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With musing-deep, astonish’d stare,

I view’d the heavenly-seeming Fair;

A whisp’ring throb did witness bear

Of kindred sweet,

5 When with an elder Sister’s air

She did me greet.

‘All hail! my own inspired Bard!

In me thy native Muse regard!

Nor longer mourn thy fate is hard,

10 Thus poorly low!

I come to give thee such reward,

As we bestow.’

‘Know, the great Genius of this land

Has many a light, aerial band,

15 Who, all beneath his high command,

Harmoniously,

As Arts or Arms they understand,

Their labors ply.

‘They SCOTIA’S Race among them share:

20 Some fire the Sodger on to dare;

Some rouse the Patriot up to bare

Corruption’s heart;

Some teach the Bard, a darling care,

The tuneful Art.

25 ’Mong swelling floods of reeking gore, smoking

They, ardent, kindling spirits pour;

Or,’ mid the venal Senate’s roar,

They, sightless, stand,

To mend the honest Patriot-lore,

30 And grace the hand.

‘And when the Bard, or hoary Sage,

Charm or instruct the future age,

They bind the wild Poetic rage

In energy;

35 Or point the inconclusive page

Full on the eye.

‘Hence, FULLARTON, the brave and young;10

Hence, DEMPSTER’S zeal-inspirèd tongue;11

Hence, sweet, harmonious BEATTIE sung12

40 His “Minstrel lays”;

Or tore, with noble ardour stung,

The Sceptic’s bays’.

‘To lower Orders are assign’d

The humbler ranks of Human-kind,

45 The rustic Bard, the lab’ring Hind,

The Artisan;

All chuse, as various they’re inclin’d,

The various man.

‘When yellow waves the heavy grain,

50 The threat’ning Storm some strongly rein,

Some teach to meliorate the plain,

With tillage-skill;

And some instruct the Shepherd-train,

Blythe o’er the hill.

55 ‘Some hint the Lover’s harmless wile;

Some grace the Maiden’s artless smile;

Some soothe the Lab’rer’s weary toil

For humble gains,

And make his cottage-scenes beguile

60 His cares and pains.

‘Some, bounded to a district-space,

Explore at large Man’s infant race,

To mark the embryotic trace

Of rustic Bard;

65 And careful note each op’ning grace,

A guide and guard.

‘Of these am I — COILA my name;

And this distrìct as mine I claim,

Where once the Campbells, chiefs of fame,

70 Held ruling pow’r:

I mark’d thy embryo-tuneful flame,

Thy natal hour.

‘With future hope I oft would gaze,

Fond, on thy little early ways;

75 Thy rudely caroll’d, chiming phrase,

In uncouth rhymes;

Fir’d at the simple, artless lays

Of other times.

‘I saw thee seek the sounding shore,

80 Delighted with the dashing roar;

Or when the North his fleecy store

Drove thro’ the sky,

I saw grim Nature’s visage hoar,

Struck thy young eye.

85 ‘Or when the deep green-mantled Earth

Warm-cherish’d ev’ry floweret’s birth,

And joy and music pouring forth

In ev’ry grove;

I saw thee eye the gen’ral mirth

90 With boundless love.

‘When ripen’d fields and azure skies

Call’d forth the Reaper’s rustling noise,

I saw thee leave their ev’ning joys,

And lonely stalk,

95 To vent thy bosom’s swelling rise,

In pensive walk.

‘When youthful Love, warm-blushing, strong,

Keen-shivering, shot thy nerves along,

Those accents grateful to thy tongue,

100 Th’ adored Name,

I taught thee how to pour in song

To soothe thy flame.

‘I saw thy pulse’s maddening play,

Wild-send thee Pleasure’s devious way,

105 Misled by Fancy’s meteor-ray,

By Passion driven;

But yet the light that led astray

Was light from Heaven.

‘I taught thy manners-painting strains

110 The loves, the ways of simple swains,

Till now, o’er all my wide domains

Thy fame extends;

And some, the pride of Coila’s plains,

Become thy friends.

