Many other instances of descriptive pipe music are to be found. The pibroch of _Daorach Robbi_ contains the keenest satire ever levelled at the vice of drunkenness. The ludicrous imitation of the coarse and clumsy movements, the maudlin and staring pauses, the helpless imbecility of the drunkard as he is pilloried in the satire with the ever-recurring sneering notes, _Seall a nis air_ (Look at him now) are enough to annihilate any person possessing the least sensibility, who, while hearing them, is conscious of having been in the position described, even for once in his life. _Gillidh Callum_ is a striking contrast to _Daorach Robbi_. The total abstainer could hardly find a better text than the latter, while the man who advocates temperance only would be strongly supported by the former, which illustrates enlivening virtues of the fruit of the vine without its degrading effects. So with most pipe music. It describes something, and in this respect is second only to the recitative of the bards. It is, of course, necessary that performer and listeners should be Highland themselves. No one who is not versed in the poetry and music of the Highlands can impart to others, or appreciate for himself, the spirit of romance and pathos and love and sorrow and martial sentiment which is in the music, just as no actor can play well unless he enters into the spirit of the play. To the enthusiast for Highland music, the feelings aroused by other instruments are general and undefined, and common to Frenchman, Spaniard, German, or Highlander, but the bagpipe is sacred to Scotland. Gaelic itself has a sentiment that cannot be expressed, and so with its music. It appeals to us, but we cannot express it, and only those who know it understand it. And now for one or two of these stories where the pipes are alleged to have spoken. The best known is that of _A Cholla mo run_, or “The Piper’s Warning.”[6] The piper and friends were entrapped in Duntroon Castle, while Coll Citto, his master, and his followers were away at Islay, and the enemy laid an ambush to entrap the returning party. The piper one day saw Coll’s boats returning, and he knew that unless something was done they would sail right into the ambush. So he asked leave to go out on to the battlements and play a tune. This was granted, and the piper played extempore music, which to those in the boats meant:— Footnote 6: See Index under _A Cholla mo run_. “Coll, O my dear, dinna come near, Dinna come near, dinna come near; Coll, O my dear, dinna come near, I’m prisoner here, I’m prisoner here.”