpably assumed by one of his biographers, and insinuated, not very obscurely even, by Dr. Currie, he was exemplary in his attention as an Excise officer, and was even jealous of the least imputation on his vigilance.'
But a glance at the poems and songs of this period would be a sufficient vindication of the poet's good name. There are considerably over a hundred songs and poems written during his stay at Ellisland, many of them of his finest. The third volume of Johnson's Museum, published in February 1790, contained no fewer than forty songs by Burns. Among the Ellisland songs were such as,Ye Banks and Braes o' Bonnie Doon,Auld Lang Syne,Willie brewed a Peck o' Maut,To Mary in Heaven,Of a' the Airts the Wind can blaw,My Love she's but a Lassie yet,Tam Glen,John Anderson my Jo, songs that have become the property of the world. Of the last-named song, Angellier remarks that the imagination of the poet must have indeed explored every situation of love to have led him to that which he in his own experience could not have known. Even the songWillie brewed a Peck o' Maut, the first of bacchanalian ditties, is the work of a man of sane mind and healthy appetite. It is not of the diseased imagination of drunken genius. But the greatest poem of this period, and one of Burns's biggest achievements, isTam o' Shanter. This poem was written in answer to a request of Captain Grose that the poet would provide a witch story to be printed along with a drawing of Alloway Kirk, and was first published in Grose'sAntiquities of Scotland. We have been treated by several biographers to a private view of the poet, with wild gesticulations, agonising in the composition of this poem; but where his wife did not venture to intrude, we surely need not seek to desecrate. 'I stept aside with the bairns among the broom,' says Bonnie Jean; not, we should imagine, to leave room for aliens and strangers. He has been again burlesqued for us rending himself in rhyme, and stretched on straw groaning elegiacs to Mary in heaven. All this is mere sensationalism provided for illiterate readers. We have the poem, and its excellence sufficeth.
It is worthy of note that inTam o' Shanter, as well as inTo Mary in Heaven, the poet goes back tohis earlier years in Ayrshire. They are posthumous products of the inspiration which gave us the Kilmarnock Edition. I am not inclined to agree with Carlyle in his estimate ofTam o' Shanter. It is not the composition of a man of great talent, but of a man of transcendent poetical genius. The story itself is a conception of genius, and in the narration the genius is unquestionable. It is a panorama of pictures so vivid and powerful that the characters and scenes are fixed indelibly on the mind, and abide with us a cherished literary possession. After reading the poem, the words are recalled without conscious effort of memory, but as the only possible embodiment of the mental impressions retained. Short as the poem is, there is in it character, humour, pathos, satire, indignation, tenderness, fun, frolic, diablerie, almost every human feeling. I have heard Burns in the writing of this poem likened to a composer at an organ improvising a piece of music in which, before he has done, he has used every stop and touched every note on the keyboard. Even the weakest lines of the piece, which mark a dramatic pause in the rapid narration, have a distinctive beauty and are the most frequently quoted lines of the poem. In artistic word-painting and graphic phrasing Burns is here at his best. His description of the horrible is worthy of Shakspeare; and it is questionable if even the imagination of that master ever conceived anything more awful than the scene and circumstance of the infernal orgies of those witches and warlocks. What Zolaesque realism there is! In the line, 'The grey hairs yet stack to the heft,' all the gruesomeness of murder is compressed into a distich. Yet the horrible details are controlled and unifiedin the powerful imagination of the poet. We believe Dr. Blacklock was right in thinking that this poem, though Burns had never written another syllable, would have made him a high reputation. Certainly it was not the work of a man daily dazing his faculties with drink; no more was that exquisite lyricTo Mary in Heaven. Another poem of this period deserving special mention isThe Whistle, not merely because of its dramatic force and lyrical beauty, but because it gives a true picture of the drinking customs of the time. And again I dare assert that this is not the work of a mind enfeebled or debased by drink. It is a bit of simple, direct, sincere narration, humanly healthy in tone; the ideas are clear and consecutive, and the language fitting. It is not so that drunken genius expresses itself. The language of a poetical mind enfeebled by alcohol or opium is frequently mystic and musical; it never deals with the realities and responsibilities of life, but in a witchery of words winds and meanders through the realms of reverie and dream. It may be sweet and sensuous; it is rarely narrative or simple; never direct nor forcible.
