
Introduction: âTam oâ Shanterâ by Robert Burns
âTam oâ Shanterâ by Robert Burns, first appeared in 1791 in the collection Gavin Hamiltonâs Edition of Burnsâs Poems, was set in the Scottish countryside. It masterfully blends humor, the supernatural, and moral reflection, making it a staple in literary anthologies and textbooks. It tells the tale of Tam, a habitual drunkard whose escapades lead him to witness a wild witchâs dance at the haunted Kirk Alloway, culminating in a dramatic chase. Its popularity stems from its vivid imagery, engaging rhythm, and relatable moral on indulgence and consequences. Memorable lines like âBut pleasures are like poppies spreadâ and âKings may be blest, but Tam was gloriousâ showcase Burnsâs poetic dexterity and his deep engagement with human folly and resilience. The poemâs humor, combined with its exploration of Scottish folklore, continues to captivate students and readers, enriching its legacy in literary studies.
Text: âTam oâ Shanterâ by Robert Burns
When chapman billies leave the street,
And drouthy neebors neebors meet,
As market-days are wearing late,
And folk begin to tak the gate;
While we sit bousin, at the nappy,
And gettin fou and unco happy,
We think na on the lang Scots miles,
The mosses, waters, slaps, and stiles,
That lie between us and our hame,
Whare sits our sulky, sullen dame,
Gathering her brows like gathering storm,
Nursing her wrath to keep it warm.
         This truth fand honest Tam oâ Shanter,
As he frae Ayr ae night did canter:
(Auld Ayr, wham neâer a town surpasses,
For honest men and bonie lasses.)
         O Tam! hadâst thou but been sae wise
As taen thy ain wife Kateâs advice!
She tauld thee weel thou was a skellum,
A bletherin, blusterin, drunken blellum;
That frae November till October,
Ae market-day thou was na sober;
That ilka melder wiâ the miller,
Thou sat as lang as thou had siller;
That evâry naig was caâd a shoe on,
The smith and thee gat roarin fou on;
That at the Lordâs house, evân on Sunday,
Thou drank wiâ Kirkton Jean till Monday.
She prophesied, that, late or soon,
Thou would be found deep drownâd in Doon;
Ot catchâd wiâ warlocks in the mirk,
By Allowayâs auld haunted kirk.
         Ah, gentle dames! it gars me greet,
To think how mony counsels sweet,
How mony lengthenâd sage advices,
The husband frae the wife despises!
         But to our tale:âAe market night,
Tam had got planted unco right,
Fast by an ingle, bleezing finely,
Wiâ reaming swats that drank divinely;
And at his elbow, Souter Johnie,
His ancient, trusty, drouthy crony:
Tam loâed him like a vera brither;
They had been fou for weeks thegither.
The night drave on wiâ sangs and clatter;
And ay the ale was growing better:
The landlady and Tam grew gracious
Wiâ secret favours, sweet, and precious:
The souter tauld his queerest stories;
The landlordâs laugh was ready chorus:
The storm without might rair and rustle,
Tam did na mind the storm a whistle.
         Care, mad to see a man sae happy,
Eâen drownâd himsel amang the nappy:
As bees flee hame wiâ lades oâ treasure,
The minutes wingâd their way wiâ pleasure;
Kings may be blest, but Tam was glorious,
Oâer aâ the ills oâ life victorious!
         But pleasures are like poppies spread,
You seize the flowâr, its bloom is shed;
Or like the snow falls in the river,
A moment whiteâthen melts forever;
Or like the borealis race,
That flit ere you can point their place;
Or like the rainbowâs lovely form
Evanishing amid the storm.
Nae man can tether time or tide:
The hour approaches Tam maun ride,â
That hour, oâ nightâs black arch the key-stane
That dreary hour he mounts his beast in;
And sic a night he taks the road in,
As neâer poor sinner was abroad in.