115 ‘Thou canst not learn, nor can I show,

To paint with Thomson’s landscape glow;

Or wake the bosom-melting throe

With Shenstone’s art;

Or pour, with Gray, the moving flow

120 Warm on the heart.

‘Yet, all beneath th’unrivall’d Rose,

The lowly Daisy sweetly blows;

Tho’ large the forest’s Monarch throws

His army shade,

125 Yet green the juicy Hawthorn grows

Adown the glade.

‘Then never murmur nor repine;

Strive in thy humble sphere to shine;

And trust me, not Potosi’s 13 mine,

130 Nor King’s regard,

Can give a bliss o’ermatching thine,

A rustic Bard.

‘To give my counsels all in one:

Thy tuneful flame still careful fan;

135 Preserve the dignity of Man,

With Soul erect;

And trust the UNIVERSAL PLAN

Will all protect.

‘And wear thou this’ — She solemn said,

140 And bound the Holly round my head:

The polish’d leaves and berries red

Did rustling play;

And, like a passing thought, she fled

In light away.

The poem is structured in two ‘Duans’ which Burns tells us in his footnote is a term derived from Macpherson’s Ossian where it signifies different sections within a digressive poem. This may have been slightly exhibitionistic, given that contemporary Edinburgh’s enthusiasm for the ‘Highland’ poem was so great that it was even subject to balletic theatrical performance. The games he played with the local literati were, however, usually of a deeper kind. A constant adopter, and adapter of a catholic range of earlier poetic forms, what Burns may be doing here is taking a formal structural device from Macpherson in order to deliver an inverted content. In The Vision we have not a poet melancholically wandering in a ghostly landscape littered with the Celtic-warrior dead, a culture irretrievably lost, but a virile poet celebrating an Ayrshire landscape energised by the power and beauty of its rivers and its organic, living connection with its heroic dead. The intrusion of the supernatural in this poem is not elegiac but consoling and celebratory. The Second Duan, indeed, not only reassures the poet about the nature and success of his creative career but integrates this individual success into an efflorescent Ayrshire, a land full of land-owning local heroes whose varied talents are benevolently directed to the nation’s common good. Here the optimistic energies and anticipations of the Scottish Enlightenment seem to be yielding a rich harvest.

This poem has always been deeply controversial. Daiches (pp. 134–7) sees the poem as broken-backed with the anglicised, literati-pleasing second Duan betraying the vernacular brilliance of the first. Crawford in an extended treatment of the poem sees it as one of Burns’s most complete masterpieces with the stanzas xiv-xviii of the second Duan achieving ‘a unity of the personal and elemental of the sort we associate with poets like Shakespeare and Yeats’. Nor does he think Burns was involved in any kind of sycophancy:

To regard these stanzas as flattery of the local nobility and nothing more would be to misunderstand Burns’s intention completely. The Vision is the work, above all others, in which Burns shows himself aware of the contemporary national renaissance: a movement which, in many spheres of life, from agricultural improvement to moral philosophy, was led by the most energetic and forward-looking of the landed gentry. (pp. 182–92)

The Vision, then, is an extraordinarily ambitious poem, which attempts to resolve, in a related fashion, the poet’s personal cri-sis-ridden anxieties with those of the nation and perceives a happy-ending for both. That it has such national as well as personal aspirations is partly deducible from its main source which was a forgery also entitled The Vision which Ramsay alleged as being translated in 1524 from a fourteenth-century Latin text dealing with a warrior spirit appearing before the depressed narrator who is agonised by John Baliol’s appeasement to England’s King Edward. McGuirk writes (p. 209) that ‘Ramsay’s “sact” bears a thistle and a prophecy of Scottish history; “Coila” bears holly and a prophecy of Burns’s poetic destiny.’ Coila, however, also bears a prophecy of a revived Scotland and it is here that lies the poem’s main difficulty and, indeed, final failure.

