Scottish literature is literature written in Scotland or by Scottish writers. It includes literature written in English, Scottish Gaelic, Scots, Brythonic, French, Latin and any other language in which a piece of literature was ever written within the boundaries of modern Scotland.
The earliest extant literature written in what is now Scotland, was composed in Brythonic speech in the 6th century and has survived as part of Welsh literature. In the following centuries there was literature in Latin, under the influence of the Catholic Church, and in Old English, brought by Anglian settlers. As the state of Alba developed into the kingdom of Scotland from the 8th century, there was a flourishing literary elite who regularly produced texts in both Gaelic and Latin, sharing a common literary culture with Ireland and elsewhere. After the Davidian Revolution of the 13th century a flourishing French language culture predominated, while Norse literature was produced from areas of Scandinavian settlement. The first surviving major text in Early Scots literature is the 14th century poet John Barbour's epic Brus, which was followed by a series of vernacular versions of medieval romances. These were joined in the 15th century by Scots prose works.
In the early modern era royal patronage supported poetry, prose and drama. James V's court saw works such as Sir David Lindsay of the Mount's The Thrie Estaitis. In the late 16th century James VI became patron and member of a circle of Scottish court poets and musicians known as the Castalian Band. When he acceded to the English throne in 1603 many followed him to the new court, but without a centre of royal patronage the tradition of Scots poetry subsided. It was revived after union with England in 1707 by figures including Allan Ramsay and James Macpherson. The latter's Ossian Cycle made him the first Scottish poet to gain an international reputation. He helped inspire Robert Burns, considered by many to be the national poet, and Walter Scott, whose Waverley Novels did much to define Scottish identity in the 19th century. Towards the end of the Victorian era a number of Scottish-born authors achieved international reputations, including Robert Louis Stevenson, Arthur Conan Doyle, J. M. Barrie and George MacDonald.
In the 20th century there was a surge of activity in Scottish literature, known as the Scottish Renaissance. The leading figure, Hugh MacDiarmid, attempted to revive the Scots language as a medium for serious literature. Members of the movement were followed by a new generation of post-war poets including Edwin Morgan, who would be appointed the first Scots Makar by the inaugural Scottish government in 2004. From the 1980s Scottish literature enjoyed another major revival, particularly associated with writers including James Kelman and Irvine Welsh. Scottish poets who emerged in the same period included Carol Ann Duffy, who was named as the first Scot to be UK Poet Laureate in May 2009.
Early Middle Ages 
After the collapse of Roman authority in the early fifth century, four major circles of political and cultural influence emerged in Northern Britain. In the east were the Picts, whose kingdoms eventually stretched from the river Forth to Shetland. In the west were the Gaelic (Goidelic)-speaking people of Dál Riata, who had close links with Ireland, from where they brought with them the name Scots. In the south were the British (Brythonic-speaking) descendants of the peoples of the Roman-influenced kingdoms of "The Old North", the most powerful and longest surviving of which was the Kingdom of Strathclyde. Finally, there were the English or "Angles", Germanic invaders who had overrun much of southern Britain and held the Kingdom of Bernicia (later the northern part of Northumbria), which reached into what are now the Borders of Scotland in the south-east. To these Christianisation, particularly from the sixth century, added Latin as an intellectual and written language. Modern scholarship, based on surviving placenames and historical evidence, indicates that the Picts spoke a Brythonic language, but none of their literature seems to have survived into the modern era. However, there is surviving literature from what would become Scotland in Brythonic, Gaelic, Latin and Old English.
Much of the earliest Welsh literature was actually composed in or near the country we now call Scotland, in the Brythonic speech, from which Welsh would be derived, which was not then confined to Wales and Cornwall, although it was only written down in Wales much later. These include The Gododdin, considered the earliest surviving verse from Scotland, which is attributed to the bard Aneirin, said to have been resident in Bythonic kingdom of Gododdin in the 6th century. It is a series of elegies to the men of the Gododdin killed fighting at the Battle of Catraeth around 600 AD. Similarly, the Battle of Gwen Ystrad is attributed to Taliesin, traditionally thought to be a bard at the court of Rheged in roughly the same period.
