If people around the globe are asked what they associate with Scotland or the Scots, tartan kilts, bagpipes, clans and the Highlands are the most common answers. Especially tourist interest concentrates on these landmarks of Scotland, which are said to be insignias of Scottish tradition, glory and identity, and which dominate the image of Scotland.
But are these landmarks really linked to a tradition from times immemorial? Do they really represent a link to Scotland’s Gaelic roots? This paper will investigate this question by introducing Eric Hobsbawm´s term of “invented tradition” to denote and to outline the process of creation of these Scottish symbols. The following portrait of the historical background will show the social, political and economic developments in the 18th and 19th century which led to the invention of tradition as part of the creation of a Highland myth as a result of and as reaction to Scotland’s union with England in 1707. Furthermore, the worldwide spreading of the Highland myth, which has determined the image of whole Scotland ever since, will be described. The paper will finish by showing contemporary parallels to the historic developments and trends, and suggesting further topics of investigation.
Table of Contents
1. Introduction
2. Main Part
2.1. Invented Tradition – An Outline of the Creation of the Highland Myth
2.2. A Break in Continuity – The Destruction of the original Highland Culture in the 18th century
2.3. The Rediscovery of the Highlands and the Creation of the Highland Myth
2.3.1. James McPherson’s Ossian (1760)
2.3.2. The Historic Novels of Sir Walter Scott
2.4 The Invention of Traditions - The Highland Bagpipes and the Tartan Philibeg
2.4.1. The Scottish Highland Bagpipes
2.4.2. The Tartan Philibeg
2.4.2.1. The Kilt
2.4.2.2. Differentiation of Tartan Patterns by Clans
2.5. The Spreading of the Myth
3. Conclusion and Further Worthwhile Topics of Investigation
Objectives and Core Topics
This paper examines the historical construction of the "Highland myth" in the 18th and 19th centuries, utilizing Eric Hobsbawm’s concept of "invented tradition" to analyze how Scottish symbols were created as a reaction to social, political, and economic changes following the Union with England in 1707.
- Application of the "invented tradition" framework to Scottish cultural symbols.
- Analysis of the destruction of genuine Highland culture and subsequent myth-making.
- Investigation into the roles of influential literature (McPherson, Scott) in romanticizing the past.
- Examination of the artificial creation and standardization of Highland insignia like the kilt, bagpipes, and clan tartans.
- Evaluation of how the Highland myth became a globalized image of Scotland.
Excerpt from the Book
2.4.1. The Scottish Highland Bagpipes
The Scottish Highland bagpipe is commonly regarded as the traditional Scottish instrument, but in fact, it is not unique and has only been made a Scottish landmark under the influence of the British Highland regiments.
Not only Scotland, but also many other countries throughout the world have a bagpipe tradition. It is generally believed that the bagpipe originated in the near East and spread throughout Europe by wandering musicians during the 12th and 13th century. In the 14th century it was already a common instrument in rural communities of Europe, for example in Greece, Italy, Germany, Ireland, and Sweden. Until the pipes established themselves in Scotland in the 15th century, popular music was confined to song, drum and a single pipe, and the harp was the traditional instrument. Even when the pipe music, the piobaireachd or pibroch, was created, its style was heavily influenced by the clarsach or Celtic harp, giving another example for the cultural influence of Ireland on Scotland. Due to the fact that the bagpipes were all-weather instruments that could be heard over a distance of several miles, they were used to gather the clan and became war instruments in the 16th century.
As a war instrument the Highland bagpipe fell under the Disarming Act which forbade the Highland garb in 1746, and the destruction of the Highland culture after Culloden in combination with the Highland Clearances eliminated the old Gaelic style of piping. After the collapse of the traditional highway life many pipers joined the numerous Highland regiments of the British army, which were explicitly excluded from the ban. These regiments preserved the pipe music from extinction, but also restricted it almost to marches. The military fame of these regiments made the bagpipe an integral part of the popular image of the Scotsman and spread it throughout the world.
Summary of Chapters
1. Introduction: Presents the central research question concerning whether Highland landmarks represent ancient tradition or are instead "invented traditions" created in response to historical developments.
2. Main Part: Provides a detailed historical analysis of the destruction of genuine Highland culture and the subsequent invention of a romanticized Highland myth through literature and institutional fabrication.
3. Conclusion and Further Worthwhile Topics of Investigation: Summarizes the study's findings and suggests that the historic distortion of Scottish history continues through contemporary narrative fiction and the tourist industry.
Keywords
Highland myth, invented tradition, Eric Hobsbawm, Scotland, 18th century, 19th century, James McPherson, Ossian, Sir Walter Scott, tartan, kilt, bagpipes, cultural identity, Scottish Enlightenment, Highland Clearances
Frequently Asked Questions
What is the core premise of this paper?
The paper argues that many symbols commonly associated with Scotland—such as the kilt, bagpipes, and clan tartans—are not ancient traditions, but were "invented" during the 18th and 19th centuries as a reaction to social and political changes.
What are the primary themes explored?
The research focuses on the transition from genuine Highland culture to a romanticized, "invented" myth, the role of literature in shaping national identity, and the influence of British political and economic structures on this process.
What is the main objective or research question?
The main objective is to investigate the origin of Scottish landmarks and to determine if they truly link to Gaelic roots or if they are factitious, utilizing Eric Hobsbawm’s term "invented tradition" to explain their creation.
Which scientific method is applied?
The author uses a historical-analytical approach, applying the theoretical framework of "invented tradition" to evaluate historical developments, literature, and the creation of cultural artifacts in Scotland.
What topics are covered in the main section?
The main section covers the destruction of the original Highland culture, the rediscovery and romanticization of the Highlands, the fabrication of Highland insignia, and the global dissemination of the Highland myth through literature and the tourism industry.
Which keywords best characterize this study?
Key terms include "Highland myth," "invented tradition," "Scottish Enlightenment," "James McPherson," "Sir Walter Scott," and "cultural identity."
How did James McPherson's "Ossian" contribute to the Highland myth?
McPherson's "Ossian," while a literary forgery, fundamentally changed the public perception of the Highlands by creating a romanticized and powerful associative link between the region and an idealized, noble past, which served as a cultural compensation for the destruction of real Highland society.
What impact did Sir Walter Scott have on the image of Scotland?
Sir Walter Scott, through his historic novels, helped shift the perception of Scotland towards the Highlands, creating a "fossilized form of romanticism" that reflected both the romantic moods of his time and the political attitudes of the Scottish ruling class.
How were tartan patterns assigned to specific clans?
Clan tartans were not an ancient tradition; their differentiation was a deliberate, steered process in the 18th and 19th centuries, fueled by the commercial interests of the tartan industry and supported by fictitious publications and influential societies like the Celtic Society of Edinburgh.
- Arbeit zitieren
- Dipl.Jurist Marco Sievers (Autor:in), 2005, The Highland myth as an invented tradition of 18th and 19th century and its significance for the image of Scotland, München, GRIN Verlag, https://www.grin.com/document/75988
