Haud Yer Tongue TG - Channel 4

Introduction 

Welcome to Haud Yer Tongue, a series of five 

programmes for 10–14 year olds which explores the 

Scots language and offers support to teachers who are 

interested in ensuring that young people in Scottish 

schools have the opportunity to learn more about 

their own language. The series will also be of interest 

to all teachers who are keen to develop an 

understanding of language diversity and to increase 

their pupils’ knowledge about language in general. 

The series is introduced by Billy Kay, the writer and 

broadcaster. The programmes look at the history of 

the Scots language and investigate its development, 

tracing the impact of other languages on its 

vocabulary and structures and examining the 

influence of cultural events. The literary heritage of 

the language is also explored and contemporary 

writers and singers are featured. Scottish children and 

adults from all parts of the country talk about the 

language they speak and how it affects their identity. 

This offers the opportunity not only to note the 

similarities and differences within the various dialects, 

but also to discuss some of the more controversial 

issues surrounding language and culture. 

The programmes not only look to the past, but to the 

future, and emphasise that language is a living thing, 

capable of adaptation and change. Above all, the 

programmes stress how important it is for people to 

be able to express themselves freely and with 

confidence. Language diversity adds to the richness of 

our culture and is seen not as a threat, but as 

something to be valued and in which to take pride. 

Haud Yer Tongue is supported by this 

Teachers’ Guide, which offers suggestions for 

classroom activities and adds to the information given 

on-screen. 

Using the programmes and the 

Teachers’ Guide 

Fact File 1 – Dialect map 

Fact File 2 – A language tree 

Fact File 3 – Short history of the Scots language 

Programme 1 

O Aw the Airts 

Activity Sheet 1 – Words from other countries 

Activity Sheet 2 – Accent and dialect 

Activity Sheet 3 – The Wild Geese 

Programme 2 

Coorse and Fine 

Activity Sheet 4 – Speaking Scots 

Activity Sheet 5 – Listen tae the Teacher (1) 

Activity Sheet 6 – Listen tae the Teacher (2) 

Programme 3 

Langage of Scottish Natioun 

Fact File 4 – Scots writers time-line 

Activity Sheet 7 – The medieval makars 

Activity Sheet 8 – Slang and Scots 

Programme 4 

Ti Be Yersel 

Fact File 5 – Scots spelling 

Activity Sheet 9 – The Ballad of Sawney Bean 

Activity Sheet 10 – Scots saws or sayings 

Programme 5 

The Future Oors? 

Activity Sheet 11 – Writing a Scots fairy tale 

Activity Sheet 12 – The Bonny Broukit Bairn 

Activity Sheet 13 – Auld Lang Syne 

Further resources 

Credits 

contents 

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Haud Yer Tongue 

Using the programmes and the Teachers’ Guide 

This booklet provides information and 

classroom activities to support the 4 Learning 

programmes about Scots language. The 

SOEID’s English Language Guidelines 5–14 

state that ‘the speech of Scottish people is often 

distinctive ... The first tasks of schools are 

therefore to enable pupils to be confident and 

creative in this language and to begin to 

develop the notion of language diversity’. The 

document also adds, ‘terms such as dialect and 

accent should be explained and used’. 

Throughout the programmes, pupils will hear 

the everyday voices of Scottish children and 

adults from all parts of the country. Songs, 

stories and poems in Scots – traditional and 

contemporary – will also be heard, as well as 

information about the history of the language 

and attitudes to Scots in society. 

The delivery of this information is often 

entertaining as well as educational. It permeates 

the programmes rather than being confined to 

individual parts of the series. However, each 

programme focuses on particular issues and 

themes, shown in this Guide in the programme 

synopses. While a main theme is identified in 

each programme, various issues are revisited 

during the course of the series. A build-up of 

knowledge should take place rather than 

discrete compartmentalised gathering of 

information. 

The support notes provide further linguistic 

and literary detail with reference to individual 

programme content. 

Fact-file pages are supplied to help explain 

linguistic and literary details. 

Fact files included are: 

1 Dialect map (courtesy of the Scottish 

National Dictionary Association). This allows 

pupils to locate people and voices for reference 

geographically throughout programmes. 

2 A language tree. This shows the main Indo- 

European languages and helps set Scots in a 

linguistic context. 

3 Short history of the Scots language. 

4 Scots writers time-line – referred to in the 

programmes. 

5 Scots spelling. 

In each programme one of the activity sheets 

focuses on literature and provides the text of a 

poem, prose extract or song. 

A resource list is supplied at the end of the 

book for further reading and reference as well as 

useful addresses and websites. 

Learning outcomes 

The workbook activities are designed to 

increase knowledge about Scots and its dialects 

as well as to increase pupils’ confidence and 

experience in reading, writing and talking in 

and about Scots. 

Activities are included which involve learning 

outcomes across all four strands of Listening, 

Talking, Reading and Writing. 

Many of the activities meet suggestions to be 

found in the 5–14 English Language 

document’s ‘Knowledge About Language’ 

section. By Level D, it is suggested that ‘slang 

will be a term used in the discussion of diversity 

within spoken English’. Pupils will learn about 

the differences between accent and dialect: 

‘Accents will be a term used in considering 

diversity within spoken English’ (Level C) and 

‘standard English and dialect are necessary 

terms...’ (Level D). 

Pupils’ spoken language 

The range of ability and knowledge about Scots 

will vary within schools. A continuum will 

exist, from the pupils who are fluent native 

speakers of Scots, to those who speak Scottish 

Standard English (basically English with some 

Scots vocabulary), to those who neither speak 

nor understand it. The programmes and 

worksheets will be used in varying ways 

depending on the pupils’ and the teacher’s own 

stage of competence. In the main, the focus will 

be for Scots speakers, but frequently activities 

will be suitable for non-Scots speakers also – for

example, when literary texts are studied. 

Individual teachers will tailor resources to their 

own needs, differentiating not only by 

academic ability but also by recognising varying 

degrees of competence in Scots. 

Synopsis 

Programme 1 

Dialect variation throughout Scotland. 

Historical and foreign influences. Migrations of 

Scots and language legacy. 

Programme 2 

Hert an heid. The debate between Scots and 

English. Growing up in Scotland with language 

confusion. 

Programme 3 

The long pedigree of Scots literature. Some 

major Scots makars are introduced. 

Programme 4 

Current uses of Scots language for song, 

storytelling, poetry and prose and in society. 

Programme 5 

The future of the language. 

Key vocabulary 

A word list (leid leet) will be included for every 

programme. Teachers might use these to build 

up a dictionary of Scots-English and English- 

Scots. The words could be used in speaking or 

writing exercises, sentence creation, dialoguewriting, 

or illustrating with pictures. For many 

pupils it will be their first encounter with 

written Scots, and a gradual approach to 

writing might be desirable. It may be the basis 

for a class dictionary to which pupils add their 

own, families’ or friends’ Scots vocabulary. 

Before viewing 

Teachers may wish to carry out discussion or 

activities with pupils before viewing episodes. 

These are highlighted in the notes for each 

programme. The use of fact files will also be 

helpful. 

During viewing 

Extensive note-making should perhaps be 

avoided during viewing. Light noting of 

vocabulary or facts is recommended, and 

sometimes you might wish to return to 

particular parts of a programme or pause during 

transmission to explain particular points. 

Because the language may be unfamiliar to 

some pupils they may need to hear certain 

vocabulary again. 

After viewing 

Activity sheets are supplied for each programme. 

These consist of varied tasks for pupils to 

undertake. Activities related to Talking and 

Listening, and Reading and Writing, are 

included. Occasionally, cross-curricular 

suggestions are made which refer to the expressive 

arts and environmental studies curricula. Often 

songs or poems could be glossed and discussed, 

then memorised. Several of the ‘fact file’ pages 

will be useful for more than one programme and 

teachers may wish to encourage pupils to compile 

a Scots-language folder of their own in the course 

of watching all five programmes. Illustrating the 

front cover with Scots vocabulary and linked 

pictures will start the process of seeing Scots and 

becoming familiar with it. As pupils complete 

tasks and produce writing in Scots, they could 

add these to their booklets. 

You may wish to assess the work carried out in 

relation to the programmes. This can be done 

in the same way that English language is 

assessed. You may wish to insert a check list and 

assessment page in a pupil booklet. It might be 

interesting to include a diary section for pupils 

to enter their own responses to watching the 

programmes. 

