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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.
Stuck for what to make for your Burns Supper later? Here at RBBM, we’ve got you covered. Below are some cracking recipes to get you out that inspiration rut.
Starting it off…
Given that Scotland’s got some of the best, why not kick off your Burns Night celebrations with some salmon? This smoked salmon pâté from Olive Magazine is a great option. Find it here.
Or maybe you want a soup to start? Both cullen skink or cock-a-leekie are classic (and delicious) options. This Nick Nairn recipe is sure to produce a show-stopping cullen skink – available here; and Tom Kitchin’s got you covered for a cock-a-leekie – available here.
Wee Beasties of the Glen
Of course, every Burns Supper needs a haggis to address! The great chieftain o’ the puddin race is much older than the man himself, but it’s on his birthday that most of us gather together to enjoy the dish.
Macsween have a hoard of fantastic recipes available on their website, many of which offer a wholly unexpected take on the humble haggis. One of our favourites are these Wee Beasties of the Glen’ – delicious bite-size haggis treats, coated in oatmeal and then fried. Find the recipe for these here.
Fortunately in these modern times, we can enjoy many different varieties including vegetarian, vegan, kosher and gluten-free – meaning everyone can help themselves to a plate of the good stuff!
You cannae have a Burns Supper without the neeps and tatties. But why not mix it up this year (literally) with a healthy serving of clapshot?
Originating from Orkney, this traditional dish combines both neeps and tatties, adding a wee bit of onion and some chives. Simple but delicious – clapshot is an excellent way to change up your usual Burns Supper.
Author of The Scots Kitchen, F. Marian MacNeill (a native Orcadian), has a traditional recipe for clapshot. You can find this – with a bit of history too – on the Scotsman’s Food and Drink page, here. If you’ve got any vegans at your table, you can swap out the butter for cooking oil.
A classic Scottish dessert – there’s nothing better than fresh raspberries after a hearty haggis meal. Top it all off (of course) with sweet honey, crunchy oats, a healthy dollop of cream and a swig of whisky.
Mary Berry’s take on cranachan is a winner, swapping the traditional crowdie for mascarpone – find her recipe here.
If you have any braw Burns Supper recipes of your own – we’d pure love to see them! Just don’t forget to finish your night off with a wee dram – it’s what Robert would want on his birthday.
Burns’s poem “Halloween” is a treat to read but a bit of a trick too…
Any reader from the twenty-first century would assume from the title that it is about the now widely celebrated commercial and secular annual event held on the 31st of October. Activities include trick-or-treating – or guising in the Scots language which Burns wrote in and promoted – attending costume parties, carving pumpkins into jack-o’-lanterns (or traditionally turnips in Scotland and Ireland – turnip is tumshie or neep in Scots), dooking for aipples, playing pranks, visiting haunted attractions, telling scary stories and watching horror films. However, the poem focuses on Scottish folk culture and details courting traditions which were performed on Halloween itself. Interestingly, it is widely believed that many Halloween traditions originated from ancient Celtic harvest festivals – particularly the Gaelic festival Samhain – and that Samhain itself was Christianized as Halloween by the early Church. Thus, there is obviously a deep-rooted connection between Scotland, its people and the celebration of All Hallows Eve.
The poem itself was written in 1785 and published in 1786 within Poems, Chiefly in the Scottish Dialect – or commonly known as the Kilmarnock Edition – because it was printed and issued by John Wilson of Kilmarnock on 31 July 1786. Although it focuses more on Scottish customs and folklore as opposed to superstition, Burns was interested in the supernatural. His masterful creation of “Tam o’ Shanter” is proof of that as well as his admittance in a letter written in 1787 to Dr. John Moore, a London-based Scottish physician and novelist, as he states:
‘In my infant and boyish days too, I owed much to an old Maid of my Mother’s, remarkable for her ignorance, credulity and superstition. She had, I suppose, the largest collection in the county 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’.
Burns in the first footnote writes that Halloween was thought to be “a night when witches, devils, and other mischief-making beings are abroad on their baneful midnight errands; particularly those aerial people, the fairies, are said on that night to hold a grand anniversary.”
