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emained discernible well into the nineteenthcentury. In William Wordsworth’s pastoralpoem ‘Michael’, the South wind is described asmaking ‘subterraneous music, like the noise /Of bagpipers on distant Highland hills’. 17 Thesound-quality of the rumble of distant Highlandbagpipes in the background, especially itsmenacing implications of battle and upheaval,is compared with the stormy threat of a southwind, the warmth of which proverbially bringstempest. The sound of the bagpipe is threateningand disquieting; it feels like somethingunavoidable, irrepressible; almost sublime.The icon-bagpipe is so heavily charged that itis not merely pastoral and rustic. It is a disturbingpresence, which reminds the readerthat even the rural haven of the Northumbriancountryside of the poem is not free from melancholy,disquietude, and mortality.In Childe Harold’s Pilgrimage Lord Byronwrote about the battle of Quatre Bras (1815),and how the ‘pibroch thrills, / Savage andshrill’ sounded ‘in the noon of Night’, instilling‘The stirring Memory of a thousand years,/ And Evan’s – Donald’s fame rings in eachClansman’s ears!’ 18 ‘Evan’ and his successor‘Donald’ are the Camerons of Lochiel: Evanfought in the 1715 rebellion, and Donald followedPrince Charles to France after Culloden.The Jacobite rebellions are ever-present inthe author’s mind.The same battle was described by WilliamMakepeace Thackeray in Vanity Fair: the ‘shrillpipes of the Scotch’ 19 awakened Brussels, andJos Sedley snoozed ‘in spite of all the drums,bugles, and bagpipes of the British Army’. 20 Inthe latter instance we can see how the bagpipesare now quite comfortably termed ‘ofthe British Army’ (my italics) – they are nolonger the ‘bagpipes of the Whore’. Instead,they are the instrument which marks theproud presence of the British Army in battle.The sound of the bagpipe enshrines ideasof a long-lost past of war, conflict, rebellionagainst the Establishment. But as these laterpassages illustrate, the derogatory termshave subsided to make room for a kind ofdiscourse which tickles the reader’s imaginationwith the memory of Jacobitism, butwhich is altogether free from its burdensomehistoricity. Jacobitism is part of a dangerouspast which is no more: it is a concept, whichspeaks of loyalty to a lost cause, attachmentto ancient values and traditions, and martialvalour. It has become a world sufficiently distantto be re-evoked, re-shaped and revisitedin an exotic form of novel-like imagination.The sound of the bagpipe can now safely belistened to and enjoyed, precisely for theideals and values it has come to embody.Many thanks to Hugh Cheape for hissuggestions.Vivien WilliamsEnglish Literature DepartmentUniversity of GlasgowNotes1 Grove’s Dictionary of Music and Musicians, ed. EricBlom, George Grove and Denis Stevens (New York: St.Martin’s Press, 2001), s.v. “Staggins, Nicholas”.2 Thomas Brown, ‘Letters from the dead to the living,and from the Living to the Dead, both Serious andComical’, in The Works of Thomas Brown, fifth edition(London: Printed for Sam Briscoe, 1719), vol. 2,p. 298.3 Brown, The Works of Thomas Brown, p. 300.4 Howard William Troyer, Ned Ward of Grub Street(London: Frank and Cass Company Limited, 1968),pp. 3–5.5 Edward Ward, Nuptial Dialogues and Debates: or, anUseful Prospect of the Felicities and Discomforts ofa Married Life, in two volumes (London: printed forC. Hitch et al., 1759) vol. 2, p. 199.6 Smithfield is a locality in London, where cattle andother livestock were sold. The Oxford English Dictionary,prepared by John A. Simpson and Edmund S. C.Weiner (Oxford: Clarendon Press, 1991), s.v. “Smithfield”.7 Ward, Nuptial Dialogues, vol. 2, pp. 202–04.8 Ward, Nuptial Dialogues, vol. 2, p. 204.9 See Matthew John Caldwell Hogart, The Faber Book ofBallads (London: Faber & Faber, 1965), pp. 216–17.10 Ward, Nuptial Dialogues, vol. 2, pp. 206–07.11 O.E.D., s.v. “kist”.12 Geoffrey Cox, Organ Music in Restoration England(New York: Garland, 1989), vol. 1, pp. 16–17.13 The London Magazine, or Gentleman’s monthly Intelligencer,vol. XLIV (London: Printed for R. Baldwin, February1775), p. 56.14 BM 5228.15 The Poems and Songs of Robert Burns, ed. AndrewLang (London: Methuen & Co. Ltd., 1926), p. 441.16 Francis Grose, A Classical Dictionary of the Vulgar Tongue(London: Printed for S. Hooper, 1785), s.v. ‘bagpipe,to bagpipe’.17 Wordsworth Poetical Works, ed. Thomas Hutchinson(London: Oxford University Press, 1971), p. 104.18 The Complete Poetical Works of Byron, ed. Paul ElmerMore (Boston: Houghton Mifflin Company, 1933),p. 39.19 William Makepeace Thackeray, Vanity Fair (London:Oxford University Press, 186?), p. 360.20 Thackeray, Vanity Fair, p. 370.ASLSASLS is a registered charity no. SC006535ASLS is supported by Creative Scotlandwww.thebottleimp.org.ukThe Bottle Imp is the ezine of the Scottish Writing Exhibition www.scottishwriting.org.ukand is published by the Association for Scottish Literary Studies www.asls.org.uk 4