         The wind blew as âtwad blawn its last;
The rattling showârs rose on the blast;
The speedy gleams the darkness swallowâd;
Loud, deep, and lang the thunder bellowâd:
That night, a child might understand,
The Deil had business on his hand.
         Weel mounted on his grey mare, Meg,â
A better never lifted leg,â
Tam skelpit on throâ dub and mire,
Despising wind and rain and fire;
Whiles holding fast his guid blue bonnet,
Whiles crooning oâer some auld Scots sonnet,
Whiles glowrin round wiâ prudent cares,
Lest bogles catch him unawares.
Kirk-Alloway was drawing nigh,
Whare ghaists and houlets nightly cry.
         By this time he was cross the ford,
Whare in the snaw the chapman smoorâd;
And past the birks and meikle stane,
Whare drucken Charlie brakâs neckbane:
And throâ the whins, and by the cairn,
Whare hunters fand the murderâd bairn;
And near the thorn, aboon the well,
Whare Mungoâs mither hangâd hersel.
Before him Doon pours all his floods;
The doubling storm roars throâ the woods;
The lightnings flash from pole to pole,
Near and more near the thunders roll;
When, glimmering throâ the groaning trees,
Kirk-Alloway seemâd in a bleeze:
Throâ ilka bore the beams were glancing,
And loud resounded mirth and dancing.
         Inspiring bold John Barleycorn!
What dangers thou canâst make us scorn!
Wiâ tippenny we fear nae evil;
Wiâ usquebae weâll face the devil!
The swats sae reamâd in Tammieâs noddle,
Fair play, he carâd na deils a boddle.
But Maggie stood right sair astonishâd,
Till, by the heel and hand admonishâd,
She venturâd forward on the light;
And, wow! Tam saw an unco sight!
         Warlocks and witches in a dance;
Nae cotillion brent-new frae France,
But hornpipes, jigs, strathspeys, and reels
Put life and mettle in their heels.
A winnock bunker in the east,
There sat Auld Nick in shape oâ beast:
A towzie tyke, black, grim, and large,
To gie them music was his charge;
He screwâd the pipes and gart them skirl,
Till roof and rafters aâ did dirl.â
Coffins stood round like open presses,
That shawâd the dead in their last dresses;
And by some devilish cantraip sleight
Each in its cauld hand held a light,
By which heroic Tam was able
To note upon the haly table
A murdererâs banes in gibbet airns;
Twa span-lang, wee, unchristenâd bairns;
A thief, new-cutted frae the rapeâ
Wiâ his last gasp his gab did gape;
Five tomahawks, wiâ blude red-rusted;
Five scimitars, wiâ murder crusted;
A garter, which a babe had strangled;
A knife, a fatherâs throat had mangled,
Whom his ain son oâ life bereftâ
The grey hairs yet stack to the heft;
Wiâ mair oâ horrible and awfuâ,
Which evân to name wad be unlawfuâ.
         As Tammie glowrâd, amazâd and curious,
The mirth and fun grew fast and furious:
The piper loud and louder blew,
The dancers quick and quicker flew;
They reelâd, they set, they crossâd, they cleekit
Till ilka carlin swat and reekit
And coost her duddies to the wark
And linket at it in her sark!
         Now Tam, O Tam! had thae been queans,
Aâ plump and strapping in their teens!
Their sarks, instead oâ creeshie flannen,
Been snaw-white seventeen hunder linen!â
Thir breeks oâ mine, my only pair,
That ance were plush, oâ gude blue hair,
I wad hae gien them aff y hurdies,
For ae blink oâ the bonie burdies!
         But witherâd beldams, auld and droll,
Rigwoodie hags wad spean a foal,
Lowping and flinging on a crummock.
I wonder didna turn thy stomach.
         But Tam kenâd what was what fuâ brawlie;
There was ae winsom wench and walie,
That night enlisted in the core
(Lang after kenâd on Carrick shore.
