Inscription on a Goblet (Poem by Robert Burns)

Inscription on a Goblet is a powerful miniature poem that encapsulates the seductive danger of alcohol. Burns presents drinking as both alluring ...
Old Poem

Inscription on a Goblet
By Robert Burns

There’s death in the cup — sae beware!
    Nay, more — there is danger in touching;
But wha can avoid the fell snare?
    The man and his wine’s sae bewitching!

Poem Analysis:

Robert Burns' short yet striking poem Inscription on a Goblet is a warning wrapped in a playful and ironic tone. With just four lines, the poem captures the allure and danger of alcohol, presenting a paradox where the very thing that entices is also the thing that destroys. Written in an ABAB rhyme scheme, the poem is both rhythmic and engaging, making its cautionary message all the more memorable.

The Dual Nature of Alcohol: Pleasure and Peril

The poem opens with a stark warning:

There’s death in the cup — sae beware!

This dramatic statement suggests that drinking can lead to one's downfall, perhaps referencing excessive indulgence, addiction, or even literal poisoning. The word "death" immediately sets a serious tone, while "sae beware!" directly advises caution.

However, the warning is quickly complicated:

Nay, more — there is danger in touching!

This line intensifies the risk, suggesting that even coming into contact with the cup is perilous. This could imply the idea that once a person starts drinking, it becomes difficult to stop, reinforcing the notion of alcohol as a seductive and dangerous force.

The Power of Temptation

Despite the explicit danger, the second half of the poem introduces a dilemma:

But wha can avoid the fell snare?

Here, Burns acknowledges human weakness. The word "snare" suggests a trap—something that ensnares victims despite their awareness of the risk. Even those who know the consequences may still fall into the habit of drinking, suggesting the seductive and addictive nature of alcohol.

The man and his wine’s sae bewitching!

The final line is perhaps the most telling. It identifies both the drink ("wine") and the drinker ("the man") as "bewitching," implying that not only is alcohol itself intoxicating, but so is the culture surrounding it. This could reference the social nature of drinking, where camaraderie and persuasion make it even harder to resist. The word "bewitching" suggests enchantment, reinforcing the idea that alcohol casts a spell over those who partake.

Poetic Structure and Style

  1. ABAB Rhyme Scheme and Flow: The poem follows a simple yet effective ABAB rhyme scheme. This structure keeps the lines connected and rhythmic, making the poem both easy to remember and impactful. The alternating rhyme pattern mirrors the conflicting emotions the poem conveys—the push and pull between caution and temptation.
  2. Use of Scots Language: Burns’ use of "sae" (so), "wha" (who), and "fell" (terrible or fierce) reflects his Scottish heritage and adds authenticity to the voice of the poem. This linguistic choice makes the poem more personal and conversational, as though the speaker is addressing the reader directly with a friendly yet serious warning.
  3. Economy of Words with Maximum Impact: Despite its brevity, the poem packs a strong emotional punch. Burns masterfully condenses a complex human struggle—temptation versus self-control—into just four lines. Each word is carefully chosen to contribute to the overall theme, making the poem short but deeply meaningful.
Inscription on a Goblet is a powerful miniature poem that encapsulates the seductive danger of alcohol. Burns presents drinking as both alluring and destructive, warning the reader yet simultaneously acknowledging that resistance is difficult. The ABAB rhyme scheme and concise language make the message memorable, while the use of Scots dialect adds authenticity and charm.

Ultimately, the poem captures a universal truth about human nature: even when we know something is harmful, we are often still drawn to it. This duality—the pleasure and peril of indulgence—makes the poem timeless and relatable.
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