[Sidenote: HIS EDUCATION]
Another influence in Burns's life came from his elementary education. There were no ancient classics studied in the school which he attended,—fortunately, perhaps, for his best work is free from the outworn classical allusions which decorate the bulk of eighteenth-century verse. In the evening he listened to tales from Scottish history, which stirred him deeply and made him live in a present world rather than in the misty region of Greek mythology. One result of this education was the downright honesty of Burns's poems. Here is no echo from a vanished world of gods and goddesses, but the voice of a man, living, working, feeling joy or sorrow in the presence of everyday nature and humanity.
For another formative influence Burns was indebted to Betty Davidson, a relative and an inmate of the household, who carried such a stock of old wives' tales as would scare any child into fits on a dark night. Hear Burns speak of her:
"She had, I suppose, the largest collection in the country of tales and songs concerning devils, ghosts, fairies, brownies, witches, warlocks, spunkies, kelpies, elf-candles, dead-lights, wraiths, apparitions, cantrips, giants, enchanted towers, dragons, and other trumpery. This cultivated the latent seeds of poetry, but had so strong an effect upon my imagination that to this hour, in my nocturnal rambles, I sometimes keep a sharp look-out in suspicious places."
Reflections of these grotesque superstitions appear in such poems as the "Address to the Deil" and "Tam o' Shanter." The latter is commonly named as one of the few original works of Burns, but it is probably a retelling of some old witch-tale of Betty Davidson.
[Sidenote: EVIL ELEMENTS]
The evil influence in Burns's life may be only suggested. It leads first to the tavern, to roistering and dissipation, to entanglements in vulgar love affairs; then swiftly to the loss of a splendid poetic gift, to hopeless debts, to degrading poverty, to an untimely death. Burns had his chance, if ever poet had it, after the publication of his first book (the famous Kilmarnock edition of 1786) when he was called in triumph to Edinburgh. There he sold another edition of his poems for a sum that seemed fabulous to a poor crofter; whereupon he bought a farm and married his Jean Armour. He was acclaimed throughout the length and breadth of his native land, his poems were read by the wise and by the ignorant, he was the poet of Scotland, and the nation, proud of its gifted son, stood ready to honor and follow him. But the old habits were too strong, and Burns took the downhill road. To this element of dissipation we owe his occasional bitterness, railing and coarseness, which make an expurgated edition of his poems essential to one who would enjoy the reading.
[Illustration: THE VILLAGE OF TARBOLTON, NEAR WHICH BURNS LIVED
WHEN ABOUT NINETEEN YEARS OLD]
There is another element, often emphasized for its alleged influence on Burns's poetry. During his lifetime the political world was shaken by the American and French revolutions, democracy was in the air, and the watchwords "Liberty, Equality, Fraternity" inspired many a song besides the Marseillaise and many a document besides the Declaration of Independence. That Burns was aware of this political commotion is true, but he was not much influenced by it. He was at home only in his own Scottish field, and even there his interests were limited,—not to be compared with those of Walter Scott, for example. When the Bastille was stormed, and the world stood aghast, Burns was too much engrossed in personal matters to be greatly moved by distant affairs in France. Not to the Revolution, therefore, but to his Scottish blood do we owe the thrilling "Scots Wha Hae," one of the world's best battle songs, not to the new spirit of democracy abroad but to the old Covenanter spirit at home do we owe "A Man's a Man for a' That" with its assertion of elemental manhood.
THE SONGS OF BURNS. From such an analysis of Burns's life one may forecast his subject and his method. Living intensely in a small field, he must discover that there are just two poetic subjects of abiding interest. These are Nature and Humanity, and of these Burns must write from first-hand knowledge, simply, straightforwardly, and with sincerity. Moreover, as Burns lives in an intense way, reading himself rather than books, he must discover that the ordinary man is more swayed by strong feeling than by logical reasons. He will write, therefore, of the common emotions that lie between the extremes of laughter and tears, and his appeal will be to the heart rather than to the head of his reader.