For mony a beast to dead she shot,
And perishâd mony a bonie boat,
And shook baith meikle corn and bear,
And kept the country-side in fear);
Her cutty sark oâ Paisley harn,
That while a lassie she had worn,
In longitude thoâ sorely scanty,
It was her best, and she was vauntie.
Ah! little kenâd thy reverend grannie,
That sark she coft for her wee Nannie,
Wiâ twa pund Scots (âtwas aâ her riches),
Wad ever gracâd a dance of witches!
         But here my Muse her wing maun cowâr,
Sic flights are far beyond her powâr;
To sing how Nannie lap and flang,
(A souple jad she was and strang),
And how Tam stood like ane bewitchâd,
And thought his very een enrichâd;
Even Satan glowrâd and fidgâd fuâ fain,
And hotchâd and blew wiâ might and main:
Till first ae caper, syne anither,
Tam tint his reason aâ thegither,
And roars out, âWeel done, Cutty-sark!â
And in an instant all was dark:
And scarcely had he Maggie rallied,
When out the hellish legion sallied.
         As bees bizz out wiâ angry fyke,
When plundering herds assail their byke;
As open pussieâs mortal foes,
When, pop! she starts before their nose;
As eager runs the market-crowd,
When âCatch the thief!â resounds aloud;
So Maggie runs, the witches follow,
Wiâ mony an eldritch skriech and hollo.
         Ah, Tam! ah, Tam! thouâll get thy fairin!
In hell theyâll roast thee like a herrin!
In vain thy Kate awaits thy comin!
Kate soon will be a woefuâ woman!
Now, do thy speedy utmost, Meg,
And win the key-stane of the brig:
There at them thou thy tail may toss,
A running stream they dare na cross.
But ere the key-stane she could make,
The fient a tail she had to shake!
For Nannie far before the rest,
Hard upon noble Maggie prest,
And flew at Tam wiâ furious ettle;
But little wist she Maggieâs mettleâ
Ae spring brought aff her master hale
But left behind her ain grey tail:
The carlin claught her by the rump,
And left poor Maggie scarce a stump.
         Now, wha this tale oâ truth shall read,
Ilk man and motherâs son, take heed,
Wheneâer to drink you are inclinâd,
Or cutty-sarks run in your mind,
Think, ye may buy the joys oâer dear,
Remember Tam oâ Shanterâs mear.
Annotations: âTam oâ Shanterâ by Robert Burns
Stanza | Annotation |
Opening lines: When chapman billies leave the street⊠| Sets the scene with an idyllic yet ominous tone. Burns describes the conviviality of market day and the carefree drinking of Tam and his companions, contrasting it with the long and challenging journey home, reflecting the themes of recklessness and forewarning. |
This truth fand honest Tam oâ Shanter⊠| Introduces Tam as a relatable, flawed protagonist. Burns humorously portrays Tamâs shortcomings through his wifeâs warnings and highlights his fondness for drink, setting the stage for the supernatural events. |
Ah, gentle dames! it gars me greet⊠| A reflective pause where the narrator sympathizes with the wives who are often ignored by their husbands. It adds a moralistic tone, emphasizing Tamâs folly in disregarding his wifeâs advice. |
But to our tale:âAe market night⊠| The narrative begins in earnest with a vivid description of Tamâs drunken escapades and camaraderie with his friend Souter Johnnie. This stanza establishes the carefree yet foreboding atmosphere. |
Care, mad to see a man sae happy⊠| A philosophical observation about the fleeting nature of happiness, setting a somber tone before the impending chaos. Burns uses rich imagery to depict the inevitability of time and consequence. |
The wind blew as âtwad blawn its last⊠| Describes the ominous weather as Tam embarks on his journey home. The stormy night mirrors the supernatural elements Tam is about to encounter, building suspense and atmosphere. |
Weel mounted on his grey mare, Meg⊠| Introduces Tamâs loyal mare, Meg, and emphasizes Tamâs bravery and recklessness as he ventures into the dark. His prudence contrasts with his earlier frivolity, showing a shift in mood. |
