Poems, Chiefly in the Scottish Dialect (Dublin Variant)

Last updated

Poems, Chiefly in the Scottish Dialect (Dublin Variant)
Poems, Chiefly in the Scottish Dialect (Dublin Edition). Robert Burns. Pirated issue. 1787.jpg
Dublin Variant of 1787 – Title page
Author Robert Burns
Original titlePoems, Chiefly Scottish
Cover artistPatrick Halpin, after Alexander Nasmyth
Country Great Britain
Language Scots & English
Genre Poetry and Lyrics
PublisherJames Magee, Belfast
Publication date
1787

Poems, Chiefly in the Scottish Dialect (Dublin Variant) was the second 'pirated' issue of Robert Burns's work, being published in Ireland at Belfast without permission from or payment to the author or publisher. It is a so-called Stinking Edition, carrying the error 'Stinking' for the Scots word 'Skinking' (watery) in the poem "To a Haggis" because the type setters copied from a 1787 Stinking Edition of Poems, Chiefly in the Scottish Dialect (Edinburgh Edition). It has been shown to be from the same print setting as the Belfast Edition but with a different title page. [1]

Contents

This single volume issue is a collection of poetry and songs by Robert Burns, originally "Printed for the author and sold by William Creech" in Edinburgh. MDCCLXXXVII [2] The date of publication for the 'Dublin Variant' as advertised in Finn's Leinster Journal was 29 September 1787, [2] making it the second unauthorised or 'pirated' issue and the part of the third edition of the 'Poems, Chiefly in the Scottish Dialect'. [2] The 'Belfast Edition' had been first advertised in the Belfast News Letter on 25 September 1787, making it a variant of the third edition of the poems and the first 'pirated' issue. [3]

The Kilmarnock Edition had made Robert Burns Caledonia's Bard whilst the 'Edinburgh Edition', the 'Belfast Edition', 'Dublin Variant' and the 'London Edition', all published in 1787, eventually elevated him into a position amongst the world's greatest poets. [4] [5]

The Burns Exhibition of 1896 had three copies of the 'Dublin Variant' on display as well as the 1789 and later editions. [6] James M'Kie, the publisher and great Burns collector, was not aware of the existence of the 1787 'Dublin' or 'Belfast' editions and only lists the 1789 'Dublin Edition' in his "Bibliotheca Burnsiana. Private Library of James M'Kie" in 1866. [7]

The Variant and its contents

It was part of the third published edition of Burns's poems, his first edition having been printed in Kilmarnock in 1786. The 'Belfast Edition' cost 2  shillings, eight and a half pence in boards and 3  shillings, three pence bound' [3] [8] and the 'Dublin Variant' would have been similarly priced. It is not known how many copies of the 'Dublin Variant' were printed, the situation being complicated by it being part of the print run of James Magee's Belfast edition, issued under the imprint of William Gilbert, a bookseller. [3]

Around 3,250 copies of the 'Edinburgh Edition' were printed at 5 shillings for subscribers and 6 shillings for non-subscribers. Only 612 copies of the Kilmarnock Edition of which 88 [9] are known to survive, but no record exists of the numbers of the Belfast and Dublin Edition that remain.

A single volume, it was again dedicated to the "Noblemen and Gentlemen of the Caledonian Hunt". [10] The 1787 Dublin, Belfast and Edinburgh editions all contain an extra seventeen poems and five new songs and most of the poems present in the 1786 Kilmarnock Edition are reprinted such as "Halloween", "The Twa Dogs", "The Cotter's Saturday Night", "To a Mouse", etc. New poems included Death and Doctor Hornbrook, The Brigs of Ayr, The Holy Fair, John Barleycorn, Address to the Unco Guid, or the Rigidly Righteous [11] and significantly To a Haggis [10] (often given elsewhere as Address to a Haggis). [11]

The contents differ as the dedication is followed by Extracts from The Lounger, No.97; the Table of Contents, then the 'Text' and finishing with the 'Glossary'. It does not claim to have been "Entered into the Stationer's Hall" and no subscribers list was included. [12] The title pages are very similar, however the 'Edinburgh Edition' has the 'By' of 'By Robert Burns' on a line by itself.

