Chapter I. Brief note about life and works of robert burns

CHAPTER II. THE THEME OF MOTHERLAND IN ROBERT BURNS’ WORKS
2.1 R. BURNS' MOST FAMOUS POEMS
Burns was a man of great intellect and character who never found a place where he could fully express himself in a society that was dominated by class. It very well might be contended that Scottish culture in his day was unequipped for giving a scholarly foundation that could supplant the Calvinism that Consumes dismissed, or that Consumes' ability was wasted on an Edinburgh literati that, as per English pundits, were second-raters. However, he lived during the Scottish Enlightenment, a cultural and intellectual tumult, and the issue was ultimately more than just personality. Burns believed that sentimental Deism, a simple belief in the goodness of all people, was the only alternative to Calvinism, which Burns rejected. This was arguably not a creed that was rich or complex enough to support great poetry. That Consumes notwithstanding this delivered such a lot of fine verse shows the strength of his exceptional virtuoso, and that he has turned into the Scottish public writer is a recognition for his hang on the well known creative mind [6,78].
In his satires, Burns may have displayed his greatest poetic ability. Additionally, his verse letters exhibit a remarkable level of craftsmanship as they skillfully juxtapose the informal and formal. In any case, by his melodies Consumes is most popular, and his tunes have conveyed his standing round the world.
Burns based all of his songs on well-known melodies, sometimes writing multiple sets of words to the same sound to find the best poem to go with a given melody. Numerous melodies which, it is obvious from an assortment of proof, probably been considerably composed by Consumes he never guaranteed as his. For instance, he never claimed "Auld Lang Syne," which he simply described as a found fragment, but the song we have is almost certainly his, even though the chorus and probably the first stanza are old. It was written by Burns for a simple and moving old air, but Thomson set it to a different tune, so it is not the tune to which it is now sung.) It is highly unlikely that we will ever know the extent of Burns' contributions to Scottish song.
It is decidedly extraordinary that Consumes had the option to go into the soul of more seasoned people tune and once again make, out of an old chorale, such melodies as "I'm O'er Youthful to Wed At this point," "Green Develop the Rashes, O," and a large group of others. It is this uncanny capacity to talk with the extraordinary mysterious voice of the Scottish nation that makes sense of the unique inclination that Consumes stirs, sentiments that manifest themselves in the "Consumes clique."
For Johnson's six-volume The Scots Musical Museum (1787-1803) and George Thomson's five-volume A Select Collection of Original Scottish Airs for the Voice (1793-1818), Burns contributed approximately 330 songs. As a nationalistic work, The Scots Melodic Exhibition hall was intended to reflect Scottish famous taste; like comparable distributions, it included conventional melodies — texts and tunes — as well as tunes and tunes by unambiguous creators and arrangers. Consumes fostered a coded arrangement of letters for distinguishing benefactors, proposing to everything except the cognoscenti that the tunes were conventional. It is frequently challenging to differentiate Burns's work from truly traditional texts; He might have, for instance, edited and polished the old Scots ballad "Tam Lin," which tells the story of a man who is brought back to reality by his human lover. Fragments were filled in, refrains and phrases were combined to form a whole, and new original songs in the tradition of the original texts were created. He was aware of Burns' enormous and uneven song output: Once and for all, please accept my apologies for the numerous absurd compositions in this work. Words were needed for many lovely sounds. However, many of the songs are succinct masterpieces about love, the brotherhood of men, and the dignity of the common man. These subjects connect Burns with oral and popular tradition on the one hand, and the societal changes that were escalating the differences between people on the other[6,54].
Maybe the most striking thing about Consumes' melodies is their singability, the perspicacity with which words are joined to tune. " My Adoration she's nevertheless a lassie yet" gives a heavenly model: A lively melody joins together four disparate stanzas about a woman, courtship, drinking, and sexual liaison to form a whole that is significantly greater than the sum of its parts. The song opens with:
My love, she is still a lassie, My love, she is still a lassie;
She won't be half saucy yet, so we'll let her stand for a year or two.
It comes to an enigmatic end:
We don't drink any more, We don't drink any more:
The minister kissed the thief's wife, but he couldn't preach about it.—
The songs are at their best when they are sung, but the text alone may be enjoyable because brilliant stanzas appear in the most unexpected places. The joy of reuniting and sharing memories is perfectly captured in the chorus of "Auld Lang Syne":
For days of yore, my jo,
For days of yore,
We'll tak a cup o' graciousness yet
For days of yore.
"We clamb the hill the gither," a scene of a couple aging together, in "John Anderson My Jo," suggests praise for continuity and shared lives. Likewise "A Red, Red Rose" portrays an affection that is both new and enduring: " O my love, it's like a red, red rose that just bloomed in June.