Kirk-Alloway was drawing nigh⊠| The description of haunted locales builds suspense. Each site is linked with a gruesome backstory, reflecting Scottish folklore and setting the eerie tone for the encounter at the kirk. |
Inspiring bold John Barleycorn!⊠| Tamâs intoxication emboldens him, dismissing fear as he approaches the supernatural. Burns humorously attributes Tamâs courage to the effects of alcohol, illustrating his flawed heroism. |
Warlocks and witches in a dance⊠| A vivid, surreal depiction of witches and the devil dancing in Kirk-Alloway. Burns uses grotesque imagery and humor to capture Tamâs amazement and terror, heightening the drama. |
But Tam kenâd what was what fuâ brawlie⊠| Introduces the memorable âcutty sarkâ (short shirt) worn by Nannie, a witch. The humorous and sensual imagery contrasts with the ominous scene, reflecting Tamâs flawed focus on appearances despite the danger. |
But here my Muse her wing maun cowâr⊠| The climax of the dance scene, where Tam foolishly cheers on Nannie, draws the attention of the witches. Burns shifts the tone from admiration to impending danger as the chase begins. |
As bees bizz out wiâ angry fyke⊠| A frantic description of the witches chasing Tam, comparing their fury to swarming bees. The vivid imagery captures the urgency and terror of the pursuit. |
Now, do thy speedy utmost, Meg⊠| The chase reaches its climax as Meg races toward the safety of the bridge. Burns incorporates Scottish folklore, noting that witches cannot cross running water, adding tension and cultural context. |
But ere the key-stane she could make⊠| A dramatic and humorous resolution as Meg saves Tam by reaching the bridge but loses her tail to the pursuing witch. This scene highlights Tamâs narrow escape and the consequences of his recklessness. |
Now, wha this tale oâ truth shall read⊠| The moral of the poem warns readers about the perils of indulgence and folly. Burns humorously admonishes the audience to learn from Tamâs mistakes, reinforcing the poemâs didactic purpose. |
Literary And Poetic Devices: âTam oâ Shanterâ by Robert Burns
Device | Example | Explanation |
Alliteration | âThere at them thou thy tail may tossâ | The repetition of the âthâ rhythm and musicality, emphasizing the subjectâs trembling nature. |
Allusion | âAuld Nick in shape oâ beastâ | References the devil in Scottish folklore, enriching the poem with cultural and mythological depth. |
Apostrophe | âO Tam! hadâst thou but been sae wiseâŠâ | Directly addressing Tam involves the reader emotionally and creates a conversational tone. |
Assonance | âThe doubling storm roars throâ the woodsâ | Repetition of the âoâ vowel sound emphasizes the stormâs ominous intensity. |
Couplet | âKings may be blest, but Tam was glorious, / Oâer aâ the ills oâ life victorious!â | Two consecutive rhyming lines emphasize Tamâs triumph, creating rhythm and memorability. |
Dialect | âWheneâer to drink you are inclinâdâ | Use of Scots dialect adds authenticity, grounding the poem in Burnsâs cultural context. |
Foreshadowing | âShe prophesied, that, late or soon, / Thou would be found deep drownâd in DoonâŠâ | Predicts the dangers Tam will face, creating suspense for the reader. |
Hyperbole | âAnd loud resounded mirth and dancingâ | Exaggeration emphasizes the supernatural chaos at Kirk-Alloway. |
Imagery | âThe lightnings flash from pole to pole, / Near and more near the thunders rollâ | Vivid sensory descriptions enhance the poemâs dramatic atmosphere. |
Irony | âAh, Tam! ah, Tam! thouâll get thy fairin! / In hell theyâll roast thee like a herrin!â | Dark humor contrasts with Tamâs serious predicament, creating situational irony. |
Juxtaposition | âBut pleasures are like poppies spread, / You seize the flowâr, its bloom is shedâ | Contrasts fleeting happiness with impending doom, emphasizing the transient nature of joy. |
Metaphor | âAs bees bizz out wiâ angry fykeâ | Compares the witchesâ pursuit to angry bees, emphasizing their relentless energy. |
Mood | âThe wind blew as âtwad blawn its last; / The rattling showârs rose on the blastâ | Establishes an ominous and suspenseful mood that mirrors Tamâs predicament. |
