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Scottish Custom NEIL McCALLUM IT'S AN OLD SCOTTISH CUSTOM NEW YORK: THE VANGUARD PRESS, INC. AIL RIGHTS RESERVED This book is set in 12 pt. Aldine Bembo, a type-face nodelled on the fifteenth-century letter first used by he Venetian printer Aldus Manutius (1450-1515). Aldine Bembo is based on the script ofthe calligrapher Lodovico degli Arrighi, called Vicentino, and was cut jy Francesco Griffo ofBologna. Aldine Bembo has been revived by the Monotype Corporation from whose matrices it is cast. PRINTED IN GREAT BRITAIN BY JARROLD AND SONS LIMITED, NORWICH CONTENTS CHAPTER PAGE FOREWORD 9 I TO HONOUR ANCIENT TRADITIONS 15 H TO CLIMB MOUNTAINS 23 m TO BE LEAL TO THE BORDERS 3 1 IV TO RIDE THE COMMON 41 V TO LIVE ON ISLANDS 50 VI TO SAIL THE SEAS 64 VH TO CONSIDER ORIGINS 73 VHI TO SUP WITH THE DEVIL 8l IX TO PUT BUTTER IN A HORSED EAR 93 X TO LIVE OFF THE LAND 102 XI TO CREATE, INVENT, DISCOVER 115 Xn TO INHABIT OTIBS 127 Xm TO SPEAK WELL OF THE HIGHLANDS 138 XIV TO PASS THE TIME OF DAY 147 XV TO RELISH THE ECCENTRIC 159 XVI TO LO'B THE LASSES 169 XVH TO SAVOUR SENTIMENT 178 XVIII TO LOOK TO THE FUTURE l86 ACKNOWLEDGEMENTS I have to thank the following authors, owners of copyright, and pub- Ushers, for giving permission to include poems and prose passages in this book: for the W. H. Murray and J. M. Dent & Sons passage from Un- discovered Scotland; Sir Alexander Gray for the lines from the poem Scotland; Mrs George Bambridge, Metliuen & Co., and the Macmillan Company of Canada, for the lines from McAndrews Hymn in Rudyard Kipling's The Seven Seas; John Kincaid and the Caledonian Press for the lines from the poem A Glesca Rhapsodie in the collection Fowrsom Reel; Sorley Maclean and William MacLellan & Co. for the lines of Gaelic poetry from the collection Dain do Eimhir; C. M. Grieve (Hugh MacDiarmid) for the poem The Little White Rose; John Connell for the passage from David Go Back, published by Cassell & Co. I am indebted to F. Marian McNeill and Blackie & Son for permitting me to dip freely into the gastronomic excellence of Ttie Scots Kitchen. I should like to acknowledge the great value ofThomas Davidson's book on witchery and warlockry, Rowan Tree and Red Thread, published by Oliver & Boyd, and also Peter F. Anson's Scots Fisherfolk, published by the Banflshire Journal for the Saltire Society. Chapter decorations have been taken from the following volumes: Ecclesiolovical Notes on Some of the Islands of Scotland by T. S. Muir; Edinburgh Papers by Robert Chambers; Scenery of Scotland by Sir Archibald Geikie; History of Peeblesshire by William Chambers; The and in Scotland 1 Orkneys Shetland by J. R. Tudor; A Tour 772 by Thomas Pennant; Physiologic du Mtdecin by Louis Huart; Metnorials ofEdinburgh by Daniel Wilson; Scottish Songs Prior to Burns by Robert Chambers; The Caledonian Muse (ed. Joseph Ritson); and The World of Wit and Humour. RUBBING FROM THE MAESHOW TUMULUS, A PREHISTORIC GRAVE IN THE ORKNEYS FOREWORD TIKE GAUL, SCOTLAND is divided into three parts tie L' Highlands, the central industrial belt, and the Lowlands. They are three quite distinct regions. The Lowlands contain the best farmland, the central belt contains the best coalfields, and the Highlands contain the best whisky. The Highlands are the cynosure. They are a show piece for tourists who approach them with some incertitude, bearing in mind stories of the Loch Ness monster, fearing a tartan 9 10 IT S AN OLD SCOTTISH CUSTOM leg-pull. The Highlands, once they have been seen, leave no sense of deception. It was a young lady who looked at Ben Suilven for the first time and said, with neither approval nor distaste, 'How too, too neolithic*. There is a history book which describes Scotland as *a war- like and romantic little country'. As the book was written by a Scotswoman the description must be accepted as a serious valuation. It sums up a regrettably popular attitude. Little countries that are romantic and warlike have been the curse of the world. One cannot love them except when they appear on the stage as the wise en seine of Ruritanian light operas. They are a greater nuisance than large countries which, if equally perverse, are more predictable in their follies. Here one must attempt some kind of definition. Scotland has suffered its burden of romance for too long. It has be- come insubstantial and nebulous. Is Scotland a country or is it a kind of scenery, or is it something else altogether: a series ofideas and impressions that have accreted, during the course of a great many years, to the hinterland of North Britain? One recalls another description of Scotland: 'Caledonia stern and wild'. Applied to the countryside this is possibly correct in a general by-and-large way yet what could