"Old Scots Songs are, you know, a favorite study and pursuit of mine," Burns wrote in a 1790 letter to Mrs. Dunlop of Dunlop, accurately describes his love of song after Edinburgh. He gathered, altered, and composed melodies yet concentrated on them, scrutinizing the surviving assortments, remarking on provenance, gathering illustrative material, and hypothesizing on the particular characteristics of Scottish tune: " There is a sure something in the old Scots melodies, a wild bliss of thought and maxim" and of Scottish music: " allow our Public Music to save its local elements. — They are, I own, habitually wild, and unreduceable to the more current standards; However, their effect may be largely dependent on that eccentricity. This patriotism didn't stop with tune however invaded all Consumes' work after Edinburgh. A piece that was written for Francis Grose's Antiquities of Scotland (1789–1791) is without a doubt the work of this era that has received the most praise from critics. Burns wrote "Tam o' Shanter" to guarantee Alloway Kirk's inclusion as the work's subject.
"Hat o' Shanter" is the perfection of Consumes' thoroughly enjoy conventional culture and his specific height of parts of that culture in his classicist and nationalistic quest for Scottish uniqueness. The sonnet retells a legend about a man who happens upon a witches' time of rest and imprudently remarks on it, making the members aware of his presence and requiring their retribution. Burns establishes a context for the legend, places it in Alloway Kirk, and populates it with believable characters, particularly the irresponsible Tam, who takes advantage of every opportunity to drink with his friends and avoids going home to tend to his wife and household chores. Cap stops at a bar for a beverage and friendliness and becomes involved with the progression of tune, story, and giggling; The lively atmosphere inside the tavern is made even more precious by the raging storm outside. Yet, it is late and Cap should return home and "acknowledge the cold hard facts," having once more become inebriated, most likely having utilized cash planned for not so much egotistical but rather more fundamental purposes. Tam experiences the significant events of the legend on his way home; The initial convivial scene has served as the setting for these legends. Subsequent to passing spots revered in different legends, he happens upon the witches' time of rest revels at the vestiges of Alloway Kirk, with the natural and not exactly malicious demon, styled "auld Scratch," in canine structure playing bagpipe backup to the witches' dance. Consumes integrates doubtful additions into the story — maybe Hat is just alcoholic and "seeing things" — which reproduce in graceful structure parts of an oral recounting legends. Furthermore, the finishing up event of Cap's venture, the deficiency of his pony's tail to the principal witch's grip, requests a reaction from the peruser similarly a legend told in discussion gets a quick reaction from the audience. Therefore, Burns has poetically reproduced aspects of a verbal recounting of a legend in addition to using a legend and providing a setting in which legends could be told. Furthermore, he has utilized a traditional format to honor Scotland's cultural past. Burns' most mature and complex celebration of Scottish cultural artifacts may be referred to as "Tam o' Shanter."[6,94].
There was continuity as well as a shift in emphasis and attitude toward traditional culture as a result of the Edinburgh experience. Both in his early and later works, Burns was a rhymer, a versifier, and a local poet who performed infrequently and occasionally extemporaneously, employing traditional forms and themes. These works are rarely noteworthy and occasionally sharp and satirical. He referred to them as "little trivialities" and oftentimes thought of them to "pay an obligation." His more deliberate efforts were regarded as superior to these works; they were play, progressively expected of him as a writer. He likely would have repudiated many presently ascribed to him, especially a portion of the dastardly quips. However, there are a few occasional pieces that merit a closer look because of their capacity to take the ordinary to entirely new heights[8,23].
Burns wrote "To a Haggis" in 1786, a love letter to the Scottish dish made by boiling the seasoned heart, liver, and lungs of a sheep or calf in suet, onions, and oatmeal:
Fair fa' your genuine, sonsie face,
Incredible Chieftan o' the Puddin-race!
Aboon them a' ye tak your place,
Painch, garbage, or thairm:
Weel, you have grace as long as my arm.
Shifting records guarantee that the sonnet was made impromptu, pretty much as a gift, for a feast of haggis. Burns' praise has helped elevate the haggis to the status of Scotland's national dish and symbol. Less notable and managing a significantly more common subject is "Address to the Tooth-Hurt," introduced "Composed by the Creator when he was horrifyingly tortured by that Problem." The poem is a scolding in delightful Standard Habbie, beginning with: My revile on your envenom'd stang,/That shoots my tortur'd gums alang," a feeling shared by all who have at any point experienced such a disease.
