Folklore of the Scottish Highlands (2 page)

4
Map of the colonisation of Dalriada in the seventh century AD, after J.W.M. Bannerman 1983, 55

5
Pictish figures engraved on stone — fish, snake, birds

Any culture which comes into permanent contact with another is inevitably affected by that contiguity. So it was with Irish and Scottish Gaelic, Norse and the enigma of the Picts — a society whose origins and language still are not fully understood by scholars. Nevertheless, the Picts undoubtedly exerted some influence upon the Gaelic communities and vice versa. For the purposes of this book, however, it is the Gaelic language which was spoken and is yet the Gaelic culture with which we are concerned and of which intrepid collectors have left us such a rich and rare heritage.

1 Introduction

Two boys, whose birth beyond all question springs

From great and glorious, tho’ forgotten kings,

Shepherds of Scottish lineage, born and bred

On the same bleak and barren mountain’s head,

Jocky with mickle art, could on the bagpipes play,

E’en from the rising to the setting day;

Sawney as long without remorse could bawl

HOME’s madrigals and ditties from FINGAL.

In these lines from his
Prophecy of Famine
, the strongly anti-Scottish priest-poet, Charles Churchill (1731-64), writing from his living under the shadow of another Celtic stronghold, South Cadbury in Somerset, revealed a subtle knowledge and grudging appreciation of an ancient tradition, the rich heritage of Gaelic Scotland. In his day Highland folklore, story and superstition were still very much in evidence. And in the somewhat scathing lines above, Churchill has noted subtleties of that archaic culture which are still discernible, albeit in aetiolated form, down to the present day. The Celtic pride in ancestry and belief in the ultimate nobility of their forefathers (forgotten though these regal forebears may now be except to those who immortalise them in the recitation of their
sloinneadh
, ‘naming of ancestors’); pride in their Scottish nationality; the cultivation of the ancient arts of their country in physical discomfort and humble circumstances; the tireless playing of the bagpipes, their musical variety of pattern as ingenious and as amazingly varied as the designs their forebears wrought with infinite skill upon the metal, wood, pottery and stone of the past; the ancient chanted tales of the Fingalian heroes, still to be heard vestigially in the glens and islands of the West; all these fundamental aspects of the tradition were observed, if not approved, by the great English writer.

As in ancient pagan times, when the classical writers were commenting on the customs and habits of their Celtic neighbours in Europe and Britain, and the splendid repertoire of Irish and Welsh legend and myth was receiving written form by the early Christian scribes, the life of the Scottish Highlander was, up to comparatively recent times, not only rich in lore and legend, music and song, but completely hedged round by tabu — things to be done, things to be avoided. Everyday life would seem to have been circumscribed by powers, good and evil, that were believed to be everywhere present, to be placated by ritual or exploited by magical processes. The Otherworld forces, and the fairies, spectres and monsters of moorland, hill and water were as real, substantial, and infinitely more menacing than were one’s own human fellows. Every place had its name and its legend — how it got its name; what famous hero or infamous criminal, savage, supernatural animal, or shaggy, semi-human sprite was associated with it, were stories known at one time to all. This Celtic obsession with immediate locality, the love and knowledge of not only the homeland, but every detail of the familiar landscape, is an absolutely fundamental characteristic of the Celts. This undoubtedly stems from their ancient and passionate love of nature and their deep feeling for the world of birds and animals — which were frequently accredited with the powers of human speech and understanding — and manifests itself early in their recorded history. Ancient tales about the gods and goddesses and heroes long dead and gone are still told with simple sincerity and total dedication by those in whom the tradition still lives; those who, like the ancient Celtic god Ogmios, hold the ears of their listeners enchained by the eloquence and fluency of their native tongue. Each community would have its own
seanachaidh
, ‘tale-teller’
par excellence
. The Highlanders have always loved stories and a whole group from a township would gather together in the
tigh-cheilidh
, ‘house of entertainment’, to pass the long, dark and often wild winter nights listening enraptured to tales, many of incredible length, some of almost unbelievable antiquity, which formed part of the rich store of oral tradition, which itself is commented upon in the writings of Julius Caesar.

These stories were handed on by word of mouth, from generation to generation, the archaic nuclei gathering to themselves new elements from a wealth of external sources. Some sprang from international folklore and folktale motifs, and were blended skilfully with the old, indigenous elements. Over and above the story-tellers — who tended on the whole to be men in the West of Scotland — were those who could chant the ancient ballads, many of which contain legends common to Ireland and Scotland, and can still be recorded today, although the rich heritage of such material is fast losing ground. There were also the experts on the proverbial sayings, of which hundreds must have circulated at one time in the remote Celtic world; and those with powers, good and evil — people who were believed to be able to practise witchcraft and woe, and others who were known as ‘white’ witches, the charmers and healers who could undo the spells of malice and replace them with healing and protection. Then there were the singers of songs, much loved by the whole community. At one time, communal labour, or individual chores, were accompanied and made less burdensome by traditional songs, and the repertoire of these is one of the richest features of the Gaelic folk tradition. There were rowing songs, reaping songs, milking songs, churning songs; songs to soothe the tired infant, songs to lighten the heavy task of querning the grain (
see
frontispiece).

