Scots

Celebrating Scots Language

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As today is International Mother Language Day, our blog post explores the history of Scots language to celebrate and promote Scottish linguistic heritage.

Scots is descended from a form of Anglo-Saxon brought to the south-east of present day Scotland by the Angles (Germanic-speaking peoples) around AD 600. The video below, from The University of Edinburgh, illustrates the origins of Scots language.

Like many European countries, early Scots speakers primarily used Latin for official and literary purposes. The earliest surviving written poem in Scots, dated to 1300, is a short lyric on the death of King Alexander III (ruled 1249-1286) which appeared in Andrew Wyntoun’s work entitled The Original Chronicle:

“Qwhen Alexander our kynge was dede, That Scotland lede in lauch and le, Away was sons of alle and brede, Off wyne and wax, of gamyn and gle. Our golde was changit into lede. Crist, borne into virgynyte, Succoure Scotland and ramede, That is stade in perplexitie”.

Yet, the first Scots poem of any length called The Brus by John Barbour was recorded in 1375. Composed under the patronage of Robert II, this poem’s tale follows the actions of Robert the Bruce through the first war of independence.

The History of Scots from the 14th– 18th Century

Between the 14th and 16th century, writing in the vernacular thrived during the reigns of James III (ruled 1460-1488) and James IV (ruled 1488-1513): Scots language truly came into its own. This period’s Scots poets are known as medieval makars or master poets, after William Dunbar’s the Lament for the Makaris, for the great literacy culture that was produced in lowland Scotland. Dunbar was a virtuosic poet with an impressive range, varying from elaborate religious hymns to scurrilous bawdy verse.

Also a makar, King James VI (ruled 1567-1625) laid down a standard writers were expected to follow in his essay on literary theory entitled The Reulis and Cautellis. However, after James VI also became James I of England in 1603, Scots language and makars were no longer supported by the Royal Court. Pre-1603, James VI voiced the differences between English and Scots but now, as ruler of the British Empire, he attempted to Anglicise Scottish society for cultural, linguistic and political union of his kingdoms. Herein, the literary activity of 17th century Scots poets declined as many, like William Drummond of Hawthornden, decided to write in English instead. This change of language was encouraged by the Royal Court alongside the larger and more lucrative English publishing markets. In Scotland, all classes continued to write and speak in Scots but, for publications writers had their texts ‘Englished’.

The Great Scots Poets of the 18th Century

In the 18th century, under the 1707 Treaty of Union, Scotland joined England to form the new state of Great Britain and poets began to utilise an increasingly bilingual literary situation. Poets combined Augustan English poetry with Scots songs, tales and older poems to create a vernacular revival in Scots verse. The work of poets such as Allan Ramsay, Robert Fergusson and Robert Burns demonstrated the popularity and poetic nature of Scots as a literature. These poets, expressing a national identity, produced poems that were, and continue to be, widely read.

Portrait of Allan Ramsay (left) alongside a statue of the poet (right) located in West Princes Street Gardens

Allan Ramsay (1686-1758) was born in Lanarkshire and educated at Crawfordmoor Parish School. Following his mother’s death, Ramsay moved to Edinburgh to study wig-making and eventually opened a shop near Grassmarket. He was an eminent portrait painter and began writing poetry from the early 1700s. In 1721, Ramsay published his first volume as a blend of English language and Scots poems. He abandoned the wig-making trade to become a bookseller, opening a shop near Edinburgh’s Luckenbooths- this also became Britain’s first circulating library. Ramsay’s works, such as Tea-Table Miscellany (1724), The Ever Green (1724) and The Gentle Shepard (1725), laid the foundations for Scot writers like Robert Fergusson and Robert Burns.

Robert Fergusson’s 1772 portrait (right) and the young poet’s statue (left) outside Canongate Kirk on Edinburgh’s Royal Mile

Robert Fergusson (1750-1774) was born in Edinburgh’s Old Town to Aberdeenshire parents. He attended St. Andrews University and became infamous for his pranks- for which he came close to expulsion. In 1771, Fergusson anonymously published his first trio of pastorals entitled Morning, Noon and Night. He amassed an exquisite range of about 100 poems, developing existing literary forms and contributing to contemporary debate. Aged 24, Fergusson experienced a fatal blow to his head falling down a flight of stairs, he was deemed ‘insensible’ and transferred to Edinburgh’s Bedlam madhouse where he later died. In 1787, Robert Burns erected a monument at his grave, commemorating Fergusson as ‘Scotia’s Poet’.