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factfile 1 

Reference 

North East North 

Central 

South { 

East Central 

West Central 

South West 

H A U D Y E R T O N G U E 

Dialect map

factfile 2 

A language tree 


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factfile 3 

Short history of the Scots 

language 

Pre-5th century Pictish language. Ogam script – still difficult to decipher. Also a form 

of Welsh Brithonic was spoken in some parts of Scotland. 

5th century Arrival of Gaelic from Ireland. 


5th–8th centuries Angles and Saxons came to Britain. Inglis language came to Scotland 

and north England (Northumbria). Inglis developed into Scots in 

Scotland and English in England. 

11th–15th centuries Throughout this time Norse, Danish, Latin, French and Gaelic 

influenced Scots. Like all languages, Scots contains words from other 

countries. 

1424 By now, the language was called Scottis and was quite different, but 

still related, to English. Scots was spoken by royalty and used, with 

Latin, for official documents. It was the official language of Scotland. 

15th century Henryson and Dunbar wrote in Scots. King James IV greatly 

encouraged his Scots writers at court. 

16th century The Geneva Bible was translated into English but not Scots. Many 

Scots therefore wanted to learn English. 

1603 Union of Crowns. King James VI of Scotland became James I of 

England, too. He moved to London with his court. English became 

more popular with royalty and writers. 

1707 Union of Parliaments of Scotland and England. English became the 

official language of Scotland instead of Scots, though it was still 

spoken by the people. 

18th century A highly popular revival of written Scots by Robert Burns, Allan 

Ramsay and Robert Fergusson. 

1872 Scottish Education Act banned Scots from schools. 

20th century Revival again of written Scots. Hugh MacDiarmid used it for highly 

intellectual poetry. 

1991 Scottish Office National Guidelines encourage Scots in schools. 

1999 Higher Still exam encourages written Scots and Scots-language 

studies.

PROGRAMME 

1 

O Aw the Airts 

Programme outline 

Billy Kay, writer and broadcaster, introduces us to the 

voices of Scots speakers across the country. A brief 

outline is given of the history of Scots and foreign 

influences on the Scots language, including, for example, 

Old English, French, Latin, Norse and Gaelic. 

We visit the north-east of Scotland and hear from Steve 

Murdoch. Matthew Fitt talks about using the Internet to 

let pupils communicate in Scots. 

The dialect variations of Scots are named and Billy 

explains that he will travel all over the country to let us 

hear the voices. We hear ‘First Gemme’, a poem about 

football, from Derek Ross of Stranraer. 

There is an interview with an American named Donald 

McDonald about the linguistic influence of migratory 

Scots in countries such as America. 

A poem called ‘Scotland Oor Mither’ by Charles Murray 

is recited, and ‘The Wild Geese’ by Violet Jacob is sung 

by Sheena Wellington. 

The linguistic influence of migratory Scots in other 

countries, particularly America, is discussed. 

The changing status of the language is referred to, and 

the sometimes controversial aspects surrounding this 

complex language in the twentieth century. The attitudes 

and experiences of various Scots speakers are heard and 

we are made aware of the difficulties surrounding the use 

of the language. Favourite words are presented 

throughout the programme by pupils and adults. 


Pupils will learn: 

● that the Scots language has a very long pedigree, where 

it has come from and the fact that it has been 

influenced by other languages and countries; 

● that Scots, like English, is a fluid and changing thing; 

● to appreciate the diversity of modern Scots and 

recognise that it is still spoken throughout the country 

by people of all ages; 

● that the Scots language is used for high-quality 

literature on a wide range of themes; 

● about written Scots, developing knowledge about 

spelling and speaking Scots. 


Leid leet 

bahookie (bottom) 

wanchancie (unreliable) 

dirdum (backside) 

grozet (gooseberry) 

vennels (streets) 

ports (gates) 

ashet (dish) 

tassie (cup) 

Doric (north-east Scots) 

shelpit (thin) 

lug (ear) 

fit lyke? (how are you?) 


You might wish to ask questions to find out what 

they already know about Scots. Do pupils speak Scots? 

Can they understand it? The same questions might be 

asked first of all about the English language. What is a 

language? What language do the pupils speak? Is it 

English or Scots? Do they know? 

Pupils could be asked where English came from. 

What do they think Scots is? Where did the language 

come from? They might discuss whether they ever find 

themselves changing the way they speak. 

Notes might be made at this point in order that 

comparisons can be made later. 


Fact File 1 ‘Dialect map’ might be reproduced for 

each pupil to look at when various locations are visited. 

This helps to link dialects and accents to different parts 

of the country. 

Activity Sheet 1 

‘Words from other 

countries’ lists Scots words 

with a foreign influence. 

The sheet could be filled 

in during viewing. 

quines (girls) 

loons (boys) 

aucht (eight) 

bloater (kick) 

coortin (courting) 

heeligoleerie 

(state of confusion) 

poke (bag) 

totie (tiny) 

besom (rascal) 

chavin awa (working hard) 

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After viewing 

Compare the pupils’ initial ‘before viewing’ responses 

and the notes taken during the programme. 

Pupils could be asked to identify their own speech. 

How broad is their Scots? Is it English with a Scottish 

accent? (See ‘Knowledge about language’ below.) 

Fact File 2 ‘A language tree’ shows Scots in a wide 

linguistic context. It will help to involve pupils in the 

class from outside Scotland. Scots is shown in relation to 

English, a close cousin from the same branch. You might 

point out how far away on the tree Gaelic is. Discussion 

might take place on the ways in which a language so far 

removed from the indigenous ones arrives in a country. 

Fact File 3 ‘Short history of the Scots language’ might 

be cross-referenced with the above discussion on Indo- 

European languages. 

Pupils could discuss whether they have relatives in 

other countries and when or why they left Scotland. 

You can decide about the order in which to present these 

fact files. 

Knowledge about 

language 

It may be helpful to establish definitions of linguistic 

terms in order that future discussion will be clearly 

understood by most levels of ability. You may differentiate 

if necessary, but terms such as accent, dialect and slang are 

recommended at levels C and D. 

Activity Sheet 2 ‘Accent and dialect’ gives pupils 

opportunities to examine these definitions. 

Information for teachers 

For some people, Scots has become a language with low 

status rather than an ancient language with its own 

literature. Differentiating between Scots and slang is an 

important first step because often Scots has become 

synonymous with slang. Scots speakers are sometimes 

erroneously accused of ‘just speaking slang’. 

Slang is usually a modern, informal language. Because 

Scots has been restricted to the home, the playground or 

the company of friends, it is modern and informal too, 

and easily confused with slang. At one time Scots was 

capable of all registers, formal and informal. Listening to 

the various adults and children speaking in the 

programmes about the current status of Scots, and 

whether it should be used formally, will prompt lively 

classroom discussion. 

The same slang words can be heard outside Scotland – 

‘okay’, ‘he’s got a nerve’, ‘you must be kidding’, ‘taking 

the mickey’. They are not Scots. Scots words mostly have 

an ancient pedigree and often can be found in the 

literature of Scotland. Of course, modern Scots speech 

contains slang expressions, as does any twentieth-century 

language. 

Pupils and writers might use slang in the dialogue of their 

creative writing, but teachers may want to raise linguistic 

awareness amongst pupils as to what is slang and what is 

Scots. The SOEID’s English Language Guidelines 5–14 

suggest that ‘slang will be a term used in the discussion of 

diversity within spoken English’ (Level D, Knowledge 

about language). 

Activity Sheet 4 ‘Speaking Scots’ (supplied with 

Programme 3) will help explain these points. 

Activity Sheet 3 ‘The Wild Geese’. Pupils might be asked to 

translate the poem into English or to ‘gloss’ any words they 

are not sure about. You can treat the poem exactly as you 

would an English poem and analyse it for content and 

meaning as well as form and poetic techniques. Pupils 

might look carefully at where speech marks occur and 

decide why they are used. They could write four paragraphs 

to parallel the four verses. They might be asked which 

words could also have been in Scots. For example, in the 

words whit/what, ma/my, A’m/I’m, choices have been made. 

You might discuss rhythm, rhyme, verse, and lineage. 

