The Highland bagpipe : $b its history, literature, and music: with some account of the traditions, superstitions, and anecdotes relating to the instrument and its tunes — John Shaqi
The Highland bagpipe : $b its history, literature, and music: with some account of the traditions, superstitions, and anecdotes relating to the instrument and its tunesManson, W. L. (William Laird)
History
The Highland bagpipe : $b its history, literature, and music: with some account of the traditions, superstitions, and anecdotes relating to the instrument and its tunes
Manson, W. L. (William Laird)
Bagpipe
Neil Mac Mhuirich, the bard already mentioned, had been at a bards’
college in Ireland, and brought back to his father’s house not only
stores of knowledge, but also the small-pox. Afflicted with the disease,
he lay on a bed near the fire, where John and Donald Mac Arthur, two of
the famous race of pipers, came in, and sitting down in front of his
bed, began tuning their pipes. The discordant sounds raised the bard,
and he, bursting with indignation, started railing at the pipes in a
poetical and mock genealogy of the instrument. The poem itself is
presentable in Gaelic, but in English it would be too much for the
average reader. It emphasises strongly the bard’s aversion to the pipes,
comparing them and their music to many ridiculous things in nature and
art. The pipers, who had intended to make the house their quarters for
the night, were startled by the fierce invective coming from behind
them, and on looking round and seeing the swollen and marked face of
Neil, worked up into extraordinary excitement, terror took hold of them
and they fled in consternation. The bard’s father evidently sympathised
with his son, for he waited patiently until the poem was ended, and then
exclaimed “Well done, my son, your errand to Ireland has not been in
vain.”
When the pipes became paramount is about as difficult to determine as
when they first threatened the position of the harp. They seem to have
existed alongside the harp and the coronach and the fiery cross for a
considerable time, as we have references to all these in the literature
of the sixteenth and seventeenth and eighteenth centuries. John Mac Leod
of Dunvegan, who lived about 1650, had a bard, a harper, a piper, and a
fool, all of whom were most liberally provided for. We have got a blind
harper, _Ruaraidh Dall_, harper to Mac Leod of Glenelg, and a blind
piper, _Ian Dall_, piper to Mac Kenzie of Gairloch, each of whom
excelled in his own sphere, and both of whom flourished about 1650,
while, as we have seen, the bards and the pipers were often at
loggerheads. The pibroch did not supersede the fiery cross at all, for,
so long as the chiefs found it necessary to call the clans together, the
goat was killed with the chief’s own sword, the cross was dipped in the
blood, and the clansman sent round.
Public-domain text, read in full here on John Shaqi.
Reviews
Reviews
No reviews yet
Be the first to share your thoughts on this work.
Join the Discussion
Join the discussion
Sign in to leave a comment or review.
Sign InorCreate an account