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International Poetry Day 2018

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It was International Poetry Day on Wednesday 21st March 2018. We asked on social media if anyone was willing to showcase their poems to the world. Constanza Baeza sent these two poems in:

Time zone difference

English is not our mother language,

but we try to do our best.

You drop some Spanish words,

how do you say “hello” in Bulgarian?

A naughty Cyrillic letter appears

instead of the rigid Latin one.

My eyes look at the word with delight.

I admire you because you never get totally confused

with two scripts living in your world.

 

Midnight is reaching Sofia,

the autumn sunset is like a painting on my window.

Six stripes of time keep us apart,

but hours are just numbers with no meaning

when you have a friend on the other side of the world.

Are you sleepy? You must be tired.

Please, send me a message tomorrow

and tell me how to say “friend” in Bulgarian.

 

A little Wimbledon poem

You came here in pursuit of glory

and all you found was rain.

The dark clouds were the prelude

to this quiet uncertainty.

The match will be suspended

and we have to wait for the sun.

The schedule means nothing

and clocks won’t stop for us.

 

This story has been told before.

The umpire, that little tennis god,

has the future in his hands.

Who are we to question his decision?

Mondays were not made for tennis finals

but we all need a bit of drama.

The English weather always has something to say

when you are chasing your childhood dreams.

 

If you want to follow in Robert Burns’s footsteps to become a great poet then pick up your quill now. If you would like to send us your poems too then please do so! Thank you Constanza Baeza for sending us your poems.

Robert Burns writing set including sharpening knives and quills
Robert Burns’s writing set
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Every Blanket has a meaning…

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In the cottage where Robert Burns was born on 25th January 1759, there lies a box-bed in the corner. Visitors from around the world look to this bed as the place where Scotland’s National Bard was born. In 2009 a new blanket was specially commissioned for this bed, and this work was undertaken by Christine McLeod and a team of volunteers at Kilbarchan Weavers Cottage. The National Trust for Scotland has endeavoured to preserve the character and authenticity of the eighteenth-century cottage, so careful thought and time was dedicated in making sure this modern creation was appropriate. Although the blanket is a twenty-first century creation, it was woven on an eighteenth century loom within the Weaver’s Cottage, so tradition was very much treasured and remembered in this blanket’s construction.

Blanket, close up
A close up photograph of the blanket’s weave and colours.

 

The weavers decided to create the blanket with 1759 threads, which symbolises the birth year of Robert Burns. Furthermore, the tartan’s pattern and colours were also carefully selected by Christine McLeod, since only colours common in the eighteenth century such as maddor (red) and ochre (brown) were used. Each colour also conveys a significant meaning that connects back to the poet’s family. Maddor represents Agnes Broun (Burns’s mother) who had red hair. Ochre is for William Burnes (Burns’s father), whose work as a gardener and farmer always connected him to the soil. These darker hues are offset by strands of gold, which refers to the poet’s genius and imagination. But Robert is not the only child of William and Agnes celebrated in the blanket’s structure. The intersecting lines represent the four children born in the cottage, times by the total number of children born to William and Agnes. Therefore this blanket helps to convey a personal sense of the family’s history and elements of their personality to the modern visitor.

cottage bed and blanket.jpg
The cottage blanket laid upon the box-bed

A Short Snippet on a Gie Bonnie Painting

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‘The Betrothal of Burns and Highland Mary’. Date: 1860. Creator: W. H. Midwood. Object Number: 3.8034

 

When first glancing at this artwork one is instantly aware that what you are gazing at is an intimate moment: in this lovely oil painting we are given an insight into what we think may have occurred between Robert Burns and the legendary Margaret Campbell or “Highland Mary”. It depicts tranquil forest scenery (presumably a spot near Ayr) whereby the stream is trickling peacefully, the plants are in the full bloom of spring and the golden warmth of a fine Scottish sunny day is bathing the two lovers in light. The artist has masterfully captured the balance between light and shadow which is always in extremes whilst one is in thick woodland areas and the rich, deep browns of the trees, brilliant greens of the plush growth, as well as startling blue of the sky, make this scene a vibrant array of colours for the eye and altogether a harmonious setting.