A 1786 copy of Poems, Chiefly in the Scottish Dialect (Burns’ first book)

Robert Burns called Fergusson “my elder brother in misfortune, by far my elder brother in muse”. Clearly inspired by the poet, Burns adopted both Fergusson and Ramsay’s use of Scots words and verse to master his own poetry and advance Scots literature. In doing this, Burns became Scots language’s most recognised voice with poems and songs read and sung worldwide. The Robert Burns Birthplace Museum displays volumes and poems by Fergusson and Ramsay (below), highlighting the similarities to Burns’ work in terms of tone, format, subject matter and, of course, Scots language.

Works by Ramsay and Fergusson from The Robert Burns Birthplace Museum

The History of Scots Post-Burns to the Present

In the 19th century, building on the work of Scots poets, novelist began combining English and Scots in their writings. More often, English was used for the main narrative and Scots voiced Scots-speaking characters or short stories.

After this period, the 20th century saw a radical renaissance of Scots poetry, primarily through Hugh MacDiarmid (pen name of Christopher Murray Grieve). MacDiarmid’s work The Scottish Chapbook, reassessed early Scots verse by using words from across different regions. Later, Edinburgh poet Robert Garioch reopened links to the Scots verse MacDiarmid devalued. Garioch, to a greater extent than MacDiarmid, developed a form of Scots united to any particular locality and produced a model that future writers could follow. Other 20th century poets, included Edwin Morgan, and his translation of Vladmir Mayakovsky’s poetry into Scots, as well as Tom Leonard’s Six Glasgow Poems.

Today, Scots language continues to thrive. In communities across Scotland, people use Scots as a language to write and speak. As the 2011 Scottish Census reported, there are 1.5 million speakers of Scots within Scotland, which is around 30% of the population.

So, why not challenge yourself? And join them? To celebrate Scots language and International Mother Language Day, learn a new word or a new phrase or more!

Check out the links below for more ways to learn Scots:

  • On social media, we run a Scots word of the week campaign, encouraging our followers to guess and discuss what they mean. We often get international audiences commenting on the similarities between Scots and various European languages. Check it out on Facebook (@RobertBurnsBirthplaceMuseum) and Twitter (@RobertBurnsNTS).
  • Search our blog for Scots language posts: https://burnsmuseum.wordpress.com/tag/scots-language/
  • For Scots on Twitter, take a look at these pages: @lairnscots, @scotslanguage, @ScotsScriever, @tracyanneharvey @rabwilson1 and @TheScotsCafe.
  • Join the Open University’s FREE online Scots language and culture course: https://www.open.edu/openlearncreate/course/view.php?id=2705
  • Or, check out some of these websites:  https://www.scotslanguage.com/

https://www.gov.scot/policies/languages/scots/

http://www.cs.stir.ac.uk/~kjt/general/scots.html

https://education.gov.scot/improvement/Documents/ScotsLanguageinCfEAug17.pdf

Gang oan, gie it an ettle!

English Poems Owerset intae Scots Leid!

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Parris Joyce, Learning Officer fur the Robert Burns Birthplace Museum, as pairt o Tracy Harvey’s recent Scots leid wirkshoaps, hus been owersettin some poetry intae Scots.

Owersettin is a gey gid way o engagin wae the leid an makin ye think haird aboot wit wirds wirk best. It’s a useful way o usin wirds ye already ken but micht o forgotten as weel as lairnin new yins tae.

Here is twa poems she owersit intae Scots. Enjoy!

The Walrus and the Carpenter by Lewis Carroll

(or The Muckle Flabby Selch an the Jiner)

The sin wis beekin oan the sey,

Beekin wae aw his micht!

He did his gey best tae mak

Tha billows sleekit an bricht –

An this wis unco, cause it wis

The middle o the nicht.

The muin wis beekin fungily,

Cause she thoucht tha sin

Hud goat nae business tae be thir

Efter tha day wis done –

‘It’s gey misbehadden o him’, she said,

‘Tae cum an tash the fun!’

The sey wis wet as wet cud be

The saunds were dry as dry.

Ye cuddnae see a clud, cause

Nae clud wis in the sky:

Nae burds wir fleein owerheid –

Thir wir nae burds tae fly.

The Muckle Flabby Selch an the Jiner

Wir daunerin nar at haun:

They gret lich ownyhing tae sei

Such quantities o saund:

‘If this wur only red oot’,

They said, ‘it wid be graund!’

