Month: February 2019
The second edition of Robert Burns’s poetry, known as the ‘Edinburgh Edition’ and published in 1787, contained a few differences from his first ‘Kilmarnock’ edition of 1786. For example, the Edinburgh Edition contained 22 more works, as well as a list of subscriber names and a 24-page glossary of Scots words. The collection at the Robert Burns Birthplace Museum contains a fragment of the original manuscript of this glossary:
Written by Burns himself in 1787, each entry has been subsequently scored out; this may have been as each was copied into a new, neater copy which itself has not survived. Words which Burns has glossed include ‘kaittly’, which means ‘to tickle’ or ‘ticklish’, ‘kebbuck’ which means ‘a (usually whole, homemade) cheese’ and ‘kelpies’, ‘mischievous Spirits that haunt fords at night’.
So why was Burns having to define words in his own native language to an audience of people who were also from Scotland?
The inclusion of the glossary is very indicative of the status of Scots language at the end of the 18th century. Since as far back as the Reformation in the mid-16th century, Scots had been subject to a great deal of anglicising influences – for example, English translations of the Bible, the removal of the royal court to London in 1603 and, of course, the Union of the Parliaments between Scotland and England in 1707. All of these influences meant that Scots had undergone a massive change in how it was written and also, we can probably assume, how it was spoken. Some Scottish people even went to elocution-style classes in order to eliminate ‘Scotticisms’ from their speech; Scots was seen as the language of the common people and therefore not fit for the ‘high’ subjects of politics, religion, culture or trade.
Burns was part of a tradition of writers who bucked this trend and started writing in Scots again. However, his Scottish audience were in need of a little assistance when it came to understanding some of the Scots words he used – hence, the glossary. Of course, Burns had fans out-with Scotland as well: before the 18th century was over, editions of his work had been published in Dublin, Belfast, London and New York. Audiences in each of these places would have needed plenty of help to understand Scots language as well.
Burns’s popularisation of Scots took inspiration from writers like Allan Ramsay (father of Allan Ramsay, the painter) and Robert Ferguson (Burns’s ‘elder brother in the muse’). Although the Scots was changed in some ways to make it more intelligible to non-Scots-speaking audiences – for example, inserting apostrophes where English versions of words would have other letters – it did mean speakers of other languages could understand and enjoy Scots literature and language.
The sheer stardom of Burns elevated people’s perception of it further, to the point where people across the globe sing ‘Auld Lang Syne’ – a traditional Scottish folk song with words, in Scots – at Hogmanay. Although there is still a long way to go until Scots is back at the same level of recognition it would’ve been at in the early 16th century, campaigns by the Scottish Government and the work of contemporary writers in Scots show its well on its way there. Without Burns, and his predecessors, the Scots language would definitely be in a very different position nowadays.