Onomatopoeia | âTill roof and rafters aâ did dirlâ | The word âdirlâ mimics the sound it describes, adding auditory realism. |
Personification | âCare, mad to see a man sae happy, / Eâen drownâd himsel amang the nappyâ | Abstract concepts like âCareâ are given human traits, emphasizing their pervasive impact on life. |
Repetition | âNae man can tether time or tideâ | Repetition of âtimeâ and âtideâ underscores the inevitability of fate. |
Rhyme | âTam tint his reason aâ thegither, / And roars out, âWeel done, Cutty-sark!'â | The consistent rhyme enhances the poemâs rhythm and cohesion. |
Simile | âBut pleasures are like poppies spreadâ | A direct comparison emphasizes the fleeting nature of pleasures, reinforcing the poemâs moral. |
Symbolism | âA running stream they dare na crossâ | Represents safety and boundaries, rooted in Scottish folklore, between the natural and supernatural worlds. |
Tone | âNow, wha this tale oâ truth shall read, / Ilk man and motherâs son, take heedâ | The tone shifts from humorous to moralistic, guiding the reader to reflect on Tamâs behavior. |
Themes: âTam oâ Shanterâ by Robert Burns
1. The Transience of Pleasure: One of the central themes of âTam oâ Shanterâ is the fleeting nature of human pleasure, as vividly captured in the lines, âBut pleasures are like poppies spread, / You seize the flowâr, its bloom is shed.â Burns compares moments of joy to delicate flowers, snowflakes, and rainbowsâephemeral beauties that disappear as quickly as they appear. This metaphor underscores the short-lived satisfaction of Tamâs indulgence in drink and revelry at the tavern. The camaraderie and drunken laughter shared with Souter Johnnie, described as âThe night drave on wiâ sangs and clatter; / And ay the ale was growing better,â offer Tam temporary joy but ultimately lead him into the dangerous world of Kirk-Alloway. The theme serves as a poignant reminder of the consequences of hedonism, illustrating that fleeting pleasures often come at a significant cost.
2. The Supernatural and Folklore: The supernatural pervades âTam oâ Shanter,â bringing to life the eerie and fantastical elements of Scottish folklore. Burns sets the stage for Tamâs encounter with the supernatural through chilling descriptions of the night: âThe wind blew as âtwad blawn its last; / The rattling showârs rose on the blast.â The climax occurs at Kirk-Alloway, where Tam witnesses âWarlocks and witches in a dance; / Nae cotillion brent-new frae France,â grotesque figures reveling to the devilâs piping. The imagery of âcoffins stood round like open presses, / That shawâd the dead in their last dresses,â creates an unsettling and surreal atmosphere, immersing readers in the supernatural world. The witchesâ pursuit, which mirrors folkloreâs fascination with boundaries between the natural and otherworldly, adds both humor and terror to the tale, embodying the rich tradition of Scottish oral storytelling.
3. The Conflict Between Responsibility and Folly: Tamâs story is fundamentally one of a man torn between responsibility and folly, as highlighted in the narratorâs exclamation, âO Tam! hadâst thou but been sae wise / As taen thy ain wife Kateâs advice!â Tam is warned repeatedly by his wife about the dangers of his drinking and irresponsibility: âShe tauld thee weel thou was a skellum, / A bletherin, blusterin, drunken blellum.â However, Tamâs inability to resist temptation leads him to ignore her sage counsel, prioritizing his pleasures over prudence. This conflict drives the narrative, culminating in Tamâs harrowing escape from Kirk-Alloway. The poem humorously yet poignantly portrays the universal struggle between indulgence and duty, with the narrator lamenting, âAh, gentle dames! it gars me greet, / To think how mony counsels sweet / The husband frae the wife despises!â Through Tamâs character, Burns explores the enduring tension between personal desires and moral accountability.
