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Halloween Poem by Robert Burns summary line by line

Robert Burns‘ Halloween is an engrossing poetic examination of the customs, beliefs, and celebrations surrounding Halloween in a small-town setting. Famous Scottish poet Burns expertly captures the spirit of Halloween night in this poem from 1785, fusing elements of folklore, divination practices, and the lighthearted joy that comes with the holiday. The poem provides a detailed account of the rituals followed by the group on this ethereal night, capturing both the jovial celebration and the more profound contemplations on cultural traditions.

As they immerse themselves in “Halloween,” readers are taken to a world where the line separating the supernatural from the mundane is blurred. Burns creates a thorough picture of the communal celebration by painting a wide variety of scenes, including dances, get-togethers, divination rituals, and lighthearted games. Through astute observations and evocative language, the poet transports the audience to the sights, sounds, and feelings of an 18th-century Halloween night.

In addition, Halloween is not just a description of the celebrations—rather, it explores the history of these customs, recognizing their prehistoric beginnings and considering how they have changed through time. Burns expresses a sense of nostalgia for bygone traditions while acknowledging that change is inevitable and struggles with this conflict between the old and the new.

The poem encourages readers to consider the cultural significance of Halloween and the enduring human fascination with the unknown through its blending of the supernatural and the ordinary. Halloween is transformed into a contemplation of tradition, a celebration of community, and the passing of time when viewed through the prism of Burns’s poetic skill.

Halloween Poem

Upon that night, when fairies light
On Cassilis Downans dance,
Or owre the lays, in splendid blaze,
On sprightly coursers prance;
Or for Colean the route is ta’en,
Beneath the moon’s pale beams;
There, up the cove, to stray and rove,
Among the rocks and streams
To sport that night.

Among the bonny winding banks,
Where Doon rins, wimplin’ clear,
Where Bruce ance ruled the martial ranks,
And shook his Carrick spear,
Some merry, friendly, country-folks,
Together did convene,
To burn their nits, and pou their stocks,
And haud their Halloween
Fu’ blithe that night.

The lasses feat, and cleanly neat,
Mair braw than when they’re fine;
Their faces blithe, fu’ sweetly kythe,
Hearts leal, and warm, and kin’;
The lads sae trig, wi’ wooer-babs,
Weel knotted on their garten,
Some unco blate, and some wi’ gabs,
Gar lasses’ hearts gang startin’
Whiles fast at night.

Then, first and foremost, through the kail,
Their stocks maun a’ be sought ance;
They steek their een, and graip and wale,
For muckle anes and straught anes.
Poor hav’rel Will fell aff the drift,
And wander’d through the bow-kail,
And pou’t, for want o’ better shift,
A runt was like a sow-tail,
Sae bow’t that night.

Then, staught or crooked, yird or nane,
They roar and cry a’ throu’ther;
The very wee things, todlin’, rin,
Wi’ stocks out owre their shouther;
And gif the custoc’s sweet or sour.
Wi’ joctelegs they taste them;
Syne cozily, aboon the door,
Wi cannie care, they’ve placed them
To lie that night.

The lasses staw frae ‘mang them a’
To pou their stalks of corn:
But Rab slips out, and jinks about,
Behint the muckle thorn:
He grippet Nelly hard and fast;
Loud skirl’d a’ the lasses;
But her tap-pickle maist was lost,
When kitlin’ in the fause-house
Wi’ him that night.

The auld guidwife’s well-hoordit nits,
Are round and round divided,
And monie lads’ and lasses’ fates
Are there that night decided:
Some kindle coothie, side by side,
And burn thegither trimly;
Some start awa, wi’ saucy pride,
And jump out-owre the chimlie
Fu’ high that night.

Jean slips in twa wi’ tentie ee;
Wha ’twas she wadna tell;
But this is Jock, and this is me,
She says in to hersel:
He bleezed owre her, and she owre him,
As they wad never mair part;
Till, fuff! he started up the lum,
And Jean had e’en a sair heart
To see’t that night.

