Edited
by Frank R. Shaw, FSA Scot, Dawsonville, GA, USA
Email:
jurascot@earthlink.net
Gerry
Carruthers is no stranger to the pages of this web site nor to Burnsians
around the globe. I am always honored when he submits one of his articles
for our readers and this particular one will be a treat for all. Susan and I
have been to The Mitchell Library in Glasgow in days gone by, and I cannot
recall if our small town basketball court in Mullins, SC was any larger than
The Mitchell. Naturally we were impressed with the library, and I could very
easy designate it the “Mother Library of Robert Burns”.
I have
found Gerry’s scholarship to be of the highest quality. He is the author/editor of
many books on Burns, four which grace the shelves of my library. He
co-edited Reliquiae Trotcosienses, “a guide to Abbotsford and to its
collection”, with Alison Lumsden on Sir Walter Scott that I particularly
enjoy and value since Scott was a hero of mine long before Burns. His book,
Scottish Literature, is one every Burnsian should own since it deals topics
like The Rise of Scottish Literature, Scottish Literature in Scots, Scottish
Writing in English and Literary Relations: Scotland and Other Places.
Gerry’s research in all of the above is self-evident and places him among
the top Scottish writers around the globe.
It has
been a pleasure to work with Gerry on projects at the Burns Club of Atlanta
and at The Centre for Robert Burns Studies at University of Glasgow. I must
admit I was overwhelmed and honored over a year ago when I was invited to
become a member of the Centre’s Business Board.
With great
pleasure, once again, I present Dr. Gerard Carruthers!
This is a
version of a talk delivered by Gerry Carruthers at The Mitchell Library,
Glasgow, 23rd February 2012.
The
Mitchell Burns Collection:
The Best in the World?
By Gerry Carruthers

Dr. Gerry Carruthers speaking at the Burns Club
of Atlanta in November 2011. Photo by member Keith Dunn.
My title
asks whether the Mitchell Burns collection is the best in the world. Let me
begin by ducking the question - although I will come back to this - and say,
it is a unique collection. And by unique collection, I do most certainly
mean that as a term of praise. Sometimes things are unique because no-one
else wants them! There are things in this room that would make the dedicated
Burns collector or fan, salivate! And I’ll mention some of these treasures
presently.
An
indispensable guide remains to the Mitchell collection remains the ‘Robert
Burns Collection Catalogue’ first compiled for the bicentenary of the Bard’s
birth in 1959, and updated for the bicentenary of the death in 1996 by the
late great Joe Fisher, a man’s whose kindness and intelligence were very
much appreciated by several generations of Glaswegians seeking out the
wisdom contained in this great library.
The
Catalogue tells us that the core of the Mitchell Burns Collection is formed
by 700 volumes bought from James Gibson of Liverpool in 1882. Now this is
significant not only due to the obvious fact that the library is founded in
the late nineteenth century, albeit that the oldest part of the current
edifice dates to 1911, but because this purchase represents a wider
phenomenon: and that is that the period from the 1880s-1920s is the
highpoint of Burns ‘collection’. The Mitchell might simply have bought
collected works: poems, songs, letters, prose and some other material:
criticism, biography, even a little ‘memorabilia’ (or ‘Burnsiana’ as it was
described in the 1959 catalogue). And that would have been more than enough
for the public in general. The Mitchell went much further however, by buying
700 volumes, expanded to around 5,000 items in the Burns collection today
(so including some hundreds that are not included in the 1996 catalogue).
The idea
of having a Burns Collection begins in the Victorian period – this is when
values for Burns materials – books, manuscripts & memorabilia begin to
become serious. This is partly to do with the rise of consumerism in the
latter half of the nineteenth century and also a sufficient period to have
elapsed for Scotland to be more or less unequivocally proud of THE BARD.
Related to this, Burns becomes ever more seriously an object of serious
scholarly investigation.
Let’s
think about some of the highlight. Burns’s first book, Poems, Chiefly in the
Scottish Dialect published in 1786. There are, according to the calculations
of a gentleman doing a census from Florida, around 72 or 73 of these volumes
still in existence. That’s out of an original 612. The ‘Kilmarnock’ is the
crowning jewel of a Burns collection. The Mitchell has 2! Just to give us
some idea of monetary value, the ‘Kilmarnock’ edition over the past decade
has sold for anywhere between 30 & 80,000 pounds depending on provenance or
association and condition. The second of the Mitchell’s ‘Kilmarnock’s has a
missing original title and contents pages, but would still easily fetch
upwards of £30,000 were it to go on sale.