At the centre of the painting is a moment captured in time between the two individuals; presumably the pair stopped here after a walk together or it is a meeting place as Burns’s walking stick is propped up against a tree and Mary is bathing her feet in the stream. Burns is down on one knee and offering a bible to Highland Mary: the pairs eyes are locked with one another’s, one of Mary’s hands is outstretched, whilst the other is clutching to her heart in surprise, and her face seems serene alike to her surroundings. This gesture was commonly regarded as a solemn oath or even a proposal of marriage. Interestingly, the museum collection boasts the bible believed to have belonged to Mary which is pictured here.

The Holy Bible belonging to ‘Highland Mary’ or Margaret Campbell. It contains a lock of hair. Date: 1786. Object Number: 3.3156.a-c

The bible itself is two volumes, contains Burns’s Masonic mark and the words ‘Robert Burns Mossgavill’ as well as biblical verses in Burns’s handwriting. It also has a lock of hair in it said to have belonged to Mary.

Burns is recognizable by the presence of his border-collie sheepdog Luath – who was immortalized in the poem The Twa Dogs – and his tam hat. Mary is depicted as a fair, blue eyed, blonde woman: interestingly the hair contained in the bible is visibly blonde. Records do describe her thus so perhaps it really is Mary’s hair!

Burns and Highland Mary’s love affair is steeped in mystery and it has become quite the legend with many variations to the tale, but one thing is pretty much universally understood, it was a passionate and short affair with a tragic ending. The affair took place during the spring and summer of 1786. Very little evidence survives regarding her identity or the details of their relationship, but Highland Mary is believed to have been a servant from Campbeltown whom Burns met while she was working in Ayrshire. It is thought that the two lovers would rendezvous on the banks of the river Ayr.[1] The story goes that the pair planned to immigrate to Jamaica together; however, after travelling back to her parent’s home in Greenock, she died of typhus on the way back to meet with Burns.[2]

As previously stated, there are some who believe that this version of events has been thwarted and twisted, for instance academics at the University of Glasgow have said the myth between the two lovers was largely constructed to lend cultural significance to the poet himself.[3] They believe that Highland Mary died only a few weeks after meeting Burns in 1786. Professor Murray Pittock, director of the Robert Burns – Beyond Text project, said the legend of Mary was largely constructed by Burns’s subsequent biographers from objects such as statues and snuff boxes – rather than any written documentation – and he stated that such objects dictated the social and cultural legend of Highland Mary throughout the 19th Century and afterwards.[4] Thus, the provenance and details of the love story between the lovers has been, and still is, vehemently disputed.

However, the Bard did go on to publish works dedicated to her, for example, The Highland Lassie, To Mary in Heaven and O, Highland are all thought to have been inspired by her. So, even if they had only known each other for a few weeks, it was still enough time to have a massive impact upon Burns emotionally and creatively. We know that Burns was a great romantic and lover of women. Some of his most famous works such as My Love is Like a Red, Red Rose, Ae Fond Kiss and his first ever song O Once I Loved a Bonnie Lass all have the theme of love, romance or heartbreak at the core of them. In my opinion, I think it is possible Burns only knew Highland Mary for a short but sweet few weeks of his life before fate cruelly snapped her away from him, but, this was enough time for him to have fallen head over heels in love because that was in his nature and he repeatedly did that with various other love interests throughout his lifetime. Does time dictate the power and strength of a couple’s love? Or is the intensity of their feelings for one another that determines that, however fleeting they may be?

Years after her death Burns would think of her fondly and with great sadness. The poem “To Mary in Heaven” was written at Ellisland Farm on the third anniversary of her death. Jean Armour recalled that towards evening, the night before, Robert grew sad, and wandered in solitary contemplation along the banks of the River Nith and about the farmyard in extreme agitation. Even though he was repeatedly asked to come into the house, he would not. Burns entered the house at daybreak, sat down and wrote his address to Highland Mary who was now in heaven.[5]

This painting is on display within the main exhibition space at the museum and it is perfectly and purposefully located in the ‘From the Heart’ display case. In terms of other objects or artworks – that focus on Highland Mary and Burns – which we have here at the museum there are three others which portray Burns and Highland Mary. These include a statue, a postcard and an engraving. All of these objects yet again depict the couple canoodling.