The largely successful, vernacular first Duan is one of the most beautiful and moving in all Burns’s poetry. The varied movements of men and beasts through a winterscape lead to arguably the best, most compressed of all accounts by Burns of the toll of farm life on him with its exhausting labour and its rat infested restricted living space culminating in the chronic, constant pressure of poverty and his volatile inadequacy in making a prudent living in the face of it. This bitter introspection is tangibly present to us and it is typical of Burns that such detailed realism is always a prelude to the entry, usually partly comical, of the supernatural into his poetry. Hence the appearance of his holly-crowned, gorgeously-legged Muse. Initially, at least the legs, this may have been based on Bess Paton but she was replaced by another evidently leggy beauty, Jean Armour. Dazzlingly beautiful in herself, this divine woman, mystically, projects the beauty of Ayrshire (ll.62–72). This celebration of Ayrshire’s spirit of place metamorphoses to celebration of the historical nation where, happily, Ayrshire’s virtues converge with those of Scotland as a whole in Burns’s archetypal Scottish hero, William Wallace. Not the least of Mrs Dunlop’s attractions for Burns was as descendant of Wallace. This is one of several poems, which confirm his early wish (Letter 55) ‘to be able to make a Song on his equal to his merits’. Hence Burns’s own footnotes outlining the unbroken lineage of Wallace to the present. Kinsley considers that ll. 107–8 refer to Mrs Dunlop’s eldest son Craigie, who became bankrupt in 1783. He died in England in 1786. This, it should be noted, is hardly the stuff of epic but the all too common experience of the economically deeply unstable world of eighteenth-century incipient capitalism.

Quite atypical of Burns, however, this poem is concerned not with the destructive, often disruptive late eighteenth-century forces of social and economic change but it is an optimistic, partly Utopian, vision or, indeed, dream of a resurrected Ayrshire/Scotland by virtue of the top-down activities of a liberal progressive land-owning and professional é lite. Thus we have not epic heroes drawn up for battle but a list of new men of virtue who tangibly seem, in varied ways, to be delivering the reformative Scottish Enlightenment project. Thus ll. 109–14 celebrate the patriotic, military valour of the Montgomeries of Coylfield. This is no distant hero-worship, however, as Burns was on fraternal terms with James Montgomerie in the merged Tarbolton Masonic Lodge in 1781. L. 115 refers to Barskimming, the home of the improving Sir Thomas Miller, Bt. (1717–89). His steam-boat innovating brother Patrick Miller (1731–1815) of Dalswinton let Ellisland to Burns in 1788. Thomas Miller had an extremely successful legal career. As Lord Barskimming he became Lord Justice Clerk in 1766 and, as Lord Glenlee, Lord President of the Court of Session in 1788. He seems the antithesis of the terrible Lord Braxfield who was to run amok in the political trials of the 1790s: ‘Though well aware that offended justice required satisfaction, he knew that the vilest criminal was entitled to a fair and dispassionate trial … he never uttered a harsh or taunting word’ (Ramsay of Ochtertyre, Scotland and Scotsmen in the Eighteenth Century, l. 343–50.) Ll. 121–6 deal with the noted Professor of Mathematics at Edinburgh Matthew Stewart and his even more celebrated son Dugald (1753–1828) who was a tangible friend to Burns in Edinburgh. As Burns wrote to Mrs Dunlop (Letter 152A) of this exceptional man: ‘It requires no common exertion of good sense and Philosophy in persons of elevated rank to keep a friendship properly alive with one much their inferior.’ The letter continues as an act of homage to Stewart’s innate democratic virtues. Ll. 127–32 refer to William Fullerton, diplomat, politician, soldier and agricultural improver who accepted Burns’s advice on the care of cattle and to whom in 1791 the poet sent songs and poems (Letters, 472, 474). Unlike the absentee, Europhile, aristocratic degenerates of The Twa Dogs who, in Fergusson’s lines, ‘… never wi’ their feet hae mett/The marches o’ their ain estate’ these men are tangible assets to Ayrshire and Scotland. Further Burns enjoys support and degrees of intimacy with the best of them. There are, indeed, significant grounds for national optimism.