The page number error. Poems, Chiefly in the Scottish Dialect (Dublin Edition) with page number printing error. 1787.jpg
The page number error.
Comparison of the 1787 first octavo 'Edinburgh Edition' (left) and the 1787 'Dublin' duodecimo volume(right). Poems, Chiefly in the Scottish Dialect (Edinburgh & Dublin Editions). Octavo vs Duodecimo sizes.jpg
Comparison of the 1787 first octavo 'Edinburgh Edition' (left) and the 1787 'Dublin' duodecimo volume(right).

Nearly twice the length of the Kilmarnock Edition of 1786, it was printed in 12mo or Duodecimo rather than the demy octavo format of the 'Edinburgh Edition'. The smaller size made the printing less expensive, and text from the octavo edition was condensed into a duodecimo of 286 text pages with a considerable saving in paper, a valuable material before the regular use of wood pulp paper; 368 pages was the comparable length of the first 'Edinburgh Edition'. Interestingly in this context William Gilbert was a signatory to a "Petition to the House of Commons respecting paper" in 1773. [2]

The volume was published in French gray paper 'printers' boards. [3] Measuring 15.7 cm by 9.5 cm trimmed, it included the expanded glossary or 'dictionary' of the Scots language for those unfamiliar with the many Scots words that Burns used. [13] The 'chain and line' or laid paper used for the text has a watermark, but unlike the 'Edinburgh Edition' paper, it is not a fleur-de-lis, but a diamond and the plumed headwear of a cavalier, the watermark of the French papermaker, B. Brun of Angouleme. [1]

Burns used annotations to clarify or enhance the understanding of his works such as with Halloween on page 109 and his notes on the 'Cove of Colean' (Culzean) as the Elfhame or home of the fairies.

Printing Errors

Unique to the 'Dublin & Belfast Editions' are a few printing errors, such as the absence of a signature on page one and [ 16 ] on page [ 160 ]. [3] Other errors are 'Nineteenth' rather than 'Ninetieth' on the 'Contents Page' and on page 171 for the title of the poem "The First Six Verses of the Ninetieth Pslam" and finally on page 188 "A Dedication to G**** H*******, Efq;" is printed with an 'O' replacing the 'G'. [1] Some punctuation and capitalisation differences exist, such as 'Lammas Night' rather than 'Lammas night'.

The Stinking Edition

The 'Stinking' misprint. Poems, Chiefly in the Scottish Dialect (Dublin Edition) with 'To A Haggis' printing error.jpg
The 'Stinking' misprint.

The 'Stinking Edition' or 'Stinking Burns' is so called because of the original spelling mistake in the partial second impression of the 'Edinburgh Edition', found also here in the 'Belfast' and 'Dublin' editions. The origin of the error is because William Smellie had printed a first run of pages as far as the gathering or signature 'Mm' when he discovered that he had insufficient copies to cover all the subscribers and due to a shortage of type he was forced to reset the printing blocks and repeat the run as a partial second impression. In the haste to reset the blocks a large number of mainly minor errors were introduced, the most famous of which is the substitution of a 't' for a 'k' that converted the Scots word 'skinking' (meaning watery) into 'stinking'. Around 1000 out of 3000 copies of the 1787 'Edinburgh Edition' carried the error. [13]

The bookseller

William Gilbert, bookseller, of Dublin, is thought to have had a connection with the well known printer and publisher James Magee of Bridge Street, Belfast, possibly as a business partner. [2] 26 South Great George's Street, Dublin is the address given in the 1795 Wilson's Dublin Directory, the bookshop was likely however to have been at No.46. [2] Printed in Belfast by James Magee, the Dublin variant appeared under William Gilbert's name. [3] [1] It was also part of the first edition published outside of Scotland.

The Portrait of Robert Burns

William Creech commissioned Alexander Nasmyth to paint Burns's portrait from which John Beugo engraved the copper plate required for the printing process. [14] The 'Belfast' and 'Dublin' editions however had a frontispiece engraving by Patrick Halpin [3] [15] rather than the John Beugo engraving. Burns's image looks to the left in Beugo's engraving, but Halpin's portrait looks to the right. [15]

Subsequent editions

In 1789 the variant was re-issued by William Gilbert from the same address. [16]

In 1793 a two volume Second Edinburgh Edition was published, much enlarged and for the first time containing the poem Tam o' Shanter, although It had already appeared in such publications as the second volume of Francis Grose's Antiquities of Scotland, for which it was originally written.

Other 18th century editions are those published in London, Philadelphia [17] and then New York, [18] not always with the authors knowledge or with the permission of William Creech, the copyright holder. [3] Thomas Stewart's 1802 edition is notorious for having included a section with twenty-five letters written by Sylvander Robert Burns to Clarinda Agnes Maclehose without the permission of the copyright holders. [19] The copyright for the 1787 'Edinburgh Edition' expired in 1801.

