a package of letters and trinkets, all fastened round with a white ribbon, tied in a lover’s knot.  The many loves of Robert Burns all ended in a black jumping-off place, and before he had reached high noon, he tossed over the last bundle of white-ribboned missives and tumbled in after them.  The life of Burns is a tragedy, through which are interspersed sparkling scenes of gaiety, as if to retrieve the depth of bitterness that would otherwise be unbearable.  Go ask Mary Morison, Highland Mary, Agnes McLehose, Betty Alison, and Jean Armour!

* * * * *

The poems of Robert Burns fall easily into four divisions.

First, those written while he was warmly wooing the object of his affection.

Second, those written after he had won her.

Third, those written when he had failed to win her.

Fourth, those written when he felt it his duty to write, and really had nothing to say.

The first-named were written because he could not help it, and are, for the most part, rarely excellent.  They are joyous, rapturous, sprightly, dancing, and filled with references to sky, clouds, trees, fruit, grain, birds and flowers.  Birds and flowers, by the way, are peculiarly lovers’ properties.  The song and the plumage of birds, and the color and perfume of flowers are all distinctly sex manifestations.  Robert Burns sang his songs just as the bird wings and sings, and for the same reason.  Sex holds first place in the thought of Nature; and sex in the minds of men and women holds a much larger place than most of us are willing to admit.  All religious emotion and all art are born of the sex instinct.

Burns’ poems of the second variety, written after he had won her, are touched with religious emotion, or filled with vain regret and deep remorse, as the case may be, all owing to the quality and kind of success achieved, and the influence of the Dog-Star.

Burns wrote several deeply religious poems.  Now, men are very seldom really religious and contrite, except after an excess.  Following a debauch a man signs the pledge, vows chastity, writes fervently of asceticism and the need of living in the spirit and not in the senses.  Good pictures show best on a dark back-ground.  Men talk most about things they do not possess.

“The Cotter’s Saturday Night,” perhaps the most quoted of any of Burns’ poems, is plainly the result of a terrible tip to t’ other side.  Bobby had gone so far in the direction of Venusburg that he resolved on getting back, and living thereafter a staid and proper life.

In order to reform you must have an ideal, and the ideal of Burns, on the occasion of having exhausted all capacity for sin, is embodied in the “Saturday Night.”  It is all a beautiful dream.  The real Scottish cotter is quite another kind of person.  The religion of the live cotter is well seasoned with fear, malevolence and absurd dogmatism.  The amount of love, patience, excellence and priggishness shown in “The Cotter’s Saturday Night” never existed, except in a poet’s imagination.  In stanza Number Ten of that particular poem is a bit of unconscious autobiography that might as well ha’ been omitted; but in letting it stand, Burns was loyal to the thought that surged through his brain.