Abstract
Various Burnses were projected by Scottish print capitalism in the heyday of Victorian liberal imperialism: the national bard, the sentimental amorist, the howlingly embarrassing Sylvander, the circumspect patriot of 'Does Haughty Gaul invasion threat?' It was after all the great imperialist-cum-culturalnationalist Lord Rosebery who unveiled the Thames embankment statue to all of these in 1886. Unsurprisingly, in the eclipse of this phase, Burns topped the target list of Hugh MacDiarmid:
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