Unlike Burns’s other long narratives such as “Tam o’ Shanter,” “Love and Liberty,” and “The Cotter’s Saturday Night,” “Halloween” has never enjoyed widespread popularity. Critics have argued that is because the poem is one of the densest of Burns’s poems, with a lot of usage of the Scots language, making it harder to read; that its cast of twenty characters often confounds the reader; that the poem’s mysterious folk content alienates readers who do not know anything of the traditions mentioned. Indeed, Burns felt it necessary to provide explanations throughout the poem. Only fourteen of Burns’s works employ his own footnotes. Of the fourteen footnoted works, “Halloween” outnumbers all others with sixteen notes of considerable length. The poem also includes a prose preface, another infrequent device used by Burns in only three other poems. The introduction for the poem states:
The following poem, will, by many readers, be well enough understood; but for the sake of those who are unacquainted with the manners and traditions of the country where the scene is cast, notes are added to give some account of the principal charms and spells of that night, so big with prophecy to the peasantry in the west of Scotland.
Indeed, the footnotes are most illuminating at detailing the intricacies of the rituals and are a crucial part of the poem. Some of my personal favourites are as follows:
[Footnote 5: The first ceremony of Halloween is pulling each a “stock,” or
plant of kail. They must go out, hand in hand, with eyes shut, and pull the
first they meet with: it’s being big or little, straight or crooked, is
prophetic of the size and shape of the grand object of all their spells-the
husband or wife. If any “yird,” or earth, stick to the root, that is “tocher,”
or fortune; and the taste of the “custock,” that is, the heart of the stem, is
indicative of the natural temper and disposition. Lastly, the stems, or, to
give them their ordinary appellation, the “runts,” are placed somewhere above
the head of the door; and the Christian names of the people whom chance brings
into the house are, according to the priority of placing the “runts,” the
names in question.-R. B.]
[Footnote 8: Burning the nuts is a favorite charm. They name the lad and lass to each particular nut, as they lay them in the fire; and according as they burn quietly together, or start from beside one another, the course and issue of the courtship will be.-R.B.]
[Footnote 10: Take a candle and go alone to a looking-glass; eat an apple
before it, and some traditions say you should comb your hair all the time; the
face of your conjungal companion, to be, will be seen in the glass, as if
peeping over your shoulder.-R.B.]
[Footnote 15: Take three dishes, put clean water in one, foul water in another, and leave the third empty; blindfold a person and lead him to the hearth where the dishes are ranged; he (or she) dips the left hand; if by chance in the clean water, the future (husband or) wife will come to the bar of matrimony a maid; if in the foul, a widow; if in the empty dish, it foretells, with equal certainty, no marriage at all. It is repeated three
times, and every time the arrangement of the dishes is altered.-R.B.]
Arguably, the poem has been appreciated more as a kind of historical testimony rather than artistic work. However, it is still a fascinating piece of poetry and definitely should be celebrated for its documentation and preservation of divination traditions and folklore customs which were performed on now one of the most widely celebrated festive days in Western calendars.
By Parris Joyce (Learning Trainee)
Read the full poem here: http://www.robertburns.org/works/74.shtml
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.
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.
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’.
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.
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.
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/.
By Parris Joyce, Learning Trainee.
The romance and marriage of Robert Burns and Jean Armour is well known and discussed; but how much do we really know about their early courtship? There are certain moments in the couple’s story that are set in stone, such as the year they met; the year of their wedding; their children’s births and deaths. These dates however only tell us the bare bones of their lives together; they do not give us an insight into their feelings, their thoughts, and their bond as a married couple. Catherine Czerkawska has written a novel around the couple’s lives, starting with their early courtship, through the heightened emotions of their separation and finishing with their married lives together. We all know how the relationship ended, but how did it begin in the first place? When and how did Robert Burns fall in love with his Jewel, Jean Armour?
Jean Armour’s parents were far from impressed with the new inhabitant near Mauchline, Robert Burns, otherwise known as Rab Mossgiel at the time. His reputation as a womaniser had preceded him, and James Armour deemed him an unsuitable match for his respectable young daughter, Jean. The news of Elizabeth Paton’s pregnancy only proved the rumours of his behaviour to be true. The rumours had been given life; there was no way of assuaging parents with young daughters of his virtues now. He accepted paternity of the child without complaint and endured three penitential sessions in the Kirk for his fornication. So how did respectable Jean Armour fall for his charms? In public Jean and Robert could only admire each other from a distance; her parents after all would never allow their daughter to become associated with such a man. Somehow admiration from a distance does not scream of a passionate and enduring romance, a love that could endure whatever comes. So how did this young couple’s love begin?
