Art

Monuments to Mice and Men

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Screenshot (3)
Ayrshire Police Division Burns Night Facebook Post, 25 January 2016.

How well do you know one of Alloway’s most famous residents? If you’re local you may pass it regularly, maybe you’ve seen it posing for selfies, or with school groups. It’s even been on the run from Ayrshire Police!

Clearly then, Monument to a Mouse has become part of the community consciousness in Alloway – I’m yet to meet anyone without a fondness for the beastie. Why? Well, it’s BIG!  Monumentally big in fact. Not only does this monumentality draw us to Monument to a Mouse, but it is also of central concern to the artist – Kenny Hunter.

installation
Installation of Monument to a Mouse in 2010.  Image ©️ National Trust for Scotland.
kenny hunter
Kenny Hunter with Monument to a Mouse, during its installation. Image ©️ National Trust for Scotland.

Hunter is a Scottish sculptor whose work often explores established ideas about monuments: ideas about what monuments are; who they’re for; and what they look like. He does this by alluding to sculptural traditions of the past. We as viewers are familiar with these past traditions – because we see them in the sculptures of our town and city centres.

Take the statue of Robert Burns in Ayr’s Burns Statue Square as an example. Unveiled in 1891, this monument to Burns follows many of the tropes typical of 19th Century figurative sculpture. The Ayr Burns is roughly life-size (maybe slightly larger); realistic (not abstract or overly stylised), cast in bronze; and standing atop a pedestal. These four stylistic conventions are all characteristic of traditional monuments, and are all of interest when discussing Monument to a Mouse.

Comparison
Left: G.A Lawson, Robert Burns, 1891. Burns Statue Square, Ayr. Right: Kenny Hunter, Monument to a Mouse, 2010. Poet’s Path, Alloway. Both photos by the author.

On first glance, these two sculptures look very different. But as contemporary sculpture, Monument to a Mouse references many of these same conventions seen in the Ayr Burns, while also deviating from them in a number of meaningful ways. Similar to the Ayr Burns, Monument to a Mouse is largely naturalistic in the depiction of its subject – the mouse. Hunter reportedly had some help with depicting a realistic looking mouse, after his pet cat brought in a dead one as a present.[1]  

Furthermore, both are cast in bronze – a material which is traditionally associated with monumental sculpture. Bronze has been used for some of the most recognisable monuments in Scotland, including the Duke of Wellington in Glasgow; Robert the Bruce at Bannockburn; Greyfriars Bobby and David Hume in Edinburgh; and many, many more.  You can see that the conventions observed in the Burns Square Statue are also adhered to in these examples. By rendering a realistic subject in bronze, Hunter aligns the mouse with the great men and women we are used to seeing in this sort of sculpture: the heroic individuals, exceptional thinkers or distinguished dignitaries who are immortalised in this way. 

bronze statues
L to R: 1) Carlo Marochetti, Equestion Statue of the Duke of Wellington, Royal Exchange Square, Glasgow, 1844. 2) Pilkington Jackson, Robert the Bruce, Bannockburn, 1964. 3) William Brodie, Greyfriars Bobby, George IV Bridge, Edinburgh, 1873. 4) Alexander Stoddart, David Hume, Royal Mile, Edinburgh, 1995.
2011
Comparable in size to a grown adult, but not a wee moosie.

Although both Monument to a Mouse and the Ayr Burns are similarly sized, the scale of their subject matter differs greatly. While the Burns statue depicts its subject roughly life-sized, Hunter renders Monument to a Mouse much larger than the a wee tim’rous beasties we’re used to seeing. Comparable to a grown adult in size, the scale of the sculpture encourages us to reflect on Burns’ comparison between mouse and man. Hunter wants the viewer to stand “nose to nose” with the work, saying “Burns’ poem To a Mouse measures a man to a mouse and this artwork is a direct and physical manifestation of that comparison“. [2]

This sentiment is also reinforced by the absence of pedestal –  another significant deviation from conventional monumental sculpture. In Burns Statue Square, Burns is situated on a stone plinth above the viewing public, looking down. Monument to a Mouse sits humbly on a small paved circle on the Poet’s Path – directly within our own viewing space. In this way, the mouse is celebrated without elevation or deification – we’re physically on the same level. Hunter grounds the meaning of Monument to a Mouse within our experience: the experience of the many people who pass it (and photograph it) everyday.