Burn’s 2nd
– ‘Edinburgh’ edition of Poems, Chiefly in the Scottish Dialect published in
1787 is an item of which the Mitchell has 7 copies, out of an original 3,000
plus produced. Not so rare, you can buy one of these for a couple of
thousand pounds upwards. Not only this, but the ‘Edinburgh’ has two separate
‘issues’: notoriously one of these in ‘To A Haggis’ has ‘stinking ware’ in
the text instead of the correct ‘skinking ware’. The Mitchell has two
‘stinking’ copies. The ‘Edinburgh’, issues 1 & 2 both, is or are the next
cornerstone, after the ‘Kilmarnock’, of a Burns Collection. This library has
also three copies of the expanded 1793 ‘Edinburgh’ edition and two of the
new edition of 1794. So that’s pretty much the crucial books of poetry
published during Burns’s lifetime covered. The other item here for Burns
completists is the songs collected and written by Burns and published in
James Johnson’s The Scots Musical Museum (1787-1803) – so stretching half a
dozen years beyond the poet’s death by the time the sequence is complete.
The Mitchell has one complete set of the original, two sets of volumes 1-5,
and the late eighteenth century reissue dedicated to the Society of
Antiquaries of Scotland. Also there are the Kilmarnock and Edinburgh volumes
and Scots Musical Museum. Many Burns collectors have spent their whole lives
trying (often unsuccessfully, sadly) to complete this set.
For me,
the fourth cornerstone for the serious collector of printed Burns work is
the first ‘Collected’ works and full-length ‘biography’ of Burns, James
Currie’s four volume The Poetical Works of Robert Burns (1800). The Mitchell
has 2 sets; and also numerous subsequent editions – and not only editions
but a huge array of the ‘Works’ published all across the globe which
cannibalize the ‘Currie’ edition.
So far,
there is no single collector who can match up to the Mitchell in terms of
printed ‘editions’, 1786-1800, or in a sense 1786-1830s, which remains the
period when the ‘Currie’ is dominant. At this point we can say, certainly,
the collection is the best in the world. I’ll be turning my attention to
producing a new edition of Burns’s Poems in the next few years for our
Oxford University Press edition, and the first port of call for me in terms
of printed books during Burns’s lifetime is The Mitchell – there is no
better place in the world to begin that research into general ‘stemma’ – the
poetry-texts and how these develop across different publications during
Burns’s life-time (and beyond).
One of the
advantages that the Mitchell has over the National Library of Scotland or
the British Library is that these copyright libraries automatically receive
everything published in the British Isles. The Mitchell does not, of course,
and so has to be proactive. In terms of Burns – first of all building on
James Gibson’s collection, which contained crucial overseas editions
including the first American edition – published in Philadelphia in 1788,
this has meant the library being proactive in seeking out (sometimes being
gifted) foreign edition of Burns. There are a couple of dozen US editions of
Burns’s work, or Burns ‘Americana’ if you like, bested only by the more
extensive American holdings of the Thomas cooper Library at the University
of South Carolina, and rivalled to some extent by the collection of the
central freemasonic lodge in Washington City, USA. The Mitchell also has
important holdings in European editions of Burns, some nineteenth but many
twentieth century, and also translations into 32 languages (according to the
catalogue, but 36 or 37 in actual fact). The 32 are: Belorussian, Bashkir,
Bohemian, Chinese, Czech, Danish, Dutch, ‘English’ (not sure about that
one!), Esperanto (it gets worse!), Faroese, French, Gaelic, Galician,
German, Greek, Hebrew, Hungarian, Icelandic, Italian, Japanese, Latin,
Lithuanian, Norwegian, Polish, Portugese, Rumanian, Russian, Slovakian,
Spanish, Swedish, Swiss German and Welsh!
Let’s turn
to manuscripts. The Mitchell has nothing like the collections to be found at
the National Library of Scotland, Edinburgh University Library, the Pierpont
Morgan in New York, the Rosenbach in Philadelphia, the Thomas Cooper Library
in South Carolina, the Birthplace Museum in Alloway or, what is for me the
most breath-taking collection of all: that at Dean Castle Country Park,
where the Burns Federation also has its headquarters. However, what it does
have is a number of superb items – manuscripts for ‘Auld Lang Syne’ – I
think the last major (6 figure!) purchase made by the library, a couple of
poems and a few songs. Poems include ‘When by a gen’rous public’s kind
acclaim’ and ‘The Ordination’, one of Burns’s most important Kirk satires.
