DOCSLIB.ORG

And 20Th-Century Scotland Marina Dossena

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
And 20Th-Century Scotland Marina Dossena ‘And Scotland will march again’. The language of political song in 19th- and 20th-century Scotland Marina Dossena 1 Some background notes On the tenth anniversary of Hamish Henderson’s death, it may be fitting to pay a small tribute to his work as a poet, song-writer and folklorist by taking a look at the language of political song in Scotland over the last two centuries. Starting from the texts currently available in ‘The Word on the Street’ pages in the website of the National Library of Scotland, in ‘The Voice of Radicalism’ pages in the website of the University of Aberdeen and in other materials specially collected for this study, I aim to discuss the main ways in which rhetorical strategies of personalization and involvement appear to occur in the texts under discussion. While Dossena (2011) provides a brief overview of the importance of political song in the history of Scots usage, particularly in Late Modern times, this contribution intends to focus on pragmatic choices that are additional to code selection. It is of course beyond the scope of this study to discuss the relationship between lyrics and tunes, as the notation of earlier texts has not always survived, and tunes have often been borrowed from already popular songs. What is much more interesting here is the linguistic dimension of the virtual dialogue set up with the listeners, and the ways in which active participation in ‘the cause’ is encouraged. From the methodological point of view, the investigation will place itself within the framework of current computer-assisted discourse studies, in which quantitative analyses combine with qualitative readings of the texts. The topic under investigation elicits interest in many respects. First of all, Scots (and Scottish) political song has very deep roots: Jacobite songs are a very well-known set of texts and tunes in which support could be expressed in more or less veiled terms, often in the thin guise of passionate love songs. Hanoverian loyalists also had their song lore (McAleer 1962), but the publicity given to the lyrics and tunes associated with the Stuart side by Robert Burns’s adaptations and additions contributed greatly to their popularity, and more texts were written in the nineteenth century by Dossena, Marina. 2013. ‘“And Scotland will march again”. The language of political song in 19th- and 20th-century Scotland’. In Cruickshank, Janet and Robert McColl Millar (eds.) 2013. After the Storm: Papers from the Forum for Research on the Languages of Scotland and Ulster triennial meeting, Aberdeen 2012. Aberdeen: Forum for Research on the Languages of Scotland and Ireland, 141-65. ISBN: 978-0-9566549-3-9 The language of political song in 19th- and 20th-century Scotland important literary figures like James Hogg and Lady Nairne. Nor could we dismiss emigration songs as devoid of political interest: frequent references to the causes of emigration, whether in resignation or in despair, convey specific stance on such causes. Indeed, in the nineteenth century, broadsheet ballads and songs were powerful tools of political propaganda on the occasion of (local) elections. Finally, the twentieth century has witnessed countless occasions for marches in which the humorous adaptation of popular tunes or the creation of new ones enabled the expression of popular feelings that it might have been difficult to articulate in other as efficient ways. Among these, McVicar (2010) and McCulloch (2011) discuss the musical counterculture of the 1960s.1 Protest songs and appeals for reform (often in relation to the choice of a certain candidate or course of action) thus make up a complex body of texts in which various pragmatic strategies are seen to be at work: the listeners’ interest and solidarity are invoked or assumed to be shared through skilful use of linguistic choices meant to make the text acceptable and indeed memorably appealing. While verbal aggression is not unknown, humour is often employed to redress the most serious face-threats, or in fact to stress them, such as we see in the hyperbolic statements of the flyting tradition. Also, the occurrence of proper names may identify the actual object of praise or indeed of insults, providing readers with a specific target for solidarity or contempt. The main linguistic strategies employed in these texts may therefore provide a worthwhile object of study; although it might appear that some features are actually typical, such as exhortations and repetitions, which in many languages have been a predictable form of poetic appeal throughout the centuries, a more accurate investigation of the lyrics is in order for the identification of