Scottish Renaissance
The Scottish Renaissance (
It has been seen as a parallel to other movements elsewhere, including the Irish Literary Revival, the Harlem Renaissance (in the USA), the Bengal Renaissance (in Kolkata, India) and the Jindyworobak Movement (in Australia), which emphasised indigenous folk traditions.
Beginnings
The term "Scottish Renaissance" was brought into critical prominence by the French Languedoc poet and scholar Denis Saurat in his article "Le Groupe de la Renaissance Écossaise", which was published in the Revue Anglo-Américaine in April 1924.[1] The term had appeared much earlier, however, in the work of the polymathic Patrick Geddes[2] and in a 1922 book review by Christopher Murray Grieve ("Hugh MacDiarmid") for the Scottish Chapbook that predicted a "Scottish Renascence as swift and irresistible as was the Belgian Revival between 1880 and 1910",[3] involving such figures as Lewis Spence and Marion Angus.[4]
These earlier references make clear the connections between the Scottish Renaissance and the
The turn of the 20th century saw the first stirrings of a new era in Scottish arts and letters. As writers such as
Literary renaissance
It was not until the literary efforts of
Other writers soon followed in MacDiarmid's footsteps and also wrote in Lallans, including the poets
The Scottish Renaissance increasingly concentrated on the novel, particularly after the 1930s when Hugh MacDiarmid was in isolation in Shetland and its leadership moved to novelist
The parallel revitalisation of Gaelic poetry, known as the
Art
The ideas of a distinctive modern Scottish art were expressed in the inter-war period by figures including
William McCance's early work was in a bold post-impressionist style. After World War I he moved to London with his wife, fellow student Agnes Miller Parker (1895-1980), where he joined the same circles as Fergusson, vorticist Wyndham Lewis (1882-1957) and nationalist composer Francis George Scott. Under these influences his work became increasingly abstract and influenced by vorticism, as can be seen in Women on an Elevator (1925) and The Engineer and his Wife (1925).[19] William Johnstone (1897–1981) was a cousin of F. G. Scott and met MacDiarmid while a student at Edinburgh. He studied cubism, surrealism and was introduced to new American art by his wife the sculptor Flora Macdonald. He moved towards abstraction, attempting to utilise aspects of landscape, poetry and Celtic art. His most significant work, A Point in Time (1929–38), has been described by art historian Duncan Macmillan as "one of the most important Scottish pictures of the century and one of the most remarkable pictures by any British painter in the period".[20][16][21]
Other artists strongly influenced by modernism included James McIntosh Patrick (1907–98) and Edward Baird (1904–49).[16] Both trained in Glasgow, but spent most of their careers in and around their respective native cities of Dundee and Montrose. Both were influenced by surrealism and the work of Bruegel and focused on landscape, as can be seen in McIntosh Patrick's Traquair House (1938) and more overtly Baird's The Birth of Venus (1934). Before his success in painting, McIntosh Patrick gained a reputation as an etcher. Leading figures in the field in the inter-war period included William Wilson (1905–72) and Ian Fleming (1906-94).[22]
Drama
Playwrights associated with the Scottish Renaissance include Robert McLellan, Robert Kemp and Alexander Reid. Much of McLellan's early work was first produced by the Curtain Theatre in Glasgow.[23] His first success came in 1936 with Curtain's production of his comedy, Toom Byres, set at the time of the Border reivers. This was followed in 1937 by Jamie the Saxt, featuring James VI in his prime. This latter production, with Duncan Macrae in the title role, is generally regarded as the one which confirmed McLellan's reputation as a comic dramatist of substance in Scots.[24] The production of another historical Scots comedy, The Bogle, was delayed by the Second World War, eventually being staged as Torwatletie by Glasgow Unity Theatre in 1946. A radio production of his verse play The Carlin Moth was broadcast in the same year. McLellan had written The Flouers o' Edinburgh (1947) in the expectation that it would be produced by the Citizens Theatre in Glasgow but the play was rejected by James Bridie, who was concerned about its overtly nationalist reading of Scottish history.[25] It was given its first production by the Unity Players and a radio production was broadcast in 1951. It was produced by the Gateway Theatre Company in its 1954-55 season, and again in August 1957 as its Edinburgh International Festival production.[26]
Robert Kemp pioneered the translation of existing dramatic works into Scots.
