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
There is no doubt that parents and guardians are instrumental in the formative years of a child’s life, and this was certainly the case for Robert Burns. One of his most famous poems, Tam o’ Shanter, was inspired by stories Burns’s relative Betty Davidson used to tell him in his childhood, and he credited Betty with ‘the largest collection in the country of tales and songs concerning devils, ghosts, fairies, brownies, witches, warlocks, spunkries, kelpies, elf-candles, dead-lights, wraiths, apparitions, cantraips, inchanted towers, giants, dragons and other trumpery’ which later inspired many of his folklore related poems. Burns’s father, William, was also hugely influential – Burns himself explained that the Cottar’s Saturday Night is loosely based on his experiences growing up on a farm, and William’s desire to ensure his children were educated meant that Robert received the schooling he needed to write his poetry.
However, the person who would no doubt have had the largest part to play in raising the young Bard was his mother, Agnes. Born Agnes Broun in 1732 in Kirkoswald, the eldest of six children, she received some formal schooling and was taught to read a little, but could never write. Her mother died when she was ten, and her father remarried and seemed to take little interest in her after that. She was sent to be looked after by her grandmother, Mrs Rennie, whose collection of songs and ballads would have probably inspired Agnes’s love of singing.
Young Agnes was initially engaged to a farmhand for seven years, but broke off the relationship after he was unfaithful. She married William in 1757 after meeting him at a fair in Maybole the year before, and the couple went on to have seven children – Robert, Gilbert, Agnes, Annabella, William, John and Isabella.
Agnes loved singing. She had a find collection of lullabies, ballads and even bawdry songs in Scots which she would sing to her children from a young age. This would no doubt have made a huge impression on the young Bard, who later went on to collect many old Scottish songs and ballads in The Scots Musical Museum. Once again, his upbringing against a background of traditional Scottish music and folklore was the perfect inspiration for future literary endeavours. Alongside her singing and domestic chores, she also played an important role in the development of the farm at Burns Cottage – she would have grown vegetables and made butter and cheese from the milk produced by the family’s cows.
William Burnes died in 1784 and was survived by Agnes for 36 years. She spent the majority of this time living with her son Gilbert and died in his home in East Lothian in 1820. Despite an inscription to her on William’s gravestone in Alloway Auld Kirk, she is actually buried in the Churchyard of Bolton. Isabella, Robert’s youngest sister, wrote this about her mother:
‘She was rather under the average height; inclined to plumpness, but neat, shapely, and full of energy; having a beautiful pink-and-white complexion, a fine square forehead, pale red hair but dark eyebrows and dark eyes often ablaze with a temper difficult of control. Her disposition was naturally cheerful; her manner, easy and collected; her address, simple and unpresuming; and her judgement uncommonly sound and good. She possessed a fine musical ear, and sang well.’
Many famous historical figures are men, however the majority of these men were raised by women. There is little doubt that Agnes Broun had a large formative influence on her son, and inspired his love of music and song, as well his appreciation in later life of women who had a musical ear. She not only physically gave birth to Robert Burns, but also brought him up to become Scotland’s National Bard.
Today is the first day of Book Week Scotland, a national celebration of books and reading which takes place every year in November. Nearly everyone can say that they’ve been inspired by books at some point in their life, and Robert Burns was no exception. Thanks to William Burnes’s belief that his children should receive an education, and the diligence of the family’s tutor John Murdoch, Burns could both read and write. As a result of this, he was able to immerse himself in the various authors and poets who inspired him to become Scotland’s National Bard.
Robert himself, in an autobiographical letter to Dr John Moore, talks of two books that influenced him during his childhood:
‘The two first books I ever read in private, and which gave me more pleasure than any two books I ever read again, were, the life of Hannibal and the history of Sir William Wallace. Hannibal gave my young ideas such a turn that I used to strut in raptures up and down after the recruiting drum and bagpipe, and wish myself tall enough to be a soldier; while the story of Wallace poured a Scottish prejudice in my veins which will boil along there till the flood-gates of life shut in eternal rest.’
Evidence of that ‘Scottish prejudice’ can be seen in poems such as Scots Wha Hae, and Burns wrote many poems on the subject of war throughout his life, evidencing the impact both of these works had on him.
Gilbert – Robert’s brother – recalls one particular book which affected the future poet considerably, which was actually bought in error by their Uncle: ‘Luckily, in place of The Complete Letter-Writer, he got by mistake a small collection of letters by the most eminent writers… This book was to Robert of the greatest consequence. It inspired him with a strong desire to excel in letter-writing, while it furnished him with models by some of the first writers in our language’.
Robert wrote a great deal of letters throughout his life to his friends and family, and modelled many of them on letters that he read in this volume.
Burns read and was influenced by many more authors and poets throughout his life. He quoted Alexander Pope frequently, particularly in his early letters; described Henry MacKenzie’s ‘Man of Feeling’ as ‘the book I prize next to the Bible’; and perhaps most importantly was influenced by earlier vernacular poets such as Alan Ramsay and Robert Fergusson to write his poetry in Scots rather than English. There was however one book, or rather play, that certainly did not take his fancy – Titus Andronicus by Shakespeare. As he was about to leave for Dumfries, John Murdoch presented the Burns family with the play as a gift, but it proved too violent for the young Robert, who threatened to burn it if his tutor did not take it away again. Not all books are for everyone!
However you’re celebrating Scottish Book Week, whether it’s by picking up a new book for the first time, or by going back to an old favourite, we hope you enjoy wherever it may take you, and we hope it inspires you as much as Robert’s books inspired him!
Thrack Hooks, or sickles, were used by the young Robert Burns as he went about his daily agricultural duties. Born into a farming family and raised on a smallholding until the age of seven, his upbringing not only earned him the nickname of ‘Ploughman Poet’, but hugely influenced his later works, probably inspiring the love of nature apparent in poems such as ‘To a Mouse’. Sickles were used during the harvest to chop the stems of crops such as barley, wheat and corn, and it was with thrack hooks that, in 1774, a fourteen year old Robert removed nettle stings from the hand of his work partner, a local girl and ‘bewitching creature’ probably named Helen Kilpatrick. This awakened in him a ‘certain delicious Passion’ and inspired him to write his first song: ‘O once I lov’d a bonnie lass’ or ‘Handsome Nell’. Burns’s modest upbringing caused him to doubt his abilities as a poet, but after learning that a local farmer had written a song about his sweetheart, he decided to try it out himself… and never looked back! Unfortunately for our Bard, the lady in question did not return his feelings and the poem was not written down until twelve years later, on this very manuscript.
It is now part of the Stair manuscript collection, a group of eight poems and songs Burns copied and sent to Mrs Alexander Stewart of Stair in 1786, and remains a lasting legacy of the farm girl who inspired Burns to write.