In theKirk's Alarm, wherein he again reverted to his Mossgiel period, he displayed all his former force of satire, as well as his sympathy with those who advocated rational views in religion. Dr. Macgill had written a book which the Kirk declared to be heretical, and Burns, at the request of some friends, fought for the doctor in his usual way, though with little hope of doing him any good. 'Ajax's shield consisted, I think, of seven bull-hides and a plate of brass, which altogether set Hector's utmost force at defiance. Alas! I am nota Hector, and the worthy doctor's foes are as securely armed as Ajax was. Ignorance, superstition, bigotry, stupidity, malevolence, self-conceit, envy—all strongly bound in a massy frame of brazen impudence; to such a shield humour is the peck of a sparrow and satire the pop-gun of a schoolboy. Creation-disgracing scélérats such as they, God only can mend, and the devil only can punish.' The doctor yielded, Cunningham tells us, and was forgiven, but not the poet; pertinently adding, 'so much more venial is it in devout men's eyes to be guilty of heresy than of satire.'
Into political as well as theological matters Burns also entered with all his wonted enthusiasm. Of his election ballads, the best, perhaps, areThe Five Carlinsand theEpistle to Mr. Graham of Fintry. But these ballads are not to be taken as a serious addition to the poet's works; he did not wish them to be so taken. He was a man as well as a poet; was interested with his neighbours in political affairs, and in the day of battle fought with the weapons he could wield with effect. Nor are his ballads always to be taken as representing his political principles; these he expressed in song that did not owe its inspiration to the excitement of elections. Burns was not a party man; he had in politics, as in religion, some broad general principles, but he had 'the warmest veneration for individuals of both parties.' The most important verse in hisEpistle to Graham of Fintryis the last:
'For your poor friend, the Bard, afarHe hears and only hears the war,A cool spectator purely:So, when the storm the forest rends,The robin in the hedge descends,And sober chirps securely.'
'For your poor friend, the Bard, afarHe hears and only hears the war,A cool spectator purely:So, when the storm the forest rends,The robin in the hedge descends,And sober chirps securely.'
Burns's life was, therefore, quite full at Ellisland, too full indeed; for, towards the end of 1791, we find him disposing of the farm, and looking to the Excise alone for a livelihood. In the farm he had sunk the greater part of the profits of his Edinburgh Edition; and now it was painfully evident that the money was lost. He had worked hard enough, but he was frequently absent, and a farm thrives only under the eye of a master. On Excise business he was accustomed to ride at least two hundred miles every week, and so could have little time to give to his fields. Besides this, the soil of Ellisland had been utterly exhausted before he entered on his lease, and consequently made a miserable return for the labour expended on it. The friendly relations that had existed between him and his landlord were broken off before now; and towards the close of his stay at Ellisland Burns spoke rather bitterly of Mr. Miller's selfish kindness. Miller was, in fact, too much of a lord and master, exacting submission as well as rent from his tenants; while Burns was of too haughty a spirit to beck and bow to any man. 'The life of a farmer is,' he wrote to Mrs. Dunlop, 'as a farmer paying a dear, unconscionable rent, a cursed life.... Devil take the life of reaping the fruits that others must eat!'
The poet, too, had been overworking himself, and was again subject to his attacks of hypochondria. 'I feel that horrid hypochondria pervading every atom of both body and soul. This farm has undone my enjoyment of myself. It is a ruinous affair on all hands.' In the midst of his troubles and vexations with his farm, he began to look more hopefully to the Excise, and to seein the future a life of literary ease, when he could devote himself wholly to the Muses. He had already got ranked on the list as supervisor, an appointment that he reckoned might be worth one hundred or two hundred pounds a year; and this determined him to quit the farm entirely, and to try to make a living by one profession. As farmer, exciseman, and poet he had tried too much, and even a man of his great capacity for work was bound to have succumbed under the strain. Even had the farm not proved the ruinous bargain it did, we imagine that he must have been compelled sooner or later to relinquish one of the two, either his farm or his Excise commission. Circumstances decided for him, and in December 1791 he sold by auction his stock and implements, and removed to Dumfries, 'leaving nothing at Ellisland but a putting-stone, with which he loved to exercise his strength; a memory of his musings, which can never die; and three hundred pounds of his money, sunk beyond redemptionin a speculation from which all augured happiness.'
When Burns removed from Ellisland to Dumfries, he took up his abode in a small house of three apartments in the Wee Vennel. Here he stayed till Whitsunday 1793, when the family removed to a detached house of two storeys in the Mill Vennel. A mere closet nine feet square was the poet's writing-room in this house, and it was in the bedroom adjoining that he died.
