'Places of Absence'
The following sideshow is the result of an image-based research project on memorial benches in Scotland. Several thousands of memorial benches have been erected in this country; in cities, along the coast and in the countryside, and we rarely think about the message they convey. However they are a product of our culture and therefore not only reflect social values and ideas but are also inherent with symbolism and discourses. This presentation touches on only a few of these.
The presence of a memorial bench provides a physical link between the deceased, those left behind and society, and all memorial benches are inseparable from the ideas of immortality, sacred place and identity. The images have been divided in groups according to discourse, however to ensure validity and reliability and allow observation of overlapping discourses, each bench is represented by three or four photographs which set it in its context.
Thursday, 23 April 2009
Evaluation
I very much enjoyed the process of setting up a blog – something I had no experience in – and doing the research project. Creating a slideshow and adding links to the blog was a bit of a challenge at first. I am still fairly distrustful of the safety of the internet, and the idea of my photos and thoughts, ideas and words being ‘out there’ somewhere for anyone to access is still slightly unsettling. Although I have no reason to feel that way: there is nothing really personal in them, and who would in the slightest be interested anyway? The main reasons for this worry are perhaps the fear of identity theft which has been drummed into me perhaps a bit too much, together with the fact that I consider my thoughts private – someone might actually think I’m thinking nonsense! Overcoming these first hurdles were possibly the worst. This semester has been a great learning curve on what’s all out there in the internet world. Evernote and Google documents will most certainly be used much more regularly from now on.
The easiest part was deciding what to do my research project on and taking photos. It was the perfect excuse to go out for long walks or visiting friends without feeling guilty that I was not studying. Applying Semiotical analysis on the images was easy too, as I thoroughly enjoyed the module ‘Images of Scotland’ and this process appeared to be second nature. Having an eye for detail is certainly helpful too. I found it more challenging to apply Grounded Theory on the images and at first felt not entirely sure I was successful in doing so. The attempts were most certainly there, but perhaps I did not practice this technique as effectively as I could have done. The main issue was that thoughts and ideas appeared randomly, and although looking at new benches confirmed some ideas, they also made me question other aspects, including the main question of discourse: what does the deceased’s family want to communicate to the rest of society, what are the ideas and attitudes behind these benches? In some cases this was very clear, however I feel that for the majority of the time that my interpretations are possible just that: my interpretations and theories. I found it difficult to develop ideas into theory, and worried about the quality of the analysis. The data is certainly reliable and valid, but were my interpretations correct? Also, for a long time I was unsure about how to exactly present the data and analysis. However once I had entered all my thougths in the table, printed it off and got the scissors and some colourful pens out, everything suddenly made a lot more sense. It was easy to put the benches in 'boxes', and so order and reorder theories and ideas after collection, and finally select the a few sound theories to focus on.
In conclusion, this module has been very interesting and rewarding. It might even be a nice idea to continue the memorial benches project. Investigation of the theories in and perception of Image-based Research, together with undertaking a research project has provided me with the skill and confidence to analyse visual data in research much more effectively, and I look forward to doing so again in the future.
The easiest part was deciding what to do my research project on and taking photos. It was the perfect excuse to go out for long walks or visiting friends without feeling guilty that I was not studying. Applying Semiotical analysis on the images was easy too, as I thoroughly enjoyed the module ‘Images of Scotland’ and this process appeared to be second nature. Having an eye for detail is certainly helpful too. I found it more challenging to apply Grounded Theory on the images and at first felt not entirely sure I was successful in doing so. The attempts were most certainly there, but perhaps I did not practice this technique as effectively as I could have done. The main issue was that thoughts and ideas appeared randomly, and although looking at new benches confirmed some ideas, they also made me question other aspects, including the main question of discourse: what does the deceased’s family want to communicate to the rest of society, what are the ideas and attitudes behind these benches? In some cases this was very clear, however I feel that for the majority of the time that my interpretations are possible just that: my interpretations and theories. I found it difficult to develop ideas into theory, and worried about the quality of the analysis. The data is certainly reliable and valid, but were my interpretations correct? Also, for a long time I was unsure about how to exactly present the data and analysis. However once I had entered all my thougths in the table, printed it off and got the scissors and some colourful pens out, everything suddenly made a lot more sense. It was easy to put the benches in 'boxes', and so order and reorder theories and ideas after collection, and finally select the a few sound theories to focus on.