I’ve spoken at length in this venue previously about the latter: ‘The
Ordination’ is a remarkable document in local church politics. The
manuscript shows Burns working on a kind of propaganda. It is a remarkable
text because it shows Burns against ‘the people’, unfairly castigating the
Kilmarnock weavers for wanting to choose their own minister. This is Burns
the defender of Patronage, or Lairds choosing ministers. It is one of two
manuscript versions recorded – I don’t know where the other one is. And
James Kinsley the last editor to properly edit the complete poems seems not
to have used The Mitchell version. The penny has only dropped for me
recently that this manuscript has not properly been worked upon – we’ll do
so in the new OUP edition.
The other
song manuscripts in Burns hand are ‘O poortith cauld, and restless love’,
‘Thou whom chance may hither lead’ and ‘Yestreen I had a pint o’ wine’.
That’s a nice new flat or sports car you could buy if you were to sell
these!
There are
nine autographed letters in Burns’s hand: one on loan from Glasgow Life and
two deposited by the Burns federation, for reasons I can’t claim to
understand. All of these are significantly important (each would probably
fetch somewhere in the region of £6-9,000 if auctioned): and one Burns’s
only extended epistolary performance in Scots, his letter to William Nicol
of 1787, would most likely go for at least £15,000 and perhaps as much as
£30,000 if the Mitchell was daft enough, which it isn’t, to sell! This is a
tour de force Scots prose performance by Burns. Have a look at it in an
edition of his letters if you haven’t seen it, and marvel at what a
brilliant writer Burns is! As a great lover of the Mitchell Library, as
someone hugely indebted to its collections and staff over the years, I
regard myself as a kind of ‘critical friend’, and I’d want to raise the
question why the Mitchell does not enter into the market more often for the
Burns manuscripts, especially letters that come on to the market. I assume
the answer to some extent is that funds are tight. I know too that culture
is one of the first things to be hit within local, civic institutions when
times are austere. But we must never tire saying that ‘culture’ –
literature, the arts, music, history etc. etc. – is not a luxury! It is
about our identity, especially our local identity – in the case of the Burns
collection, all of Glaswegian, west of Scotland (including Ayrshire!) and
Scottish identity more widely; it perhaps even pertains, one might suggest,
to our British cultural identity – Burns is, among other things, a great
British Romantic writer, recognised as such the world over. He is, then, too
a Global writer. Identity, our own sense of ourselves as a cultured people –
fellow weegies!, fellow west of Scotlanders, fellow Scotlanders, fellow
Britons, fellow human beings! Culture and the pride we take in it is also
about our well-being, both physically and mentally – ‘man does not live on
bread alone’ but also on our imaginative engagement with the community, with
the world around us. That is what libraries are about – knowledge, often
practical knowledge that is true, but imagined knowledge – poetry, the other
arts that are as actually a part of our world as much as books, knowledge
about car mechanics, flower arranging, or splitting the atom! Libraries are
about whom we are, individually and collectively; they are about the human
world. So all of that by way of an appeal to the Mitchell! Please buy, if
possible, more Burns manuscripts. One of the places where we see the
Mitchell not quite keeping track of the contemporary scene, and here again I
hope I’m being a ‘critical friend’ is in its absence of Antique Smith
manuscripts – Alexander Howland Smith – the man who was jailed for a year in
1893 for forging, among other writers and historical figures, the work of
Burns. Antique Smith is now very collectible.
The
library also has a fairly large collection of manuscripts in facsimile,
which is very useful. And also a couple of important ‘Non-Burns Holographs’:
Gilbert Burns’s Mossgiel farm rent-book and Mrs Robert Riddell’s
‘Fragments’ manuscript volume (essentially Elizabeth Riddell’s commonplace
book). Robert Riddell was Burns great friend during the Ellisland years in
Dumfriesshire, until Burns committed some, seemingly drunken social faux
pas, either against Elizabeth or one of the other female members of the
Riddell household (one of the lowest moments in Burns’s life, leaving aside
the death of loved ones). Not mentioned in the catalogue, is a very
important manuscript collection: the letters of James Currie, Burns first
editor that we’ve recently finished editing at the University of Glasgow (a
very good piece of co-operation between the Mitchell and GU).
