The peasantry of the Highlands were always noted for their hospitality. “I have wandered,” says Mr. J. F. Campbell of Islay, than whom none knew the Highlands better, “among the peasantry of many countries, and this trip through the Highlands has but confirmed my old impressions. The poorest Highlander is ever readiest to share the best he has with the stranger. A kind word is never thrown away, and whatever may be the faults of this people, I have never found a boor or a churl in a Highland bothy.” Besides, the ancient Gaels were very fond of music, whether in a merry or a sad humour. “It was,” says Bacon, “a sure sign of brewing mischief when a Caledonian warrior was heard to hum his surly song.” They accompanied most of their labours with music, either vocal or that of the harp, and it was among these chiefs and these people that the national music of Scotland took its rise. It is a matter of regret that its wild strains are now more frequently heard amid Canadian woods and on Australian plains than in the land where it was cradled. [Illustration] CHAPTER II. HARPERS, BARDS, AND PIPERS. “O’er all this hazy realm is spread A halo of sad memories of the dead, Of mournful love tales, of old tragedies; Filling the heart with pity, and the eyes With tears at bare remembrance; and old songs Of Love’s endurance, Love’s despair, Love’s wrongs And triumphs o’er all obstacles at last, And all the grief and passion of the past.” Ancient musical instruments—Priestly harpers—Hereditary harpers—Irish _versus_ Scottish harpers—Royal harpers—Use of harp universal—Welsh sarcasm—Mary Queen of Scots’ harp—The last of the harpers—“The Harper of Mull”—From harp to pipes—The _Clarsach_—Pipes supplanting bards—The last clan bard—Bardic customs—Bards’ jealousy of pipes—The bard in battle—Duncan Ban Mac Intyre—Two pipers scared—When the pipes became paramount—The fiery cross—The coronach. The harp was the immediate predecessor of the pipes; but in ancient times, and also contemporary with the harp, there were other instruments. The _Complaynt of Scotland_, written in 1548, speaking of a company of musicians, says:— “The fyrst hed ane drone bagpipe, the next hed ane pipe made of ane bleddir and of ane reid, the third playit on ane trump, the feyerd on ane cornepipe, the fyfth playit on ane pipe made of ane grait horne, the sext playit on ane recorder, the sevint plait on ane fiddil, and the last on ane quhissel.” We cannot speak as to quality, but there was evidently no lack of quantity in these days. [Illustration: HARPER: ON A STONE AT MONIFEITH From _Chalmers’ Sculptured Stones of Scotland_. ]