If seeven lassies wae seeven besoms

Sweeped it fir hauf a year,

Dae ye reckin, the Muckle Flabby Selch spaikit,

‘Thit they cud git it red clear?’

‘I doot it’ said the Jiner,

An shed a wersh tear.

‘O Oysters, cum an dauner wae us!’

The Muckle Flabby Selch did fleetch.

‘A bonnie dauner, a braw blether,

Alang the briny beach:

We cannae dae wae mair thin fower,

Tae gee a haun tae each.’

The auldest Oyster luiked at hum,

But never a wird he said:

The auldest Oyster winked his ee,

And shoogled his heavy heid –

Meaning tae say he didnae choose

To leave the oyster-bed.

But fower wee Oysters scrambled up,

Aw buzzin fir the treat:

Their jaikets were brushed, their faces washed,

Their shoes were clean and neat –

And this wis unco, cause, ye ken,

They hudnae any feet.

Fower ither Oysters follaeed thum,

An yit anither fower;

An thick an fast they came at last,

An mair, an mair, an mair –

Aw hoppin through the frothy waves,

And scrambling tae the shore.

The Muckle Flabby Selch an the Jiner

Daunered oan a mile or so,

An then they rested oan a rock

Conveniently low:

An aw the wee Oysters stood

An waited in a row.

The time has come, the Muckle Flabby Selch said,

To spaikit o mony hings:

O shoes – an ships – an sealing-wax –

O cabbages – an kings –

An why the sea is bilin hoat –

An whether sows hae wings.

But wait the noo, the Oysters gret,

Afore we huv oor chat:

Fir sum o us are oot o breath,

An aw o us are fat!

Nae rush! Said the Jiner.

They thanked him much fir that.

A loaf o breed, the Muckle Flabby Selch said,

Is wit we chiefly need:

Pepper an vinegar besides

Are gey guid indeed –

Now if yer ready, Oysters dear,

We cun stairt tae feed.

But naw oan us! The Oysters gret,

Turning a wee bit blue.

After such kindness, thit wid be,

A rotten hing tae do!

The nicht is braw, the Muckle Flabby Selch spaikit.

Do you admire the view?

It wis so kind of ye tae cum!

An ye are awfy nice!

The Jiner said nowt but

Cut us inither slice:

I wish ye werenae quite so deef –

I’ve had tae ask ye twice!

It seems a shame, the Muckle Flabby Selch spaikit,

To play them such a trick,

After we’ve broucht them oot so far,

An made them trot so quick!

The Jiner said nowt but

The butter’s spread too thick!

I greet fir ye, the Muckle Flabby Selch spaikit:

I deeply sympathize.

Wae sobs and tears he sorted oot

Those o the mucklest size,

Haudin his hanky

Afore his greetin eyes.

O Oysters, said the Jiner,

Ye’ve had a bonnie run!

Shall we be trotting hame again?

But reply came there nane –

An this was scarely unco, cause

They’d scoffed every yin!

Twas The Night Before Christmas by Clement C. Moore

(or Twis The Nicht Afore Yule)

Twas the nicht afore Yule,

when aw throu the hoose

Nae a beastie wis steerin,

nae e’en a moose;

The stockings were hung

by the lum wae care,

In houps thit St. Nic

soon wid be thir.

The weans were cooried

aw snog in their beeds,

While veesions o sugarplums

birled in thir heids;

An Maw in her mutch

an a in ma cap,

Had juist corried doon

fir a lang winter’s nap –

When oot oan the gairdin

there heaved such a clatter,

A boonced fae ma beed

to luik wit wis the matter.

Awa tae the windae

a fleed like a flash,

Teared open the shutters

an chucked up the sash.

The muin on the breist

o the new-fawen snaw,

Gave a lustre o twaloors

tae objeects ablow.

When, wit tae ma ferlie een

Shood kythe,

But a wee sleigh

An aucht wee Yule deer,

Wae a wee auld driver

so swippert an quick,

A kent in a blink

it must be St. Nick.

Mair fest than aigles

his coursers they came,

An he fussled, an rousted,

an cried them by name –

“Noo, Dasher! Noo, Dancer!

Noo, Prancer an Vixen!

Oan, Comet! Oan, Cupid!

Oan, Donder an Blitzen!

Tae the tap o the entry,

tae the tap o the wa!

Noo, hurl awa! Hurl awa!

Hurl awa aw!”

As dry leaves afore

the gallus hurricane flicht,

When they meet wae an obstacle

rise tae the lift,

So up tae the hoosetap

the coursers they fleed away,

Wae sleigh fu o thingamajigs –

an St. Nicholas tae;

An then in a glenting,

a heard oan the roof

The linkin an luifin

o each wee huif.