In conclusion, this module has been very interesting and rewarding. It might even be a nice idea to continue the memorial benches project. Investigation of the theories in and perception of Image-based Research, together with undertaking a research project has provided me with the skill and confidence to analyse visual data in research much more effectively, and I look forward to doing so again in the future.
Wednesday, 22 April 2009
The Journalistic Image as Visual Sociology
Comment on the Journalistic Image as Visual Sociology
Although the idea of the journalistic image can be disputed (instead some would prefer the term ‘journalistic uses of images’), the journalistic image can be defined as an image which traditionally accompanies a story intended for newspaper or magazine readers (Rudolph, 2008, p.1). As such, it has to be instantly readable and interpretable. Although journalistic images are particularly perceived to be unbiased and factual, story-telling and heroic, in reality photojournalism has become a business, with publishers aiming to become increasingly successful and wealthy in a profitable society. This has resulted in the snapping and use of not necessarily valid and reliable journalistic images. I am thinking here particularly about photographs used by the tabloids. A photo can be taken at the precise moment Angelina Jolie frowns at Brad Pitt when both are standing some distance apart. This one second snapshot can easily be interpreted wrongly, and for the magazine's benefit the couple's marriage is argued to be on the rocks. So how can we tell an image is really a true representation of reality? Harper (1998, p. 29) reminds us that photographs are not 'truth' but as social constructs are ruled by ideology, and I personally agree with Rudolph (2008) who argues that:
“It is impossible as I see it for a photograph to be wholly true because the mind of the person clicking the shutter button cannot be extracted from the image itself. They are one.”
Any kind of information, whether it be image based or textbook, if not manipulated, is interpreted or ascribed certain meanings, and the researcher's questions or ideas in mind are often already in place before research is started or a photograph is taken. Additionally reliability and validity depends for a great part on the honesty of the researcher or journalist, and what story the researcher/photographer wants to tell. Most journalistic images still depend on context and interpretation, and are therefore accompanied by captions or some text. However this concern has already been considered in my comment on ‘Validity and Reliability in Visual Methods’. If we however presume that most journalistic images are objective in that they are an accurate representation of an event in time, they are also defined by their narrative quality. Every image tells a story at cultural level and attains meaning from its context. The journalistic image is distinguishable from Visual Sociology and other kinds of photography in that it is completely dependent on its contemporary context. As journalistic images are created in order to be entered in the newspaper or magazine, it does not necessarily depict the sociological context the event pictured takes place in; instead, it captures a specific moment in time. The image makes sense at the time, to the people who are aware of what is happening, thus making it a valid entry for a newspaper of magazine. However considered years later and without written comment its context and meaning would be lost. The image is then left with ‘only historical’ value (Becker, 1998, p.94). Let us look at this issue by using an example.
Becker (1998, pp.93-4) describes an image of Richard Nixon, head down and shoulders hunched, leaving the White House after his resignation of Presidency of the United States. From the moment viewers would have seen this in the paper at the time, they would have known its connotations. The image functioned as the representation of the closing stages of Nixon’s career as political leader, following a series of events and stories published which lead to the termination of Nixon’s career as political leader, and reflects defeat, loss and perhaps also shame. However we have to remember this is only one image of the time between Nixon leaving the White House and the helicopter taking off, and therefore only one version of the truth; the photographer's. In fact, for many at the time the last memorable image is that of Nixon entering the Marine-One Helicopter door, smiling and showing a two-handed V-sign:
http://www.famouspictures.org/mag/index.php?title=Nixons_V_sign
Which image reflects correctly Richard Nixon's mood at the time? Each seen individually can be considered as journalistic images, although each telling a different story. While both would have been accepted as perfectly valid journalistic images at the time, both photographs would lose these connotations when time passes, and as a result lose their function, validity and reliability as Journalistic image.
However, Becker argues, such an image can continue to survive and become useful for Visual Sociology as part of a sociological analysis. Visual Sociology is a branch of the academic and reputedly unscientific discipline Sociology, which values Image-based Research in juxtaposition with other methods of qualitative research. Becker (1998, p.94) suggests that the image of Nixon leaving the White House can be looked at in order to investigate how the media deals with the non-specific phenomenon of political scandal. If seen in comparison with other photographs taken during the various stages of his Presidential career, this would create an excellent qualitative research project, explains Becker.