The few years of his residence in Dumfries have been commonly regarded as a period of poverty and intemperance. But his intemperance has always been most religiously exaggerated, and we doubt not also that the poverty of the family at this time has been made to appear worse than it was. Burns had not a salary worthy of his great abilities, it is true, but there is good reason to believe that the family lived in comparative ease and comfort, and that there were luxuries in their home, which neither father nor mother had known in their younger days. Burns liked to see his Bonnie Jean neat and trim, and she went as braw as any wife of the town. Though we know that he wrote painfully, towards the end of his life, for the loan of paltry sums, we are to regard this as a sign more of temporaryembarrassment than of a continual struggle to make ends meet. The word debt grated so harshly on Burns's ears that he could not be at peace with himself so long as the pettiest account remained unpaid; and if he had no ready money in his hands to meet it, he must e'en borrow from a friend. His income, when he settled in Dumfries, was 'down money £70 per annum,' and there were perquisites which must have raised it to eighty or ninety. Though his hopes of preferment were never realised, he tried his best on this slender income 'to make a happy fireside clime to weans and wife,' and in a sense succeeded.
What he must have felt more keenly than anything else in leaving Ellisland was, that in giving up farming he was making an open confession of failure in his ideal of combining in himself the farmer, the poet, and the exciseman. There was a stigma also attaching to the name of gauger, that must often have been galling to the spirit of Burns. The ordinary labourer utters the word with dry contempt, as if he were speaking of a spy. But the thoughts of a wife and bairns had already prevailed over prejudice; he realised the responsibilities of a husband and father, and pocketed his pride. A great change it must have been to come from the quiet and seclusion of Ellisland to settle down in the midst of the busy life of an important burgh.
Life in provincial towns in Scotland in those days was simply frittered away in the tittle-tattle of cross and causeway, and the insipid talk of taverns. The most trifling incidents of everyday life were dissected and discussed, and magnified into events of the first importance. Many residents had no trade or profession whatever. Annuitants and retired merchants built themselves houses, had their portraits painted in oil, and thereafter strutted into an aristocracy. Without work, without hobby, without healthy recreation, and cursed with inglorious leisure, they simply dissipated time until they should pass into eternity. The only amusement such lumpish creatures could have was to meet in some inn or tavern, and swill themselves into a debauched joy of life. Dumfries, when Burns came to it in 1791, was no better and no worse than its neighbours; and we can readily imagine how eagerly such a man would be welcomed by its pompously dull and leisured topers. Now might their meetings be lightened with flashes of genius, and the lazy hours of their long nights go fleeting by on the wings of wit and eloquence. Too often in Dumfries was Burns wiled into the howffs and haunts of these seasoned casks. They could stand heavy drinking; the poet could not. He was too highly strung, and if he had consulted his own inclination would rather have shunned than sought the company of men who met to quaff their quantum of wine and sink into sottish sleep. For Burns was never a drunkard, not even in Dumfries; though the contrary has been asserted so often that it has all the honour that age and the respectability of authority can give it. There was with him no animal craving for drink, nor has he been convicted of solitary drinking; but he was intensely convivial, and drank, as Professor Blackie put it, 'only as the carnal seasoning of a rampant intellectuality.' There is no doubt that he came to Dumfries a comparatively pure and sober man; and if he now began to frequent the Globe Tavern, often to cast his pearls before swine, let it be remembered that he was compelledfrequently to meet there strangers and tourists who had journeyed for the express purpose of meeting the poet. Nowadays writers and professional men have their clubs, and in general frequent them more regularly than Burns ever haunted the howffs of Dumfries. But we have heard too much about 'the poet's moral course after he settled in Dumfries being downward.' 'From the time of his migration to Dumfries,' Principal Shairp soberly informs us, 'it would appear that he was gradually dropped out of acquaintance by most of the Dumfriesshire lairds, as he had long been by the parochial and other ministers.' Poor lairds! Poor ministers! If they preferred their own talk of crops and cattle and meaner things to the undoubted brilliancy of Burns's conversation, surely their dulness and want of appreciation is not to be laid to the charge of the poet. I doubt not had the poet lived to a good old age he would have been gradually dropped out of acquaintance by some who have not scrupled to write his biography. Politics, it is admitted, may have formed the chief element in the lairds' and ministers' aversion, but there is a hint that his irregular life had as much to do with it. Is it to be seriously contended that these men looked askance at Burns because of his occasional convivialities? 'Madam,' he answered a lady who remonstrated with him on this very subject, 'they would not thank me for my company if I did not drink with them.' These lairds, perhaps even these ministers, could in all probability stand their three bottles with the best, and were more likely to drop the acquaintance of one who would not drink bottle for bottle with them than of one who indulged to excess.It was considered a breach of hospitality not to imbibe so long as the host ordained; and in many cases glasses were supplied so constructed that they had to be drained at every toast. 'Occasional hard drinking,' he confessed to Mrs. Dunlop, 'is the devil to me; against this I have again and again set my resolution, and have greatly succeeded. Taverns I have totally abandoned; it is the private parties in the family way among the hard-drinking gentlemen of this county that do me the mischief; but even this I have more than half given over.' Most assuredly whatever these men charged against Robert Burns it was not drunkenness. But he has been accused of mixing with low company! That is something nearer the mark, and goes far to explain the aversion of those stately Tories. But again, what is meant by low company? Are we to believe that the poet made associates of depraved and abandoned men? Not for a moment! This low company was nothing more than men in the rank of life into which he had been born; mechanics, tradesmen, farmers, ploughmen, who did not move in the aristocratic circles of patrician lairds or ministers ordained to preach the gospel to the poor. It was simply the old, old cry of 'associating with publicans and sinners.'
