Familiar Studies of Men and Books Part 2

Worldly Wiseman would have laughed and gone his way; let us be glad that Burns was better counselled by his heart. When we discover that we can be no longer true, the next best is to be kind. I daresay he came away from that interview not very content, but with a glorious conscience; and as he went homeward, he would sing his favourite, "How are Thy servants blest, O Lord!" Jean, on the other hand, armed with her "lines,"

confided her position to the master-mason, her father, and his wife.

Burns and his brother were then in a fair way to ruin themselves in their farm; the poet was an execrable match for any well-to-do country la.s.s; and perhaps old Armour had an inkling of a previous attachment on his daughter's part. At least, he was not so much incensed by her slip from virtue as by the marriage which had been designed to cover it. Of this he would not hear a word. Jean, who had besought the acknowledgment only to appease her parents, and not at all from any violent inclination to the poet, readily gave up the paper for destruction; and all parties imagined, although wrongly, that the marriage was thus dissolved. To a proud man like Burns here was a crus.h.i.+ng blow. The concession which had been wrung from his pity was now publicly thrown back in his teeth. The Armour family preferred disgrace to his connection. Since the promise, besides, he had doubtless been busy "battering himself" back again into his affection for the girl; and the blow would not only take him in his vanity, but wound him at the heart.

He relieved himself in verse; but for such a smarting affront ma.n.u.script poetry was insufficient to console him. He must find a more powerful remedy in good flesh and blood, and after this discomfiture, set forth again at once upon his voyage of discovery in quest of love. It is perhaps one of the most touching things in human nature, as it is a commonplace of psychology, that when a man has just lost hope or confidence in one love, he is then most eager to find and lean upon another. The universe could not be yet exhausted; there must be hope and love waiting for him somewhere; and so, with his head down, this poor, insulted poet ran once more upon his fate. There was an innocent and gentle Highland nursery-maid at service in a neighbouring family; and he had soon battered himself and her into a warm affection and a secret engagement. Jean's marriage lines had not been destroyed till March 13, 1786; yet all was settled between Burns and Mary Campbell by Sunday, May 14, when they met for the last time, and said farewell with rustic solemnities upon the banks of Ayr. They each wet their hands in a stream, and, standing one on either bank, held a Bible between them as they vowed eternal faith. Then they exchanged Bibles, on one of which Burns, for greater security, had inscribed texts as to the binding nature of an oath; and surely, if ceremony can do aught to fix the wandering affections, here were two people united for life. Mary came of a superst.i.tious family, so that she perhaps insisted on these rites; but they must have been eminently to the taste of Burns at this period; for nothing would seem superfluous, and no oath great enough, to stay his tottering constancy.

Events of consequence now happened thickly in the poet's life. His book was announced; the Armours sought to summon him at law for the aliment of the child; he lay here and there in hiding to correct the sheets; he was under an engagement for Jamaica, where Mary was to join him as his wife; now, he had "orders within three weeks at latest to repair aboard the _Nancy_, Captain Smith;" now his chest was already on the road to Greenock; and now, in the wild autumn weather on the moorland, he measures verses of farewell:-

"The bursting tears my heart declare; Farewell the bonny banks of Ayr!"

But the great master dramatist had secretly another intention for the piece; by the most violent and complicated solution, in which death and birth and sudden fame all play a part as interposing deities, the act-drop fell upon a scene of transformation. Jean was brought to bed of twins, and, by an amicable arrangement, the Burnses took the boy to bring up by hand, while the girl remained with her mother. The success of the book was immediate and emphatic; it put 20 at once into the author's purse; and he was encouraged upon all hands to go to Edinburgh and push his success in a second and larger edition. Third and last in these series of interpositions, a letter came one day to Mossgiel Farm for Robert. He went to the window to read it; a sudden change came over his face, and he left the room without a word. Years afterwards, when the story began to leak out, his family understood that he had then learned the death of Highland Mary. Except in a few poems and a few dry indications purposely misleading as to date, Burns himself made no reference to this pa.s.sage of his life; it was an adventure of which, for I think sufficient reasons, he desired to bury the details. Of one thing we may be glad: in after years he visited the poor girl's mother, and left her with the impression that he was "a real warm-hearted chield."

Perhaps a month after he received this intelligence, he set out for Edinburgh on a pony he had borrowed from a friend. The town that winter was "agog with the ploughman poet." Robertson, Dugald Stewart, Blair, "d.u.c.h.ess Gordon and all the gay world," were of his acquaintance. Such a revolution is not to be found in literary history. He was now, it must be remembered, twenty-seven years of age; he had fought since his early boyhood an obstinate battle against poor soil, bad seed, and inclement seasons, wading deep in Ayrs.h.i.+re mosses, guiding the plough in the furrow wielding "the thresher's weary flingin'-tree;" and his education, his diet, and his pleasures, had been those of a Scotch countryman. Now he stepped forth suddenly among the polite and learned. We can see him as he then was, in his boots and buckskins, his blue coat and waistcoat striped with buff and blue, like a farmer in his Sunday best; the heavy ploughman's figure firmly planted on its burly legs; his face full of sense and shrewdness, and with a somewhat melancholy air of thought, and his large dark eye "literally glowing" as he spoke. "I never saw such another eye in a human head," says Walter Scott, "though I have seen the most distinguished men of my time." With men, whether they were lords or omnipotent critics, his manner was plain, dignified, and free from bashfulness or affectation. If he made a slip, he had the social courage to pa.s.s on and refrain from explanation. He was not embarra.s.sed in this society, because he read and judged the men; he could spy sn.o.bbery in a t.i.tled lord; and, as for the critics, he dismissed their system in an epigram. "These gentlemen," said he, "remind me of some spinsters in my country who spin their thread so fine that it is neither fit for weft nor woof." Ladies, on the other hand, surprised him; he was scarce commander of himself in their society; he was disqualified by his acquired nature as a Don Juan; and he, who had been so much at his ease with country la.s.ses, treated the town dames to an extreme of deference. One lady, who met him at a ball, gave Chambers a speaking sketch of his demeanour.

