Of the republic of uzbekistan andizhan state university faculty of foreign languages department of grammar and practical course of the english language

the tenth Worthy, and the eighth Wise Man, of the world.”
Robert Burns (1759-1796) was a Scottish poet and lyricist. He is widely regarded as the national poet of Scotland and is celebrated worldwide. He is the best known of the poets who have written in the Scots language, although much of his writing is in a "light Scots dialect" of English, accessible to an audience beyond Scotland. He also wrote in standard English, and in these writings his political or civil commentary is often at its bluntest. a well-known poet and national hero of Scottish people.Robert Burns is the best loved Scottish poet, admired not only for his verse and great love-songs, but also for his character, his high spirits, 'kirk-defying', hard drinking and womanizing!
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He came to fame as a poet when he was 27 years old, and his lifestyle of wine, women and song made him famous all over Scotland. Burns began his career as a local poet writing for a local, known audience to whom he looked for immediate response, as do all artists in a traditional context. He wrote on topics of appeal both to himself and to his artistic constituency, often in a wonderfully appealing conversational style. Burns is a folk poet. He wrote for the folk, he lived with and loved, the folk told them the truth, sang of their interests, called them to fight for freedom and happiness. His freedom-loving poesies occupy the most conspicuous place in the history of the English literature, which laid a foundation for the revolutionary Romanticism of Byron and Shelley. He wrote satirical poems, love-poems, created songs, ballads etc.Heroes of his works are ordinary folk (plougher, smith, coal miner, and soldier). His heroes are so kind and courageous, brave. Works: "O, my Luve's Like a Red, Red Rose" (1794), "O Mally's Meek, Mally's Sweet", "John Barleycorn" (1776). His patriotic song "My heart's in the Highlands" (1790) is a poem of love of his motherland - Scotland.Robert Burns Scotland's national poet and pioneer of the Romantic Movement, has been hugely influential across Europe and indeed throughout the world. Burns has been translated seven times as often as Byron, with 21 Norwegian translations alone recorded since 1990; he was translated into German before the end of his short life, and was of key importance in the vernacular politics of central and Eastern Europe in the nineteenth century. This collection of essays by leading international scholars and translators traces the cultural impact of Burns' work across Europe and includes bibliographies of major translations of his work in each country covered, as well as a publication history and timeline of his reception on the continent.

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Burns, however, has been viewed alternately as the beginning of another literary tradition: he is often called a pre-Romantic poet for his sensitivity to nature, his high valuation of feeling and emotion, his spontaneity, his fierce stance for freedom and against authority, his individualism, and his antiquarian interest in old songs and legends. The many backward glances of Romantic poets to Burns, as well as their critical comments and pilgrimages to the locales of Burns’s life and work, suggest the validity of connecting Burns with that pervasive European cultural movement of the late 18h and early 19th centuries which shared with him a concern for creating a better world and for cultural renovation. Romanticism was represented by such poets as W. Blake, Byron, Shelley, and W. Scott on the one hand and the poets of the lake school on the other (W. Wordsworth, S. Coleridge, and Southey).

The first group of romanticists carries the name of Revolutionary Romanticism and the Passive Romanticists, also called Lake Poets (after the Lake District in the northwest of England where they lived), spoke for the English farmers Scottish peasants who were ruined by the industrial revolution. They idealized the patriarchal way of life during the Middle Ages. Their motto was: “Close to Nature and from Nature to God”, because they believed that religion put man at peace with the world.
The Kilmarnock edition changed Burns’s life: it sprang him away for a year and a half from the grind of agricultural routine, and it made him a public figure. Burns arrived in the capital city in the heyday of cultural nationalism, and his own person and works were hailed as evidences of a Scottish culture: the Scotsman as a peasant, close to the soil, possessing the “soul” of nature; the works as products of that peasant, in Scots, containing echoes of earlier written and oral Scottish literature.
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Burns went to Edinburgh to arrange for a new edition of his poems and was immediately taken up by the literati and proclaimed a remarkable Scot. He procured the support of the Caledonian Hunt as sponsors of the Edinburgh edition and set to work with the publisher William Creech to arrange a slightly altered and expanded edition. He was wined and dined by the taste-setters, almost without exception persons from a different class and background from his. He was the “hit” of the season, and he knew full well what was going on: he intensified aspects of his rural persona to conform to expectations. He represented the creativity of the peasant Scot and was for a season “Exhibit A” for a distinct Scottish heritage.
Burns used this time for a variety of experiments, trying on several roles. He entered into what seems to have been a platonic dalliance with a woman of some social standing, Agnes McLehose, who was herself in an ambiguous social situation her husband having been in Jamaica for some time. The relationship, whatever its true nature, stimulated a correspondence, in which Burns and Mrs. McLehose styled themselves Sylvander and Clarinda and wrote predictably elevated, formulaic, and seemingly insincere letters. Burns lacks conviction in this role; but he met more congenial persons: boon companions, males whom he joined in back-street howffs for lively talk, song, and bawdry.
If the Caledonian Hunt represented the late-18th-century crème de la crème, the Crochallan Fencibles, one of the literary and convivial clubs of the day in which members took on assumed names and personae, represented the middle ranks of society where Burns felt more at home. In the egalitarian clubs and howffs.
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Burns met more sympathetic individuals, among them James Johnson an engraver in the initial stages of a project to print all the tunes of Scotland. That meeting shifted Burns’s focus to song, which became his principal creative form for the rest of his life. The Edinburgh period provided an interlude of potentiality and experimentation. Burns made several trips to the Borders and Highlands, often being received as a notable and renowned personage. Within a year and a half Burns moved from being a local poet to one with a national reputation and was well on his way to being the national poet, even though much of his writing during this period continued an earlier versifying strain of extemporaneous, occasional poetry. But the Edinburgh period set the ground-work for his subsequent creativity, stimulated his revealing correspondence, and provided him with a way of becoming an advocate for Scotland as anonymous bard.
If Burns were received in Edinburgh as a typical Scot and a producer of genuine Scottish products, that cultural nationalism in turn channeled his love of his country—already expressed in several poems in the Kilmarnock edition—into his songs. Burns’s support for Johnson’s project is infectious; in a letter to a friend, James Candlish, he wrote in November 1787: “I am engaged in assisting an honest Scots Enthusiast, a friend of mine, who is an Engraver, and has taken it into his head to publish a collection of all our songs set to music, of which the words and music are done by Scotsmen.—This, you will easily guess, is an undertaking exactly to my taste.—I have collected, begg’d, borrow’d and stolen all the songs I could meet with.—Pompey’s Ghost, words and music, I beg from you immediately.” Here was a chance to do what he had been doing all his life—wedding text and tune—but for Scotland.