Robert+Burns

toc

> > Portrait: Robert Burns by Alexander Nasmyth, > from the Scottish National Portrait Gallery, Edinburgh. > http://www.todayinliterature.com/biography/robert.burns.asp

"A Red, Red Rose" Robert Burns
O my Luve's like a red, red rose, //(1)// That's newly sprung in June: O my Luve's like the melodie That's sweetly play'd in tune.

As fair art thou, my bonnie lass, //(5)// So deep in luve am I; And I will luve thee still, my Dear, Till a' the seas gang dry.

Till a' the seas gang dry, my Dear, And the rocks melt wi' the sun: //(10)// And I will luve thee still, my Dear, While the sands o' life shall run.

And fare thee weel, my only Luve! And fare thee weel, awhile! And I will come again, my Luve, //(15)// Tho' it were ten thousand mile!

Source: //Exploring Poetry//, Gale, 1997. http://www.gale.com/free_resources/poets/poems/redred.htm

Explanation: "A Red, Red Rose"
The reader may be already familiar with the poem's much-quoted first line. Its appeal over time probably stems from the boldness of its assertion — the speaker's love conveyed through the conventional image of the rose and through the line's four strong beats. The poet's choice of a rose may at first seem trite, and the color "red" may seem too obvious a symbol of love and passion. Yet if the comparison between the beloved and the rose verges on cliché, a careful reading reveals the subtler ways in which the speaker expresses his conviction. Why, for instance, is the word "red" repeated? The answer might be found in the second line. While red is the expected hue of the flower, the repetition of the adjective represents the fullest and most lovely manifestation of the rose: its ideal state. Such also is the nature of the speaker's love. "Newly sprung," it exists in its purest and most perfect state — none of its vitality has faded; time has not scarred it with age or decay. Yet this embodiment of love is a temporary one. Like the rose, which can exist in this lush form only "in June," the speaker's feelings and his beloved's beauty cannot remain frozen in time: they, like all other forms of beauty, are passing.
 * Lines 1-2**

Perhaps it is the speaker's recognition of the rose's brief beauty that compels him to pursue another metaphor for his love. This time he chooses to compare her to a lovely melody from a song, but this is also a temporary form of beauty. While a song may be "sweetly play'd in tune," it too is a product of time, of beats and measures. When the song has ended, its beauty lives on only in abstraction — as the idea of the beautiful song.
 * Lines 3-4**

The second stanza plays on the word "luve," revealing the elusive nature of the concept. When the speaker says "I will luve thee still," he plays on the concept of time. The line seems to indicate that the speaker will love continuously or forever, but the following line does put a limit on the amount of time he will love. His passion will continue "Till" a certain time — when "the seas gang dry." Though the prospect of the seas drying up seems remote, it exists nonetheless. Thus, while the sentiment seems wholly romantic, there remains in it a hint of melancholy: The speaker is saying his love will last a long time — but that it is not eternal in the purest sense.
 * Lines 5-8**

The repetition here of "Till a' the seas gang dry" is in keeping with the song's musicality. But in it there is also a hint of reconsideration, as if the speaker has just understood the implications of what he has said. From this, he moves to another attempt to express eternity, yet this too depends on the word "Till": he will love until the rocks "melt wi' the sun." But the rocks may indeed melt one day, or erode, in any case, under the effects of the sun, wind, and weather. At that point his love will cease, so again, his sentiments are not wholly timeless.
 * Lines 9-11**

Line 12 also casts some doubt on the speaker's intentions, since it can be interpreted two ways. In one sense, he could mean that their love is separate — above or beyond — the sands of time. This indicates that it will last forever and won't change or end because of time. On the other hand, he almost seems to emphasize the fact that the sands are running, which is to say time is running out, as sand runs out of the hour — glass. This direct reference to time also reminds us of the first two lines in the poem: the momentary, time-bound state of a "red, red rose that's newly sprung in June." Read in this way, the poem becomes more than the simple love ballad that it seemed initially; instead, it can also be a seen as a meditation on the speaker's consciousness of time and on limits that time can place upon human emotions.
 * Line 12**

The last stanza seems to shift away from the predominant concerns of the first three: the speaker turns from the concept of time to that of parting. He is journeying away from his love, assuring her that he will be true and will return. Yet the concept of time enters here as well: the speaker will transcend not only vast distance ("ten thousand miles") to be with his love, but also time itself, with words like "awhile" and "again" drawing the poem back to the main concerns of the first three stanzas.
 * Lines 13-16**

Source: //Exploring Poetry//, Gale, 1997.

http://www.gale.com/free_resources/poets/poems/redred_ex.htm