Address to a Haggis

In honour of Robert Burns Day on Sunday January 25, 2015, here is Burns' "Address to a Haggis":

Fair fa' your honest, sonsie face, 

Great chieftain o' the pudding-race! 

Aboon them a' yet tak your place, 

Painch, tripe, or thairm: 

Weel are ye wordy o'a grace 

As lang's my arm. 

The groaning trencher there ye fill, 

Your hurdies like a distant hill, 

Your pin was help to mend a mill 

In time o'need, 

While thro' your pores the dews distil 

Like amber bead. 

His knife see rustic Labour dight, 

An' cut you up wi' ready sleight, 

Trenching your gushing entrails bright, 

Like ony ditch; 

And then, O what a glorious sight, 

Warm-reekin', rich! 

Then, horn for horn, they stretch an' strive: 

Deil tak the hindmost! on they drive, 

Till a' their weel-swall'd kytes belyve 

Are bent like drums; 

Then auld Guidman, maist like to rive, 

Bethankit! hums. 

Is there that owre his French ragout 

Or olio that wad staw a sow, 

Or fricassee wad make her spew 

Wi' perfect sconner, 

Looks down wi' sneering, scornfu' view 

On sic a dinner? 

Poor devil! see him owre his trash, 

As feckles as wither'd rash, 

His spindle shank, a guid whip-lash; 

His nieve a nit; 

Thro' blody flood or field to dash, 

O how unfit! 

But mark the Rustic, haggis-fed, 

The trembling earth resounds his tread. 

Clap in his walie nieve a blade, 

He'll mak it whissle; 

An' legs an' arms, an' hands will sned, 

Like taps o' trissle. 

Ye Pow'rs, wha mak mankind your care, 

And dish them out their bill o' fare, 

Auld Scotland wants nae skinking ware 

That jaups in luggies; 

But, if ye wish her gratefu' prayer 

Gie her a haggis!

Sources

Burns Country 2015, "Complete Works"

Scotland 2015, "Burns Night"

Further Reading

Robert Burns Birthplace Museum 2015, "Discover Burns"

Visit Scotland 2015, "Who was Robert Burns?"

Library of Congress 2015, "Robert Burns Day: Haggis, Anyone?"

Visit Scotland 2015, "Hold your own Burns Supper ebook" (Free ebook!)

BBC 2015, "Robert Burns - Burns Night"

John Galt and the Elgin Marbles

This is an example of one of those times when I've very audibly (and embarrassingly) shouted "NO way!" while doing research. This is also an example which proves just how small and interconnected our world really is. It's the story of how many of the Elgin Marbles came incredibly close to being known to us today as the Galt Marbles.

Portion of the east side of the Parthenon pediment,
on display at the British Museum

John Galt was doing what any 19th century man of his means would do when under the weather, or otherwise evading creditors or looking for distraction; tour the continent. He left London in 1809, and by 1811 had found himself in Italy and in Greece. The Mediterranean was a popular place at the time, especially for Romantic poets and writers eager for inspiration from the "East". Lord Byron, one of Galt's contemporaries and sometimes travel companion, was also in Greece at this time. It is Galt's connection to Byron that introduces him to the world of opportunistic art sales.

In his book Byron and Scotland: Radical or Dandy, Angus Calder describes Byron's friendship with Signore Luseri, an Italian Agent and artist-in-residence in Athens for Lord Elgin. Luseri had been working with Elgin for almost a decade in Greece on the documentation and eventual removal of the Parthenon sculptures to Britain. Despite Byron's protests that such removals of ancient artefacts were tantamount to rape,  he continued his friendship with Luseri.


It is during the second shipment of the marble statues out of Athens that John Galt becomes involved to the point where his morals are set firmly aside.  He learns from Luseri that Elgin is having financial issues, and may be unable to pay the freight (the cost of the ship, etc.) when it arrives in Malta. The ship would then of course confiscate its cargo in lieu of payment, and deal with the sculptures as the captain sees fit. Galt is not the only one to hear of this desperate news, however, for the French as also keen to add to their collection.

Monsieur Favelle, the French Consul in Athens, had been instructed to remove any and all possible works of antiquity from Greece and supply them to the Musee Napoleon (the Louvre) for permanent and glorious display. Upon hearing of Elgin's money woes, Favelle sees a chance to seize the shipload and claim the pieces for the Emperor. Galt decides (aboard the very ship that the marbles are travelling on) that he will pay the freight, save the day for Britain, and make a tidy sum for himself once he sells the cargo to eager and illustrious buyers in London.

John Galt, from his Autobiography in 1833

The plan could have worked wonderfully. The British Museum could now be in possession of the Galt Marbles, as well as the Elgin Marbles. Galt could have been an even wealthier man - would he have spent those funds creating more settlements in Upper Canada? Luseri, however, was a man of business and persuasion. He managed to alleviate the debts of Elgin in Malta and retain possession of the Greek artefacts; eventually sending them all the way to Britain. Galt was admittedly conflicted by this outcome. While he was saddened by the loss of fortune and fame that the sculptures would bring him back home, he was also steadfast in his agreement with Byron that the works were taken wrongfully in the first place.

Sources
The British Museum 2014, "What are the 'Elgin Marbles'?"
John Galt's 1833, The Autobiography of John Galt
Angus Calder's 1989, Byron and Scotland: Radical or Dandy?
Ozlem Caykent's 2010, "John Galt's Travels"

Further Reading
Encyclopaedia Britannica 2014, "Thomas Bruce, 7th Earl of Elgin"
Biography.com 2014, "Lord Byron Biography"
Metropolitan Museum of Art 2014, "Romanticism"

Making Butter

Jean-Francois Millet's 1855
"Woman Churning Butter"
Metropolitan Museum of Art

And now the dairy claims her choicest care,

And half her household find employment there;

Slow rolls the Churn; its load of cloging cream

At once foregoes its quality and name,

From knotty particles first floating wide,

Congealing butter's dashed from side to side;

New milk around, through flowing coolers stray

And snow-white Curd abounds, and wholesome whey;

(excerpt from Robert Bloomfield's The Farmer's Boy, written in 1800)

Sources

Robert Bloomfield's 1800, The Farmer's Boy

Encyclopaedia Britannica, "Robert Bloomfield"
Henry Stephens quotes this passage in his chapter on the making of butter and cheese in The Book of the Farm, Volume III published in 1844

Further Reading

The Metropolitan Museum of Art 2014, "Woman Churning Butter"

Collections Canada 2006 "Women and Their Work in Upper Canada" by Jane Errington
Nick Mika et al, 2000 Black Creek Pioneer Village: Toronto's Living History Village, read page 25 on the process of making butter in the early 19th century