Expressive arts 

Pupils could learn to sing the song, play music to it, or 

act it out as a drama. ‘The Wild Geese’ is available on the 

CD Clear Song by Sheena Wellington, from Dunkeld 

Records. Pupils might draw and write a storyboard for 

‘The Wild Geese’ or make a wall display with bubbles for 

speech captions for the North Wind and the traveller. 

This could be adapted for the less able, with very little 

writing required. 

Environmental studies 

Pupils could locate Angus, the River Tay and the Firth of 

Forth in relation to England on maps. The reference to 

the ‘siller tides’ could be discussed and classes asked which 

fish are being referred to.

Words from other countries 

During the programme you will discover that many Scots words have come from other countries. 

Listen during the programme and try to fill in the chart. 

Words From which country? English meaning 

grozet fair 

stoursooker 

ashet 

port 

vennel 

ben 

glen 

tassie 

poke 

dux 

janitor 

oxter 

dinna fash yersel 

stane 

Quiz 

Work out a Scots/English word for each of a) to e) below. 

Which country does each word come from? 

a) where you go for a coke with friends 

b) a dance at the village hall 

c) a popular alcoholic drink for adults 

d) a big fuss or fight 

e) your little finger 

A CTIVITY SHEET 1 

HAUD YER TONGUE © 2000 CHANNEL FOUR TELEVISION CORPORATION 

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Accent and dialect 

Accent means the way you pronounce words. 

Dialect means the words you actually use. 

Accent 

Everyone speaks with an accent. In your class, there might be pupils speaking with different accents. 

By this, we also mean English words which are pronounced in a certain way. 

In groups 

Talk about the different voices in your class. How many different accents can you find? Are they 

all Scottish? English? Do some pupils come from another country and speak English with a very 

different accent? What accent does your teacher have? Do the class agree that there is a local accent in 

your town or village? 

Dialect 

Scots dialect words will be different from English. Repeat the same exercise as for accent and find 

out, in your class, if anybody uses dialect words. For example, in Programme 1, one girl talks about 

loons and quines instead of boys and girls. 

Writing 

Make a class list of dialect words that are used by your class. 

Homework 


At home, maybe over two nights, list any dialect words you hear from family and friends. 

Go into local shops and cafes and listen to people’s voices. You might want to work in pairs for 

this task. List any words you think might be dialect. 

Class activity 

Discuss your findings. Were there 

any words you weren’t sure about? Did 

you know which words were different 

from Standard English? Did you 

discover new words you’d never heard 

before? Who spoke these words? Old 

people? Young people? 

© 2000 CHANNEL FOUR TELEVISION CORPORATION HAUD YER TONGUE

The Wild Geese 

‘Oh tell me what was on yer road, ye roarin norlan wind 

As ye cam blawin frae the land that’s niver frae my mind? 

My feet they trayvel England, but I’m deein for the north –’ 

‘My man, I heard the siller tides rin up the Firth o Forth.’ 

‘Aye, Wind, I ken them well eneuch, and fine they fa and rise, 

And fain I’d feel the creepin mist on yonder shore that lies, 

But tell me, ere ye passed them by, what saw ye on the way?’ 

‘My man, I rocked the rovin gulls that sail abune the Tay.’ 

‘But saw ye naethin, leein Wind, afore ye cam to Fife? 

There’s muckle lyin yont the Tay that’s mair to me nor life.’ 

‘My man, I swept the Angus braes ye haena trod for years –’ 

‘O Wind, forgie a hameless loon that canna see for tears!’ 

‘And far abune the Angus straths I saw the wild geese flee, 

A lang, lang skein o beatin wings wi their heids towards the sea, 

And aye their cryin voices trailed ahint them on the air:’ 

‘O Wind, hae maircy, haud yer whisht, for I daurna listen mair!’ 

By Violet Jacob 

This poem is written in a mixture of Scots and English. 

The two languages are very alike (like cousins). 

How many people are speaking in the poem? Who are they? 

What is this poem about? 

Take a verse at a time and rewrite, in Scots or English, what 

you think is the ‘story’ of the poem. You should end up with 

four paragraphs. 



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PROGRAMME 

2 

12 

Coorse and Fine 


This programme considers the difficulties which can arise 

for Scots speakers. We hear ‘Listen tae the Teacher’ by 

Nancy Nicolson and the writer talks about her 

experiences as a child. Adults and young people describe 

their own experiences of being corrected for speaking 

Scots. Alison Flett recites ‘Saltire’. 

We visit Orkney and hear pupils and adults talk about 

living on Orkney and speaking their local dialect. 

We go to the north-east and hear about the influence of 

American and English on Scots. The poem ‘It’s ile rigs 

brings the breid, man’ is recited. 

Student Barbara Ann Burnett sings ‘The Farmyards o 

Dalgety’. 

Dr Jimmy Begg from Ayrshire talks about going to help 

during the Lockerbie disaster, and we hear the poem 

‘Lockerbie Elegy’ by William Hershaw. 

Matthew Fitt recites ‘Coal Pits’. We discover that the 

Scots voice is capable of expressing a wide range of 

sentiments. 

Throughout the programme we hear about the 

importance of retaining your own culture and language. 


Pupils will become aware of: 

● bilingualism and code-switching; 

● varieties of speech forms; 

● the fact that the Scots language is capable of 

describing deeply serious issues; 

● issues and attitudes surrounding the use of Scots. 

Leid leet 

dinna (don’t) 

hoose (house) 

richt (right) 

wrang (wrong) 

leid (language) 

gantin (desperate for) 

Doric (north-east Scots) 

thrawn (stubborn) 

drookit (soaked) 

kye (cattle) 

chappit tatties 

(mashed potatoes) 

breeks (trousers) 

yestreen (yesterday) 

flix (frighten) 

stammygaster (astonished) 

ginger (lemonade) 

syne (since) 



The focus during the first part of this programme is 

on pupils being corrected or prevented from speaking 

Scots. Pupils might discuss their own experiences before 

hearing the views of others in the progamme. You might 

prefer to let pupils first hear others’ views before 

discussing their own, although this may depend on the 

number of Scots speakers in the class. A class with very 

few speakers may not have enough experience of 

language repression to discuss it fully at this stage. 


Using Fact File 1 ‘Dialect map’, pupils might locate 

the Orkney Islands, north-east Scotland, Lockerbie, and 

Ayr in south-west Scotland. 

After viewing 

Knowledge about language 

Discussion could take place around the issue of 

language repression. Older pupils might cope with this 

better. Pupils’ knowledge and experience will vary 

according to their own spoken language and where 

they live. 

Fact File 3 ‘Short history of the Scots language’ might 

be useful during discussion. It informs pupils that Scots 

was banned by the 1872 Scottish Education Act and 

encouraged in the 1990s. Examples are given in the 

programme of language repression. Billy Kay talks about 

the days when the belt was given for speaking Scots. He 

highlights the phenomenon of pupils being allowed to 

speak Scots in January when they study the work of 

Robert Burns, but not at other times. Dauvit Horsburgh 

of Aberdeen University says that some people think you 

are ‘nae sae bright’ if you speak Scots. He states that ‘you 

can’t get wrang words’. 

Pupils could be asked about their own experiences 

and reactions to these statements. Do they agree with the 

speakers? Have they ever been asked to alter their voices? 

Have the pupils ever been asked to speak ‘properly’? 

What does ‘speaking properly’ mean to pupils? Do they 

think that Scots could be ‘spoken properly’? 

Activity Sheet 4 ‘Speaking Scots’ suggests Listening, 

Talking and Writing tasks related to this area.

Further discussion 

Billy Kay says that ‘a language has to adapt to survive’. 

Pupils might discuss what this means. Has Scots or 

English adapted? Can languages adapt by borrowing? 

Some pupils might have noticed in Gaelic television 

programmes that technological words often stand out 

very clearly in a Gaelic sentence. 

Activity Sheet 1 ‘Words from other countries’ supplies 

pupils with examples of shared words from other 

countries. 

Like the girl from Banff who sings ‘The Farmyards o 

Dalgety’, do pupils think it is important to preserve 

culture, and sing traditional songs? 

The north-east oil-rig poem uses Scots in a very 

modern context. Would pupils like to have Scots words 

for twentieth-century things? Pupils could create new 

Scots words for modern objects and events. For example, 

people could now talk about ‘stravaigin the web’ instead 

of ‘surfing the web’. 

Writing 

A student says ‘gie fowk the facts’. In a survey, he 

discovered that about two million people speak Scots. 

