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The World's Greatest Books [Volumes 1-15, 17-20]

Электронная книга - «The World's Greatest Books [Volumes 1-15, 17-20]». Краткое содержание книги:

Антология содержит:
The World's Greatest Books — Volume 01 — Fiction от Неизвестный
The World's Greatest Books — Volume 02 — Fiction от Неизвестный
The World's Greatest Books — Volume 03 — Fiction от Неизвестный
The World's Greatest Books — Volume 04 — Fiction от Неизвестный
The World's Greatest Books — Volume 05 — Fiction от Неизвестный
The World's Greatest Books — Volume 06 — Fiction от Неизвестный
The World's Greatest Books — Volume 07 — Fiction от Неизвестный
The World's Greatest Books — Volume 08 — Fiction от Неизвестный
The World's Greatest Books — Volume 09 — Lives and Letters от Неизвестный
The World's Greatest Books — Volume 10 — Lives and Letters от Неизвестный
The World's Greatest Books — Volume 11 — Ancient and Mediæval History от Неизвестный
The World's Greatest Books — Volume 12 — Modern History от Неизвестный
The World's Greatest Books — Volume 13 — Religion and Philosophy от Неизвестный
The World's Greatest Books — Volume 14 — Philosophy and Economics от Неизвестный
The World's Greatest Books — Volume 15 — Science от Неизвестный
The World's Greatest Books — Volume 17 — Poetry and Drama от Неизвестный
The world's greatest books от Mee, Arthur, 1875-1943, joint editor & Hammerton, John Alexander, Sir, 1871-1949, joint editor & McClure, S. S. (Samuel Sidney), 1857-1949, joint editor
The World's Greatest Books — Volume 19 — Travel and Adventure от Неизвестный
The World's Greatest Books — Volume 20 — Miscellaneous Literature and Index от Неизвестный
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II.--The Loves of a Peasant Poet

Just before their father's death, Robert and Gilbert took the cold and ungrateful farm of Mossgiel, in the parish of Mauchline, to which the family now removed. The four years of Burns's connection with this place were the most important of his life. It was then that his genius developed its highest energies; on the works produced in these years his fame was first established, and must ever continue mainly to rest; it was then also that his personal character came out in all its brightest lights, and in all but its darkest shadows; and indeed from the commencement of this period the history of the man may be traced, step by step, in his own immortal writings.

Burns now began to know that Nature had meant him for a poet; and diligently, though as yet in secret, he laboured in what he felt to be his destined vocation. He was never more productive than at this time, when he wrote such skits on the kirk and its associates as "The Twa Herds" (pastors), "Holy Willie's Prayer," "The Holy Fair," and "The Ordination." "Hallowe'en," a descriptive poem, perhaps even more exquisitely wrought than "The Holy Fair," also belongs to the Mossgiel period, as does an even more notable effort.

Burns had often remarked to his brother that there was something peculiarly venerable in the phrase, "Let us worship God," used by a decent, sober head of a family introducing family worship. To this sentiment we are indebted for "The Cottar's Saturday Night," the hint of the plan and title of which were taken from Fergusson's "Farmer's Ingle." It is, perhaps, of all Burns's pieces, the one whose exclusion from the collection, were such a thing possible nowadays, would be the most injurious, if not to the genius, at least to the character of the man. In spite of many feeble lines and some heavy stanzas, it appears to me that even his genius would suffer more in estimation by being contemplated in the absence of this poem than of any other single performance he has left us. Loftier flights he certainly has made, but in these he remained but a short while on the wing, and effort is too often perceptible; here the motion is easy, gentle, placidly undulating.

Burns's art had now reached its climax; but it is time to revert more particularly to his personal history. In this his loves very nearly occupy the chief place. That they were many, his songs prove; for in those days he wrote no love-songs on imaginary heroines. "Mary Morison," "Behind yon hills where Lugar flows," and "On Cessnock banks there lives a lass," belong to this date; and there are three or four inspired by Mary Campbell--"Highland Mary"--the object of by far the deepest passion Burns ever knew, a passion which he has immortalised in the noblest of his elegiacs, "To Mary in Heaven."