As a drew in ma heid

an wis birlin aroon,

Doon the lum St. Nicholas

came wae a boond.

He wis set-on aw in fur

fae his heid to his fut,

And his claes were aw tarnished

wae ashes and suit.

A haunfie o thingamajigs

he hud chucked oan his back,

An he luiked lik a peddler

juist opening his pack.

His een hoo they twinkled!

His dimples hoo mirkie!

His chowks were lik roses,

his neb lik a cherry!

His unco wee mou

wis drawn up lik a bow,

An the baird oan his chin

wis as fite as the snaw!

The stock o a gun

He held ticht in his teeth,

An the reek it encircled

his heid lik a wreath.

He hud a braid face

an a wee roon belly

Thit shoogled when he buckled

lik a bowlie fu o jelly.

He wis pluffie an sonsie –

a richt gawsie auld elf,

an a keckled when a saw him,

in maugre o masel.

A glimmer o his een

an a skew o his heid,

Soon gave me tae ken

A hud nowt tae dreid.

He spaikit nae a wird,

but when straucht tae his wirk,

An fillt aw the stockings

then birled wae a yerk,

An pittin his pinkie

aside o his neb,

An geein a nod,

Up the lum he fled.

He legged it tae his sleigh,

tae his fleeto gave a whustle,

An awa they aw flew

like the doon o a thrissel.

But a harked him goller

as he hurled oot o sicht,

“Joco Yule tae aw

an tae aw a gid nicht!”

A Blether Aboot the Scots Leid!

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Fir twa hours oan Saturday 19th Oct masel an hawf a dozen ithir fowk wi a birr fir the Scots tongue speirt awa aboot oor language, or leid, in the Robert Burns Birthplace Museum biggin.

We blethert aboot hoo we feel whin we hear fowk yaisin Scots words, yon sense o connection that we feel an hoo the leid taks us back tae guid memories o whin we wir weans. It’s aa aboot hoo oor brains are wired an hoo certain pathways in oor harns licht up whin we hear language that we ken. The Scriever fir Scotland, Michael Dempster, explains this in a Ted Talk oan You-Rube, which is weel worth a wee swatch.

Gien that this is the International Year o Indigenous Languages, we jaloused aboot hoo maist linguists gree that Scots is a leid in its ain richt an hoo Scots is kent by oor ain government an the European Commission as wan o the 3 indigenous leids o Scotland, alang wi English an Gaelic.

We luiked at hoo Scots language hus evolved owre the centuries wi Brythonic, Anglo-Saxon, Norwegian an Scandinavian, French an Auld English influences as weel as fae the Celts an the Picts. An hoo, it’s kent as a Germanic leid wi close ties tae Auld English.

We speirt aboot hoo oor Scots leid hus maistly been a spoken leid, due tae hoo historic documents wir aften scrievit in Latin an French. Poetry hooivver hus aye buin scrievit in Scots, stertin wi the magneeficent poem BRUS scrievit aboot Robert the Bruce by John Barbour in the 1370’s.

We spaik aboot hoo, eftir the union o Scotland an England, the nabbery stertit tae learn tae read an scrieve in English, we jaloused that mibbe they thocht this wuid be beneficial tae them in terms o trade, status an siller. White’er thaur thochts wir, the ootcome wis a dingin doon o the Scots leid an the stairt o a penchant tae tell fowk speikin Scots tae “speik properly”. 

We spaik o the Scottish enlightenment in the 18th century whin makars sic as Allan Ramsay, Robert Fergusson an Robert Burns hud the smeddum tae scrieve in Scots tae mak siccar the Scots Leid wis uphaudit tae this day. We jaloused that aiblins oor bonnie leid wid hae bin lost itherwise. We spaik o hoo, nooadays, wi the world gaun the way its gaun at the meenit, we are hell bent oan preserving oor leid, itherwise, wi media influences we micht aa end up wi transatlantic accents!! We got yokit in aboot this, speirin aboot hoo oor weans are sayin words lik “Trick or Treating” insteid o “gaun guisin”!! 

We spaik aboot hoo literature, parteecularly fir weans, is being scrievit an owerset intae Scots mair an mair an hoo this is a gey guid way o airtin fir the future.

We aa hud different life experiences and thochts but we aa agreed that we want tae preserve oor rich an descriptive Scots leid an pass it oan tae oor weans an granweans.

