Word Portraits of Famous Writers. Various

      ROBERT BURNS

       1759–1796

       Table of Contents

      Currie’s

       Life of Burns.

      “Burns … was nearly five feet ten inches in height, and of a form that indicated agility as well as strength. His well-raised forehead, shaded with black curling hair, indicated extensive capacity. His eyes were large, dark, full of ardour and intelligence. His face was well-formed, and his countenance uncommonly interesting and expressive. His mode of dressing, which was often slovenly, and a certain fulness and bend in his shoulders, characteristic of his original profession, disguised in some degree the natural symmetry and elegance of his form. The external appearance of Burns was most strikingly indicative of the character of his mind. On a first view, his physiognomy had a certain air of coarseness, mingled, however, with an expression of deep penetration, and of calm thoughtfulness, approaching to melancholy. … His dark and haughty countenance easily relaxed into a look of good-will, of pity, or of tenderness, and, as the various emotions succeeded each other in his mind, assumed with equal ease the expression of the broadest humour, of the most extravagant mirth, of the deepest melancholy, or of the most sublime emotion. The tones of his voice happily corresponded with the expression of his features, and with the feelings of his mind. When to these endowments are added a rapid and distinct apprehension, a most powerful understanding, and a happy command of language—of strength as well as brilliancy of expression—we shall be able to account for the extraordinary attractions of his conversation—for the sorcery which in his social parties he seemed to exert on all around him.”

      Lockhart’s

       Life of Scott.

      “His person was strong and robust; his manners rustic, not clownish; a sort of dignified plainness and simplicity, which received part of its effect, perhaps, from one’s knowledge of his extraordinary talents. His features are represented in Mr. Nasmyth’s picture, but to me it conveys the idea that they are diminished, as if seen in perspective. I think his countenance was more massive than it looks in any of the portraits. I would have taken the poet, had I not known what he was, for a very sagacious country farmer of the old Scotch school; i.e. none of your modern agriculturists, who keep labourers for their drudgery, but the douce gudeman who held his own plough. There was a strong expression of sense and shrewdness in all his lineaments; the eye alone, I think, indicated the poetical character and temperament. It was large, and of a dark cast, and glowed (I say literally glowed) when he spoke with feeling or interest. I never saw such another eye in a human head, though I have seen the most distinguished men in my time. His conversation expressed perfect self-confidence, without the slightest presumption. Among the men who were the most learned of their time and country, he expressed himself with perfect firmness, but without the least intrusive forwardness; and when he differed in opinion, he did not hesitate to express it firmly, yet, at the same time, with modesty. I do not remember any part of his conversation distinctly enough to be quoted, nor did I ever see him again, except in the street, where he did not recognise me, as I could not expect he should.”—1787.

      Dumfries Journal, 1796.

      “His personal endowments were perfectly correspondent to the qualifications of his mind, his form was manly, his action energy itself, devoid in a great measure perhaps of those graces, of that polish, acquired only in the refinement of societies where in early life he could have no opportunities of mixing; but where, such was the irresistible power of attraction that encircled him, though his appearance and manners were always peculiar, he never failed to delight and to excel. His figure seemed to bear testimony to his earlier destination and employments. It seemed rather moulded by nature for the rough exercises of agriculture, than the gentler cultivation of the Belles Lettres. His features were stamped with the hardy character of independence, and the firmness of conscious, though not arrogant, pre-eminence; the animated expressions of countenance were almost peculiar to himself; the rapid lightenings of his eye were always the harbingers of some flash of genius, whether they darted the fiery glances of insulted and indignant superiority, or beamed with the impassioned sentiments of fervent and impetuous affections. His voice alone could improve upon the magic of his eye; sonorous, replete with the finest modulations, it alternately captivated the ear with the melody of poetic numbers, the perspicuity of nervous reasoning, or the ardent sallies of enthusiastic patriotism.”