The poems and songs of the 1787 Robert Burns unauthorised Dublin Variant

  1. The Twa Dogs. A Tale
  2. Scotch Drink
  3. The Author's Earnest Cry and Prayer to the Scotch Representatives in the House of Commons
  4. The Holy Fair *
  5. Death and Doctor Hornbook *
  6. The Brigs of Ayr *
  7. The Ordination *
  8. The Calf *
  9. Address to the Deil
  10. The Death and Dying Words of Poor Mailie
  11. Poor Mailie's Elegy
  12. To J. S**** (James Smith)
  13. A Dream
  14. The Vision
  15. Address to the Unco Guid, or the Rigidly Righteous *
  16. Tam Samson's Elegy *
  17. Halloween
  18. The Auld Farmer's New-Year Morning's Salutation to his Auld Mare, Maggie
  19. The Cotter's Saturday Night, inscribed to R. A. Esq
  20. To a Mouse, on turning her up in her Nest, with the Plough, November, 1785
  21. A Winter Night *
  22. Epistle to Davie, a Brother Poet
  23. The Lament
  24. Despondency. An Ode
  25. Man was made to Mourn. An Elegy
  26. Winter. A Dirge
  27. A Prayer, in the Prospect of Death
  28. Stanzas on the same occasion *
  29. Verses left at a Friend's House *
  30. The First Psalm*
  31. A Prayer *
  32. The First Six Verses of the Ninetieth Psalm (Printed in error as Nineteenth) *
  33. To a Mountain-Daisy, on turning one down, with the Plough, in April, 1786
  34. To Ruin
  35. To Miss L____, with Beattie's Poems for a New-year's Gift (Logan) *
  36. Epistle to a Young Friend
  37. On a Scotch Bard gone to the West Indies
  38. To a Haggis *
  39. A Dedication to G**** H******* Esq; (Gavin Hamilton) *
  40. To a Louse, on seeing one on a Lady's bonnet at Church
  41. Address to Edinburgh *
  42. Epistle to J. L*****, an old Scotch Bard (John Lapraik)
  43. To the same
  44. Epistle to W. S*****, Ochiltree (William Simpson)
  45. Epistle to J. R******, inclosing some Poems (John Rankine)
  46. John Barleycorn. A Ballad *
  47. A Fragment, 'When Guilford good our Pilot stood,' *
  48. Song, 'It was upon a Lammas night'
  49. Song, 'Now westlin winds and slaughtering guns'
  50. Song, 'Behind yon hills where Stinchar flows' *
  51. Green grow the Rashes. A Fragment *
  52. Song, 'Again rejoicing Nature sees' *
  53. Song, 'The gloomy Night is gath'ring fast' *
  54. Song, 'From thee, Eliza, I must go'
  55. The Farewell. To the Brethren of St James's Lodge, Tarbolton
  56. Song, 'No churchman am I for to rail and to write' *
  57. Epitaph on a celebrated Ruling Elder
  58. _______ on a noisy Polemic
  59. _______ on Wee Johnie
  60. _______ for the Author's Father
  61. _______ for R. A. Esq; (Robert Aitken)
  62. _______ for G. H. Esq; (Gavin Hamilton)
  63. A Bard's Epitaph

( ) – The missing name from the poem or song.

Burns, as illustrated above, used a variety of methods to keep the names of individuals more or less hidden, such as with a series of asterisks between a first and last letter denoting missing letters, a solid line giving no clue to the number of letters or initials only.

See also

Related Research Articles

"To a Mouse, on Turning Her Up in Her Nest With the Plough, November, 1785" is a Scots-language poem written by Robert Burns in 1785. It was included in the Kilmarnock volume and all of the poet's later editions, such as the Poems, Chiefly in the Scottish Dialect . According to legend, Burns was ploughing in the fields at his Mossgiel Farm and accidentally destroyed a mouse's nest, which it needed to survive the winter. In fact, Burns's brother, Gilbert, claimed that the poet composed the poem while still holding his plough.

<i>Poems, Chiefly in the Scottish Dialect</i> 1786 poetry collection by Robert Burns

Poems, Chiefly in the Scottish Dialect, commonly known as the Kilmarnock Edition, is a collection of poetry by the Scottish poet Robert Burns, first printed and issued by John Wilson of Kilmarnock on 31 July 1786. It was the first published edition of Burns' work. It cost three shillings and 612 copies were printed. The volume was dedicated to Gavin Hamilton.