Pupils might conduct a survey in their own area or try to 

find out how many people speak Scots in their street or 

town or village. They could choose appropriate questions 

for the survey. They might consider whether everyone 

will be sure which language they speak. Pupils might be 

prompted to discuss a first question such as ‘Do you 

know what “Scots language” means?’ 

Talking and listening 

The doctor at the Lockerbie tragedy speaks Scots. 

Pupils might think of their own doctors, teachers, bank 

managers, ministers and generally anyone in a position of 

responsibility. How many of them speak Scots? Do pupils 

have viewpoints or preferences as to the ‘voice’ of people 

in these positions? 

Pupils should ‘be made aware ... of the ways in which 

accent and dialect can cause listeners to react differently’ 

(5–14 English Language: Talking strand on audience 

awareness). This is often a controversial element of 

language study and fuller understanding of the pedigree 

of Scots that it is not slang or ‘bad’ English will need to 

be discussed at some point. Activity Sheet 2 ‘Accent and 

dialect’ (supplied with Programme 1) and Activity Sheet 8 

‘Slang and Scots’ (supplied with Programme 3) might be 

referred to here. Also, teachers are asked to ‘foster respect 

for and interest in each pupil’s mother tongue...’ You 

might use opportunities arising during these programmes 

to encourage tolerance and reduce linguistic and cultural 

prejudice. Cross-curricular possibilities may present 

themselves for personal and social development. 

Activity Sheets 5 and 6 ‘Listen tae the Teacher’ are 

supplied with follow-up questions to allow further 

exploration of language repression. 

Hert and heid 

‘The Lockerbie Elegy’ by William Hersaw and ‘Coal 

Pits’ by Matthew Fitt illustrate Dr Begg’s point that Scots 

is a good language for pathos. Teachers might discuss this 

with pupils. Do they usually associate Scots with serious 

or sad events? A discussion of stereotypes might take 

place. You might look at the images conveyed by wellknown 

films like Trainspotting or television programmes 

like Rab C. Nesbitt. Pupils might write their own poems 

on sad or serious issues. Some Scots could be included. 

Background information for 

teachers 

Scots, like any language, consists of more than just items 

of vocabulary. Apart from words which are clearly Scots, 

there is also a distinct grammatical system. Some of the 

more common examples of Scots which differentiate the 

language from English are: 

● the frequent use of the definite article and possessive 

pronoun, as in ‘I’ve got the flu and I’m away to my 

bed’ rather than ‘I’ve got flu and I’m going to bed’; 

● leaving out the ‘s’ in a plural, as in ‘He’s twa year auld’ 

rather than ‘He’s two years old’; 

● the use of the past-tense form as opposed to the pastparticiple 

form, as in ‘The bell has went’ rather than 

‘The bell has gone’. 

Frequently, pupils speaking an urban form of Scots, 

rather than a rural dialect, continue to employ Scots 

grammar but little Scots vocabulary. For this reason, 

dialects such as Glaswegian are often mistaken 

for ‘bad’ English. 

Further examples can be 

found in some of the 

reference books suggested 

on the resources page. 

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Speaking Scots 

Listening and talking 

One of the boys on Westray talks about speaking on the telephone. He says that sometimes he 

changes his voice in case he is not understood in Scots. For example, when he’s ordering from a 

catalogue he changes his Shetland dialect into English. He called this ‘chantin’. 

Do you ever change your voice? 

Do you ever hear your parents changing their voices? 

In what circumstances does this happen? 

Working in pairs 

Make up a short phone conversation in Scots. Unless you’re used to writing in Scots, don’t worry 

about spelling; this activity is mainly for speaking in Scots. 

Choose two people who might speak to each other. 

They might be: 

● discussing another member of the family; 

● talking about a friend; 

● arranging a future visit; 

● gossiping about someone or something that has happened; 

● asking advice about something. 

If you are a Scots speaker, try this task without any dictionary help. 

You could use the leid leet (word list) or a dictionary if you need to. 

You could mix Scots and English together in the dialogue. 

Individually or with a partner 

Now try using Scots for a serious issue, like the people in the programme. 

You might: 


● select a news item to present; 

● discuss an area of your school curriculum; 

● conduct a job interview in Scots; 

● give a short book or film review in Scots. 

Do you think Scots worked well for serious issues? Can you think of any places you’d like to 

have more Scots? For example, would you like to hear more Scots on television or read it in 

newspapers? 


Listen tae the Teacher (1) 

He’s five year auld, he’s aff tae school, 

Fairmer’s bairn, wi a pencil an a rule, 

His teacher scoffs when he says ‘Hoose’, 

‘The word is “House”, you silly little goose.’ 

He tells his Ma when he gets back 

He saw a ‘mouse’ in an auld cairt track. 

His faither lauchs fae the stack-yaird dyke, 

‘Yon’s a “Moose”, ye daft wee tyke.’ 

Listen tae the teacher, dinna say dinna, 

Listen tae the teacher, dinna say hoose, 

Listen tae the teacher, ye canna say munna, 

Listen tae the teacher, ye munna say moose. 

He bit his lip and shut his mooth, 

Which wan could he trust for truth? 

He took his burden ower the hill 

Tae auld grey Geordie o the mill. 

An did they mock thee for thy tongue, 

Wi them sae auld and thoo sae young? 

They werena makkin a fuil o thee, 

Makkin a fuil o themsels, ye see. 

Listen tae the teacher ... 

Say ‘Hoose’ tae the faither, ‘House’ tae the teacher, 

‘Moose’ tae the fairmer, ‘Mouse’ tae the preacher, 

When ye’re young it’s weel for you 

Tae dae in Rome as Romans do, 

But when ye growe and ye are auld 

Ye needna dae as ye are tauld, 

Nor trim yer tongue tae please yon dame 

Scorns the language o her hame. 

Listen tae the teacher ... 

The teacher thought that he wis fine, 

He kept in step, he stayed in line, 

And faither said that he wis gran, 

Spak his ain tongue like a man. 

And when he grew and made his choice 

He chose his Scots, his native voice. 

And I charge ye tae dae likewise 

An spurn yon poor misguided cries. 

By Nancy Nicolson 



15

16 


Listen tae the Teacher (2) 

Read the words of ‘Listen tae the Teacher’ carefully. Answer the following questions. 

Wha’s the main character in the poem? 

Whit age is he? 

Whaur does he live? 

Whit is his faither’s job? 

Look at verse 1. Whit does it mean when it says the teacher ‘scoffs’? 

Why dae ye think she does this? 

Whit does his faither say? 

Why does the wee boy ‘bite his lip’ and ‘shut his mooth’? 

Wha does he gan tae fir help? 

Auld Geordie gies some advice. Whit is it? 

Whit does this mean – ‘Tae dae in Rome as Romans do’? 

Why did the writer say this in the song? 

When the boy grows up, whit does he dae? 

Dae ye agree wi his decision? Explain yer answer. 

Hoose an moose are rhyming words. Fin twa mair pairs of words that rhyme. 

Think aboot the wey you talk. 

Dae ye ayeweys talk the same? How and when does it change? 

Dae ye need tae be able tae talk in Scots and English? 

Can ye think o times when ye need tae ken English? 


PROGRAMME 

3 


This programme informs us about the literary pedigree of 

Scots. For centuries, writers have been writing in Scots, 

although there have been high spots and low spots. We 

visit St Makar’s cathedral in Aberdeen, where Alisdair 

Allan, a researcher, talks about John Barbour. We hear an 

extract from Barbour’s poem The Bruce. We discover that 

royalty spoke Scots in medieval times and that the Scots 

spoke many languages. 

In St Makar’s we also hear about Robert Henryson. Actor 

Tom Watson recites an extract from one of Henryson’s 

famous fables, ‘The Preaching of the Swallow’, in which 

the winter weather is described. Heather Reid announces 

the weather in Scots and Drew Clegg recites ‘Noah of 

Limekilns’. 

Billy Kay explains that the medieval times were known as 

the Golden Age of Literary Scots. In the eighteenth 

century a revival of Scots writing was led by Allan 

Ramsay, Robert Fergusson and Robert Burns. Rod 

Paterson sings ‘Willy Wastle’ by Robert Burns. 

Billy Hastie of Ayrshire talks about lallans (lowland 

Scots) and Robert Burns. 