An open courtship was out of the question, the young couple needed a helping hand. Catherine Czerkawska in her novel mentions a woman called Catherine Govan, an elderly lady living in Mauchline who could perform the role of a ‘black-fit’. A black-fit was in essence a matchmaker; a person who could be a go-between for the young couple. This person was usually an older woman who wished them well and would keep their secret. Robert wanted to know Jean better, so he organised the services of a black-fit to assist them. The plan was for Jean to spend several afternoons with Catherine Govan, since she could teach Jean fine embroidery and needlework. In truth Jean only spent a short while at her lessons before sneaking off to meet her Robert somewhere more private. When the time came to return home to her parents, she would collect her needlework that Catherine had further embellished before heading home to her unsuspecting parents. In addition to this, Robert and Jean both asked a friend to act as a chaperone; therefore their public meetings in the Whitefoord Arms Inn were simply among friends, nothing noteworthy for gossip.
In the book Jean admires Robert’s love of reading, he was always in possession of a book and no moment was spent in idleness. In truth, Robert was like no other man she had met before, and despite all of her parents’ misgivings she could not resist him. Jean is portrayed as a spirited, lively and attractive young woman, not the passive woman she is often depicted as. Jean’s position in the relationship was far more dangerous, as a dependent upon her father, her relationship with Robert Burns could and ultimately did cost her dearly. She willingly chose to defy social and religious conventions placed upon a woman, as well as the possible risk of pregnancy, so she could be with him. For Robert Burns, Jean’s beautiful singing voice was the sweetest ‘wood-notes wild,’ and even when they were married it was something he still remarked upon. In his eyes, she was the epitome of a proper young lady; she was his Jewel before all others. The other ladies of Mauchline had their desirable qualities too, but none could rival Jean for his affections:
Miss Millar is fine, Miss Markland’s divine,
Miss Smith she has wit, and Miss Betty is braw,
There’s beauty and fortune to get wi’ Miss Morton,
But Armour’s the jewel for me o’ them a’.
Unfortunately the couple’s secret relationship had to come to an end when Jean fell pregnant. Robert was seemingly delighted with the prospect; he wrote a document outlining the marriage between Jean and himself. The young couple both agreed and signed the document, as far as they were concerned they were married with their first child on the way. Jean could not hide her growing condition forever though, and she had to tell her parents of her relationship and marriage to Robert Mossgiel. James Armour would not condone any of it; surely another man would still be willing to marry her, despite her condition. James sent Jean away from the prying eyes and gossip of Mauchline to stay with relatives in Paisley.
The marriage between Jean and Robert had not been officiated by the Kirk, so in James’ eyes the whole marriage was a falsehood. He destroyed the document by cutting out the couple’s names; the proof of the marriage was gone. James informed Robert that Jean had shunned him and had allowed her father to destroy their marriage document. Robert felt slighted and wronged; his Jean had proven to be fickle and undeserving. Jean was eventually allowed to return home after several months away, by which point Robert’s attention had wandered to Margaret Campbell, otherwise known as Highland Mary. The once promising early courtship and relationship had ended disastrously; it took two more years before they were fully reconciled and married.
The early courtship of Jean and her Robert was far from desirable; yet despite everything, they fell in love with each other. The secrecy, the pregnancy, the separation were only some of the trials they went through before they were officially married. The couple’s hardships had not torn them apart forever, their love had endured. Robert Burns had first met his Jean in 1785 and they were officially married three years later. By this time Jean had already given birth to four of the couple’s nine children. In September 1788 Burns wrote a letter to Margaret Chalmers about his Jean, he proudly declared ‘…I have got the handsomest figure, the sweetest temper, the soundest constitution, and the kindest heart in the county.’ The marriage was far from perfect; his infidelity is legendary after all, yet no one can doubt that they loved each other. The life and story of Robert Burns would seem somewhat lacking without his Jean; she was his friend, his lover and his wife. Thankfully the couple’s early courtship invoked true and deep feelings of love in them both; perhaps an impossible feat if it hadn’t been for the helping hand of a black fit as described by Catherine Czerkawska.
By Learning Trainee Kirstie Bingham
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.’
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.
‘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
Ae Fond Kiss is one of Robert Burns’s most famous love songs, one that outlines not the joy that love can bring but the acute pain of a broken-heart. It is moving, emotional and tender.
The song was written in 1791 and sent in a letter to Mrs Agnes McLehose (addressed as ‘Nancy’ in this instance). Burns met Agnes (1758–1841) in Edinburgh when she arranged an introduction to the bard by a mutual friend, Miss Erskine Nimmo. They engaged in an intense yet unconsummated love affair, largely through a series of passionate letters exchanged between the two.
