The writer already referred to compares the composition of these songs to the carving of cherry-stones. They were, he says in effect, the amusement of a man who could do nothing better in literature! The world has agreed that they are the best things Burns has done; and rates him for their sake in the highest rank of its poets. The truth is that Burns came to Ellisland with numerous schemes of future poetical work, vigorous hopes of carrying some of them, and an inspiration and faculty of utterance unimpaired. It was in Dumfriesshire that he composed the most tenderly and melodiously seraphic of his lyrics— “To Mary in Heaven” and “Highland Mary;” the most powerful and popular of his narrative poems— “Tam O’ Shanter;” the first of all patriotic odes— “Bruce’s Address to his Army”; and the noblest manifesto of the rights and hopes of manhood— “A Man’s a Man for a’ that.”

With one word on his style as a prose-writer this short paper must close. The most diverse opinions have been uttered on the subject. The critics trip up each other with charming independency. To Jeffrey they seemed to be “all composed as exercises and for display.” Carlyle declared that they were written “for the most part with singular force and even gracefulness,” and that when Burns wrote “to trusted friends on real interests, his style became simple, vigorous, expressive, sometimes even beautiful.” Dr. Waddell prefers him to Cowper and Byron as a letter-writer. Scott, while allowing passages of great eloquence, found in the letters “strong marks of affectation, with a tincture of pedantry.” Taine thinks “Burns brought ridicule on himself by imitating the men of the academy and the court.” Lockhart thought, with Walker, that “he accommodated his style to the tastes” of his correspondents. And so on.

It is worth while to learn from Burns himself what he thought of his talent for prose-composition. And in the first place it is to be noted that he practised prose-composition before he took to poetry. At sixteen he was carrying on an extensive literary correspondence, which was virtually a competition in essay-writing. He kept copies of the letters he liked best, and was flattered to find that he was superior to his correspondents. He studied the essayists of Queen Anne’s time, and formed his style upon theirs, and that of their most distinguished followers. Steele, Addison, Swift, Sterne, and Mackenzie were his models. He liked their rounded sentences, and caught their conventional phrases. He found delight in imitating them. He volunteered his services with the pen on behalf of his fellow-swains. He became the “Complete Letter-Writer” of his parish, and was proud of his function and his faculty. He was aware of his “abilities at a billet-doux.” To the very last he had a high opinion of himself as a writer of letters. He speaks of one letter being in his “very best manner;” and of waiting for an hour of inspiration to write another that should be as good. He retained copies of about thirty of his longer letters, and had them bound for preservation.

The most serious, almost the only charge brought against the prose style of Burns is the charge of affectation more or less occasional. All the earlier critics make it or imply it, and with such an apparent show of proof that it has generally been believed. Later critics, while unable to deny the feature of his style which so looks like affectation, have explained it to such good effect as to make it appear a beauty; they have asked us to regard it as the happy result of a sympathetic mind adapting itself to the object of its address. This looks very like blaming Burns’s correspondents for the badness of his style. There is some truth in the explanation, putting it even so extremely. But when this allowance is made, there still remains a wide and well-marked difference between his use of English prose and his mastery of Scottish verse. The latter is complete — it is the mastery of an originator of style. The former, on the other hand, is the attainment of a clever pupil when the sentiment is commonplace; when it is deep and vehement, it is often, in the language of Carlyle, “the effort of a man to express something which he has no organ fit for expressing.” Common people, to whom niceties of style are unknown, and who read primarily or exclusively for the sake of the matter, perceive nothing of this affectation, and think scarcely less highly of Burns’s letters than they do of his poetry.

J. LOGIE ROBERTSON.

7 LOCKHARTON TERRACE, SLATEFORD, EDINBURGH.


GENERAL CORRESPONDENCE.

 

Detailed Table of Contents for the letters

 


I.