No More Learning

1855




TO
ARCHIBALD HASTIE, ESQ. ,

MEMBER OF PARLIAMENT FOR PAISLEY

THIS

EDITION

OF

THE WORKS AND MEMOIRS OF A GREAT POET,

IN WHOSE SENTIMENTS OF FREEDOM HE SHARES,

AND WHOSE PICTURES OF SOCIAL AND DOMESTIC LIFE HE LOVES,

IS RESPECTFULLY AND GRATEFULLY INSCRIBED

BY

ALLAN CUNNINGHAM.




DEDICATION.

TO THE

NOBLEMEN AND GENTLEMEN

OF THE

CALEDONIAN HUNT.




[On the title-page of the second or Edinburgh edition, were these
words: "Poems, chiefly in the Scottish Dialect, by Robert Burns,
printed for the Author, and sold by William Creech, 1787. " The motto
of the Kilmarnock edition was omitted; a very numerous list of
subscribers followed: the volume was printed by the celebrated
Smellie. ]


MY LORDS AND GENTLEMEN:

A Scottish Bard, proud of the name, and whose highest ambition is to
sing in his country's service, where shall he so properly look for
patronage as to the illustrious names of his native land: those who
bear the honours and inherit the virtues of their ancestors? The
poetic genius of my country found me, as the prophetic bard Elijah did
Elisha--at the PLOUGH, and threw her inspiring mantle over
me. She bade me sing the loves, the joys, the rural scenes and rural
pleasures of my native soil, in my native tongue; I tuned my wild,
artless notes as she inspired. She whispered me to come to this
ancient metropolis of Caledonia, and lay my songs under your honoured
protection: I now obey her dictates.

Though much indebted to your goodness, I do not approach you, my Lords
and Gentlemen, in the usual style of dedication, to thank you for past
favours: that path is so hackneyed by prostituted learning that honest
rusticity is ashamed of it. Nor do I present this address with the
venal soul of a servile author, looking for a continuation of those
favours: I was bred to the plough, and am independent. I come to claim
the common Scottish name with you, my illustrious countrymen; and to
tell the world that I glory in the title. I come to congratulate my
country that the blood of her ancient heroes still runs
uncontaminated, and that from your courage, knowledge, and public
spirit, she may expect protection, wealth, and liberty. In the last
place, I come to proffer my warmest wishes to the great fountain of
honour, the Monarch of the universe, for your welfare and happiness.
When you go forth to waken the echoes, in the ancient and favourite
amusement of your forefathers, may Pleasure ever be of your party: and
may social joy await your return! When harassed in courts or camps
with the jostlings of bad men and bad measures, may the honest
consciousness of injured worth attend your return to your native
seats; and may domestic happiness, with a smiling welcome, meet you at
your gates! May corruption shrink at your kindling indignant glance;
and may tyranny in the ruler, and licentiousness in the people,
equally find you an inexorable foe!

I have the honour to be,

With the sincerest gratitude and highest respect,

My Lords and Gentlemen,

Your most devoted humble servant,

ROBERT BURNS.

EDINBURGH, _April 4, 1787. _




PREFACE.


I cannot give to my country this edition of one of its favourite
poets, without stating that I have deliberately omitted several pieces
of verse ascribed to Burns by other editors, who too hastily, and I
think on insufficient testimony, admitted them among his works. If I
am unable to share in the hesitation expressed by one of them on the
authorship of the stanzas on "Pastoral Poetry," I can as little share
in the feelings with which they have intruded into the charmed circle
of his poetry such compositions as "Lines on the Ruins of Lincluden
College," "Verses on the Destruction of the Woods of Drumlanrig,"
"Verses written on a Marble Slab in the Woods of Aberfeldy," and those
entitled "The Tree of Liberty. " These productions, with the exception
of the last, were never seen by any one even in the handwriting of
Burns, and are one and all wanting in that original vigour of language
and manliness of sentiment which distinguish his poetry. With respect
to "The Tree of Liberty" in particular, a subject dear to the heart of
the Bard, can any one conversant with his genius imagine that he
welcomed its growth or celebrated its fruit with such "capon craws" as
these?

"Upo' this tree there grows sic fruit,
Its virtues a' can tell, man;
It raises man aboon the brute,
It mak's him ken himsel', man.
Gif ance the peasant taste a bit,
He's greater than a lord, man,
An' wi' a beggar shares a mite
O' a' he can afford, man. "

There are eleven stanzas, of which the best, compared with the "A
man's a man for a' that" of Burns, sounds like a cracked pipkin
against the "heroic clang" of a Damascus blade. That it is extant in
the handwriting of the poet cannot be taken as a proof that it is his
own composition, against the internal testimony of utter want of all
the marks by which we know him--the Burns-stamp, so to speak, which is
visible on all that ever came from his pen. Misled by his handwriting,
I inserted in my former edition of his works an epitaph, beginning

"Here lies a rose, a budding rose,"

the composition of Shenstone, and which is to be found in the
church-yard of Hales-Owen: as it is not included in every edition of
that poet's acknowledged works, Burns, who was an admirer of his
genius, had, it seems, copied it with his own hand, and hence my
error. If I hesitated about the exclusion of "The Tree of Liberty,"
and its three false brethren, I could have no scruples regarding the
fine song of "Evan Banks," claimed and justly for Miss Williams by Sir
Walter Scott, or the humorous song called "Shelah O'Neal," composed by
the late Sir Alexander Boswell.