A True Scots-Person
Dialect
Many Scots wish to preserve their dialect in order to help preserve their identity. What they speak and the manner in which they speak are of great importance to them. They attempt this preservation by deviating from “typical” English speaking and using their own dialect when performing traditional arts (e.g. novels, plays, poems, etc.). Scottish playwrights, poets, and novelists would use Scottish dialect to distinguish themselves from Great Britain in both a cultural and linguistic sense (Guvenc 94). An article in The Scotsman called, “15 old Edinburgh words and phrases that are in danger of dying out,” speaks to the way in which Scotland wishes to hold on to their culture. The author gives fifteen words in this article that are unique to Edinburgh (which also appear to be popular in other parts of Scotland), words that to outsiders would require context or definition. The fact that this article was written, along with its content, shows that Scotland is trying to keep close every shred of culture they can (Shennan “15 old Edinburgh words and phrases that are in danger of dying out”). This article also points to the way in which regional dialect varies. Like most countries in the world, ways of speaking fluctuate based on the region. It is the same with the different Scottish dialects. Not only are there four primary dialects in Scotland, but there are sub-dialects of these main dialects as well, which also vary based on region. Each of these dialects take on separate spoken and written characteristics. In comparison to the United States, this is a big difference, as there are typically dialectical differences when speaking, though the written dialect remains constant (“The Main Dialects of Scotland”). Dialect may seem unimportant to many citizens in their respective countries, though it's proven to be imperative for a group of people who have been suppressed for so long. It’s apparent through the Scots’ persistence in maintaining their dialect that they hold it as a part of who they are as people. It serves as a way of identifying each other and outsiders, but also as a way of keeping their culture alive.
Drinking and Pubs
Consumption of alcohol, particularly within pubs, is at the center of Scottish cultural life, whether it be for socializing, business gatherings, as a reward to oneself, or just to wind down. Some even argue that it’s a bigger part of their culture over that of religion (Donnachie 77). This is supported by the availability of an establishment in which a patron could access alcoholic beverages. It is expressed that they are everywhere. Even certain activities would not be complete without an alcoholic beverage. Not only are pubs a place for communal events and places to socialize, they are also a place to complete business deals (Donnachie 78). A good comparison to this would probably be corporate officers getting together to play golf and speaking about potential business moves. Drink is so prevalent, and really has always been so, that there was a call for action in the mid-nineteenth century for stronger regulation of alcohol, which, not surprisingly, was turned into a serious political affair (Donnachie 78). Due to the legislative efforts of the past and growing urbanization, the pubs in Scotland have updated to become a more welcoming environment, turning from what Americans would describe as a “hard bar” to more of a lounge that offers food. Even with this shift, though, drinking still appears to be a national pastime (Donnachie 79). An article written by Alex Burns supports the previous notion as well, as she states that, “Getting out and about in the country is always nice – but we all know that the best part is rewarding yourself afterwards with a hearty meal and a cold beer” (“Scotland’s 15 Best Country Pubs”). There is one community that boasts a famous pub called, “The Old Forge,” which requires patrons to either hike 17 miles to get to or take a boat from the coastal side. There are no telephone poles either, as the members of the community have chosen to push back on many of the amenities of modern day. An interesting note is that this is not the only pub that either requires patrons to hike or offers it as an option for a leisurely activity. It’s as though the act of getting out with the landscape goes hand-in-hand with enjoying a cold one afterwards (Burns “Scotland’s 15 Best Country Pubs”). Many of the best pubs are situated on coastline, with an immense offering of different beer and whiskey. Some are older than others, though they all maintain the rigid homie feel. This feeling comes from the frequency of both décor, landscape, and history (Burns “Scotland’s 15 Best Country Pubs”). With all this in mind, it would be difficult to argue that pubs and drinking are not part of the Scottish identity. One could imagine visiting Scotland as a tourist and one of the primary attractions being the different pubs both in the cities and along rural coastline. It sounds like it would be quite the Scottish experience.
Independence:
There are two claims as it pertains to Scottish independence. The first is that the Scots are seeking independence so they may finally run their country the way they would like, not necessarily because of any dislike for the British, but because they wish to regain their Scottish values through their own form of government. They have loyalty and a need to be true to themselves while also remaining loyal to those who have affected them throughout the centuries. This is best described in Roxburgh’s article regarding Scottish independence, “All we are voting for is the right to elect our own governments, raise all of our own taxes and spend them as we decide – just like any normal country” (16). This article states some of the concerns of the English are that they’ll lose their close friends, though the author states this is not true and that they’re not going anywhere. Instead, a “yes” vote would give them the right to run their country the way they wish. It looks to be stressed from this perspective that both countries wish to maintain a close political and cultural relationship. The author goes on to stress that the feeling of identity is the biggest aspect of independence for Scottish citizens. This does not mean that the Scots necessarily have any ill-will towards the Brits, just that they now wish to be on their own, to start anew, which is also well said by Roxburgh, “Over the centuries of the union with England, we have preserved our culture, music, literature, dialects, customs, laws and Church – and all of that has created a set of Scottish values” (16).
