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Uzbekistan state university of world languages english language facu
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| bet | 3/8 | | 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 uchunAfter Edinburgh
Edinburgh unsettled Burns, and, after a number of amorous and other adventures there and several trips to other parts of Scotland, he settled in the summer of 1788 at a farm in Ellisland, Dumfriesshire. At Edinburgh, too, he arranged for a new and enlarged edition (1787) of his Poems, but little of significance was added to the Kilmarnock selection. He found farming at Ellisland difficult, though he was helped by Jean Armour, with whom he had been reconciled and whom he finally married in 1788.
In Edinburgh Burns had met James Johnson, a keen collector of Scottish songs who was bringing out a series of volumes of songs with the music and who enlisted Burns’s help in finding, editing, improving, and rewriting items. Burns was enthusiastic and soon became virtual editor of Johnson’s The Scots Musical Museum. Later he became involved with a similar project for George Thomson, but Thomson was a more consciously genteel person than Johnson, and Burns had to fight with him to prevent him from “refining” words and music and so ruining their character. Johnson’s The Scots Musical Museum (1787–1803) and the first five volumes of Thomson’s A Select Collection of Original Scotish Airs for the Voice (1793–1818) contain the bulk of Burns’s songs. Burns spent the latter part of his life in assiduously collecting and writing songs to provide words for traditional Scottish airs. He regarded his work as service to Scotland and quixotically refused payment. The only poem he wrote after his Edinburgh visit that showed a hitherto unsuspected side of his poetic genius was “Tam o’ Shanter” (1791), a spirited narrative poem in brilliantly handled eight-syllable couplets based on a folk legend.
Meanwhile, Burns corresponded with and visited on terms of equality a great variety of literary and other people who were considerably “above” him socially. He was an admirable letter writer and a brilliant talker, and he could hold his own in any company. At the same time, he was still a struggling tenant farmer, and the attempt to keep himself going in two different social and intellectual capacities was wearing him down. After trying for a long time, he finally obtained a post in the excise service in 1789 and moved to Dumfries in 1791, where he lived until his death. His life at Dumfries was active. He wrote numerous “occasional” poems and did an immense amount of work for the two song collections, in addition to carrying out his duties as excise man. The outbreak of the French Revolution excited him, and some indiscreet outbursts nearly lost him his job, but his reputation as a good excise man and a politic but humiliating recantation saved him.
Legacy of Robert Burns
Burns was a man of great intellectual energy and force of character who, in a class-ridden society, never found an environment in which he could fully exercise his personality. It may be argued that Scottish culture in his day was incapable of providing an intellectual background that could replace the Calvinism that Burns rejected, or that Burns’s talent was squandered on an Edinburgh literati that, according to English critics, were second-raters. Yet he lived during the cultural and intellectual tumult known as the Scottish Enlightenment, and the problem was ultimately more than one of personalities. The only substitute for the rejected Calvinism seemed to be, for Burns, a sentimental Deism, a facile belief in the good heart as all, and this was arguably not a creed rich or complex enough to nourish great poetry. That Burns in spite of this produced so much fine poetry shows the strength of his unique genius, and that he has become the Scottish national poet is a tribute to his hold on the popular imagination.
Burns perhaps exhibited his greatest poetic powers in his satires. There is also a remarkable craftsmanship in his verse letters, which display a most adroit counterpointing of the colloquial and the formal. But it is by his songs that Burns is best known, and it is his songs that have carried his reputation round the world.
Burns wrote all his songs to known tunes, sometimes writing several sets of words to the same air in an endeavor to find the most apt poem for a given melody. Many songs which, it is clear from a variety of evidence, must have been substantially written by Burns he never claimed as his. He never claimed “Auld Lang Syne,” for example, which he described simply as an old fragment he had discovered, but the song we have is almost certainly his, though the chorus and probably the first stanza are old. (Burns wrote it for a simple and moving old air that is not the tune to which it is now sung, as Thomson set it to another tune.) The full extent of Burns’s work on Scottish song will probably never be known.
It is positively miraculous that Burns was able to enter into the spirit of older folk song and re-create, out of an old chorus, such songs as “I’m O’er Young to Marry Yet,” “Green Grow the Rashes, O,” and a host of others. It is this uncanny ability to speak with the great anonymous voice of the Scottish people that explains the special feeling that Burns arouses, feelings that manifest themselves in the “Burns cult.”
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