There are religious works in Gaelic including the Elegy for St Columba by Dallan Forgaill, c. 597 and "In Praise of St Columba" by Beccan mac Luigdech of Rum, c. 677. In Latin they include a "Prayer for Protection" (attributed to St Mugint), c. mid-6th century and Altus Prosator ("The High Creator", attributed to St Columba), c. 597. What is arguably the most important medieval work written in Scotland, the Vita Columbae, by Adomnán, abbot of Iona (627/8–704), was also written in Latin. The next most important piece of Scottish hagiography, the verse Life of St. Ninian, was written in Latin in Whithorn in the eighth century.
In Old English there is The Dream of the Rood, from which lines are found on the Ruthwell Cross, making it the only surviving fragment of Northumbrian Old English from early Medieval Scotland. It has also been suggested on the basis of ornithological references that the poem The Seafarer was composed somewhere near the Bass Rock in East Lothian.
High Middle Ages 
Beginning in the later eighth century, Viking raids and invasions may have forced a merger of the Gaelic and Pictish crowns that culminated in the rise of Cínaed mac Ailpín (Kenneth MacAlpin) in the 840s, which brought to power the House of Alpin and the creation of the Kingdom of Alba. Historical sources, as well as place name evidence, indicate the ways in which the Pictish language in the north and Cumbric languages in the south were overlaid and replaced by Gaelic, Old English and later Norse. The Kingdom of Alba was overwhelmingly an oral society dominated by Gaelic culture. Our fuller sources for Ireland of the same period suggest that there would have been filidh, who acted as poets, musicians and historians, often attached to the court of a lord or king, and passed on their knowledge and culture in Gaelic to the next generation.
From the eleventh century French, Flemish and particularly English became the main languages of Scottish burghs, most of which were located in the south and east. At least from the accession of David I (r. 1124–53), as part of a Davidian Revolution that introduced French culture and political systems, Gaelic ceased to be the main language of the royal court and was probably replaced by French. After this "de-gallicisation" of the Scottish court, a less highly regarded order of bards took over the functions of the filidh and they would continue to act in a similar role in the Highlands and Islands into the eighteenth century. They often trained in bardic schools, of which a few, like the one run by the MacMhuirich dynasty, who were bards to the Lord of the Isles, existed in Scotland and a larger number in Ireland, until they were suppressed from the seventeenth century. Members of bardic schools were trained in the complex rules and forms of Gaelic poetry. Much of their work was never written down and what survives was only recorded from the sixteenth century.
It is possible that more Middle Irish literature was written in medieval Scotland than is often thought, but has not survived because the Gaelic literary establishment of eastern Scotland died out before the 14th century. Thomas Owen Clancy has argued that the Lebor Bretnach, the so-called "Irish Nennius", was written in Scotland, and probably at the monastery in Abernethy, but this text survives only from manuscripts preserved in Ireland. Other literary work that has survived includes that of the prolific poet Gille Brighde Albanach. About 1218, Gille Brighde wrote a poem — Heading for Damietta — on his experiences of the Fifth Crusade.
In the 13th century, French flourished as a literary language, and produced the Roman de Fergus, the earliest piece of non-Celtic vernacular literature to survive from Scotland. Many other stories in the Arthurian Cycle, written in French and preserved only outside Scotland, are thought by some scholars including D. D. R. Owen, to have been written in Scotland. There is some Norse literature from areas of Scandinavian settlement, such as the Northern Isles and the Western Isles. The famous Orkneyinga Saga however, although it pertains to the Earldom of Orkney, was written in Iceland. In addition to French, Latin too was a literary language, with works that include the "Carmen de morte Sumerledi", a poem which exults triumphantly the victory of the citizens of Glasgow over Somairle mac Gilla Brigte and the "Inchcolm Antiphoner", a hymn in praise of St. Columba.
Late Middle Ages 
In the late Middle Ages, Middle Scots, often simply called English, became the dominant language of the country. It was derived largely from Old English, with the addition of elements from Gaelic and French. Although resembling the language spoken in northern England, it became a distinct dialect from the late fourteenth century onwards. It began to be adopted by the ruling elite as they gradually abandoned French. By the fifteenth century it was the language of government, with acts of parliament, council records and treasurer's accounts almost all using it from the reign of James I onwards. As a result, Gaelic, once dominant north of the Tay, began a steady decline. Lowland writers began to treat Gaelic as a second class, rustic and even amusing language, helping to frame attitudes towards the highlands and to create a cultural gulf with the lowlands.