We learn that poet Hugh MacDiarmid revived Scots 

writing in the twentieth century. 

We visit Hawick High School in the Borders, where 

pupils discuss their language and culture. Hawick and 

Gala jokes are told by Ian Landles. 


Pupils will: 

● recognise that Scotland was a very European country 

in medieval times and many European languages were 

spoken there; 

● discover that Scots was a language with high status 

and spoken by royalty; 

● learn about Scots literature from the past; 

● be introduced to the Border Scots dialect; 

● raise their awareness of the diversity of viewpoints and 

issues surrounding the Scots language today. 


Language of Scottish 

Natioun 

Leid leet 

radgie (mad fit) 

gadgie (man) 

sudden pudden 

(instant whip) 

whup (beat) 

heelstergoudie (head over 

heels in a fluster) 

drookit (soaked) 

smirr 

(fine drizzle of rain) 

founert (frozen) 

Wather words 

thole (put up with) 

taigle (fight) 

heelstergoudie (mixed up) 

airts (arts) 

kintra (country) 

chitterin (freezing) 

gey het (very hot) 

sooth (south) 


Fact File 4 ‘Scots writers time-line’ might be studied 

to help place the writers referred to in the programme. 


Pupils could note down the languages that Scots 

people spoke years ago. These include Gaelic, Latin, 

French, Danish, Norse, Flemish. Afterwards they might 

compare these with the languages taught in their own 

school or spoken in their own families. Discussion might 

take place about the importance of learning languages 

other than their own. 

After viewing 

lallans (lowland Scots) 

gowpin (staring at) 

mockit (filthy) 

whittrick (weasel) 

dinnae (don’t) 

hornygoloch (earwig) 

jeegered (exhausted) 

scabbyheidit (head with 

scabs on it) 

wabbit (tired) 

dreich (miserable) 

drookit (soaking) 

fine smirr (thin rain) 

stoatin (heavy rain) 

cloods (clouds) 

birlin (spinning) 

saft an douce 

(soft and gentle) 

Classes could compile a wall-chart of Scottish writers. 

The names of major writers throughout the centuries 

17

18 

could be charted. Sample verses from their work could 

appear in the display. The contrast between medieval and 

contemporary Scots could be highlighted. English 

translations could be added if desired. 

Pupils could create a short Scots poem of their own to 

add to the chart. The selected writers’ verses could provide 

a model. Pupils might write in their own dialect variation. 


Art: illustrations might accompany some lines of 

poetry as they did on the walls of St Makar’s cathedral. 

The model of Henryson, which was seen on the 

programme, might be copied, in his red robes and 

flowing white hair. Pupils might decorate initial letters of 

poems as in the illuminated manuscripts. 

Music: pupils might learn some of the songs heard in 

the programme. 


Pupils could practise reading some verses from the 

display and discuss the differences between early 

(medieval) and modern Scots writing. Tapes of medieval 

Scots are available from Scotsoun and ASLS (see resource 

page 32) if teachers would like to let pupils hear examples. 

Modern conflicts between Scotland and England 

might be discussed if teachers feel this is suitable. The 

new Scottish Parliament might be discussed. Do pupils 

think that, as in King James IV’s court, playwrights and 

poets should be encouraged to write in Scots? 

Reading 

Border ballads and narrative 

poetry might be read to 

complement the reivers stories. 

Writers from other 

historical periods could be 

read and their language and 

subject matter investigated. 

Writing 

The Border men swapped 

jokes. Pupils could compile a 

Scots joke book of their own. 

Using the supplied list of weather words, forecasts 

could be written in Scots, read out in class and illustrated 

for display. Dictionaries and a thesaurus will supplement 

the vocabulary from the programmes. 

Activity Sheet 7 ‘The medieval makars’ gives an 

extract from Barbour’s ‘The Bruce’. This activity may be 

suitable for more able pupils. 

Activity Sheet 8 ‘Slang and Scots’. The tasks suggested 

on this activity sheet seek to inform pupils of the 

difference between Scots and slang. Given that the status 

of the language has fallen since it was the official state 

language of Scotland, confusion exists between colloquial 

English and authentic Scots. This activity sheet prompts 

pupils to use a Scots dictionary and become more 

informed about the language. 

Research work 

Pupils could investigate which writers – past and 

present – wrote in the pupils’ local area. Contemporary 

writers could be invited into the school. The Scottish 

Book Trust Writers’ Register supplies names and addresses 

of writers in Scotland (for Scottish Book Trust details, see 

resource page 32). 

Environmental studies 

Related topics include: 

● The wars of independence referred to in Barbour’s 

‘The Bruce’. ‘The Declaration of Arbroath’ is in print 

and written in Scots, Gaelic and English. Teachers may 

wish to obtain copies of this for a relevant example of 

written formal Scots. 

● The Union of Crowns and Parliaments. These were 

referred to by Billy Kay and sung in ‘The King is ower 

the border gane, in London for tae dwell, an friens we 

maun wi England be since he bides there himsel’. 

Pupils might investigate the demise or suspension of 

the Scottish Parliament in 1707. 

● The Border reivers discussed by the men from Hawick 

and Gala (contact Tullie House in Carlisle for 

resources). 


Pupils might discuss Hugh MacDiarmid’s statement 

that the Scots language has ‘names for nameless things’. 

What does this mean? The pupils could discuss whether 

they agree with this statement. Can they think of good 

English equivalents for ‘dreich’, ‘wabbit’, ‘forfochen’... 

Some Scots words have a very descriptive, rhythmic 

sound to them or are onomatopoeic. This could be 

discussed. For example, Tom Watson the actor says that 

the word ‘whittrick’, a fast weasel, is an excellent word 

because it sounds just like the way the animal moves. 

Pupils could write animal or weather poems using 

descriptive, onomatopoeaic language, then illustrate and 

display them. ‘Smirr’, ‘heelstergoudie’ and ‘soughin 

soond’ are examples of this.

factfile 4 

Scots writers 

time-line (a 

short selection) 

John Barbour ?1320–95 

Golden Age of Literary Scots 

Robert Henryson ?1425–1505 

William Dunbar ?1460–1520 

Gavin Douglas 1475–1522 

Sir David Lindsay 1490–1555 

Eighteenth-century revival 

Allan Ramsay 1685–1758 

Robert Fergusson 1750–96 

Robert Burns 1759–96 


Twentieth-century revival 

Violet Jacob 1863–1946 

Hugh MacDiarmid 1892–1978 

William Soutar 1898–1943 

Robert Garioch 1909–81 

J K Annand 1908–93 

Some modern Scots writers 

Tom Leonard 

Sheena Blackhall 

Liz Lochhead 

Janet Paisley 

Matthew Fitt 

Michael Marra 

Irvine Welsh 

William McIlvanney 

19

20 

The medieval makars 

In the programme we heard about the Scots writers of the medieval period. They were known as 

makars (makers) and were highly respected in Scotland. They were supported by King James IV of 

Scotland. 

Here is an example of their work – an extract from one of John Barbour’s poems. He was writing about 

a great Scots hero, Robert the Bruce, who fought against the English. He wanted Scotland to remain an 

independent nation. This poem was written about sixty years after the Battle of Bannockburn. 

The Bruce was written around 1375 and is the earliest long poem, an epic, to have survived 

in Scots. 

At that time, when the land was owned by rich lords and dynasties, this poem speaks for the ordinary 

folk of Scotland. It praises individual freedom above everything else. 

Writing 

Try to translate the poem into English or into modern Scots. 

Talking 


A! fredome is a noble thing, 

Fredome mays man to haiff liking, makes; choice 

Fredome all solace to man giffis, 

He leyvs at es that frely levys. ease 

A noble hart may haiff nane es 

Na ellys nocht that may him ples 

Gyff fredome failye, for fre liking fail; free choice 

Is yharnyt our all other thing. yearned for over 

from John Barbour’s The Bruce 

Discuss in class what you think this piece of writing is saying. Do you agree? Is freedom more 

important than anything else or would you rather be very rich but not free? 

You might want to talk about the Royal Family, film stars, football players or any other famous 

people. Are they free? What sort of restrictions do you think they have? 


Slang and Scots 

Look at the chart below. 

We are going to use this to help separate Scots words from slang words. 

Sometimes people find it difficult to tell the difference between Scots and slang. 

Most Scots words have been used for hundreds of years. But slang words are often very recent. 

