Still thou art blest, compar'd wi' me! An' forward, tho' I canna see, I guess an' fear ! (1-48) The tragical occurrences at Mossgiel had developed a sympa thetic nature in Burns. Observe where Burns is gifted with prophecy. This poem is an example of one phase of the romantic school. TO A MOUNTAIN DAISY On Turning One Down With The Plough, In April, 1786. Wee, modest, crimson-tipped flow'r, Thou's met me in an evil hour; For I maun crush amang the stoure 5 To spare thee now is past my pow'r, ΙΟ Alas! it's no thy neebor sweet, Wi' spreckl'd breast, When upward-springing, blythe, to greet The purpling east. Cauld blew the bitter-biting north Upon thy early, humble birth; 15 Yet cheerfully thou glinted forth Amid the storm, Scarce rear'd above the parent-earth The flaunting flow'rs our gardens yield, 20 High shelt'ring woods and wa's maun shield, But thou, beneath the random bield O' clod or stane, Adorns the histie stibble-field, Unseen, alane. 25 There, in thy scanty mantle clad, Thy snawie bosom sun-ward spread, Thou lifts thy unassuming head 30 In humble guise ; But now the share uptears thy bed, Such is the fate of artless Maid, And guileless trust, 35 Till she, like thee, all soil'd is laid 40 Low i' the dust. Such is the fate of simple Bard, On life's rough ocean luckless starr'd! Of prudent lore, Till billows rage, and gales blow hard, And whelm him o'er ! Such fate to suffering worth is giv'n, Who long with wants and woes has striv'n, 45 By human pride or cunning driven To mis'ry's brink, Till wrench'd of ev'ry stay but Heav'n Ev'n thou who mourn'st the Daisy's fate, Till crush'd beneath the furrow's weight, (1-54) Compare Bryant's treatment of his fringed gentian and Emerson's treatment of his rhodora with Burns' treatment of his daisy. A tragical prophetic strain is noticeable, and reasons may be found in the life of Burns for such. (37-42) Cf. Pope, Essay On Man: "On life's vast ocean diversely we sail, Reason the card, but passion is the gale." For a fine appreciation of this poem, read Wordsworth's "Mossgiel Farm." Burns, with high seriousness, has again sounded the true pathos of human life. HIGHLAND MARY Ye banks, and braes, and streams around The castle o' Montgomery, Green be your woods, and fair your flowers, 5 There simmer first unfauld her robes, ΙΟ For there I took the last fareweel How sweetly bloom'd the gay green birk, As underneath their fragrant shade I clasp'd her to my bosom ! 20 Wi' mony a vow, and lock'd embrace, And, pledging aft to meet again, We tore oursels asunder; But Oh I fell death's untimely frost, That nipt my flower sae early! Now green's the sod, and cauld's the clay, 25 O pale, pale now those rosy lips, I aft hae kiss'd sae fondly! 30 And clos'd for aye the sparkling glance, That heart that lo'ed me dearly! Shall live my Highland Mary. Where was this poem written, and what caused him to write it? What was the actual romance of his parting from Mary? In this passionate outburst of grief there is genuine feeling. Cf. "To Mary In Heaven," which he had written three years earlier. THE BANKS OF DOON Ye banks and braes o' bonnie Doon, How can ye bloom sae fresh and fair; How can ye chant, ye And I sae weary, fu' o' care! 5 Thou❜lt break my heart, thou warbling bird, ΙΟ That wantons thro' the flowering thorn: Oft hae I rov'd by bonnie Doon, To see the rose and woodbine twine; And fondly sae did I o' mine. 15 And my What occasioned the composition of this lyric? Compare this third version with the one originally struck off, and with the second. |