A wheen o Scots words hae been dinged doon as bein “slang” an we luiked at some examples an whaur they micht originate fae;

  • “A WEE STOATER” – meanin “first class” or a fine example o somehin, eg, a “stoater” o a goal, or a wee smasher. Nae doot related tae  STOTTIT – BOUNCED and mibbe even tae STOT – an auld Scots word for a bullock.
  •  “UP THE SKYTE” – meanin pregnant. KYTE wis originally the Scots word fir belly. So if somebody’s “skyted” their belly hus gotten big, they are pregnant. Also the medical term for fluid in the abdomen is ASCITES (latin) from ASKITES (Greek).
  • SCUNNERT – as in “ocht ah’m fair scunnert the day, ah cannae get oot ma ain road”, auld Scots an Northern English word, Robert Fergusson an Robert Burns baith yaisd it in their poetry. Literal meanin wis originally tae flinch / tae shrink back. Noo means “fed up.” Comes fae the 14TH century Norse word SKONERON.
  • BLETHER – meanin tae chat, “hae a wee blether” or someone who is “a wee blether”, wee chatterbox, Originated fae the auld Norse word blathra or blaora.
  • HUNKERS– ie “doon oan yir hunkers”, meanin squattin doon – Dutch or German in origin.
  • WINTER DYKES – clothes horse – in the summer fowk yaist tae pit thaur claes owre stane dykes tae dry, as they hud nae washin lines, so in the winter they wuid dry the claes in the hoos, in front o the fire owre a wuiden frame, which they caad the “winter dykes”.
  • SMEEKIT – nooadays meanin steamin fu’, intoxicated. Originates fae auld Scots word SMEEK meanin smoke or fumes so, in the case o the modern yis o SMEEKIT, the fumes comin fae somebody intoxicated wi alcohol.
  • GUISIN – comes fae Scots an North England meanin “disguised as”. Swipperly bein taen owre by “Trick or Treating”.
  • OXTER – armpit. Norse in origin – Dutch word is Oksel.
  • REDD UP – as in “awa an redd up yir room”, yaisd in Scotland an Northern England, comin fae the word “rid”, “get rid of”.
  • BARE SCUDDIE – goes back tae the 18 hunners, meanin nooadays naked, but originally meanin a wee fledgling burd that’s no got oany feathers.

We then brainstormed some mair Scottish words an phrases lik:

  • TUMMLE THE CRAN(forward roll)
  • FANKLE(mixed up), eg, Ah wuid get intae a fankle if ah tried tae dae a tummle the cran!
  • GRUMPHIE (pig)
  • PUNTIE UP (help tae sclim up)
  • HUNTIGOWK (April fools day)
  • BOAK (be sick)
  • BRACE (mantelpiece)
  • OWRE THE THRAPPLE (doon the throat), we hud a guid laugh mindin oor granny’s gien us butterbaas tae cure a sair throat! Gadz!

Eftir that we compared some scrievins in Scots Leid, yin lass read a poem scrievit in Doric fae Lallans Scots leid journal, an this lead tae a blether aboot Sheena Blackhall’s braw Doric poetry, sic as “The Check Oot Quine’s Lament.” Anither lass hud owreset Wordsworth’s “Composed Upon Westminster Bridge” intae Scots an anither lass hud us heehawin an laffin at some o her social media posts in Scots.

We hud a wee laugh at hoo a few o us in the group hud been threatened wi elocution lessons as weans. We also speirt aboot hoo Scots words vary fae airt tae airt an hoo we can get crabbit an frustrated aboot hoo tae spell Scots words, gien we huv never buin tocht this an are self tocht. This is whaur guid scrievins come intae thaur ain an we hud a luik at James Andrew Begg’s buik “The Man’s The Gowd for a that”, which ah hae read recently an it baith brocht back words ah hud forgotten aa aboot an tocht me new wans tae. As Scots Scriever Michael Dempster telt us in his Ted Talk “it fair lit up the pathways in ma harns.”

We read a cutty extract fae chapter 9, “The Killie Fleshers” pages 108 – 109, based oan a fictional blether set in Kilmarnock in 1786, atween a fermer chiel an the printer o the Kilmarnock First Edition, Johnie Wilson, wha is speirin aboot “this Rob the Rhymer” an hoo “at the stert ah wis sweirt tae tak it on, fir his verses are aa in the Scotch tung…since aa thaim that can afford tae buy buiks are learnin tae speak in English”. We felt this extract wis relevant tae the pynt we wir makin earlier aboot hoo Burns wis instrumental in preservin the Scots Leid an hoo he mak’d siccar it wisnae gauntae be dinged doon. No on his shift. An we are fair gled that Wilson did “tak it oan”.

