Harvard Classics, Volume 28 by - (book reader for pc .txt) 📕

The real Burns is of course in his Scotch poems. Let us boldly say that of much of this poetry, a poetry dealing perpetually with Scotch drink, Scotch religion, and Scotch manners, a Scotchman's estimate is apt to be personal. A Scotchman is used to this world of Scotch drink, Scotch religion, and Scotch manners; he has a tenderness for it; he meets its poet half way. In this tender mood he reads pieces like the Holy Fair or Halloween. But this world of Scotch drink, Scotch religion, and Scotch manners is against a poet, not for him, when it is not a partial countryman who reads him; for in itself it is not a beautiful world, and no one can deny that it is of advantage to a poet to deal with a beautiful world. Burns's world of Scotch drink, Scotch religion, and Scotch manners, is often a harsh, a sordid, a repulsive world: even the world of his Cotter's Saturday Night is not a beautiful world. No doubt a poet's criticism of life may have such truth and power that it triumphs over its world and delights us. Burns may triumph over his world, often he does triumph over his world, but let us observe how and where. Burns is the first case we have had where the bias of the personal estimate tends to mislead; let us look at him closely, he can bear it.

Many of his admirers will tell us that we have Burns, convivial, genuine, delightful, here—

'Leeze me on drink! it gies us mair
Than either school or college;
It kindles wit, it waukens lair,
It pangs us fou o' knowledge.
Be't whisky gill or penny wheep
Or ony stronger potion,
It never fails, on drinking deep,
To kittle up our notion
By night or day.'

There is a great deal of that sort of thing in Burns, and it is unsatisfactory, not because it is bacchanalian poetry, but because it has not that accent of sincerity which bacchanalian poetry, to do it justice, very often has. There is something in it of bravado, something which makes us feel that we have not the man speaking to us with his real voice; something, therefore, poetically unsound.

With still more confidence will his admirers tell us that we have the genuine Burns, the great poet, when his strain asserts the independence, equality, dignity, of men, as in the famous song For a that, and a' that—

'A prince can mak' a belted knight,
A marquis, duke, and a' that;
But an honest man's aboon his might,
Guid faith he mauna fa' that!
For a' that, and a' that,
Their dignities, and a' that,
The pith o' sense, and pride o' worth,
Are higher rank than a' that.'

Here they find his grand, genuine touches; and still more, when this puissant genius, who so often set morality at defiance, falls moralising—

'The sacred lowe o' weel-placed love
Luxuriantly indulge it;
But never tempt th' illicit rove,
Tho' naething should divulge it.
I waive the quantum o' the sin,
The hazard o' concealing,
But och! it hardens a' within,
And petrifies the feeling.'

Or in a higher strain—

'Who made the heart, 'tis He alone
Decidedly can try us;
He knows each chord, its various tone;
Each spring, its various bias.
Then at the balance let's be mute,
We never can adjust it;
What's done we partly may compute,
But know not what's resisted.'

Or in a better strain yet, a strain, his admirers will say, unsurpassable—

'To make a happy fire-side clime
To weans and wife,
That's the true pathos and sublime
Of human life.'

There is criticism of life for you, the admirers of Burns will say to us; there is the application of ideas to life! There is, undoubtedly. The doctrine of the last-quoted lines coincides almost exactly with what was the aim and end, Xenophon tells us, of all the teaching of Socrates. And the application is a powerful one; made by a man of vigorous understanding, and (need I say?) a master of language.

But for supreme poetical success more is required than the powerful application of ideas to life; it must be an application under the conditions fixed by the laws of poetic truth and poetic beauty. Those laws fix as an essential condition, in the poet's treatment of such matters as are here in question, high seriousness;—the high seriousness which comes from absolute sincerity. The accent of high seriousness, born of absolute sincerity, is what gives to such verse as

'In la sua volontade è nostra pace . . .'

to such criticism of life as Dante's, its power. Is this accent felt in the passages which I have been quoting from Burns? Surely not; surely, if our sense is quick, we must perceive that we have not in those passages a voice from the very inmost soul of the genuine Burns; he is not speaking to us from these depths, he is more or less preaching. And the compensation for admiring such passages less, from missing the perfect poetic accent in them, will be that we shall admire more the poetry where that accent is found.

No; Burns, like Chaucer, comes short of the high seriousness of the great classics, and the virtue of matter and manner which goes with that high seriousness is wanting to his work. At moments he touches it in a profound and passionate melancholy, as in those four immortal lines taken by Byron as a motto for The Bride of Abydos, but which have in them a depth of poetic quality such as resides in no verse of Byron's own—

'Had we never loved sae kindly,
Had we never loved sae blindly,
Never met, or never parted,
We had ne'er been broken-hearted.'

