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                    <text>MONODY
ON THE

D E A T H
OF

R O BERT BURNS.
To which are prefixed,

OBSERVATIONS
ON HIS

C H A R A C T E R
AND

G E N IU S .
The winter nights I ' ve cheer'd by turns,
W i' Rams ay, Fergusson, and Burns:
The f irst tw a cauld are in their urns,
Their s auls at rest:
Now weeping Caledonia mourns,
Him last and be .
t
s

GLASGOW:

p r in t e d fo r a n d so l d b Y

Brash

Reid.
&amp;

�CHARACTER
OF

ROBERT

BURNS,

WITH

OBSERVATIONS

on

Hi s

W RITINGS.

R O B E R T B U R N S was literally a ploughman, but
neither in that state of servile dependance, or degrading
ignorance, which the situation might bespeak in this country
.
He had the common education of a Scotch peasant,
perhaps something more, and that spirit of independence,
which is sometimes to be found, in a high degree, in the
humbles classes of society. He had genius sarting
t
t
y
e
b ond the obsacles of poverty, and which would have
t
disinguished itself in any situation.
t
His early days were occupied in procuring bread
by the labour of his own hands, in the honourable talk of
cultivating the earth, but his nights were devoted to books
and the muse, except when they were wase d in those
t
haunts of village fesivity, and in the indulgences of the
t
social bowl, to which the poet was but too immoderately
attached in every period of his life. He wrote not wi th
a view to encounter the public eye, or in the hope to
c
o
r
pure fame by his productions, but to give vent to the feelins
g
of his own genius—-to indulge the impulse of an ardent
and poetical mind.

�( 3 )
B u rn s,

fro m am bition, or fro m th a t r e s l e ss ac tiv ity ,
t

w hich is th e peculiar ch arac te ris i c of his c o u n try m en ,
t
p o sed to em ig rate to Jam aica, in o rd er to seek his fo rtu n e
r
o
b y th e exertion of th o se talen ts of w h ich he felt h im self
p o ssessed.

It w as upon this occasion, th a t one of his friends

su g g e s e d to h im th e idea of publish in g his poem s, in o rd er
t
to ra ise a few pounds to defray th e expences of his p a ssage.
T h e idea w as eagerly em braced.

A cheap edition of his

po em s w as fi r st p u b lished at K ilm arn o ck .

T h e y w e re soon

n o ticed b y th e g en tlem en in th e neig h b o u rh o o d .

Proofs of

such u n co m m o n genius, in a situ atio n so h u m b le, m ad e th e
acquaintance of th e a u th o r eagerly so u g h t after.
H is poem s reach in g E d in b u rg h , som e

e x tracts, and

a n account of th e a u th o r w e re in se rted in th e periodical
p a p e r The Lounger, w h ic h w as a t th a t tim e in th e course of
p u b licatio n .

T h e voyage of th e a u th o r w as delayed in th e

ho p e th a t a suitab le p ro v ision w o u ld be m ade fo r h im by
th e g e n e ro sity of th e public.

A subscription, w as set on

foot for a n ew edition of his w o rk s, an d w as fo rw ard ed b y
th e exertions of som e of th e firs c h a ra c ters in Scotland.
t
T h e su b scrip tio n lis contains a g re a te r n u m b e r of r e spectab
t
le
nam es th a n alm os hav e ever ap p eared to an y sim ilar
t
p ro d u c tio n ; b u t as th e boo k w as set a t a low price, w e hav e
re a son to k n o w th a t th e re tu rn to th e a u th o r w as n o t v ery
considerable.

B

urns

w as

b ro u g h t to E d in b u rg h , for a

few m o n th s ev ery w h e re in v ited an d caressed, an d a t last
one o f his p atro n s p ro cu red h im th e situ atio n of an Excisem
a
n
,
w ith an incom e of so m ew h at less th a n 50I. p e r a n n u m .
"We believe, th a t no se p s w e re ta k e n to b e tte r th is
t
hm incom e, an d h e w as soon disg u s e d w ith his situ a tio n .
ub
le
t
H is talen ts w e re often obscured , an d finally im p aire d by
excess, an d his p riv a te circumsta n c e s w e re im b itte re d b y
p ecuniary d istress.

W ith regard to his Poems, it has been ju stly observed.