<span class="mw-page-title-main">Irvine Burns Club</span> Association which celebrates Robert Burns and Scottish literature

The Irvine Burns Club, based at the Wellwood Burns Centre & Museum, was founded on 2 June 1826 and is one of the world's longest continuously active Burns Clubs. At least five personal friends of Robert Burns were among the group of local gentleman, whose idea it was to form the club. Irvine in North Ayrshire is an old market town and port situated on the west coast of Scotland, approx 14 miles north of Ayr.

<span class="mw-page-title-main">Robert Burns's diamond point engravings</span>

Robert Burns came to know James Cunninghamme, Earl of Glencairn in Edinburgh in 1786 through a 'Letter of Introduction' provided by Dalrymple of Orangefield who was married to Lady Glencairn's sister. The Earl received the poet warmly in his house and introduced him to his friends. One of several gifts from the earl to the poet was a diamond point pen, stylus, or cutter which he used to write upon many windowpanes and glasses, scribing verse, his signature, epigrams, or other writings for posterity. Many of these diamond-point engravings survive, some however are contentious as regards either their authenticity, meaning, or both.

<span class="mw-page-title-main">Robert Burns World Federation</span> Association which celebrates Robert Burns and Scottish literature

The Robert Burns World Federation is a literary society based in Kilmarnock, Ayrshire, Scotland, aimed at educating the public about the life, poetry and works of the poet Robert Burns. It is a Scottish Charity and a company limited by Guarantee. The Federation links existing Burns Clubs and similar groups, giving a unique number to affiliated Clubs, which is then used by them in their promotion and identification. Their ongoing intent is to provide a way for clubs to link together and enjoy the mutual benefit of association, communication and shared mission. It was founded in 1885

<span class="mw-page-title-main">John Goldie (philosopher)</span>

John Goldie, Goudie or Gowdie (1717–1811) the 'Philosopher' was a friend of the poet Robert Burns who was born the son of a miller at Craigmill on the Cessnock Water in East Ayrshire, Scotland. He was a miller, mechanic, cabinet maker, later a wine merchant and had interests ranging from the study of mathematics and astronomy to that of theology, publishing several books, in particular in 1780 the popular three volume Essays on various Important Subjects Moral and Divine, being an attempt to distinguish True from False Religion, a publication that became generally known as 'Goudie's Bible' and raised him to national prominence. The name John Goldie will be used throughout for consistency.

<i>Poems, Chiefly in the Scottish Dialect</i> (Edinburgh Edition) 1787 collection of poems by Robert Burns

Poems, Chiefly in the Scottish Dialect is commonly known as the first Edinburgh Edition and the partial second setting has become known as the Stinking Edition. It is a collection of poetry and songs by Robert Burns, first "Printed for the Author" by William Smellie in Edinburgh and published or "Sold by William Creech" of Edinburgh on the 17 April, an announcement being made in the Edinburgh Advertiser on that date, although the date 21 April 1786 is given by a few authors. The Kilmarnock Edition made Robert Burns Caledonia's Bard whilst the 'Edinburgh Edition' elevated him into a position amongst the world's greatest poets.

<i>Poems</i> by David Sillar

Poems is a collection of poetry and songs by David Sillar, a close friend of the poet Robert Burns who had been encouraged to go into print by the success of Poems, Chiefly in the Scottish Dialect. Poems was printed by John Wilson of Kilmarnock in 1789. Sillar's interest in poetry predated his friendship with Burns, but was one of several reasons for it.

Alexander Tait, Sawney Tait or Saunders Tait was a tailor, a published poet and also a contemporary of Robert Burns who he knew well. Tait was also well acquainted with the published poet and close friend of Burns, David Sillar. Sawney spent much of his life in Tarbolton where he was an active member of the community. His poems were exhibited in the 1896 Burn Exhibition, a copy being loaned by the Mitchell Library. Alexander was generally known locally as 'Whip-the-cat' an old expression that referred to itinerant tailors, etc. who went from door to door to do work for others.

