The Essential Works of Robert G. Ingersoll. Robert Green Ingersoll
by rum, and the Hollander by schnapps. Yet, in spite of the gloom of the creed, in spite of the climate of mists and fogs, and the maniac winters, the songs of Scotland are the sweetest and the tenderest in all the world.
Robert Burns was a peasant—a ploughman—a poet. Why is it that millions and millions of men and women love this man? He was a Scotchman, and all the tendrils of his heart struck deep in Scotland's soil. He voiced the ideals of the best and greatest of his race and blood. And yet he is as dear to the citizens of this great Republic as to Scotia's sons and daughters.
All great poetry has a national flavor. It tastes of the soil. No matter how great it is, how wide, how universal, the flavor of locality is never lost. Burns made common life beautiful. He idealized the sun-burnt girls who worked in the fields. He put honest labor above titled idleness. He made a cottage far more poetic than a palace. He painted the simple joys and ecstasies and raptures of sincere love. He put native sense above the polish of schools.
We love him because he was independent, sturdy, self-poised, social, generous, susceptible, thrilled by a look, by a touch, full of pity, carrying the sorrows of others in his heart, even those of animals; hating to see anybody suffer, and lamenting the death of everything—even of trees and flowers. We love him because he was a natural democrat, and hated tyranny in every form.
We love him because he was always on the side of the people, feeling the throb of progress.
Burns read but little, had but few books; had but a little of what is called education; had only an outline of history, a little of philosophy, in its highest sense. His library consisted of the Life of Hannibal, the History of Wallace, Ray's Wisdom of God, Stackhouse's History of the Bible; two or three plays of Shakespeare, Ferguson's Scottish Poems, Pope's Homer, Shenstone, McKenzie's Man of Feeling and Ossian.
Burns was a man of genius. He was like a spring—something that suggests no labor.
A spring seems to be a perpetual free gift of nature. There is no thought of toil. The water comes whispering to the pebbles without effort. There is no machinery, no pipes, no pumps, no engines, no water-works, nothing that suggests expense or trouble. So a natural poet is, when compared with the educated, with the polished, with the industrious.
Burns seems to have done everything without effort. His poems wrote themselves. He was overflowing with sympathies, with suggestions, with ideas, in every possible direction. There is no midnight oil. There is nothing of the student—no suggestion of their having been re-written or re-cast. There is in his heart a poetic April and May, and all the poetic seeds burst into sudden life. In a moment the seed is a plant, and the plant is in blossom, and the fruit is given to the world.
He looks at everything from a natural point of view; and he writes of the men and women with whom he was acquainted. He cares nothing for mythology, nothing for the legends of the Greeks and Romans. He draws but little from history. Everything that he uses is within his reach, and he knows it from centre to circumference. All his figures and comparisons are perfectly natural. He does not endeavor to make angels of fine ladies.
He takes the servant girls with whom he is acquainted, the dairy maids that he knows. He puts wings upon them and makes the very angels envious.
And yet this man, so natural, keeping his cheek so close to the breast of nature, strangely enough thought that Pope and Churchill and Shenstone and Thomson and Lyttelton and Beattie were great poets.
His first poem was addressed to Nellie Kilpatrick, daughter of the blacksmith. He was in love with Ellison Begbie, offered her his heart and was refused. She was a servant, working in a family and living on the banks of the Cessnock. Jean Armour, his wife, was the daughter of a tailor, and Highland Mary, a servant—a milk-maid.
He did not make women of goddesses, but he made goddesses of women.
POET OF LOVE.
Burns was the poet of love. To him woman was divine. In the light of her eyes he stood transfigured. Love changed this peasant to a king; the plaid became a robe of purple; the ploughman became a poet; the poor laborer an inspired lover.
In his "Vision" his native Muse tells the story of his verse:
"When youthful Love, warm-blushing strong,
Keen-shivering shot thy nerves along,
Those accents, grateful to thy tongue,
Th' adored Name,
I taught thee how to pour in song,
To soothe thy flame."
Ah, this light from heaven: how it has purified the heart of man!
Was there ever a sweeter song than "Bonnie Doon"?
"Thou'lt break my heart thou bonnie bird
That sings beside thy mate,
For sae I sat and sae I sang,
And wist na o' my fate."
or,
"O, my luve's like a red, red rose
That's newly sprung in June;
O, my luve's like the melodie
That's sweetly play'd in tune."
It would consume days to give the intense and tender lines—lines wet with the heart's blood, lines that throb and sigh and weep, lines that glow like flames, lines that seem to clasp and kiss.
But the most perfect love-poem that I know—pure the tear of gratitude—is "To Mary in Heaven:"
"Thou lingering star, with less'ning ray,
That lov'st to greet the early morn,
Again thou usher'st in the day
My Mary from my soul was torn.
O Mary! dear departed shade!
Where is thy place of blissful rest?
Seest thou thy lover lowly laid?
Hear'st thou the groans that rend his breast?
"That sacred hour can I forget?
Can I forget the hallow'd grove
Where, by the winding Ayr, we met,
To live one day of parting love?
Eternity will not efface
Those records dear of transports past;
Thy image at our last embrace;
Ah! little thought we 'twas our last!
"Ayr, gurgling, kiss'd his pebbled shore,
O'erhung with wild woods, thick'ning green;
The fragrant birch, and hawthorn hoar,
Twin'd am'rous round the raptur'd scene.
The flowers sprang wanton to be prest,
The birds sang love on ev'ry spray,
Till too, too soon, the glowing west
Proclaim'd the speed of wingèd day.
"Still o'er these scenes my mem'ry wakes,
And fondly broods with miser care!
Time but the impression stronger makes,
As streams their channels deeper wear.
My Mary, dear departed shade!
Where is thy blissful place of rest?
Seest thou thy lover lowly laid?
Hear'st thou the groans that rend his breast?"
Above all the daughters of luxury and wealth, above all of Scotland's queens rises this pure and gentle girl made deathless by the love of Robert Burns.
POET