Robert Burns, Principal Shairp [warren buffett book recommendations txt] 📗

the year 1786 onwards, a cloud of melancholy (p. 112) generally gathered over the poet's soul toward the end of each autumn. This October, as the anniversary of Highland Mary's death drew on, he was observed by his wife to "grow sad about something, and to wander solitary on the banks of Nith, and about his farmyard in the extremest agitation of mind nearly the whole night. He screened himself on the lee-side of a corn-stack from the cutting edge of the night wind, and lingered till approaching dawn wiped out the stars, one by one, from the firmament." Some more details Lockhart has added, said to have been received from Mrs. Burns, but these the latest editor regards as mythical. However this may be, it would appear that it was only after his wife had frequently entreated him, that he was persuaded to return to his home, where he sat down and wrote as they now stand, these pathetic lines: -

Thou lingering star, with lessening ray,
That lovest to greet the early morn,
Again thou usherest in the day
My Mary from my soul was torn.
O Mary! dear departed shade!
Where is thy place of blissful rest?
See'st thou thy lover lowly laid?
Hear'st thou the groans that rend his breast?

That Burns should have expressed, in such rapid succession, the height of drunken revelry in Willie brewed a Peck o' Maut and in the ballad of The Whistle , and then the depth of despondent regret in the lines
To Mary in Heaven , is highly characteristic of him. To have many moods belongs to the poetic nature, but no poet ever passed more rapidly than Burns from one pole of feeling to its very opposite. Such a poem as this last could not possibly have proceeded from any but the (p. 113) deepest and most genuine feeling. Once again, at the same season, three years later (1792), his thoughts went back to Highland Mary, and he poured forth his last sad wail for her in the simpler, not less touching song, beginning -

Ye banks, and braes, and streams around
The castle o' Montgomery!
Green be your woods, and fair your flowers,
Your waters never drumlie;
There simmer first unfauld her robes,
And there the langest tarry;
For there I took the last Fareweel
O' my sweet Highland Mary.

It would seem as though these retrospects were always accompanied by special despondency. For, at the very time he composed this latter song, he wrote thus to his faithful friend, Mrs. Dunlop: -

"Alas! who would wish for many years? What is it but to drag existence until our joys gradually expire, and leave us in a night of misery, like the gloom which blots out the stars, one by one from the face of heaven, and leaves us without a ray of comfort in the howling waste?"

To fits of hypochondria and deep dejection he had, as he himself tells us, been subject from his earliest manhood, and he attributes to overtoil in boyhood this tendency which was probably a part of his natural temperament. To a disposition like his, raptures, exaltations, agonies came as naturally as a uniform neutral-tinted existence to more phlegmatic spirits. But we may be sure that every cause of self-reproach which his past life had stored up in his memory tended to keep him more and more familiar with the lower pole in that fluctuating scale.

Besides these several poems which mark the variety of moods which (p. 114) swept over him during the summer and autumn of 1789, there was also a continual succession of songs on the anvil in preparation for Johnson's Museum . This work of song-making, begun during his second winter in Edinburgh, was carried on with little intermission during all the Ellisland period. The songs were on all kinds of subjects, and of all degrees of excellence, but hardly one, even the most trivial, was without some small touch which could have come from no hand but that of Burns. Sometimes they were old songs with a stanza or two added. Oftener an old chorus or single line was taken up, and made the hint out of which a new and original song was woven. At other times they were entirely original both in subject and in expression, though cast in the form of the ancient minstrelsy. Among so many and so rapidly succeeding efforts, it was only now and then, when a happier moment of inspiration was granted him, that there came forth one song of supreme excellence, perfect alike in conception and in expression. The consummate song of this summer, 1789, was John Anderson my Jo, John , just as Auld Lang Syne and The Silver Tassie had been those of the former year.