patterns beyond quantitative data. 1.1 The corpus under investigation: Scots and (Scottish) English texts The corpus on which this study is based comprises the texts of 65 songs and ballads; while the vast majority of these (58) date from the nineteenth 1 In addition, see the songs listed at http://www.scotsindependent.org/songbook/index.htm and http://www.scottishrepublicansocialistmovement.org/Pages/SRSMSongbook.aspx. Useful resources on this topic are at the Centre for Political Song of Glasgow Caledonian University, http://www.gcu.ac.uk/politicalsong/. As for the material collected by Hamish Henderson, the archives of the School of Scottish Studies in Edinburgh and the online ‘Kist o Riches’ (http://www.tobarandualchais.co.uk/) are invaluable repositories (see Bort 2011). On Henderson’s activities as a scholar and a folklorist, see Neat (2007-2009). 142 The language of political song in 19th- and 20th-century Scotland century, seven well-known twentieth-century texts have been included in an attempt to see how far these may and actually do reflect older pragmatic patterns. The decision to focus on the nineteenth century is dictated by an interest in popular writing and culture of the times, with the aim to shed more light on what uses were frequent in Late Modern English, beyond what is observed in literary and normative texts. As regards language, 38 texts are (mostly) in English and 27 are (mostly) in Scots; however, the well-known Scots-English continuum2 that is such an important trait in many texts, not least literary ones, makes it difficult to assess the extent to which some texts could be placed in one category or the other, and indeed it is the occasional occurrence of a Scots word or phrase that may function as a kind of ‘wink’ to the listener, such as in the example below, in which Scots occurs at the beginning and towards the end of the text – in the former case it is to draw the attention of the audience; in the latter, it is to frame a proverbial saying (‘The De’il maun hae his ain!’): The Bells are a’ ringing (1832)3 O cam’ ye down frae London, man, Or cam’ ye here yestreen? Then sit down in the muckle chair, And tell us what ye’ve seen. That the bells are a’ ringin’, And the folks are a’ singin’, And the Tories they are swingin’, By the necks fast at hame. O yes, the news indeed are great, For the noble Earl Grey Has made the Bills for to pass, And freedom’s won the day. There is mirth and there is joy, In cottage and in hall; 2 According to Henderson (1983: 101), ‘a curious ‘bilingualism in one language’ has been a characteristic of Scots folksong at least since the beginning of the seventeenth century’. 3 Dedicated to the passing of the Great Reform Act of 1832, which extended the franchise to numerous middle-class men, but not to the working classes. 143 The language of political song in 19th- and 20th-century Scotland For Liberty bids us rejoice, And we obey her call. The Tories they are wearing off, Corruption’s growing blue, And we never were so happy; A’ our days, as we are now. And who will now presume To usurp our rights again, O gie them hemp enough, my lads, The De’il maun hae his ain! Hear’s a health to every man, And worthy Joseph Hume, Liberty in after times, Shall smile upon his tomb. Indeed, Scots does seem to occur more frequently in the more aggressive texts. As noted in an earlier, preliminary study (Dossena 2011: 3), political activism seems to manage both form and content, with language choices that convey the encoder’s political attitude to specific language policies; in Jacobite and emigrant songs we find typical overt Scotticisms like bonnie, lad, claymore, glen, shieling and clansmen, but syntax is normally English, with the exception of modal usage like in will ye no, or verb forms like kent and wad. This is even more the case in music hall pieces, where a sprinkling of Scots words, such as gloaming, is deemed sufficient to give the song a distinctly tartanized flavour. In fact, such language choices only reinforce the role of English as the standard medium. In political satire, instead, such as in the Tory pamphlet Whig-Radical Festival Extraordinary! (1835 – see The Voice of Radicalism), or indeed in Hamish Henderson’s texts, Scots is used as a fully-fledged ‘language of the people’ (Donaldson 1989).4 In the 1830s the tensions between the Tories, the Whigs and the Radicals gave rise to many texts, and indeed the corpus under investigation includes several references to Sir John Campbell, a London-based lawyer and Whig who stood as a Parliamentary candidate for Edinburgh in 1834, 1835 and 1837, and to James Aytoun (1797-1881), a well-known member of 4 On Henderson’s attitudes to Scots and poetic diction (and divergences with Hugh MacDiarmid in that respect), see Finlay (1998) and Gibson (2009).