At the hinneren oor tungs taiglt us that much that we didnae dae oany scrievin!! Hoo an ever, we greed that it hud been an awfy guid blether an we’ll dae it again at the neist Scots Leid wirkshoap oan Setturday 09.11.19 1pm tae 3pm in the Robert Burns Birthplace Museum biggin.

Aabody welcome. Aefaulds .

Tracy Harvey, Resident Scots Scriever fir Robert Burns Birthplace Museum

Bards, Burns an Blether in The Bachelors’

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The Bachelors’ Club in Tarbolton: https://www.nts.org.uk/visit/places/bachelors-club

It’s owre twa hunner year syne The Bachelors’ Club in Tarbolton saw the young Robert Burns an his cronies speirin aboot the issues o thaur day. It is therefore a braw honour tae gie this historic biggin a heize ainst mair by bein involved in organisin and hostin monthly spoken word an music nichts in the place whaur Robert Burns fordered his poetic genius, charisma an flair fir debate.

The Bachelors’ Club nichts stairtit in March this year eftir Robert Burns Birthplace Museum volunteer Hugh Farrell envisaged the success of sic nichts in sic an inspirational setting.

Hugh Farrell, volunteer at Robert Burns Birthplace Museum, in front of the Burns Cottage. (June 2019)

Tuesday the third o September saw the eighth session, an it wis wan we will aye hae mind o. Wullie Dick wis oor compère as folk favoured the company wi a turn.

Oor headliner wis Ciaran McGhee, singer, bard an musician. Ciaran bides an works in Embra an I first shook his haun some twa year syne at New Cumnock Burns Club’s annual Scots verse nicht. The company wis impressed then an agin at the annual “smoker” an at a forder Scots verse nicht. Ciaran traivelled doon tae Ayrshire tae play fir us, despite haen jist duin a 52 show marathon owre the duration o Embra festival.

 Ciaran stertit wi a roarin rendition o “A Man’s a Man for a That”, an we hud a blether aboot hoo this song is as relevant noo, in these days o inequality an political carnage, as it wis twa hunner year syne, a fine example o Burns genius an insicht. Ciaran follaed wi Hamish Imlach’s birsie “Black is the Colour”, the raw emotion gien us aa goosebumps!!  Ciaran also performed Johnny Cash’s cantie “Folsom Prison Blues”, an then Richard Thomson’s classic “Beeswing”, a version sae bonnie it left us hert-sair! Ciaran also performed tracks fae his album “Don’t give up the Day Job”.

Ciaran McGhee jamming. (Photie taken by Robert Neil)

The company wir then entertained by Burns recitals an poetry readins fae a wheen o bards an raconteurs. A big hertie chiel recited “The Holy Fair”, speirin wi the company on hoo excitin this maun hae buin in Burns day, amaist lik today’s “T in the Park”.

We hud “Tam the Bunnet” a hilarious parody o Tam o Shanter an Hugh Farrell telt us aboot the dochters ca’ad Elizabeth born tae Burns by different mithers, Burn’s first born bein “Dear bocht Bess”, her mither servant lass Bess Paton. Later oan cam Elizabeth Park, Anna Park’s dochter, reart by Jean Armour, an thaur wis wee Elizabeth Riddell, Robert an Jean’s youngest dochter wha deid aged jist 3 year auld.  A “Farrell factoid” we learned wis that in Burns day, if a wee lassie wis born within mairrage, she was ca’ad fir her grandmither, if she wis born oot o wedlock she taen her mither’s first name. Hugh recited “A Poet’s Welcome To His Love-Begotten Daughter” fir us, the tender poem Burns scrievit, lamentin his love fir his first born wean, Elizabeth Paton.

We hud spoken word by various bards on sic diverse topics as a hen doo, a sardonic account o an ex girlfriend’s political tendencies, an a couthie poem inspired by a portrait o a mystery wummin sketched by the poets faither. In homage tae Burn’s “Poor Mailie’s Elegy”, we hud a lament in rhyme scrievit in the Scots leid, featurin the poet’s pet hen.

We learned o the poetess Janet Little, born in the same year as Burns, who selt owre fowre hunner copies o the book o her poetry she scrievit. This wummin wis kent as “The Scotch Milkmaid” an wis connected tae Burn’s freen an patron, Mrs Frances Anna Dunlop.