<i>Poems, Chiefly in the Scottish Dialect (London Edition)</i> 1787 collection of poems by Robert Burns

Poems, Chiefly in the Scottish Dialect is commonly known as the Third or London Edition and sometimes the Stinking Edition. It is a collection of poetry and songs by Robert Burns, printed for A. Strahan; T. Cadell in the Strand; and W. Creech, Edinburgh. MDCCLXXXVII The date of publication for the London Edition was in November 1787, however Strahan and Cadell had previously advertised for sale the 'Second' or 'Edinburgh Edition' using the 500 or so copies that William Creech still had that were unsold. The successful selling of these made a truly new 'London Edition' a commercially viable enterprise.

<i>Glenriddell Manuscripts</i> 1791 collection of poems and letters by Robert Burns

The Glenriddell Manuscripts is an extensive collection written in holograph by Robert Burns and an amanuensis of his letters, poems and a few songs in two volumes produced for his then friend Captain Robert Riddell, Laird of what is now Friars Carse in the Nith Valley, Dumfries and Galloway. The two volumes of the manuscript were handsomely bound in calf leather. The first volume of poems and songs was completed by April 1791 and was presented to Robert Riddell, however their friendship ceased due to the unfortunate 'The Rape of the Sabine Women' incident and Robert Riddell died shortly after before any reconciliation could take place. The first volume is partly in Burns's hand with one main amanuensis contributing much of the text in a far neater hand than the author himself and a possible third person contributing to the text. The second volume is entirely in Burns's hand.

<span class="mw-page-title-main">Duncan McNaught</span> Parochial school teacher in Scotland

Duncan McNaught LL.D., J.P., was born in Alexandria, Dunbartonshire in 1845. He was the parochial school teacher at Kilmaurs in East Ayrshire from 1867 and served at the school for over fifty years, having served as assistant from 1865. He founded the Kilmarnock Conservative Association, jointly founded the Robert Burns World Federation, acted as the editor of the "Burns Chronicle" and was the president of what became the Robert Burns World Federation.

<i>Poems, Chiefly in the Scottish Dialect (Second Edinburgh Edition)</i> 1793 collection of poems and songs by Robert Burns

Poems, Chiefly in the Scottish Dialect was issued during the poet's lifetime In Two Volumes. The Second Edition Considerably Enlarged. It is a collection of poetry and songs by the poet Robert Burns, printed for T. Cadell, London, and W. Creech, Edinburgh. M,DCC,XCIII The date of publication for this edition was 16 February 1793 as advertised in the Edinburgh Courant. The successful demand for the 1787 Edinburgh Edition seems to have encouraged Creech to publish this new edition as the 1787 volume had been sold out since around 1791.

<span class="mw-page-title-main">The Merry Muses of Caledonia</span>

The Merry Muses of Caledonia is a collection of bawdy songs said to have been collected or written by Robert Burns, the 18th-century Scottish poet.

<i>Robert Burnss Interleaved Scots Musical Museum</i> 1792 Robert Burnss Interleaved notes in Robert Riddells copy of The Scots Musical Museum

'Robert Burns's Interleaved Scots Musical Museum' or the 'Interleaved Glenriddell Manuscript' is a set of four octavo volumes of James Johnson's The Scots Musical Museum in which Robert Burns provided additional material to the original publication on interleaved sheets and which he eventually gifted to Captain Robert Riddell (1755–94) of Friars Carse, Dumfries and Galloway, Scotland.

<span class="mw-page-title-main">The Holy Tulzie</span> Holy Tulzie or The Twa Herds by Robert Burns

'The Holy Tulzie', 'The Twa Herds' or 'An Unco Mournfu' Tale was a poem written in 1784 by Robert Burns whilst living at Mossgiel, Mauchline, about a strong disagreement, not on doctrine, but on the parish boundaries, between two 'Auld Licht' ministers, John Russel and Alexander Moodie It was followed by "The Holy Fair", "The Ordination", "The Kirk's Alarm", "Holy Willie's Prayer", etc.

<i>A Manual of Religious Belief</i> 1777 manual of religious belief by William Burnes

The surviving manuscript of the instructional work A Manual of Religious Belief is written in the form of a theological dialogue between father and child written out in holograph by John Murdoch for William Burnes, Robert Burns's father. William had started to compose and compile the work before Robert Burns's birth and wrote the first rough draft that has not survived. This work was originally composed with a stronger Scots language content that Murdoch modified, as well as making grammatical corrections.