Even in name, Monument to a Mouse pays reverence to its source material; To a Mouse is certainly one of the most well known Burns works, especially with children. In the poem, Burns describes the mouse as an “earth-born companion, An’ fellow-mortal!”. Upon reflection then, through its reference to – and manipulation of – monumental tradition, Monument to a Mouse couldn’t embody this sentiment more.

Lizzie Gow, Learning Trainee

2017

[1] Poet’s Corner: Meet Some of the People behind the New £21m Robert Burns Birthplace Museum. The Scotsman. November 29, 2010. Accessed July 25, 2019. https://www.scotsman.com/lifestyle/poet-s-corner-meet-some-of-the-people-behind-the-new-163-21m-robert-burns-birthplace-museum-1-836204

[2] Ibid.

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Volunteers Week: Myra McLanaghan

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For Volunteers Week, we asked our volunteers to write a blog post about their volunteering experience. Here’s Myra McLanaghan sharing some of her thoughts.

I didn’t really volunteer for the Trust – it sort of found me. I was a regular at the Wednesday Highlight talks at the RBBM and the Volunteer Co-ordinator approached me, thinking I would be interested. Of course, you always believe that you have nothing to offer and need qualifications etc.; but the thing is, you suddenly find that you have life experiences of qualifications and so I took the plunge of becoming a Volunteer.

I started off doing craft work, making rag rugs. So, with other volunteers, I commenced making a rag rug for Burns Cottage, where we would sit on a Monday afternoon cutting up fabric and creating our masterpiece. As people came through we found that nostalgia was a big part in discussion and visitors would discuss the rag rug, who made it in their family and what it was even called in different parts of the country. Overseas visitors were most intrigued, and children even tried their hand at putting a piece of material into the rug. The group are now on their third rug and we are now expanding into learning about weaving and dyeing of fabrics on the 18th century. From little acorns large oaks grow.

I have also become involved in a performance team who dress in 18th-century costume and perform the works of Burns. Our overseas visitors really appreciate us in costume and they feel part of what we are trying to tell them about life in Scotland during Burns’ time. Being a volunteer expands your experiences and confidence. I have a natural love for Scotland and volunteering has added a new dimension of meeting new people and making new friends and sharing a common love of Scotland and Robert Burns in the area where not only did I grow up, but he did too.

ragrugday

Myra (second from right) with some more rag ruggers, and their finished product, in Burns Cottage

An Awfie Symbolic Seat

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Date: 1858

Object Number: 3.4521

On display: in the museum exhibition space

 

This remarkable chair is made of wood sourced from the Kilmarnock printing press which produced the first edition of Robert Burns’s work Poems Chiefly in the Scottish Dialect known as ‘The Kilmarnock Edition’. It was published on the 31st July 1786 at the cost of three shillings per copy. 612 copies were printed and the edition was sold out in just over a month after publication. The printing press no longer exists but in its stead there are two statues: one of Burns and one of John Wilson (the owner of the press) to commemorate the publication of Burns’s first works.

Statues in Kilmarnock.

This chair was constructed in 1858, just before the Burns Centenary Festival in Ayr in 1859. The one hundredth year anniversary of the bard’s birth was celebrated far and wide by many. One contemporary counted 676 local festivals in Scotland alone, thus, showing the widespread popularity of Burns.

This photograph shows Annie Burns (Robert Burns’s granddaughter) and Martha Burns Everitt (his great granddaughter) outside the Burns Cottage which is the bards birthplace in Alloway. It is florally decorated for the centenary of Burns’s death.

The chair has plush red velvet on the cushion and is elaborately carved with symbolism and references to some of Burns’s most loved works. Each arm rest ends with a carving of a dog, Luath and Caesar, from the poem ‘The Twa Dogs’.

The Twa Dogs – a poem written by Robert Burns in 1786 – about Luath and Caesar.

A carving of Robert Burns himself, after the artist Alexander Nasmyth’s famous portrait – whereby he is shown fashionably dressed in a waistcoat, tailcoat and stalk – is placed in the centre at the highest point of the back of the chair with the infamous characters Tam and Souter Johnnie from the narrative poem ‘Tam o’ Shanter’ on either side. Thistles, commonly regarded as the floral national emblem of Scotland, decorate the gaps between the figures.

Thistle – Scotland’s floral emblem.

The central carving is of the climactic scene of Tam crossing the Brig o’ Doon atop of his trusty cuddie (horse in Scots) Meg with Nannie the witch at their heels. The Brig o’ Doon is actually a real bridge and is located in Alloway where Burns was born and lived for seven years.

Brig o’ Doon, Alloway, South Ayrshire, Scotland.

