No More Learning

OF GLENRIDDEL

[These memoranda throw much light on the early days of Burns, and on
the history of his mind and compositions. Robert Riddel, of the
Friars-Carse, to whom these fragments were sent, was a good man as
well as a distinguished antiquary. ]

MY DEAR SIR,

On rummaging over some old papers I lighted on a MS. of my early
years, in which I had determined to write myself out; as I was placed
by fortune among a class of men to whom my ideas would have been
nonsense. I had meant that the book should have lain by me, in the
fond hope that some time or other, even after I was no more, my
thoughts would fall into the hands of somebody capable of appreciating
their value. It sets off thus:--

"OBSERVATIONS, HINTS, SONGS, SCRAPS OF POETRY, &c. , by
ROBERT BURNESS: a man who had little art in making money, and
still less in keeping it; but was, however, a man of some sense, a
great deal of honesty, and unbounded good-will to every creature,
rational and irrational. --As he was but little indebted to scholastic
education, and bred at a plough-tail, his performances must be
strongly tinctured with his unpolished, rustic way of life; but as I
believe they are really his own, it may be some entertainment to a
curious observer of human nature to see how a ploughman thinks, and
feels, under the pressure of love, ambition, anxiety, grief, with the
like cares and passions, which, however diversified by the modes and
manners of life, operate pretty much alike, I believe, on all the
species. "

"There are numbers in the world who do not want sense to
make a figure, so much as an opinion of their own abilities
to put them upon recording their observations, and allowing
them the same importance which they do to those which appear
in print. "--SHENSTONE.

"Pleasing, when youth is long expired, to trace
The forms our pencil, or our pen designed!
Such was our youthful air, and shape, and face,
Such the soft image of our youthful mind. "--_Ibid. _

* * * * *

_April_, 1783.

Notwithstanding all that has been said against love, respecting the
folly and weakness it lends a young inexperienced mind into; still I
think it in a great measure deserves the highest encomiums that have
been passed upon it.
If anything on earth deserves the name of rapture
or transport, it is the feelings of green eighteen in the company of
the mistress of his heart, when she repays him with an equal return of
affection.

* * * * *

_August. _

There is certainly some connexion between love and music, and poetry;
and therefore, I have always thought it a fine touch of nature, that
passage in a modern love-composition:

"As towards her cot she jogged along,
Her name was frequent in his song. "

For my own part I never had the least thought or inclination of
turning poet till I got once heartily in love, and then rhyme and song
were in a manner the spontaneous language of my heart. The following
composition was the first of my performances, and done at an early
period of life, when my heart glowed with honest warm simplicity;
unacquainted and uncorrupted with the ways of a wicked world. The
performance is indeed, very puerile and silly; but I am always pleased
with it, as it recalls to my mind those happy days when my heart was
yet honest, and my tongue was sincere. The subject of it was a young
girl who really deserved all the praises I have bestowed on her. I not
only had this opinion of her then--but I actually think so still, now
that the spell is long since broken, and the enchantment at an end.

O once I lov'd a bonnie lass. [145]

Lest my works should be thought below criticism: or meet with a
critic, who, perhaps, will not look on them with so candid and
favourable an eye, I am determined to criticise them myself.

The first distich of the first stanza is quite too much in the flimsy
strain of our ordinary street ballads: and, on the other hand, the
second distich is too much in the other extreme. The expression is a
little awkward, and the sentiment too serious. Stanza the second I am
well pleased with; and I think it conveys a fine idea of that amiable
part of the sex--the agreeables; or what in our Scotch dialect we call
a sweet sonsie lass. The third stanza has a little of the flimsy turn
in it; and the third line has rather too serious a cast. The fourth
stanza is a very indifferent one; the first line, is, indeed, all in
the strain of the second stanza, but the rest is most expletive. The
thoughts in the fifth stanza come finely up to my favourite idea--a
sweet sonsie lass: the last line, however, halts a little.