The first surviving major text in Scots literature is John Barbour's Brus (1375), composed under the patronage of Robert II and telling the story in epic poetry of Robert I's actions before the English invasion till the end of the war of independence. The work was extremely popular among the Scots-speaking aristocracy and Barbour is referred to as the father of Scots poetry, holding a similar place to his contemporary Chaucer in England. In the early 15th century these were followed by Andrew of Wyntoun's verse Orygynale Cronykil of Scotland and Blind Harry's The Wallace, which blended historical romance with the verse chronicle. They were probably influenced by Scots versions of popular French romances that were also produced in the period, including The Buik of Alexander, Launcelot o the Laik and The Porteous of Noblenes by Gilbert Hay.
Much Middle Scots literature was produced by makars, poets with links to the royal court, which included James I (who wrote The Kingis Quair). Many of the makars had university education and so were also connected with the Kirk. However, Dunbar's Lament for the Makaris (c.1505) provides evidence of a wider tradition of secular writing outside of Court and Kirk now largely lost. Before the advent of printing in Scotland, writers such as Robert Henryson, William Dunbar, Walter Kennedy and Gavin Douglas have been seen as leading a golden age in Scottish poetry.
In the late 15th century, Scots prose also began to develop as a genre. Although there are earlier fragments of original Scots prose, such as the Auchinleck Chronicle, the first complete surviving work includes John Ireland's The Meroure of Wyssdome (1490). There were also prose translations of French books of chivalry that survive from the 1450s, including The Book of the Law of Armys and the Order of Knychthode and the treatise Secreta Secetorum, an Arabic work believed to be Aristotle's advice to Alexander the Great. The landmark work in the reign of James IV was Gavin Douglas's version of Virgil's Aeneid, the Eneados, which was the first complete translation of a major classical text in an Anglic language, finished in 1513, but overshadowed by the disaster at Flodden.
Early modern era 
By the early modern era Gaelic had been in geographical decline for three centuries and had begun to be a second class language, confined to the Highlands and Islands. It was gradually being replaced by Middle Scots, which became the language of both the nobility and the majority population.
As a patron of poets and authors James V supported William Stewart and John Bellenden, who translated the Latin History of Scotland compiled in 1527 by Hector Boece, into verse and prose. Sir David Lindsay of the Mount the Lord Lyon, the head of the Lyon Court and diplomat, was a prolific poet. He produced an interlude at Linlithgow Palace thought to be a version of his play The Thrie Estaitis in 1540, the first surviving full Scottish play, which satirised the corruption of church and state.
In the 1580s and 1590s James VI promoted the literature of the country of his birth. His treatise, Some Rules and Cautions to be Observed and Eschewed in Scottish Prosody, published in 1584 when he was aged 18, was both a poetic manual and a description of the poetic tradition in his mother tongue, Scots, to which he applied Renaissance principles. He became patron and member of a loose circle of Scottish Jacobean court poets and musicians, the Castalian Band, which included William Fowler and Alexander Montgomerie, the latter being a favourite of the King. By the late 1590s his championing of his native Scottish tradition was to some extent diffused by the prospect of inheriting of the English throne, and some courtier poets who followed the king to London after 1603, such as William Alexander, began to anglicise their written language. James's characteristic role as active literary participant and patron in the Scottish court made him a defining figure for English Renaissance poetry and drama, which would reach a pinnacle of achievement in his reign, but his patronage for the high style in his own Scottish tradition largely became sidelined.
From the mid sixteenth century, written Scots was increasingly influenced by the developing Standard English of Southern England due to developments in royal and political interactions with England. With the increasing influence and availability of books printed in England, most writing in Scotland came to be done in the English fashion. In 1611 the Kirk adopted the 1611 Authorized King James Version of the Bible. In 1617 interpreters were declared no longer necessary in the port of London because as Scots and Englishmen were now "not so far different bot ane understandeth ane uther". Jenny Wormald, describes James as creating a "three-tier system, with Gaelic at the bottom and English at the top".
This was the period when the ballad emerged as a significant written form in Scotland. Some ballads may date back to the late medieval era and deal with events and people that can be traced back as far as the 13th century, including "Sir Patrick Spens" and "Thomas the Rhymer", but which are not known to have existed until the 18th century. They were probably composed and transmitted orally and only began to be written down and printed, often as broadsides and as part of chapbooks, later being recorded and noted in books by collectors including Robert Burns and Walter Scott. From the 17th century they were used as a literary form by aristocratic authors including Robert Sempill (c. 1595-c. 1665), Lady Elizabeth Wardlaw (1627–1727) and Lady Grizel Baillie (1645–1746).