‘Statuette of Robert Burns and Highland Mary’. Date: 1870. Creator: Hamilton Patrick McCarthy. Object Number: 3.5013

 

‘The Betrothal of Robert Burns and Highland Mary’. Date: 1882. Creator: R. Josey. Artist: James Archer. Object Number: 3.8108

 

Postcard of Burns and Highland Mary. Object Number: 3.8488

Last but not least I think it only fair to mention the artist himself. This painting is typical for William Henry Midwood, who was a British painter, born 1833 and died 1888: if you look at his style, technique and subjects in his other works they employ similar genre scenes. They concentrate on the humble domestic interior: groups of figures are portrayed in idealized scenarios of family life and scenes of courtship prominent in his subject matter.[6] Three works in particular, which are fairly similar to the Burns and Highland Mary painting, include Rustic Courtship (confusingly two have the exact same title) and The Proposal. The titles themselves are closely connected as they refer to an offer of marriage or two individuals “winching” in the countryside. The colour, the light, the shadowing and the technique which is employed are very similar, however, in all three of these paintings the women, the female counterpart in the work, all seem to have very different expressions on their faces in comparison to Highland Mary. Let it be noted that they do not look like happy expressions; instead they are either looking the opposite way thoughtfully – but not happily – or looking directly at their partner with contempt on their face. The delicate sense of surprise captured in Highland Mary’s face is not present in these other paintings. This may give us an insight into how he personally regarded Burns and Highland Mary’s relationship: that of a great love story.

Midwood, William Henry; The Proposal; Walker Art Gallery; http://www.artuk.org/artworks/the-proposal-98903

 

Midwood, William Henry; Rustic Courtship; Kirklees Museums and Galleries; http://www.artuk.org/artworks/rustic-courtship-21634

 

Midwood, William Henry; Rustic Courtship; Kirklees Museums and Galleries; http://www.artuk.org/artworks/rustic-courtship-21825

 

By Parris Joyce (Learning Officer Trainee)

 

 

[1] http://www.burnsmuseum.org.uk/collections/object_detail/3.3156.a-c

[2] http://www.burnsmuseum.org.uk/collections/object_detail/3.8034

[3] http://www.bbc.co.uk/news/uk-scotland-glasgow-west-12726935

[4] http://www.bbc.co.uk/news/uk-scotland-glasgow-west-12726935

[5] http://www.robertburns.org/encyclopedia/CampbellHighlandMary176315186.180.shtml

[6] http://www.artnet.com/artists/william-henry-midwood/biography

Burns’s Commonplace Books

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Commonplace Books first became significant in early modern Europe as a way of compiling knowledge. ‘Commonplace’ is a translation of the Latin phrase locus communis which means ‘a theme or argument of general application’. This original definition has been expanded to now mean a collection of materials on a certain theme by an individual. Importantly, commonplace books are not diaries or journals, as they are structured thematically rather than chronologically, and do not necessarily relate to the personal lives of their compilers. By the 17th Century, commonplacing was prevalent enough to be formally taught at places such as Oxford University, and there is a strong tradition of literary figures such as John Milton, Mark Twain and Thomas Hardy compiling them.

There are two commonplace books belonging to Robert Burns in existence. The first, begun in 1783, was almost certainly not intended for publication, and entries cease in October 1785. The second, begun in Edinburgh in 1787 and sometimes referred to as the Edinburgh Journal, has many interesting entries including early versions of the Bard’s poems and musings on people he knew. On its first page, Burns explains his desire to record his experiences in Edinburgh (where he had just moved), and his observations on the people he has met, while they are still fresh in his mind. He quotes Gray, saying ‘half a word fixed upon… is worth a cart load of recollection’ showing his preference for the written word over memory.