"His manner was not prepossessing-scarcely, she thinks, manly or natural.

It seemed as if he affected a rusticity or _landertness_, so that when he said the music was 'bonnie, bonnie,' it was like the expression of a child." These would be company manners; and doubtless on a slight degree of intimacy the affectation would grow less. And his talk to women had always "a turn either to the pathetic or humorous, which engaged the attention particularly."

The Edinburgh magnates (to conclude this episode at once) behaved well to Burns from first to last. Were heaven-born genius to revisit us in similar guise, I am not venturing too far when I say that he need expect neither so warm a welcome nor such solid help. Although Burns was only a peasant, and one of no very elegant reputation as to morals, he was made welcome to their homes. They gave him a great deal of good advice, helped him to some five hundred pounds of ready money, and got him, as soon as he asked it, a place in the Excise. Burns, on his part, bore the elevation with perfect dignity; and with perfect dignity returned, when the time had come, into a country privacy of life. His powerful sense never deserted him, and from the first he recognised that his Edinburgh popularity was but an ovation and the affair of a day. He wrote a few letters in a high-flown, bombastic vein of grat.i.tude; but in practice he suffered no man to intrude upon his self-respect. On the other hand, he never turned his back, even for a moment, on his old a.s.sociates; and he was always ready to sacrifice an acquaintance to a friend, although the acquaintance were a duke. He would be a bold man who should promise similar conduct in equally exacting circ.u.mstances. It was, in short, an admirable appearance on the stage of life-socially successful, intimately self-respecting, and like a gentleman from first to last.

In the present study, this must only be taken by the way, while we return to Burns's love affairs. Even on the road to Edinburgh he had seized upon the opportunity of a flirtation, and had carried the "battering" so far that when next he moved from town, it was to steal two days with this anonymous fair one. The exact importance to Burns of this affair may be gathered from the song in which he commemorated its occurrence. "I love the dear la.s.sie," he sings, "because she loves me;" or, in the tongue of prose: "Finding an opportunity, I did not hesitate to profit by it, and even now, if it returned, I should not hesitate to profit by it again."

A love thus founded has no interest for mortal man. Meantime, early in the winter, and only once, we find him regretting Jean in his correspondence. "Because"-such is his reason-"because he does not think he will ever meet so delicious an armful again;" and then, after a brief excursion into verse, he goes straight on to describe a new episode in the voyage of discovery with the daughter of a Lothian farmer for a heroine. I must ask the reader to follow all these references to his future wife; they are essential to the comprehension of Burns's character and fate. In June, we find him back at Mauchline, a famous man. There, the Armour family greeted him with a "mean, servile compliance," which increased his former disgust. Jean was not less compliant; a second time the poor girl submitted to the fascination of the man whom she did not love, and whom she had so cruelly insulted little more than a year ago; and, though Burns took advantage of her weakness, it was in the ugliest and most cynical spirit, and with a heart absolutely indifferent. Judge of this by a letter written some twenty days after his return-a letter to my mind among the most degrading in the whole collection-a letter which seems to have been inspired by a boastful, libertine bagman. "I am afraid," it goes, "I have almost ruined one source, the princ.i.p.al one, indeed, of my former happiness-the eternal propensity I always had to fall in love. My heart no more glows with feverish rapture; I have no paradisiacal evening interviews." Even the process of "battering" has failed him, you perceive. Still he had some one in his eye-a lady, if you please, with a fine figure and elegant manners, and who had "seen the politest quarters in Europe." "I frequently visited her," he writes, "and after pa.s.sing regularly the intermediate degrees between the distant formal bow and the familiar grasp round the waist, I ventured, in my careless way, to talk of friends.h.i.+p in rather ambiguous terms; and after her return to -, I wrote her in the same terms. Miss, construing my remarks further than even I intended, flew off in a tangent of female dignity and reserve, like a mounting lark in an April morning; and wrote me an answer which measured out very completely what an immense way I had to travel before I could reach the climate of her favours. But I am an old hawk at the sport, and wrote her such a cool, deliberate, prudent reply, as brought my bird from her aerial towerings, pop, down to my foot, like Corporal Trim's hat." I avow a carnal longing, after this transcription, to buffet the Old Hawk about the ears. There is little question that to this lady he must have repeated his addresses, and that he was by her (Miss Chalmers) eventually, though not at all unkindly, rejected. One more detail to characterise the period. Six months after the date of this letter, Burns, back in Edinburgh, is served with a writ _in meditatione fugae_, on behalf of some Edinburgh fair one, probably of humble rank, who declared an intention of adding to his family.