Load more

Recommended publications
  • The Culture of Literature and Language in Medieval and Renaissance Scotland
    The Culture of Literature and Language in Medieval and Renaissance Scotland 15th International Conference on Medieval and Renaissance Scottish Literature and Language (ICMRSLL) University of Glasgow, Scotland, 25-28 July 2017 Draft list of speakers and abstracts Plenary Lectures: Prof. Alessandra Petrina (Università degli Studi di Padova), ‘From the Margins’ Prof. John J. McGavin (University of Southampton), ‘“Things Indifferent”? Performativity and Calderwood’s History of the Kirk’ Plenary Debate: ‘Literary Culture in Medieval and Renaissance Scotland: Perspectives and Patterns’ Speakers: Prof. Sally Mapstone (Principal and Vice-Chancellor of the University of St Andrews) and Prof. Roger Mason (University of St Andrews and President of the Scottish History Society) Plenary abstracts: Prof. Alessandra Petrina: ‘From the margins’ Sixteenth-century Scottish literature suffers from the superimposition of a European periodization that sorts ill with its historical circumstances, and from the centripetal force of the neighbouring Tudor culture. Thus, in the perception of literary historians, it is often reduced to a marginal phenomenon, that draws its force solely from its powers of receptivity and imitation. Yet, as Philip Sidney writes in his Apology for Poetry, imitation can be transformed into creative appropriation: ‘the diligent imitators of Tully and Demosthenes (most worthy to be imitated) did not so much keep Nizolian paper-books of their figures and phrases, as by attentive translation (as it were) devour them whole, and made them wholly theirs’. The often lamented marginal position of Scottish early modern literature was also the key to its insatiable exploration of continental models and its development of forms that had long exhausted their vitality in Italy or France.
    [Show full text]
  • Spinning Scotland Abstr
    1 ABSTRACTS FOR SPINNING SCOTLAND CONFERENCE GLASGOW UNIVERSITY - 13 th SEPTEMBER 2008 2 PANEL 1: ISLAND POETRY – ON THE FRINGE? Iain MacDonald – Linden J Bicket – Emma Dymock 9.30 – 11am Iain MacDonald The Very Heart of Beyond: Gaelic Nationalism and the Work of Fionn Mac Colla. The work of Fionn Mac Colla (Thomas Douglas Macdonald) examines the development of religious ideas and politics on Scottish society. He was primarily concerned with the representation of Scottish Gaelic and the cultural implications for Scotland with the erosion and re-establishment of Gaelic culture and identity in the industrialising modern era. These themes are most comprehensively explored in his best-known works, The Albannach (1932) and And The Cock Crew (1945) J.L. Broom's claim that MacColla's obsession with Calvinism's influence over Scotland had 'reached such proportions as to have distorted his artistic priorities' has influenced attitudes and encouraged lazy critical reception of the writer. It is my contention that MacColla's contribution to the developing 'Scottish Literary Renaissance' of the 1920s and 30s can be described as major, even if, at times, deserved critical reception has been thwarted. Mac Colla's work is primarily concerned with Scottish Gaelic culture, and its history. Although his fictional work concentrates on Gaelic communities in the central Highlands, Mac Colla spent 20 years living and teaching in the Hebrides. In this paper I will demonstrate that Mac Colla's work and themes are interwoven with his own experiences of the Gaelic community. I will also examine the title of this panel with reference to Fionn Mac Colla.