If we consider again the two contradicting images of Nixon, in juxtaposition both images could be used in Visual Sociology in this sense or to investigate the president's theatrical actions at the day of his resignation. This comparison also supports Rudolph's claim that there is no such thing as a Journalistic Image, but only journalistic uses of images. If an image can no longer be used as such, it can still apply to other kinds of photography, particularly Visual Sociology.
Bibliography
Becker, H.S. (1998) ‘Visual Sociology, Documentary Photography and Photojournalism: It’s Almost All a Matter of Context’, in Prosser, J. (ed.) Image-Based Research: A Sourcebook for Qualitative Researchers. RoutledgeFarmer, London, pp. 84-96.
Harper, D. (1998) 'An Argument for Visual Sociology', in Prosser, J. (ed.) Image-based Research: A sourcebook for qualitative researchers. RoutledgeFarmer, London, pp.24-42.
Rudolph, K.E. (2008) ‘Are there Photojournalistic Uses of Images Or ‘Photojournalistic Images’?’, Photojournalist and Educator, Dr. Ellen K. Rudolph, Essays in Photography [Online]. Available at: http://www.drellenrudolph.com/essay34.html (Accessed: 19 March 2009).
Although the idea of the journalistic image can be disputed (instead some would prefer the term ‘journalistic uses of images’), the journalistic image can be defined as an image which traditionally accompanies a story intended for newspaper or magazine readers (Rudolph, 2008, p.1). As such, it has to be instantly readable and interpretable. Although journalistic images are particularly perceived to be unbiased and factual, story-telling and heroic, in reality photojournalism has become a business, with publishers aiming to become increasingly successful and wealthy in a profitable society. This has resulted in the snapping and use of not necessarily valid and reliable journalistic images. I am thinking here particularly about photographs used by the tabloids. A photo can be taken at the precise moment Angelina Jolie frowns at Brad Pitt when both are standing some distance apart. This one second snapshot can easily be interpreted wrongly, and for the magazine's benefit the couple's marriage is argued to be on the rocks. So how can we tell an image is really a true representation of reality? Harper (1998, p. 29) reminds us that photographs are not 'truth' but as social constructs are ruled by ideology, and I personally agree with Rudolph (2008) who argues that:
“It is impossible as I see it for a photograph to be wholly true because the mind of the person clicking the shutter button cannot be extracted from the image itself. They are one.”
Any kind of information, whether it be image based or textbook, if not manipulated, is interpreted or ascribed certain meanings, and the researcher's questions or ideas in mind are often already in place before research is started or a photograph is taken. Additionally reliability and validity depends for a great part on the honesty of the researcher or journalist, and what story the researcher/photographer wants to tell. Most journalistic images still depend on context and interpretation, and are therefore accompanied by captions or some text. However this concern has already been considered in my comment on ‘Validity and Reliability in Visual Methods’. If we however presume that most journalistic images are objective in that they are an accurate representation of an event in time, they are also defined by their narrative quality. Every image tells a story at cultural level and attains meaning from its context. The journalistic image is distinguishable from Visual Sociology and other kinds of photography in that it is completely dependent on its contemporary context. As journalistic images are created in order to be entered in the newspaper or magazine, it does not necessarily depict the sociological context the event pictured takes place in; instead, it captures a specific moment in time. The image makes sense at the time, to the people who are aware of what is happening, thus making it a valid entry for a newspaper of magazine. However considered years later and without written comment its context and meaning would be lost. The image is then left with ‘only historical’ value (Becker, 1998, p.94). Let us look at this issue by using an example.
Becker (1998, pp.93-4) describes an image of Richard Nixon, head down and shoulders hunched, leaving the White House after his resignation of Presidency of the United States. From the moment viewers would have seen this in the paper at the time, they would have known its connotations. The image functioned as the representation of the closing stages of Nixon’s career as political leader, following a series of events and stories published which lead to the termination of Nixon’s career as political leader, and reflects defeat, loss and perhaps also shame. However we have to remember this is only one image of the time between Nixon leaving the White House and the helicopter taking off, and therefore only one version of the truth; the photographer's. In fact, for many at the time the last memorable image is that of Nixon entering the Marine-One Helicopter door, smiling and showing a two-handed V-sign:
http://www.famouspictures.org/mag/index.php?title=Nixons_V_sign
Which image reflects correctly Richard Nixon's mood at the time? Each seen individually can be considered as journalistic images, although each telling a different story. While both would have been accepted as perfectly valid journalistic images at the time, both photographs would lose these connotations when time passes, and as a result lose their function, validity and reliability as Journalistic image.