But a whole poem of that quality Burns cannot make; the rest, in the Farewell to Nancy, is verbiage.

We arrive best at the real estimate of Burns, I think, by conceiving his work as having truth of matter and truth of manner, but not the accent or the poetic virtue of the highest masters. His genuine criticism of life, when the sheer poet in him speaks, is ironic; it is not—

'Thou Power Supreme, whose mighty scheme
These woes of mine fulfil,
Here firm I rest, they must be best
Because they are Thy will!'

It is far rather: Whistle owre the lave o't! Yet we may say of him as of Chaucer, that of life and the world, as they come before him, his view is large, free, shrewd, benignant,—truly poetic therefore; and his manner of rendering what he sees is to match. But we must note, at the same time, his great difference from Chaucer. The freedom of Chaucer is heightened, in Burns, by a fiery, reckless energy; the benignity of Chaucer deepens, in Burns, into an overwhelming sense of the pathos of things;—of the pathos of human nature, the pathos, also, of non-human nature. Instead of the fluidity of Chaucer's manner, the manner of Burns has spring, boundless swiftness. Burns is by far the greater force, though he has perhaps less charm. The world of Chaucer is fairer, richer, more significant than that of Burns; but when the largeness and freedom of Burns get full sweep, as in Tam o' Shanter, or still more in that puissant and splendid production, The Jolly Beggars, his world may be what it will, his poetic genius triumphs over it. In the world of The Jolly Beggars there is more than hideousness and squalor, there is bestiality; yet the piece is a superb poetic success. It has a breadth, truth, and power which make the famous scene in Auerbach's Cellar, of Goethe's Faust, seem artificial and tame beside it, and which are only matched by Shakespeare and Aristophanes.

Here, where his largeness and freedom serve him so admirably, and also in those poems and songs where to shrewdness he adds infinite archness and wit, and to benignity infinite pathos, where his manner is flawless, and a perfect poetic whole is the result,—in things like the address to the mouse whose home he had ruined, in things like Duncan Gray, Tam Glen, Whistle and I'll come to you my Lad, Auld Lang Syne (this list might be made much longer),—here we have the genuine Burns, of whom the real estimate must be high indeed. Not a classic, nor with the excellent spoudaiotes of the great classics, nor with a verse rising to a criticism of life and a virtue like theirs; but a poet with thorough truth of substance and an answering truth of style, giving us a poetry sound to the core. We all of us have a leaning towards the pathetic, and may be inclined perhaps to prize Burns most for his touches of piercing, sometimes almost intolerable, pathos; for verse like—

'We twa hae paidl't i' the burn
From mornin' sun till dine;
But seas between us braid hae roar'd
Sin auld lang syne . . .'

where he is as lovely as he is sound. But perhaps it is by the perfection of soundness of his lighter and archer masterpieces that he is poetically most wholesome for us. For the votary misled by a personal estimate of Shelley, as so many of us have been, are, and will be,—of that beautiful spirit building his many-coloured haze of words and images

'Pinnacled dim in the intense inane'—

no contact can be wholesomer than the contact with Burns at his archest and soundest. Side by side with the

'On the brink of the night and the morning
My coursers are wont to respire,
But the Earth has just whispered a warning
That their flight must be swifter than fire . . .'

of Prometheus Unbound, how salutary, how very salutary, to place this from Tam Glen—

'My minnie does constantly deave me
And bids me beware o' young men;
They flatter, she says, to deceive me;
But wha can think sae o' Tam Glen?'

But we enter on burning ground as we approach the poetry of times so near to us—poetry like that of Byron, Shelley, and Wordsworth—of which the estimates are so often not only personal, but personal with passion. For my purpose, it is enough to have taken the single case of Burns, the first poet we come to of whose work the estimate formed is evidently apt to be personal, and to have suggested how we may proceed, using the poetry of the great classics as a sort of touchstone, to correct this estimate, as we had previously corrected by the same means the historic estimate where we met with it. A collection like the present, with its succession of celebrated names and celebrated poems, offers a good opportunity to us for resolutely endeavouring to make our estimates of poetry real. I have sought to point out a method which will help us in making them so, and to exhibit it in use so far as to put any one who likes in a way of applying it for himself.

At any rate the end to which the method and the estimate are designed to lead, and from leading to which, if they do lead to it, they get their whole value,—the benefit of being able clearly to feel and deeply to enjoy the best, the truly classic, in poetry,—is an end, let me say it once more at parting, of supreme importance. We are often told that an era is opening in which we are to see multitudes of a common sort of readers, and masses of a common sort of literature; that such