    [Show full text]
  • Explored Through the Revision of Place in Jackie Kay's Fiere, Kathleen Jamie's the Tree House A
    Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. Repetition as Revision: Explored through the Revision of Place in Jackie Kay’s Fiere, Kathleen Jamie’s The Tree House, and Crane, a Creative Composition by Lynn Davidson A thesis presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy in English at Massey University, Palmerston North, New Zealand Lynn Davidson 2015 Abstract This thesis examines anaphora, parallelism, and repetends, and asks if and how these techniques of repetition allow for negotiation among meanings, contexts and possibilities in contemporary poetry. The thesis is comprised of two sections, creative and critical, with a seventy percent creative and thirty percent critical split. The critical study is based on a close analysis of anaphora and parallelism in Jackie Kay’s Fiere (2010) and repetends in Kathleen Jamie’s The Tree House (2004), while repetition is explored creatively through Crane, an original collection of poetry shaped and informed by the critical research. Crane uses techniques of formal repetition to enquire into cultural and emotional links to place, and the impact of return journeys to significant places on a reimagining of place and self. There are five sections in Crane, each of which uses repetition slightly differently to engage with questions of movement between places. The collection uses repetition to explore how ‘going back’ can be a powerful part of the process of revising identity and integrating change.
    [Show full text]
  • Full Bibliography (PDF)
    SOMHAIRLE MACGILL-EAIN BIBLIOGRAPHY POETICAL WORKS 1940 MacLean, S. and Garioch, Robert. 17 Poems for 6d. Edinburgh: Chalmers Press, 1940. MacLean, S. and Garioch, Robert. Seventeen Poems for Sixpence [second issue with corrections]. Edinburgh: Chalmers Press, 1940. 1943 MacLean, S. Dàin do Eimhir agus Dàin Eile. Glasgow: William MacLellan, 1943. 1971 MacLean, S. Poems to Eimhir, translated from the Gaelic by Iain Crichton Smith. London: Victor Gollancz, 1971. MacLean, S. Poems to Eimhir, translated from the Gaelic by Iain Crichton Smith. (Northern House Pamphlet Poets, 15). Newcastle upon Tyne: Northern House, 1971. 1977 MacLean, S. Reothairt is Contraigh: Taghadh de Dhàin 1932-72 /Spring tide and Neap tide: Selected Poems 1932-72. Edinburgh: Canongate, 1977. 1987 MacLean, S. Poems 1932-82. Philadelphia: Iona Foundation, 1987. 1989 MacLean, S. O Choille gu Bearradh / From Wood to Ridge: Collected Poems in Gaelic and English. Manchester: Carcanet, 1989. 1991 MacLean, S. O Choille gu Bearradh/ From Wood to Ridge: Collected Poems in Gaelic and English. London: Vintage, 1991. 1999 MacLean, S. Eimhir. Stornoway: Acair, 1999. MacLean, S. O Choille gu Bearradh/From Wood to Ridge: Collected Poems in Gaelic and in English translation. Manchester and Edinburgh: Carcanet/Birlinn, 1999. 2002 MacLean, S. Dàin do Eimhir/Poems to Eimhir, ed. Christopher Whyte. Glasgow: Association of Scottish Literary Studies, 2002. MacLean, S. Hallaig, translated by Seamus Heaney. Sleat: Urras Shomhairle, 2002. PROSE WRITINGS 1 1945 MacLean, S. ‘Bliain Shearlais – 1745’, Comar (Nollaig 1945). 1947 MacLean, S. ‘Aspects of Gaelic Poetry’ in Scottish Art and Letters, No. 3 (1947), 37. 1953 MacLean, S. ‘Am misgear agus an cluaran: A Drunk Man looks at the Thistle, by Hugh MacDiarmid’ in Gairm 6 (Winter 1953), 148.