However, Becker argues, such an image can continue to survive and become useful for Visual Sociology as part of a sociological analysis. Visual Sociology is a branch of the academic and reputedly unscientific discipline Sociology, which values Image-based Research in juxtaposition with other methods of qualitative research. Becker (1998, p.94) suggests that the image of Nixon leaving the White House can be looked at in order to investigate how the media deals with the non-specific phenomenon of political scandal. If seen in comparison with other photographs taken during the various stages of his Presidential career, this would create an excellent qualitative research project, explains Becker.
If we consider again the two contradicting images of Nixon, in juxtaposition both images could be used in Visual Sociology in this sense or to investigate the president's theatrical actions at the day of his resignation. This comparison also supports Rudolph's claim that there is no such thing as a Journalistic Image, but only journalistic uses of images. If an image can no longer be used as such, it can still apply to other kinds of photography, particularly Visual Sociology.
Bibliography
Becker, H.S. (1998) ‘Visual Sociology, Documentary Photography and Photojournalism: It’s Almost All a Matter of Context’, in Prosser, J. (ed.) Image-Based Research: A Sourcebook for Qualitative Researchers. RoutledgeFarmer, London, pp. 84-96.
Harper, D. (1998) 'An Argument for Visual Sociology', in Prosser, J. (ed.) Image-based Research: A sourcebook for qualitative researchers. RoutledgeFarmer, London, pp.24-42.
Rudolph, K.E. (2008) ‘Are there Photojournalistic Uses of Images Or ‘Photojournalistic Images’?’, Photojournalist and Educator, Dr. Ellen K. Rudolph, Essays in Photography [Online]. Available at: http://www.drellenrudolph.com/essay34.html (Accessed: 19 March 2009).
Validity and Reliability in Visual Methods
A comment on Validity and Reliability in Visual Methods
Prosser's book 'Image-based Research' (1998) discusses the usefulness of visual methods in qualitative research. In making a case for Image-based Research, the issue of validity and reliability, which are two common research concepts used to establish the truth behind conducted research, is addressed by necessity.
Golafshani (2003) refers to Cresswell & Miller (2000) who explain that both concepts combined function in order to "eliminate bias and increase the researcher's truthfulness of a proposition about some social phenomenon”. Validity deals with the appropriateness of a research method; the extent to which something is measured or explained according to what was intended at the outset of the research. However in order to conclude validity, the reliability of the data has to be demonstrated. Reliability is a term used to evaluate the extent to which the data considered provides an accurate representation of the subject matter, the extent to which results are consistent over time, and if these results can be reproduced by means of a similar research method.
Thus, both the Validity and Reliability of a research project goes hand in hand with trustworthiness. Image-based Research has been argued to be more subjective and therefore less valid and reliable and more prone to manipulation than 'word-orientated' qualitative research. However, Prosser (1998, pp.97-99) explains that this is certainly not the case, and that in fact both research types are confronted by the same issues. In short, the researcher conducting word based research – which depends on texts, interviews and various kinds of evidence – can look at a subject from various angles and is selective according to the sources he or she uses which can lead to various interpretations and multiple meanings. We also have to trust upon the researcher's and his subject’s truthfulness. Research based on visual methods is therefore as valid and reliable as any other type.
Researchers can overcome these issues by taking a reflexive approach to their interpretations. By recognising that both we as researchers and our visual data are socially constructed, and therefore ruled by ideology (Winston, 1998, p.66; Harper, 1998, p. 29), we can demonstrate reliability issues and potential biased involved to the viewer or reader. Thus, when using a visual research method, like photographs or signs and symbols, validity can be shown by providing "constant justification of your interpretation and a relentless internal evaluation of your motives for interpreting in a particular way" (Cano, n.d.). When discussing Photocontext, Adelman (1998 p.151) defines this as making an informed selection of the data considered. Reflecting on the context in which a photograph is made is a particularly important criterion in ensuring internal validity. However if an image on its own does not provide sufficient meaning and therefore lacks a degree of internal validity, as much contextual detail in the form of other visual data in juxtaposition with text and caption, and in combination with other research methods will ensure that the visual data attains external validity, and this allows the researcher to come to a cultural critique and an understanding of the whole (Adelman, 1998, pp151-3; Harper, 1998, pp.33, 36).