During the remainder of the year 1789 Burns seems to have continued more or less in the mood of mind indicated by the lines To Mary in Heaven . He was suffering from nervous derangement, and this, as usual with him, made him despondent. This is the way in which he writes to Mrs. Dunlop on the 13th December, 1789: -

"I am groaning under the miseries of a diseased nervous system - a system, the state of which is most conducive to our happiness, or the most productive of our misery. For now near three weeks I have been so ill with a nervous headache, that I have been obliged for a time to give up my Excise-books, being scarce able to lift my head, much (p. 115) less to ride once a week over ten muir parishes. What is man?..."

And then he goes on to moralize in a half-believing, half-doubting kind of way, on the probability of a life to come, and ends by speaking of or rather apostrophizing Jesus Christ in a strain which would seem to savour of Socinianism. This letter he calls "a distracted scrawl which the writer dare scarcely read." And yet it appears to have been deliberately copied with some amplification from an entry in his last year's commonplace book. Even the few passages from his correspondence already given are enough to show that there was in Burns's letter-writing something strained and artificial. But such discoveries as this seem to reveal an extent of effort, and even of artifice, which one would hardly otherwise have guessed at.

In the same strain of harassment as the preceding extract, but pointing to another and more definite cause of it, is the following, written on the 20th December, 1789, to Provost Maxwell of Lochmaben: -

"My poor distracted mind is so torn, so jaded, so racked and bedevilled with the task of the superlatively damned, to make one guinea do the business of three, that I detest, abhor, and swoon at the very word business, though no less than four letters of my very short surname are in it." The rest of the letter goes off in a wild rollicking strain, inconsistent enough with his more serious thoughts. But the part of it above given points to a very real reason for his growing discontent with Ellisland.

By the beginning of 1790 the hopelessness of his farming prospects pressed on him still more heavily, and formed one ingredient in the mental depression with which he saw a new year dawn. Whether he did wisely in attempting the Excise business, who shall now say? In (p. 116) one respect it seemed a substantial gain. But this gain was accompanied by counterbalancing disadvantages. The new duties more and more withdrew him from the farm, which, in order to give it any chance of paying, required not only the aid of the master's hand, but the undivided oversight of the master's eye. In fact, farming to profit and Excise-work were incompatible, and a very few months' trial must have convinced Burns of this. But besides rendering regular farm industry impossible, the weekly absences from home, which his new duties entailed, had other evil consequences. They brought with them continual mental distraction, which forbade all sustained poetic effort, and laid him perilously open to indulgences which were sure to undermine regular habits and peace of mind. About this time (the beginning of 1790), we begin to hear of frequent visits to Dumfries on Excise business, and of protracted lingerings at a certain howff , place of resort, called the Globe Tavern, which boded no good. There were also intromissions with a certain company of players then resident in Dumfries, and writings of such prologues for their second-rate pieces, as many a penny-a-liner could have done to order as well. Political ballads, too, came from his pen, siding with this or that party in local elections, all which things as we read, we feel as if we saw some noble high-bred racer harnessed to a dust-cart.

His letters during the first half of 1790 betoken the same restless, unsatisfied spirit as those written towards the end of the previous year. Only we must be on our guard against interpreting his real state of mind too exclusively from his letters. For it seems to have been his habit when writing to his friends to take one mood of mind, (p. 117) which happened to be uppermost in him for the moment, and with which he knew that his correspondent sympathized, and to dwell on this so exclusively that for the moment it filled his whole mental horizon, and shut out every other thought. And not this only, which is the tendency of all ardent and impulsive natures, but we cannot altogether excuse Burns of at times half-consciously exaggerating these momentary moods, almost for certain stage effects which they produced. It is necessary, therefore, in estimating his real condition at any time, to set against the account, which he gives of himself in his letters, the evidence of other facts, such as the testimony of those who met him from time to time, and who have left some record of those interviews. This I shall now do for the first half of the year 1790, and shall place, over against his self-revelations, some observations which show how he at this time appeared to others.

An intelligent man named William Clark, who had served Burns as a ploughman at Ellisland during the winter half-year of 1789-90, survived till 1838, and in his old age gave this account of his former master: "Burns kept two men and two women servants, but he invariably when at home took his meals with his