The second claim is that Scots have persistently expressed their beliefs and history through the arts (e.g. painting, theater, novels) regarding their independence from Great Britain. They are using these forms of expression for their effectiveness in reviving identity and in hope of pushing their dream for independence into reality. A renewal of the “traditional arts” in Scotland occurred after the devolution in 1999, which is to say that the Scots were more involved in reviving traditional dance, music, and storytelling (McKerrell 159). Plays have also been written that correlated with the Scottish devolution and call for independence. The theme of the play would represent their desire to break from the Brits. It’s even explicitly stated that theater is and has been used to promote ideas on modern political issues, oftentimes by using history to represent modern ideas (Guvenc 94-95). McKerrell argues that these traditional arts used to be more private in nature, but have since grown to be more public and social (160). This suggests that the Scots now have hope to regain something that’s been suppressed for many years: their identity. This also points to the effectiveness of traditional arts on the human psyche. Painting is yet another of the arts utilized, often of Highland landscapes and of certain historical moments portraying the desire for Scottish independence and a revival of identity (MaCmillan 264-265).
MaCmillan gives credit to Scottish artists in their push for independence as well, by, “[thanking] the artists, novelists and poets, they never lost sight of their distinctive identity” (266). A final cultural aspect of the Scots that helps maintain their identity is the Highland Games, which are promoted internationally. Some of the traditional events include: dog trials, fiddling, caber tossing, dancing, wearing of kilts, food, tug o’ war, hammer throw, clans, and more (“Highland Games” 1). It’s apparent that these games are important to their culture, as emigrants have brought these traditions with them whenever they settled in a different country (“Highland Games, VisitScotland). Maintaining and reviving identity through history and the arts is clearly important to the Scottish folk. It’s seemingly all they have to hold on to until they can once again be an independent nation.
Conclusion
It was claimed that dialect, pubs and drinking, and a desire for independence are the center, or possibly even the identity, of the Scottish people. Their dialect is consistently used despite the suppressive nature of colonialism on their nation; pubs and drinking are at the center of their social life; the desire for independence revives and promotes the Scottish culture. It could be argued that one would be hard-pressed to find a Scot that doesn’t align with at least one of the three claims in this paper. Scotland needs its independence from Great Britain. Not because they need to become superior or take the country in some other radical direction, but because they want to promote their own culture and values. They’re persistent in their expression and push for independence, and they deserve to be given the shot to run their own nation. If one had to define the Scots in a single sentence, it would be: Hard, persistent folk who love their drink, honor their tradition, and long to have their country back.
Burns, Alex. “Scotland’s 15 Best Country Pubs.” The Herald. June 2018, www.heraldscotland.com/life_style/16254259.scotlands-15-best-country-pubs/. Accessed November 28, 2020.
Donnachie, Ian. “Anthony Cooke, A History of Drinking: The Scottish Pub since 1700.” Innes Review, vol. 67, no. 1, Jan. 2016, pp. 77–79. EBSCOhost, doi:10.3366/inr.2016.0117.
Güvenç, Sila Şenlen. “‘[You Can’t Kill Me]’: Scottish Identity and the Anglo-Scottish Union in David Greig’s Dunsinane.” Scottish Literary Review, vol. 6, no. 2, Autumn/Winter2014 2014, pp. 93–113. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=aph&AN=99807206&site=ehost-live.
“Highland Games.” British Heritage, vol. 26, no. 3, July 2005, p. 52. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=aph&AN=16846736&site=ehost-live.
“Highland Games.” VisitScotland. 2020, www.visitscotland.com/see-do/events/highland-games/. Accessed November 28, 2020.
MaCmillan, Duncan. “Painting the Nation: Identity and Nationalism in Scottish Painting, 1800-1920. By John Morrison.” Scottish Historical Review, vol. 83, 2, no. 216, Oct. 2004, pp. 263–266. EBSCOhost, doi:10.3366/shr.2004.83.2.263.
McKerrell, Simon. “Traditional Arts and the State: The Scottish Case.” Cultural Trends, vol. 23, no. 3, July 2014, pp. 159–168. EBSCOhost, doi:10.1080/09548963.2014.925281.
Roxburgh, Angus. “What It Means to Be Scottish.” New Statesman, vol. 143, no. 5226, Sept. 2014, p. 16. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=aph&AN=97866787&site=ehost-live.
Shenan, Rona. “15 old Edinburgh words and phrases that are in danger of dying out.” The Scotsman. Nov. 2020, www.scotsman.com/heritage-and-retro/retro/15-old-edinburghwords-and-phrases-are-danger-dying-out-3048971. Accessed November 27, 2020.
“The Main Dialects of Scotland.” Scots Language Centre: Centre for the Scots Leid. www.scotslanguage.com/scots_dialects_uid117/the_main_dialects_of_scots. Accessed November 28, 2020
TOMMY BROWN is a senior pursuing a Baccalaureate in English with a minor in History. Selected by Professor Toby Widdicombe.