About the beginning of December (1787), a new period opens in the story of the poet's random affections. He met at a tea party one Mrs. Agnes M'Lehose, a married woman of about his own age, who, with her two children, had been deserted by an unworthy husband. She had wit, could use her pen, and had read _Werther_ with attention. Sociable, and even somewhat frisky, there was a good, sound, human kernel in the woman; a warmth of love, strong dogmatic religious feeling, and a considerable, but not authoritative, sense of the proprieties. Of what biographers refer to daintily as "her somewhat voluptuous style of beauty," judging from the silhouette in Mr. Scott Douglas's invaluable edition, the reader will be fastidious if he does not approve. Take her for all in all, I believe she was the best woman Burns encountered. The pair took a fancy for each other on the spot; Mrs. M'Lehose, in her turn, invited him to tea; but the poet, in his character of the Old Hawk, preferred a _tete-a-tete_, excused himself at the last moment, and offered a visit instead. An accident confined him to his room for nearly a month, and this led to the famous Clarinda and Sylvander correspondence. It was begun in simple sport; they are already at their fifth or sixth exchange, when Clarinda writes: "It is really curious so much _fun_ pa.s.sing between two persons who saw each other only _once_;" but it is hardly safe for a man and woman in the flower of their years to write almost daily, and sometimes in terms too ambiguous, sometimes in terms too plain, and generally in terms too warm, for mere acquaintance. The exercise partakes a little of the nature of battering, and danger may be apprehended when next they meet. It is difficult to give any account of this remarkable correspondence; it is too far away from us, and perhaps, not yet far enough, in point of time and manner; the imagination is baffled by these stilted literary utterances, warming, in bravura pa.s.sages, into downright truculent nonsense. Clarinda has one famous sentence in which she bids Sylvander connect the thought of his mistress with the changing phases of the year; it was enthusiastically admired by the swain, but on the modern mind produces mild amazement and alarm.

"Oh, Clarinda," writes Burns, "shall we not meet in a state-some yet unknown state-of being, where the lavish hand of Plenty shall minister to the highest wish of Benevolence, and where the chill north wind of Prudence shall never blow over the flowery field of Enjoyment?" The design may be that of an Old Hawk, but the style is more suggestive of a Bird of Paradise. It is sometimes hard to fancy they are not gravely making fun of each other as they write. Religion, poetry, love, and charming sensibility, are the current topics. "I am delighted, charming Clarinda, with your honest enthusiasm for religion," writes Burns; and the pair entertained a fiction that this was their "favourite subject."

"This is Sunday," writes the lady, "and not a word on our favourite subject. O fy 'divine Clarinda!'" I suspect, although quite unconsciously on the part of the lady, who was bent on his redemption, they but used the favourite subject as a stalking-horse. In the meantime, the sportive acquaintance was ripening steadily into a genuine pa.s.sion. Visits took place, and then became frequent. Clarinda's friends were hurt and suspicious; her clergyman interfered; she herself had smart attacks of conscience, but her heart had gone from her control; it was altogether his, and she "counted all things but loss-heaven excepted-that she might win and keep him." Burns himself was transported while in her neighbourhood, but his transports somewhat rapidly declined during an absence. I am tempted to imagine that, womanlike, he took on the colour of his mistress's feeling; that he could not but heat himself at the fire of her unaffected pa.s.sion; but that, like one who should leave the hearth upon a winter's night, his temperature soon fell when he was out of sight, and in a word, though he could share the symptoms, that he had never shared the disease. At the same time, amid the fustian of the letters there are forcible and true expressions, and the love verses that he wrote upon Clarinda are among the most moving in the language.

We are approaching the solution. In mid-winter, Jean, once more in the family way, was turned out of doors by her family; and Burns had her received and cared for in the house of a friend. For he remained to the last imperfect in his character of Don Juan, and lacked the sinister courage to desert his victim. About the middle of February (1788), he had to tear himself from his Clarinda and make a journey into the south-west on business. Clarinda gave him two s.h.i.+rts for his little son.

