180 Bob Harris
of the twentieth century.
111
News may well, in fact, have circulated quite
quickly, carried by bards, travellers of different kinds, and, on occasion and
between 1689 and the later 1750s, spread by agents of the exiled Stuart court
and Catholic missionary priests.
112
In the seventeenth-century context, Allan
Macinnes has emphasised that: ‘Topical information was disseminated and
public opinion shaped through the ceilidh’, a spontaneous folk gathering.
113
Vernacular poets, such as Iain Lom from Keppoch, used song to disseminate
a traditionalist critique of commercialising clan elites throughout the second
half of the seventeenth century, a critique which in the subsequent century
fed into a popular Highland ideology of Jacobitism. Among the bulk of
the Lowland rural population, story telling and song were central elements
of an intensely local, communal culture which revolved around fairs and
harvest and winter suppers provided by landowners and farmers. Alexander
Somerville, referred to earlier, recalled that his father was always ready on
such occasions with ‘droll stories, jokes, and songs with a meaning in them’.
114
A strict anti-burgher, who took his family home at 10 pm on such occasions
in order to prepare for the Sabbath, Somerville senior was able, nevertheless,
to contribute fully to the entertainment. Village inns resounded to the singing
of ‘glees and other songs’. The elderly played an important role in transmit-
ting familial and communal memories and stories to younger generations;
while women have been depicted as key perpetuators of an oral ballad tradi-
tion which was deeply rooted in, but not confi ned to, rural culture.
115
Ballads and song were also an important part of urban life, although our
knowledge of the circulation of printed ballads in this period is limited.
116
Penny, the Perth historian, recalled: ‘A great many of our old Scotch songs
were sung, chiefl y picked up by the ear from the maids at the wheel.’
117
Penny implies that these were part of an oral tradition, although their origi-
nal source may equally have been a printed ballad or chapbook.
118
Psalm
singing was a central feature of religious devotion and worship, in town and
country, and song was frequently used in the context of popular protest and
demonstration.
119
Much of the growing urban and semi-urban population
in this period comprised incomers from rural areas and villages, and they
brought rural cultural traditions and habits with them.
If the role of song, therefore, transcended a simple division between town
and country, in various ways, this was equally true of the spoken word.
The reputations of most townsfolk in this period were constructed, circu-
lated and challenged through speech, although they might, in the case of
merchants, for example, also depend on written and printed forms: letters;
bills of exchange; and bonds. Edinburgh, and perhaps Glasgow and one or
two other places, may have been somewhat different in this respect in that
print was on occasion turned to in pursuit of personal and political rivalries.
Yet, what differences there were do seem to have been matters of degree. In
contrast to London and, indeed, other places south of the border, contests
over public reputations do not generally seem to have been conducted by
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