4. The Power of Loyalty and Bravery: Despite Tamâs recklessness, his mare Maggie (Meg) emerges as a symbol of loyalty and bravery. As the witches pursue Tam, Burns writes, âNow, do thy speedy utmost, Meg, / And win the key-stane of the brig.â Megâs heroic sprint toward the bridgeâthe threshold separating Tam from dangerârepresents unwavering devotion in the face of chaos. The detail that witches cannot cross running water, a motif rooted in folklore, heightens the tension of the chase. Megâs ultimate sacrifice, losing her tail to save Tam, is captured in the lines, âAe spring brought aff her master hale, / But left behind her ain grey tail.â Her steadfastness contrasts with Tamâs irresponsibility, serving as a redemptive force in the narrative. Through Meg, Burns underscores the importance of courage and loyalty, even when human folly dominates the story.
Literary Theories and âTam oâ Shanterâ by Robert Burns
Literary Theory | Application to âTam oâ Shanterâ | References from the Poem |
Formalism | This theory focuses on the structure, language, and literary devices in the poem. âTam oâ Shanterâ exemplifies intricate poetic techniques like alliteration, imagery, and rhythm to evoke a dynamic narrative. | Examples include the vivid imagery in âThe lightnings flash from pole to pole, / Near and more near the thunders rollâ and the rhythmic couplet, âKings may be blest, but Tam was glorious, / Oâer aâ the ills oâ life victorious!â |
Psychoanalytic Criticism | Tamâs actions can be interpreted through Freudian ideas of the id, ego, and superego. His indulgence in drink and revelry reflects the idâs dominance, while his wife Kate symbolizes the superego, warning him of consequences. | Kateâs admonitions, âShe tauld thee weel thou was a skellum, / A bletherin, blusterin, drunken blellum,â highlight the superegoâs role, while Tamâs drunken revelry, âCare, mad to see a man sae happy,â reflects his pursuit of immediate gratification. |
Cultural Criticism | This theory explores how the poem reflects 18th-century Scottish culture, particularly its folklore, dialect, and societal norms. Burns captures Scotlandâs oral traditions and superstitions, such as the belief in witches and haunted places. | The depiction of the supernatural at Kirk-Alloway, âWarlocks and witches in a dance; / Nae cotillion brent-new frae France,â and the cultural importance of the Scots dialect throughout the poem, enriches its cultural significance. |
Moral Criticism | The poem can be analyzed as a moral tale, warning readers against indulgence and recklessness. Tamâs actions lead to his near destruction, demonstrating the consequences of ignoring societal and personal responsibilities. | The narratorâs moralistic reflection, âAh, gentle dames! it gars me greet, / To think how mony counsels sweet / The husband frae the wife despises,â conveys a didactic tone, warning readers of the dangers of excess and irresponsibility. |
Critical Questions about âTam oâ Shanterâ by Robert Burns
1. How does Burns use humor to balance the supernatural elements in âTam oâ Shanterâ?
Burns skillfully uses humor to provide relief and balance to the dark and eerie supernatural elements of the poem. The protagonist, Tam, is depicted as a flawed yet endearing character whose drunken escapades add a comedic tone. Lines such as âAh, Tam! hadâst thou but been sae wise / As taen thy ain wife Kateâs advice!â humorously highlight his inability to heed warnings, making his eventual predicament both alarming and amusing. Even amidst the witchesâ chaotic dance, Tamâs reaction injects levity: âWeel done, Cutty-sark!â This exclamation not only angers the witches but also underscores his lack of judgment, evoking laughter despite the danger. The grotesque yet absurd imagery of the witches, such as âNae cotillion brent-new frae France, / But hornpipes, jigs, strathspeys, and reels,â adds to the comedic absurdity. Burns ensures that the supernatural remains entertaining, using humor to make the tale accessible and engaging while maintaining its underlying tension.
