Theme: sentimental journey L. Stern as a work of english sentimentalism

CONCLUSION

1/ Robert Burns was a poet of all forms.

2/ He knew how to contact the soul, and how to circulate its emotions.
3/ Poems, letters, songs appropriately painting the lifestyles of Scotland of the eighteenth century.
4/ Today Burns’ paintings is understood and cherished by many human beings.
5/ Lots of nations have translated Burns’ paintings into their personal languages
After giving up his farm, he removed to Dumfries. It was at this time that, being requested to write lyrics for The Melodies of Scotland, he responded by contributing over 100 songs.^[20] He made major contributions to George Thomson's A Select Collection of Original Scottish Airs for the Voice as well as to James Johnson's Scots Musical Museum.^{[citation needed]} Arguably his claim to immortality chiefly rests on these volumes, which placed him in the front rank of lyr⁶ic poets.^[20] As a songwriter he provided his own lyrics, sometimes adapted from traditional words. He put words to Scottish folk melodies and airs which he collected, and composed his own arrangements of the music including modifying tunes or recreating melodies on the basis of fragments. In letters he explained that he preferred simplicity, relating songs to spoken language which should be sung in traditional ways. The original instruments would be fiddle and the guitar of the period which was akin to a cittern, but the transcription of songs for piano has resulted in them usually being performed in classical concert or music hall styles.^[24] At the 3 week Celtic Connections festival Glasgow each January, Burns songs are often performed with both fiddle and guitar.
Thomson as a publisher commissioned arrangements of "Scottish, Welsh and Irish Airs" by such eminent composers of the day as Joseph Haydn and Ludwig van Beethoven, with new lyrics. The contributors of lyrics included Burns. While such arrangements had wide popular appeal,^{[25][26][27][28]} Beethoven's music was more advanced and difficult to play than Thomson intended.^[29][30]
Burns described how he had to master singing the tune before he composed the words:
My way is: I consider the poetic sentiment, correspondent to my idea of the musical expression, then chuse my theme, begin one stanza, when that is composed—which is generally the most difficult part of the business—I walk out, sit down now and then, look out for objects in nature around me that are in unison or harmony with the cogitations of my fancy and workings of my bosom, humming every now and then the air with the verses I have framed. when I feel my Muse beginning to jade, I retire to the solitary fireside of my study, and there commit my effusions to paper, swinging, at intervals, on the hind-legs of my elbow chair, by way of calling forth my own critical strictures, as my, pen goes.

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1. 
   1^ Anderson, John M.; and Ewen, Colin J. (1987). Principles of dependency phonology. Cambridge: Cambridge University Press.
   

2. 
   2^ Anderson, John M.; and Ewen, Colin J. (1987). Principles of dependency phonology. Cambridge: Cambridge University Press.
   

3. 
   3^ Anderson, John M.; and Ewen, Colin J. (1987). Principles of dependency phonology. Cambridge: Cambridge University Press.
   

4. 
   4^ Anderson, John M.; and Ewen, Colin J. (1987). Principles of dependency phonology. Cambridge: Cambridge University Press.
   

5^ Anderson, John M.; and Ewen, Colin J. (1987). Principles of dependency phonology. Cambridge: Cambridge University Press.

5. 
   6^ Anderson, John M.; and Ewen, Colin J. (1987). Principles of dependency phonology. Cambridge: Cambridge University Press.