�(4 )

that, without the apologies arising from his stuation in life,
i
they are fully entitled to command our feelings, and to
obtain our applause. Some of his productions, especially
those of the grave sy le, possess a high tone of feeling, a
t
power and energy of expression, particularly and srongly
t
characterisic of the mind and the voice of a Poet. Of the
t
solemn and sublime, the Poems entitled The Vis ion, D esp ondn,y
ec
The Lam ent, W in ter, a Dirge, and the Invocation to
R uin , afford sri k in g examples. Of the tender and the
t
r
oal,
m many advantageous specimens may be found, in the
Elegiac Verses, intitled M a n w as made to mourn, in The
Cottar' s Saturday night, the Stanzas to a M ou e , and those to
s
a M ountain Daisy . There is scarcely an image more truly
pastoral than that of the Lark, in the second Stanza of the
last mentioned Poem. It is one of those strokes that mark
the pencil of the Poet, which delineates nature with the
delicate colouring of beauty and of taste.
Against some passages of his Poems it has been objected,
that they breathe a spirit of libertinism and irreligion. But
it ought to be considered that he attacks only the ignorance
and fanaticism of the lower class of people, a fanaticism of
that pernicious sort which sets faith in opposition to good
works. Of religion he expresses, in several places, the jus e st
t
sentiments, though he has been sometimes sufficiently open
in his ridicule of hypocrisy.
Such, we believe, is the faithful portrait of a man, who
in his compositions, has discovered the force of native
h our, the warmth and tenderness of paso n , the glowing
m
u
i
s
touches of a descriptive pencil, and that honest pride and
independence of soul whc h are often the Muses only
i
dower.—-A man who was the pupil of nature, the Poet of
inspiration, and who possessed, in an extraordinary degree,
the powers and the failings of genius.

�MONODY.
M elpomene , thou mournfu’ muse,
Dinna to aid me now refuse,
My paper mony a tear bedews,
My heart’s like lead,
Now while I write the waefu’ news,
That Robin’s dead,
II.
For serling genius, blyth and free,
t
Fam’d Robin’s match when shall we see?
Ye sons o' music rise and gie
A waefu’ screed,
The pith and saul o’ mirth and glee
Wi’ Burns are fled.
III.
Ye lasses, gathering heather bells,
By Scotia's mosses, glens, or fells,
Ye bardies “ crooning to yoursels’'
By burn or brae,
Echo thro' a’ her hills and dells
The sang of wae;
IV.
He sang of nature’s “ soggage green,"
And a' her sweets that charm our een,
In strains that ne’er shall fail, I ween,
Our sauls to cheer;
For in a crack they drive the spleen
Frae a’ that hear.
V.
In spring, when Sol span out the day,
And Boreas’ blass were fled away,
t
Sax rood of ground Rab o’er could lay,
Syne on his reed,
At night untir’d fine could he play,
But ah! he’s dead.

�( 6 )
V I.

He lash’d the canting whining race,
Wha wear an artificial face,
Tho’ blest wi’ kirks, or out of place
Rab did na care,
Hypocrisy weel could he trace
And ne’er did spare.
V II.

His Ordination, Holy Fair,
And Pries wha like a calf did rair,
t
Some thought these hurt religion fair.
That heav’nly maid,
But what was wrang Rab wadna spare,
For a’ they said.
VIII.
And whan he sings the Holy Fair,
W hat man of sense can ca’ it mair?
Tho’ bigotry, with ideot-sare,
t
Offence may tak ;
Yet pure religion when or where
Does he attack ?
IX.
Na, na, religion heav’nly fair!
Thy dictates Rab did ay revere,.
And tho’ he did na practise mair,
Yet ah! waes me,
Whare dwalls the man that disna err
As well as he?
X.
He paints religion a’ fae sweet,
As true devotions fire may beet;
But satyrizes most complete
And fair taks aff,
A' them that mix our heav’nly wheat
W i’ common c ’aff.

�(

XI.

)
7

L et poor dull rhymers rack their brains,
His native wild enchanting srains
t
Shall charm a’ Caledonia’s swains,
Baith young and aul,
While mountain dais es -deck our plains
They’ll touch the saul.
XII.
And far awa, as weel’s at hame,
His merit shallb e kend the same ;
For time shall dry up baith the Thame
And silver Tweed,
Before he shall destroy the fame
Of him now dead.
XIII.
Ambitious fools hae mony a time
Striven to outrival Robin’s rhyme;
But pith was wanting—poor dull chyme
Was a’ they gied;
Rab was the boy hit a’ things prime,
But ah! he’s dead.
XIV.
Parnassus’ basards, mony a gelping,
t
Hae deev’d us wi’ their dinsome yelping;
But his sweet fangs ne’er needed helping.
To send to prent;
F or rank and file his words cam’ skelping,
Afore he kent.
XV.
Some feckless rhymers’ wit’s fae scarce
They’re pinch’d to screed an antrin verse;
But Robin’s fertile muse was fierce,
And slout and baul':
H er pithy style had power to pierce
The very saul.

