Dreamthorp : $b A book of essays written in the countrySmith, Alexander
General
Dreamthorp : $b A book of essays written in the country
Smith, Alexander
Essays
Knowing but little of Dunbar's life, our interest is naturally
concentrated on what of his writings remain to us. And to modern eyes
the old poet is a singular spectacle. His language is different than
ours; his mental structure and modes of thought are unfamiliar; in his
intellectual world, as we map it out to ourselves, it is difficult to
conceive how a comfortable existence could be attained. Times, manners,
and ideas have changed, and we look upon Dunbar with a certain
reverential wonder and curiosity as we look upon Tantallon, standing up,
grim and gray, in the midst of the modern landscape. The grand old
fortress is a remnant of a state of things which have utterly passed
away. Curiously, as we walk beside it, we think of the actual human life
its walls contained. In those great fire-places logs actually burned
once, and in winter nights men-at-arms spread out big palms against the
grateful heat. In those empty apartments was laughter, and feasting, and
serious talk enough in troublous times, and births, and deaths, and the
bringing home of brides in their blushes. This empty moat was filled
with water, to keep at bay long-forgotten enemies, and yonder loop-hole
was made narrow, as a protection from long-moulded arrows. In Tantallon
we know the Douglasses lived in state, and bearded kings, and hung out
banners to the breeze; but a sense of wonder is mingled with our
knowledge, for the bothy of the Lothian farmer is even more in accordance
with our methods of conducting life. Dunbar affects us similarly. We
know that he possessed a keen intellect, a blossoming fancy, a satiric
touch that blistered, a melody that enchanted Northern ears; but then we
have lost the story of his life, and from his poems, with their wonderful
contrasts, the delicacy and spring-like flush of feeling, the piety, the
freedom of speech, the irreverent use of the sacredest names, the
"Flyting" and the "Lament for the Makars," there is difficulty in making
one's ideas of him cohere. He is present to the imagination, and yet
remote. Like Tantallon, he is a portion of the past. We are separated
from him by centuries, and that chasm we are unable to bridge properly.
Public-domain text, read in full here on John Shaqi.
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