Eighteenth century 
After the Union in 1707 and the shift of political power to England, the use of Scots was discouraged by many in authority and education. Nevertheless, Scots remained the vernacular of many rural communities and the growing number of urban working-class Scots. Literature developed a distinct national identity and began to enjoy an international reputation. Allan Ramsay (1686–1758) laid the foundations of a reawakening of interest in older Scottish literature, as well as leading the trend for pastoral poetry, helping to develop the Habbie stanza as a poetic form. James Macpherson was the first Scottish poet to gain an international reputation, claiming to have found poetry written by Ossian, he published translations that acquired international popularity, being proclaimed as a Celtic equivalent of the Classical epics. Fingal written in 1762 was speedily translated into many European languages, and its deep appreciation of natural beauty and the melancholy tenderness of its treatment of the ancient legend did more than any single work to bring about the Romantic movement in European, and especially in German, literature, influencing Herder and Goethe. Eventually it became clear that the poems were not direct translations from the Gaelic, but flowery adaptations made to suit the aesthetic expectations of his audience.
Robert Burns was highly influenced by the Ossian cycle. Burns, an Ayrshire poet and lyricist, is widely regarded as the national poet of Scotland and a major figure in the Romantic movement. As well as making original compositions, Burns also collected folk songs from across Scotland, often revising or adapting them. His poem (and song) "Auld Lang Syne" is often sung at Hogmanay (the last day of the year), and "Scots Wha Hae" served for a long time as an unofficial national anthem of the country. Burns's poetry drew upon a substantial familiarity with and knowledge of Classical, Biblical, and English literature, as well as the Scottish Makar tradition. Burns was skilled in writing not only in the Scots language but also in the Scottish English dialect of the English language. Some of his works, such as "Love and Liberty" (also known as "The Jolly Beggars"), are written in both Scots and English for various effects. His themes included republicanism, Radicalism, Scottish patriotism, anticlericalism, class inequalities, gender roles, commentary on the Scottish Kirk of his time, Scottish cultural identity, poverty, sexuality, and the beneficial aspects of popular socialising.
Other major literary figures connected with Romanticism include the poets and novelists James Hogg (1770–1835), Allan Cunningham (1784–1842) and John Galt (1779–1839), as well as claims for the Scottish origins of one of the most significant figures of the Romantic movement in Lord Byron, who was brought up in Scotland until he acquired his English title.
In the early eighteenth century theatres had been discouraged in by the Kirk and by the authorities because of fears of Jacobite assemblies. In the later eighteenth century, many plays were written for and performed by small amateur companies and were not published and so most have been lost. Towards the end of the century there were "closet dramas", primarily designed to be read, rather than performed, including work by Hogg, Galt and Joanna Baillie (1762–1851), often influenced by the ballad tradition and Gothic Romanticism.
Nineteenth century 
Walter Scott began as a poet and also collected and published Scottish ballads. His first prose work, Waverley in 1814, is often called the first historical novel. It launched a highly successful career, with other historical novels such as Rob Roy (1817), The Heart of Midlothian (1818) and Ivanhoe (1820). Scott probably did more than any other figure to define and popularise Scottish cultural identity in the nineteenth century.
Scottish "national drama" emerged in the early 1800s, as plays with specifically Scottish themes began to dominate the Scottish stage. The existing repertoire of Scottish-themed plays included John Home's Douglas (1756) and Ramsay's The Gentle Shepherd (1725), with the last two being the most popular plays among amateur groups. Scott was keenly interested in drama, becoming a shareholder in the Theatre Royal, Edinburgh. Baillie's Highland themed Family Legend was first produced in Edinburgh in 1810 with the help of Scott, as part of a deliberate attempt to stimulate a national Scottish drama. Scott also wrote five plays, of which Hallidon Hill (1822) and MacDuff's Cross (1822), were patriotic Scottish histories. Adaptations of the Waverley novels, largely first performed in minor theatres, rather than the larger Patent theatres, included The Lady in the Lake (1817), The Heart of Midlothian (1819), and Rob Roy, which underwent over 1,000 performances in Scotland in this period. Also adapted for the stage were Guy Mannering, The Bride of Lammermoor and The Abbot. These highly popular plays saw the social range and size of the audience for theatre expand and helped shape theatre going practices in Scotland for the rest of the century.
Scotland was also the location of two of the most important literary magazines of the era, The Edinburgh Review, founded in 1802 and Blackwood's Magazine, founded in 1817. Together they had a major impact on the development of British literature and drama in the era of Romanticism.