An engraving of Mrs Frances Anna Dunlop held at the Robert Burns Birthplace Museum

We also learned o hoo Burns wis spurned by Wilhelmina Alexander, “The Bonnie Lass of Ballochmyle” an hoo, eftir her daith, she wis foun tae hae kept a copy o the poem Burns scrievit fir her.

We hud mair hertie music fae Burness, performin Burns an Scottish songs sic as “Ye Jacobites by Name” an a contemporary version o “Auld Lang Syne” wi words added by Eddie Reader tae an auld Hebrew tune.

We hud “Caledonia” an “Ca the Yowes tae the Knowes” sung beautifully by a sonsie Auchinleck lass wha recently performed it at Lapraik festival in Muirkirk (oan Tibby’s Brig nae less!).

The newly appointed female president o Prestwick Burns Club entertained us on her ukelele wi the Burns song “The Gairdner wi his Paiddle” itherwise kent as “When Rosie May Comes in with Flowers”.

At the hinneren wi hud a sing alang tae Seamus Kennedy’s “The Little Fly” on the guitar an Ciaran feenished wi “Ae Fond Kiss”, interrupted by his mammy wha phoned tae see when he wis comin haim tae New Cumnock!

We hud sae muckle talent in The Bachelors’, that we didnae hae time fir a’body to dae a turn, so thaim that didnae will be first up neist time.

A braw photie o the company cheerin. (Photie taken by Robert Neil).

A hertie thanks tae a the crooners, bards an raconteurs an tae a’body in the audience fir gien up thaur time, sharin thaur talent an ken an gien sillar tae The Bachelors’ fund. Sae faur we hae roused £862 which hus been paid intae the account fir the keepin o The Bachelors’ Club.

Hugh Farrell is repeatin history by stertin a debatin group in The Bachelors’ on Monday 11th November, 239 year tae the day syne Burns launched it first time roon. Thaur will be a wee chainge tae the rules hooever, ye dinnae hae tae be a Bachelor an ye dinnae need tae be a man tae tak pairt!!

The Bachelors’ sessions are oan the 1st Tuesday o every month 7pm tae 10.30pm an a’body wi an enthusiasm for Burns is welcome.

Tracy Harvey in front of the Robert Burns Birthplace Museum. (August 2019)

Scrievit by Tracy Harvey, Resident Scots Scriever fir RBBM

A Fragment of History: Robert Burns’s Glossary Manuscript

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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.

Halloween

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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.

 

800px-J__M__Wright_-_Edward_Scriven_-_Robert_Burns_-_Halloween
Engraving: ‘Halloween’ Creator: John Massey Wright, Artist; Edward Scrivens, Engraver Object Number: 3.8350

 

By Parris Joyce (Learning Trainee)

Read the full poem here: http://www.robertburns.org/works/74.shtml

Burns on Beasties

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On the BBC’s website it is listed that there are 118 poems written by our beloved bard Robert Burns with the theme of nature, however, I would argue that there is so many more as nature – a subject which was very close to his heart – is inextricably intertwined in a number of his works.

The reason nature is a genre featured so heavily within Burns’s works can be traced back to his upbringing and lifestyle. Being born in the but-and-ben Burns Cottage in Alloway, he was introduced to the ways of farmlife from childhood. He worked with his family closely there and at multiple farms thereafter such as Mount Oliphant and Lochlea Farm. Burns and his brother Gilbert even farmed at Mossgiel Farm when his father died. He did not just have connections with the land in his younger years but as an adult as well as he worked as a farmer alongside his career as a poet and songwriter. His last farming endevaour was at Ellisland Farm in Dumfrieshire. His rural upbringing and argicultural employment earned him his nickname as “The Ploughman Poet” by the artistocratic society of Edinburgh. Burns lived in Edinburgh for only two years – the city which he described as “noise and nonsense” – to return to his rural roots.

Firstly, I would ask: what is nature? It is defined as the phenomena of the physical world collectively, including plants, animals and the landscape. Burns did not neglect any of these three aspects and used them frequently as the inspiration of his works. He did various works which refer to plants such as To a Mountain Daisy, My Luve is Like a Red Red Rose and The Rosebud. Some of my personal favourite works of Burns which talk about other environmental features include Sweet Afton (about a river) and My Heart’s in the Highlands (which of course is about one of the most rugged, scenic and breath-taking landscapes in the world).