They were daily to meet in prayer at an appointed hour. Burns, too late for the post at Glasgow, sent her a letter by parcel that she might not have to wait. Clarinda on her part writes, this time with a beautiful simplicity: "I think the streets look deserted-like since Monday; and there's a certain insipidity in good kind folks I once enjoyed not a little. Miss Wardrobe supped here on Monday. She once named you, which kept me from falling asleep. I drank your health in a gla.s.s of ale-as the la.s.ses do at Hallowe'en-'in to mysel'.'" Arrived at Mauchline, Burns installed Jean Armour in a lodging, and prevailed on Mrs. Armour to promise her help and countenance in the approaching confinement. This was kind at least; but hear his expressions: "I have taken her a room; I have taken her to my arms; I have given her a mahogany bed; I have given her a guinea. . . . I swore her privately and solemnly never to attempt any claim on me as a husband, even though anybody should persuade her she had such a claim-which she has not, neither during my life nor after my death. She did all this like a good girl." And then he took advantage of the situation. To Clarinda he wrote: "I this morning called for a certain woman. I am disgusted with her; I cannot endure her;" and he accused her of "tasteless insipidity, vulgarity of soul, and mercenary fawning." This was already in March; by the thirteenth of that month he was back in Edinburgh. On the 17th, he wrote to Clarinda: "Your hopes, your fears, your cares, my love, are mine; so don't mind them. I will take you in my hand through the dreary wilds of this world, and scare away the ravening bird or beast that would annoy you." Again, on the 21st: "Will you open, with satisfaction and delight, a letter from a man who loves you, who has loved you, and who will love you, to death, through death, and for ever. . . . How rich am I to have such a treasure as you! . . . 'The Lord G.o.d knoweth,' and, perhaps, 'Israel he shall know,' my love and your merit. Adieu, Clarinda! I am going to remember you in my prayers." By the 7th of April, seventeen days later he had already decided to make Jean Armour publicly his wife.

A more astonis.h.i.+ng stage-trick is not to be found. And yet his conduct is seen, upon a nearer examination, to be grounded both in reason and in kindness. He was now about to embark on a solid worldly career; he had taken a farm; the affair with Clarinda, however gratifying to his heart, was too contingent to offer any great consolation to a man like Burns, to whom marriage must have seemed the very dawn of hope and self-respect.

This is to regard the question from its lowest aspect; but there is no doubt that he entered on this new period of his life with a sincere determination to do right. He had just helped his brother with a loan of a hundred and eighty pounds; should he do nothing for the poor girl whom he had ruined? It was true he could not do as he did without brutally wounding Clarinda; that was the punishment of his bygone fault; he was, as he truly says, "d.a.m.ned with a choice only of different species of error and misconduct." To be professional Don Juan, to accept the provocation of any lively la.s.s upon the village green, may thus lead a man through a series of detestable words and actions, and land him at last in an undesired and most unsuitable union for life. If he had been strong enough to refrain or bad enough to persevere in evil; if he had only not been Don Juan at all, or been Don Juan altogether, there had been some possible road for him throughout this troublesome world; but a man, alas! who is equally at the call of his worse and better instincts, stands among changing events without foundation or resource. {71}

DOWNWARD COURSE.

It may be questionable whether any marriage could have tamed Burns; but it is at least certain that there was no hope for him in the marriage he contracted. He did right, but then he had done wrong before; it was, as I said, one of those relations in life which it seems equally wrong to break or to perpetuate. He neither loved nor respected his wife. "G.o.d knows," he writes, "my choice was as random as blind man's buff." He consoles himself by the thought that he has acted kindly to her; that she "has the most sacred enthusiasm of attachment to him;" that she has a good figure; that she has a "wood-note wild," "her voice rising with ease to B natural," no less. The effect on the reader is one of unmingled pity for both parties concerned. This was not the wife who (in his own words) could "enter into his favourite studies or relish his favourite authors;" this was not even a wife, after the affair of the marriage lines, in whom a husband could joy to place his trust. Let her manage a farm with sense, let her voice rise to B natural all day long, she would still be a peasant to her lettered lord, and an object of pity rather than of equal affection. She could now be faithful, she could now be forgiving, she could now be generous even to a pathetic and touching degree; but coming from one who was unloved, and who had scarce shown herself worthy of the sentiment, these were all virtues thrown away, which could neither change her husband's heart nor affect the inherent destiny of their relation. From the outset, it was a marriage that had no root in nature; and we find him, ere long, lyrically regretting Highland Mary, renewing correspondence with Clarinda in the warmest language, on doubtful terms with Mrs. Riddel, and on terms unfortunately beyond any question with Anne Park.

Alas! this was not the only ill circ.u.mstance in his future. He had been idle for some eighteen months, superintending his new edition, hanging on to settle with the publisher, travelling in the Highlands with Willie Nichol, or philandering with Mrs. M'Lehose; and in this period the radical part of the man had suffered irremediable hurt. He had lost his habits of industry, and formed the habit of pleasure. Apologetical biographers a.s.sure us of the contrary; but from the first, he saw and recognised the danger for himself; his mind, he writes, is "enervated to an alarming degree" by idleness and dissipation; and again, "my mind has been vitiated with idleness." It never fairly recovered. To business he could bring the required diligence and attention without difficulty; but he was thenceforward incapable, except in rare instances, of that superior effort of concentration which is required for serious literary work. He may be said, indeed, to have worked no more, and only amused himself with letters. The man who had written a volume of masterpieces in six months, during the remainder of his life rarely found courage for any more sustained effort than a song. And the nature of the songs is itself characteristic of these idle later years; for they are often as polished and elaborate as his earlier works were frank, and headlong, and colloquial; and this sort of verbal elaboration in short flights is, for a man of literary turn, simply the most agreeable of pastimes. The change in manner coincides exactly with the Edinburgh visit. In 1786 he had written the _Address to a Louse_, which may be taken as an extreme instance of the first manner; and already, in 1787, we come upon the rosebud pieces to Miss Cruikshank, which are extreme examples of the second. The change was, therefore, the direct and very natural consequence of his great change in life; but it is not the less typical of his loss of moral courage that he should have given up all larger ventures, nor the less melancholy that a man who first attacked literature with a hand that seemed capable of moving mountains, should have spent his later years in whittling cherry-stones.

