Abstract
Burns’ own traditional environment provided the inspiration for much of his artistry. At first this had been reflexive; but finally it was reflective. His closeness to his own milieu on a variety of levels made his work appeal: his sensitivity to the world he shared with his audience enabled him to create well-turned phrases, characters, memorable lines, and songs which became a part of the very traditional culture which had initially inspired his work — both poems and songs. He borrowed from tradition but amply repaid that loan by creating works of art which in and through time have replenished that traditional fund.
… wherein is he great, except that his own songs at once found receptive ears amongst the people; they were re-echoed by the binders and reapers in the field, and he was greeted with them by his boon-companions in the alehouse.
Goethe
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Chapter 4 Tradition’s Use of Burns: the Songs And Poems
James Ballantine (comp. and ed.), Hundredth Birthday of Robert Burns ( Edinburgh: A Fullarton & Co., 1859 ), p. 287.
See the introductory material to Gershon Legman (ed.), The Merry Muses of Caledonia, Collected and in part written by Robert Burns (New Hyde Park, New York: University Books, 1965).
J. De Lancey Ferguson (ed.), The Letters of Robert Burns, 2 vols (Oxford: Clarendon Press, 1931), 1: 116–17, no. 126. This transcription differs slightly from the version printed in Ferguson: it is taken from Manuscript 586, the Watson Manuscript, National Library of Scotland.
David Daiches, Robert Burns ( London: Andre Deutsch, 1966 ), p. 233.
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© 1984 Mary Ellen Brown
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Brown, M.E. (1984). Tradition’s Use of Burns: The Songs and Poems. In: Burns and Tradition. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-07087-9_4
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DOI: https://doi.org/10.1007/978-1-349-07087-9_4
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