We do not defend nor seek to hide the poet's aberrations; he confessed them remorselessly, and condemned himself. But we do raise our voice against the exaggeration of occasional over-indulgence into confirmed debauchery; and dare assert that Burns was as sober a man as the average lairds and ministers who had the courage of their prejudices, and wrote themselves down asses to all posterity.
But here again the work the poet managed to do is a sufficient disproof of his irregular life. He was at this time, besides working hard at his Excise business, writing ballads and songs, correcting for Creech the two-volume edition of his poems, and managing somehow or other to find time for a pretty voluminous correspondence. His hands were full and his days completely occupied. He would not have been an Excise officer very long had he been unable to attend to his duties. William Wallace, the editor ofChambers's Burns, has studied very carefully this period of the poet's life, and found that in those days of petty faultfinding he has not once been reprimanded, either for drunkenness or for dereliction of duty. There were spies and informers about who would not have left the Excise Commissioners uninformed of the paltriest charge they could have trumped up against Burns. Nor is there, when we look at his literary work, any falling off in his powers as a poet. He sang as sweetly, as purely, as magically as ever he did; and this man, who has been branded as a blasphemer and a libertine, had nobly set himself to purify the polluted stream of Scottish Song. He was still continuing his contributions to Johnson's Museum, and now he had also begun to write for Thomson's more ambitious work.
Some of the first of his Dumfriesshire songs owe their inspiration to a hurried visit he paid to Mrs. Maclehose in Edinburgh before she sailed to join her husband in the West Indies. The best of these are, perhaps,My Nannie's Awa'andAe Fond Kiss. The fourth verse of the latter was a favourite of Byron's, while Scott claims for it that it is worth a thousand romances—
'Had we never loved so kindly,Had we never loved so blindly!Never met—or never parted,We had ne'er been broken-hearted.'
'Had we never loved so kindly,Had we never loved so blindly!Never met—or never parted,We had ne'er been broken-hearted.'
Another song of a different kind,The Deil's awa wi' the Exciseman, had its origin in a raid upon a smuggling brig that had got into shallow water in the Solway. The ship was armed and well manned; and while Lewars, a brother-excisemen, posted to Dumfries for a guard of dragoons, Burns, with a few men under him, watched to prevent landing or escape. It was while impatiently waiting Lewars's return that he composed this song. When the dragoons arrived Burns put himself at their head, and wading, sword in hand, was the first to board the smuggler. The affair might ultimately have led to his promotion had he not, next day at the sale of the vessel's arms and stores in Dumfries, purchased four carronades, which he sent, with a letter testifying his admiration and respect, to the French Legislative Assembly. The carronades never reached their destination, having been intercepted at Dover by the Custom House authorities. It is a pity perhaps that Burns should have testified his political leanings in so characteristic a way. It was the impetuous act of a poet roused to enthusiasm, as were thousands of his fellow-countrymen at the time, by what was thought to be the beginning of universal brotherhood in France. But whatever may be said as to the impulsive imprudence of the step, it is not to be condemned as a most absurd and presumptuous breach of decorum. We were not at war with France at this time; had not even begun to await developments withcritical suspicion. Talleyrand had not yet been slighted by our Queen, and protestations of peace and friendship were passing between the two Governments. Any subject of the king might at this time have written a friendly letter or forwarded a token of goodwill to the French Government, without being suspected of disloyalty. But by the time the carronades had reached Dover the complexion of things had changed; and yet even in those critical times Burns's action, though it may have hindered promotion, does not appear to have been interpreted as 'a most absurd and presumptuous breach of decorum.' That interpretation was left for biographers made wise with the passions of war; and yet they have not said in so many words, what they darkly insinuate, that the poet was not a loyal British subject. His love of country is too surely established. That, later, he thought the Ministry engaging in an unjust and unrighteous war, may be frankly admitted. He was not alone in his opinion; nor was he the only poet carried away with a wild enthusiasm of Liberty, Equality, and Fraternity. Societies were then springing up all over the country calling for redress of grievances and for greater political freedom. Such societies were regarded by the Government of the day as seditious, and their agitations as dangerous to the peace of the country; and Burns, though he did not become a member of the Society