In conclusion, the level of validity and reliability in image-based research can be increased by using multiple visual data, and a multitude of techniques which will ensure a multi-level interpretation of the subject in discussion (Winston, 1998, p.66). This process is also termed 'triangulation' (The British Psychological Society, 2004). However reliability will always be an issue in qualitative research as society is not stable, and as culture evolves over time, so do ideas, customs and relationships.
Bibliography
Adelman, C. (1998) 'Photocontext', in Prosser, J. (ed.) Image-based Research: A sourcebook for qualitative researchers. RoutledgeFarmer, London, pp. 148-162.
Cano, V. (n.d.) 'Study Notes: Validity and Reliability in Qualitative Research', Research Trek [Online]. Available at: http://www.qmu.ac.uk/psych/RTrek/study_notes/web/sn5.htm (Accessed: 19 March 2009).
Golafshani, N. (2003) ‘Understanding Reliability and Validity in Qualitative Research’, The Qualitative Report, 8 (4), pp.597-606 [Online]. Available at: www.nova.edu/ssss/QR/QR8-4/golafshani.pdf (Accessed: 19 March 2009).
Harper, D. (1998) 'An Argument for Visual Sociology', in Prosser, J. (ed.) Image-based Research: A sourcebook for qualitative researchers. RoutledgeFarmer, London, pp.24-42.
Prosser, J. (ed.) (1998) Image-based Research: A sourcebook for qualitative researchers. RoutledgeFarmer, London
The British Psychological Society (2004) 'Validity and Reliability in Qualitative Research', Psychological Testing Centre [Online]. Available at: http://www.psychtesting.org.uk/blog$.cfm/2007/3/24/Validity-and-Reliability-in-Qualitative-Research (Accessed: 15 March 2009).
Winston, B (1998) 'The Camera Never Lies': The Partiality of Photographic Evidence', in Prosser, J. (ed.) Image-based Research: A sourcebook for qualitative researchers. RoutledgeFarmer, London, pp. 60-69.
Prosser's book 'Image-based Research' (1998) discusses the usefulness of visual methods in qualitative research. In making a case for Image-based Research, the issue of validity and reliability, which are two common research concepts used to establish the truth behind conducted research, is addressed by necessity.
Golafshani (2003) refers to Cresswell & Miller (2000) who explain that both concepts combined function in order to "eliminate bias and increase the researcher's truthfulness of a proposition about some social phenomenon”. Validity deals with the appropriateness of a research method; the extent to which something is measured or explained according to what was intended at the outset of the research. However in order to conclude validity, the reliability of the data has to be demonstrated. Reliability is a term used to evaluate the extent to which the data considered provides an accurate representation of the subject matter, the extent to which results are consistent over time, and if these results can be reproduced by means of a similar research method.
Thus, both the Validity and Reliability of a research project goes hand in hand with trustworthiness. Image-based Research has been argued to be more subjective and therefore less valid and reliable and more prone to manipulation than 'word-orientated' qualitative research. However, Prosser (1998, pp.97-99) explains that this is certainly not the case, and that in fact both research types are confronted by the same issues. In short, the researcher conducting word based research – which depends on texts, interviews and various kinds of evidence – can look at a subject from various angles and is selective according to the sources he or she uses which can lead to various interpretations and multiple meanings. We also have to trust upon the researcher's and his subject’s truthfulness. Research based on visual methods is therefore as valid and reliable as any other type.
Researchers can overcome these issues by taking a reflexive approach to their interpretations. By recognising that both we as researchers and our visual data are socially constructed, and therefore ruled by ideology (Winston, 1998, p.66; Harper, 1998, p. 29), we can demonstrate reliability issues and potential biased involved to the viewer or reader. Thus, when using a visual research method, like photographs or signs and symbols, validity can be shown by providing "constant justification of your interpretation and a relentless internal evaluation of your motives for interpreting in a particular way" (Cano, n.d.). When discussing Photocontext, Adelman (1998 p.151) defines this as making an informed selection of the data considered. Reflecting on the context in which a photograph is made is a particularly important criterion in ensuring internal validity. However if an image on its own does not provide sufficient meaning and therefore lacks a degree of internal validity, as much contextual detail in the form of other visual data in juxtaposition with text and caption, and in combination with other research methods will ensure that the visual data attains external validity, and this allows the researcher to come to a cultural critique and an understanding of the whole (Adelman, 1998, pp151-3; Harper, 1998, pp.33, 36).