2. How does âTam oâ Shanterâ reflect themes of gender dynamics and societal expectations?
The poem portrays a complex interplay of gender roles and societal expectations, particularly through the relationship between Tam and his wife, Kate. Kate embodies the voice of reason and morality, warning Tam of the dangers of his behavior: âShe tauld thee weel thou was a skellum, / A bletherin, blusterin, drunken blellum.â Her practical and critical perspective contrasts with Tamâs recklessness, reflecting traditional gender roles where women are tasked with upholding household stability. The narrator sympathizes with Kate, lamenting, âAh, gentle dames! it gars me greet, / To think how mony counsels sweet / The husband frae the wife despises!â Yet, the poem also humorously acknowledges the inevitability of Tamâs folly, suggesting a light-hearted critique of male irresponsibility. Through this dynamic, Burns explores broader societal themes, portraying women as guardians of morality while satirizing the often-dismissive attitudes of men toward their advice.
3. What role does folklore play in shaping the poemâs narrative and themes?
Scottish folklore is central to âTam oâ Shanter,â both in its narrative structure and thematic depth. Burns weaves local legends and superstitions into the poem, particularly through the depiction of Kirk-Alloway and its inhabitants. The witchesâ dance, described as âWarlocks and witches in a dance; / Nae cotillion brent-new frae France,â and the presence of the devil playing the bagpipes, anchor the story in supernatural folklore. The belief that witches cannot cross running water, referenced in âA running stream they dare na cross,â is a key plot device, highlighting the cultural significance of these myths. These elements enrich the poemâs narrative, offering both entertainment and a connection to Scotlandâs oral storytelling tradition. Folklore also serves as a metaphor for human fears and moral lessons, reinforcing the idea that Tamâs recklessness and indulgence invite otherworldly consequences.
4. How does the poem explore the tension between freedom and consequence?
âTam oâ Shanterâ vividly captures the tension between the allure of freedom and the inevitability of consequence. Tamâs night of revelry at the tavern represents a moment of unrestrained freedom, described in celebratory terms: âKings may be blest, but Tam was glorious, / Oâer aâ the ills oâ life victorious!â However, this freedom comes at a cost, as Tamâs drunken state leads him into the perilous world of the supernatural. The witchesâ chase serves as a metaphor for the consequences of his actions, with the narrator warning, âThink, ye may buy the joys oâer dear.â The contrast between Tamâs carefree indulgence and his frantic escape on Meg underscores the poemâs central moral: unbridled freedom often carries unforeseen dangers. Burns explores this theme with both humor and gravity, illustrating the universal human struggle to balance desire with responsibility.
Literary Works Similar to âTam oâ Shanterâ by Robert Burns
- âThe Rime of the Ancient Marinerâ by Samuel Taylor Coleridge
Similarity: Both poems blend the supernatural with moral lessons, using vivid imagery and suspenseful narratives to explore human folly and redemption. - âThe Devilâs Thoughtsâ by Samuel Taylor Coleridge
Similarity: Both poems feature satirical depictions of the devil and supernatural themes, using humor and grotesque imagery to critique human behavior. - âGoblin Marketâ by Christina Rossetti
Similarity: This poem shares themes of temptation and consequences, with supernatural entities that challenge the protagonistsâ moral resolve. - âThe Erl-Kingâ by Johann Wolfgang von Goethe
Similarity: Both poems involve a chase by supernatural beings, capturing a sense of foreboding and the danger of straying into the realm of the otherworldly.