    [Show full text]
  • A Colonial Scottish Jacobite Family
    A COLONIAL SCOTTISH JACOBITE FAMILY THE ESTABLISHMENT IN VIRGINIA OF A BRANCH OF THE HUM-ES of WEDDERBURN Illustrated by Letters and Other Contemporary Documents By EDGAR ERSKINE HUME M. .A... lL D .• LL. D .• Dr. P. H. Fellow of the Society of Antiquaries of Scotland Member of the Virginia and Kentucky Historical Societies OLD DoKINION PREss RICHMOND, VIRGINIA 1931 COPYRIGHT 1931 BY EDGAR ERSKINE HUME .. :·, , . - ~-. ~ ,: ·\~ ·--~- .... ,.~ 11,i . - .. ~ . ARMS OF HUME OF WEDDERBURN (Painted by Mr. Graham Johnston, Heraldic Artist to the Lyon Office). The arms are thus recorded in the Public ReJ?:ister of all Arms and Bearings in Scotland (Court of the Lord Lyon King of Arms) : Quarterly, first and fourth, Vert a lion rampant Argent, armed and langued Gules, for Hume; second Argent, three papingoes Vert, beaked and membered Gules, for Pepdie of Dunglass; third Argent, a cross enirrailed Azure for Sinclair of H erdmanston and Polwarth. Crest: A uni­ corn's head and neck couped Argent, collared with an open crown, horned and maned Or. Mottoes: Above the crest: Remember; below the shield: True to the End. Supporters: Two falcons proper. DEDICATED To MY PARENTS E. E. H., 1844-1911 AND M. S. H., 1858-1915 "My fathers that name have revered on a throne; My fathers have fallen to right it. Those fathers would scorn their degenerate son, That name should he scoffingly slight it . " -BORNS. CONTENTS PAGE Preface . 7 Arrival of Jacobite Prisoners in Virginia, 1716.......... 9 The Jacobite Rising of 1715. 10 Fate of the Captured Jacobites. 16 Trial and Conviction of Sir George Hume of Wedder- burn, Baronet .
    [Show full text]
  • Christopher Upton Phd Thesis
    ?@A374? 7; ?2<@@7?6 81@7; 2IQJRSOPIFQ 1$ APSON 1 @IFRJR ?TCMJSSFE GOQ SIF 3FHQFF OG =I3 BS SIF ANJUFQRJSX OG ?S$ 1NEQFVR '.-+ 5TLL MFSBEBSB GOQ SIJR JSFM JR BUBJLBCLF JN >FRFBQDI0?S1NEQFVR/5TLL@FWS BS/ ISSP/%%QFRFBQDI#QFPORJSOQX$RS#BNEQFVR$BD$TK% =LFBRF TRF SIJR JEFNSJGJFQ SO DJSF OQ LJNK SO SIJR JSFM/ ISSP/%%IEL$IBNELF$NFS%'&&()%(,)* @IJR JSFM JR PQOSFDSFE CX OQJHJNBL DOPXQJHIS STUDIES IN SCOTTISH LATIN by Christopher A. Upton Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy at the University of St. Andrews October 1984 ýýFCA ýý£ s'i ý`q. q DRE N.6 - Parentibus meis conjugique meae. Iý Christopher Allan Upton hereby certify that this thesis which is approximately 100,000 words in length has been written by men that it is the record of work carried out by me and that it has not been submitted in any previous application for a higher degree. ý.. 'C) : %6 date .... .... signature of candidat 1404100 I was admitted as a research student under Ordinance No. 12 on I October 1977 and as a candidate for the degree of Ph. D. on I October 1978; the higher study for which this is a record was carried out in the University of St Andrews between 1977 and 1980. $'ý.... date . .. 0&0.9 0. signature of candidat I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate to the degree of Ph. D. of the University of St Andrews and that he is qualified to submit this thesis in application for that degree.