Usually, they are also spoken by people from other countries. 

You will need a Scots dictionary for this exercise. 

In the ‘word or phrase’ column, list a few words or phrases that you use or hear in Scotland. Three 

examples are started for you. 

word or phrase Scots slang 

ken 

ay 

okay 

Tick whether you think these words are Scots or slang. 

Now check your words and phrases in the Scots dictionary. 

Are they listed as Scots? 

Compare results throughout the class. 

Were you right about most of your choices? 

You might now make a new set of columns with Scots and slang under the correct 

headings. There may still be some words you haven’t found out about. 

Did the results surprise you? If so, why? 

Do you feel any different about Scots now you know it isn’t slang? 

Homework 

At home, you might try the above exercise on members of your family. 

In class, compare results. Did most families know which words were Scots? 



21

PROGRAMME 

4 

22 

Ti Be Yersel 


In this programme Scots is used in contemporary 

writing. Mary McIntosh reads an alphabet game in Scots. 

Janet Paisley recites the poem ‘Skelp’. Sheena Blackhall 

talks about Scots words and recites her poem ‘The 

Check-Oot Quine’s Lament’ while pupils from Dunblane 

Primary School are shown re-labelling supermarket goods 

in Scots. 

The Proclaimers sing ‘Throw the R Away’ and discuss 

their experiences of being a Scots pop group. Matthew 

Fitt recites a poem about the Proclaimers while criticising 

stereotypical attitudes to Scots. 

We visit Portobello High School, where pupils and 

teacher Alan Keay talk about the school Scots magazine 

Porty Blethers. Pupils deliver a rap called ‘D & C’s Guide 

to Scotland’. 

Researcher Alisdair Allan explains how he sat all his 

degree exams in Scots. 

We go to Ayrshire, where Billy Kay and pupils from Park 

Primary School, Stranraer visit the cave of Sawney Bean, 

a cannibal from the past. A pupil recites ‘The Ballad of 

Sawney Bean’ by Lionel McLelland. 


Pupils should: 

● practise using a Scots dictionary and learn about 

glossaries; 

● learn that, at the moment, the Scots language, unlike 

English, is not standardised; 

● consider the use of Scots in modern contexts; 

● learn more about modern Scots literature; 

● appreciate that extra Scots vocabulary enhances rather 

than restricts their language store. 


Leid leet 

foonert (freezing) 

trauchled (exhausted) 

forfochen (tired) 

skite (swipe) 

gansie (jumper) 

scunnert (annoyed) 

pieces (sandwiches) 

tatties (potatoes) 

bubblyjock (turkey) 

clabbiedoos (mussels) 

haddies (haddock) 

mingin (filthy) 

cannae (cannot) 

glaikit (stupid) 


Teachers might prompt pupils to list all the Scottish 

writers they have read or heard of. Most pupils will have 

heard of, or studied, at least the work of Robert Burns. 


Pupils could note down any names of Scots writers 

that are mentioned in the programme. If possible, they 

could add the names of any songs or poems. 

After viewing 


barrie (brilliant) 

deek (a look) 

schule (school) 

pecht oot 

(out of breath) 

wabbit (tired) 

doitit (mixed up) 

scabbyheidit 

(a head with scabs) 

aul claes an parridge (old 

clothes and porridge) 

midden (a mess) 

Pupils could discuss the list of writers compiled 

before and during the programme. Do they now know 

the names and works of some other writers? 

Discuss whether pupils would like, as suggested by 

the pupil from Portobello High School, to sit exams in 

Scots. Should there be a choice of English or Scots to 

study? Discuss the Scots opportunities in Higher Still for 

studying Scots literature and language and for writing in 

Scots. 

Would pupils like to see supermarkets labelling in 

Scots as the children at Dunblane Primary School did? 

In the programme people spoke about their language 

being diminished if they lost their Scots vocabulary.

Pupils could discuss this point. Do they think it would 

mean a lessening of their self-expression if they couldn’t 

use Scots words? Will they encourage their own children 

to speak Scots in years to come? 

Reading 

After reading ‘The Ballad of Sawney Bean’ by Lionel 

McClelland (Activity Sheet 9), pupils can analyse the 

poem’s content and form. The poem describes the Bean 

family, their activities and their capture. Comprehension 

questions could be asked. Pupils could be introduced to 

other new Scots literature. Prose might be introduced (see 

resource page 32). 


Pupils could analyse the poem’s technical construction 

and identify its rhythms and rhyme patterns. Crossreference 

might be made to any other ballads that may 

have been studied, for example Border ballads (from 

Programme 3) or the ballad of ‘Sir Patrick Spens’. 

Writing 

Pupils could compile an alphabet of Scots words as in 

the game played by the pupils in the programme. This 

might be similar to the game ‘The Minister’s Cat’. 

Pupils might write a rap in Scots, choosing modern 

themes and issues. 

Classes could compile a newspaper in Scots. Ask them 

to study some magazines or newspapers and list contents 

and ideas. You might include some of the following: 

horoscope, jokes, letters, articles, cartoons (speech 

bubbles in Scots), editorial comment about Scots issues, 

sports results, photographs and illustrations with 

captions, film, television and book reviews, weather 

reports, crosswords. The TV page might have ‘Hame an 

Awa’, ‘Neebours’, ‘Polis Academy Twa’. Different tasks 

might be allocated according to levels of ability. The use 

of Scots for functional writing might be encouraged 

through a newspaper report or article. 

Pupils may write a local legend set in their home 

town or village, or rewrite, in Scots, a well-known 

fairytale. Rewriting a well-known story is a good 

introduction to writing in Scots for some pupils. Those 

with limited ability in creative writing will be able to 

concentrate on their Scots vocabulary rather than 

inventing a new story. Frequently, these pupils, for 

sociological reasons, are the pupils whose Scots 

vocabulary is familiar and rich. 

Pupils could be encouraged to think of a local place they 

know well. They might already know a local legend, but, 

if not, can use the familiar landscape to prompt the 

imagination to create one. Often, local vocabulary is the 

pupils’ daily speech and a wide vocabulary store emerges. 

Using Activity Sheet 10 ‘Scots saws or sayings’, pupils 

are encouraged to recognise an important element of 

Scottish speech: idiomatic use of language. The use of 

idiomatic phrases, especially in dialogue, lends an 

authenticity to short stories or drama. Pupils could write 

a short dialogue between two Scots characters who 

employ idioms in their speech. Humorous sketches are 

particularly suitable for this. 

In the programme, the pop band The Proclaimers sing 

a pop song. Pupils could try writing their own Scots pop 

song. It could be set locally or it could include Scottish 

names. The rap form might lend itself well to this. 


Art: as suggested in Activity Sheet 10 ‘Scots saws or 

sayings’, illustrations could be made of sayings. ‘The 

Ballad of Sawney Bean’ might be illustrated. Each verse 

tells a different part of the story and a storyboard might 

be suitable for less able pupils, with short captions written 

in Scots underneath pictures. Words can be selected from 

the ballad to help supply vocabulary, and you might 

provide a bank of phrases for pupils to select from. 

Music: write and sing a Scots song or ballad. ‘The 

Ballad of Sawney Bean’ is available on Dunkeld Records 

sung by Black-Eyed Biddy. 

23

24 

factfile 5 

Scots spelling 

People spell Scots words in different ways. 

In English, there is now an agreed way to 

spell and it can be found in English 

dictionaries. But, at one time, English 

words also had many spellings. In 

Shakespeare’s plays you can find the same 

word spelt in different ways. 

In 1755 Samuel Johnson compiled a 

dictionary. He lived near London and 

decided to write words down in the way he 

spoke. Gradually Standard English became 

an agreed way to spell all over England – 

even though folk in different parts of the 

country spoke different dialects of English. 

At one time, the King of Scotland wrote in 

Scots, and in 1424 an Act of Parliament 

made Scots the official language of 

Parliament. Playwrights and poets were 

employed at Court to write in Scots. 

Scots dictionaries give a choice of spelling, 

and sometimes the way words are spelt 

changes depending on which part of 

Scotland you come from. Most of the 

different dialects are included in the 

dictionary. 


the ae 

wey 

Here is an extract from Chambers English- 

Scots school dictionary which shows how 

the different dialects are included: 

one – numeral, pronoun ane, yin 

CENTRAL, SOUTH, wan, WEST, 

SOUTHWEST, ULSTER; (mainly 

emphatic) ae: ‘the ae wey’, yae CENTRAL, 

SOUTH; (in children’s rhymes) eentie, 

eendie 

one another – ither, ilk ither 

oneself – yersel 

For discussion: 

In how many ways can we say the 

number one in Scotland? 