 

Brig o’ Doon scene from Burns’s narrative poem Tam o’ Shanter.

A small plaque above this quotes a verse from Burns’s poem ‘The Vision’ which was written in 1785 and published in Poems, Chiefly in the Scottish Dialect. It takes the form of a poetic ‘dream vision’, a form used in medieval Scottish verse and revived by Allan Ramsay in his own poem ‘The Vision’, from which Burns takes his title and was influenced and inspired by immensely. In the long narrative poem, Burns as speaker returns from a hard day in the fields and, after resting by the fireside, falls into a dream state in which he is visited by Coila, a regional muse. Coila (whom the speaker is clearly attracted to) addresses Burns, describing how she watched his development from a young age – thereby offering an imaginative reworking of Burns’s emergence as a poetic talent. She ends with a confirmation of his poetic mission and crowns him as bard. The striking thing here is the self-consciousness Burns displays about his position even this early in his career.

 

The inclusion of these particular carvings could be symbolism of the themes in which Burns explored most through his works: nature with the dogs representing this; the supernatural via the Brig o’ Doon scene; comradery through Tam and Souter Johnnie the “drouthy cronie” and the nature of the self and humankind through the quote from ‘The Vision’ and Robert Burns himself.

 

Interestingly, during a visit to Burns Cottage in 1965, the boxing legend Muhammad Ali was pictured sitting in this chair. Following this visit he was made an honorary member of Alloway Burns Club. If you are intrigued by this then please read a previous blog by volunteer Alison Wilson about an extraordinary meeting to do with this celebrity visit to Alloway here: https://burnsmuseum.wordpress.com/2016/06/13/memories-of-muhammad-ali/.

 

Muhammed Ali

 

 

By Parris Joyce, Learning Trainee.

Graffiti Artist?

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Have you ever had the urge to graffiti? To loudly declare to the world I was here? Well Robert Burns certainly did, and he chose a way with great style and panache too. His was no illegible scrawls or splashes of indescribable colour that we often see now. Instead he scratched his immortal thoughts onto panes of glass. Burns’s creativity was definitely not restricted to certain times of the day or even when he had a handy piece of parchment available. This is evident during his highland tour, when Robert decided to leave a distinctive trail of graffiti in the places he visited. He left behind a series of poems and lines inscribed on chimney pieces and on the window panes of several inns he stayed in.

On the first night of his tour, Burns and his companion William Nicol stayed overnight at the Cross Keys Inn in Falkirk in 1787. This was the beginning of his window pane graffiti trail. Robert had recently acquired a diamond tipped stylus, which he used to scratch four lines into the window pane. The lines entreat that all men who are good to women should be rewarded:

‘Sound be his sleep and blythe his morn,

That never did a lassie wrang;

Who poverty ne’er held in scorn,

For misery ever tholed a pang.’

window pane - Falkirk

There are some who question Robert Burn’s relationships with women, and whether he deserved a reward for his ‘good’ treatment of women. Nevertheless, this was not the last of his unusual writings in August 1787. In the royal burgh of Stirling he visited a seat of the Scottish Kings, Stirling Castle. The castle at the time of his visit was in a ruinous state, and this roused Burns’s Jacobitism for the Stewart Kings of previously. In a letter to Robert Muir, Burns outlined his day in Stirling and his indignation at what had occurred to the castle and the fallen Stewarts. These were the ten lines he wrote on his room’s window at the Wingate’s Inn (now the Golden Lion Hotel):

“Here Stewarts once in triumph reigned,

And laws for Scotland’s weal ordained;

But now unroofed their palace stands,

Their sceptre’s swayed by other hands;

Fallen, indeed, and to the earth

Whence grovelling reptiles take their birth,

The injured Stewart line is gone.

A race outlandish fills their throne;

An idiot race, to honour lost;

Who knows them best despise them most.”

This poem is highly critical of the Hanoverian monarchy that had replaced the Stewart Kings. George III was on the throne in 1787 and he is still known today as the Mad King, a member of the ‘idiot race’ as Burns scathingly wrote. In addition to this, the Hanoverians were still seen as alien foreigners, ‘a race outlandish’ that dared to occupy the throne of ‘the injured Stewart line.’ These words, although poetical, are no less treasonous for their meaning. Burns saw the danger of this particular window graffiti and returned later to break the glass to avoid prosecution. Yet these lines almost ruined his chances to become an Excise man later, since he was interrogated like a child about my matters, and blamed and schooled for my inscription on a Stirling window.’ Despite this attempt to erase his glass scribblings, the Stirling Lines have been remembered. The Golden Lion lost the broken fragments of the original Stirling Lines in a fire that occurred last century, but they have been re-engraved for a display dedicated to Robert Burns in the Stirling Smith Art Gallery and Museum.

