Address To The Deil

By Robert Burns

    "O Prince! O Chief of many throned Pow'rs,     That led th' embattled Seraphim to war." Milton         O thou! whatever title suit thee,         Auld Hornie, Satan, Kick, or Clootie,         Wha in yon cavern grim an' sootie,             Closed under hatches,         Spairges about the brunstane cootie,             To scaud poor wretches!         Hear me, auld Hangie, for a wee,         An' let poor damned bodies be;         I'm sure sma' pleasure it can gie,             E'en to a deil,         To skelp an' scaud poor dogs like me,             An' hear us squeel!         Great is thy pow'r, an' great thy fame;         Far kend an' noted is thy name;         An' tho' yon lowin heugh's thy hame,             Thou travels far;         An', faith! thou's neither lag nor lame,             Nor blate nor scaur.         Whyles, ranging like a roaring lion,         For prey, a' holes an' corners tryin;         Whyles, on the strong-winged tempest flyin,             Tirlin the kirks;         Whiles, in the human bosom pryin,             Unseen thou lurks.         I've heard my reverend Graunie say,         In lanely glens ye like to stray;         Or where auld-ruin'd castles, gray,             Nod to the moon,         Ye fright the nightly wand'rer's way             Wi' eldricht croon.         When twilight did my Graunie summon,         To say her prayers, douce, honest woman!         Aft yont the dyke she's heard you bummin,             Wi' eerie drone;         Or, rustlin, thro' the boortries comin,             Wi' heavy groan.         Ae dreary, windy, winter night,         The stars shot down wi' sklentin light,         Wi' you, mysel, I gat a fright             Ayont the lough;         Ye, like a rash-buss, stood in sight,             Wi' waving sough.         The cudgel in my nieve did shake.         Each bristl'd hair stood like a stake,         When wi' an eldritch, stoor quaick, quaick,             Amang the springs,         Awa ye squatter'd, like a drake,             On whistling wings.         Let warlocks grim, an' wither'd hags,         Tell how wi' you, on rag weed nags,         They skim the muirs an' dizzy crags             Wi' wicked speed;         And in kirk-yards renew their leagues             Owre howkit dead.         Thence countra wives, wi' toil an' pain,         May plunge an' plunge the kirn in vain:         For, oh! the yellow treasure's taen             By witching skill;         An' dawtit, twal-pint hawkie's gaen             As yell's the bill.         Thence mystic knots mak great abuse         On young guidmen, fond, keen, an' crouse;         When the best wark-lume i' the house             By cantrip wit,         Is instant made no worth a louse,             Just at the bit,         When thowes dissolve the snawy hoord,         An' float the jinglin icy-boord,         Then water-kelpies haunt the foord,             By your direction;         An' nighted trav'llers are allur'd             To their destruction.         An' aft your moss-traversing spunkies         Decoy the wight that late an' drunk is,         The bleezin, curst, mischievous monkeys             Delude his eyes,         Till in some miry slough he sunk is,             Ne'er mair to rise.         When masons' mystic word an' grip         In storms an' tempests raise you up,         Some cock or cat your rage maun stop,             Or, strange to tell!         The youngest brother ye wad whip             Aff straught to hell!         Lang syne, in Eden's bonie yard,         When youthfu' lovers first were pair'd,         An' all the soul of love they shar'd,             The raptur'd hour,         Sweet on the fragrant, flow'ry sward,             In shady bow'r:         Then you, ye auld, snick-drawing dog!         Ye came to Paradise incog.         An' play'd on man a cursed brogue,             (Black be your fa'!)         An' gied the infant world a shog,             'Maist ruin'd a'.         D'ye mind that day, when in a bizz,         Wi' reekit duds, an' reestit gizz,         Ye did present your smoutie phiz             'Mang better folk,         An' sklented on the man of Uzz             Your spitefu' joke?         An' how ye gat him I' your thrall,         An' brak him out o' house an' hall,         While scabs an' botches did him gall,             Wi' bitter claw,         An' lows'd his ill tongu'd, wicked scawl,             Was warst ava?         But a' your doings to rehearse,         Your wily snares an' fechtin fierce,         Sin' that day Michael did you pierce,             Down to this time,         Wad ding a' Lallan tongue, or Erse,             In prose or rhyme.         An' now, auld Cloots, I ken ye're thinkin,         A certain Bardie's rantin, drinkin,         Some luckless hour will send him linkin          To your black pit;         But, faith! he'll turn a corner jinkin,          An' cheat you yet.         But fare ye well, auld Nickie-ben!         O wad ye tak a thought an' men'!         Ye aiblins might, I dinna ken,          Still hae a stake,         I'm wae to think upo' yon den          Ev'n for your sake!

Share & Analyze This Poem

Spread the beauty of poetry or dive deeper into analysis

Analyze This Poem

Discover the literary devices, structure, and deeper meaning

Create Image

Transform this poem into a beautiful shareable image

Copy to Clipboard

Save this poem for personal use or sharing offline


Share the Love of Poetry

Poem Details

Language: English
Keywords: Public Domain
Source: Public Domain Collection
Rights/Permissions: Public Domain

Analysis & Notes:
This lengthy, engaging poem is a profound piece of work that resonates with themes of guilt, regret, and the struggle against temptation, all personified in the figure of the devil, who is addressed directly throughout. It is rich with vivid metaphors, dark humour and a playful, yet ominous tone, giving it a unique, captivating voice. The devil is depicted as a powerful, cunning, and relentless force, but is also addressed with a casual familiarity that reflects both the speaker's fear and disdain.

The poem's structure is consistent, adhering to a rhythmic scheme that lends a musical quality to the verses. It uses dialect, which adds authenticity and creates a sense of place and culture. The poem moves through various scenes, each a glimpse into the devil's influence on human life, from the grand fall in Eden to the mundane troubles of country wives. It ends on a defiant note, with the speaker expressing hope for redemption and demonstrating resilience in the face of evil. The poem is a complex, beautifully crafted exploration of human nature, the struggle with sin, and the power of hope and resilience.

Understanding Satirical Poetry

Satirical poems use wit, irony, exaggeration, and ridicule to expose folly—personal, social, or political. The aim isn’t just laughter: it’s critique that nudges readers toward insight or change.


Common characteristics of satirical poetry:

  • Targeted Critique: Focuses on specific behaviors, institutions, or ideas—often timely, sometimes timeless.
  • Tools of Irony: Uses sarcasm, parody, understatement, and hyperbole to sharpen the point.
  • Voice & Persona: Speakers may be unreliable or exaggerated to reveal contradictions and hypocrisy.
  • Form Flexibility: Appears in couplets, tercets, quatrains, blank verse, or free verse—music serves the mockery.
  • Moral Pressure: Beneath the humor lies ethical pressure—satire seeks reform, not merely amusement.
  • Public & Personal: Can lampoon public figures and trends or needle private vanities and everyday pretenses.

The best satire balances bite with craft: memorable lines that entertain while revealing the gap between how things are and how they ought to be.