The second Duan is devoted to Coila’s monologue in which she pours a cornucopia of promised gifts not only on the head of her chosen poet but over all Ayrshire by dint of the aid of her accompanying spirits (perhaps derived from The Rape of the Lock). In this very non-Burnsian happily hierarchical society, each is given according to his needs. Regarding the ‘embryonic’ Burns she gives a detailed account of the growth of the poet. Pre-Wordsworth, Burns believed that the child was father of the creative man. As a sort of angelic counsellor, she offers soothing solutions to the anxieties which, with varying intensity, preoccupied him concerning the nature of his poetic career. Ll. 235–40 are particularly memorable in dealing with the central, crucial problem in all Burns’s poetry and thought concerning the rights of the instinctual self as opposed to imposed conformity. He knew libidinal energy was essential to his art; he was never certain whether it was not only a predatory force for others but, finally, also a self-destructive one. Coila also, in a poem concerned with Scotland’s political independence, deals with his properly modest but worthy relationships to English poetry (ll. 247–8). Finally, l. 259 she reassures him that his true role as rustic poet more than compensates for the lack of money and fame. Crowning him with her holly she triumphantly asserts that:

To give my counsels all in one,

They tuneful-flame still careful fan;

Preserve the dignity of Man,

With Soul erect

And trust the Universal Plan

Will all protect.

Partly energised by his experience, social and intellectual, with Free Masonry this is a pre-Whitmanian dream of progressive, enlightened social and political virtue and not the thing itself. Ayrshire, of which Burns himself is the best witness, was a deeply frictive culture marked by severe economic instability even for the prosperous and much poverty for the rest. It was also subject to extreme clerical bigotry. The aesthetic stresses we feel in the second Duan derive from the forced, if not false, historical vision Burns here uncharacteristically adopts. There is, of course, the problem, significantly discussed in Issac Kramnick’s Republicanism and Bourgeois Radicalism: Political Ideology in Late Eighteenth-Century England and America (Cornell U.P.: 1990), as to whether such reformists could deliver their partly practical, partly Utopian project. They were not to be given the opportunity. By the mid 1790s these progressives were, with their poet laureate, in the deepest of trouble as Burkean derived hierarchy and economics brutally reinherited the world. Dugald Stewart like his fellow Whig academics was suspiciously confined. At least, unlike the octogenarian Thomas Reid, he was not roughed up. The admired James Beattie (1735–1803), whose The Minstrel influenced Wordsworth, and, as ll. 123–6 state, allegedly defeated David Hume’s atheism, relapsed, like James Boswell, into a semi-hysterical Toryism to the degree of involving himself in drinking bouts with the frequently besotted Henry Dundas.

1 Duan, a term of Ossian’s for the different divisions of a digressive Poem. See his Cath-Loda, Vol. 2. of M’Pherson’s Translation. R.B.

2 The Wallaces. R.B.

3 William Wallace.

4 Adam Wallace of Richardton, cousin to the immortal Preserver of Scottish Independence.

5 Wallace Laird of Craigie, who was second in Command, under Douglas Earl of Ormond, at the famous battle on the banks of Sark, fought anno 1448. That glorious victory was principally owing to the judicious conduct and intrepid valour of the gallant Laird of Craigie, who died of his wounds after the action. R.B.

6 Coilus King of the Picts, from whom the district of Kyle is said to take its name, lies buried, as tradition says, near the family-seat of the Montgomeries of Coilsfield, where his burial place is still shown. R.B.

7 Barskimming, the seat of the Lord Justice Clerk. R.B.

8 Catrine, the seat of the late Doctor, and present Professor [Dugald] Stewart. R.B. His father was Matthew Stewart, also Professor of Moral Philosophy at Edinburgh.

9 Colonel Fullerton. R.B.

10 William Fullerton.

11 George Dempster, M.P. (1732–1818)

12 Dr James Beattie (1735–1803).

13 Commenting on ‘Potosi’s mine’ (in Bolivia, South America) to Peter Hill, Burns wrote: ‘these glittering cliffs of Potosi where the all-sufficient, all powerful Deity, WEALTH, holds his immediate court of joys and pleasures’ (Letter 325).