While McLellan's most successful plays were set in the distant historic past, Alexander Reid preferred a half-mythic milieu.[29] His two best-known plays are The Lass wi' the Muckle Mou (1950), which drew on the legend of Thomas the Rhymer, and The Warld's Wonder (1953), about the mathematician and reputed magician Michael Scot.[30] The Lass wi' the Muckle Mou was first staged at the Glasgow Citizens Theatre in November 1950. It was adapted as a television drama, first broadcast by the BBC on Tuesday 6 October 1953.[31] The Warld's Wonder was produced at the Gateway in the autumn of 1958.[26]
Victor Carin, who became director of productions at the Gateway in 1963, contributed to the expansion of Scottish theatre's repertoire of works in translation. The Hypochonriack, his translation into Scots of Molière's The Imaginary Invalid, was performed by the Gateway Company during his first season in that role.[26] His second translation, The Servant o' Twa Maisters, translated from
Sydney Goodsir Smith's most successful contribution to the drama of the Scottish Renaissance was The Wallace. Initially broadcast on radio in a BBC production by Finlay J. MacDonald on 30 November 1959, it was first staged at the Kirk's Assembly Hall in a production by Peter Potter as part of the 1960 Edinburgh International Festival.[33] The play was revived by the Scottish Theatre Company in 1985.[34]
Music and dance
The ideas of the Scottish Renaissance were brought to classical music by Francis George Scott (1880–1958), MacDiarmid's former teacher, who set to music several of the poet's works.
Robin Orr (1909–2006) and Cedric Thorpe Davie (1913–1983) were influenced by modernism and Scottish musical cadences.[36] The influence of modernism can also be heard in the work of Erik Chisholm (1904–1965) in his Pibroch Piano Concerto (1930) and the Straloch suite for Orchestra (1933) and the sonata An Riobhan Dearg (1939). In 1928 he founded the Scottish Ballet Society (later the Celtic Ballet) with choreographer Margaret Morris, the long term partner of J. D. Fergusson. Together they created several ballets, including The Forsaken Mermaid (1940). He was also instrumental in the foundation of the Active Society for the Propagation of Contemporary Music, for which he brought leading composers to Glasgow to perform their work.[36]
Decline and influence
Although many of the participants were to live until the 1970s and later, the truly revolutionary aspect of the Scottish Renaissance can be said to have been over by the 1960s, when it became eclipsed by various other movements, often international in nature.
The most famous clash was at the 1962 Edinburgh Writers Festival, where Hugh MacDiarmid denounced Alexander Trocchi, a younger Scottish writer, as "cosmopolitan scum", and Trocchi claimed "sodomy" as a basis for his own writing. This is often seen as a clash of the generations, although it is rarely reported that the two writers corresponded with each other later, and became friends. Both were controversialists of sorts.
The Scottish Renaissance also had a profound effect on the Scottish independence movement, and the roots of the Scottish National Party may be said to be firmly in it.
The revival in both of Scotland's indigenous languages is partly drawn from the renaissance.
Major figures
Other people connected with the Scottish renaissance, not mentioned previously, are listed below.
Note: These figures were not all contemporaries of the first generation of Scottish Renaissance writers and artists who emerged in the 1920s and 1930s. However, most did become involved with the movement in some form through interactions with figures such as Gunn or MacDiarmid, even if at a slightly later date.
- Celtic Art
- Alan Bold (MacDiarmid's biographer and critic)
- James Bridie (playwright)
- George Mackay Brown (poet, author and dramatist)
- Catherine Carswell (novelist, biographer of Robert Burns and D.H. Lawrence)
- A.J. Cronin(doctor, novelist)
- Helen Cruickshank (poet, who provided a focal point for the social scene)
- Robert Garioch (poet)
- Isabel Frances Grant (ethnographer)
- George Campbell Hay [Deòrsa Mac Iain Deòrsa] (poet, translator)
- John MacDougall Hay (novelist, journalist, father of George Campbell Hay)
- Robert Hurd (architect)
- Moultrie Kelsall (television producer and actor)
- Jessie Kesson (novelist, playwright)
- Archie Lamont(poet, nationalist pamphleteer)
- William Lamb(sculptor)
- Maurice Lindsay (poet, critic)
- Eric Linklater (novelist and politician)
- Norman MacCaig (poet)
- William McCance (painter)
- Fionn MacColla [Thomas "Tom" Douglas MacDonald] (novelist, historian)
- Compton MacKenzie(novelist, journalist)
- Agnes Mure Mackenzie (writer and historian)
- Moray MacLaren
- F. Marian McNeill (folklorist)
- Naomi Mitchison (novelist, memoirist, activist)
- Edwin Morgan (poet, not to be confused with Edwin Muir)
- Willa Muir (novelist, translator)
- R. Crombie Saunders (poet, editor, journalist and teacher)
- Nan Shepherd (novelist, poet)
- Tom Scott (poet, translator, critic)
- George Scott-Moncrieff (novelist, playwright, poet, journalist)
- David Cleghorn Thomson, (journalist and broadcaster)
- Derick Thomson [Ruaraidh MacThòmais] (poet)
- Wendy Wood, political campaigner, artist and writer.