Near the beginning of the Book, Burns starts a discussion relating to his patron, the Earl of Glencairn, and laments the fact that a man with little talent and high social status (the Earl) would naturally be treated with more respect than a man of genius but low social status due to an accident of birth. He says, with similar sentiment to his work ‘A Man’s a Man for a’ That’:

Imagine a man of abilities, his breast glowing with honest pride, conscious that men are born equal, still giving that “honor to whom honor is due”; he meets as a Great man’s table a Squire Something, or a Sir Somebody; he knows the noble landlord at heart pays gives the Bard or what- ever he is, a degree o share of his good wishes beyond any at table perhaps, yet how will it mortify him to see a fellow whose abilities would scarcely have made an eight penny Taylor and whose heart is not worth three farthings meet with attention and notice that are forgot to the Son of Genius and Poverty?

Burns does confess to being torn, however, because Glencairn was so pleasant to him when they met.

Robert Burns’s commonplace book discussing the Earl of Glencairn

Also near the start of the book is a first draft of the song ‘Rantin’ Rovin’ Robin’ referring to the incident in which the gable end of Burns Cottage blew down during a storm in the first few weeks of Robert’s life. Interestingly, in this version, the opening line is ‘There was a birkie born in Kyle,’ as opposed to ‘there was a lad was born in Kyle’. There are then two versions of a poem written in Carse Hermitage on June 1st 1788, with a note beside the first draft instructing the reader to instead read the second draft further into the book. There is also a draft of his more famous poem, On seeing a wounded hare, along with other notes on his works.

Rantin’ Rovin’ Robin

Burns’s second commonplace book is on display in our museum collection and is a fascinating insight into some of the Bard’s personal thoughts, and also on how he drafted his poems. We wonder how many of our readers keep scrapbooks of this kind?

A Love of Dancing

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Poetry, songs and women are widely known to have been Robert Burns’s great passions, but he also loved to step onto the dancefloor as well. In 1779, Burns as a young man decided to attend dancing lessons in Tarbolton. This decision allowed him to temporarily escape the financial difficulties that the family were enduring at Lochlea. Therefore Burns used to regularly walk to a humble thatched house after the farming work was done to enjoy some time with his friends. In the museum collection you will see a beautifully restored fiddle with a red, green and black floral design work. This fiddle was played by Burns’s dance teacher, William Gregg, while Robert learned and practiced his steps. According to Burns he took up dancing to ‘give my manners a brush.’ But improving his manners and exercise were not the only benefits that dancing would give, as it granted Burns an opportunity to get acquainted with the local girls as well. This early time of social and sexual exploration played an important part in shaping Burns into the man he would famously become. To our twenty-first century minds dancing seems like a harmless pastime; but to his father William Burnes, this was an act of rebellion. According to Gilbert their father was often irritated by Robert’s dancing, as it was a clear sign that Robert was no longer listening to William’s advice and counsel. As a consequence of this, Burns himself acknowledged that his decision to continue with his dancing lessons compromised his relationship with his father.

Fiddle
William Gregg’s Fiddle

In Burns’s narrative poem Tam O’Shanter you can feel the excitement of the dance unfolding, yet all the while there is a dark truth to this particular social gathering:

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.’

Tam O'Shanter
Tam O’ Shanter watching the dancing and merriment within the Kirk

 

This scene of enjoyment is not only watched by the protagonist Tam, but also by Auld Nick who played the music to make them dance. This negative perception of dance being sinful is more in keeping with William’s opinion rather than his son. Nevertheless this moral outlook is undermined by the poem’s greater sense of adventure and humour. These two opposing viewpoints mirror the different standpoints of William and Robert in 1779, one saw dance as wicked and the other saw only pleasure. Despite all of William’s disapproval Robert Burns continued to love music, dance and social gatherings throughout his life. Tam O’Shanter was published in Grose’s Antiquities of Scotland in 1791, which reveals that Burns never forgot his father’s outlook on dance.

If you are a lover of dance yourself, you can follow in the Bard’s footsteps and take part in Scottish country dances set to his songs. For instance Ae fond Kiss is a reel, or perhaps you would prefer a livelier jig to the poem Halloween. One of the most popular times to toast Burns and celebrate his life is at a Burns Supper, so perhaps in the future you will follow his example and take to the dancefloor.

‘The dancers quick and quicker flew,

They reel’d, they set, they cross’d, they cleekit.’

