“Tam o’ Shanter” by Robert Burns: A Critical Analysis

When, glimmering thro’ the groaning trees,

Kirk-Alloway seem’d in a bleeze:

Thro’ ilka bore the beams were glancing,

And loud resounded mirth and dancing.

         Inspiring bold John Barleycorn!

What dangers thou can’st make us scorn!

Wi’ tippenny we fear nae evil;

Wi’ usquebae we’ll face the devil!

The swats sae ream’d in Tammie’s noddle,

Fair play, he car’d na deils a boddle.

But Maggie stood right sair astonish’d,

Till, by the heel and hand admonish’d,

She ventur’d 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 o’ beast:

A towzie tyke, black, grim, and large,

To gie them music was his charge;

He screw’d the pipes and gart them skirl,

Till roof and rafters a’ did dirl.—

Coffins stood round like open presses,

That shaw’d 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 murderer’s banes in gibbet airns;

Twa span-lang, wee, unchristen’d bairns;

A thief, new-cutted frae the rape—

Wi’ his last gasp his gab did gape;

Five tomahawks, wi’ blude red-rusted;

Five scimitars, wi’ murder crusted;

A garter, which a babe had strangled;

A knife, a father’s throat had mangled,

Whom his ain son o’ life bereft—

The grey hairs yet stack to the heft;

Wi’ mair o’ horrible and awfu’,

Which ev’n to name wad be unlawfu’.

         As Tammie glowr’d, amaz’d and curious,

The mirth and fun grew fast and furious:

The piper loud and louder blew,

The dancers quick and quicker flew;

They reel’d, they set, they cross’d, 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,

A’ plump and strapping in their teens!

Their sarks, instead o’ creeshie flannen,

Been snaw-white seventeen hunder linen!—

Thir breeks o’ mine, my only pair,

That ance were plush, o’ gude blue hair,

I wad hae gien them aff y hurdies,

For ae blink o’ the bonie burdies!

         But wither’d beldams, auld and droll,

Rigwoodie hags wad spean a foal,

Lowping and flinging on a crummock.

I wonder didna turn thy stomach.

         But Tam ken’d what was what fu’ brawlie;

There was ae winsom wench and walie,

That night enlisted in the core

(Lang after ken’d on Carrick shore.

For mony a beast to dead she shot,

And perish’d mony a bonie boat,

And shook baith meikle corn and bear,

And kept the country-side in fear);

Her cutty sark o’ Paisley harn,

That while a lassie she had worn,

In longitude tho’ sorely scanty,

It was her best, and she was vauntie.

Ah! little ken’d thy reverend grannie,

That sark she coft for her wee Nannie,

Wi’ twa pund Scots (’twas a’ her riches),

Wad ever grac’d a dance of witches!

         But here my Muse her wing maun cow’r,

Sic flights are far beyond her pow’r;

To sing how Nannie lap and flang,

(A souple jad she was and strang),

And how Tam stood like ane bewitch’d,

And thought his very een enrich’d;

Even Satan glowr’d and fidg’d fu’ fain,

And hotch’d and blew wi’ might and main:

Till first ae caper, syne anither,

Tam tint his reason a’ thegither,

And roars out, “Weel done, Cutty-sark!”

And in an instant all was dark:

And scarcely had he Maggie rallied,

When out the hellish legion sallied.

         As bees bizz out wi’ angry fyke,

When plundering herds assail their byke;

As open pussie’s mortal foes,

When, pop! she starts before their nose;

As eager runs the market-crowd,

When “Catch the thief!” resounds aloud;

So Maggie runs, the witches follow,

Wi’ mony an eldritch skriech and hollo.

         Ah, Tam! ah, Tam! thou’ll get thy fairin!

In hell they’ll roast thee like a herrin!

In vain thy Kate awaits thy comin!

Kate soon will be a woefu’ 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 wi’ furious ettle;

But little wist she Maggie’s mettle—

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 o’ truth shall read,

Ilk man and mother’s son, take heed,

Whene’er to drink you are inclin’d,

Or cutty-sarks run in your mind,

Think, ye may buy the joys o’er dear,

Remember Tam o’ Shanter’s mear.

1. How does Burns use humor to balance the supernatural elements in “Tam o’ Shanter”?

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 “Ah, Tam! had’st thou but been sae wise / As taen thy ain wife Kate’s advice!” humorously highlight his inability to heed warnings, making his eventual predicament both alarming and amusing. Even amidst the witches’ chaotic dance, Tam’s reaction injects levity: “Weel done, Cutty-sark!” 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 “Nae cotillion brent-new frae France, / But hornpipes, jigs, strathspeys, and reels,” 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.

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2. How does “Tam o’ Shanter” 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: “She tauld thee weel thou was a skellum, / A bletherin, blusterin, drunken blellum.” Her practical and critical perspective contrasts with Tam’s recklessness, reflecting traditional gender roles where women are tasked with upholding household stability. The narrator sympathizes with Kate, lamenting, “Ah, gentle dames! it gars me greet, / To think how mony counsels sweet / The husband frae the wife despises!” Yet, the poem also humorously acknowledges the inevitability of Tam’s 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.

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3. What role does folklore play in shaping the poem’s narrative and themes?

Scottish folklore is central to “Tam o’ Shanter,” 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 witches’ dance, described as “Warlocks and witches in a dance; / Nae cotillion brent-new frae France,” 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 “A running stream they dare na cross,” is a key plot device, highlighting the cultural significance of these myths. These elements enrich the poem’s narrative, offering both entertainment and a connection to Scotland’s oral storytelling tradition. Folklore also serves as a metaphor for human fears and moral lessons, reinforcing the idea that Tam’s recklessness and indulgence invite otherworldly consequences.

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4. How does the poem explore the tension between freedom and consequence?

“Tam o’ Shanter” vividly captures the tension between the allure of freedom and the inevitability of consequence. Tam’s night of revelry at the tavern represents a moment of unrestrained freedom, described in celebratory terms: “Kings may be blest, but Tam was glorious, / O’er a’ the ills o’ life victorious!” However, this freedom comes at a cost, as Tam’s drunken state leads him into the perilous world of the supernatural. The witches’ chase serves as a metaphor for the consequences of his actions, with the narrator warning, “Think, ye may buy the joys o’er dear.” The contrast between Tam’s carefree indulgence and his frantic escape on Meg underscores the poem’s 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.