To The Rev. John MMath

By Robert Burns

    Sept. 17th, 1785.         While at the stook the shearers cow'r         To shun the bitter blaudin' show'r,         Or in gulravage rinnin' scow'r             To pass the time,         To you I dedicate the hour             In idle rhyme.         My musie, tir'd wi' mony a sonnet         On gown, an' ban', and douse black bonnet,         Is grown right eerie now she's done it,             Lest they should blame her,         An' rouse their holy thunder on it             And anathem her.         I own 'twas rash, an' rather hardy,         That I, a simple countra bardie,         Shou'd meddle wi' a pack sae sturdy,             Wha, if they ken me,         Can easy, wi' a single wordie,             Lowse hell upon me.         But I gae mad at their grimaces,         Their sighin' cantin' grace-proud faces,         Their three-mile prayers, and hauf-mile graces,             Their raxin' conscience,         Whase greed, revenge, an' pride disgraces,             Waur nor their nonsense.         There's Gaun,[1] miska't waur than a beast,         Wha has mair honour in his breast         Than mony scores as guid's the priest             Wha sae abus't him.         An' may a bard no crack his jest             What way they've use't him.         See him, the poor man's friend in need,         The gentleman in word an' deed,         An' shall his fame an' honour bleed             By worthless skellums,         An' not a muse erect her head             To cowe the blellums?         O Pope, had I thy satire's darts         To gie the rascals their deserts,         I'd rip their rotten, hollow hearts,             An' tell aloud         Their jugglin' hocus-pocus arts             To cheat the crowd.         God knows, I'm no the thing I shou'd be,         Nor am I even the thing I cou'd be,         But twenty times, I rather wou'd be             An atheist clean,         Than under gospel colours hid be             Just for a screen.         An honest man may like a glass,         An honest man may like a lass,         But mean revenge, an' malice fause             He'll still disdain,         An' then cry zeal for gospel laws,             Like some we ken.         They take religion in their mouth;         They talk o' mercy, grace, an' truth,         For what? to gie their malice skouth             On some puir wight,         An' hunt him down, o'er right, an' ruth,             To ruin straight.         All hail, Religion! maid divine!         Pardon a muse sae mean as mine,         Who in her rough imperfect line,             Thus daurs to name thee;         To stigmatize false friends of thine             Can ne'er defame thee.         Tho' blotch'd an' foul wi' mony a stain,         An' far unworthy of thy train,         With trembling voice I tune my strain             To join with those,         Who boldly daur thy cause maintain             In spite o' foes:         In spite o' crowds, in spite o' mobs,         In spite of undermining jobs,         In spite o' dark banditti stabs             At worth an' merit,         By scoundrels, even wi' holy robes,             But hellish spirit.         O Ayr! my dear, my native ground,         Within thy presbyterial bound         A candid lib'ral band is found             Of public teachers,         As men, as Christians too, renown'd,             An' manly preachers.         Sir, in that circle you are nam'd;         Sir, in that circle you are fam'd;         An' some, by whom your doctrine's blam'd,             (Which gies you honour,)         Even Sir, by them your heart's esteem'd,             An' winning manner.         Pardon this freedom I have ta'en,         An' if impertinent I've been,         Impute it not, good Sir, in ane             Whase heart ne'er wrang'd ye,         But to his utmost would befriend             Ought that belang'd ye.

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Poem Details

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

Analysis & Notes:
This substantial poem is a memorable exploration of hypocrisy, authenticity, and the power of the spoken word. The central theme is a criticism of religious hypocrisy, with the speaker taking aim at those who use the language of faith to mask their own malice and greed. This critique is delivered with a biting tone, showing the speaker’s distaste for such individuals.

The structure is consistent, which lends a rhythmic predictability to the poem that contrasts sharply with the speaker’s vehement criticisms. The language is richly colloquial, which brings a unique flavor to the poem and reinforces its themes of authenticity and honesty. The speaker is not afraid to use crude or harsh language when it serves their purpose, which underscores the raw truth they are trying to communicate.

The poem employs a number of standout literary devices. The speaker often uses metaphorical language to make their points more vividly. For instance, they speak of ripping the hypocrites' "rotten, hollow hearts" to expose their deceptive arts. This is a powerful image that communicates the speaker’s deep-seated anger and their desire to reveal the truth beneath the hypocrites' false exteriors.

In the end, this poem is an impassioned plea for honesty and integrity in all aspects of life, but particularly in matters of faith. It is a scathing indictment of those who twist religion to serve their own ends, and a celebration of those who remain true to their beliefs and principles.

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.