After Edinburgh, Burns's artistry, which was dominated by a selective, focused celebration of Scottish culture in song and legend, can be seen in the many songs, the masterpiece "Tam o' Shanter," and a plethora of ephemeral occasional pieces of varying merit. His new circumstances suited this narrowing of focus and creative direction. Consumes left Edinburgh in 1788 for Ellisland Homestead, close to Dumfries, to take up cultivating once more; He married Jean Armour, with whom he had seven more children, legally on August 5. He had to establish himself as trustworthy and respectable for the first time in his life. Even though he still had a daughter in 1791 with a woman named Anne Park, the carefree life of a bachelor in town came to an abrupt end, and the trials of life, which were portrayed in “The Cotter's Saturday Night,” became a reality. He also started working for the Excise a year later; by the fall of 1791 he had totally left cultivating for extract work and had moved to Dumfries. " The De'il's awa with the Exciseman, which Burns probably wrote for his fellow excise workers and sang to them at a dinner, is a happy marriage of text and music that is lively, rollicking, and touching. The text plays on the negative perspective on charge gathering, charming that the de'il — that couthie trouble maker, not Milton's Satan — has freed the nation of the curse.
Burns's Ellisland/Dumfries phase must have seemed strangely disjointed. He initially felt as though nothing had changed, going back to farming and working with Jean Armour. But a lot had altered: Because Burns was now regarded as a notable person and poet, people expected him to do things like share a meal, talk to strangers, or show off his creativity in public. However, he was obviously in a questionable class position, working with his hands during the day and engaged for his brain during the night. It's possible that the physical and mental strains were just too much. He passed on July 21, 1796, presumably of endocarditis. He was 37.
His life was hard, and perhaps his fame helped or hurt him. He was able to train for the Excise because his art took him out of the routine and uncertainty of the agricultural industry and gave him more options than most people of his background. His prestige gave him admittance to people and places he could somehow or another not have known. He appears to have felt completely at ease in all-male society, whether formal, as in the Tarbolton Single man's Club and Crochallan Fencibles, or casual. The male sharing of raunchy songs and stories transcended social class. Bawdy material depicting women as objects, filled with sexual metaphors, and boasting about sexual exploits was a prevalent and active component of Scottish traditional culture. It is impossible to determine definitively Burns's role in works like the posthumously published and attributed volume, The Merry Muses of Caledonia, due to the covert and largely oral sharing of the amusing material.
For someone in his position, Burns' formal education was unusual; it was more similar to the schooling of the child of a little laird. His references to Scots, English, and Mainland journalists give proof of his attention to abstract practice; he was surprisingly educated. Lines cited from Thomas Dark's "Funeral poem Written in a Nation Churchyard" recognize the scholarly forerunner of the "The Cotter's Saturday Night," while Fergusson's "Rancher's Ingle" was the direct, however implicit, model. A secular, less sentimental, and more realistic account of one evening's activities by the fire is provided by Fergusson. Burns' vernacular works were directly influenced by Fergusson and Ramsay. He acquired specific kinds and section structures from the oral and composed customs, for instance, the Spenserian refrain and English Augustan tone of "The Cotter's Saturday Night" or the comic funeral poem and vernacular familiarity drawn from such models in Standard Habbie as Sempill's "The Life and Demise of Habbie Simpson," utilized in "The Passing and Biting the dust Expressions of Poor Mailie." He seems to be associated with the sensibility cult of the 18th century due to his concern for feelings. Burns's range of oral and written influences, in both Scots and English, was clearly enriched by living during a period of extraordinary transition. He transformed and transformed these resources in order to extend the literary traditions he inherited.
Burns has received responses from ordinary people as well as critics. Early basic reaction frequently put more accentuation on the man than on his verse and zeroed in first on his unpropitious beginnings, later wrestling with his personality. For his revolutionary political, social, and sexual views, Burns was regarded by some as an ideal Scot. By different pundits his progressive way of behaving was seen adversely: His morality was questioned, particularly in relation to women and alcohol, as well as his attitude toward the Kirk and forms of authority and his use of obscure language.
At first Consumes' melodies were excused by the pundits as trifling; The sourpuss was ignored; sonnets on delicate themes were now and again overlooked; vernacular pieces were considered ambiguous; He was criticized for aspects of his life and character. Burns has received criticism from subsequent critics in response to altered personal and cultural contexts. Wordsworth's deference of Consumes' portrayal of genuine is obviously a specific ID of a quality relevant to his own graceful belief system. The initial view of the songs has completely changed; Consumes' off color has been truly dissected and found with regards to a long male custom of dirty stanza; His satires have received praise for highlighting social injustices; His vernacular writings have been hailed as the pinnacle of Scottish literature. Curiously, praise from critics for Burns' songs and vernacular poetry reveals a long-standing Scottish preference for these works: Singing Burns' songs and reciting works like "To a Haggis" and "Tam o' Shanter" are essential parts of any Burns Supper. Therefore, national concerns are frequently incorporated into the evaluation of Burns: He continues to be Scotland's national poet.
Since Consumes was Scottish, his imaginative accomplishments appear to be outside the standard of eighteenth century English writing. Nor does he fit perfectly into the Heartfelt time frame. Due to the linguistic characteristics of his best work, he is frequently left out of literary histories and anthologies of those periods. Yet, language need not be a hindrance, as interpretations of his work verify. Particularly well-liked in Russia and China are Burns's roots in the populace and his concern for social inequality.