Tam O’Shanter

 

By Kirstie Bingham

 

A day in the life of a museum curator

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We were sad to say goodbye to our Curator, Sean, last week as he retired from the Robert Burns Birthplace Museum to spend more time on his art and in his garden! We did manage to persuade him to write a quick blog post before he left, looking back on his time as curator here… we would like to wish him all the best in his retirement, and thank him for all his hard work at the Robert Burns Birthplace Museum over the years.

From September 2014 until January 2018, I was curator at the Robert Burns Birthplace Museum in Alloway, part of the National Trust for Scotland.

Some people ask “what does a curator do?” Every post is different. I was curator of contemporary and modern art for Glasgow Museums from 1999 until 2014. It was a similar job but had many differences too. In many ways it was a faster pace at GoMA with much larger gallery spaces and constantly changing displays of collections and loans. 

Here at RBBM one of the main things I do is type as I am now. That was true of GoMA too and I suppose most jobs now. Other things I do besides typing include giving tours of the museum, surrounding sites and the stores. This is one of my favourite things to do and most visitors interested in Burns enjoy it. I enjoy conveying my love of Burns and knowledge of the collection. I am new to Burns and only started studying him when I started this job, I was hired for my ‘museum experience’. But I was pleasantly surprised to find I really like Burns as a subject. I enjoy his mind through his letters, poems and songs. He was both talented and humane. It is quite thrilling to hold original letters and manuscripts that he wrote or objects he owned. I will miss this aspect of the job, but of course, anyone anywhere can read Burns. That is one of the perks of writing, it is easily dispersed.  

A picture of the Kilmarnock edition and electronic facsimile we have in our collection
The Kilmarnock edition and facsimile in our collection…

I also had the responsibility here of planning and running three or four temporary exhibitions a year in the gallery space. This could be quite a challenge with little funds. I think my favourites were the Sharmanka show and Burns Squared.  

I also answer lots of enquiries from around the world. This is the largest collection of Burns objects in the world – over 300 rare books and 312 original manuscripts by Burns himself. I am only now beginning to comprehend and understand the collection. Collections are only as good as the caretakers who speak for them and love them and this knowledge takes time. Without this knowledge and passion collections become mute objects. 

Probably one of my favourite objects in the collection is Robert’s writing set. http://www.burnsmuseum.org.uk/collections/object_detail/3.t13 

Robert Burns writing set including sharpening knives and quills
Robert Burns’s writing set

These pens are much mightier than the sword!

 

 

Was Robbie Radical?

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This iconic and vivid red poster definitely catches the een, however, at first glance you think you see the famous revolutionary Che Guevara in the Andy Warhol like pop art print – but, naw readers you’d be mistaken – its Robbie! Cleverly the University of West of Scotland have mischievously replaced Guevara’s face with Burns’s to stand as Scotland’s most well-known and well-loved revolutionary.

The posters purpose is to recruit students to study Scottish culture, and who best to represent that, than the greatest Scottish bard of all time. Popular culture ideas and images of Burns in the twenty-first century have made him a national favourite and his mug is surely recognizable by any true Scot. I mean he’s even got a national day after him (which outshines St Andrew’s day in Scotland!) An example of just how famous Burns is thought to be is conveyed in the pop art featured in the exhibition space of the RBBM.

Burns is seated at a dinner table next to the likes of Nelson Mandela, Elvis Presley, Marilyn Munroe and Mohammed Ali like a modern-day Jesus Christ hosting a Last Supper… all these celebrities are renowned for being extraordinary individuals and for revolutionizing their individual fields. But was Robert Burns revolutionary?

I wid argue, that through his works, he wis aye. The poems Scots Wha Hae, A Man’s a Man for a’ That and The Rights of Woman all are inherently radical based on their political subjects and they are full of powerful, and sometimes emotive, language.

Tyrants fall in every foe!

Liberty’s in every blow!

Let us do – or die!!

Tyrannical government was the object of American and European reformers and “liberty” was a 17th and 18th-century watchword.

Burns may not have been bodily present or involved in revolutionary activities but he was there in spirit and mind. His works are deeply imbedded with hope for change.

All in all, Burns has become the personification of Scottish identity and is a legend as his works and life are continued to be studied, celebrated and preserved the world over, hundreds of years after his death… If that doesnae make ye radical, then a dinny ken wit does.

 

By Parris Joyce