However, what this blog will mainly focus on is that Burns was most notably an animal lover. This is conveyed in his works On Glenriddell’s Fox Breaking his Chain, The Wounded Hare, Address to a Woodlark, The Twa Dogs, To a Louse and the renowned and much adored To a Mouse. This last poem – which was written in 1786 and published in the Kilmarnock Edition – is a perfect example of Burns’s humanity as this poem reflects his concern for animal welfare, his consciousness of humankind’s effect on nature and has empathy for a small creature which is widely considered as “vermin”. This was very ahead of his time and is a concern that is currently proving to be a huge issue as more and more animals become extinct because of human’s destructive actions in the twenty-first century.

 

The Twa Dogs poem, written in 1796, is another great work of Burns’s which gives the two dogs human-like intellect and the ability to express themselves as it has an upper-class pedigree, Caesar, and an ordinary working collie, Luath, who chat about the differing lives of the social classes. The name “Luath” comes from Ossian’s epic poem Fingal. The Twa Dogs immortalizes Burns’s own dog Luath who came to a cruel end. On the morning of 13th February 1784 Robert and his sister Isabella were distressed to find the poisoned body of Robert’s dog Luath outside their door – the act of a vengeful neighbour. Arguably, Burns intended this poem as a memorial to his canine friend.

 

An example of one of Burn’s lesser-known poems is The Wounded Hare which was written in 1789. Below are the first three stanzas out of five that complete this poem:

Inhuman man! curse on thy barb’rous art,
And blasted be thy murder-aiming eye;
May never pity soothe thee with a sigh,
Nor ever pleasure glad thy cruel heart!

Go live, poor wand’rer of the wood and field!
The bitter little that of life remains:
No more the thickening brakes and verdant plains
To thee a home, or food, or pastime yield.

Seek, mangled wretch, some place of wonted rest,
No more of rest, but now thy dying bed!
The sheltering rushes whistling o’er thy head,
The cold earth with thy bloody bosom prest.

The word choice makes the moral message of this poem is clear: Burns is vehemently opposed to shooting. The passion and intensity of Burns’s thoughts on this is quite surprising as one would think that as a farmer he would be used to or even dependent on killing animals, however, meat consumption was not as prominent in the eighteenth century as farm animals were only killed for food in old age or special occasions. The family’s provision of milk, cheese, butter and wool came directly from their own animals, and the health and wellbeing of these creatures were paramount. Furthermore they would share the same roof over their heads with them, thus creating strong bonds with their farm animals, and apparently Burns lost his temper with a farm-worked once when the man did not cut the potatoes small enough and Burns was frantic that the beasts might choke on them.

 

Below is the third stanza of the powerful poem On Glenriddell’s Fox Breaking His Chain written in 1791:

Glenriddell! Whig without a stain,
A Whig in principle and grain,
Could’st thou enslave a free-born creature,
A native denizen of Nature?
How could’st thou, with a heart so good,
(A better ne’er was sluiced with blood!)
Nail a poor devil to a tree,
That ne’er did harm to thine or thee?

Again, you can clearly see that Burns is opposed to the cruel treatment of a “free-born creature” and is in disbelief of the actions of the good-hearted Glenriddell’s actions.

 

However, one could argue that nature was so deeply rooted in Burns’s psyche – and he quite literally was surrounded by it living on a farm – that he could not escape from being inspired to write about it. An example of this is in his masterpiece Tam o’ Shanter. It is an epic narrative poem written in 1790 which features folklore, superstition, witchcraft and gothic themes… but it also has one of his most poignant and beautiful quotes in which Burns really philosophically details the nature of nature:

But pleasures are like poppies spread,
You seize the flower, its bloom is shed;
Or like the snow falls in the river,
A moment white–then melts for ever;
Or like the borealis race,
That flit ere you can point their place;
Or like the rainbow’s lovely form
Evanishing amid the storm.–
Nae man can tether time or tide;
The hour approaches Tam maun ride;

Burns is saying that nature’s beauty is wistful, forever-changing and is out of the control of humankind as he insightfully states “nae man can tether time or tide”.

In terms of this poem, another point is worth mentioning: the hero of this tale is a horse. Again Burns’s admiration and respect for animals is encompassed in the heroism of Meg, Tam’s horse, who against all odds does get him home in one piece although the same cannot be said for her. Burns was a brilliant horse-rider and would have relied heavily on his four-legged companion as a mode of transportation to socialise, to plough fields and to work as an excise man.

 

All in all Burns would have been regarded nowadays as an advocate for animal welfare and his works which have animals or nature at their core reflect his love for nature and are some of his most passionate, most thought-provoking and most heart-rending.

 

 

By Parris Joyce (Learning Trainee)