    [Show full text]
  • SCOTTISH TEXT SOCIETY Old Series
    SCOTTISH TEXT SOCIETY Old Series Skeat, W.W. ed., The kingis quiar: together with A ballad of good counsel: by King James I of Scotland, Scottish Text Society, Old Series, 1 (1884) Small, J. ed., The poems of William Dunbar. Vol. I, Scottish Text Society, Old Series, 2 (1883) Gregor, W. ed., Ane treatise callit The court of Venus, deuidit into four buikis. Newlie compylit be Iohne Rolland in Dalkeith, 1575, Scottish Text Society, Old Series, 3 (1884) Small, J. ed., The poems of William Dunbar. Vol. II, Scottish Text Society, Old Series, 4 (1893) Cody, E.G. ed., The historie of Scotland wrytten first in Latin by the most reuerend and worthy Jhone Leslie, Bishop of Rosse, and translated in Scottish by Father James Dalrymple, religious in the Scottis Cloister of Regensburg, the zeare of God, 1596. Vol. I, Scottish Text Society, Old Series, 5 (1888) Moir, J. ed., The actis and deisis of the illustere and vailzeand campioun Schir William Wallace, knicht of Ellerslie. By Henry the Minstrel, commonly known ad Blind Harry. Vol. I, Scottish Text Society, Old Series, 6 (1889) Moir, J. ed., The actis and deisis of the illustere and vailzeand campioun Schir William Wallace, knicht of Ellerslie. By Henry the Minstrel, commonly known ad Blind Harry. Vol. II, Scottish Text Society, Old Series, 7 (1889) McNeill, G.P. ed., Sir Tristrem, Scottish Text Society, Old Series, 8 (1886) Cranstoun, J. ed., The Poems of Alexander Montgomerie. Vol. I, Scottish Text Society, Old Series, 9 (1887) Cranstoun, J. ed., The Poems of Alexander Montgomerie. Vol.
    [Show full text]
  • Hamish Henderson and Nelson Mandela: Notes for “Rivonia” Patrick G
    Studies in Scottish Literature Volume 40 | Issue 1 Article 18 11-15-2014 Hamish Henderson and Nelson Mandela: Notes for “Rivonia” Patrick G. Scott University of South Carolina - Columbia Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the African History Commons, and the Literature in English, British Isles Commons Recommended Citation Scott, Patrick G. (2014) "Hamish Henderson and Nelson Mandela: Notes for “Rivonia”," Studies in Scottish Literature: Vol. 40: Iss. 1, 215–223. Available at: https://scholarcommons.sc.edu/ssl/vol40/iss1/18 This Notes/Documents is brought to you by the Scottish Literature Collections at Scholar Commons. It has been accepted for inclusion in Studies in Scottish Literature by an authorized editor of Scholar Commons. For more information, please contact [email protected]. Hamish Henderson and Nelson Mandela: Notes for “Rivonia” Cover Page Footnote Patrick Scott, "Hamish Henderson and Nelson Mandela: Notes for 'Rivonia'," Studies in Scottish Literature, 40 (2014): 215--223 This notes/documents is available in Studies in Scottish Literature: https://scholarcommons.sc.edu/ssl/vol40/iss1/18 HAMISH HENDERSON AND NELSON MANDELA: NOTES FOR “RIVONIA” Patrick Scott In this, the first volume of Studies in Scottish Literature since the death of President Nelson Mandela, it seems appropriate to include Hamish Henderson’s notes for his song “Rivonia,” written following the conviction of Mandela and seven co-defendants in the Rivonia trials of 1963-64. The notes are reproduced here by permission of the Estate of Hamish Henderson, both as documenting Henderson’s longtime commit- ment to international human rights and as a memorial to Mandela’s impact in Scotland.