of the Friends of the People, was at one with them in their desire for reform. It was known also that he 'gat theGazeteer,' and that was enough to mark him out as a disaffected person. No doubt he also talked imprudently; for it was not the nature of this man to keep his sentiments hidden in his heart, and to talk the language of expediency. What hethought in private he advocated publicly in season and out of season; and it was quite in the natural course of things that information regarding his political opinions should be lodged against him with the Board of Excise. His political conduct was made the subject of official inquiry, and it would appear that for a time he was in danger of dismissal from the service. This is a somewhat painful episode in his life; and we find him in a letter to Mr. Graham of Fintry repudiating the slanderous charges, yet confessing that the tender ties of wife and children 'unnerve courage and wither resolution.' Mr. Findlater, his superior, was of opinion that only a very mild reprimand was administered, and the poet warned to be more prudent in his speech. But what appeared mild to Mr. Findlater was galling to Burns. In his letter to Erskine of Mar he says: 'One of our supervisors-general, a Mr. Corbet, was instructed to inquire on the spot and to document me—that my business was to act,not to think; and that whatever might be men or measures it was for me to besilentandobedient.'
We can hardly conceive a harsher sentence on one of Burns's temperament, and we doubt not that the degradation of being thus gagged, and the blasting of his hopes of promotion, were the cause of much of the bitterness that we find bursting from him now more frequently than ever, both in speech and writing. That remorse for misconduct irritated him against himself and against the world, is true; but it is none the less true that he must have chafed against the servility of an office that forbade him the freedom of personal opinion. In the same letter he unburdens his heart in a burst of eloquent and noble indignation.
'Burns was a poor man from birth, and an exciseman by necessity; but—Iwillsay it—the sterling of his honest worth no poverty could debase; his independent British mind oppression might bend, but could not subdue.... I have three sons who, I see already, have brought into the world souls ill-qualified to inhabit the bodies of slaves.... Does any man tell me that my full efforts can be of no service, and that it does not belong to my humble station to meddle with the concerns of a nation? I can tell him that it is on such individuals as I that a nation has to rest, both for the hand of support and the eye of intelligence.'
What the precise charges against him were, we are not informed. It is alleged that he once, when the health of Pitt was being drunk, interposed with the toast of 'A greater than Pitt—George Washington.' There can be little fault found with the sentiment. It is given to poets to project themselves into futurity, and declare the verdict of posterity. But the occasion was ill-chosen, and he spoke with all a poet's imprudence. In another company he aroused the martial fury of an unreasoning captain by proposing the toast, 'May our success in the present war be equal to the justice of our cause.' A very humanitarian toast, one would think, but regarded as seditious by the fire-eating captain, who had not the sense to see that there was more of sedition in his resentment than in Burns's proposal. Yet the affair looked black enough for a time, and the poet was afraid that even this story would be carried to the ears of the commissioners, and his political opinions be again misrepresented.
Another thing that came to disturb his peace of mind was his quarrel with Mrs. Riddell of Woodley Park, where he had been made a welcome guest ever since his advent to this district. That Burns, in the heat of a fever of intoxication, had been guilty of a glaring act of impropriety in the presence of the ladies seated in the drawing-room, we may gather from the internal evidence of his letter written the following morning 'from the regions of hell, amid the horrors of the damned.' It would appear that the gentlemen left in the dining-room had got ingloriously drunk, and there and then proposed an indecorous raid on the drawing-room. Whatever it might be they did, it was Burns who was made to suffer the shame of the drunken plot. His letter of abject apology remained unanswered, and the estrangement was only embittered by some lampoons which he wrote afterwards on this accomplished lady. The affair was bruited abroad, and the heinousness of the poet's offence vastly exaggerated. Certain it is that he became deeply incensed against not only the lady, but her husband as well, to whom he considered he owed no apology whatever. Matters were only made worse by his unworthy verses, and it was not till he was almost on the brink of the grave that he and Mrs. Riddell met again, and the old friendship was re-established. The lady not only forgot and forgave, but she was one of the first after the poet's death to write generously and appreciatively of his character and abilities.
