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Uzbekistan state university of world languages english language facu
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| bet | 2/8 | | Sana | 06.11.2023 | | Hajmi | 52.19 Kb. | | #94549 |
Bog'liq rasulovx LA LECTURE, Raxmonova Nargiza 2 28 guruhEkonometrikada matematik statiskaning, ММС 60 гурух Рихсибеков Исломбек МОЛИЯВИЙ ВА БОШҚАРУВ ҲИСОБИ Якуний назорат, 1679984021, Ashurov J. I raxbar fikrnomasi, Dars jadvali, BIRJA, ДБ-1ОН-жадваллари, Наивный Байес в деталях Объяснение, umotlar bazalari va, Davlatova Mushtariy Dedlie Media, kamron kurs ishi, 10-sinf Fizika olimpiada uchun, 11-sinf fizika olimpiada uchunThe purpose of my course paper is to examine the artistic originality of the poetry of Robert Burns, to obtain information about his biography and works.
To reach the aim I put forward the following tasks:
to study the biography of R. Burns;
to investigate literary style of Burns;
to analyse his romantic poem “My heart’s in the Highlands”;
to concider his romantic poetry.
The subject of my course paper is Robert Burns’s poetry
The object of my course paper is analysis of his best romantic poems.
The course paper includes introduction, main part, conclusion and list of references.
The main part includes 4 chapters.
The first chapter Robert Burns’s biography. Second chapter is dedicated to his literary style . In the third chapter is about his romantic poems. The last one analyses of the poem “My heart’s in the Highlands”
CHAPTER.I. ROBERT BURNS – HIS LIFE AND WORK
Robert Burns: a critical biography
Burns, Robert (1759–1796), poet, was born on 25 January 1759 in a two-room clay cottage built by his father (and now restored as Burns's Cottage) at Alloway, Ayrshire, the eldest of the four sons and three daughters of William Burnes (1721–1784), gardener and tenant farmer, and his wife, Agnes Brown (1732–1820), of Maybole, Ayrshire.
Burns’s father had come to Ayrshire from Kincardineshire in an endeavour to improve his fortunes, but, though he worked immensely hard first on the farm of Mount Oliphant, which he leased in 1766, and then on that of Lochlea, which he took in 1777, ill luck dogged him, and he died in 1784, worn out and bankrupt. It was watching his father being thus beaten down that helped to make Robert both a rebel against the social order of his day and a bitter satirist of all forms of religious and political thought that condoned or perpetuated inhumanity. He received some formal schooling from a teacher as well as sporadically from other sources. He acquired a superficial reading knowledge of French and a bare smattering of Latin, and he read most of the important 18th-century English writers as well as Shakespeare, Milton, and Dryden. His knowledge of Scottish literature was confined in his childhood to orally transmitted folk songs and folk tales together with a modernization of the late 15th-century poem “Wallace.” His religion throughout his adult life seems to have been a humanitarian Deism.
Proud, restless, and full of a nameless ambition, the young Burns did his share of hard work on the farm. His father’s death made him tenant of the farm of Mossgiel to which the family moved and freed him to seek male and female companionship where he would. He took sides against the dominant extreme Calvinist wing of the church in Ayrshire and championed a local gentleman, Gavin Hamilton, who had got into trouble with the kirk session (a church court) for Sabbath breaking. He had an affair with a servant girl at the farm, Elizabeth Paton, who in 1785 bore his first child, and on the child’s birth he welcomed it with a lively poem.
Development as a poet
Burns developed rapidly throughout 1784 and 1785 as an “occasional” poet who more and more turned to verse to express his emotions of love, friendship, or amusement or his ironical contemplation of the social scene. But these were not spontaneous effusions by an almost illiterate peasant. Burns was a conscious craftsman; his entries in the commonplace book that he had begun in 1783 reveal that from the beginning he was interested in the technical problems of versification.
Though he wrote poetry for his own amusement and that of his friends, Burns remained restless and dissatisfied. He won the reputation of being a dangerous rebel against orthodox religion, and, when in 1786 he fell in love with Jean Armour, her father refused to allow her to marry Burns even though a child was on the way and under Scots law mutual consent followed by consummation constituted a legal marriage. Jean was persuaded by her father to go back on her promise. Robert, hurt and enraged, took up with another woman, Mary Campbell, who died soon after. On September 3 Jean bore him twins out of wedlock.
Meanwhile, the farm was not prospering, and Burns, harassed by insoluble problems, thought of emigrating. But he first wanted to show his country what he could do. In the midst of his troubles he went ahead with his plans for publishing a volume of his poems at the nearby town of Kilmarnock. It was entitled Poems, Chiefly in the Scottish Dialect and appeared on July 31, 1786. Its success was immediate and overwhelming. Simple country folk and sophisticated Edinburgh critics alike hailed it, and the upshot was that Burns set out for Edinburgh on November 27, 1786, to be lionized, patronized, and showered with well-meant but dangerous advice.
The Kilmarnock volume was a remarkable mixture. It included a handful of first-rate Scots poems: “The Twa Dogs,” “Scotch Drink,” “The Holy Fair,” “An Address to the Deil,” “The Death and Dying Words of Poor Maillie,” “To a Mouse,” “To a Louse,” and some others, including a number of verse letters addressed to various friends. There were also a few Scots poems in which he was unable to sustain his inspiration or that are spoiled by a confused purpose. In addition, there were six gloomy and histrionic poems in English, four songs, of which only one, “It Was Upon a Lammas Night,” showed promise of his future greatness as a song writer, and what to contemporary reviewers seemed the stars of the volume, “The Cotter’s Saturday Night” and “To a Mountain Daisy.”
Burns selected his Kilmarnock poems with care: he was anxious to impress a genteel Edinburgh audience. In his preface he played up to contemporary sentimental views about the “natural man” and the “noble peasant,” exaggerated his lack of education, pretended to a lack of natural resources, and in general acted a part. The trouble was that he was only half acting. He was uncertain enough about the genteel tradition to accept much of it at its face value, and though, to his ultimate glory, he kept returning to what his own instincts told him was the true path for him to follow, far too many of his poems are marred by a naïve and sentimental moralizing.
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