Meanwhile, the farm did not prosper; he had to join to it the salary of an exciseman; at last he had to give it up, and rely altogether on the latter resource. He was an active officer; and, though he sometimes tempered severity with mercy, we have local testimony oddly representing the public feeling of the period, that, while "in everything else he was a perfect gentleman, when he met with anything seizable he was no better than any other gauger."

There is but one manifestation of the man in these last years which need delay us: and that was the sudden interest in politics which arose from his sympathy with the great French Revolution. His only political feeling had been hitherto a sentimental Jacobitism, not more or less respectable than that of Scott, Aytoun, and the rest of what George Borrow has nicknamed the "Charlie over the water" Scotchmen. It was a sentiment almost entirely literary and picturesque in its origin, built on ballads and the adventures of the Young Chevalier; and in Burns it is the more excusable, because he lay out of the way of active politics in his youth. With the great French Revolution, something living, practical, and feasible appeared to him for the first time in this realm of human action. The young ploughman who had desired so earnestly to rise, now reached out his sympathies to a whole nation animated with the same desire. Already in 1788 we find the old Jacobitism hand in hand with the new popular doctrine, when, in a letter of indignation against the zeal of a Whig clergyman, he writes: "I daresay the American Congress in 1776 will be allowed to be as able and as enlightened as the English Convention was in 1688; and that their posterity will celebrate the centenary of their deliverance from us, as duly and sincerely as we do ours from the oppressive measures of the wrong-headed house of Stuart."

As time wore on, his sentiments grew more p.r.o.nounced and even violent; but there was a basis of sense and generous feeling to his hottest excess. What he asked was a fair chance for the individual in life; an open road to success and distinction for all cla.s.ses of men. It was in the same spirit that he had helped to found a public library in the parish where his farm was situated, and that he sang his fervent s.n.a.t.c.hes against tyranny and tyrants. Witness, were it alone, this verse:-

"Here's freedom to him that wad read, Here's freedom to him that wad write; There's nane ever feared that the truth should be heard But them wham the truth wad indite."

Yet his enthusiasm for the cause was scarce guided by wisdom. Many stories are preserved of the bitter and unwise words he used in country coteries; how he proposed Was.h.i.+ngton's health as an amendment to Pitt's, gave as a toast "the last verse of the last chapter of Kings," and celebrated Dumouriez in a doggrel impromptu full of ridicule and hate.

Now his sympathies would inspire him with _Scots_, _wha hae_; now involve him in a drunken broil with a loyal officer, and consequent apologies and explanations, hard to offer for a man of Burns's stomach. Nor was this the front of his offending. On February 27, 1792, he took part in the capture of an armed smuggler, bought at the subsequent sale four carronades, and despatched them with a letter to the French a.s.sembly.

Letter and guns were stopped at Dover by the English officials; there was trouble for Burns with his superiors; he was reminded firmly, however delicately, that, as a paid official, it was his duty to obey and to be silent; and all the blood of this poor, proud, and falling man must have rushed to his head at the humiliation. His letter to Mr. Erskine, subsequently Earl of Mar, testifies, in its turgid, turbulent phrases, to a perfect pa.s.sion of alarmed self-respect and vanity. He had been muzzled, and muzzled, when all was said, by his paltry salary as an exciseman; alas! had he not a family to keep? Already, he wrote, he looked forward to some such judgment from a hackney scribbler as this: "Burns, notwithstanding the _fanfaronnade_ of independence to be found in his works, and after having been held forth to view and to public estimation as a man of some genius, yet, quite dest.i.tute of resources within himself to support his borrowed dignity, he dwindled into a paltry exciseman, and shrunk out the rest of his insignificant existence in the meanest of pursuits, and among the vilest of mankind." And then on he goes, in a style of rhodomontade, but filled with living indignation, to declare his right to a political opinion, and his willingness to shed his blood for the political birthright of his sons. Poor, perturbed spirit!

he was indeed exercised in vain; those who share and those who differ from his sentiments about the Revolution, alike understand and sympathise with him in this painful strait; for poetry and human manhood are lasting like the race, and politics, which are but a wrongful striving after right, pa.s.s and change from year to year and age to age. The _Twa Dogs_ has already outlasted the const.i.tution of Sieyes and the policy of the Whigs; and Burns is better known among English-speaking races than either Pitt or Fox.