That the quarrel with Mrs. Riddell was prattled about in Dumfries, and led other families to drop the acquaintance of the poet, we are made painfully aware; and in his correspondence now there is rancour, bitterness, and remorse more pronounced and more settled than at anyother period of his life. He could not go abroad without being reminded of the changed attitude of the world; he could not stay at home without seeing his noble wife uncomplainingly nursing a child that was not hers. He cursed himself for his sins and follies; he cursed the world for its fickleness and want of sympathy. 'His wit,' says Heron, 'became more gloomy and sarcastic, and his conversation and writings began to assume a misanthropical tone, by which they had not been before in any eminent degree distinguished. But with all his failings his was still that exalted mind which had raised itself above the depression of its original condition, with all the energy of the lion pawing to free his hinder limbs from the yet encumbering earth.'
His health now began to give his friends serious concern. To Cunningham he wrote, February 24, 1794: 'For these two months I have not been able to lift a pen. My constitution and my frame wereab origineblasted with a deep, incurable taint of hypochondria, which poisons my existence.' A little later he confesses: 'I have been in poor health. I am afraid that I am about to suffer for the follies of my youth. My medical friends threaten me with a flying gout, but I trust they are mistaken.' His only comfort in those days was his correspondence with Thomson and with Johnson. He kept pouring out song after song, criticising, rewriting, changing what was foul and impure into songs of the tenderest delicacy. He showed love in every mood, from the rapture of pure passion in theLea Rig, the maidenly abandon ofWhistle and I'll come to you, my Lad, to the humour ofLast May a Braw WooerandDuncan Gray, and the guileless devotion ofO wert thou in the Cauld Blast. But he sang of more than love. Turning from the coldness of the high and mighty, who had once been his friends, he found consolation in the naked dignity of manhood, and penned the hymn of humanity,A Man's a Man for a' that. Perhaps he found his text inTristram Shandy: 'Honours, like impressions upon coin, may give an ideal and local value to a bit of base metal, but gold and silver pass all the world over with no other recommendation than their own weight.' Something like this occurs in Massinger'sDuke of Florence, where it is said of princes that
'They can give wealth and titles, but no virtues;This is without their power.'
'They can give wealth and titles, but no virtues;This is without their power.'
Gower also had written—
'A king can kill, a king can save;A king can make a lord a knave,And of a knave a lord also.'
'A king can kill, a king can save;A king can make a lord a knave,And of a knave a lord also.'
But the poem is undoubtedly Burns's, and it is one he must have written ere he passed away.Scots wha haeis another of his Dumfries poems. Mr. Syme gives a highly-coloured and one-sided view of the poet riding in a storm between Gatehouse and Kenmure, where we are assured he composed this ode. Carlyle accepts Syme's authority, and adds: '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 gives an account of the writing of the poem, which it is difficult to reconcile with Mr. Syme's sensational details. It matters not, however, when or how it was written; we have it now, one ofthe most martial and rousing odes ever penned. Not only has it gripped the heart of Scotsmen, but it has taken the ear of the world; its fire and vigour have inspired soldiers in the day of battle, and consoled them in the hour of death. We are not forgetful of the fact that Mrs. Hemans, who wrote some creditable verse, and the placid Wordsworth, discussed this ode, and agreed that it was little else than the rhodomontade of a schoolboy. It is a pity that such authorities should have missed the charm ofScots wha hae. More than likely they made up for the loss in a solitary appreciation ofBetty FoyorThe Pilgrim Fathers.
Another martial ode, composed in 1795, was called forth by the immediate dangers of the time. The country was roused by the fear of foreign invasion, and Burns, who had enrolled himself in the ranks of the Dumfriesshire Volunteers, penned the patriotic song,Does Haughty Gaul Invasion threat?This song itself might have reinstalled him in public favour, and dispelled all doubt as to his loyalty, had he cared again to court the society of those who had dropped him from the list of their acquaintance. But Burns had grown indifferent to any favour save the favour of his Muse; besides, he was now shattered in health, and assailed with gloomy forebodings of an early death. For himself he would have faced death manfully, but again it was the thought of wife and bairns that unmanned him.