You see
excellent though it is in so many ways, the printed Mitchell catalogue is
now a bit problematic. As Joe Fisher makes clear in the preface to the 1996
catalogue based on the original 1959 one: ‘the method used was copied from
the massive Memorial Catalogue of the Burns Exhibition, Glasgow 1898’ – And
this was as more about EXHIBITING Burns rather than curating or cataloguing
Burns. For the proper curation and cataloguing of the Mitchell Burns
collection what we now need is a full electronic database management form of
catalogue. So that for instance, this might still produce editions of Burns
under place – very useful as this stands in the printed catalogue, but what
is lost in this arrangement is chronology – a computer catalogue instead
could produce all Burns editions published in 1822 or, indeed, all items of
any kind – works, biography, criticism, published say in 1955. It is a very
useful in the printed catalogue for instance that under manuscripts we find
not only the manuscripts actually owned by the Mitchell but also important
articles, pamphlets etc. on manuscripts elsewhere, including forgeries. So
the catalogue is attempting to be thematic –very useful, but that also
creates short comings in a printed catalogue. Shortcomings, for instance,
when ‘place of publication’ is an organising principle in the catalogue.
What we don’t have, for instance, are all the Currie editions (there are
about eight lifetime editions of Currie, the lifetime of Currie that is, and
such material is scattered throughout the printed catalogue). This is partly
because Currie is printed firstly in Liverpool, then later in London. We
often need more than one tool for a job of course, and so when I use the
Mitchell catalogue it is essential to use at least the J. W. Egerer
Bibliography of Robert Burns produced in 1964, as well as at least one 19th
century bibliography (and also these days the published catalogue of the G
Ross Roy collection in South Carolina). But to a large extent, if the
Mitchell Burns collection were to be computerised including notes
cross-referenced with Egerer and to some extent perhaps with the Roy
collection, this would make the world class collection here in this building
so much more accessible. This would be a major digital humanities project
that it would be wonderful to see the library undertake. It would require,
of course, time (including full-time staff attention) and money (which would
be worth a grant application to the Lottery Heritage fund). Here again I
speak publicly as a positively critical friend!
I offered
at the outset to reflect on some of the wider ‘cultural’ forces that have
shaped the Mitchell’s Burns collection. I’m going to attempt that task a
little bit now. As I’ve stated, the library’s holdings of the bard is built
on the important foundation of the Victorian idea of Burns collecting. Not
unrelated here, is Glasgow’s sense of itself as a great centre of culture.
Many of the traces of Glasgow as a great centre of publication are gone,
unfortunately, including the Foulis Press, printers to the University of
Glasgow. At the ‘popular’ end of the market was the firm of ‘Brash & Reid’,
one of the partners, indeed, William Reid was a personal acquaintance of
Burns (a story has gone around that Burns offered his poems to Reid before
publishing by subscription himself; we might, then, have been celebrating
the ‘Glasgow’ first edition of Poems, Chiefly in the Scottish Dialect,
rather than the ‘Kilmarnock’ edition, though myself I think the story is a
bit dubious). When Burns is famous, Brash and Reid certainly make good money
selling Burns’s work, especially in chapbook, or little pamphlet, form.
They also do a four volume set of the poetry, probably from 1795, though
bibliographers are not entirely sure. The Mitchell has two of these sets.
Now one thing I’ve seen is Brash and Reid chapbooks of poems and songs,
sometimes including Burns along with other poets such as Robert Tannahill or
James Hogg. These don’t register in the printed Burns catalogue though
because they were presumably thought by James Gibson and by later curators
at the Mitchell not to be worth collecting particularly. So such items come
from other poetry collections held by the Mitchell. A shame a more
systematic collection had not been made earlier of these. I saw recently in
Oxford, Burns the chapbook ‘Address to the People of Scotland’ by Brash and
Reid on sale for £1,600: these are now very collectible and tell us
interesting things about the popular consumption of Burns. They were mass
produced on pretty cheap paper – so they’re disposable and so, in some
instances, comparatively rare. They would not be seen in the late nineteenth
or early twentieth centuries however or forming a proper part of a
‘gentleman’s Burns collection’: because that is largely what Gibson’s 700
volumes represent.