Robert Burns had not lost his taste for window graffiti after Stirling, even though these particular lines could have seen him arrested for treason. In 1790, he once again lifted his diamond-tipped stylus and started engraving on several window panes in the Globe Inn in Dumfries. This time Burns decided to omit his opinions on the monarchy, and focused on the relative merits of sex and war instead.

window panes

‘I MURDER hate by field or flood,

Tho’ glory’s name may screen us;

In wars at home I’ll spend my blood,

Life-giving wars of Venus:

The deities that I adore

Are social Peace and Plenty;

I’m better pleased to make one more,

Than be the death of twenty.’

Burns was a lover rather than a fighter, evident perhaps from his many offspring from several different women. He practiced what he wrote, and he had an affair with a barmaid called Anna Park in the same room he wrote these lines. Their relationship together produced a daughter; Elizabeth Park Burns, who was raised with Robert’s other children by Jean.

Robert Burns was a prolific writer across numerous genres, these window panes inscribed with his lines testifies to that. He believed women should be treated in a good manner, and that such men would be justly rewarded in return. He played with this idea of loving women by comparing war with love and sex. It gives life to the old adage of men being ‘lovers’ or ‘fighters.’ Robert Burns was indeed a romantic, but he was also more than that, he was a highly educated and politically opinionated man. This is obvious from his most famous window graffiti, The Stirling Lines, in which his love of Scotland and his nationalistic fervour is clear. All three examples of his window graffiti paint a picture of an unusual man, one who did not necessarily conform to society’s expectations or rules.

The window graffiti from Falkirk and Dumfries are displayed within the museum’s collection for you to see. If you also head into the cottage you will see generations of graffiti carved into the cottage doors, and one visitor even followed Robert Burns’s example and left a message on a window pane in 1881.

By Learning Trainee Kirstie Bingham

 

 

Goudie’s Dazzling Tam o’ Shanter Paintings

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Tam o’ Shanter is Robert Burns’s masterpiece. A long, narrative, epic poem written in 1790 by Burns whilst living at Ellisland Farm, Dumfriesshire and published in Captain Francis Grose’s Antiquities of Scotland in 1791. Burns apparently wrote this in only one night and it appeared in the book just as a footnote! Now Burns was known to have enjoyed superstitious, supernatural stories as a child. His Aunty- a Betty Davison – told him many and Burns said that“[she] had, I suppose, the largest collection in the country of tales and songs, concerning devils, ghosts, fairies, brownies, witches, warlocks, spunkies, kelpies, elf-candles, dead-lights, wraiths, apparitions, cantraips, giants, inchanted towers, dragons and other trumpery.”[1] The poem is full of wild scenes, dramatic and exciting twists and turns, bloody and gothic content as well as witty machoism through the characters and their antics.

Many artists have been inspired by the poem and some of the artwork produced really brings the poem to life. Some of the most expansive and impressive works are that of Alexander Goudie. He was apparently totally obsessed by Tam o’ Shanter and his lifelong aim was to create 54 complete cycles of images inspired by the epic tale. He accomplished this and the results are spectacular. A select few will be shown and analysed below.

 

No. 12 “Drouthy Neibors Meet”

 

This painting refers to the first two lines of the poem:

When chapman billies leave the street,
And drouthy neibors, neibors meet;

This scene is full of vibrant colours, objects and action: Tam looks well, as does Meg, and they are surrounded by other animals and people greeting them warmly. It is arguably one of the best paintings in the cycle as it has been painted with such attention to detail. This could reflect that this is the part of the poem before Tam boozes at the nappy, thus, he is not intoxicated and he will have a clearer vision now compared to the rest of the poem. The reflection in the window is very life-like as is the woman pulling the curtain aside to have a good nosey at what is happening on the street. It is worth noting that this painting is number twelve – even though it refers to the first two lines of the poem – so Goudie has used his artistic licence and imagination to fill in the gaps of what happened before this point as well as not putting the images in order according to the lines of the poem i.e. No. 11 “As market days are wearing late” is the line after No. 12 “And drouthy neibors, neibors meet” but it comes before it in the cycle.