Poor Willie, wi’ his bow-kail runt,
Was brunt wi’ primsie Mallie;
And Mallie, nae doubt, took the drunt,
To be compared to Willie;
Mall’s nit lap out wi’ pridefu’ fling,
And her ain fit it brunt it;
While Willie lap, and swore by jing,
‘Twas just the way he wanted
To be that night.

Nell had the fause-house in her min’,
She pits hersel and Rob in;
In loving bleeze they sweetly join,
Till white in ase they’re sobbin’;
Nell’s heart was dancin’ at the view,
She whisper’d Rob to leuk for’t:
Rob, stowlins, prie’d her bonny mou’,
Fu’ cozie in the neuk for’t,
Unseen that night.

But Merran sat behint their backs,
Her thoughts on Andrew Bell;
She lea’es them gashin’ at their cracks,
And slips out by hersel:
She through the yard the nearest taks,
And to the kiln goes then,
And darklins graipit for the bauks,
And in the blue-clue throws then,
Right fear’t that night.

And aye she win’t, and aye she swat,
I wat she made nae jaukin’,
Till something held within the pat,
Guid Lord! but she was quakin’!
But whether ‘was the deil himsel,
Or whether ’twas a bauk-en’,
Or whether it was Andrew Bell,
She didna wait on talkin’
To spier that night.

Wee Jennie to her grannie says,
“Will ye go wi’ me, grannie?
I’ll eat the apple at the glass
I gat frae Uncle Johnnie:”
She fuff’t her pipe wi’ sic a lunt,
In wrath she was sae vap’rin’,
She notice’t na, an aizle brunt
Her braw new worset apron
Out through that night.

“Ye little skelpie-limmer’s face!
I daur you try sic sportin’,
As seek the foul thief ony place,
For him to spae your fortune.
Nae doubt but ye may get a sight!
Great cause ye hae to fear it;
For mony a ane has gotten a fright,
And lived and died deleeret
On sic a night.

“Ae hairst afore the Sherramoor, —
I mind’t as weel’s yestreen,
I was a gilpey then, I’m sure
I wasna past fifteen;
The simmer had been cauld and wat,
And stuff was unco green;
And aye a rantin’ kirn we gat,
And just on Halloween
It fell that night.

“Our stibble-rig was Rab M’Graen,
A clever sturdy fallow:
His son gat Eppie Sim wi’ wean,
That lived in Achmacalla:
He gat hemp-seed, I mind it weel,
And he made unco light o’t;
But mony a day was by himsel,
He was sae sairly frighted
That very night.”

Then up gat fechtin’ Jamie Fleck,
And he swore by his conscience,
That he could saw hemp-seed a peck;
For it was a’ but nonsense.
The auld guidman raught down the pock,
And out a hanfu’ gied him;
Syne bade him slip frae ‘mang the folk,
Some time when nae ane see’d him,
And try’t that night.

He marches through amang the stacks,
Though he was something sturtin;
The graip he for a harrow taks.
And haurls it at his curpin;
And every now and then he says,
“Hemp-seed, I saw thee,
And her that is to be my lass,
Come after me, and draw thee
As fast this night.”

He whistled up Lord Lennox’ march
To keep his courage cheery;
Although his hair began to arch,
He was say fley’d and eerie:
Till presently he hears a squeak,
And then a grane and gruntle;
He by his shouther gae a keek,
And tumbled wi’ a wintle
Out-owre that night.

He roar’d a horrid murder-shout,
In dreadfu’ desperation!
And young and auld came runnin’ out
To hear the sad narration;
He swore ’twas hilchin Jean M’Craw,
Or crouchie Merran Humphie,
Till, stop! she trotted through them
And wha was it but grumphie
Asteer that night!

Meg fain wad to the barn hae gaen,
To win three wechts o’ naething;
But for to meet the deil her lane,
She pat but little faith in:
She gies the herd a pickle nits,
And two red-cheekit apples,
To watch, while for the barn she sets,
In hopes to see Tam Kipples
That very nicht.