Meanwhile, whether as a man, a husband, or a poet, his steps led downward. He knew, knew bitterly, that the best was out of him; he refused to make another volume, for he felt that it would be a disappointment; he grew petulantly alive to criticism, unless he was sure it reached him from a friend. For his songs, he would take nothing; they were all that he could do; the proposed Scotch play, the proposed series of Scotch tales in verse, all had gone to water; and in a fling of pain and disappointment, which is surely n.o.ble with the n.o.bility of a viking, he would rather stoop to borrow than to accept money for these last and inadequate efforts of his muse. And this desperate abnegation rises at times near to the height of madness; as when he pretended that he had not written, but only found and published, his immortal _Auld Lang Syne_. In the same spirit he became more scrupulous as an artist; he was doing so little, he would fain do that little well; and about two months before his death, he asked Thomson to send back all his ma.n.u.scripts for revisal, saying that he would rather write five songs to his taste than twice that number otherwise. The battle of his life was lost; in forlorn efforts to do well, in desperate submissions to evil, the last years flew by. His temper is dark and explosive, launching epigrams, quarrelling with his friends, jealous of young puppy officers. He tries to be a good father; he boasts himself a libertine. Sick, sad, and jaded, he can refuse no occasion of temporary pleasure, no opportunity to s.h.i.+ne; and he who had once refused the invitations of lords and ladies is now whistled to the inn by any curious stranger. His death (July 21, 1796), in his thirty-seventh year, was indeed a kindly dispensation. It is the fas.h.i.+on to say he died of drink; many a man has drunk more and yet lived with reputation, and reached a good age. That drink and debauchery helped to destroy his const.i.tution, and were the means of his unconscious suicide, is doubtless true; but he had failed in life, had lost his power of work, and was already married to the poor, unworthy, patient Jean, before he had shown his inclination to convivial nights, or at least before that inclination had become dangerous either to his health or his self-respect. He had trifled with life, and must pay the penalty. He had chosen to be Don Juan, he had grasped at temporary pleasures, and substantial happiness and solid industry had pa.s.sed him by. He died of being Robert Burns, and there is no levity in such a statement of the case; for shall we not, one and all, deserve a similar epitaph?

WORKS.

The somewhat cruel necessity which has lain upon me throughout this paper only to touch upon those points in the life of Burns where correction or amplification seemed desirable, leaves me little opportunity to speak of the works which have made his name so famous. Yet, even here, a few observations seem necessary.

At the time when the poet made his appearance and great first success, his work was remarkable in two ways. For, first, in an age when poetry had become abstract and conventional, instead of continuing to deal with shepherds, thunderstorms, and personifications, he dealt with the actual circ.u.mstances of his life, however matter-of-fact and sordid these might be. And, second, in a time when English versification was particularly stiff, lame, and feeble, and words were used with ultra-academical timidity, he wrote verses that were easy, racy, graphic, and forcible, and used language with absolute tact and courage as it seemed most fit to give a clear impression. If you take even those English authors whom we know Burns to have most admired and studied, you will see at once that he owed them nothing but a warning. Take Shenstone, for instance, and watch that elegant author as he tries to grapple with the facts of life. He has a description, I remember, of a gentleman engaged in sliding or walking on thin ice, which is a little miracle of incompetence. You see my memory fails me, and I positively cannot recollect whether his hero was sliding or walking; as though a writer should describe a skirmish, and the reader, at the end, be still uncertain whether it were a charge of cavalry or a slow and stubborn advance of foot. There could be no such ambiguity in Burns; his work is at the opposite pole from such indefinite and stammering performances; and a whole lifetime pa.s.sed in the study of Shenstone would only lead a man further and further from writing the _Address to a Louse_. Yet Burns, like most great artists, proceeded from a school and continued a tradition; only the school and tradition were Scotch, and not English. While the English language was becoming daily more pedantic and inflexible, and English letters more colourless and slack, there was another dialect in the sister country, and a different school of poetry tracing its descent, through King James I., from Chaucer. The dialect alone accounts for much; for it was then written colloquially, which kept it fresh and supple; and, although not shaped for heroic flights, it was a direct and vivid medium for all that had to do with social life. Hence, whenever Scotch poets left their laborious imitations of bad English verses, and fell back on their own dialect, their style would kindle, and they would write of their convivial and somewhat gross existences with pith and point. In Ramsay, and far more in the poor lad Fergusson, there was mettle, humour, literary courage, and a power of saying what they wished to say definitely and brightly, which in the latter case should have justified great antic.i.p.ations. Had Burns died at the same age as Fergusson, he would have left us literally nothing worth remark. To Ramsay and to Fergusson, then, he was indebted in a very uncommon degree, not only following their tradition and using their measures, but directly and avowedly imitating their pieces. The same tendency to borrow a hint, to work on some one else's foundation, is notable in Burns from first to last, in the period of song-writing as well as in that of the early poems; and strikes one oddly in a man of such deep originality, who left so strong a print on all he touched, and whose work is so greatly distinguished by that character of "inevitability" which Wordsworth denied to Goethe.

When we remember Burns's obligations to his predecessors, we must never forget his immense advances on them. They had already "discovered"

nature; but Burns discovered poetry-a higher and more intense way of thinking of the things that go to make up nature, a higher and more ideal key of words in which to speak of them. Ramsay and Fergusson excelled at making a popular-or shall we say vulgar?-sort of society verses, comical and prosaic, written, you would say, in taverns while a supper party waited for its laureate's word; but on the appearance of Burns, this coa.r.s.e and laughing literature was touched to finer issues, and learned gravity of thought and natural pathos.

