Scottish poetry, as Stevenson shows, is peculiarly full of all of that has to do with social life. In the seventeenth and eighteenth hundreds of years it's adopted very nearly exclusively with that, but socialness of a form different from, say, the similarly 'social' English poetry of this time. Dryden and Pope lived admidst and wrote for an upper-middle and upper class metropolitan realm of coffee-house, city mansion, and country estate The Scottish contemporaries, Allan Ramsey, Robert Fergusson, and, later, Burns, could not differ more. They inhabit the standard bars and marketplace places, centres of gaming, ingesting, eating, small company discounts, the coming and going of farmers, chapmen (pedlars), and lawyers interested in workbut maybe not, apparently, of literary connoisseuring plus the conversation of new magazines which may really affect a central federal government. They write-in the way of well-known wise-acres, masters of repartee, in a language bit unlike that of the size of their countrymen, perhaps not because of an informed top crust. 18th-century Scotland is naturally fabled for these types of an 'elite': men of letters such Hume, Adam Smith, Henry Mackenzie, and (a little future) Scott, additionally the cultured law lords (Kames, Hailes, and later Jeffrey). But in terms of these guys were worried, about inside eighteenth century, the creative literary works associated with countrythe poetry of Ramsay, Fergusson, and Burnswas virtually underground, or in the backwoods. Its comedy embodied a social life underneath the dignity of the 'polite' class. Yet that stratum of personal lifelived call at the howffs (pubs), road markets, and tenement stairswas indeed shared, even in the administrative centre city, by all classes, aristocracy, bourgeoisie, and working people alike, to an extent impossible in almost any later age. The culture had been close-knit in its real problems of life, or even in knowledge, home, and outlook.
Scottish Literature additionally the Scottish men and women: 1680-1830