In terms
of pamphlets/single poems the Mitchell boasts a rare copy of the chapbook of
Burns ‘Address to the Deil’ published in 1795 by which printer we cannot be
entirely sure. On the other hand, absent from this library is the unofficial
chapbook printing of ‘Holy Willie’s Prayer’ the only printing of the poem
during the poet’s lifetime. It might seem ironic given Burns’s ‘folk’ and
popular associations, but the Mitchell Collection for all some excellent
subsequent collecting of chapbook materials shows, to some extent, the
unfashionable nature of popular culture until comparatively recently
(arguably until as late as the 1960s). Along with the Brash and Reid four
volume edition, however, what we have is a magnificent set of Glasgow
editions in the collection. We have the Blackie edition of 1843-44, which
carries also James Currie’s biography of the poet along with an essay by the
leading mid-Victorian Scottish critic of his day John Wilson, and also many
notes. The 1840s-50 is a time when essay and notes and appendices build up
around Burns editions, including sometimes Thomas Carlyle’s essay on the
bard. In many editions in the mid-nineteenth century it becomes difficult to
distinguish between the many voices in the one edition competing for the
reader’s attention. The Blackie editions are like that. We also have the
Bryce edition published in Glasgow, the Cameron editions – George, James,
Cameron & Co and Cameron & Ferguson and another fifteen Glasgow publishers
from the mid-19th to the early twentieth century, including, of course,
William Collins. We have too the earliest Glasgow Burns editions – the
Chapman & Lang of 1800, the Chapman and Lang and also the Thomas Duncan,
both of 1801 – these are, in effect, ‘added-to’ ‘Kilmarnock’ editions
presumably intended to compete with the collected edition of Currie, whose
1st and 2nd editions appeared in 1800 and 1801.
The most
notorious Glasgow printings of Burns are those by Thomas Stewart again
coincided to compete with Currie’s first collected works – Poems ascribed to
Robert Burns, the Ayrshire bard, not contained in any edition of his works
hitherto published (1801) – the Mitchell has five copies – and also
Stewart’s 1802 book which supplements its material with the correspondence
of Sylvander & Clarinda, something that greatly alarms Clarinda, Mrs
Mclehose, since this book is much more revealing than Currie’s edition about
the relationship of the pair. The Mitchell has three copies and also has a
rare 1803 pamphlet about Currie’s publisher’s Cadell and Davis and their
action against Stewart at the Court of Session. Apart from the Stewart
volumes the Glasgow editions tell us little about Burns we cannot find
elsewhere, but they are, as I’ve indicated, testimony to the vanished
vibrancy of the Glasgow publishing scene. What the Glasgow publications of
Burns do however boast is a vast array of illustrations which in themselves
would make for a fine research project on the reception and interpretation
of Burns’s work.
In the
twentieth century Burns pamphlets in general begin to be prized by the
Mitchell; its collection becomes much more miscellaneous. An example here is
the Glasgow pamphlet of 1903 – ‘Some Burns Collectors’. What we see from
this point is a growing awareness of the cultural hinterland that exists for
Burns studies – the ‘afterlife’ as it were, so that Burns collectors are an
interesting phenomenon in themselves, and the cultural context of the 18th
century itself, of Burns’s own times, so that the Mitchell acquires ‘Letter
from a Blacksmith’, a publication of the 1750s that stands behind the
inspiration of Burns’s poem, ‘The Holy Fair’.
The
attitude in the Mitchell from the early twentieth century that it will
collect more or less anything concerning Burns that has just been printed
has been a sound instinct – nothing much in that line is missed, and though
that might mean adding some deplorable publications to the list, even these
are part of the story: the lunatic fringe, the deluded, the frivolous, the
downright fraudulent – authors in these categories all nestle together with
the finest Burns biography and criticism in the Mitchell collection – they
are all part of the story of Burns. And talking of the story of Burns, the
Mitchell’s collection of biographies contains over two hundred authors on
Robert himself, all the way from full blow book treatments of his life to
phrenological pamphlets on the poet; over sixty biographical items on
Burns’s family; and close to another two hundred authors on Burns’ friends
and contemporaries. The collection includes twelve fiction writers (or
writers who know they’re writing fiction about the bard!) and 13 playwrights
who treat Burns. There are around 140 poets who write poems about the poet –
either in his lifetime, or subsequently. All the Burnsian inspired
contemporaries are housed in The Mitchell – Janet Little, David Sillar etc.