What he had gained from his predecessors was a direct, speaking style, and to walk on his own feet instead of on academical stilts. There was never a man of letters with more absolute command of his means; and we may say of him, without excess, that his style was his slave. Hence that energy of epithet, so concise and telling, that a foreigner is tempted to explain it by some special richness or apt.i.tude in the dialect he wrote.

Hence that Homeric justice and completeness of description which gives us the very physiognomy of nature, in body and detail, as nature is. Hence, too, the unbroken literary quality of his best pieces, which keeps him from any slip into the weariful trade of word-painting, and presents everything, as everything should be presented by the art of words, in a clear, continuous medium of thought. Princ.i.p.al Shairp, for instance, gives us a paraphrase of one tough verse of the original; and for those who know the Greek poets only by paraphrase, this has the very quality they are accustomed to look for and admire in Greek. The contemporaries of Burns were surprised that he should visit so many celebrated mountains and waterfalls, and not seize the opportunity to make a poem. Indeed, it is not for those who have a true command of the art of words, but for peddling, professional amateurs, that these pointed occasions are most useful and inspiring. As those who speak French imperfectly are glad to dwell on any topic they may have talked upon or heard others talk upon before, because they know appropriate words for it in French, so the dabbler in verse rejoices to behold a waterfall, because he has learned the sentiment and knows appropriate words for it in poetry. But the dialect of Burns was fitted to deal with any subject; and whether it was a stormy night, a shepherd's collie, a sheep struggling in the snow, the conduct of cowardly soldiers in the field, the gait and cogitations of a drunken man, or only a village c.o.c.kcrow in the morning, he could find language to give it freshness, body, and relief. He was always ready to borrow the hint of a design, as though he had a difficulty in commencing-a difficulty, let us say, in choosing a subject out of a world which seemed all equally living and significant to him; but once he had the subject chosen, he could cope with nature single-handed, and make every stroke a triumph. Again, his absolute mastery in his art enabled him to express each and all of his different humours, and to pa.s.s smoothly and congruously from one to another. Many men invent a dialect for only one side of their nature-perhaps their pathos or their humour, or the delicacy of their senses-and, for lack of a medium, leave all the others unexpressed. You meet such an one, and find him in conversation full of thought, feeling, and experience, which he has lacked the art to employ in his writings. But Burns was not thus hampered in the practice of the literary art; he could throw the whole weight of his nature into his work, and impregnate it from end to end. If Doctor Johnson, that stilted and accomplished stylist, had lacked the sacred Boswell, what should we have known of him? and how should we have delighted in his acquaintance as we do? Those who spoke with Burns tell us how much we have lost who did not. But I think they exaggerate their privilege: I think we have the whole Burns in our possession set forth in his consummate verses.

It was by his style, and not by his matter, that he affected Wordsworth and the world. There is, indeed, only one merit worth considering in a man of letters-that he should write well; and only one d.a.m.ning fault-that he should write ill. We are little the better for the reflections of the sailor's parrot in the story. And so, if Burns helped to change the course of literary history, it was by his frank, direct, and masterly utterance, and not by his homely choice of subjects. That was imposed upon him, not chosen upon a principle. He wrote from his own experience, because it was his nature so to do, and the tradition of the school from which he proceeded was fortunately not opposed to homely subjects. But to these homely subjects he communicated the rich commentary of his nature; they were all steeped in Burns; and they interest us not in themselves, but because they have been pa.s.sed through the spirit of so genuine and vigorous a man. Such is the stamp of living literature; and there was never any more alive than that of Burns.

What a gust of sympathy there is in him sometimes flowing out in byways. .h.i.therto unused, upon mice, and flowers, and the devil himself; sometimes speaking plainly between human hearts; sometimes ringing out in exultation like a peal of bells! When we compare the _Farmer's Salutation to his Auld Mare Maggie_, with the clever and inhumane production of half a century earlier, _The Auld Man's Mare's dead_, we see in a nutsh.e.l.l the spirit of the change introduced by Burns. And as to its manner, who that has read it can forget how the collie, Luath, in the _Twa Dogs_, describes and enters into the merry-making in the cottage?

"The luntin' pipe an' snees.h.i.+n' mill, Are handed round wi' richt guid will; The canty auld folks crackin' crouse, The young anes rantin' through the house- My heart has been sae fain to see them That I for joy hae barkit wi' them."

It was this ardent power of sympathy that was fatal to so many women, and, through Jean Armour, to himself at last. His humour comes from him in a stream so deep and easy that I will venture to call him the best of humorous poets. He turns about in the midst to utter a n.o.ble sentiment or a trenchant remark on human life, and the style changes and rises to the occasion. I think it is Princ.i.p.al Shairp who says, happily, that Burns would have been no Scotchman if he had not loved to moralise; neither, may we add, would he have been his father's son; but (what is worthy of note) his moralisings are to a large extent the moral of his own career. He was among the least impersonal of artists. Except in the _Jolly Beggars_, he shows no gleam of dramatic instinct. Mr. Carlyle has complained that _Tam o' Shanter_ is, from the absence of this quality, only a picturesque and external piece of work; and I may add that in the _Twa Dogs_ it is precisely in the infringement of dramatic propriety that a great deal of the humour of the speeches depends for its existence and effect. Indeed, Burns was so full of his ident.i.ty that it breaks forth on every page; and there is scarce an appropriate remark either in praise or blame of his own conduct, but he has put it himself into verse. Alas!

for the tenor of these remarks! They are, indeed, his own pitiful apology for such a marred existence and talents so misused and stunted; and they seem to prove for ever how small a part is played by reason in the conduct of man's affairs. Here was one, at least, who with unfailing judgment predicted his own fate; yet his knowledge could not avail him, and with open eyes he must fulfil his tragic destiny. Ten years before the end he had written his epitaph; and neither subsequent events, nor the critical eyes of posterity, have shown us a word in it to alter.