Not content with supplying Thomson with songs, he wrote letters full of hints and suggestions anent songs and song-making, and now and then he gave a glimpse of himself at work. We see him sitting under the shadeof an old thorn crooning to himself until he gets a verse to suit the measure he has in his mind; looking round for objects in nature that are in unison and harmony with the cogitations of his fancy; humming every now and then the air with the verses; retiring to his study to commit his effusions to paper, and while he swings at intervals on the hind legs of his elbow-chair, criticising what he has written. A common walk of his when he was in the poetical vein was to the ruins of Lincluden Abbey, whither he was often accompanied by his eldest boy; sometimes towards Martingdon ford, on the north side of the Nith. When he returned home with a set of verses, he listened attentively to his wife singing them, and if she happened to find a word that was harsh in sound, a smoother one was immediately substituted; but he would on no account ever sacrifice sense to sound.
During the earlier part of this year Burns had taken his full share in the political contest that was going on, and fought for Heron of Heron, the Whig candidate, with electioneering ballads, not to be claimed as great poems nor meant to be so ranked, but marked with all his incisiveness of wit and satire, and with his extraordinary deftness of portraiture. Heron was the successful candidate, and his poetical supporter again began to indulge in dreams of promotion: 'a life of literary leisure with a decent competency was the summit of his wishes.' But his dreams were not to be realised.
In September his favourite child and only daughter, Elizabeth, died at Mauchline, and he was prostrated with grief. He had also taken very much to heart theinexplicable silence of his old friend, and for many years constant correspondent, Mrs. Dunlop. To both these griefs he alludes in a letter to her, dated January 31, 1796: 'These many months you have been two packets in my debt. What sin of ignorance I have committed against so highly valued a friend I am utterly at a loss to guess. Alas! madam, I can ill afford at this time to be deprived of any of the small remnant of my pleasures. I have lately drunk deep of the cup of affliction. The autumn robbed me of my only daughter and darling child, and that at a distance, too, and so rapidly as to put it out of my power to pay my last duties to her. I had scarcely begun to recover from that shock when I became myself the victim of a severe rheumatic fever, and long the die spun doubtful, until, after many weeks of a sickbed, it seems to have turned up life.'
There was an evident decline in the poet's appearance, Dr. Currie tells us, for upwards of a year before his death, and he himself was sensible that his constitution was sinking. During almost the whole of the winter of 1795-96 he had been confined to the house. Then follows the unsubstantiated story which has done duty for Shakspeare and many other poets. 'He dined at a tavern, returned home about three o'clock in a very cold morning, benumbed and intoxicated. This was followed by an attack of rheumatism.' It is difficult to kill a charitable myth, especially one that is so agreeable to the levelling instincts of ordinary humanity, and of such sweet consolation to the weaker brethren. Of course there are variants of the story, with a stair and sleep and snow brought in as sensational, if improbable, accessories; but such stories as these all good men refuse to believe, unless they are compelled to do so by the conclusive evidence of direct authority; and that, in this case, is altogether awanting. All evidence that has been forthcoming has gone directly against it, and the story may be accepted as a myth. The fact is that brains have been ransacked to find reason for the poet's early death,—as if the goings and comings of death could be scientifically calculated in biography,—and the last years of his 'irregular life' are blamed: Dumfries is set apart as the chief sinner. No doubt his life was irregular there; his duties were irregular; his hours were irregular. But Burns in his thirty-six years, had lived a full life, putting as much into one year as the ordinary sons of men put into two. He had had threatenings of rheumatism and heart disease when he was an overworked lad at Lochlea; and now his constitution was breaking up from the rate at which he had lived. Excess of work more than excess of drink brought him to an early grave. During his few years' stay at Dumfries he had written over two hundred poems, songs, etc., many of them of the highest excellence, and most of them now household possessions. Besides his official duties, we know also that he took a great interest in his home and in the education of his children. Mr. Gray, master of the High School of Dumfries, who knew the poet intimately, wrote a long and interesting letter to Gilbert Burns, in which he mentions particularly the attention he paid to his children's education. 'He was a kind and attentive father, and took great delight in spending his evenings in the cultivation of the minds of his children. Their education was the grand object of his life;and he did not, like most parents, think it sufficient to send them to public schools; he was their private instructor; and even at that early age bestowed great pains in training their minds to habits of thought and reflection, and in keeping them pure from every form of vice. This he considered a sacred duty, and never to his last illness relaxed in his diligence.'
Throughout the winter of 1795 and spring of 1796, he could only keep up an irregular correspondence with Thomson. 'Alas!' he wrote in April, 'I fear it will be long ere I tune my lyre again. I have only known existence by the pressure of the heavy hand of sickness, and counted time by the repercussion of pain. I close my eyes in misery and open them without hope.' Yet it was literally on his deathbed that he composed the exquisite song,O wert thou in the Cauld Blast, in honour of Jessie Lewars, who waited on him so faithfully. In June he wrote: 'I begin to fear the worst. As to my individual self I am tranquil, and would despise myself if I were not; but Burns's poor widow and half a dozen of his dear little ones—helpless orphans!—there, I am weaker than a woman's tear.'