Farming had, of course, to engage his attention as well as love-making, but he was less successful in the one than in the other. The first year of Mossgiel, from buying bad seed, the second from a late harvest, he lost half his crops. In these circumstances, he thought of proceeding to the West Indies. Presently he had further cause for contemplating an escape from his native land. Among his "flames" was one Jean Armour, the daughter of a mason in Mauchline, where she was the reigning toast. Jean found herself "as ladies wish to be that love their lords." Burns's worldly circumstances were in a most miserable state when he was informed of her condition, and he was staggered. He saw nothing for it but to fly the country at once.

Meanwhile, meeting Jean, he yielded to her tears, and gave her a written acknowledgment of marriage, valid according to Scottish law. Her father's wrath was not appeased thereby. Burns, confessing himself unequal to the support of a family, proposed to go immediately to Jamaica in search of better fortunes. He offered, if this were rejected, to abandon his farm, already a hopeless concern, and earn at least bread for his wife and children as a day labourer at home. But nothing would satisfy Armour, who, in his indignation, made his daughter destroy the written evidence of her "marriage."

III.--Burns at His Zenith

Such was his poverty that he could not satisfy the parish officers; and the only alternative that presented itself to him was America or a gaol. A situation was obtained for him in Jamaica, but he had no money to pay his passage. It occurred to him that the money might be raised by publishing his poems; and a first edition, printed at Kilmarnock in 1786, brought him nearly £20, out of which he paid for a steerage passage from the Clyde. "My chest was on the road to Greenock," he tells; "I had composed the last song I should ever measure in Caledonia, 'The gloomy night is gathering fast,' when a letter from Dr. Blacklock to a friend of mine overthrew all my schemes, by opening new prospects to my poetic ambition."

Blacklock, the blind divine upon whom Johnson "looked with reverence," had read the newly published poems, and it was his praise of them that directly prevented Burns from expatriating himself. "His opinion that I would meet with encouragement in Edinburgh fired me so much that away I posted for that city, without a single acquaintance, or a single letter of introduction. The baneful star that had so long shed its blasting influence in my zenith for once made a revolution to the nadir." In Edinburgh, which Burns reached in November, 1786, he was introduced by Blacklock to all the literati, and within a fortnight he was writing to a friend: "I am in a fair way of becoming as eminent as Thomas à Kempis or John Bunyan; and you may expect to see my birthday inscribed among the wonderful events in the Poor Robin and Aberdeen Almanacks, along with the Black Monday and the Battle of Bothwell Bridge."

But he bore his honours in a manner worthy of himself. "The attentions he received," says Dugald Stewart, "from all ranks and descriptions of persons were such as would have turned any head but his own. I cannot say that I could perceive any unfavourable effect which they left on his mind." Scott, then a lad of fifteen, met him, and wrote a vivid description of his appearance:

"His person was strong and robust; his manners rustic, not clownish; a sort of dignified plainness and simplicity, which received part of its effect, perhaps, from one's knowledge of his extraordinary talents. His features are represented in Mr. Nasmyth's picture, but to me it conveys the idea that they are diminished as if seen in perspective. I think his countenance was more massive than it looks in any of the portraits. I would have taken the poet, had I not known what he was, for a very sagacious country farmer of the old Scotch school--i.e., none of your modern agriculturists, who keep labourers for their drudgery, but the douce gudeman who held his own plough. There was a strong expression of sense and shrewdness in all his lineaments; the eye alone, I think, indicated the poetical character and temperament. It was large, and of a dark cast, which glowed (I say literally glowed) when he spoke with feeling or interest. I never saw such another eye in a human head, though I have seen the most distinguished men of my time. His conversation expressed perfect self-confidence, without the slightest presumption. He was like a farmer dressed in his best to dine with the laird. I do not speak in malam partem when I say I never saw a man in company with his superiors in station and information more perfectly free from either the reality or the affectation of embarrassment. I was told that his address to females was extremely deferential, and always with a turn either to the pathetic or humorous, which engaged their attention particularly. I have heard the late Duchess of Gordon remark this."

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