�(

8

)

XVI.
H is death wi’ Tar mair grief we learn,
T hat on reflection we d iscern,
Lang might we had our favorite bairn,
In health fu’ sicker:
O cnrfe the fallows did him learn
To toom the bicker.
XVII.
O dool ! that e’er he left the plough,
And took him to a trade was new,
And bade sweet Temperance adieu!
For wae to tell,
Then up like W atson's cock he flew,
And tint himself.
XVIII.
But let us not, as chatt’ring fools,
"Proclaim his fauts, like envy’s tools
Wha seek out darkness jus like owls,
t
Dark, dark indeed;
But a' his failings co’er wi’ mools,
Now since he’s dead.
XIX.
As bright a genius death has torn,
Frae us, as Scotia did adorn,
L ike Phoebus whan he springs at morn,
Clear was his head;
W hat news could mak’ us mair forlorn,
Than Robin’s dead?
XX.
The winter nights I’ve cheer’d by turn
W i’ Ramsay, Fergusson, and Burns:
The firs twa cauld are in their urns,
t
Their sauls at rest :
Now weeping Caledonia mourns,
Him las and best.
t
F I N I S.

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                <text>&lt;a title="University of Iowa Shakosphere Catalog" href="http://shakeosphere.lib.uiowa.edu/search.jsp"&gt;University of Iowa Shakosphere Catalog&lt;/a&gt;</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>The Downfal of the Pope of Rome: A Poem.</text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>&lt;a href="https://ocul-gue.primo.exlibrisgroup.com/permalink/01OCUL_GUE/mrqn4e/alma9953133953505154"&gt;s0141b34&lt;/a&gt;</text>
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          <element elementId="78">
            <name>Extent</name>
            <description>The size or duration of the resource.</description>
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              <elementText elementTextId="21302">
                <text>8 pages</text>
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          <element elementId="70">
            <name>Is Part Of</name>
            <description>A related resource in which the described resource is physically or logically included.</description>
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              <elementText elementTextId="21303">
                <text>Chapbook #39 in a bound collection of 54 chapbooks</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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              <elementText elementTextId="21304">
                <text>Quote on title-page.: "Look up John Knox, frae' mang the dead, Look up, and seake your auld grey head; Look up, The Whore of Bab'lon's fled Free mighty Rome; That Grand Event ye aften spaed, Behold is come!"</text>
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                <text>Woodcut image of musical instruments on the title-page.</text>
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          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>Poetry</text>
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          <element elementId="71">
            <name>Is Referenced By</name>
            <description>A related resource that references, cites, or otherwise points to the described resource.</description>
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              <elementText elementTextId="21308">
                <text>ESTC T53222</text>
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            <name>Date</name>
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                <text>[1799?] per English Short Title Catalogue</text>
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            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
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                <text>Rome, Italy</text>
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          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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              <elementText elementTextId="21312">
                <text>Archival and Special Collections, University of Guelph Library, Guelph, Ontario, Canada</text>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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              <elementText elementTextId="21314">
                <text>In the public domain; For high quality reproductions, contact Archival &amp; Special Collections, University of Guelph. libaspc@uoguelph.ca, 519-824-4120, Ext. 53413</text>
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          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="24516">
                <text>JPEGs and PDF derived from master file, which was scanned from the original book in 24-bit color at 600 dpi in TIFF format using an Epson Expression 10000XL scanner.</text>
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          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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              <elementText elementTextId="26831">
                <text>Glasgow: Brash &amp; Reid</text>
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          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>poetry</text>
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      <tag tagId="302">
        <name># of Woodcuts: 2</name>
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      <tag tagId="103">
        <name>Bib Context: title-page</name>
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      <tag tagId="229">
        <name>Chapbook Date: 1791-1800</name>
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      <tag tagId="200">
        <name>Chapbook Genre: poetry</name>
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      <tag tagId="228">
        <name>Chapbook Publisher - Glasgow: Brash &amp; Reid</name>
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      <tag tagId="310">
        <name>Musical Instrument: fiddle(s)</name>
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      <tag tagId="307">
        <name>Musical Instrument: flute</name>
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      <tag tagId="347">
        <name>Musical Instrument: horn(s)</name>
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