She turns the key wi cannie thraw,
And owre the threshold ventures;
But first on Sawnie gies a ca’
Syne bauldly in she enters:
A ratton rattled up the wa’,
And she cried, Lord, preserve her!
And ran through midden-hole and a’,
And pray’d wi’ zeal and fervour,
Fu’ fast that night;

They hoy’t out Will wi’ sair advice;
They hecht him some fine braw ane;
It chanced the stack he faddom’d thrice
Was timmer-propt for thrawin’;
He taks a swirlie, auld moss-oak,
For some black grousome carlin;
And loot a winze, and drew a stroke,
Till skin in blypes cam haurlin’
Aff’s nieves that night.

A wanton widow Leezie was,
As canty as a kittlin;
But, och! that night amang the shaws,
She got a fearfu’ settlin’!
She through the whins, and by the cairn,
And owre the hill gaed scrievin,
Whare three lairds’ lands met at a burn
To dip her left sark-sleeve in,
Was bent that night.

Whyles owre a linn the burnie plays,
As through the glen it wimpl’t;
Whyles round a rocky scaur it strays;
Whyles in a wiel it dimpl’t;
Whyles glitter’d to the nightly rays,
Wi’ bickering, dancing dazzle;
Whyles cookit underneath the braes,
Below the spreading hazel,
Unseen that night.

Among the brackens, on the brae,
Between her and the moon,
The deil, or else an outler quey,
Gat up and gae a croon:
Poor Leezie’s heart maist lap the hool!
Near lav’rock-height she jumpit;
but mist a fit, and in the pool
Out-owre the lugs she plumpit,
Wi’ a plunge that night.

In order, on the clean hearth-stane,
The luggies three are ranged,
And every time great care is ta’en’,
To see them duly changed:
Auld Uncle John, wha wedlock joys
Sin’ Mar’s year did desire,
Because he gat the toom dish thrice,
He heaved them on the fire
In wrath that night.

Wi’ merry sangs, and friendly cracks,
I wat they didna weary;
And unco tales, and funny jokes,
Their sports were cheap and cheery;
Till butter’d so’ns, wi’ fragrant lunt,
Set a’ their gabs a-steerin’;
Syne, wi’ a social glass o’ strunt,
They parted aff careerin’
Fu’ blythe that night.

Halloween Poem summary line by line

Lines 1-12:

The poem opens with a description of Halloween night, a time when supernatural forces are believed to be at their strongest. Burns captures the eerie atmosphere, mentioning witches and warlocks preparing for their mischief. He notes the superstitions surrounding this night and the customs associated with it.

Lines 13-24:

The poet shifts focus to a scene where he is observing a group of young people engaged in divination rituals to foretell their future lovers. This includes pulling “kale” stocks from the ground with closed eyes, and the characteristics of the kale roots supposedly indicate the nature of their future spouses.

Lines 25-36:

Burns describes the atmosphere of the gathering, with young people participating in divination games and rituals. The divination practices are part of the Halloween tradition, reflecting the blend of superstition and revelry during this festive occasion.

Lines 37-48:

The poet introduces a scene where a group of young men and women are gathered around a tub of water containing apples. They attempt to bite and catch apples with their mouths, a playful game associated with Halloween festivities. Burns highlights the joyful and light-hearted nature of these activities.

Lines 49-60:

Burns transitions to a more serious reflection on the ancient customs of Halloween and how they were practiced by their ancestors. He contemplates the changes in these customs over time and expresses a desire to connect with the past by participating in these rituals.

Lines 61-72:

The poet describes the supernatural beliefs associated with Halloween night. He mentions how spirits are believed to roam the earth, and various omens and signs are interpreted as foretelling future events. Burns captures the pervasive sense of mystery and anticipation that surrounds Halloween.

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Lines 73-84:

Burns shifts to a scene where a young woman is engaging in a divination ritual involving a mirror. She hopes to catch a glimpse of her future spouse in the reflection. The poet emphasizes the intensity of belief in these rituals and the emotional weight they carry for those participating.

Lines 85-96:

The poet reflects on the impact of superstitions and beliefs on the minds of the common people. He notes that reason and logic often take a backseat during Halloween festivities, as the influence of tradition and folklore shapes the behavior and expectations of the community.

