CHRIS FREMANTLE

Some members of the ecoartnetwork responded to the short piece reflecting on Robert Burns’ To A Mouse and they kindly let me share their thoughts:

Chrissie Orr (and you can find out more about Chrissie at http://elotroladoproject.org/index.html) said,

Chris, I have always loved this poem. I was born in Scotland and  grew up hearing  the poems of Burns. My father was well known for reciting them at the Burns Suppers. I used to be able to recite this one by heart but over the years it has become more and more difficult to remember it all.  Out here in New Mexico there are not many opportunities to use it and I’m out of practice.

Chrissie

Beth Carruthers (and you can find out more about Beth at http://www.bethcarruthers.com/ or http://ecuad.academia.edu/BethCarruthers) said,

Thanks so much for this Chris

I know this poem and what I like about it is not only the commiseration and empathy, but also as you say the recognition of relationship, of being together in a world. There is indeed a very long and deep history of people being not only human. Yet so many stories have been lost through the loss of the oral traditions of record keeping. I am fond of some stories that have survived in the Irish tradition, best known might be the Story of Fintan, and parts of the Song(s) of Amergin, which was written down by monks in 3500. The intertwining of being and the shape-changing is also very common here on the Pacific coast of Canada, in the traditional Haida culture, with its oral tradition. For the Haida, it was Raven who discovered the first men (and also, separately, the first women):

“Very strange creatures they were: two legged like Raven, but otherwise very different. They had no feathers. Nor fur. They had no great beak. Their skin was pale, and they were naked except for the dark hair upon round, flat-featured heads. Instead of strong wings like raven, they had thin stick-like arms that waved and fluttered constantly. They were the first humans.”

Traditional Haida tale of Raven finding the first men, as retold in translation by Barry McWilliams in Raven Finds the First Men

The world is full of persons, not all of whom are human 🙂

Canada is chock full of descendants of Scots settlers and my grandparents had the Gaelic – although they wouldn’t teach it to their children, for fear they would become social and economic outcasts in a British colony should they have a Scots accent. Normal, at that time. I certainly got a deep sense of interspecies relationship and of being part of a living and aware world from the Sinclair side of my family.

(BTW, here, on Robbie Burns Day, there are dinners, haggis, dancing and piping galore. Simon Fraser University – where I used to both study and teach – has 3 campuses around the city of Vancouver. Each year on this day a haggis is carried behind a kilted piper and protected with a ceremonial sword as it is carried to visit all campuses as a part of the celebration ritual – all by way of public transit (tube/skytrain). It is something to be on the train when they board 🙂

Beth

and Mary Arnold commented,

Chris & Beth,

Then there are the Selkie legends — tales of love and possession, hidden and dual identities, alienation and loss, as in this old recording. http://www.youtube.com/watch?v=6zZy2Q3QY0Q

Mary

The question of the interspecies relations, and in particular those between humans and other inhabitants of the planet, is a key thread on the ecoartscotland site.  This is a brief attempt to articulate a couple of thoughts, and needs further development, but it seems appropriate to ‘get it out’ tonight and then come back to it later.

[Robert Burns is of course remembered as the ploughman poet and is Scotland’s national bard.  His birthday is remembered through Burns’ Night celebrations the world over on 25th January, and his songs are still sung, not least at New Year.]

Robert Burns’ poem, TO A MOUSE,  ON TURNING HER UP IN HER NEST WITH THE PLOUGH,  NOVEMBER, 1785, is a particular example of the way that Burns uses animals in his work, not just as metaphors and similes, but also empathetically, exploring their experience of the world in his imagination.

In “To A Mouse,” the first stanza establishes the circumstances: Burns is ploughing and ‘turns up’ the nest of a mouse.

The second stanza is an apology, not just for breaking open the nest, but for the way that man has exerted his control over the world and in particular has upset nature’s structure of relations between animals.  Burns goes on to place himself on an equal footing with the mouse, as “fellow-mortal” and “earth-born companion”.  Burns understands animals to have an “ill opinion” of man and, based on that, he empathises with the way that the mouse startles, not just at sudden exposure, but at man.

The poem goes on to describe the home of the mouse as a shelter from the harsh winter, and to justify the mouse’s theiving ways as necessary for survival.  Throughout the poem, Burns is building affinities between the animal and man.

The second stanza is a radical repositioning of man in relation to other animals, positioning the animal at the centre of a disruption caused by man and exploring the consequences through an understanding of the animal’s needs.  Framing these in terms of food, shelter and peace, Burns creates an alignment with perceived basic human needs.

The last stanza concludes with the idea that the mouse is relatively blessed, being concerned only with the present (albeit an extended present that includes preparations for winter), where Burns looks back on dreary events and forward to things unknown, but feared.

In the context of ongoing discussions about human-animal relations articulated in the works of artists as various as Erica Fielder and Kate Foster, this poem offers us a reminder that the radical creative imagination has addressed these issues over a very long period.

Burns’ works articulate a wider ethical and political concern.  This is exemplified, for instance, by the statement Burns makes in a letter in 1789, “Whatever mitigates the woes or increases the happiness of others, this is my criterion of goodness; and whatever injures society at large or any individual in it, this is my measure of iniquity.”

(Whilst Burns’ Scots language can be challenging if you are not used to it, the best approach is to speak it out loud.)

Wee, sleekit, cow’rin’, tim’rous beastie,
O, what a panic’s in thy breastie!
Thou need na start awa sae hasty,
. Wi’ bickering brattle!
I wad be laith to rin an’ chase thee,
. Wi’ murd’ring pattle!

I’m truly sorry man’s dominion
Has broken nature’s social union,
An’ justifies that ill opinion,
. Which makes thee startle
At me, thy poor earth-born companion,
. An’ fellow-mortal!

I doubt na, whyles, but thou may thieve;
What then? poor beastie, thou maun live!
A daimen icker in a thrave
. ‘S a sma’ request:
I’ll get a blessin’ wi’ the lave,
. And never miss’t!

Thy wee bit housie, too, in ruin;
Its silly wa’s the win’s are strewin’!
An’ naething, now, to big a new ane,
. O’ foggage green!
An’ bleak December’s winds ensuin’,
. Baith snell and keen!

Thou saw the fields laid bare an’ waste,
An’ weary winter comin’ fast,
An’ cozie here, beneath the blast,
. Thou thought to dwell,
‘Till, crash! the cruel coulter past
. Out thro’ thy cell.

That wee bit heap o’ leaves an’ stibble,
Has cost thee mony a weary nibble!
Now thou’s turn’d out, for a’ thy trouble,
. But house or hald,
To thole the winter’s sleety dribble,
. An’ cranreuch cauld!

But, Mousie, thou art no thy lane,
In proving foresight may be vain:
The best laid schemes o’ mice an’ men,
. Gang aft a-gley,
An’ lea’e us nought but grief and pain,
. For promis’d joy.

Still thou art blest, compar’d wi’ me!
The present only toucheth thee:
But, Och! I backward cast my e’e,
. On prospects drear!
An’ forward, tho’ I canna see,
. I guess an’ fear.