In conclusion, the level of validity and reliability in image-based research can be increased by using multiple visual data, and a multitude of techniques which will ensure a multi-level interpretation of the subject in discussion (Winston, 1998, p.66). This process is also termed 'triangulation' (The British Psychological Society, 2004). However reliability will always be an issue in qualitative research as society is not stable, and as culture evolves over time, so do ideas, customs and relationships.
Bibliography
Adelman, C. (1998) 'Photocontext', in Prosser, J. (ed.) Image-based Research: A sourcebook for qualitative researchers. RoutledgeFarmer, London, pp. 148-162.
Cano, V. (n.d.) 'Study Notes: Validity and Reliability in Qualitative Research', Research Trek [Online]. Available at: http://www.qmu.ac.uk/psych/RTrek/study_notes/web/sn5.htm (Accessed: 19 March 2009).
Golafshani, N. (2003) ‘Understanding Reliability and Validity in Qualitative Research’, The Qualitative Report, 8 (4), pp.597-606 [Online]. Available at: www.nova.edu/ssss/QR/QR8-4/golafshani.pdf (Accessed: 19 March 2009).
Harper, D. (1998) 'An Argument for Visual Sociology', in Prosser, J. (ed.) Image-based Research: A sourcebook for qualitative researchers. RoutledgeFarmer, London, pp.24-42.
Prosser, J. (ed.) (1998) Image-based Research: A sourcebook for qualitative researchers. RoutledgeFarmer, London
The British Psychological Society (2004) 'Validity and Reliability in Qualitative Research', Psychological Testing Centre [Online]. Available at: http://www.psychtesting.org.uk/blog$.cfm/2007/3/24/Validity-and-Reliability-in-Qualitative-Research (Accessed: 15 March 2009).
Winston, B (1998) 'The Camera Never Lies': The Partiality of Photographic Evidence', in Prosser, J. (ed.) Image-based Research: A sourcebook for qualitative researchers. RoutledgeFarmer, London, pp. 60-69.
Monday, 20 April 2009
Memorial Benches Presentation - Draft
'Places of Absence'
The following sideshow presents a number of discourses which can be analysed from the investigation of memorial benches in Scotland.
The presence of a memorial bench provides a physical link between the deceased, those left behind and society, and all memorial benches are inseparable from the ideas of immortality, sacred place and identity. As a result, a number of discourses overlap. The images have been divided in groups according to discourse, however to ensure validity and reliability and allow observation of this overlapping, each bench is represented by three or four photographs which set it in its context.
The following sideshow presents a number of discourses which can be analysed from the investigation of memorial benches in Scotland.
The presence of a memorial bench provides a physical link between the deceased, those left behind and society, and all memorial benches are inseparable from the ideas of immortality, sacred place and identity. As a result, a number of discourses overlap. The images have been divided in groups according to discourse, however to ensure validity and reliability and allow observation of this overlapping, each bench is represented by three or four photographs which set it in its context.
Vandalism
A very good friend made me aware of an article in the Edinburgh Evening News about vandalism in Princess Street gardens. (see links: Evening News) Young vandals are displaying all sorts of anti-social behaviour, even tipping memorial benches down the slope. This behaviour is interesting from a sociological point of view and allows us to consider their perception of and attitude to memorial benches (and public spaces and people in general).
This article can be seen alongside the bench with the bottle of buckfast too!
This article can be seen alongside the bench with the bottle of buckfast too!
Sunday, 12 April 2009
Robert Burns Lament
I am a bending, aged tree,
That long has stood the wind and rain;
But now has come a cruel blast,
And my last hald of earth is gane;
Nae leaf o' mine shall greet the spring,
Nae simmer sun exalt my bloom;
But I maun lie before the storm,
And ithers plant them in my room.
Robert Burns
Lament for James, Earl of Glencairn
That long has stood the wind and rain;
But now has come a cruel blast,
And my last hald of earth is gane;
Nae leaf o' mine shall greet the spring,
Nae simmer sun exalt my bloom;
But I maun lie before the storm,
And ithers plant them in my room.
Robert Burns
Lament for James, Earl of Glencairn
Subscribe to:
Posts (Atom)