Menoggling; Meeting History

People all over the globe know something about Robert Burns—even if unwittingly. His reworking of a much older Scottish folk song, Auld Lang Syne, has become a staple of New Year celebrations worldwide. His ode to the 'brotherhood of man' tells us, "A Man's a Man for a' That". There's a love of his romantic side when he writes of "Ae Fond Kiss". 

This is part one of two brought to you from the large museum space and environment based in Alloway (now a suburb of Ayr), which celebrates the life and works of Scotland's most famous bard. You can read the basic life story on this link.

Why the term bard rather than a poet? Well, he was an amazing poet, but he was also an active reciter of his works and a storyteller and raconteur. It was, in part, his ability to perform in this way that he rose through society and became so beloved that his birthday continues to be celebrated every year on the 25th of January.

Burns clubs and societies are everywhere, not just in Scotland but in many other countries where the Scottish diaspora settled, notably in the USA, where the fervour is almost greater than that of Rabbie's homeland. As I mentioned last week, a significant contribution of funds comes to the National Trust from the collected clubs in the States to support the work and property in Alloway. It also became apparent that quite a few staff had roots over the pond. I had the opportunity to spend a little time chatting with one young lass in particular. She had been prompted to come to Scotland in search of family history (and, as so many are, under the influence of the telly show Outlander [that's the sound of my teeth clenching, sorry]). She met a young fellow, which resulted in a wedding, and she is now working in a place she clearly adores. She was also very keen on my crochet shawl, as she is learning to crochet now - and she could recite several of Burn's works by heart, putting me well to shame!!! 

My father was good with memory recitals, too. It's a skill, no doubt about it! The modern museum building houses the expected gift shop (quality stuff at the National Trust—very little tatt), cafeteria, education room, and main exhibit space. This vast, high, barn-like space is very tastefully set out. Rather than going in an obvious sequential, chronological flow, it has grouped all related works according to subject matter. Matters of the heart, politics, social commentary... that sort of thing. There is lots of space to linger with each cabinet and absorb the Scots tongue. There are listening devices so the viewer can hear the spoken word. (It is important to understand that Scots is an independent language and is as valid for national identity as the Gaelic. In the northeast, there is also the Scots dialect of Doric, which has many words that differ from Scots.)

I really enjoyed the interactive sound bytes. My mother's family spoke strong Scots, so I grew up listening to it, although I never became fluent in it. One uncle who married into the family came from Inverurie, so he spoke the Doric. Sometimes, listening to him and Aunty Annie (his wife and mum's elder sister) was as mystifying as listening to Icelandic or Swahili!

There are many examples of Burn's writing; the notebooks are clearly well-handled by the writer, blotted and annotated in places. He had a fine script. There is, of course, a treasured first edition of the first volume of poetry printed in Kilmarnock. Six hundred and twelve copies were produced. It sold out, and another imprint was needed. This was produced in Edinburgh, 3250 copies. That, too, sold like hotcakes..., and so it went on! Beside the cabinet containing one of the original 612 is possibly my favourite part of the museum... a digitised edition of the entire first book of poems which plays delightfully with a few of the poems, including one of my favourites, "The Twa Dogs".

I spent quite a while at this spot! I will happily return and read more. Many of Burns' works stimulate artistic imagination, not least the two dogs. There is a bronze seat along the Poets Walk on the grounds and an oak-wood chair created from the original Kilmarnock printing press. Then there are the various scenes from Tam 'o Shanter.

Of course, there are plenty of portraits, sculptures, and etchings of Rabbie. Almost all of them are in the 'bust' pose. But I really liked this painting depicting Burns as the farmer. This leads us to Nature Friday and FFF—back tomorrow with part two from this visit!