The son of a hard-working and intelligent farmer, Burns was the oldest of seven children, all of whom had to help in the work on the farm. Although always hard pressed financially, the elder Burns, until his death in 1784, encouraged his sons with their education. As a result, Burns as a boy not only read the Scottish poetry of Ramsay and the collections compiled by Hailes and Herd, but also the works of Pope, Locke, and Shakespeare. By 1781, Burns had tried his hand at several agricultural jobs without success. Although he had begun writing, and his poems were circulated widely in manuscript, none were published until 1786. At this time he had already begun a life of dissipation, and he was not only discouraged but poor and was involved simultaneously with several women.
Burns decided to marry Mary Campbell and migrate to Jamaica. To help finance the journey, he published at Kilmarnock Poems, Chiefly in the Scottish Dialect (1786), which was an immediate success. Mary Campbell died before she and Burns could marry, and Burns changed his mind about migration. He toured the Highlands, brought out a second edition of his poems at Edinburgh in 1787, and for two winters was socially prominent in the Scottish city. In 1788 he married Jean Armour, who had borne him four children, and retired to a farm at Ellisland. By 1791 Burns had failed as a farmer, and he moved to nearby Dumfries, where he held a position as an exciseman. He died at 37 after a severe attack of rheumatic fever.
Burns's art is at its best in songs such as "Flow Gently, Sweet Afton," "My Heart's in the Highlands," and "John Anderson My Jo." Two collections contain 268 of his songs—George Thomson's Select Collection of Original Scottish Airs for the Voice (6 vol., 1793-1811) and James Johnson's Scots Musical Museum (5 vol., 1787-1803). Some of these, such as "Auld Lang Syne" and "Comin' thro' the Rye," are among the most familiar and best-loved poems in the English language. But his talent was not confined to song; two descriptive pieces, "Tam o' Shanter" and "The Jolly Beggars," are among his masterpieces.
Burns had a fine sense of humor, which was reflected in his satirical, descriptive, and playful verse. His great popularity with the Scots lies in his ability to depict with loving accuracy the life of his fellow rural Scots, as he did in "The Cotter's Saturday Night." His use of dialect brought a stimulating, much-needed freshness and raciness into English poetry, but Burns's greatness extends beyond the limits of dialect. His poems are written about Scots, but, in tune with the rising humanitarianism of his day, they apply to a multitude of universal problems.
See his poems (ed. by J. L. Robertson, 1953); letters (ed. by D. Ferguson and G. Ross Roy, 2 vol., 1985); biographies by M. Lindsay (2d ed. 1968) and R. T. Fitzhugh (1970); studies by D. Daiches (1978), H. Hecht (1985), and C. McGuirk (1985).
See biography by W. F. Burns (1905).
See biography by K. Brown (1977).
See his Gracie: A Love Story (1988) and All My Best Friends (1989).
(born April 10, 1917, Boston, Mass., U.S.—died July 8, 1979, Cambridge, Mass.) U.S. chemist. He attended MIT and taught at Harvard University (1938–79). Recognizing that physical measurement revealed molecular structure better than chemical reaction, in 1940–42 he developed “Woodward's rules” for determining structure by ultraviolet spectroscopy. In 1945 his methods finally clarified the structure of penicillin and of many more complex natural products. He proposed the correct biosynthetic pathway of steroid hormones. He was the most accomplished synthesist of complex organic compounds, including quinine (1944) and vitamin B12 (1971, in more than 100 reactions), a task that led to the fundamental concept of conservation of orbital symmetry. He received a 1965 Nobel Prize, and in 1963 the new Woodward Research Institute in Basel, Switz., was named for him.
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Robert Burns, detail of an oil painting by Alexander Nasmyth; in the National Portrait Gallery, elipsis
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(born Jan. 20, 1896, New York, N.Y., U.S.—died March 9, 1996, Beverly Hills, Calif.) U.S. comedian best known for his collaboration with Gracie Allen (1902–64). Burns and Allen formed a comedy team in 1925 and were married in 1926. They performed on radio in The George Burns and Gracie Allen Show (1932–50), with Burns playing the straight man to Allen's malaprop-prone chatterbox, before their show moved to television (1950–58). They made 13 films together, including The Big Broadcast films of 1932, 1936, and 1937. Burns returned to the screen in films such as The Sunshine Boys (1975, Academy Award) and Oh, God! (1977) and its sequels. Famous for his wry humour and his cigars, he continued performing into his late 90s.
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