Representative Quotations of âTam oâ Shanterâ by Robert Burns
Quotation | Context | Theoretical Perspective |
âBut pleasures are like poppies spread, / You seize the flowâr, its bloom is shed.â | Reflects on the fleeting nature of joy during Tamâs night of indulgence. | Moral Criticism: Highlights the transient nature of pleasure and the consequences of hedonism. |
âKings may be blest, but Tam was glorious, / Oâer aâ the ills oâ life victorious!â | Describes Tamâs drunken euphoria as he revels in his temporary freedom. | Psychoanalytic Criticism: Represents Tamâs id-driven pursuit of immediate gratification. |
âAh, Tam! hadâst thou but been sae wise / As taen thy ain wife Kateâs advice!â | A lament for Tamâs reckless disregard for his wifeâs warnings. | Feminist Criticism: Highlights gender dynamics, portraying Kate as the voice of reason dismissed by Tam. |
âThe wind blew as âtwad blawn its last; / The rattling showârs rose on the blast.â | Sets the ominous tone as Tam begins his journey home in stormy weather. | Formalism: Uses vivid imagery and auditory devices to establish a foreboding mood. |
âWarlocks and witches in a dance; / Nae cotillion brent-new frae France.â | Describes the wild supernatural scene Tam encounters at Kirk-Alloway. | Cultural Criticism: References folklore and contrasts it humorously with European traditions. |
âA running stream they dare na cross.â | Refers to the folkloric belief that witches cannot cross running water, symbolizing a boundary between safety and peril. | Structuralism: Examines the motif of the protective boundary as a recurring element in folklore. |
âWeel done, Cutty-sark!â | Tamâs drunken exclamation during the witchesâ dance, provoking their pursuit. | Postmodernism: Highlights the absurdity of Tamâs reaction to danger, blending humor with chaos. |
âNow, do thy speedy utmost, Meg, / And win the key-stane of the brig.â | Depicts Megâs desperate race to the bridge to save Tam from the witches. | Humanism: Celebrates loyalty and bravery in the face of danger, as exemplified by Meg. |
âAh, gentle dames! it gars me greet, / To think how mony counsels sweet / The husband frae the wife despises.â | Reflects on the recurring tendency of men to ignore womenâs advice, often to their detriment. | Feminist Criticism: Critiques societal norms where womenâs wisdom is undervalued. |
âThink, ye may buy the joys oâer dear, / Remember Tam oâ Shanterâs mear.â | Concludes the poem with a moralistic warning against indulgence. | Moral Criticism: Reinforces the consequences of recklessness with a direct lesson for the audience. |
Suggested Readings: âTam oâ Shanterâ by Robert Burns
- MacLAINE, ALLAN H. âBurnsâs Use of Parody in âTam OâShanter.'â Criticism, vol. 1, no. 4, 1959, pp. 308â16. JSTOR, http://www.jstor.org/stable/23090932. Accessed 5 Jan. 2025.
- Noyes, Russell. âWordsworth and Burns.â PMLA, vol. 59, no. 3, 1944, pp. 813â32. JSTOR, https://doi.org/10.2307/459386. Accessed 5 Jan. 2025.
- Burns, Robert, and Francis M. Collinson. Tam OâShanter and Other Poems. WP Nimmo, Hay, & Mitchell, 1912.
- Weston, John C. âThe Narrator of Tam oâ Shanter.â Studies in English Literature, 1500-1900, vol. 8, no. 3, 1968, pp. 537â50. JSTOR, https://doi.org/10.2307/449618. Accessed 5 Jan. 2025.
- White, Kenneth. ââTam oâ Shanterâ: A New Reading.â The Collected Works of Kenneth White, Volume 2: Mappings: Landscape, Mindscape, Wordscape, edited by Cairns Craig, Edinburgh University Press, 2021, pp. 46â53. JSTOR, http://www.jstor.org/stable/10.3366/j.ctv1kd7x1p.9. Accessed 5 Jan. 2025.