 

No. 25 “Pleasures are like poppies spread”

 

This of course refers to the beautiful and philosophical extract:

But pleasures are like poppies spread,
You seize the flow’r, its bloom is shed;
Or like the Borealis race,
That flit ere you can point their place;
Or like the Rainbow’s lovely form
Evanishing amid the storm.

This is typical Burns: returning to nature which is his greatest source of inspiration. In the painting Goudie has shown a scene that is a delicate paradise. A moment captured in time with two lovers lying in a field, with the man picking a poppy, and the rainbow overhead. This is very contradictory to the shock and horror that is to follow…

 

No. 17 “As he frae Ayr ae Nicht did canter”

This is one of three images that are in black and white; although this one here has Tam’s clothes clearly visible, with the famous blue tam hat and yellow waistcoat drawing the eye, which isolates him even more so. The crack of lightning has inspired the use of black and white and Goudie has depicted a truly spooky scene with the trees looking ghostly bare and the town and bridge totally empty. It is preparing the viewer for what is about to come next…

 

No. 31 “An Unco Sight”

This is one of the treasures of the collection. It depicts the chaotic and shocking scene Tam beholds once he has approached the kirk: as a viewer you do not know where to look as it is so full of action and faces. This refers to the below section of the poem which is full of vivid imagery:

Warlocks and witches in a dance:
Nae cotillion, brent new frae France,
But hornpipes, jigs, strathspeys and reels,
Put life and mettle in their heels.
A winnock-bunker in the east,
There sat auld Nick in shape o’ beast;
A towzie tyke, black, grim, and large,
To gie them music was his charge:
He screw’d the pipes and gart them skirl,
Till roof and rafters a’ did dirl.
Coffins stood round, like open presses,
That shaw’d the Dead in their last dresses;
And ( by some devilish cantraip sleight)
Each in its cauld hand held a light.

You can clearly see the devil glowering in the back corner, with his bagpipes in hand and mouth, casting a huge shadow on the back wall; the witches and warlocks are in a dance spinning each other around; the numerous coffins encircling the dancers with their skeletons holding candles as light. There is nakedness; there is sorcery going on at the table; the full moon can be seen through the window and the party-goers are oblivious to Tam’s presence.

 

No. 42 “In hell they’ll roast thee like a herrin!”

This is another gem of the collection which is similar in the colour and the grotesque but exciting scene depicted as No.31. Tam and Meg are at the mouth of hell itself about to be devoured by the bright flames and are surrounded by all sorts of characters and mythical creatures who are all armed with weapons. Interestingly, the priest and lawyer are present, this inclusion of was famously shocking of Burns back in the eighteenth century. This is a scene which Tam and Meg did not actually suffer but it is a prediction – an insight into the future – of what will happen if they do not escape the ghoulish mob.

 

No. 47 “Claught by her rump”

This is the moment which Nannie latches onto Meg’s tail just before they get to the key-stone. It refers to this section of the poem:

Now do thy speedy utmost, Meg,
And win the key-stane o’ the brig:
There, at them thou thy tail may toss,
A running stream they dare na cross.
But ere the keystane she could make,
The feint a tale she had to shake!
For Nannie, far before the rest,
Hard upon noble Maggie prest.
And flew at Tam wi’ furious ettle;
But little wist she Maggie’s mettle!
Ae spring brought off her master hale,
But left behind her ain grey tail:
The carlin claught her by the rump,
And left poor Maggie scarce a stump.

What I like about this interpretation most is that Tam is positively terrified, not composed at all, and has come off his saddle and is hanging around poor Meg’s neck. Tam o’ Shanter has a bit of sexism in it with all the drinking, men will be men, flirting with the barmaid whilst the wife is at home worrying drama in it but here Goudie has depicted Tam as being utterly at the mercy of a powerful female character: more so than as how Burns depicted him as Goudie has him literally hanging on for dear life.

 

No. 54 “Ilk man and mother’s son, take heed”

This final image is in reference to the conclusion of the poem:

Now, wha this tale o’ truth shall read,
Ilk man and mother’s son, take heed:
Whene’er to Drink you are inclin’d,
Or Cutty-sarks rin in your mind,
Think! ye may buy the joys o’er dear;
Remember Tam o’ Shanter’s mare.

Here Goudie has used his artistic licence again to create the scene he must have imagined when reading this ending. With only Tam and Meg in the painting: your sole focus is on them. Tam looks haggard, totally drained and panting heavily with his tongue sticking out. He looks like he has aged ten years form his traumatic experience. Meg – the hero of the poem – has also suffered this dramatic change same as Tam. Yes, her tail is gone with only the bloody stump left but she looks aged, thin – bony even – and is cowering by Tam with her head down in fear and she has soiled herself. Altogether, it is not a pretty sight, but a great visualisation of the moral warning in which the poem ends.

