ROBERT BURNS.*
Project Gutenberg EPUB3 edition
Ingersoll, Robert Green and Widger, David
* This lecture is printed from notes found among Colonel Ingersoll's papers, but was not revised by him for publication.
A facsimile of the original manuscript as written by Colonel Ingersoll in the Burns' cottage at Ayr, August 19, 1878.
We have met to-night to honor the memory of a poet—possibly the next to the greatest that has ever written in our language. I would place one above him, and only one—Shakespeare.
It may be well enough at the beginning to inquire, What is a poet? What is poetry?
Every one has some idea of the poetic, and this idea is born of his experience—of his education—of his surroundings.
There have been more nations than poets.
Many people suppose that poetry is a kind of art depending upon certain rules, and that it is only necessary to find out these rules to be a poet. But these rules have never been found. The great poet follows them unconsciously. The great poet seems as unconscious as Nature, and the product of the highest art seems to have been felt instead of thought.
The finest definition perhaps that has been given is this:
"As nature unconsciously produces that which appears to be the result of consciousness, so the greatest artist consciously produces that which appears the unconscious result."
Poetry must rest on the experience of men—the history of heart and brain. It must sit by the fireside of the heart. It must have to do with this world, with the place in which we live, with the men and women we know, with their loves, their hopes, their fears and their joys.
After all, we care nothing about gods and goddesses, or folks with wings.
The cloud-compelling Jupiters, the ox-eyed Junos, the feather-heeled Mercurys, or the Minervas that leaped full-armed from the thick skull of some imaginary god, are nothing to us. We know nothing of their fears or loves, and for that reason, the poetry that deals with them, no matter how ingenious it may be, can never touch the human heart.
I was taught that Milton was a wonderful poet, and above all others sublime. I have read Milton once. Few have read him twice.
With splendid words, with magnificent mythological imagery, he musters the heavenly militia—puts epaulets on the shoulders of God, and describes the Devil as an artillery officer of the highest rank.
Then he describes the battles in which immortals undertake the impossible task of killing each other.
Take this line:
"Flying with indefatigable wings over the vast abrupt."
This is called sublime, but what does it mean?
We have been taught that Dante was a wonderful poet.
He described with infinite minuteness the pangs and agonies endured by the damned in the torture—dungeons of God.
The vicious twins of superstition—malignity and solemnity—struggle for the mastery in his revengeful lines.
But there was one good thing about Dante: he had the courage, and what might be called the religious democracy, to see a pope in hell.
That is something to be thankful for.
So, the sonnets of Petrarch are as unmeaning as the promises of candidates. They are filled not with genuine passion, but with the feelings that lovers are supposed to have.
Poetry cannot be written by rule; it is nota trade, or a profession. Let the critics lay down the laws, and the true poet will violate them all.
By rule you can make skeletons, but you cannot clothe them with flesh, put blood in their veins, thoughts in their eyes, and passions in their hearts.
This can be done only by following the impulses of the heart, the winged fancies of the brain—by wandering from paths and roads, keeping step with the rhythmic ebb and flow of the throbbing blood.
In the olden time in Scotland, most of the so-called poetry was written by pedagogues and parsons—gentlemen who found out what little they knew of the living world by reading the dead languages—by studying epitaphs in the cemeteries of literature.
They knew nothing of any life that they thought poetic. They kept as far from the common people as they could. They wrote countless verses, but no poems. They tried to put metaphysics, that is to say, Calvinism, in poetry.
As a matter of fact, a Calvinist cannot be a poet. Calvinism takes all the poetry out of the world.
If the existence of the Calvinistic, the Christian, hell could be demonstrated, another poem never could be written. .
In those days they made poetry about geography, and the beauties of the Scotch Kirk, and even about law.
The critics have always been looking for mistakes, not beauties—not for the perfection of expression and feeling. They would object to the lark and nightingale because they do not sing by note—to the clouds because they are not square.
At one time it was thought that scenery, the grand in nature, made the poet. We now know that the poet makes the scenery. Holland has produced far more genius than the Alps. Where nature is prodigal—where the crags tower above the clouds—man is overcome, or overawed. In England and Scotland the hills are low, and there is nothing in the scenery calculated to rouse poetic blood, and yet these countries have produced the greatest literature of all time.
The truth is that poets and heroes make the scenery. The place where man has died for man is grander than all the snow-crowned summits of the world.
A poem is something like a mountain stream that flashes in light, then lost in shadow, leaps with a kind of wild joy into the abyss, emerges victorious, and winding runs amid meadows, lingers in quiet places, holding within its breast the hills and vales and clouds—then running by the cottage door, babbling of joy, and murmuring delight, then sweeping on to join its old mother, the sea.
Thousands, millions of men live poems, but do not write them; but every great poem has been lived.
I say to-night that every good and self-denying man, every one who lives and labors for those he loves, for wife and child, is living a poem. The loving mother rocking a cradle, singing the slumber song, lives a poem pure and tender as the dawn; the man who bares his breast to shot and shell lives a poem, and all the great men of the world, and all the brave and loving women have been poets in action, whether they have written one word or not. The poor woman of the tenement, sewing, blinded by tears, lives a poem holier, it may be, than the fortunate can know. The pioneers—the home builders, the heroes of toil, are all poets, and their deeds are filled with the pathos and perfection of the highest art.
But to-night we are going to talk of a poet—one who poured out his soul in song. How does a country become great? By producing great poets. Why is it that Scotland, when the roll of nations is called, can stand up and proudly answer "here"? Because Robert Burns has lived. It is Robert Burns that put Scotland in the front rank.
On the 25th of January, 1759, Robert Burns was born. William Burns, a gardener, his father; Agnes Brown, his mother. He was born near the little town of Ayr, in a little cottage made of mud and thatched with straw. From the first, poverty was his portion,—"Poverty, the half-sister of Death." The father struggled as best he could, but at last overcome more by misfortunes than by disease, died in 1784, at the age of 63. Robert attended school at Alloway Mill, and had been taught a little by John Murdock, and some by his father. That was his education—with this exception, that whenever nature produces a genius, the old mother holds him close to her heart and whispers secrets to his ears that others do not know.