Robert Burns (25 Jan 1759-21 Jul 1796) is widely regarded as the national bard of Scotland. He was a gifted poet and lyricist from relatively humble origins. Often called the ‘ploughman poet’ he was intent on exploring the human condition through joyful use of (Scottish) English and Scots language. His works speak to the heart and still resonate with audiences in Scotland and across the world. On such a night, one might be tempted to exclaim, “Whaur’s yer Wullie Shakespeare noo?” (Trans. “Where is your William Shakespeare now?”). This was the response of an excited Scottish audience member after a performance of a new play in mid 18th century Edinburgh. [1] As an archivist at the Shakespeare Birthplace Trust, it’s also a pertinent question. Where is “Wullie” on Burns’s Night?
The audience member’s outburst is actually quite revealing. It tells us that in mid-18th century Scotland Shakespeare had become short-hand for the pinnacle of literary excellence. It is therefore not surprising to find that Robert Burns was a great admirer of William Shakespeare. Burns’ personal correspondence (1787-1789) contains frequent quotations of Shakespeare’s works, including King Lear, Othello and Romeo and Juliet. [2] In England over the 18th century we see Shakespeare becoming increasingly exalted with the first significant celebrations in his name taking place in 1769 in Stratford-upon-Avon and London, so it’s interesting to see his influence further afield. From the Scottish perspective, the later 18th century saw an intense blossoming of intellectual achievements in the Scottish Enlightenment, which explains the audience member’s hope and confidence that a Scottish poet might rival Shakespeare. However, should we view Burns as a challenge to Shakespeare?
As you may have already picked up on, the two great bards have a number of things in common. They were both from relatively humble backgrounds, but with access to learning. They were influenced by and became leading lights in uniquely creative moments in history, the English Renaissance and the Scottish Enlightenment. They had great success in their day, but attracted criticisms of being provincial and populist and were viewed as humble outsiders by the establishments of the day- the ‘heaven-taught ploughman’ and the ‘upstart crow’. However, their literary works rise above these labels through their rich use of language, which is inventive and agile - benefiting from the influence of their ‘provincial tongues’ – and they still have the power to excite and move audiences today.
Possibly then the answer to the question “Whaur’s yer Wullie Shakespeae noo?” is “he's behind you!” I think in recognising the importance of Shakespeare to Burns – both in terms of literary influence, and in perhaps defining the role of national bard itself, it makes a fallacy of any affected rivalry. I’d invite you to enjoy both national bards without contention, and I’ll leave you with a Robert Burns poem inspired by William Shakespeare’s King Lear. [3]
It’s also suitable reading for anyone stepping out into the chilly night to celebrate Burns’ Night this evening.
Amy Hurst, Collections Archivist
King Lear, William Shakespeare (Act 3, Scene 4, lines 28-33)
Poor naked
wretches, wheresoe'er you are,
That bide the
pelting of this pitiless storm!
How shall your
houseless heads, and unfed sides,
Your loop'd and
window'd raggedness, defend you
From seasons such
as these?
A Winter Night, Robert Burns
When biting Boreas,
fell and doure,
Sharp shivers thro'
the leafless bow'r;
When Phoebus gies a
short-liv'd glow'r,
Far
south the lift,
Dim-dark'ning thro'
the flaky show'r,
Or
whirling drift:
Ae night the storm
the steeples rocked,
Poor Labour sweet
in sleep was locked,
While burns, wi'
snawy wreeths upchoked,
Wild-eddying
swirl,
Or thro' the mining
outlet bocked,
Down
headlong hurl.
List'ning, the
doors an' winnocks rattle,
I thought me on the
ourie cattle,
Or silly sheep, wha
bide this brattle
O'
winter war,
And thro' the
drift, deep-lairing, sprattle,
Beneath
a scar.
Ilk happing bird,
wee, helpless thing!
That, in the merry
months o' spring,
Delighted me to
hear thee sing,
What
comes o' thee?
Whare wilt thou
cow'r thy chittering wing
An'
close thy e'e?
Ev'n you on murd'ring
errands toil'd,
Lone from your
savage homes exil'd,
The blood-stain'd
roost, and sheep-cote spoil'd
My
heart forgets,
While pityless the
tempest wild
Sore
on you beats. [4]
[1] The play was John Home’s Douglas. McClure, J. Derrick, Scots for Shakespeare, in Shakespeare and Scotland, edited by Willey Maley and Andrew Murphy, p218.
[2] The letters can be found online: https://burnsletters.wordpress.com/ <accessed 25/01/2017>
[3] The Canongate Burns - the complete poems and songs of Robert Burns, edited by Andrew Noble and Patrick Stewart Hogg, p13.
[4] The poem text and a partial translation can be found here: https://tspace.library.utoronto.ca/html/1807/4350/poem340.html <accessed 25/01/2017>