- Douglas Young (poet, translator, essayist)
People generally considered to be post-renaissance but strongly influenced by it:
- John Cairney
- Duncan Glen
- William Neill (poet)
- James Robertson (novelist and poet)
- Iain Crichton Smith [Iain Mac a'Ghobhainn] (poet, novelist)
- John Herdman
- Tom Hubbard
See also
References
- ^ I. Ousby ed., The Cambridge Guide to Literature in English (1995) p. 839.
- ^ P. Geddes, The Scots Renascence, in The Evergreen: A Northern Seasonal, Spring 1895, Patrick Geddes and Colleagues, Lawnmarket, Edinburgh
- ^ Quoted in Margery Palmer McCulloch, ed., Modernism and Nationalism: Literature and Society in Scotland 1918-1939. Glasgow: Association for Scottish Literary Studies, 2004. 52-53.
- ^ I. Ousby ed., The Cambridge Guide to Literature in English (1995), p. 839.
- ^ D. Daiches ed., The Penguin Companion to Literature 1 (1971) p. 333.
- ^ D. Daiches ed., The Penguin Companion to Literature 1 (London: Penguin, 1971), p. 333.
- ^ D. Daiches ed., The Penguin Companion to Literature 1 (London: Penguin, 1971) p. 333.
- ^ a b c "The Scottish 'Renaissance' and beyond", Visiting Arts: Scotland: Cultural Profile, archived from the original on 30 September 2011
- ^ The Scots Makar, The Scottish Government, 16 February 2004, archived from the original on 4 February 2012, retrieved 28 October 2007
- ISBN 1853594318, pp. 161-4.
- ^ ISBN 0-19-211696-7, pp. 157-9.
- ISBN 0-19-538623-X, p. 587.
- ISBN 0748624821, p. 32.
- ISBN 0-19-211696-7, pp. 255-7.
- ISBN 0500203334, p. 348.
- ^ ISBN 0-7486-2027-3, p. 173.
- ISBN 0500203334, pp. 163-4.
- ISBN 0500203334, p. 350.
- ISBN 0500203334, pp. 348-50.
- ISBN 0500203334, pp. 351-2.
- ^ D. Macmillan, "Review: Painters in Parallel: William Johnstone & William Gillies", Scotsman.com, 19 January 2012, retrieved 8 May 2012.
- ISBN 0500203334, pp. 175-6.
- ^ Scullion, Adrienne (2015). "BBC Radio in Scotland, 1923-1939: devolution, regionalism and centralisation". Northern Scotland. 15 (1): 77. Retrieved 22 February 2021 – via Edinburgh University Press.
- ^ ISBN 9780748641086
- ISBN 9780748641086
- ^ a b c d Edinburgh Gateway Company (1965), The Twelve Seasons of the Edinburgh Gateway Company, 1953 - 1965, St. Giles Press, Edinburgh, pp. 43 - 56
- ISBN 9780748607815
- ISBN 9780748641086
- ISBN 9780748641086
- ^ Reid, Alexander (1958), Two Scots Plays, Collins
- ^ The Lass wi' the Muckle Mou, Scotland On-Air
- ^ Cargill, Peter (20 July 2009). "The Servant o' Twa Maisters". The Stage. The Stage Media Company. Retrieved 8 October 2019.
- The Saltire Society, pp. 75 - 77
- ISBN 9780748641086
- ISBN 0748634746, p. 37.
- ^ ISBN 0748620273, pp. 193-8.
Further reading
- ISSN 0264-0856
- ISSN 0264-0856
- Fraser, Linda J. & Benvie, Rachel H.F. (2017), Ideas o' Their Ain: Montrose& The Scottish Renaissance, Angus Council Museums and Galleries
- Gifford, Douglas (1982), In Search of the Scottish Renaissance: The Reprinting of Scottish Fiction, in ISSN 0264-0856
- The Saltire Society, Edinburgh, pp. 79 – 81
- Glen, Duncan (1964), Hugh MacDiarmid and the Scottish Renaissance, W. & R. Chambers, ASIN B0000CME6P
- ISBN 9780904505436
- McCaffery, Ritchie (ed.) (2020), Sydney Goodsir Smith, Poet: Essays on His Life and Work, Brill Rodopi, ISBN 978-90-04-42510-1
- McCulloch, Marjory Palmer (2004), Modernism and Nationalism: Literature and Society in Scotland 1918 - 1939, The Association of Scottish Literary Studies, Glasgow, ISBN 0-948877-59-6
- McLellan, Robert, "The Case for a Real Scots Theatre", in Saltire Review, Vol. 5, No. 16, Autumn 1958, pp. 26 - 31
- ISBN 9780906474143
- Thomson, David Cleghorn (ed.) (1932), Scotland in Quest of Her Youth Oliver and Boyd, Edinburgh and London
- Wright, Gordon (1969), Helen B. Cruickshank's Fifty Years of Verse Writing, in Neill, William (ed.), Calgacus, Volume 2, Number 3, Summer 1969, pp. 34 & 35