Which do you use? 

Would you like Scots to have standard 

spellings, like English?

The Ballad of Sawney Bean 

Go ye not by Gallowa, 

Come bide a while, my freen, 

I’ll tell ye o the dangers there – 

Beware o Sawney Bean. 

There’s naebody kens that he bides there 

For his face is seldom seen, 

But tae meet his eye is tae meet yer fate 

At the hands o Sawney Bean. 

For Sawney he has taen a wife 

And he’s hungry bairns tae wean, 

And he’s raised them up on the flesh o men 

In the cave o Sawney Bean. 

And Sawney has been well endowed 

Wi dochters young and lean 

And they aa hae taen their faither’s seed 

In the cave o Sawney Bean. 

An Sawney’s sons are young an strong 

And their blades are sherp and keen 

Tae spill the blood o travellers 

Wha meet wi Sawney Bean. 

So if ye ride fae there tae here 

Be ye wary in between 

Lest they catch yer horse and spill yer blood 

In the cave o Sawney Bean 

But fear ye not, oor Captain rides 

On an errand o the Queen 

And he carries the writ o fire and sword 

For the head o Sawney Bean. 

They’ve hung them high in Edinburgh toon 

An likewise aa their kin 

An the wind blaws cauld on aa their banes 

An tae hell they aa hae gaen. 

By Lionel McClelland 



25

26 

Scots saws or sayings 

In the programme Billy Kay visits Sawney Bean’s cave. When the adventure is past he says ‘Oh weel, 

back tae aul claes an parridge’. What does he mean? The Scots language contains many well-known 

sayings and idioms. In Scots these are often called Scots saws or sayings. 

Group discussion 

Here are some more sayings. Try to work out what they mean. 

tae pit somebody’s gas at a peep 

whit’s fir ye’ll no gan by ye 

gan doon the brae 

he’s no backwards aboot comin forrit 

Writing in groups 

Can you add any more to this list? 

In your groups write down other sayings that you know, then test them out on the rest of the class. 

Did the other groups have any you didn’t have? 

Individual work 

Collect some more Scots saws or sayings at 

home. Sometimes old people know lots of them. 

Bring them back to school and share them 

with the class. 

Writing 


On your own, or with the rest of the class, 

gather all your sayings together into a booklet. 

You might illustrate it with drawings 

connected with the saying. You could each 

draw a picture, with a caption underneath. 

The next time you’re writing a story, you might decide to use some 

sayings in it when somebody is speaking. 


PROGRAMME 

5 

The Future Oors? 


In this programme writers, politicians and actors talk 

about the future of the Scots language and its status in 

society. 

The voice of the new Scottish Parliament is discussed 

and views expressed that Scots, Gaelic and English 

should be included. 

Reinforcement is given to statements in earlier 

programmes that Scottish literature has always been 

about the working classes as well as royalty and rich 

folk. A poem, ‘Delinquent Sang’, from Sheena Blackhall 

illustrates this point. 

Demonstrations, from pupils and university students, of 

Scots language on the web and on CD-ROM show that 

Scots is part of modern technological society. 

Foreign students learning Scots are interviewed at 

Aberdeen University and the Aberdeen University Scots 

Leid Quorum explains why it was formed and what it 

does. The programme visits Dundee, a strong dialect 

area, where singer Sheena Wellington and a women’s 

choir sing a traditional working song. Michael Marra 

from Dundee sings ‘Hermless’ and explains why he 

enjoys using Scots words in his writing. A modern 

version of ‘Cinderella’ is recited by Donna McCracken. 

Actors, teachers and business people give their views on 

the importance of Scots in modern society and on 

retaining individuality in a globalised world. 

We hear ‘The Bonnie Broukit Bairn’ by Hugh 

MacDiarmid. 

Billy Kay explains that the pupils themselves will make 

decisions about the future of the Scots language. 


Pupils will learn that: 

● many Scots speakers, including prominent people in 

Scottish public life, are concerned to retain their 

Scots voice; 

● a person’s own culture and language are crucial to 

maintaining a sense of identity in modern society; 

● Scots literature is wide-ranging in topics and target 

audiences; 


● Scots is available on the Internet and CD-ROM, like 

other twentieth-century languages; 

● it is the pupils themselves who will make decisions in 

the future. 

Leid leet 

haverin 

(talking rubbish) 

coup (a dump) 

scunnert (disgusted) 

thole (put up with) 

thrive (grow) 

stushie (a fuss) 

puckle 

(a small amount) 

dwam (a dream) 

greetin (crying) 


Pupils might be encouraged to discuss their thoughts 

on the status of Scots in modern society. Having seen 

four programmes by now, they might have formulated 

their own views about the language, and in this last 

programme they will hear the views of others. 


Pupils might note any views expressed about the value 

of speaking their own language. If possible, pupils should 

identify the speaker and his or her occupation. For 

example, pupils could write down whether the speaker is 

an actor, a politician, or a pupil. 

After viewing 


hackit 

(horrible-looking) 

bummers (machines) 

walin (noise) 

almichty (almighty) 

glaikit (stupid) 

bowfin (smelly) 

dicht (wipe) 

breenge (rush) 

yersel (yourself) 

Pupils could discuss the place of Scots language in 

society and in their own lives. By the fifth programme, 

they should have formed their own viewpoint on this 

issue. It will, of course, vary according to individual 

circumstances – own speech, background, knowledge 

gained throughout the programmes. Pupils’ notes taken 

during viewing can be referred to. Discussion could take 

place on issues prompted by the programme, such as what 

the voice of the Scottish Parliament should be. A class 

27

28 

debate could be organised, with a motion of ‘Scots should 

be spoken in a Scottish Parliament’, with pupils chosen to 

speak for and against. 

Discussion 

In the programme, Billy Kay quotes Hugh 

MacDiarmid: 

‘Tae be yersel an tae mak that worth bein, 

Nae harder job tae mortals has been gien’ 

What do pupils think this means? 

Billy also says that ‘it’s even harder tae be yersel if folk 

want tae deny ye the way ye speak’. Do pupils think this 

is true? Billy also says ‘Celebrate your culture and it’s a lot 

easier to accept other people’s tae’. Ask pupils to define 

their culture. What does it mean to them? A discussion of 

prejudice might also take place. Do pupils accept other 

people’s culture, habits, language? 

At the end of the programme, Billy Kay says that the 

pupils watching the programme are the decision makers 

of the future. Pupils might be prompted to discuss what 

sort of decisions they will need to take about language 

and culture. ‘May aw yer decisions be the richt yins’ is the 

last comment of the series. What does this mean to 

pupils? You might suggest some linguistic areas for pupils 

to discuss making decisions about. For example, the use 

of Scots in the media, including newspapers and 

television, films, books and comics, and the exam system. 

Extra-curricular activities 

Some schools might consider forming a group like the 

Aberdeen Scots Leid Quorum (ASLQ). It could be an 

after-school or dinner-time group. The Saltire Society 

encourages such groups for wide cultural themes 

(see page 32 for address). 

Writing 

Pupils could write a weaving or working poem or 

song. As demonstrated by the Dundee weaving song, 

there is always a strong rhythmic movement to these 

songs. You might introduce other waulkin/workin songs 

from Gaelic and Scots. The rhythms reflect the 

occupations of the singers, such as fishing, weaving, 

sowing, planting, knitting, sailing. Repeated choruses are 

usually also a feature of these songs, as is the way language 

reflects the work sounds – for example, sounds of 

machinery or water. Pupils of all levels of ability can 

tackle this, with a greater emphasis on repetition of 

sounds and words for those with limited vocabulary. 

Pupils could write their own modern Scots version of a 

well-known fairy tale. Activity Sheet 11 ‘Writing a Scots 

fairy tale’ provides ideas for writing a tale. Pupils can 

combine Scots and English in these stories and include as 

much Scots as they feel comfortable with. By now, they 

should have amassed sufficient vocabulary to ‘drop in’ 

words even if they have not mastered Scots grammar. For 

pupils requiring differentiation because of either Scots or 

English linguistic limitations, the ‘drop in’ method works 

well. An occasional Scots word or local Scots place-name 

can be sufficient to give a Scottish flavour to the writing. 