    [Show full text]
  • LAMENT the Fruits of Diverse Languages and Aesthetic Values, These Traditions Are Rooted in Strikingly Different Landscapes
    Traditional Song and Music in Scotland MARGARET BENNETT 77 The traditional songs, poetry, and musiC of Scotland are as easy to recognize as they are difficult to define. Just as purple heather cannot describe the whole country, so with traditional arts: no simple description will fit. M A C C R I M M 0 N ' S LAMENT The fruits of diverse languages and aesthetic values, these traditions are rooted in strikingly different landscapes. Within this small country there are enormous Dh'iadh ceo nan stuc mu contrasts. Culturally as well as geographically, Scotland could be divided aodainn Chuillionn, Is sheinn a' bhean-shith a torman into several (imaginary) areas [see map on page 70], each reflecting a mulaid, distinct spirit of the Scottish people, their songs, poetry, and music. Gorm shuilean ciuin san Along with the Western Isles (the Outer Hebrides), the Highlands­ Dun a' sileadh Scotland's largest land mass and most sparsely populated area-is On thriall thu uainn 's nach till traditionally home to the Gaels, who make their living from "crofting" thu tuille. (working very small farms), fishing, weaving, whisky distilling, tourism, Cha till, cha till, cha till and, nowadays, computing. uciamar a tha thu'n diugh?" a neighbor MacCriomain, enquires, in Scottish Gaelic, "How are you today?" The songs and music An cogadh no s.ith cha till e have evolved through history, from as early as the first century C.E., when tuille; Scotland and Ireland shared traditions about their heroes. These traditions Le airgiod no ni cha till MacCriomain remember the hero Cu Culainn, whose warriors were trained to fight by Cha till e gu bdth gu La na a formidable woman on the Isle of Skye.
    [Show full text]
  • Scotland Number Three Poetry Scotland 'Edited by MAURICE LINDSAY Third Collection - July 1946 PUBLISHED by WILLIAM MACLELLAN
    Poetry Scotland Number Three Poetry Scotland 'Edited by MAURICE LINDSAY Third Collection - July 1946 PUBLISHED BY WILLIAM MACLELLAN. 240 HOPE STREET, GLASGOW Contents Editorial Letter • page 3 Introduction by ERIC LINKLATER - page 5 NORMAN McCAIG WILLIAM JEFFREY Quadrilles—Jig Time 11 To George Bannatyne 37 Albatross 12 Lark in the Air 12 STEWART C. HOOD Genetics 38 SYDNEY GOODSIR SMITH Love 38 Pompeii . 13 God's Mills Grind on Lethe 38 Loch Leven 13 (From the German of Erich Fried) Hamewith 13 KEITH DOUGLAS ADAM DRINAN Leukothea 39 To Fame 14 These Grasses, Ancient Enemies 40 Love Song 15 The Last Wolf 16 SEUMAS C. STEWART GEORGE BRTJCE The Salmon 41 A Man of Inconsequent Build 17 SYDNEY D. TREMAYNE ROBERT GARIOCH Comfort me now, my Love 41 A Ballad of Robbie Burns 19 G. S. FRASER McAlister 21 The Black Cherub 42 HUGH MACDIARMID WILLIAM J. TAIT Listening to a Skylark 22 Rondel 44 Nearer, My God, To Thee 23 (From the French of Villon.) Boon Companions 23 Of My First Love 23 SHAUN FITZSIMON Easter Bells 44 RUTHVEN TODD The Two Minutes Silence 45 Six Winters 24 Easter 1945 24 TOM SCOTT ALBERT MACKIE ToX 46 Weary Atlas 25 D. G. MACRAE She lauch'd and Skirled 25 From Fifth Century, A..D. 46 (From the German of Heine) EDWIN MUIR DOUGLAS YOUNG Song of Sorrow 47 To a Friend on a Campaign 26 The Window 47 For a Wife in Jizzen 27 Sodger's Sang i the Aist 27 HAMISH HENDERSON The Bairns' Slauchter o Bethlehem 28 Dialogue of the Angel and the v (Frae the German o Erich Fried) Dead Boy 48 (From the Italian of Corrado Govoni) W.