Following Burns’s departure from Edinburgh in 1788, the bard’s relationship with Agnes suffered owing to his reunion with and eventual marriage to Jean Armour, not to mention an affair with Jennie Clow, Agnes’s maid, which resulted in a child. In 1792, Agnes returned to the West Indies at the request of her estranged husband (only to return after finding out he had started another family). Upon learning of her planned departure, Burns was inspired and sent her the heart-rending song Ae Fond Kiss. The song was first published in 1792 in James Johnson’s Scots Musical Museum (which can be seen on display at RBBM).
Ae fond kiss, and then we sever;
Ae fareweel, alas, for ever!
Deep in heart-wrung tears I’ll pledge thee,
Warring sighs and groans I’ll wage thee.
Who shall say that Fortune grieves him,
While the star of hope she leaves him?
Me, nae cheerful twinkle lights me;
Dark despair around benights me.
I’ll ne’er blame my partial fancy,
Naething could resist my Nancy:
But to see her was to love her;
Love but her, and love for ever.
Had we never lov’d sae kindly,
Had we never lov’d sae blindly,
Never met-or never parted,
We had ne’er been broken-hearted.
Fare-thee-weel, thou first and fairest!
Fare-thee-weel, thou best and dearest!
Thine be ilka joy and treasure,
Peace, Enjoyment, Love and Pleasure!
Ae fond kiss, and then we sever!
Ae fareweeli alas, for ever!
Deep in heart-wrung tears I’ll pledge thee,
Warring sighs and groans I’ll wage thee.
In the third verse, the speaker reflects upon his infatuation with Nancy, suggesting that he could not resist her charms. Notice how the emphasis is on her appearance rather than other attractions: “But to see her was to love her”. Nancy may have had a great personality, came from a respectable background but here the speaker is idealizing the external beauty only. This is classic Burns as he himself and some of his works do have undertones of machoism, for example, cheating on his wife and in Tam o’ Shanter with Kate at home ‘nursing her wrath’ whilst Tam is drunk, flirting with Kirkton Jean and eyeing up Nannie!
The language is relatively straightforward and is polished compared to some of Burns’s other poems in Scots. Scots pronunciations are used throughout – for example, ‘nae’ for ‘no’ and ‘weel’ for ‘well’. Scots terms are limited to ‘ilka’ for ‘each’ or ‘every’ in the fifth verse. Perhaps Burns’s reasoning for this is because Nancy was included in polite 18th century society in Edinburgh and would have spoken in English rather than Scots?
The heavily romanticized and iconic quote from this poem is:
But to see her was to love her;
Love but her, and love for ever.
This would make any romantic swoon but one should keep in mind that on a biographical level, Burns writes to Agnes long after their initial infatuation. We know that Burns had returned to his own wife and he had also got Agnes’ servant pregnant. Can we still see this song as a true outpouring of emotion? Or, should we see it as a carefully crafted piece of poetry? I think it is both – Burns had a tendency to have bursts of illogical emotion when it came to his love affairs, like confessing undying love to one whilst happily married to another, but that does not mean it was not real to him – but I do not think it matters either way you interpret it. It is what it is: and that is a beautiful love song.
In the main exhibition space within the Robert Burns Birthplace Museum, there is a display case dedicated to Ae Fond Kiss which has four objects on display as well as an interesting contemporary interpretation of the work through images.
There are five snapshots taken from Hollywood movies that are about unrequited love: Romeo and Juliet, Casa Blanca, Gone with the Wind, Brokeback Mountain and Atonement. This reference to popular culture throughout the 20th and 21st centuries is a great way to convey how love and heart-ache has and always will be a topic of interest and an inspiration for artists no matter their medium.
Also, there is a teacup that belonged to Agnes which is used to represent the different social classes of Burns and her; a letter from Burns to Agnes saying he has included a song for publication (i.e. Ae Fond Kiss); another letter from Burns to Agnes in which they use their code names ‘Sylvander’ and ‘Clarinda’ because though separated, Agnes was deeply concerned with propriety and confidentiality; and Ae Fond Kiss shown in the Scots Musical Museum book.
Other objects within the museum’s collection which are worth noting are the silhouette miniature of Agnes, the pair of wine glasses Burns gifted Agnes and a letter from Agnes to Burns.
You can listen to a beautiful rendition of Ae Fond Kiss here: https://www.youtube.com/watch?v=ax021N4iaFU
By Parris Joyce (Learning Trainee)