 

All of these paintings are now in the collection of Rozelle House Galleries (and some are on permanent display). This is situated in a historic mansion, surrounded by beautiful grounds and also boasts a tea room too. It is just a two minute drive away from the Burns Cottage and only six minutes from Ayr town centre. I would thoroughly recommend any art or Tam o’ Shanter lover to visit.

 

 

By Parris Joyce, Learning Trainee

 

 

[1] The Bard by Robert Crawford, p20

Useful link:

http://www.goudie.co.uk/index.html

The Mauchline Holy Fair

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Robert Burns was raised to devoutly honour and respect the Kirk’s teachings and principles by his father, William Burnes. However that does not mean Burns always had an amicable relationship with the Kirk; you could say it was quite tumultuous at times. Robert Burns’s relationship with the Kirk took a distinct downturn during the years he was living at Mossgiel, near Mauchline. In 1786, Burns was sentenced to three penitential appearances by the Kirk session for his fornication, a humiliating experience in front of the entire congregation. This occurrence certainly affected Burns and he openly expressed his discontent at the Kirk’s hypocrisy in his personal and public writings.

In 1785 Burns wrote a poem called The Holy Fair, in which he exposed the moral tug-of-war that people felt between the Kirk and the pub. This feeling of being torn between the morality of the Kirk and the sociability of the pub was something that Burns himself would have experienced. This poem is a character study of a twice-yearly open aired Holy Fair that aimed to prepare the righteous for Communion in the parish. This consisted of preaching and prayer meetings lasting several days prior to Communion. But as Burns highlights in this poem, the purpose of the Holy Fair had deteriorated into a mixture of propriety and merriment.

The Holy Fair painted by Alexander Carse, 1830

We can see the character of Robert Burns entering the gate with a lassie on his arm; this lassie is called Fun, who the narrator met on his journey to the Fair. In the background we can perceive two more women, Superstition and Hypocrisy, who are introduced to us in the poem. The two sisters cloaked in black do not seem to interest the narrator as:

Their visage wither’d, lang an’ thin,

An’ sour as onie slaes.

In contrast to her sisters, Fun is vivacious and sociable; the narrator appears to take an instant liking to her friendly manner and accompanies her for the rest of the journey.

Quo’ she, an’ laughin as she spak,

An’ taks me by the han’s.

The three sisters personify the vying emotions at a Holy Fair. Many like Fun go ‘to spend an hour in daffin,’ since the sociability aspect of the Fair would have created a carnival atmosphere in the rural village. Fun personifies and exposes the truth that all those attending may not be thinking devoutly, but rather on the appearance and behaviour of others.

‘On this ane’s dress, an’ that ane’s leuk,

They’re makin observations;’

Furthermore many others attending merely went out of superstitious fear, even if they did not necessarily practice what was preached. The religious import of the Fair was not be equally felt by all though (even if they should wish it), since only those able to pay the entrance fee could have received preparation for Communion. This would certainly have caused a rift within the community, as those not attending would be judged for their lack of religious fervour. This fervour to the faith should be openly visible and embodied by the parish minister, but even he is not where you would think to find him. He is not preaching within the confines of his Kirk, instead he is outside with the social revellers. Is he preaching from his lofty position or equally enjoying the libations of the Holy Fair too? This sense of hypocrisy and superstitious fear was fuel for Robert Burns’s literary fire. This granted him the opportunity to create a cutting and humorous depiction on the seemingly sanctimonious behaviour of the Kirk and wider community.

Illustration of Mauchline Parish Kirk at the time of Daddy Auld

The Holy Fair is still held every year in Mauchline, with the Kirk and pub still prominent landmarks on either side. The sociability aspect of the Fair seems to have won out over religion, since the day is dedicated primarily to celebrating the village’s history and heritage instead. During the day there are often live performances outside and within Mauchline Parish Kirk, stalls from local businesses, and family activities. In addition to this, there is full access to the local museums and sites, many of which are dedicated to Burns. So it would seem Robert Burns’s exposé on the Holy Fair proved to be right after all, religion and sociability go hand-in-hand at the Fair. Unfortunately for the Kirk, it not only has to compete with the pub now, but Caledonia’s National Bard too.

 

By Learning Trainee Kirstie Bingham