    [Show full text]
  • First Series, 1883-1910 1 the Kingis Quair, Ed. W. W. Skeat 1884 2 The
    First Series, 1883-1910 1 The Kingis Quair, ed. W. W. Skeat 1884 2 The Poems of William Dunbar I, ed. John Small 1893 3 The Court of Venus, by John Rolland. 1575, ed. Walter Gregor 1884 4 The Poems of William Dunbar II, ed. John Small 1893 5 Leslie’s Historie of Scotland I, ed. E.G. Cody 1888 6 Schir William Wallace I, ed. James Moir 1889 7 Schir William Wallace II, ed. James Moir 1889 8 Sir Tristrem, ed. G.P. McNeill 1886 9 The Poems of Alexander Montgomerie I, ed. James Cranstoun 1887 10 The Poems of Alexander Montgomerie II, ed. James Cranstoun 1887 11 The Poems of Alexander Montgomerie III, ed. James Cranstoun 1887 12 The Richt Vay to the Kingdome of Heuine by John Gau, ed. A.F. Mitchell 1888 13 Legends of the Saints I, ed. W.M. Metcalfe 1887 14 Leslie’s History of Scotland II, ed. E.G. Cody 1895 15 Niniane Winzet’s Works I, ed. J. King Hewison 1888 16 The Poems of William Dunbar III, ed. John Small, Introduction by Æ.J.G. Mackay 1893 17 Schir William Wallace III, ed. James Moir 1889 18 Legends of the Saints II, ed. W.M. Metcalfe 1888 19 Leslie’s History of Scotland III, ed. E.G. Cody 1895 20 Satirical Poems of the Time of the Reformation I, ed. James Cranstoun REPRINT 1889 21 The Poems of William Dunbar IV, ed. John Small 1893 22 Niniane Winzet’s Works II, ed. J. King Hewison 1890 23 Legends of the Saints III, ed.
    [Show full text]
  • JAMES HALKERSTON (Dundee, Ca L896 - )
    1 JAMES HALKERSTON (Dundee, ca l896 - ). Harmonica solo Recorded Megginch Castle, Errol, Perth, 1933/34 A- Harmonica selections – part 1 [unknown Scots dance tunes] Great Scott A-556 A- Harmonica selections – part 2 [Bluebells of Scotland] Great Scott A-556 ROBIN HALL Robin Hall (Edinburgh, 1936 – 1998); Jimmie MacGregor (Glasgow, 1930 - ) ”Robin Hall, vocal and own guitar” Recorded London, ca Wednesday, 22nd. October 1958 CP-L-M20-A MMP-85 The ballad of Johnny Ramensky (Norman Buchan) Collector Records JDS-1(7”.45) CP-L-M6-F MMP-86 The day we went tae Rothesay (trad) Collector Records JDS-1(7”.45) The bleacher lassie o’ Kelvinhaugh (trad) Collector Records JES-2(EP) Ludgin’ wi’ big Aggie (trad) Collector Records JES-3(EP) Coulter’s candy (trad) Collector Records JES-3(EP) Skippin’ barfit thro’ the heather ( - ) Collector Records JES-6(EP) NOTE: Johnnie Ramensky (Glenboig, 1905 – Perth 1972) was a career criminal and prison escapee. During the 1939-45 war he was in the commandos and was awarded the Military Medal. “Robin Hall, vocal and own guitar” Recorded London, ca Tuesday, 28th. October 1958 Ye’re ma wee gallus bloke nae mair (trad) Collector Records JES-3(EP) Songs of Robert Burns (Robert Burns; trad) Collector Records JES-3(EP) Meg’ o’ the hill (trad) Collector Records JES-7(EP) MacPherson’s rant (James MacPherson) Collector Records JES-7(EP) “Robin Hall & Jimmie MacGregor” vocal and guitar Recorded London, ca l959 The Dundee weaver (trad) Collector Records JDS-2(7”x45), JES-3(EP) The wee magic stane (trad) Collector Records JDS-2(7”x45) Robin Hall (vocal, guitar); Jimmy MacGregor (vocal, guitar, mandolin) Recorded London, Monday, 26th.
    [Show full text]