be more idyllic and lush than parts of the Merse of Tweed? There is another Scotland which produces the largest ships in the world, a vast amount ofcoal, jam and woollen under- wear. In the statistics of production, population, method of employment, some definition ofScotland would be achieved and it would contain no reference to rugged warriors and romantic ballads. The country is, of course, defined on the FOREWORD II ground: there is a boundary between Scotland and England. At present it is of interest to cartographers and has not even the significance of the Mason and Dixon line. If one goes further into definitions, one is immediately precipitated into the sternness, the wildness and the romance. These have their place in the emotional attitude to Scotland. How otherwise could the country exercise its fascination for the exile? But patriotism is no explanation because non- Scots, with no natural tie to the country, are astonishingly eager to decorate their family tree with at least one authentic Scottish ancestor. There are probably as many interpretations of Scotland as there are Scotsmen which is as it should be, because it shows a lively interest in the country. The non-Scot has his own different ideas. He may see the country as the reputed home of tartan, haggis and whisky, which is like understanding the United States in terms of stetsons, clam chowder and soda fountains. This woolliness and vagueness may be explained by die fact that Scotland is not a political unit. It is in a process of It It a change. has a specific national past. may easily become tartan-decorated province. A number of Scots are disturbed by this downward rush to annihilation. For reasons which to them are quite clear they wish to preserve their country as a national entity. The signing of the covenant for home-rule by two million people, the purloining of the 'stone of des- tiny* firom Westminster Abbey, are straws in the wind. They are also indications of precise desires. will is out- Whether or not these political hopes mature side the province of this book. As much can be said against them as for them, but they cannot be ignored by anyone who 12 IT'S AN OLD SCOTTISH CUSTOM enters Scotland even for a week-end. This book is one man's Scotland, and in a few thousand words even that is haphaz- ard, selective and quite inconsequential. It falls between the two stools of modern political realism and traditional romantic myth. Both ofthese aspects are important. To hint at both but to deal with neither is a device that is itself typically Scottish. What Scotland does ofier, abundantly, is its infinite variety. Scotland is small, beloved and comprehensible. It is also vast in time, and some of its traditions are unbroken from the pre-Christian age. It is contemporary and ancient, and therein is its greatest fascination. The whole human story from primitive man to jet-plane can be sensibly appre- ciated in an afternoon's stroll. A cigarette lit under a neon sign can be stubbed on a tumulus. That is part of the flavour of Scotland. In the country that developed steam power, wireless telegraphy, modern surgery and radar, there is still, in a outlying parts, Stone Age technique of living, a sur- vival of practices and superstitions which make prehistoric man walk hand in hand with the turbo-jet engineer. This diversity implies that not only is there a Scotland for every Scot, but another for every visitor. A man may at- tempt to trace current Gaelic legends to their ancient source; he can examine the Shetland stories of the Nuggle or Shoo- pfltee which takes the outward form ofa pony, with a wheel for a tail, entices a man on to its back and then plunges into a loch to drown him; he can watch the migration of birds a score of miles from his nearest fellow human; he can suffer the packed misery of city slums in their worst European manifestations; he can study 'touching* to cure illness in island communities; he may trace the virile Scottish concept FOREWORD 13 of liberty back to the Middle Ages and see it in relation to the naked men and women who worked in Scottish coal pits last century with iron collars round their necks; he may seek out the Sword Dance of Papa Stour in the far north and relate it to die Sword Actors of Yorkshire, south of the Scottish border; he can study the Scot as philosopher, liber- tine, engineer and poet; he has his choice of Pictish brochs, Roman camps and Georgian town-planning; he will find that the squalid functionalism of the cities is balanced by the living fairy lore of the sea-girt peninsulas; he can examine a rigid puritanism and discover that all Scots are puritans, or inquire into rural mythologies and be convinced that all Scots are sinful pantheists.
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