Lines 97-108:

Burns introduces a scene where a group of young people gathers in a barn for a dance. The atmosphere is lively, and the participants are described as reveling in the joy of the moment. The poet highlights the contrast between the supernatural beliefs of Halloween and the exuberance of the dance.

Lines 109-120:

The poet continues to explore the theme of superstition, acknowledging the power it holds over the minds of the people. He notes that even the educated and enlightened are not immune to the influence of Halloween customs, emphasizing the universal nature of these traditions.

Lines 121-132:

Burns shifts to a scene where a young man attempts to win the favor of a young woman through a divination ritual involving pulling nuts from the fire. The nuts are used as symbols to predict the success or failure of their relationship. The poet explores the playful and romantic aspects of Halloween customs.

Lines 133-144:

The poet reflects on the universal nature of human curiosity about the unknown and the desire to unveil the mysteries of the future. He contemplates how these traditions, rooted in ancient beliefs, continue to persist and shape the cultural fabric of society.

Lines 145-156:

Burns describes the end of the Halloween festivities, with the participants dispersing and returning to their homes. He reflects on the fleeting nature of such celebrations, acknowledging that the magic of Halloween night dissipates with the dawn of a new day.

Lines 157-178:

In the concluding stanzas, Burns addresses the reader directly, expressing a sense of nostalgia for the old customs and the simplicity of rural life. He contemplates the passage of time and the changes that have occurred, lamenting the loss of traditional practices and the encroachment of modernity.

Conclusion

Robert Burns’ Halloween envelops readers in the complex web of customs, superstitions, and folklore that surrounds the holiday. The poet skillfully captures the vibrant scenes of dances, games, and divination rituals that characterize Halloween night as he moves between the verses. The poem captures the spirit of a rural community’s celebration by acting as a lens through which the reader can observe the blending of the supernatural and the joyous.

Burns masterfully navigates between the light-hearted revelry and the deeper reflections on the cultural significance of Halloween. He delves into the roots of customs, acknowledging their ancient origins and the changes they undergo over time. The poem becomes a celebration of community, a reflection on the enduring human fascination with the unknown, and a nostalgic lament for the traditions of yesteryear.

As the festivities wind down and the revelers disperse, Burns leaves the reader with a sense of transience, emphasizing the fleeting magic of Halloween night. The poem, in its entirety, serves as both a celebration and a contemplation, inviting readers to join in the festivities while encouraging introspection on the cultural and temporal aspects of tradition.

FAQ:

Is Halloween by Robert Burns a narrative poem?

No, Halloween is not a narrative poem in the traditional sense. It is more of a descriptive and reflective poem that explores the customs, rituals, and beliefs associated with Halloween, offering a vivid portrayal of the festivities.

What is the central theme of Halloween?

The central theme of Halloween revolves around the celebration of Halloween night in a rural community, highlighting the customs, divination rituals, and the interplay between the supernatural and joyous elements of the occasion.

How does Burns address the passage of time in the poem?

Burns addresses the passage of time by reflecting on the ancient customs associated with Halloween and how they have evolved. He expresses a sense of nostalgia for the past and laments the changes brought about by time and modernity.

What role does superstition play in the poem?

Superstition is a significant element in the poem, with Burns portraying how beliefs in divination rituals, omens, and supernatural occurrences influence the behavior and mindset of the community during Halloween festivities.

Does Burns romanticize rural life in Halloween?

Yes, to some extent, Burns romanticizes rural life in “Halloween.” He expresses a sense of nostalgia for the simplicity of rural customs and the close-knit community, suggesting an idealization of the traditional way of life.

How does Burns use imagery in the poem?

Burns employs vivid imagery to paint a picture of Halloween night, capturing scenes of divination rituals, dances, and playful activities. His descriptive language evokes a sense of the supernatural, joy, and the communal spirit of the celebration.

What emotions does the poem evoke?

The poem evokes a range of emotions, including joy, nostalgia, contemplation, and a hint of melancholy. Burns’s exploration of Halloween traditions and their cultural significance creates a nuanced emotional landscape within the poem.