Reading 

Activity Sheet 12 ‘The Bonnie Broukit Bairn’ provides 

the text of the poem by Hugh MacDiarmid as well as 

related questions. Pupils might analyse the poem’s 

meaning and gloss the Scots vocabulary. The poem raises 

environmental issues of conservation and effects on the 

world around, and this area might link to environmental 

studies, science and study of the planets. 


Michael Marra talked about Scots words ‘singing well’. 

Identify onomatopoeic and rhythmic Scots words. 

The word list from the programmes can be scanned and 

selected from. 


Drama: if (as suggested in ‘Writing’ above) pupils 

create a work song, they might improvise movements 

along with it. The sounds can be recreated alongside these 

movements. 

Music: listen and learn some of the songs from the 

programme: ‘Hermless’ by Michael Marra, ‘Women of 

Dundee’ by Sheena Wellington, ‘Auld Lang Syne’ by Robert 

Burns. ‘Auld Lang Syne’ is supplied on Activity Sheet 13.

Writing a Scots fairy tale 

In the programme, Donna McCracken recites a modern version of Cinderella. The story was told in 

Scots and in rhyme. You probably know the story of Cinderella already. 

Writing 

Rewrite a traditional fairy tale in Scots. 

Use as much Scots as you like, but English can also be used. 

Choose a well-known tale, for example: Cinderella; 

Rumpelstiltskin; The Seeven Dwarfs an Snaw-white; Wee Reid 

Riding Bunnet; The Elves an the Shuinmakers. 

You might also want to ‘update’ the fairy tale into modern times. 

Instead of a glass slipper, Cinders has a pair of trainers. Instead of 

a coach she has a Mercedes. 

Help guide 

In groups or on your own, decide on the story you know best and write down the title. 

Underneath, note some of the main facts of the story, for example: 

Cinderella: 

● she lives with two wicked stepsisters; 

● she is very poor; 

● she wants to go to a prince’s ball with sisters; 

● fairy godmother appears, etc. 

Next, try translating some of your notes 

into Scots. 

‘Cinderella leeves wi twa wicked stepsisters, she’s 

gey puir, wants tae gan tae prince’s ceilidh wi sisters ...’ 



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30 

The Bonnie Broukit Bairn 

Here is a poem you heard in Programme 5. It was written by Hugh MacDiarmid, who was writing in 

the first half of this century. People were very surprised when he started to write poetry like this in 

Scots. For a long time Scots wasn’t used for such serious ideas. Also, it’s not about Scotland, it’s about 

space – an unusual topic at that time for a Scots poem. 

Glossary: 

crammasy – crimson 

goun – gown 

wheen – lot 

blethers – talking rubbish 

broukit – abandoned 

greet – cry 

clanjamfrie – crowd or mob 

Writing 


Mars is braw in crammasy, 

Venus in a green silk goun, 

The auld mune shaks her gowden feathers, 

Their starry talk’s a wheen o blethers, 

Nane for thee a thochtie sparin, 

Earth, thou bonnie broukit bairn. 

– But greet, an in your tears ye’ll droun 

The haill clanjamfrie! 

By Hugh MacDiarmid 

Using the poem, write a short description of each of these ‘planets’: 

Mars ______________________________ 

Venus ______________________________ 

Mune ______________________________ 

Earth ______________________________ 

What do the last two lines mean? What would happen if the Earth ‘cried’? 

Work out the rhymes used in this poem. 

What point is the poet making about ordinary-looking things and glamorous or 

braw-looking things? 


Auld Lang Syne 

(old times long ago) 

Should auld acquaintance be forgot 

And never brought tae mind? 

Should auld acquaintance be forgot, 

And auld lang syne! 

Chorus 

For auld lang syne, my jo, (my friend) 

For auld lang syne, 

We’ll tak a cup o kindness yet 

For auld lang syne. 

And surely ye’ll be your pint stowp! 

And surely I’ll be mine! 

And we’ll tak a cup o kindness yet, 


We twa hae run aboot the braes, 

And pou’d the gowans fine; (daisies) 

But we’ve wander’d mony a weary fit, 

Sin auld lang syne, 

We twa hae paidl’d in the burn, 

Frae morning sun till dine; 

But seas between us braid hae roar’d 

Sin auld lang syne, 

And there’s a hand, my trusty fiere! (friend) 

And gie’s a hand o thine! 

And we’ll tak a right gude-willie-waught, (goodwill drink) 


You probably know some of the words to this song already. It’s sung all over the world. Millions of 

people must know a wee bit of Scots ! 

Read it carefully and work out what each verse is saying. 


Try and write a new verse to the song. Copy the rhyme scheme and think of something else that 

two old friends might remember doing together. 


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32 

Further resources 

Association of Scottish Literary Studies (ASLS) 

(Secondary materials) 

c/o Dept of Scottish History, 9 University Gardens, 

Glasgow G12 8QH 

Merlin Press 

12 Mansefield Road, Scone, Perth PS2 6SA 

Saltire Society 

9 Fountain Close, 22 High Street, 

Edinburgh EH1 1TF 

Scots Language Resource Centre 

AKBell Library, York Place, Perth PH2 8EP 

Scotsoun 

13 Ashton Road, Glasgow G12 8SP 

(wide range of recordings, songs and literature) 

Scottish Consultative Committee for the 

Curriculum (SCCC) 

Gardyne Road, Broughty Ferry, Dundee DD5 1NY 

Scottish Book Trust 

137 Dundee Street, Edinburgh EH11 1BG 

(0131 229 3663) 

Scottish Poetry Library 

Tweeddale Court, 14 High Street, 

Edinburgh EH1 1TE 

Watergaw 

c/o Penninghame Schoolhouse, 

Newton Stewart DG8 6HD 

Resources 

Classroom 

A Braw Brew eds. Liz Niven & R Jackson 

(Watergaw). Contemporary short stories and 

teachers’ pack. 

Dumfries & Galloway Scots Language Pack 

(Dumfries and Galloway Educ.). 

Merlin Press Scotsheets (Merlin Press). 

The Kist (Nelson/Blackie/SCCC – address above). 

Anthology, cassette tapes, worksheets and handbook 

for teachers. 

The Penguin Book of Scottish Verse ed. Tom Scott. 

(For Secondary schools.) 

The Poetry of Scotland ed. R Watson (Edinburgh 

University Press (EUP)). (For Secondary schools.) 

Teacher reference 

A Double Helix (European Bureau of Lesser Used 

Languages). 

Language and Scottish Literature by John Corbett 

(EUP). 

A Scots Grammar by David Purves (Saltire Society). 

The Scots Language: its Place in Education eds. Liz 

Niven & R Jackson. 

Scots: the Mither Tongue by Billy Kay (Alloway). 

Teaching Scottish Literature: Curriculum & classroom 

applications ed. A MacGillivray (EUP). Secondary. 

Dictionaries and associated 

resources 

Concise Scots Dictionary (Aberdeen University Press). 

Scots Dictionary Grammar Workbook (Scottish 

National Dictionary Association). 

Scots Thesaurus (Chambers). 

The Scots School Dictionary (Chambers). Also on 

CD-ROM. 

Cannie Spell from Scottish National Dictionary 

Association – a computerised spell checker. 

Websites 

Aberdeen University Scots Leid Quorum 

http://www.abdn.ac.uk/~src045 

Software for Teaching English Language and 

Literature (STELLA) 

http://www.arts.gla.ac.uk/STELLA/ 

Scots Language Resource Centre 

http://www.pkc.gov.uk/slrc/index.htm 

The Scots Speakers Curn, Glesca 

http://www.ndirect.co.uk/~love 

Scots Teaching and Research Network (STARN) 

http://www.arts.gla.ac.uk/COMET/starn.htm 

Scottish National Dictionary Association 

http://www.snda.org.uk

Credits 

Haud Yer Tongue was produced for 

Channel 4 by Move On Up. 

Director: Don Coutts 

Teachers’ Guide written by Liz Niven 

and edited by Anne Fleck 

Liz Niven is a writer, teacher and consultant. 

Thanks to Scottish National Dictionary 

Association for dialect map. 

33

Haud Yer Tongue TG - Channel 4

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