And, lastly, has he not put in for himself the last unanswerable plea?-

"Then gently scan your brother man, Still gentler sister woman; Though they may gang a kennin wrang, To step aside is human: One point must still be greatly dark-"

One? Alas! I fear every man and woman of us is "greatly dark" to all their neighbours, from the day of birth until death removes them, in their greatest virtues as well as in their saddest faults; and we, who have been trying to read the character of Burns, may take home the lesson and be gentle in our thoughts.

WALT WHITMAN.

OF late years the name of Walt Whitman has been a good deal bandied about in books and magazines. It has become familiar both in good and ill repute. His works have been largely bespattered with praise by his admirers, and cruelly mauled and mangled by irreverent enemies. Now, whether his poetry is good or bad as poetry, is a matter that may admit of a difference of opinion without alienating those who differ. We could not keep the peace with a man who should put forward claims to taste and yet depreciate the choruses in _Samson Agonistes_; but, I think, we may shake hands with one who sees no more in Walt Whitman's volume, from a literary point of view, than a farrago of incompetent essays in a wrong direction. That may not be at all our own opinion. We may think that, when a work contains many unforgettable phrases, it cannot be altogether devoid of literary merit. We may even see pa.s.sages of a high poetry here and there among its eccentric contents. But when all is said, Walt Whitman is neither a Milton nor a Shakespeare; to appreciate his works is not a condition necessary to salvation; and I would not disinherit a son upon the question, nor even think much the worse of a critic, for I should always have an idea what he meant.

What Whitman has to say is another affair from how he says it. It is not possible to acquit any one of defective intelligence, or else stiff prejudice, who is not interested by Whitman's matter and the spirit it represents. Not as a poet, but as what we must call (for lack of a more exact expression) a prophet, he occupies a curious and prominent position. Whether he may greatly influence the future or not, he is a notable symptom of the present. As a sign of the times, it would be hard to find his parallel. I should hazard a large wager, for instance, that he was not unacquainted with the works of Herbert Spencer; and yet where, in all the history books, shall we lay our hands on two more incongruous contemporaries? Mr. Spencer so decorous-I had almost said, so dandy-in dissent; and Whitman, like a large s.h.a.ggy dog, just unchained, scouring the beaches of the world and baying at the moon. And when was an echo more curiously like a satire, than when Mr. Spencer found his Synthetic Philosophy reverberated from the other sh.o.r.es of the Atlantic in the "barbaric yawp" of Whitman?

I.

Whitman, it cannot be too soon explained, writes up to a system. He was a theoriser about society before he was a poet. He first perceived something wanting, and then sat down squarely to supply the want. The reader, running over his works, will find that he takes nearly as much pleasure in critically expounding his theory of poetry as in making poems. This is as far as it can be from the case of the spontaneous village minstrel dear to elegy, who has no theory whatever, although sometimes he may have fully as much poetry as Whitman. The whole of Whitman's work is deliberate and preconceived. A man born into a society comparatively new, full of conflicting elements and interests, could not fail, if he had any thoughts at all, to reflect upon the tendencies around him. He saw much good and evil on all sides, not yet settled down into some more or less unjust compromise as in older nations, but still in the act of settlement. And he could not but wonder what it would turn out; whether the compromise would be very just or very much the reverse, and give great or little scope for healthy human energies. From idle wonder to active speculation is but a step; and he seems to have been early struck with the inefficacy of literature and its extreme unsuitability to the conditions. What he calls "Feudal Literature" could have little living action on the tumult of American democracy; what he calls the "Literature of Wo," meaning the whole tribe of Werther and Byron, could have no action for good in any time or place. Both propositions, if art had none but a direct moral influence, would be true enough; and as this seems to be Whitman's view, they were true enough for him. He conceived the idea of a Literature which was to inhere in the life of the present; which was to be, first, human, and next, American; which was to be brave and cheerful as per contract; to give culture in a popular and poetical presentment; and, in so doing, catch and stereotype some democratic ideal of humanity which should be equally natural to all grades of wealth and education, and suited, in one of his favourite phrases, to "the average man." To the formation of some such literature as this his poems are to be regarded as so many contributions, one sometimes explaining, sometimes superseding, the other: and the whole together not so much a finished work as a body of suggestive hints. He does not profess to have built the castle, but he pretends he has traced the lines of the foundation. He has not made the poetry, but he flatters himself he has done something towards making the poets.