From Brow, whither he had gone to try the effect of sea-bathing, he wrote several letters all in the same strain, one to Cunningham; a pathetic one to Mrs. Dunlop, regretting her continued silence; and letters begging a temporary loan to James Burness, Montrose, and to George Thomson, whom he had been supplying with songs without fee or reward. Thomson at once forwarded the amount asked—five pounds! To his wife, who had not been able to accompany him, he wrote: 'My dearest love, I delayed writing until I could tellyou what effect sea-bathing was likely to produce. It would be injustice to deny it has eased my pain.... I will see you on Sunday.'
During his stay at Brow he met again Mrs. Riddell, and she has left in a letter her impression of his appearance at that time. 'The stamp of death was imprinted on his features. He seemed already touching the brink of eternity.... He spoke of his death with firmness as well as feeling as an event likely to happen very soon.... 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.... The conversation was kept up with great evenness and animation on his side. I had seldom seen his mind greater or more collected.'
When he returned from Brow he was worse than when he went away, and those who saw him tottering to his door knew that they had looked their last on the poet. The question in Dumfries for a day or two was, 'How is Burns now?' And the question was not long in being answered. He knew he was dying, but neither his humour nor his wit left him. 'John,' he said to one of his brother volunteers, 'don't let the awkward squad fire over me.'
He lingered on for a day or two, his wife hourly expecting to be confined and unable to attend to him, and Jessie Lewars taking her place, a constant and devoted nurse. On the fourth day after his return, July 21, he sank into delirium, and his children were summoned to the bedside of their dying father, who quietly and gradually sank to rest. Hislast words showed that his mind was still disturbed by the thought of the small debt that had caused him so much annoyance. 'And thus he passed,' says Carlyle, 'not softly, yet speedily, into that still country where the hailstorms and fire-showers do not reach, and the heaviest laden wayfarer at length lays down his load.'
In Mrs. Riddell's sketch of Burns, which appeared shortly after his death, she starts with the somewhat startling statement that poetry was not actually hisforte. She did not question the excellence of his songs, or seek to depreciate his powers as a poet, but she spoke of the man as she had known him, and was one of the first to assert that Burns was very much more than an uneducated peasant with a happy knack of versification. Even in the present day we hear too much of the inspired ploughman bursting into song as one that could not help himself, and warbling of life and love in a kind of lyrical frenzy. The fact is that Burns was a great intellectual power, and would have been a force in any sphere of life or letters. All who met him and heard him talk have insisted on the greatness of the man, apart from his achievements in poetry. It was not his fame as a poet that made him the lion of a season in Edinburgh, but the force and brilliancy of his conversation; and it needs more than the reputation of a minstrel to explain the hold he has on the affection and intelligence of the world to-day.
On the other hand, it would be a mistake to accepthis intellectual greatness as a mere tradition of those who knew him, and to regret that he has not left us some long and ponderous work worthy of the power he possessed. It is an absurd idea to imagine that every great poet ought to write an epic or a play. Burns's powers were concentrative, and he could put into a song what a dramatist might elaborate into a five-act tragedy; but that is not to say that the dramatist is the greater poet. After all, the song is the more likely to live, and the more likely, therefore, to keep the mission of the poet an enduring and living influence in the lives of men.
Still Burns might have been a great song-writer without becoming the name and power he is in the world to-day. The lyrical gift implies a quick emotional sense, which in some cases may be little more than a beautiful defect in a weak nature. But Burns was essentially a strong man. His very vices are the vices of a robust and healthy humanity. Besides being possessed of all the qualities of a great singer, he was at the same time vigorously human and throbbing with the love and joy of life. It is this sterling quality of manhood that has made Burns the poet and the power he is. He looked out on the world with the eyes of a man, and saw things in their true colours and in their natural relations. He regarded the world into which he had been born, and saw it not as some other poet or an artist or a painter might have beheld it,—for the purposes of art,—but in all its uncompromising realism; and what his eye saw clearly, his lips as clearly uttered. His first and greatest gift, therefore, as a poet was his manifest sincerity. His men and women are livinghuman beings; his flowers are real flowers; his dogs, real dogs, and nothing more. All his pictures are presented in the simplest and fewest possible words. There is no suspicion of trickery; no attempt to force words to carry a weight of meaning they are incapable of expressing. He knew nothing of the deification of style, and on absolute truthfulness and unidealised reality rested his poetical structure. Wordsworth speaks of him—