In the late 19th century, a number of Scottish-born authors achieved international reputations. Robert Louis Stevenson's work included the urban Gothic novella Strange Case of Dr Jekyll and Mr Hyde (1886), and played a major part in developing the historical adventure in books like Kidnapped and Treasure Island. Arthur Conan Doyle's Sherlock Holmes stories helped found the tradition of detective fiction. The "kailyard tradition" at the end of the century, brought elements of fantasy and folklore back into fashion as can be seen in the work of figures like J. M. Barrie, most famous for his creation of Peter Pan and George MacDonald whose works including Phantasies played a major part in the creation of the fantasy genre.
20th century to the present 
In the early 20th century there was a new surge of activity in Scottish literature, influenced by modernism and resurgent nationalism, known as the Scottish Renaissance. The leading figure in the movement was Hugh MacDiarmid (the pseudonym of Christopher Murray Grieve). MacDiarmid attempted to revive the Scots language as a medium for serious literature in poetic works including "A Drunk Man Looks at the Thistle" (1936), developing a form of Synthetic Scots that combined different regional dialects and archaic terms. Other writers that emerged in this period, and are often treated as part of the movement, include the poets Edwin Muir and William Soutar, the novelists Neil Gunn, George Blake, Nan Shepherd, A J Cronin, Naomi Mitchison, Eric Linklater and Lewis Grassic Gibbon, and the playwright James Bridie. All were born within a fifteen-year period (1887 and 1901) and, although they cannot be described as members of a single school they all pursued an exploration of identity, rejecting nostalgia and parochialism and engaging with social and political issues.
Some writers that emerged after the Second World War followed MacDiarmid by writing in Scots, including Robert Garioch and Sydney Goodsir Smith. Others demonstrated a greater interest in English language poetry, among them Norman MacCaig, George Bruce and Maurice Lindsay. George Mackay Brown from Orkney, and Iain Crichton Smith from Lewis, wrote both poetry and prose fiction shaped by their distinctive island backgrounds. The Glaswegian poet Edwin Morgan became known for translations of works from a wide range of European languages. He was also the first Scots Makar (the official national poet), appointed by the inaugural Scottish government in 2004. Many major Scottish post-war novelists, such as Muriel Spark, James Kennaway, Alexander Trocchi, Jessie Kesson and Robin Jenkins spent much or most of their lives outside Scotland, but often dealt with Scottish themes, as in Spark's Edinburgh-set The Prime of Miss Jean Brodie (1961) and Kennaway's script for the film Tunes of Glory (1956). Successful mass-market works included the action novels of Alistair MacLean, and the historical fiction of Dorothy Dunnett. A younger generation of novelists that emerged in the 1960s and 1970s included Shena Mackay, Alan Spence, Allan Massie and the work of William McIlvanney.
From the 1980s Scottish literature enjoyed another major revival, particularly associated with a group of Glasgow writers focused around meetings in the house of critic, poet and teacher Philip Hobsbaum. Also important in the movement was Peter Kravitz, editor of Polygon Books. Members of the group that would come to prominence as writers included James Kelman, Alasdair Gray, Liz Lochhead, Tom Leonard and Aonghas MacNeacail. In the 1990s major, prize winning, Scottish novels that emerged from this movement included Irvine Welsh's Trainspotting (1993), Warner’s Morvern Callar (1995), Gray’s Poor Things (1992) and Kelman’s How Late It Was, How Late (1994). These works were linked by a sometimes overtly political reaction to Thatcherism that explored marginal areas of experience and used vivid vernacular language (including expletives and Scots dialect). Scottish crime fiction has been a major area of growth with the success of novelists including Val McDermid, Frederic Lindsay, Christopher Brookmyre, Quintin Jardine, Denise Mina and particularly the success of Edinburgh's Ian Rankin and his Inspector Rebus novels. This period also saw the emergence of a new generation of Scottish poets that became leading figures on the UK stage, including Don Paterson, Robert Crawford, Kathleen Jamie and Carol Ann Duffy. Glasgow-born Carol Ann Duffy was named as Poet Laureate in May 2009, the first woman, the first Scot and the first openly gay poet to take the post.
See also 
- Association for Scottish Literary Studies
- Books in the "Famous Scots Series"
- List of Scottish writers
- British literature
- Golden Treasury of Scottish Poetry
- History of the Scots language
- Modern Scottish Poetry (Faber)
- Scottish Gaelic literature
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