<span class="mw-page-title-main">James McKie (publisher)</span>

James M'Kie or James McKie (1816–1891) was an apprentice of Hugh Crawford, John Wilson's successor at the Kilmarnock Cross printing business. In 1867, M'Kie published the first facsimile edition of the 1786 "Kilmarnock Edition" or Poems, Chiefly in the Scottish Dialect as well as various bibliographies, reprints, special editions, limited editions, etc. of Robert Burns' and other works for the Scottish, British, British Empire or North American markets. He became an avid collector of Burnsiana and put together the largest collection of published in the world at the time, that was eventually purchased by the local Kilmarnock Corporation and housed in the Kay Park Burns Museum.

<i>The Geddes Burns</i> Copy of Burnss published poems with extra pages and poems in the poets own hand

'The Geddes Burns' is a copy of Robert Burns's 1787 Poems, Chiefly in the Scottish Dialect with twenty-seven extra pages with twelve poems and songs in Burns's handwriting bound in, and a letter to Catholic Bishop John Geddes from the poet, written at Ellisland Farm.

<i>Poems, Chiefly in the Scottish Dialect (Belfast Edition)</i> 1787 collection of poems by Robert Burns

Poems, Chiefly in the Scottish Dialect was a 'pirated' edition of Robert Burns's work, being published in Ireland without permission from or payment to the author or publisher. It is a so-called 'Stinking Edition', carrying the error 'Stinking' for the Scots word 'Skinking' (watery) in the poem "To a Haggis" because the type setters copied from a 1787 'Stinking Edition' of Poems, Chiefly in the Scottish Dialect .

References

  1. 1 2 3 4 Scott, Patrick (2016). The First Irish Edition of Robert Burns: A Reexamination.. Scottish Literary Review, Volume 8, Number 2, Autumn/Winter 2016. pp. 133–140.
  2. 1 2 3 4 5 6 Egerer, Joel W. (1964). A Bibliography of Robert Burns. Oliver and Boyd. p. 12. ISBN   1-85152-734-6.
  3. 1 2 3 4 5 6 7 8 Egerer, Joel W. (1964). A Bibliography of Robert Burns. Oliver and Boyd. p. 11. ISBN   1-85152-734-6.
  4. Grimble, Ian (1986). Robert Burns. Lomond Books. p. 77. ISBN   1-85152-734-6.
  5. Purdie, David (2013). Maurice Lindsay's The Burns Encyclopaedia. Robert Hale. p. 126. ISBN   978-0-7090-9194-3.
  6. Walker, Robert (1898). Memorial Catalogue of The Burns Exhibition. William Hodge. p. 323.
  7. M'Kie, James (1866). A Bibliotheca Burnsiana. Life and Works of Burns. Private Library of James M'Kie. James M'Kie. p. 3.
  8. Egerer, Joel W. (1964). A Bibliography of Robert Burns. Oliver and Boyd. p. 15. ISBN   1-85152-734-6.
  9. Young, Allan (2017). The Kilmarnock Edition. A Census. University of South Carolina. p. xiii. ISBN   978-1976245107.
  10. 1 2 3 Burns, Robert (1787). Poems, Chiefly in the Scottish Dialect. William Creech. p. Dedication.
  11. 1 2 Grimble, Ian (1986). Robert Burns. Lomond Books. p. 76. ISBN   1-85152-734-6.
  12. Egerer, Joel W. (1964). A Bibliography of Robert Burns. Oliver and Boyd. p. 10. ISBN   1-85152-734-6.
  13. 1 2 Hogg, Patrick Scott (2008). Robert Burns. The Patriot Bard. Mainstream Publishing. p. 143. ISBN   978-1-8459-6412-2.
  14. Mackay, James (2004). Burns. A Biography of Robert Burns. Alloway Publishing. p. 290.
  15. 1 2 Future Museum - The Dublin Edition.
  16. Egerer, Joel W. (1964). A Bibliography of Robert Burns. Oliver and Boyd. p. 30. ISBN   1-85152-734-6.
  17. Egerer, Joel W. (1964). A Bibliography of Robert Burns. Oliver and Boyd. p. 28. ISBN   1-85152-734-6.
  18. Egerer, Joel W. (1964). A Bibliography of Robert Burns. Oliver and Boyd. p. 29. ISBN   1-85152-734-6.
  19. Egerer, Joel W. (1964). A Bibliography of Robert Burns. Oliver and Boyd. p. 99. ISBN   1-85152-734-6.
  20. Egerer, Joel W. (1964). A Bibliography of Robert Burns. Oliver and Boyd. p. 5. ISBN   1-85152-734-6.

Further reading