Not all of these are listed in the printed catalogue and if exploring you
need to cross-reference or cross-check with the hugely impressive two-volume
Scottish Poetry Collection [scarily existing only in hand-written form –
another case for digitization!]. The Mitchell has now and has always had an
excellent staff, but as so often in big libraries things have got a bit out
of hand. I’ve mentioned the Gardyne collection of poetry and other material
which is only catalogued in the most general sense. Lurking in the
subterranean stacks here, I suspect, are all kinds of lost eighteenth and
nineteenth century items which might re-emerge one day. Two things in
particular for which I’m on the lookout are the collected poems of the
Airdrie poet, William Yates – there seems to be no copy of this in existence
anywhere. And also, if possible, the 1828 Belfast edition of Burns, which
likewise seems to have vanished completely into thin air. At some point, a
physical trawl of the shelves - for several weeks – looking at books and
many bound together pamphlets and chapbooks would almost certainly bring
rich rewards. That is me being a critical friend again!
It is
interesting to see how bawdry is dealt with. I’ll come back to this in a
moment, but this tack is prompted by another publication. The library might
not have the 1789 chapbook version of ‘Holy Willie’s Prayer’ but it has an
1884 text of the poem printed for Kilmarnock Burns Club. Burns clubs are in
existence from a few years of Burns death of course, and in the latter part
of the nineteenth century, specifically from 1884 we have the foundation of
the Burns federation, or the World Burns Federation as it is now. The
Mitchell has of course a complete run of the often excellent Burns
Chronicle, the scholarly organ of the Federation from 1892 down to the
present day. This is another thing that the ‘average’ Burns collector can
aspire to – a complete run of the Chronicle. Anyway, the Burns clubs are
fruitfully productive of many other items of Burns publication over the past
hundred and thirty years and the Mitchell has an expansive collection of
these often highly useful publications. The previously all-male Burns clubs
could enjoy publications like ‘Holy Willie’s Prayer’ and such as the
Kilmarnock Club did in the 1880s, and bawdry material generally ought to be
separated in a sense from ‘popular culture’. In Burns’s own day, The Merry
Muses of Caledonia which the poet certainly collected in its original form,
was something for the gentleman for the weekend! This perhaps explains the
excellent collection of The Merry Muses under this very roof. It includes
the ‘1827’, really the 1872 (indeed two copies of same), the privately
printed Burns federation privately printed ‘edition’ of 1911 (two copies) in
which Duncan McNaught attempts to prove that Burns had very little to do
with the contents – talk about having your cake and eating it! The 1959 &
newly legal 1965 James Barke & Sydney Goodsir Smith edition are there, as is
the 1965 Legman and 1966 Randall editions. There is also the excellent G
Ross Roy facsimile version from a decade back – based on the Roy collection
volume – the only one of a handful of extant copies of the original of 1799
to contain a complete title page. No surprise that James Gibson didn’t have
one of these – also no surprise that he DID have the so-called ‘1827’. I
need to do some work on the original 700 Gibson volumes which form the rump
of the Mitchell collection to determine the shape of a ‘gentlemen’s
collection’ and also to be a wee bit more precise about the Mitchell’s
acquisitions policy thereafter. A librarian of 1890 or 1920 or 1945, or a
collector such as Gibson himself would be surprised that their own practices
might become an object of investigation, but these are, indeed, a revealing
part of cultural history, of book-history, in the present case of the
history of the Mitchell Library.
In terms
of criticism, the library has every major monograph, collection of essays
etc. since the nineteenth century, especially from the first 1860s Regius
Chair of English at Glasgow, John Nicholl to the current one, Nigel Leask.
The Mitchell also has very good newspaper cuttings relating to Burns through
the nineteenth century and into the last one. Likewise, it has some great
sound recordings of Burns songs, but the collection here is very far from
comprehensive. Arguably, neither of these last two things matter so much in
this day and age of the web and internet when so much now is retrieved that
way.
So what do
we have under this roof? A print collection of Burns that is unsurpassed or,
if at all, not by much and maybe only by the print holdings at the Thomas
Cooper Library, South Carolina. It is wonderful that the world has both
these collections. The Mitchell has a small but unique set of highly
valuable manuscripts and Burns biography, criticism, translations and
miscellanea that is as ‘great’ as anywhere in the world. It is truly a
world-class collection, but there is a challenge ahead – the challenge, at
the very least, to maintain and make it more accessible. The Mitchell is the
greatest publicly, or most openly, accessible Burns Collection in the world.
The Mitchell should not, says this enthusiastic, admiring ‘critical friend’,
sit back – ideally it needs to collect more manuscript material as and when
it can, and it needs to digitize its catalogue and maybe also begin
digitizing its holdings too. The Mitchell, Glasgow, the west of Scotland,
Scotland, Britain, Europe, the World has a treasure in this Burns collection
– which needs to continue to shine out brightly and that requires continued
hard work! |