But the richest and most important group of songs in the entire tradition are those known as
òrain luadhaidh
or ‘waulking’ songs, sung to facilitate the heavy labour of ‘waulking’ or shrinking by hand the tweed to make the sturdy Highland cloth proof against rough country and wet, inclement weather. Many of these are still extant, for the communal occupation of waulking did not die out until the twentieth century when the electric looms and factory facilities rendered redundant the old, heavy, but happy work of the strong, competent hands of the Hebridean women. In the waulking songs are preserved some of the most ancient historical and mythological material — ballads, fairy songs, clan lore, songs of love and stories of heroism; fights against monsters, human and supernatural; and witty local anecdotes, some with a naughty dig against the men, or a particular local character. In these songs alone lurks a wealth of information on the traditional life of the Highlands and its ancient tales and customs.

The waulking songs themselves are of profound interest and are unparalleled elsewhere in the west of Europe. The whole process of the communal shrinking of the handwoven cloth, thus preparing it for the tailor’s shears, is fascinating. It was, and remained, an occupation reserved for the womenfolk and the men were firmly excluded from the activity. Originally the women sat on the ground and pounded the cloth on a wooden trestle with their feet (
see
frontispiece); later the hands alone were used for this purpose, the women sitting, or standing on either side of a table. The astonishing impact of this unfamiliar ritual on a stranger to the west is well expressed by Martin Martin, in his description of North Uist. He relates how a party of people from an English ship landed on the island and one of them came upon a house in which were 10 women, behaving, in the opinion of the Englishman, in an extremely strange manner. Their arms and legs were bare and they were sitting, five on either side of a board which was placed between them; on this was a length of cloth which they were thickening with their hands and feet, and singing the whole time. ‘The Englishman presently concluded it to be a little Bedlam, which they did not expect to find in so remote a corner.’ The episode was recounted to the owner of the island, a Mr John MacLean, who said he had never seen any mad people in the islands. This did not convince, so the leader of the party and the proprietor went to the house where the women were working. Mr MacLean then told the stranger that this was merely the common way of thickening the cloth in those parts; the Englishman had to accept the information but remained astonished at the scene he had witnessed.

The wool from which the tweed was woven was first dyed to the desired colour in a dye made from vegetable matter of various kinds. When it was ready, the loom was set, and, as with most important everyday activities, there were lucky and unlucky days for this — another archaic Celtic belief. One of these, in the Island of South Uist, was St Columba’s Day — 9 June— perhaps the most beloved of the saints in the Catholic Highlands:

Thursday the day of kindly Columba,

The day to gather the sheep in the fold,

To set the loom, and put cows with the calves.

When the cloth is woven it is soaked in a vat of hot, stale urine, which has been collected for the purpose for some time. The ends of the length of cloth are then sewn together to make a complete circle which is next placed on a trestle table, or even the door of the byre if nothing better is available, and about a dozen women sit at the table, an even number on either side, and pass the heavy cloth to each other, sunwise, kneading it vigorously in four decisive rhythmic movements. As they work they sing, the leader telling the story of the song and the others chanting the refrain. It is a fascinating scene to witness, the heaviness of the labour (to which I can personally attest) lightened by the enjoyment of the singing, and the whole vast repertoire of songs enshrining and preserving some of the most rare and ancient aspects of the folk tradition. Songs originally used for other communal activities, which have become redundant, often found their way into the stock of waulking songs; thus, over and above its importance for the anthropologist and the musicologist, the practice of waulking the cloth to the accompaniment of song is one of first interest and value to the folklorist.

The Highlands and Islands of the west contain both Protestant and Catholic communities. In the Outer Hebrides North Uist and the Islands to the north are Protestant, part of Benbecula and all the southern Isles Catholic. Like the early Celtic Church in Ireland, the Catholic priests had a greater tolerance for the old customs which were at one time feared and disliked by the Protestant ministers as being representative of pagan decadence. As a result, the extant traditions in the Catholic areas differ from those of the Protestant regions, being, in many ways, more archaic and rich; but the Protestant areas retained much of their lore and made their own valuable contribution to the preservation of tale, custom and belief which is so astonishingly rich and varied in the Scottish Highlands.