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36 Literary Tourism and Nineteenth-Century Culture 12. William MacDowall, Memorials of St. Michael’s, The Old Parish Churchyard of Dumfries (Edinburgh, 1876), 109. 13. W. Bennett, 1858), 22. 14. Alexander Anderson, ‘In Rome. , 1875), 122–39. 15. Joseph Severn, Atlantic Monthly 11 (April 1863): 406–7. 16. Alfred Austin, ‘At Shelley’s Grave. Rome, April 1863’, Interludes (Edinburgh: William Blackwood, 1872), 15–20. 17. Oscar Wilde, ‘The Tomb of Keats’, Irish Monthly (July 1877), 477. 1 The most visited of these literary shrines, according to him, was the ‘clay biggin’ where the Scottish poet Robert Burns was born.
He then took up a full-time position in the Excise in Dumfries, where he died on 21 July 1796. This region of south-west Scotland was referred to as early as 1818 as ‘Burns’s Country’ by John Keats, one of the first of many poets to make a pilgrimage to the land of the birth of Scotland’s national poet. ’ This poem, together with ‘Lines Written in the Highlands after a Visit to Burns’s Country’, contributed to what Archibald R. ’6 The first stones of that virtual cairn had already been laid by William Wordsworth, when he composed ‘At the Grave of Burns’ and ‘Thoughts Suggested the Day Following, Near the Poet’s Residence,’ after visiting the birthplace and the original grave of Burns in Alloway churchyard, in 1803.
Sebastian came before my eyes as I saw him at Genoa, a lovely brown boy, with crisp, clustering hair and red lips, bound by his evil enemies to a tree, and, though pierced by arrows, raising his eyes with divine, impassioned gaze towards the Eternal Beauty of the opening heavens. (478) This ‘vision’ of the consumptive Keats as a martyred Sebastian pierced through with arrows, and the dramatic rewriting of the grave in the image of the pilgrim’s eroticised fantasy, bear the unmistakable early Wildean autograph, not least because the grave is presented in terms of the art he has seen while touring Italy.